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in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- in the corner. Some mildewed books piled along one wall. Some shitty plastic chairs. INSIDE THE BOX -- a timer. A small bomb. A booby-trap. An LED light stops flashing as CASTEL'S HANDS code in his password and -- CASTEL moving to the newspapers stacked in the corner. Pulling away the top pile and -- A METAL LOCK BOX. Hidden here. CASTLE pulling it out. Opening it. An empty tray on top and -- CASTEL taking off his watch. Taking off his rings. Taking out his wallet. His Spanish passport. Emptying his pockets. All of this goes into the empty tray and -- CASTEL lifting away this top tray -- setting it aside and -- THE METAL LOCK BOX -- there's more -- a much larger bottom compartment -- and it's deja-vu all over again -- we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box. First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. A GUN. A very good gun. A dozen clips of ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All with his photo. Five different names. Four different countries. Each one of these pristine clipped to a piece of card stock that says: CASTEL going for the Portuguese passport and -- MARIE staring at him -- glancing back to the road -- just in time -- almost rear-ending a slow moving truck -- There it is. And she wants an answer -- BOURNE staring at her. She's furious. She's downshifting -- she's accelerating -- pulling out to pass the truck on a blind turn, as we -- Up ahead, here comes another guy in a suit. It's MANHEIM walking toward us, deep into a cell phone conversation. Barely noticing Apfel as they get | What is the name of the CIA black ops program that wants to capture Jason Bourne? | Operation Treadstone |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | Who was the exiled African dictator the CIA wanted to assassinate? | Wombosi |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them in -- MARIE angles into an alleyway. Cuts the engine. Dead pause. She's waiting. He's still scanning the street. He turns back. She's staring at him. Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it. Silence. That moment. He focuses. Getting it. MARIE smiles. We've never seen it before. Worth waiting for. BOURNE presses the buzzer. After a moment, he presses again. Nothing. BOURNE checking the door. How to pop it open? Just about to get into it, when -- THE CONCIERGE is sixty. Plump and proper. THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. And she's looking at MARIE like here's the reason her tenant looks like such shit. THE CONCIERGE nods. Instant chilly disapproval. THE CONCIERGE steps aside and -- Turning it. And the door opens... No bombs. No wife and kids. No one. BOURNE silent. Struggling to get a feel for the place. MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to -- MARIE opening an armoire... Nothing but men's clothes. No competition. She's feeling better by the moment as we go to -- MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it. And then he sits down in a chair. BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and -- INSERT -- THE DESK TOP -- a faint silhouette through the dust | How much does Jason give Marie Kreutz to deliver him to Paris? | $20,000 |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them | Who are the three agents sent to take down Bourne? | Castel, Manhiem and the Professor |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and -- COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because -- THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him -- -- stopping as -- THE MAN slams the gun against his temple and -- This fight is over. THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before... This is something he definitely knows how to do. And then he stops cold. Throwing down the gun. Running off into the darkness -- Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege. ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back -- TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them | Who was the agent who assassinated Wombosi? | The Professor |
in -- MARIE angles into an alleyway. Cuts the engine. Dead pause. She's waiting. He's still scanning the street. He turns back. She's staring at him. Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it. Silence. That moment. He focuses. Getting it. MARIE smiles. We've never seen it before. Worth waiting for. BOURNE presses the buzzer. After a moment, he presses again. Nothing. BOURNE checking the door. How to pop it open? Just about to get into it, when -- THE CONCIERGE is sixty. Plump and proper. THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. And she's looking at MARIE like here's the reason her tenant looks like such shit. THE CONCIERGE nods. Instant chilly disapproval. THE CONCIERGE steps aside and -- Turning it. And the door opens... No bombs. No wife and kids. No one. BOURNE silent. Struggling to get a feel for the place. MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to -- MARIE opening an armoire... Nothing but men's clothes. No competition. She's feeling better by the moment as we go to -- MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it. And then he sits down in a chair. BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and -- INSERT -- THE DESK TOP -- a faint silhouette through the dust about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- | What is the name of Marie's brother in law that Borne and Marie stay with in the French Countryside? | Eamon |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What was the name of the man who sent agents to kill Bourne? | Alexander Conklin |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them | WHo is the CIA Director who decommissioned Operation Treadstone? | Ward Abbot |
about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and -- COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because -- THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him -- -- stopping as -- THE MAN slams the gun against his temple and -- This fight is over. THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before... This is something he definitely knows how to do. And then he stops cold. Throwing down the gun. Running off into the darkness -- Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege. ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back -- TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What is the profession of the men who rescue the unconscious American? | Fishermen. |
down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and -- COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because -- THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him -- -- stopping as -- THE MAN slams the gun against his temple and -- This fight is over. THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before... This is something he definitely knows how to do. And then he stops cold. Throwing down the gun. Running off into the darkness -- Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege. ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back -- TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- closer and -- As they pass -- MANHEIM -- it's completely out of the blue -- he's jabbing the cellphone down into Apfel's shoulder and -- APFEL -- no clue -- already clutching at the coronary exploding in his chest -- dead before his body hits the street and -- MANHEIM -- still walking -- he's never broken stride -- and as he goes he's fiddling with the cellphone and -- INSERT -- THE CELLPHONE -- MANHEIM'S HANDS working to retract a syringe into the device and -- MANHEIM striding away. Disappearing into Zurich... Meet HIS ENTOURAGE -- eight or ten of his thirty children -- two of his wives -- three of his bodyguards -- the whole crew spread out in this horrible basement room. THE WIVES are chatting. THE KIDS are playing, fighting and eating candy. THE BODYGUARDS -- three of them here -- are white. These guys are French/Corsican mercs. Not quite the A-Team. The guy in charge of this ugly little unit is named DEAUVAGE. Into it. Too into it. TWO MORGUE ATTENDANTS hanging back. THE MORGUE BOSS -- who's clearly suffering this for a bribe -- moves to one of the freezer lockers... And he pulls open FREEZER #121. And thank God we can't see it, because whatever's inside there is clearly horrible. THE MORGUE BOSS barely takes a glance, standing back as quickly as possible. DEAUVAGE -- lead bodyguard -- moves to clear a zone for his boss -- WOMBOSI moves to the freezer box. Stares down. As if it were nothing. He's seen -- he's made -- much, much worse. And now he reaches down into the box -- hands on -- literally feeling around this dead, awful corpse with his bare hands -- feeling around for something -- feeling and feeling and EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What does the laser projector found in the unconscious American do? | Provides the safety deposit number. |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- | What is inside the safety deposit box? | Money, passports, identity cards, and a gun. |
about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a magic wand of hysteria -- PEOPLE IN THE LOBBY -- SCREAMING -- diving away -- everyone dropping for cover and -- BOURNE -- bailing -- on the run -- sprinting down a hallway -- tossing away the M-16 as he sprints into the building -- Here comes BOURNE -- coming fast -- and he definitely does not belong back here -- BOURNE rushes to the window staring down and -- WHAM! HERE THEY COME -- through the door -- guns -- eyes -- adrenaline -- everything ready and -- TWO MARINES -- scanning the windows -- looking down and -- MARINE POV -- all clear -- no way he went down there and -- BOURNE finding a toehold below him -- reaching -- touching down -- it gives way -- crumbling and -- BOURNE hesitates. Does he know how to do this or not? Stalled for a moment, then... BOURNE starts climbing down. And this is all one shot. No cutaway. No cheating. We are watching a master at work... Handhold to a drain pipe. Swinging to a better ledge. Dropping to an air-conditioner. Grabbing a window frame just before the air-conditioner gives way. Teetering there. Now he's on the fourth floor. Below, there's an open window on the third floor. Struggling to keep his balance, he reaches behind him to shift the weight of the bag, and as he does -- THE RED BAG falls. Thump. Into the courtyard. Forget the open window. Now he's got to go all the way. Timing his next move and -- He's pushing off -- reaching -- there's another drainpipe and he's snagged it -- he's got a dragline now -- starting to fall -- straining to hold the pipe -- slowing his descent -- the drainpipe pulling away from it's housing in -- MARIE angles into an alleyway. Cuts the engine. Dead pause. She's waiting. He's still scanning the street. He turns back. She's staring at him. Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it. Silence. That moment. He focuses. Getting it. MARIE smiles. We've never seen it before. Worth waiting for. BOURNE presses the buzzer. After a moment, he presses again. Nothing. BOURNE checking the door. How to pop it open? Just about to get into it, when -- THE CONCIERGE is sixty. Plump and proper. THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. And she's looking at MARIE like here's the reason her tenant looks like such shit. THE CONCIERGE nods. Instant chilly disapproval. THE CONCIERGE steps aside and -- Turning it. And the door opens... No bombs. No wife and kids. No one. BOURNE silent. Struggling to get a feel for the place. MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to -- MARIE opening an armoire... Nothing but men's clothes. No competition. She's feeling better by the moment as we go to -- MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it. And then he sits down in a chair. BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and -- INSERT -- THE DESK TOP -- a faint silhouette through the dust and grime. Outlines of where a computer used to sit. BOURNE reaching suddenly under the desk. Bingo. Pulling out a retractable computer keyboard tray. But it's empty. No keyboard. Now he's really confused and -- INSERT -- A PHONE/ANSWERING MACHINE -- BOURNE pressing the playback button and -- BOURNE leaving that for a moment -- about to anyway -- and then he turns back -- new idea -- pressing for the speaker phone -- and then hitting redial and -- THE PHONE stars dialing... BOURNE quick grabbing the receiver. Taking it off speakerphone and -- BOURNE grabbing the backpack -- tearing through it -- where is it? -- where is it? -- shit and money falling out and -- There it is -- from the safe-deposit box -- that piece of card stock -- the one with no passport attached to it -- BOURNE waiting. And then there's muzak -- holding music and -- Silence. BOURNE is rocked. But the Manager, it's natural, he interprets the silence as grief... BOURNE just hands up the phone. Just like that. Not even goodbye. Standing there frozen. Stunned. John Michael Kane is dead. And he had the passport. Suddenly, everything's changed. They shouldn't be here. This is bad. Danger. BOURNE like we've ever seen him. Like an animal. Every sound -- every breeze -- everything carries information. Standing still. Taking it all in. Real quick layout -- there's big windows along one wall that face out to the street below. The hallway to the bedroom and bath feeds into the living room from one side. There is a large frosted airshaft window along that hallway wall. Simple furniture. MARIE backing away -- completely freaked -- BOURNE standing there with the knife in his hand and -- MARIE -- frightened -- confused -- paralyzed in the corner. Some mildewed books piled along one wall. Some shitty plastic chairs. INSIDE THE BOX -- a timer. A small bomb. A booby-trap. An LED light stops flashing as CASTEL'S HANDS code in his password and -- CASTEL moving to the newspapers stacked in the corner. Pulling away the top pile and -- A METAL LOCK BOX. Hidden here. CASTLE pulling it out. Opening it. An empty tray on top and -- CASTEL taking off his watch. Taking off his rings. Taking out his wallet. His Spanish passport. Emptying his pockets. All of this goes into the empty tray and -- CASTEL lifting away this top tray -- setting it aside and -- THE METAL LOCK BOX -- there's more -- a much larger bottom compartment -- and it's deja-vu all over again -- we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box. First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. A GUN. A very good gun. A dozen clips of ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All with his photo. Five different names. Four different countries. Each one of these pristine clipped to a piece of card stock that says: CASTEL going for the Portuguese passport and -- MARIE staring at him -- glancing back to the road -- just in time -- almost rear-ending a slow moving truck -- There it is. And she wants an answer -- BOURNE staring at her. She's furious. She's downshifting -- she's accelerating -- pulling out to pass the truck on a blind turn, as we -- Up ahead, here comes another guy in a suit. It's MANHEIM walking toward us, deep into a cell phone conversation. Barely noticing Apfel as they get | In the fight between Bourne, Marie, and Castel, who dies? | Castel |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No Based on the novel THE BODY MOVES! -- convulsing -- coughing up sea water -- the Sailors -- freaked -- jumping back -- standing there, as -- THE MAN begins to breathe. THE CAPTAIN -- brutal and impatient -- watching from the door as -- GIANCARLO tears through the clutter -- searching for a medical kit buried in the shambles. GIANCARLO is sixty. A bloodshot soul. GIANCARLO with an old trunk -- just getting it open, as -- GIANCARLO watching them run out. Snagging a quick pull on a pint of rum he's got stashed and -- GIANCARLO playing doctor in a greasy kitchen apron. Cutting away the clothes. Turning THE MAN on his side. Two bullet wounds in the back. Probing them, judging them. Now -- GIANCARLO with a flashlight in his teeth -- TINK -- TINK -- TINK -- bullet fragments falling into a washed-out olive jar. Now -- something catching GIANCARLO'S EYE -- A SCAR ON THE MAN'S HIP -- another fragment -- exacto knife cutting in -- tweezers extracting A SMALL PLASTIC TUBE, not a bullet at all, and as it comes free -- Long dead pause. THE MAN is bandaged. He's sitting up, and it must hurt like hell, but physical pain is not the thing troubling him right now. He's staring around the room -- at his body -- at the walls -- haunted -- Silence. THE MAN can't rest. Too busy trying to make sense of all this. GIANCARLO rummaging around -- finding a magnifying glass -- GIANCARLO staring at him now. Different suddenly. Suspicious. GIANCARLO pulls his pint. Takes a hit. THE MAN picks up the rod -- flips the bail -- traps the line -- now he's casting far out into the darkness. And for the first time, he smiles. The a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- | Who planted a body in the Paris morgue? | Conkin |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No and grime. Outlines of where a computer used to sit. BOURNE reaching suddenly under the desk. Bingo. Pulling out a retractable computer keyboard tray. But it's empty. No keyboard. Now he's really confused and -- INSERT -- A PHONE/ANSWERING MACHINE -- BOURNE pressing the playback button and -- BOURNE leaving that for a moment -- about to anyway -- and then he turns back -- new idea -- pressing for the speaker phone -- and then hitting redial and -- THE PHONE stars dialing... BOURNE quick grabbing the receiver. Taking it off speakerphone and -- BOURNE grabbing the backpack -- tearing through it -- where is it? -- where is it? -- shit and money falling out and -- There it is -- from the safe-deposit box -- that piece of card stock -- the one with no passport attached to it -- BOURNE waiting. And then there's muzak -- holding music and -- Silence. BOURNE is rocked. But the Manager, it's natural, he interprets the silence as grief... BOURNE just hands up the phone. Just like that. Not even goodbye. Standing there frozen. Stunned. John Michael Kane is dead. And he had the passport. Suddenly, everything's changed. They shouldn't be here. This is bad. Danger. BOURNE like we've ever seen him. Like an animal. Every sound -- every breeze -- everything carries information. Standing still. Taking it all in. Real quick layout -- there's big windows along one wall that face out to the street below. The hallway to the bedroom and bath feeds into the living room from one side. There is a large frosted airshaft window along that hallway wall. Simple furniture. MARIE backing away -- completely freaked -- BOURNE standing there with the knife in his hand and -- MARIE -- frightened -- confused -- paralyzed | Why does Bourne decide not to meet with Conkin? | Conkin brought backup to their meeting. |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them door open and CRUSHES the PROFESSOR -- CRUSHES him again and now he is free and -- BOURNE turns, pulls up the shotgun and -- the PROFESSOR kicks it out of his hands -- it clatters to the ground and now we have a beat -- THE TRAIN CAR races across the Bir Hakeim bridge -- all of Paris laid out behind them. BOURNE and the PROFESSOR squaring off -- both looking at the gun -- realizing there's no chance for either one of them to get it and -- A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated -- the PROFESSOR's crazy -- makes it a pretty even match. Looks like it could go on for a little while when suddenly -- BAM!!! The PROFESSOR drops to the ground -- behind him -- MARIE wields the shot gun. And BOURNE takes the gun from her -- standing there -- reloading -- both barrels -- raising the gun -- aiming it -- THE PROFESSOR staring up at the gun. Stunned. Doomed. Mouth dry. Eyes struggling to make sense of the chaos. BOURNE lowering the weapon -- head swimming -- He's losing blood fast -- things inside him seizing up -- THE PROFESSOR -- coughing -- a spasm -- helpless -- And he's gone. Like that. Sitting there. And BOURNE looks paralyzed too. Kneeling there. Stalled out. BOURNE doesn't answer -- can't, because there's this sound -- this pulsing hum -- BOURNE reaching into THE PROFESSOR'S POCKET and -- INSERT -- THE E-PHONE PAGER -- covered in blood -- hum -- hum -- hum -- BOURNE'S HAND wiping at the blood that covers the display -- BOURNE staring at it. Very familiar to him. BOURNE and MARIE getting off the last car and -- She turns. He's holding the locker key. But | Where does Conkin's tracking device lead Bourne? | Treadstone's safe house |
about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... -- just enough spring in his good leg and -- BOURNE bracing himself but -- CASTEL isn't attacking! -- he's running away -- he's crossing the living room -- but there's nowhere to go -- absolutely nowhere -- except -- Falling and falling and... IMPACT! -- landing on the roof of a parked car and -- MARIE standing there in utter shock -- paralyzed -- the picture in her hand -- the broken glass -- all of what just happened -- BOURNE -- that's it -- grabbing the backpack -- pulling it on -- just about to make his move -- She's standing there. Just utterly swamped. Lost. SIX KIDS -- TWO WIVES -- THREE BODYGUARDS -- all startled by this steamrolling mass of energy and paranoia -- WOMBOSI stops to look at DEAUVAGE. In the background, we can hear A CHILD CRYING by the pool -- WOMBOSI moving quickly now and WE'RE STILL TRACKING -- taking him into -- BOURNE'S VOICE -- OVER SPEAKERS -- we're listening to a recording of the call he made from the apartment to the Hotel Marbeouf Paris -- MRS. DOYLE. She's late sixties. A long-time spy shrink. An eminence. A diamond-hard, seen-it-all intelligence. MRS. DOYLE nods to THE ENGINEER. She's heard enough. She turns. Battle lines drawn. Silence. The idea dangling for a moment. A new hair color. A MIRROR. There she is. Her turn to stare at herself and wonder. And then she smells something. Smoke... HIS PASSPORT -- the Jason Bourne passport -- on fire. BOURNE holding it as it burns away. Bourne's face -- melting -- bubbling -- finally disappearing, -- BOURNE letting go just before it burns his fingers and -- BOURNE sits back. And there's MARIE standing there. And she's holding out her passport -- He looks at | Who kills Conkin? | Manheim |
of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them door open and CRUSHES the PROFESSOR -- CRUSHES him again and now he is free and -- BOURNE turns, pulls up the shotgun and -- the PROFESSOR kicks it out of his hands -- it clatters to the ground and now we have a beat -- THE TRAIN CAR races across the Bir Hakeim bridge -- all of Paris laid out behind them. BOURNE and the PROFESSOR squaring off -- both looking at the gun -- realizing there's no chance for either one of them to get it and -- A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated -- the PROFESSOR's crazy -- makes it a pretty even match. Looks like it could go on for a little while when suddenly -- BAM!!! The PROFESSOR drops to the ground -- behind him -- MARIE wields the shot gun. And BOURNE takes the gun from her -- standing there -- reloading -- both barrels -- raising the gun -- aiming it -- THE PROFESSOR staring up at the gun. Stunned. Doomed. Mouth dry. Eyes struggling to make sense of the chaos. BOURNE lowering the weapon -- head swimming -- He's losing blood fast -- things inside him seizing up -- THE PROFESSOR -- coughing -- a spasm -- helpless -- And he's gone. Like that. Sitting there. And BOURNE looks paralyzed too. Kneeling there. Stalled out. BOURNE doesn't answer -- can't, because there's this sound -- this pulsing hum -- BOURNE reaching into THE PROFESSOR'S POCKET and -- INSERT -- THE E-PHONE PAGER -- covered in blood -- hum -- hum -- hum -- BOURNE'S HAND wiping at the blood that covers the display -- BOURNE staring at it. Very familiar to him. BOURNE and MARIE getting off the last car and -- She turns. He's holding the locker key. But whole thing explodes. And then he speaks. And then he stops. Blinks. Wipes away the perspiration just beading on his forehead. No answer. Just that face. His face. Who am I? And what else is inside there? GIANCARLO gives him a look. Shakes his head, and -- MARSHALL, a CIA bigwig has the remote control. And the floor. TWELVE CIA MANDARINS sitting around the table like kids in detention. We will tour the faces as MARSHALL continues, but the guy we're interested in is named WARD ABBOTT. Picture a sawier, slicker John Poindexter. ABBOTT'S FACE says this is news to him. HIS HANDS suggest otherwise. Long pause. No hands go up. THE MAN checks his funds. Just enough for one cold slice. Just settling in, when -- THE MAN turns. TWO ZURICH COPS coming toward him. THE MAN makes his feet. They're on top of him now. THE MAN not sure what to do. Eyes moving. Mouth shut. THE MAN raising his hand slowly -- ZURICH COP #1 reaching up to pat him down -- ZURICH COP #2 has heard enough -- giving a sharp poke with the nightstick -- into THE MAN's back -- and that's the last thing he'll remember because -- THE MAN is in motion. A single turn -- spinning -- catching COP #2 completely off guard -- the heel of his hand driving up into the guy's throat and -- COP #1 -- behind him -- trying to reach for his pistol, but THE MAN -- still turning -- all his weight moving in a single fluid attack -- a sweeping kick and -- COP #1 -- he's falling -- catching the bench -- trying to fight back but -- THE MAN -- like a machine -- just unbelievably fast -- three jackhammer punches -- EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What is the name of the new project that replaces Treadstone? | Blackbriar |
about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... in -- MARIE angles into an alleyway. Cuts the engine. Dead pause. She's waiting. He's still scanning the street. He turns back. She's staring at him. Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it. Silence. That moment. He focuses. Getting it. MARIE smiles. We've never seen it before. Worth waiting for. BOURNE presses the buzzer. After a moment, he presses again. Nothing. BOURNE checking the door. How to pop it open? Just about to get into it, when -- THE CONCIERGE is sixty. Plump and proper. THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. And she's looking at MARIE like here's the reason her tenant looks like such shit. THE CONCIERGE nods. Instant chilly disapproval. THE CONCIERGE steps aside and -- Turning it. And the door opens... No bombs. No wife and kids. No one. BOURNE silent. Struggling to get a feel for the place. MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to -- MARIE opening an armoire... Nothing but men's clothes. No competition. She's feeling better by the moment as we go to -- MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it. And then he sits down in a chair. BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and -- INSERT -- THE DESK TOP -- a faint silhouette through the dust | What is Marie doing when Bourne finds her at the end of the story? | Renting out scooters on Mykonos. |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them | Where is Jason Bourne found unconscious in the beginning of the story? | Mediterranean Sea |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No in the corner. Some mildewed books piled along one wall. Some shitty plastic chairs. INSIDE THE BOX -- a timer. A small bomb. A booby-trap. An LED light stops flashing as CASTEL'S HANDS code in his password and -- CASTEL moving to the newspapers stacked in the corner. Pulling away the top pile and -- A METAL LOCK BOX. Hidden here. CASTLE pulling it out. Opening it. An empty tray on top and -- CASTEL taking off his watch. Taking off his rings. Taking out his wallet. His Spanish passport. Emptying his pockets. All of this goes into the empty tray and -- CASTEL lifting away this top tray -- setting it aside and -- THE METAL LOCK BOX -- there's more -- a much larger bottom compartment -- and it's deja-vu all over again -- we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box. First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. A GUN. A very good gun. A dozen clips of ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All with his photo. Five different names. Four different countries. Each one of these pristine clipped to a piece of card stock that says: CASTEL going for the Portuguese passport and -- MARIE staring at him -- glancing back to the road -- just in time -- almost rear-ending a slow moving truck -- There it is. And she wants an answer -- BOURNE staring at her. She's furious. She's downshifting -- she's accelerating -- pulling out to pass the truck on a blind turn, as we -- Up ahead, here comes another guy in a suit. It's MANHEIM walking toward us, deep into a cell phone conversation. Barely noticing Apfel as they get EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What type of wound does Bourne have in his back? | Two gunshot wounds. |
about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them a magic wand of hysteria -- PEOPLE IN THE LOBBY -- SCREAMING -- diving away -- everyone dropping for cover and -- BOURNE -- bailing -- on the run -- sprinting down a hallway -- tossing away the M-16 as he sprints into the building -- Here comes BOURNE -- coming fast -- and he definitely does not belong back here -- BOURNE rushes to the window staring down and -- WHAM! HERE THEY COME -- through the door -- guns -- eyes -- adrenaline -- everything ready and -- TWO MARINES -- scanning the windows -- looking down and -- MARINE POV -- all clear -- no way he went down there and -- BOURNE finding a toehold below him -- reaching -- touching down -- it gives way -- crumbling and -- BOURNE hesitates. Does he know how to do this or not? Stalled for a moment, then... BOURNE starts climbing down. And this is all one shot. No cutaway. No cheating. We are watching a master at work... Handhold to a drain pipe. Swinging to a better ledge. Dropping to an air-conditioner. Grabbing a window frame just before the air-conditioner gives way. Teetering there. Now he's on the fourth floor. Below, there's an open window on the third floor. Struggling to keep his balance, he reaches behind him to shift the weight of the bag, and as he does -- THE RED BAG falls. Thump. Into the courtyard. Forget the open window. Now he's got to go all the way. Timing his next move and -- He's pushing off -- reaching -- there's another drainpipe and he's snagged it -- he's got a dragline now -- starting to fall -- straining to hold the pipe -- slowing his descent -- the drainpipe pulling away from it's housing and grime. Outlines of where a computer used to sit. BOURNE reaching suddenly under the desk. Bingo. Pulling out a retractable computer keyboard tray. But it's empty. No keyboard. Now he's really confused and -- INSERT -- A PHONE/ANSWERING MACHINE -- BOURNE pressing the playback button and -- BOURNE leaving that for a moment -- about to anyway -- and then he turns back -- new idea -- pressing for the speaker phone -- and then hitting redial and -- THE PHONE stars dialing... BOURNE quick grabbing the receiver. Taking it off speakerphone and -- BOURNE grabbing the backpack -- tearing through it -- where is it? -- where is it? -- shit and money falling out and -- There it is -- from the safe-deposit box -- that piece of card stock -- the one with no passport attached to it -- BOURNE waiting. And then there's muzak -- holding music and -- Silence. BOURNE is rocked. But the Manager, it's natural, he interprets the silence as grief... BOURNE just hands up the phone. Just like that. Not even goodbye. Standing there frozen. Stunned. John Michael Kane is dead. And he had the passport. Suddenly, everything's changed. They shouldn't be here. This is bad. Danger. BOURNE like we've ever seen him. Like an animal. Every sound -- every breeze -- everything carries information. Standing still. Taking it all in. Real quick layout -- there's big windows along one wall that face out to the street below. The hallway to the bedroom and bath feeds into the living room from one side. There is a large frosted airshaft window along that hallway wall. Simple furniture. MARIE backing away -- completely freaked -- BOURNE standing there with the knife in his hand and -- MARIE -- frightened -- confused -- paralyzed in -- MARIE angles into an alleyway. Cuts the engine. Dead pause. She's waiting. He's still scanning the street. He turns back. She's staring at him. Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it. Silence. That moment. He focuses. Getting it. MARIE smiles. We've never seen it before. Worth waiting for. BOURNE presses the buzzer. After a moment, he presses again. Nothing. BOURNE checking the door. How to pop it open? Just about to get into it, when -- THE CONCIERGE is sixty. Plump and proper. THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. And she's looking at MARIE like here's the reason her tenant looks like such shit. THE CONCIERGE nods. Instant chilly disapproval. THE CONCIERGE steps aside and -- Turning it. And the door opens... No bombs. No wife and kids. No one. BOURNE silent. Struggling to get a feel for the place. MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to -- MARIE opening an armoire... Nothing but men's clothes. No competition. She's feeling better by the moment as we go to -- MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it. And then he sits down in a chair. BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and -- INSERT -- THE DESK TOP -- a faint silhouette through the dust | When the laser under Bourne's hip is activated, what does it show? | The number to a safety deposit box in Zurich. |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What does Bourne find inside the safety deposit box? | Money of several different currencies, passports and I.D. cards with his picture, and a handgun. |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No in the corner. Some mildewed books piled along one wall. Some shitty plastic chairs. INSIDE THE BOX -- a timer. A small bomb. A booby-trap. An LED light stops flashing as CASTEL'S HANDS code in his password and -- CASTEL moving to the newspapers stacked in the corner. Pulling away the top pile and -- A METAL LOCK BOX. Hidden here. CASTLE pulling it out. Opening it. An empty tray on top and -- CASTEL taking off his watch. Taking off his rings. Taking out his wallet. His Spanish passport. Emptying his pockets. All of this goes into the empty tray and -- CASTEL lifting away this top tray -- setting it aside and -- THE METAL LOCK BOX -- there's more -- a much larger bottom compartment -- and it's deja-vu all over again -- we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box. First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. A GUN. A very good gun. A dozen clips of ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All with his photo. Five different names. Four different countries. Each one of these pristine clipped to a piece of card stock that says: CASTEL going for the Portuguese passport and -- MARIE staring at him -- glancing back to the road -- just in time -- almost rear-ending a slow moving truck -- There it is. And she wants an answer -- BOURNE staring at her. She's furious. She's downshifting -- she's accelerating -- pulling out to pass the truck on a blind turn, as we -- Up ahead, here comes another guy in a suit. It's MANHEIM walking toward us, deep into a cell phone conversation. Barely noticing Apfel as they get door open and CRUSHES the PROFESSOR -- CRUSHES him again and now he is free and -- BOURNE turns, pulls up the shotgun and -- the PROFESSOR kicks it out of his hands -- it clatters to the ground and now we have a beat -- THE TRAIN CAR races across the Bir Hakeim bridge -- all of Paris laid out behind them. BOURNE and the PROFESSOR squaring off -- both looking at the gun -- realizing there's no chance for either one of them to get it and -- A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated -- the PROFESSOR's crazy -- makes it a pretty even match. Looks like it could go on for a little while when suddenly -- BAM!!! The PROFESSOR drops to the ground -- behind him -- MARIE wields the shot gun. And BOURNE takes the gun from her -- standing there -- reloading -- both barrels -- raising the gun -- aiming it -- THE PROFESSOR staring up at the gun. Stunned. Doomed. Mouth dry. Eyes struggling to make sense of the chaos. BOURNE lowering the weapon -- head swimming -- He's losing blood fast -- things inside him seizing up -- THE PROFESSOR -- coughing -- a spasm -- helpless -- And he's gone. Like that. Sitting there. And BOURNE looks paralyzed too. Kneeling there. Stalled out. BOURNE doesn't answer -- can't, because there's this sound -- this pulsing hum -- BOURNE reaching into THE PROFESSOR'S POCKET and -- INSERT -- THE E-PHONE PAGER -- covered in blood -- hum -- hum -- hum -- BOURNE'S HAND wiping at the blood that covers the display -- BOURNE staring at it. Very familiar to him. BOURNE and MARIE getting off the last car and -- She turns. He's holding the locker key. But | How does Bourne evade the Swiss police? | By using his U.S. Passport to enter the American Consolate |
about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them a magic wand of hysteria -- PEOPLE IN THE LOBBY -- SCREAMING -- diving away -- everyone dropping for cover and -- BOURNE -- bailing -- on the run -- sprinting down a hallway -- tossing away the M-16 as he sprints into the building -- Here comes BOURNE -- coming fast -- and he definitely does not belong back here -- BOURNE rushes to the window staring down and -- WHAM! HERE THEY COME -- through the door -- guns -- eyes -- adrenaline -- everything ready and -- TWO MARINES -- scanning the windows -- looking down and -- MARINE POV -- all clear -- no way he went down there and -- BOURNE finding a toehold below him -- reaching -- touching down -- it gives way -- crumbling and -- BOURNE hesitates. Does he know how to do this or not? Stalled for a moment, then... BOURNE starts climbing down. And this is all one shot. No cutaway. No cheating. We are watching a master at work... Handhold to a drain pipe. Swinging to a better ledge. Dropping to an air-conditioner. Grabbing a window frame just before the air-conditioner gives way. Teetering there. Now he's on the fourth floor. Below, there's an open window on the third floor. Struggling to keep his balance, he reaches behind him to shift the weight of the bag, and as he does -- THE RED BAG falls. Thump. Into the courtyard. Forget the open window. Now he's got to go all the way. Timing his next move and -- He's pushing off -- reaching -- there's another drainpipe and he's snagged it -- he's got a dragline now -- starting to fall -- straining to hold the pipe -- slowing his descent -- the drainpipe pulling away from it's housing in -- MARIE angles into an alleyway. Cuts the engine. Dead pause. She's waiting. He's still scanning the street. He turns back. She's staring at him. Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it. Silence. That moment. He focuses. Getting it. MARIE smiles. We've never seen it before. Worth waiting for. BOURNE presses the buzzer. After a moment, he presses again. Nothing. BOURNE checking the door. How to pop it open? Just about to get into it, when -- THE CONCIERGE is sixty. Plump and proper. THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. And she's looking at MARIE like here's the reason her tenant looks like such shit. THE CONCIERGE nods. Instant chilly disapproval. THE CONCIERGE steps aside and -- Turning it. And the door opens... No bombs. No wife and kids. No one. BOURNE silent. Struggling to get a feel for the place. MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to -- MARIE opening an armoire... Nothing but men's clothes. No competition. She's feeling better by the moment as we go to -- MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it. And then he sits down in a chair. BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and -- INSERT -- THE DESK TOP -- a faint silhouette through the dust she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... | At whose home in the French countryside do Bourne and Marie take residence? | Marie's brother Eamon |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- in the corner. Some mildewed books piled along one wall. Some shitty plastic chairs. INSIDE THE BOX -- a timer. A small bomb. A booby-trap. An LED light stops flashing as CASTEL'S HANDS code in his password and -- CASTEL moving to the newspapers stacked in the corner. Pulling away the top pile and -- A METAL LOCK BOX. Hidden here. CASTLE pulling it out. Opening it. An empty tray on top and -- CASTEL taking off his watch. Taking off his rings. Taking out his wallet. His Spanish passport. Emptying his pockets. All of this goes into the empty tray and -- CASTEL lifting away this top tray -- setting it aside and -- THE METAL LOCK BOX -- there's more -- a much larger bottom compartment -- and it's deja-vu all over again -- we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box. First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. A GUN. A very good gun. A dozen clips of ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All with his photo. Five different names. Four different countries. Each one of these pristine clipped to a piece of card stock that says: CASTEL going for the Portuguese passport and -- MARIE staring at him -- glancing back to the road -- just in time -- almost rear-ending a slow moving truck -- There it is. And she wants an answer -- BOURNE staring at her. She's furious. She's downshifting -- she's accelerating -- pulling out to pass the truck on a blind turn, as we -- Up ahead, here comes another guy in a suit. It's MANHEIM walking toward us, deep into a cell phone conversation. Barely noticing Apfel as they get she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... | How does Bourne discover the location of the Treadstone safehouse? | By placing a tracking device on Conklin's car |
down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and -- COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because -- THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him -- -- stopping as -- THE MAN slams the gun against his temple and -- This fight is over. THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before... This is something he definitely knows how to do. And then he stops cold. Throwing down the gun. Running off into the darkness -- Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege. ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back -- TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... | Who kills Conklin? | Manheim |
of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No closer and -- As they pass -- MANHEIM -- it's completely out of the blue -- he's jabbing the cellphone down into Apfel's shoulder and -- APFEL -- no clue -- already clutching at the coronary exploding in his chest -- dead before his body hits the street and -- MANHEIM -- still walking -- he's never broken stride -- and as he goes he's fiddling with the cellphone and -- INSERT -- THE CELLPHONE -- MANHEIM'S HANDS working to retract a syringe into the device and -- MANHEIM striding away. Disappearing into Zurich... Meet HIS ENTOURAGE -- eight or ten of his thirty children -- two of his wives -- three of his bodyguards -- the whole crew spread out in this horrible basement room. THE WIVES are chatting. THE KIDS are playing, fighting and eating candy. THE BODYGUARDS -- three of them here -- are white. These guys are French/Corsican mercs. Not quite the A-Team. The guy in charge of this ugly little unit is named DEAUVAGE. Into it. Too into it. TWO MORGUE ATTENDANTS hanging back. THE MORGUE BOSS -- who's clearly suffering this for a bribe -- moves to one of the freezer lockers... And he pulls open FREEZER #121. And thank God we can't see it, because whatever's inside there is clearly horrible. THE MORGUE BOSS barely takes a glance, standing back as quickly as possible. DEAUVAGE -- lead bodyguard -- moves to clear a zone for his boss -- WOMBOSI moves to the freezer box. Stares down. As if it were nothing. He's seen -- he's made -- much, much worse. And now he reaches down into the box -- hands on -- literally feeling around this dead, awful corpse with his bare hands -- feeling around for something -- feeling and feeling and she doesn't move. She takes it. Staring at him. Simply refusing to cry. MARIE takes one last look. And she's running -- BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy. BOURNE flips open the shell. There's a keypad in there. Holding it. Like a missing organ. As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum -- He cross the street -- looks down to the Quai below -- Holy shit -- there's one of his E-PHONE PAGERS -- He goes down -- picks it up -- CONKLIN wheels around. There he is. Right behind him. So now you know. BOURNE showing nothing -- or is he trying too hard not to? And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark -- BOURNE -- walking -- deeper into the darkness and -- MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and -- BOURNE -- walking and -- MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and -- BOURNE -- still coming -- the darkest part of the path just ahead and -- MANHEIM -- raising the gun and -- MANHEIM -- the gun -- phftt -- phftt -- phftt -- CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car. MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and -- That red light means Conklin's dead. After a moment, ZORN moves to the console and shuts the light off. ABBOTT in the hot seat. ZORN right there beside him. ZORN handing ABBOTT the next hundred pages. ABBOTT is just gonna go on and on and on. MARIE turns back and -- There's BOURNE. A new look. A smile. Beat. He smiles. Her turn to smile. And we... and grime. Outlines of where a computer used to sit. BOURNE reaching suddenly under the desk. Bingo. Pulling out a retractable computer keyboard tray. But it's empty. No keyboard. Now he's really confused and -- INSERT -- A PHONE/ANSWERING MACHINE -- BOURNE pressing the playback button and -- BOURNE leaving that for a moment -- about to anyway -- and then he turns back -- new idea -- pressing for the speaker phone -- and then hitting redial and -- THE PHONE stars dialing... BOURNE quick grabbing the receiver. Taking it off speakerphone and -- BOURNE grabbing the backpack -- tearing through it -- where is it? -- where is it? -- shit and money falling out and -- There it is -- from the safe-deposit box -- that piece of card stock -- the one with no passport attached to it -- BOURNE waiting. And then there's muzak -- holding music and -- Silence. BOURNE is rocked. But the Manager, it's natural, he interprets the silence as grief... BOURNE just hands up the phone. Just like that. Not even goodbye. Standing there frozen. Stunned. John Michael Kane is dead. And he had the passport. Suddenly, everything's changed. They shouldn't be here. This is bad. Danger. BOURNE like we've ever seen him. Like an animal. Every sound -- every breeze -- everything carries information. Standing still. Taking it all in. Real quick layout -- there's big windows along one wall that face out to the street below. The hallway to the bedroom and bath feeds into the living room from one side. There is a large frosted airshaft window along that hallway wall. Simple furniture. MARIE backing away -- completely freaked -- BOURNE standing there with the knife in his hand and -- MARIE -- frightened -- confused -- paralyzed | What new project is being created in the aftermath of Treadstone being 'decommisioned'? | Blackbriar |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. Purvis holding Johner's gun. Johner drags himself back on. One jumps down onto St Just, tears a good chunk out of his midsection before he dusts it. Another alien jumps on the hood just as the jeep SAILS over first ledge of the terraced slope, comes-down hard enough knock it off, SAILS over the next -- the crew can barely hang on as the jeep crashes down slope after slope. Ripley swerves back onto the road, the jeep sliding over onto the steps beside it, rocking violently as they shoot down the remainder of slope, the aliens close on their heels. Still blasting away at the beasts, the crew is able to put little distance between them as they come to the end of the garden. Here it divides into three sections, all open halls with access for the jeep. DISTEPRMO (looking over) Left! Left! She swerves left, the jeep-bouncing into the hall Ripley drives as far as she can, till a staircase -- going -- fills her vision, too steep for the jeep. She SLAMS on brakes. the jeep spinning out and coming to a halt. The crew piles out, Di Stephano grabbing Vriess. At the other end of the hall, the aliens can be seen approaching. The crew BLASTS at them, the aliens, blood splattering the narrow hall. Warning. potential hullbreach. Clear sector. DISTEPHANO (indicating the steps) They start down -- all but St Just. He gets out of the jeep with difficulty. Looks down at his wound. Johner looks around to see him still standing atop the steps St Just looks down at the wound. Back at Johner. He walks calmly away, towards the aliens. He looks at the appraching aliens. A moment, then the crew takes off. knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much (changing the subject) So where do you go from here? I think Vriess somewhat pines. He takes a stack of bill, smells it. He likes the smell.- Perez hands a drink to ELGYN. And they don't call for the kind of cargo we brought. Elgyn drinks to that. ELGYN (smiles) I'm famous for it. The cargo is locked into place on the floor and and a guard works the electric lock. It springs open and the guard slides off a side panel. They are stacked one on the other, five of them in all, cryotubes. People sleeping inside. One by one the tubes are hauled to one side of the room as the second unit is wheeled in. By the end there are ten people sleeping side by side in their tubes in the dark chamber. The scientists meanwhile retire to INT. AN ADJOINING CHAMBER with a long glass window looking at the chamber. The last of the guards leaves the chamber and we see the door lock behind them. Wren starts pushing buttons. The glass tops of the cryotubes slide open. We see temperature and lifesign gauges begin to change.. There is a thick whirring as a part of the ceiling above the tubes lowers, lowers, and rotates slowly. Stuck to the other side of it are ten alien eggs. The ceiling rotates just enough so that they are aimed at the heads of the sleepers. For a moment nothing happens. One of the sleepers eyes flutter slightly. Opens. All ten eggs open simultaneously. At the other end are set up tables and folding chairs. The crew of the Betty, sans Elgyn, are filing in to eat here. Johner spies Ripley, smiles. Johner comes up to Ripley. Her expression makes it | Which mercenaries are alive when they reach Earth? | Elgyn, Johner, Christie, Vriess, Hillard, and Call |
Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number panicked to hit it. Call has backed to the far wall -- she desperately works the controls to open the door. It starts to rise. The door rises fully. Ripley stands behind it. Call starts back, not sure what the woman will do. Ripley surveys the scene. The Alien, burrowing its head into the belly of the guard, stops. Looks up. Everyone watches as the two creatures sense each other. ThE alien hisses. rears back. Ripley looks away, contemplative We see a gamut of emotions cross her face, but her posture passive, sacrificial. She does not move. Everyone watches, too afraid to breathe. The alien LUNGES at her, leaping across the room in two bounds. It's on her -- and she SPINS, GPABBING IT, and HURLS IT AWAY. It lands in a tangle but is up again in a microsecond, jumps at her, knocks her back into the room, on her, its claws digging into her skin, piston tongue at her face, inches away. She locks an arm around its slick, long head and pulls back we hear its tendons strain, snap. CALL (to a guard) Shoot it! Shoot them both! She grabs his gun and BURNS them both. Two less-than-human SCREAMS fill the room as they briefly disentangle, thrown apart. The beast recovers first, dodging the next blast and going for Ripley again. Ripley, on her back, reaches behind her, grabs a table leg and with inhuman strength brings the table down on the monster's head. She dives at it as it comes out from under.... Call shoots as Ripley hits the alien, they're both fried as Ripley's momentum sends them over a railing and they FALL TWENTY FEET -- the Alien lands with a spine snapping crunch, Ripley only slightly better. A few knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember | How does Call recognize Ripley? | Call is an android. |
the semiconscious Ripley draped over its chest If she were awake, and out.vf her mind, she could be kissin the beast. Her eyes flutter open, but she is obviously still groggy. Scuttling through a small maze, the aliens come out into: They circle her and begin secreting resin, spinning a web around her. The resin comes out of ther backs in spits and globs. It isn't pleasant, and Ripley struggles feebly as they begin to cocoon her. Call brings up the rear, still looking back regretfully. She hesitates, and Purvis takes hold of her arm. A moment more, and she heads out with him. When it is done she finds herself basically hung from the ceiling, her legs encased and glued with glistening strands to the roof. She hangs therefore at an angle, looking down on the chamber. And so it is with her, as she swims to full consciousness, we get our first real look at where we are. There are no less than ten people strung up exactly as Ripley is, encircling the chamber, and all looking some forty feet down at: The Queen. Lying on her back at the bottom of the-chamber, belly swollen and distended. She is herself partially cocooned, strapped down to the at the edge of a black pool of blood and ichor. Her head moves slowly back and forth, in delierium of pain. There are a four or five aliens tending her, spinning goo around her, vomiting blood onto her belly. They might be serving her, or imprisoning her. Both, in fact. There is one thing missing from this tableau. RIPLEY (softly) Ripley turn's slowly, to see the person next to her. It's Gediman, looking wane and haggard. He may be speaking to her but he stares straight of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember | What was the first plan to destroy the Auriga? | Collison with the Betty |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number | In what year did Ellen die? | 2179 |
Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | Who kills the Marine? | The newborn |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien | Why was the Auriga returning to earth? | In an emergency it is programmed to return to earth. |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at Purvis holding Johner's gun. Johner drags himself back on. One jumps down onto St Just, tears a good chunk out of his midsection before he dusts it. Another alien jumps on the hood just as the jeep SAILS over first ledge of the terraced slope, comes-down hard enough knock it off, SAILS over the next -- the crew can barely hang on as the jeep crashes down slope after slope. Ripley swerves back onto the road, the jeep sliding over onto the steps beside it, rocking violently as they shoot down the remainder of slope, the aliens close on their heels. Still blasting away at the beasts, the crew is able to put little distance between them as they come to the end of the garden. Here it divides into three sections, all open halls with access for the jeep. DISTEPRMO (looking over) Left! Left! She swerves left, the jeep-bouncing into the hall Ripley drives as far as she can, till a staircase -- going -- fills her vision, too steep for the jeep. She SLAMS on brakes. the jeep spinning out and coming to a halt. The crew piles out, Di Stephano grabbing Vriess. At the other end of the hall, the aliens can be seen approaching. The crew BLASTS at them, the aliens, blood splattering the narrow hall. Warning. potential hullbreach. Clear sector. DISTEPHANO (indicating the steps) They start down -- all but St Just. He gets out of the jeep with difficulty. Looks down at his wound. Johner looks around to see him still standing atop the steps St Just looks down at the wound. Back at Johner. He walks calmly away, towards the aliens. He looks at the appraching aliens. A moment, then the crew takes off. to SHAKE as the blood is almost through it. Even the soldier who shot the alien has stopped, his face frozen in horror at what he's about to accomplish. Perez shoves him, herds the rest out, looking back -- at the window, the blood is almost through -- Men are pouring out of the hall -- some move down a side hall and SLAM the door shut behind them, but most are making for the main exit anyway. The blood eats a hole in the window -- the nearest soldier is sucked back against the window -- he SCREAMS as he is sucked through a hole no bigger than his fist. Still men are falling over each other, Perez herding them out. A huge CRACKING sound, and Perez shuts his eyes. The window explodes outward, the air blowing everything int space. Debris, vehicles, men, all tangled and dead as they blown out into the black. ELGYN (to DiStephano) Johner puts his gun to the soldier's head. They turn left, entering A shut door separates the chamber from the cells. It comes from the rafters, dropping down on Elgyn in a heartbeat. He barely has time to scream before it shoots its tongue through the back of his skull. Hillard has time. She SCREAMS as her lover's brains come out his mouth. The beast leaps at the group, scattering them like bowling pins as it claws into one of the guards. Everybody else is scrambling for cover. St Just tries to escape by running past the beast - its tail lashes out, tangling his feet and tripping him up, his head smashing against a pipe. Another guard hits it with the burner -- it shrieks and lands on him. Johner shoots at it but is far too around them. Ripley concentrates on driving. The pass through as section of wheat , then of corn. As they come to another section, The crew's expressions change to one of pleased disbelief. You gotta be fucking me. St Just! Is this real? We see they have driven into a healthy section of CANNABIS plants growing ten feet high. The car screeches to a halt. Ripley's at a crossroads of sorts. HILLARD (looking at the plants) I always wondered where the military got its funding... An alien SHOOTS out of the brush and lands on Hillard everyone SCREAMS -- Ripley SLAMS her foot on the pedal The jeep PEELS OUT, as more emerge from the brush. It bores into her head before St Just can blow it away. It's head exploding in fragments of bone and sizzling blood as it falls away from the jeep, Hillard's body still clutched in arms. Another leaps out at them, but the jeep is going a good clip and it misses. The crew peppering it with bullets. They look,about them, guns ready. One DROPS DOWN -- Ripley SWERVES out of the way, driving in the plants. They are varied, exotic -- and there are aliens behind half of them. The crew BLASTS away all around them Ripley drives a drunkard's path through the brush, avoiding trees that dot the scape. An alien DROPS onto the hood, another grabs the side -- Vries takes out the first, blowing it off, but the second grabs Johner, he goes flying over the side,.dropping his gun. St Just is too preoccupied with his own problems on the othe to see that Johner is being dragged, the alien still clutching onto him. Shots bang out, ripping into the alien, which lets go. Johner looks up to see knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember | If they kill the crew members that did not escape, where did Dr. Jonathan Geidman come from? | He was a scientist not a crew member. |
is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien | Who was cloned on the USM Auriga? | Ellen Ripley |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember Purvis holding Johner's gun. Johner drags himself back on. One jumps down onto St Just, tears a good chunk out of his midsection before he dusts it. Another alien jumps on the hood just as the jeep SAILS over first ledge of the terraced slope, comes-down hard enough knock it off, SAILS over the next -- the crew can barely hang on as the jeep crashes down slope after slope. Ripley swerves back onto the road, the jeep sliding over onto the steps beside it, rocking violently as they shoot down the remainder of slope, the aliens close on their heels. Still blasting away at the beasts, the crew is able to put little distance between them as they come to the end of the garden. Here it divides into three sections, all open halls with access for the jeep. DISTEPRMO (looking over) Left! Left! She swerves left, the jeep-bouncing into the hall Ripley drives as far as she can, till a staircase -- going -- fills her vision, too steep for the jeep. She SLAMS on brakes. the jeep spinning out and coming to a halt. The crew piles out, Di Stephano grabbing Vriess. At the other end of the hall, the aliens can be seen approaching. The crew BLASTS at them, the aliens, blood splattering the narrow hall. Warning. potential hullbreach. Clear sector. DISTEPHANO (indicating the steps) They start down -- all but St Just. He gets out of the jeep with difficulty. Looks down at his wound. Johner looks around to see him still standing atop the steps St Just looks down at the wound. Back at Johner. He walks calmly away, towards the aliens. He looks at the appraching aliens. A moment, then the crew takes off. ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | What is the name of the mercenaries's ship? | Betty |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at the semiconscious Ripley draped over its chest If she were awake, and out.vf her mind, she could be kissin the beast. Her eyes flutter open, but she is obviously still groggy. Scuttling through a small maze, the aliens come out into: They circle her and begin secreting resin, spinning a web around her. The resin comes out of ther backs in spits and globs. It isn't pleasant, and Ripley struggles feebly as they begin to cocoon her. Call brings up the rear, still looking back regretfully. She hesitates, and Purvis takes hold of her arm. A moment more, and she heads out with him. When it is done she finds herself basically hung from the ceiling, her legs encased and glued with glistening strands to the roof. She hangs therefore at an angle, looking down on the chamber. And so it is with her, as she swims to full consciousness, we get our first real look at where we are. There are no less than ten people strung up exactly as Ripley is, encircling the chamber, and all looking some forty feet down at: The Queen. Lying on her back at the bottom of the-chamber, belly swollen and distended. She is herself partially cocooned, strapped down to the at the edge of a black pool of blood and ichor. Her head moves slowly back and forth, in delierium of pain. There are a four or five aliens tending her, spinning goo around her, vomiting blood onto her belly. They might be serving her, or imprisoning her. Both, in fact. There is one thing missing from this tableau. RIPLEY (softly) Ripley turn's slowly, to see the person next to her. It's Gediman, looking wane and haggard. He may be speaking to her but he stares straight Johner flips the gun open and FIRES at the water, the whole thing SMOKING and sizzling with the electrical charge. we hear an alien wail bubble from below the surface. JOHNER (grinning feverishly) Okay! Everybody out of the pool! Di Stephano sputters back to life. Ripley picks him up with one hand, He takes off, the others following. He stops at a pair of sliding doors, starts working the panel. Ripley come up to the doors and pulls them apart with a grunt. He's refering to the noise and shadow of approaching aliens. She herds them into the shaft. elevators, one of which is two stories below. Call comes up behind him. Ripley and others pair off on other ladders. They climb fast, they're three stories up before the aliens begin POUNDING on the metal door, it buckles under their might. Still POUNDING -- one alien gets its head in, looks up, hisses, pulls it out. The aliens SMASH through the door, one of them SAILING across the shaft to grab a pipe on the other side. Instantly four of them are swarming up the walls, moving much faster on pipes and ridges than the humans on ladders. On one of the aliens a facehugger crawls, constantly moving about on the adult alien's head like a frightened spider. She hands him her gun and without hesitation he SHOOTS HER THROUGH THE <b>CHEST. </b> She flies back and DOWN THE SHAFT, lands HARD on an elevator six stories below. Eyes wide and empty. Ripley LEAPS through the air and grabs the ledge, hauling herself up just in time to see the door shut. The lock lights turn red. She SLAMS against the door, but to no avail. The aliens are getting closer. St him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through to The newborn's head lunges at her, the small hole making it impossible for the creature to get all the way through. But it wriggles, pushing... Ripley jumps up, grabbing a pipe, and KICKS open the vent grate, throwing herself up the vertical shaft with astonishing ease. Johner SHOOTS at the creature as it speeds-towards Vriess. it knocks over cannisters as it speeds across the table and behind some instruments. VRIESS Where'd it go? It LEAPS out of the darkness and heads straight for Call, she stumbles back, trips -- it comes at her, leaps right at her face, she pulls her hand back -- and-flicks her wrist The stilletto pops out as the creatu flies at it, the blade slides right into its mouth, ramming eight inches through its innards before it pokes out the other end. Blood spurts on Call, on the floor. The creature wriggles and finally falls free as the stilletto melts inside it. Unfortunately, so are the aliens, twenty feet below her. Two drones in front, with the newborn sqeezing close behind. Ripley grabs a pole and her hand begins to steam, it's so hot. She cries out, lets go... then looks down. Grabs the pole again and, ignoring the searing agony, pulls, pulls... RIPS out of the wall, burning steam GUSHING out below her, slowing down the aliens. She continues climbing, then kicks through a grate. EARTH. But not as we've seen it. The planet is still blue, but almost two thirds of it is obscured by a giant orbitting latticework of metal, a part shell that rotates sligtly faster than the planet itself. The Auriga heads for a section of exposed earth. Not long now. She doesn't bother to try the door, she HURLS | How do the Aliens get out of their enclosures? | They use acidic blood to burn through the enclosures. |
there's nothing to freeze. He hits another sequence and the door slides open. He rushes in, kneels by the hole and looks down. He looks up at the guard -- and an alien FLIES UP at him through the hole. It was hanging on the ceiling below and it pulls him through before he can breathe a decent scream. The guard just stares, shaking. Two more guards rush in. Johner shoves' his gun in Wren's mouth. CHRISTIE (indicating the dead soldiers) Boss, we got bodies here. It doesn't matter what Call's up to, we're all fucked now. WREN (pulls his mouth away) Elgyn, tell me what you know. If she's alone in this. Johner puts his gun to Call's temple now. Far away, a SCREAM. Everyone stops. Wren turns slowly in the direction it came from. Nothing. On one of the screens, an alien is briefly visible. Perez stiffens at the sight of it. He punches up a different sector. The labs, and here is a badly wounded lieutenant. PEREZ (to himself) A military strike.... Christ Jesus ... After a beat, he starts punching in the emergency override codes. Over the chaos, the emergency lighting comes on, floor light like an airplane's indicating the nearest exit. Father's voice is excruciatingly calm: One soldier gets a bead on an alien with his burner - fries italong with two of his friends. They're out of commission, but the alien is hurt only momentarily. It bounds forward, takes out his face. Vriess wheels slowly into the hall, concerned. He spins slowly, checking out his surroundings. Vriess follows their lead, wheeling out. And was that a noise? He looks around, up at the ceiling. A drop of alien blood is eating through right above him. look on her face. Ripley, bringing up the rear, watches the whole group with a sort of fascinated detatchment. Call looks back at her. Ripley smiles, coldly. The group backs up, spreads out. Those who can find cover take it. guns drawn. The elevator doors open. It is too dark inside to see: Suddenly sparks fly from the broken overhead in the elevator and a figure appears in the light. Everyone jolts, about to fire. before they realize it is VRIESS (mock casual) Hey, whatchyou guys doing? Hey, Annalee. WREN (suspiciously) Where were you? VRIESS (looking at Call) She's a what? Vriess looks hit harder by that information than anyone. The group looks it over. Parts of the ship are simply not there, the sections around those holes red. Wren points them out. ST JUST (sarcastically) There's no reason to suppose they'd move Everybody looks at her. (to Vriess) VRIESS (giving him the finger) Her voice is quiet, mourning still thick in it. Nobody backtalks her. I'm not sure DiStephano works the console and the hologram splits, the route he's indicating revealed. (points to the center of the shaft) that runs above level one deck. Take us right to the dock. Then we head through the labs, then down to the kitchen. To the bottom of the shaft. Up, through the tunnel, and onto the ship. Home free. He pulls out a grenade launcher. It's so compact it's almost cute, cradled one handed like an uzi. She looks around and he tosses it to her. The gesture is not acconmpanied by any show of warmth. He indicates the hologram, the sections of the ship missing. Everyone gets it. CALL She's right. Call is working the computer now. CALL (to Purvis holding Johner's gun. Johner drags himself back on. One jumps down onto St Just, tears a good chunk out of his midsection before he dusts it. Another alien jumps on the hood just as the jeep SAILS over first ledge of the terraced slope, comes-down hard enough knock it off, SAILS over the next -- the crew can barely hang on as the jeep crashes down slope after slope. Ripley swerves back onto the road, the jeep sliding over onto the steps beside it, rocking violently as they shoot down the remainder of slope, the aliens close on their heels. Still blasting away at the beasts, the crew is able to put little distance between them as they come to the end of the garden. Here it divides into three sections, all open halls with access for the jeep. DISTEPRMO (looking over) Left! Left! She swerves left, the jeep-bouncing into the hall Ripley drives as far as she can, till a staircase -- going -- fills her vision, too steep for the jeep. She SLAMS on brakes. the jeep spinning out and coming to a halt. The crew piles out, Di Stephano grabbing Vriess. At the other end of the hall, the aliens can be seen approaching. The crew BLASTS at them, the aliens, blood splattering the narrow hall. Warning. potential hullbreach. Clear sector. DISTEPHANO (indicating the steps) They start down -- all but St Just. He gets out of the jeep with difficulty. Looks down at his wound. Johner looks around to see him still standing atop the steps St Just looks down at the wound. Back at Johner. He walks calmly away, towards the aliens. He looks at the appraching aliens. A moment, then the crew takes off. (changing the subject) So where do you go from here? I think Vriess somewhat pines. He takes a stack of bill, smells it. He likes the smell.- Perez hands a drink to ELGYN. And they don't call for the kind of cargo we brought. Elgyn drinks to that. ELGYN (smiles) I'm famous for it. The cargo is locked into place on the floor and and a guard works the electric lock. It springs open and the guard slides off a side panel. They are stacked one on the other, five of them in all, cryotubes. People sleeping inside. One by one the tubes are hauled to one side of the room as the second unit is wheeled in. By the end there are ten people sleeping side by side in their tubes in the dark chamber. The scientists meanwhile retire to INT. AN ADJOINING CHAMBER with a long glass window looking at the chamber. The last of the guards leaves the chamber and we see the door lock behind them. Wren starts pushing buttons. The glass tops of the cryotubes slide open. We see temperature and lifesign gauges begin to change.. There is a thick whirring as a part of the ceiling above the tubes lowers, lowers, and rotates slowly. Stuck to the other side of it are ten alien eggs. The ceiling rotates just enough so that they are aimed at the heads of the sleepers. For a moment nothing happens. One of the sleepers eyes flutter slightly. Opens. All ten eggs open simultaneously. At the other end are set up tables and folding chairs. The crew of the Betty, sans Elgyn, are filing in to eat here. Johner spies Ripley, smiles. Johner comes up to Ripley. Her expression makes it the railing visible above the murky water. Most of the sections are sealed off. CHRISTIE (to vriess) You ready to get wet, partner? The burner is ready to go, watertight. You should secure'your weapons. St Just holds up his two guns. He smiles at Di Stephano, who looks a little uneasy about the turn the conversation has taken. He joins the others who are getting ready to dive.. A couple of the guys smile. CHRISTIE (laughing) You'll be forever blowing bubbles. On three... He counts down, the two suck in enormous breaths -- and dive right behind Call and Ripley. One by one the entire crew slips down into the black water. In here it's a tad labyrinthian, and the size of the room it darker. Wren heads straight for the other end. They swim. Safety is a good fifty feet away. They are tense, concentrated. Swimming past dark spaces. Anything could be hiding here. Johner looks about him, very nervous. Dark spaces. He looks behind. Three aliens are right behind him. Panic blows half the air out of his mouth as he swings around and FIRES at them, tags one as the other two swim off into shadows with horrible ease. Ripley, all the way to the stairs, sees. She hurries the others past her. They swim frantically for safety, Hillard Wren, Christie and Vriess. Rane is coming along and alien hands grab at him from the darkness, pull him into it. Hillard FIRES in that direction, Johner bringing up the rear still firing at the third one, wounding it but not scoring killshot. Call is swimming up ther staircase, the growing light above indicating the surface. She is almost to it when she is IN THE WEB. A net of translucent alien | During an emergency, what is the ship's default command? | The ship returns to Earth. |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through look on her face. Ripley, bringing up the rear, watches the whole group with a sort of fascinated detatchment. Call looks back at her. Ripley smiles, coldly. The group backs up, spreads out. Those who can find cover take it. guns drawn. The elevator doors open. It is too dark inside to see: Suddenly sparks fly from the broken overhead in the elevator and a figure appears in the light. Everyone jolts, about to fire. before they realize it is VRIESS (mock casual) Hey, whatchyou guys doing? Hey, Annalee. WREN (suspiciously) Where were you? VRIESS (looking at Call) She's a what? Vriess looks hit harder by that information than anyone. The group looks it over. Parts of the ship are simply not there, the sections around those holes red. Wren points them out. ST JUST (sarcastically) There's no reason to suppose they'd move Everybody looks at her. (to Vriess) VRIESS (giving him the finger) Her voice is quiet, mourning still thick in it. Nobody backtalks her. I'm not sure DiStephano works the console and the hologram splits, the route he's indicating revealed. (points to the center of the shaft) that runs above level one deck. Take us right to the dock. Then we head through the labs, then down to the kitchen. To the bottom of the shaft. Up, through the tunnel, and onto the ship. Home free. He pulls out a grenade launcher. It's so compact it's almost cute, cradled one handed like an uzi. She looks around and he tosses it to her. The gesture is not acconmpanied by any show of warmth. He indicates the hologram, the sections of the ship missing. Everyone gets it. CALL She's right. Call is working the computer now. CALL (to knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember | What do military scientists do with the kidnapped humans? | use them as hosts for the aliens |
is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | Who is revealed to be an android? | Call |
him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | What does the Queen birth? | A Xenomorph with human traits. |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at Wren, pissed) You were planning to let us know this? RIPLEY (not very concerned). (to Ripley) What are you called, Ripley? You mind taking point? She moves to the head of the line, and they start. She stops, sniffs. Listens. Johner moves up next to her. He lags behind a bit, thrown. DiStephano points to a door. And Ripley leads them in. Among the debris are three bodies, chests exploded outward. The door to the next chamber is ajar. Christie and Vriess in, then St Just, then Ripley. St Just and Christie spin, weapons up, and almost shoot the figure cowering in the corner. Everyone else rushes in as he swings the bar before him, eyes wild with terror. But the energy is out of him. The rod falls with a hollow clatter. He looks weakly from face to face. St Just looks at his name, stitched in his coveralls. I wake up, I don't understand... I saw something... horrible ... Ripley SNIFFS. Cocks her head. CALL (to Wren, torn) Isn't there a process, can't you stop it? ST JUST (quietly) I could do him. Painless, back of the head. Might be the best way. Ripley steps in front of the doctor. Purvis is wide-eyed, stunned. After a moment he stammers She starts heading out of the chamber. Call turns to the others. CHRISTIE (to Purvis, herding him along) Come with us. You might even live. Get twitchy on me and you will be shot. They move out. He is loooking into the room.the queen was kept in. A residue of slime is all that's left here. Beyond the queen's chamber is another observation room. Wren indicates that they have to go through. Suddenly a burner blast FIRES at them, ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much to The newborn's head lunges at her, the small hole making it impossible for the creature to get all the way through. But it wriggles, pushing... Ripley jumps up, grabbing a pipe, and KICKS open the vent grate, throwing herself up the vertical shaft with astonishing ease. Johner SHOOTS at the creature as it speeds-towards Vriess. it knocks over cannisters as it speeds across the table and behind some instruments. VRIESS Where'd it go? It LEAPS out of the darkness and heads straight for Call, she stumbles back, trips -- it comes at her, leaps right at her face, she pulls her hand back -- and-flicks her wrist The stilletto pops out as the creatu flies at it, the blade slides right into its mouth, ramming eight inches through its innards before it pokes out the other end. Blood spurts on Call, on the floor. The creature wriggles and finally falls free as the stilletto melts inside it. Unfortunately, so are the aliens, twenty feet below her. Two drones in front, with the newborn sqeezing close behind. Ripley grabs a pole and her hand begins to steam, it's so hot. She cries out, lets go... then looks down. Grabs the pole again and, ignoring the searing agony, pulls, pulls... RIPS out of the wall, burning steam GUSHING out below her, slowing down the aliens. She continues climbing, then kicks through a grate. EARTH. But not as we've seen it. The planet is still blue, but almost two thirds of it is obscured by a giant orbitting latticework of metal, a part shell that rotates sligtly faster than the planet itself. The Auriga heads for a section of exposed earth. Not long now. She doesn't bother to try the door, she HURLS there's nothing to freeze. He hits another sequence and the door slides open. He rushes in, kneels by the hole and looks down. He looks up at the guard -- and an alien FLIES UP at him through the hole. It was hanging on the ceiling below and it pulls him through before he can breathe a decent scream. The guard just stares, shaking. Two more guards rush in. Johner shoves' his gun in Wren's mouth. CHRISTIE (indicating the dead soldiers) Boss, we got bodies here. It doesn't matter what Call's up to, we're all fucked now. WREN (pulls his mouth away) Elgyn, tell me what you know. If she's alone in this. Johner puts his gun to Call's temple now. Far away, a SCREAM. Everyone stops. Wren turns slowly in the direction it came from. Nothing. On one of the screens, an alien is briefly visible. Perez stiffens at the sight of it. He punches up a different sector. The labs, and here is a badly wounded lieutenant. PEREZ (to himself) A military strike.... Christ Jesus ... After a beat, he starts punching in the emergency override codes. Over the chaos, the emergency lighting comes on, floor light like an airplane's indicating the nearest exit. Father's voice is excruciatingly calm: One soldier gets a bead on an alien with his burner - fries italong with two of his friends. They're out of commission, but the alien is hurt only momentarily. It bounds forward, takes out his face. Vriess wheels slowly into the hall, concerned. He spins slowly, checking out his surroundings. Vriess follows their lead, wheeling out. And was that a noise? He looks around, up at the ceiling. A drop of alien blood is eating through right above him. | What gets sucked through a hole into decompression? | The Newborn |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through | What happens to the Auriga? | It collides with Earth and explodes. |
is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | Who, along with Wren, dies when an Alien embryo bursts through Wren's rib cage? | Purvis |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number Purvis holding Johner's gun. Johner drags himself back on. One jumps down onto St Just, tears a good chunk out of his midsection before he dusts it. Another alien jumps on the hood just as the jeep SAILS over first ledge of the terraced slope, comes-down hard enough knock it off, SAILS over the next -- the crew can barely hang on as the jeep crashes down slope after slope. Ripley swerves back onto the road, the jeep sliding over onto the steps beside it, rocking violently as they shoot down the remainder of slope, the aliens close on their heels. Still blasting away at the beasts, the crew is able to put little distance between them as they come to the end of the garden. Here it divides into three sections, all open halls with access for the jeep. DISTEPRMO (looking over) Left! Left! She swerves left, the jeep-bouncing into the hall Ripley drives as far as she can, till a staircase -- going -- fills her vision, too steep for the jeep. She SLAMS on brakes. the jeep spinning out and coming to a halt. The crew piles out, Di Stephano grabbing Vriess. At the other end of the hall, the aliens can be seen approaching. The crew BLASTS at them, the aliens, blood splattering the narrow hall. Warning. potential hullbreach. Clear sector. DISTEPHANO (indicating the steps) They start down -- all but St Just. He gets out of the jeep with difficulty. Looks down at his wound. Johner looks around to see him still standing atop the steps St Just looks down at the wound. Back at Johner. He walks calmly away, towards the aliens. He looks at the appraching aliens. A moment, then the crew takes off. | Who was cloned by miltary scientists? | Ellen Ripley |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien | What DNA was mixed with Ripley to created her? | Alien queen's DNA |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. there's nothing to freeze. He hits another sequence and the door slides open. He rushes in, kneels by the hole and looks down. He looks up at the guard -- and an alien FLIES UP at him through the hole. It was hanging on the ceiling below and it pulls him through before he can breathe a decent scream. The guard just stares, shaking. Two more guards rush in. Johner shoves' his gun in Wren's mouth. CHRISTIE (indicating the dead soldiers) Boss, we got bodies here. It doesn't matter what Call's up to, we're all fucked now. WREN (pulls his mouth away) Elgyn, tell me what you know. If she's alone in this. Johner puts his gun to Call's temple now. Far away, a SCREAM. Everyone stops. Wren turns slowly in the direction it came from. Nothing. On one of the screens, an alien is briefly visible. Perez stiffens at the sight of it. He punches up a different sector. The labs, and here is a badly wounded lieutenant. PEREZ (to himself) A military strike.... Christ Jesus ... After a beat, he starts punching in the emergency override codes. Over the chaos, the emergency lighting comes on, floor light like an airplane's indicating the nearest exit. Father's voice is excruciatingly calm: One soldier gets a bead on an alien with his burner - fries italong with two of his friends. They're out of commission, but the alien is hurt only momentarily. It bounds forward, takes out his face. Vriess wheels slowly into the hall, concerned. He spins slowly, checking out his surroundings. Vriess follows their lead, wheeling out. And was that a noise? He looks around, up at the ceiling. A drop of alien blood is eating through right above him. panicked to hit it. Call has backed to the far wall -- she desperately works the controls to open the door. It starts to rise. The door rises fully. Ripley stands behind it. Call starts back, not sure what the woman will do. Ripley surveys the scene. The Alien, burrowing its head into the belly of the guard, stops. Looks up. Everyone watches as the two creatures sense each other. ThE alien hisses. rears back. Ripley looks away, contemplative We see a gamut of emotions cross her face, but her posture passive, sacrificial. She does not move. Everyone watches, too afraid to breathe. The alien LUNGES at her, leaping across the room in two bounds. It's on her -- and she SPINS, GPABBING IT, and HURLS IT AWAY. It lands in a tangle but is up again in a microsecond, jumps at her, knocks her back into the room, on her, its claws digging into her skin, piston tongue at her face, inches away. She locks an arm around its slick, long head and pulls back we hear its tendons strain, snap. CALL (to a guard) Shoot it! Shoot them both! She grabs his gun and BURNS them both. Two less-than-human SCREAMS fill the room as they briefly disentangle, thrown apart. The beast recovers first, dodging the next blast and going for Ripley again. Ripley, on her back, reaches behind her, grabs a table leg and with inhuman strength brings the table down on the monster's head. She dives at it as it comes out from under.... Call shoots as Ripley hits the alien, they're both fried as Ripley's momentum sends them over a railing and they FALL TWENTY FEET -- the Alien lands with a spine snapping crunch, Ripley only slightly better. A few tongue SHOOTS out of her mouth, burying itself in his face. She has been sleeping, we see, in the same position she was before: squatting in the middle of the room. She looks about her, recovering from the nightmare... Her breathing slows. With a somewhat fatalistic look, she settles back to sleep. They are in a tense hand, the pot impressively high. She throws down her cards, takes a swig of Johner's patented moonshine. It tastes horrible. (to St Just) What do-you got? St Just calmly shuffles his cards back into the deck. She tries to stand up, takes a spill over her chair. The others laugh. ST JUST (producing a small vial) I got something that'll take the edge off that. CALL Thanks, I'll walk it off. She stumbles out of the room. Johner shuffles the deck. Eight card throwback, fuck your sister and the sevens are wild. She comes to the door and making sure no one is around, star punching in code on the keypad. Ripley is sleeping, still in the squatting position in the middle of the room. She stares down at Ripley a moment. A shadow passes as a guard walks above them, Call tenses till he is gone. Look's back down at Ripley -- still sleeping. Call extends her hand, flexes her wrist. The meanest lookin stilletto you've ever seen extends from out her sleeve. it, gotta be a foot long, and sharp enough to shave with. She lifts back her arm, the better to punch it through Ripley's heart. Ripley shifts slightly. Call stops. Call starts, moving back a pace. A flick of her wrist and the stilletto whips back up her sleeve. Ripley sits up. RIPLEY (smiling) You mean my baby? CALL I don't St Just takes a handful of pills, pops them into his mouth. Only the slightest grin suffuses his face ,as he waits for the aliens. They close on him, and he raises his guns. He points at a door that's down two flights and across the hall. floor before him, still they cover the bodies of their brothers, still he fires, Call\ship monotones of warning in sharp contrast to the chaos -- St Just fires until both guns are empty. In one smooth motion he drops them both and jerks his wrists and TWO-MORE disposable guns fly into his palms and he blasts away The aliens are getting closer, but still he mows them down Both his guns click, spent. and BOOM!!!!, the hall BURSTS OPEN, everything explodes into space, the wind rushes out as BOOM!!!, the whole garden sector rips open, sucked out, as The others have exited into the next hall. They've been tossed about, but not as badly. Call stops, runs back to Ripley, helps her up. Ripley is dazed; the door hit the back of her head solidly. I think I... Ripley doesn't even hear her; something else drowns Call out. Ripley puts her hands over her ears. They CRASH UP through the floor panels, six of them, surrounding the two women. Call can barely spin before Ripley GRABS her and HURLS her fifteen feet down the corridor, out of harm's way. The aliens close on Ripley. She struggles but she's still weak. One slams her onto the ground call recovers, looks back at Ripley As the aliens drag her unconscious body back down under the floor. Skittering, insectile motion at one end heralds the aliens, as two of them crawl rapidly along. The third craw upside down, | Who was Call? | Call was an android |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his look on her face. Ripley, bringing up the rear, watches the whole group with a sort of fascinated detatchment. Call looks back at her. Ripley smiles, coldly. The group backs up, spreads out. Those who can find cover take it. guns drawn. The elevator doors open. It is too dark inside to see: Suddenly sparks fly from the broken overhead in the elevator and a figure appears in the light. Everyone jolts, about to fire. before they realize it is VRIESS (mock casual) Hey, whatchyou guys doing? Hey, Annalee. WREN (suspiciously) Where were you? VRIESS (looking at Call) She's a what? Vriess looks hit harder by that information than anyone. The group looks it over. Parts of the ship are simply not there, the sections around those holes red. Wren points them out. ST JUST (sarcastically) There's no reason to suppose they'd move Everybody looks at her. (to Vriess) VRIESS (giving him the finger) Her voice is quiet, mourning still thick in it. Nobody backtalks her. I'm not sure DiStephano works the console and the hologram splits, the route he's indicating revealed. (points to the center of the shaft) that runs above level one deck. Take us right to the dock. Then we head through the labs, then down to the kitchen. To the bottom of the shaft. Up, through the tunnel, and onto the ship. Home free. He pulls out a grenade launcher. It's so compact it's almost cute, cradled one handed like an uzi. She looks around and he tosses it to her. The gesture is not acconmpanied by any show of warmth. He indicates the hologram, the sections of the ship missing. Everyone gets it. CALL She's right. Call is working the computer now. CALL (to him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through | What did military scientists used the kidnapped human for? | The kidnappped humans are used as hosts for Alien. |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember the semiconscious Ripley draped over its chest If she were awake, and out.vf her mind, she could be kissin the beast. Her eyes flutter open, but she is obviously still groggy. Scuttling through a small maze, the aliens come out into: They circle her and begin secreting resin, spinning a web around her. The resin comes out of ther backs in spits and globs. It isn't pleasant, and Ripley struggles feebly as they begin to cocoon her. Call brings up the rear, still looking back regretfully. She hesitates, and Purvis takes hold of her arm. A moment more, and she heads out with him. When it is done she finds herself basically hung from the ceiling, her legs encased and glued with glistening strands to the roof. She hangs therefore at an angle, looking down on the chamber. And so it is with her, as she swims to full consciousness, we get our first real look at where we are. There are no less than ten people strung up exactly as Ripley is, encircling the chamber, and all looking some forty feet down at: The Queen. Lying on her back at the bottom of the-chamber, belly swollen and distended. She is herself partially cocooned, strapped down to the at the edge of a black pool of blood and ichor. Her head moves slowly back and forth, in delierium of pain. There are a four or five aliens tending her, spinning goo around her, vomiting blood onto her belly. They might be serving her, or imprisoning her. Both, in fact. There is one thing missing from this tableau. RIPLEY (softly) Ripley turn's slowly, to see the person next to her. It's Gediman, looking wane and haggard. He may be speaking to her but he stares straight ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | How did the aliens escaped confinement? | By killing off one of their own and using acidic blood to burn through their enclosures |
knees gasping. The guard FIRES his rifle at her -- a powerful electrical charge lashes out and sends her flying back into the corner. The guards keep their weapons -- 'burners', these shockrifles are called -- leveled at Ripley. She has recovered from the shock quickly, sits crumpled in the corner, looking at nothing in particular. RIPLEY (wearily) With them is General PEREZ, the man in charge this boat. Ramrod straight and about as gruff as you would expect, he stares at Ripley suspiciously. Ripley gives answers we can't hear through the glass, looking pissed off and bored. Wren shoots Gediman a stern look at his unscientific parlance. Perez looks at Ripley through the glass, then exits into the hall. Cloned genes don't contain memory cells, not even when they're brought to adult term. I'm right? Perez punches code, puts his hand on the scanner and the second observation room door opens.. He steps in, the other two right behind him. Apart from-that, identical. Perez turns to the others. And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the ridges on its head indicating a young queen -- it hisses and LUNGES at the back of his head. The reinforced plastic window between them, which we couldn't see, stops it. As it hits, a thin laser grid buzzes to life, sparks crackling on the alien's face. Its bile trails darkly on the glass as it backs off. Perez turns to look at it with the others. Wren shoots him another look. (After a moment) We're going to need the supplies. The memory comes, and she shakes her head wearily. RIPLEY (softly) GEDIMAN (pretending to correct her) "Fork." Ever so slightly, she smiles. The smile fades, and after a moment: Do you remember Purvis holding Johner's gun. Johner drags himself back on. One jumps down onto St Just, tears a good chunk out of his midsection before he dusts it. Another alien jumps on the hood just as the jeep SAILS over first ledge of the terraced slope, comes-down hard enough knock it off, SAILS over the next -- the crew can barely hang on as the jeep crashes down slope after slope. Ripley swerves back onto the road, the jeep sliding over onto the steps beside it, rocking violently as they shoot down the remainder of slope, the aliens close on their heels. Still blasting away at the beasts, the crew is able to put little distance between them as they come to the end of the garden. Here it divides into three sections, all open halls with access for the jeep. DISTEPRMO (looking over) Left! Left! She swerves left, the jeep-bouncing into the hall Ripley drives as far as she can, till a staircase -- going -- fills her vision, too steep for the jeep. She SLAMS on brakes. the jeep spinning out and coming to a halt. The crew piles out, Di Stephano grabbing Vriess. At the other end of the hall, the aliens can be seen approaching. The crew BLASTS at them, the aliens, blood splattering the narrow hall. Warning. potential hullbreach. Clear sector. DISTEPHANO (indicating the steps) They start down -- all but St Just. He gets out of the jeep with difficulty. Looks down at his wound. Johner looks around to see him still standing atop the steps St Just looks down at the wound. Back at Johner. He walks calmly away, towards the aliens. He looks at the appraching aliens. A moment, then the crew takes off. look on her face. Ripley, bringing up the rear, watches the whole group with a sort of fascinated detatchment. Call looks back at her. Ripley smiles, coldly. The group backs up, spreads out. Those who can find cover take it. guns drawn. The elevator doors open. It is too dark inside to see: Suddenly sparks fly from the broken overhead in the elevator and a figure appears in the light. Everyone jolts, about to fire. before they realize it is VRIESS (mock casual) Hey, whatchyou guys doing? Hey, Annalee. WREN (suspiciously) Where were you? VRIESS (looking at Call) She's a what? Vriess looks hit harder by that information than anyone. The group looks it over. Parts of the ship are simply not there, the sections around those holes red. Wren points them out. ST JUST (sarcastically) There's no reason to suppose they'd move Everybody looks at her. (to Vriess) VRIESS (giving him the finger) Her voice is quiet, mourning still thick in it. Nobody backtalks her. I'm not sure DiStephano works the console and the hologram splits, the route he's indicating revealed. (points to the center of the shaft) that runs above level one deck. Take us right to the dock. Then we head through the labs, then down to the kitchen. To the bottom of the shaft. Up, through the tunnel, and onto the ship. Home free. He pulls out a grenade launcher. It's so compact it's almost cute, cradled one handed like an uzi. She looks around and he tosses it to her. The gesture is not acconmpanied by any show of warmth. He indicates the hologram, the sections of the ship missing. Everyone gets it. CALL She's right. Call is working the computer now. CALL (to halfway in. It shoots down the shaft -- picking up the second alien on its way down, neither beast able to get its bearing and get out of the way as-- The lift SMASHES into the bottom of the shaft, crushing both the Aliens to jelly. They all breathe hard, exhausted, before they can muster for the next stretch. Call stands with her back to them. Ripley isn't buying. Ripley spins her around. Call stares at Ripley, sullenly a small trickle of milky white fluid comes from her nostril. Ripley looks down. RIPLEY (quietly) I should have known. You're an LM7, aren't you? Is that it? Her voice shocks her more than anyone her vocal track slip affected by the wounds. The voice is a shade slow, and echoes strangely. CALL (bitterly) YRIESS (to Ripley) The latest and best. They were supposed to revitalize the synthetic industy. Instead they buried it. Ripley looks at the girl. The government ordered a recall. Fucking massacre. Johner starts laughing. That's rich. PURVIS (getting anxious) It's great, she's a toaster oven... Can we leave now? Vriess tries to touch Call's wound. Call pulls away. Maybe she just needs an oil change. They start off again, Johner and St Just bringing up the rear From there, it's down a few levels, it's do-able. What if the fucking doctor gets there first? They have reached an access door. Debris blocks the way. (to Vriess) You got tools? (pointing to the ceiling) That's hull. Ripley turns to Call. Call looks over at the group, staring at her. She knows she doesn't have a choice. (to the others) You get started on that wall. it somewhat resembles a Newton Under the leather flap is a screen reading.: That convinces Call. She (changing the subject) So where do you go from here? I think Vriess somewhat pines. He takes a stack of bill, smells it. He likes the smell.- Perez hands a drink to ELGYN. And they don't call for the kind of cargo we brought. Elgyn drinks to that. ELGYN (smiles) I'm famous for it. The cargo is locked into place on the floor and and a guard works the electric lock. It springs open and the guard slides off a side panel. They are stacked one on the other, five of them in all, cryotubes. People sleeping inside. One by one the tubes are hauled to one side of the room as the second unit is wheeled in. By the end there are ten people sleeping side by side in their tubes in the dark chamber. The scientists meanwhile retire to INT. AN ADJOINING CHAMBER with a long glass window looking at the chamber. The last of the guards leaves the chamber and we see the door lock behind them. Wren starts pushing buttons. The glass tops of the cryotubes slide open. We see temperature and lifesign gauges begin to change.. There is a thick whirring as a part of the ceiling above the tubes lowers, lowers, and rotates slowly. Stuck to the other side of it are ten alien eggs. The ceiling rotates just enough so that they are aimed at the heads of the sleepers. For a moment nothing happens. One of the sleepers eyes flutter slightly. Opens. All ten eggs open simultaneously. At the other end are set up tables and folding chairs. The crew of the Betty, sans Elgyn, are filing in to eat here. Johner spies Ripley, smiles. Johner comes up to Ripley. Her expression makes it | What was the ship's default command in emergency? | The ship's default is to return to Earth |
of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. the railing visible above the murky water. Most of the sections are sealed off. CHRISTIE (to vriess) You ready to get wet, partner? The burner is ready to go, watertight. You should secure'your weapons. St Just holds up his two guns. He smiles at Di Stephano, who looks a little uneasy about the turn the conversation has taken. He joins the others who are getting ready to dive.. A couple of the guys smile. CHRISTIE (laughing) You'll be forever blowing bubbles. On three... He counts down, the two suck in enormous breaths -- and dive right behind Call and Ripley. One by one the entire crew slips down into the black water. In here it's a tad labyrinthian, and the size of the room it darker. Wren heads straight for the other end. They swim. Safety is a good fifty feet away. They are tense, concentrated. Swimming past dark spaces. Anything could be hiding here. Johner looks about him, very nervous. Dark spaces. He looks behind. Three aliens are right behind him. Panic blows half the air out of his mouth as he swings around and FIRES at them, tags one as the other two swim off into shadows with horrible ease. Ripley, all the way to the stairs, sees. She hurries the others past her. They swim frantically for safety, Hillard Wren, Christie and Vriess. Rane is coming along and alien hands grab at him from the darkness, pull him into it. Hillard FIRES in that direction, Johner bringing up the rear still firing at the third one, wounding it but not scoring killshot. Call is swimming up ther staircase, the growing light above indicating the surface. She is almost to it when she is IN THE WEB. A net of translucent alien there's nothing to freeze. He hits another sequence and the door slides open. He rushes in, kneels by the hole and looks down. He looks up at the guard -- and an alien FLIES UP at him through the hole. It was hanging on the ceiling below and it pulls him through before he can breathe a decent scream. The guard just stares, shaking. Two more guards rush in. Johner shoves' his gun in Wren's mouth. CHRISTIE (indicating the dead soldiers) Boss, we got bodies here. It doesn't matter what Call's up to, we're all fucked now. WREN (pulls his mouth away) Elgyn, tell me what you know. If she's alone in this. Johner puts his gun to Call's temple now. Far away, a SCREAM. Everyone stops. Wren turns slowly in the direction it came from. Nothing. On one of the screens, an alien is briefly visible. Perez stiffens at the sight of it. He punches up a different sector. The labs, and here is a badly wounded lieutenant. PEREZ (to himself) A military strike.... Christ Jesus ... After a beat, he starts punching in the emergency override codes. Over the chaos, the emergency lighting comes on, floor light like an airplane's indicating the nearest exit. Father's voice is excruciatingly calm: One soldier gets a bead on an alien with his burner - fries italong with two of his friends. They're out of commission, but the alien is hurt only momentarily. It bounds forward, takes out his face. Vriess wheels slowly into the hall, concerned. He spins slowly, checking out his surroundings. Vriess follows their lead, wheeling out. And was that a noise? He looks around, up at the ceiling. A drop of alien blood is eating through right above him. panicked to hit it. Call has backed to the far wall -- she desperately works the controls to open the door. It starts to rise. The door rises fully. Ripley stands behind it. Call starts back, not sure what the woman will do. Ripley surveys the scene. The Alien, burrowing its head into the belly of the guard, stops. Looks up. Everyone watches as the two creatures sense each other. ThE alien hisses. rears back. Ripley looks away, contemplative We see a gamut of emotions cross her face, but her posture passive, sacrificial. She does not move. Everyone watches, too afraid to breathe. The alien LUNGES at her, leaping across the room in two bounds. It's on her -- and she SPINS, GPABBING IT, and HURLS IT AWAY. It lands in a tangle but is up again in a microsecond, jumps at her, knocks her back into the room, on her, its claws digging into her skin, piston tongue at her face, inches away. She locks an arm around its slick, long head and pulls back we hear its tendons strain, snap. CALL (to a guard) Shoot it! Shoot them both! She grabs his gun and BURNS them both. Two less-than-human SCREAMS fill the room as they briefly disentangle, thrown apart. The beast recovers first, dodging the next blast and going for Ripley again. Ripley, on her back, reaches behind her, grabs a table leg and with inhuman strength brings the table down on the monster's head. She dives at it as it comes out from under.... Call shoots as Ripley hits the alien, they're both fried as Ripley's momentum sends them over a railing and they FALL TWENTY FEET -- the Alien lands with a spine snapping crunch, Ripley only slightly better. A few forward ANGLE: THE <b>NEWBOM </b> Engulfed in flame, losing its grip -- As soon as they've recovered, Call throws off her seatbelt. CALL Is everbody all right-? Call opens the hatch. Its giant face LUNGES down at her, piston tongue shooting out. It has charred black skin -- in some places that skin has fallen off and wet pink flesh shows through. Call drops to the floor, the tongue just missing her. Johner scrambles for his gun as Ripley drags her out of the way. AS quickly as it came, the head lurches back out. Can we fly? Call looks at her. Call grabs a grenade launcher. She heads for the door but Ripley is on her way. They exchange a look. Call tosses her the grenade launcher. Ripley comes out the top. She looks around her, sees the tracks in the snow. Huge, loping. She jumps.down off the ship. Through the blur of trees, she moves with the grace and speed of an animal, leaping from boulders, racing through the powdered brush this is Ripley at peak speed, and it is something to see. She starts going up, the way getting steeper and rockier, til she reaches a cliff face, and looks out on: The newborn RISES in front of Ripley, STRIKES her before she has a chance to aim her weapon. Its tentacle cuts deeply into her, sends her flying. The beast is on her in a second, its enormous jaws missing her head by an inch as she rolls, grabs the grenade launcher, FIRE The beast is thrown, but just grazed, back on her as she tries to get off another shot, it SLAMS a foot down RIGHT ON HER she SCREAMS, the launcher rolls free, the beast coming in for | Who took call hostage? | Wren |
Ripley's readings. Gediman looks at Wren, hopefully. Wren nods. Gediman and the surgeon get to work, as the others carefully remove the alien. Ripley's hand LASHES OUT, GRABS the surgeon's forearm. He yells in pain as her fingers dig into him, the others scramble knocking things over and we HEAR HIS BONE CRACKING. Ripley crouches in the middle of a small, dark chamber. She's wide eyed, staring straight ahead in a state of near catatonia. Hair tangled and wild. But at least she's not so blue as before. The only light on her comes from directly above, from a thick pane of glass in the center of the ceiling. (We see other panes of glass lining the floor, indicating more cells below.) Touches her face, her skin. She fingers her tunic, pulls down the neck. There is a scar running along her chest. She fingers it thoughtfully. - She looks at her forearm. Tattooed near the crook of her elbow is the number 8. She looks up, her face unreadable. He deposits it in a test beaker, studies her eyes. Wren enters, looking at a chart. (shows him some photos) Look at the scar tissue. See the recession? Wren goes up to Ripley, studies her face with satisfaction. She grabs his throat with dazzling speed, applying deadly pressure as she brings his face to hers. Her eyes are burn but lost. He is as wide eyed as WREN, and he isn't having his windpipe crushed. After a moment the shock wears off and he slams his hand into the alarm. Klaxons, red light fire up. A guard rushes in, levels his weapon at Ripley. After a moment of staring him down, she opens her hand. Wren falls to his note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | Who killed Wren? | Purvis |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. suddenly bolts into the pen. The soldier shut it as quickly as humanly possible. Father, the voice of the ship, replies after a moment in a dulcet, comforting tone. Rane, in, a chamber on the Auriga. Hillard and Elgyn, in a slightly more lush one. Perez, in his quarters. VRIESS, rolling about the Aurigals engine room, looking it over. Christie, St Just, Call and Johner, all playing poker in the mess hall. Gediman alone is in here, writing observations down in a notebook as he watches the pen. Inside are three aliens. Two of them seem to be hibernating, curled up in the corner, but the third faces the glass, tilting its head and hissing at it. Gediman sits right up close to it, his face just inches away from the beast's. It draws back its lips, opens its mouth. The metallic tongue issues slowly forth, dripping with slime. GEDIMAN (softly, fascinated) Is that a distended externus lingua ... or are you just happy to see me? The creature hisses. retracts the tongue. Gediman scribbles few notes. Something moves in the dark behind him. Before he can notice, a hand closes on his shoulder. It's Ripley. She steps forward, eyes locked on the cage. Gediman seems only mildly surprised. He points at a audiograph by the wall, blips and waves interrupting the vibrating line, indicating sound. He notices that her hand is still on her shoulder. She looks at him. GEDIMAN (smiling) She runs her hand through the back of his hair, gently urging him up off his chair. She pulls him close, kisses him. Lightly at first, then deeply - holding his head with both hands. He responds with surprising warmth, the kiss drawing out, pulling slowly apart. She looks at him, smiles. An alien ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much | Who set Auriga on collision course with Earth? | Call |
note it down, look over at the thing in aspic. We can tell that time has passed because it is much bigger, nearly the size of a man, and in a new case. The camera moves in on the cardiograph, then moves down, to show a second one. Tracking a smaller, much faster heartbeat. ANGLE: RIPLEY Lying somewhere, maybe the dark-chamber -- in the dream it keeps shifting. She opens her eyes, but they are dark, whiteless. She reaches for her chest and begins scratching . Hard. Tearing at it, as blood wells up, spilling over her sides. We see her body still has a layer of the aspic-slime clinging to it. And her skin is unnaturally blue. But as we PAN from her chest to her face her identity is unmistakable. Around her are several men in operating masks. Cutting her GEDIMAN, a young and enthusiastic scientist. One man, seemingly in charge, stands a bit off, watching. This, by tag on his coat, is DR WREN. Gediman finishes cutting. Another man steps in with a clamp. Sets it. Pulls apart the chest. He says it like he's found a lost kitten. He reaches in an pulls out a sleeping, fetal but nearly ready to burst ALIEN. Others work at severing umbilical threads that tie it to Ripley's chest. He holds it up and others step in with the amnio, a sort of incubator filled with amniotic fluid. The alien SCREAMS, its tiny mouth full with teeth, and wriggles out of his grasp. Everybody panics -- but before the thing can get completely away from him, Gediman grabs it and sticks it in the amnio. Someone shuts the top rapidly. Everybody looks at each other for a moment. A surgeon looks at is `numbers 1-7`. Ripley stares. Tries the door, which opens. Ripley is looking down at her arm, at the 8 tattooed on it. She looks at Call. Looks back at wren. Numbers one through seven. The first failed efforts to clone Ripley. They are lined up like museum exhibits -- or side show freaks. Here is the fetal Ripley, the fetal alien visible through its translucent chest. In a jar. Here is a prematurely old, diseased Ripley, withered blue skin cling to Collapsed bones. Here is an attempt to separate the alien and grow it without the host - - boneless, bubbling tissue, weak and useless mouth rigored in midmew. Each one more horrifying than the last, and the last the worst of all. Ripley approaches, and stares at number seven. A complete mixture of alien and human DNA. A tortured, disgusting hybrid, half Ripley, half nightmare. Hooked up wires and machines, it lies on the tilted-table, its head nearly level with Ripley's as she finally approaches it. When it opens its eyes, they are hers. it tuns its head ever so slightly to look at her. Recognises her. Ripley cannot even speak. She begins to shake slightly looking at number seven. Ripley's eyes go saucered as it speaks speaks out of nothing resembling a mouth. Ripley staggers back a step, shaking now. This is too much to bear... Ripley turns, slowly, still in a fever dream. Call cocks the grenade launcher with a loud CRACK. Her eyes meet Ripley's. Call tosses it to Ripley as the crew steps back and even a catches it Ripley FIRES, a grenade chugging to the end of room and BURSTING in fire and noise, she FIRES another, tissue and steel exploding into flame, she turns to number of them moves. Then Ripley RUNS, the newborn comes at her with equal speed, like they're playing chicken, Ripley DIVES at the ground, rolls, comes up holdin the grenade launcher, and she FIPES! The newborn is hit up close and dead center this time, and it rears back, screaming - - Ripley FIRES and FIRES, driving it back toward the upended harvester. The alien rears up to its full height, and Ripley pulls.the trigger. There is a hollow click. Furious, Ripley stares a moment at the beast. A SSCREAM wells up in her throat and she THROWS herself at it, leaping impossibly high, smashing into it and sending both of them tumbling onto the Harvester. Call pulls the lever. In an instant the machine roars to life, a thousand blades grinding to top speed, pulverizing the beast, consuming it, sucking it down as layer upon layer of alien flesh is chopped into messes. And it SHRIEKS, a noise unheard before, as it thrashes frantically. Ripley tries to pull herself off it before the blades get too close -- but the beast grabs her, holds her. The blades ever closer as she struggles with it. She squirms, trying to get away, but she's stuck. A stream of blood lands on her shoulder, eating it away. Another on her leg, and panic blooms, bright in her. Call writhes, blood everywhere now. She is lost in primal terror. Ripley wriggles her way under, and, regardless of the streams of blood splattering her, wrenchs Call free. She drags her' out. A section of the harvester explodes, raining fire and debris or the dying alien. Call lies on the ground, Ripley behind her, arms wrapped tight around her. Covered in blood and grime, the two watch the alien go up in flames, breathing hard, holding each other as if their lives depended on it still. Vriess tosses 'Christie a bottle of whiskey. Ripley gets up, looks out over the cliffs edge at the lights the city. Christie offers the bottle to Call. She takes it and drinks. I guess you won't want to be answering any official Questions either. She is grateful for the suggestion that they are in it together. After a moment, she gets up as well, goes over to Ripley. She hands her the bottle. Ripley looks at it. RIPLEY (smiling) I remember. She drinks. She looks out in the distance... RIPLEY I'm a stranger here myself The two of them stand side by side staring out at the unfamiliar horizon, as the newborn dwindles in the dancing flame. ahead, his eyes glowing with near insanity. ... she'll bring forth legion. Now he looks at her, regret and glee at what has happened battling for his expression. She looks down, to see A keening SHRIEK comes out of the queen, as her limbs begin thrashing. The aliens around her back off slightly. The bulge in her belly starts moving. Ripley starts struggling with her bonds, terror and determination in her.eyes. He looks at her, the last glimmerof his sanity sinking beyond the horizon. They all run on board A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder, Johner draws but Wren emerges from the shadows too fast. Wren grabs Call and very carefully holds his gun to her back right below her shoulderblades. Johner stands, uncertain. DiStephano aims at Wren. Wren backs up a step. Heaped in the, corner, Purvis suddenly jerks forward. His eyes go wide. But the noise in here is getting worse, the aliens franitcally agitated as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY does as well, from effort or sympathy, it is hard to tell, as THE QUEENS BELLY POPS OPEN. Blood shoots everywhere, burning into the walls. And all the screaming stops. The movement stops. Even Ripley stops. Silence. Something emerges from the wound. An alien, to be sure, but nothing we've seen so far, its forelegs arch out of its back like spiders legs, its back legs set on enormous haunches, thick and powerful. Its head is long, eyeless, like the others, but along its white expanse red veins, coming out of the skin and running like thick black hairs to the back. It has retracted pincers at the side of head that come out when its tongue does. Its much him from behind, pulls him so that the back of Wren's head is against his chest. Purvis jerks again. It takes Wren a moment to understand what's happening. They both scream. Then alien BURSTS out of Purvis's chest, STRAIGHT INTO WRENS SKULL. Everyone else is still frozen. Then the little critter bursts out of Wrens face, flying straight at Vriess. CUT TO: INT. WASTE TANK 5 - <b>CONTINUOUS </b> Ripley TEARS one of her arms free as the newborn feeds beside her. Gediman is already a shell. Having drained the scientist, it leaps blindingly fast onto the ceiling. Looks around. It has no eyes, but she can feel them on her anyway. She rips at her bonds with a terrible effort -- the newborn LEAPS at her and she PULLS FREE with a scream, PLUNGING the thirty feet to the pool as the alien flies over her, missing, landing on the far wall instead. Ripley disappears beneath the surface of the water. The newborn turns its head, trying to locate its lost prey. other aliens scutter closer to the pool. Ripley stands up out of the pool, covered in blood, HOISTING THE <b>SOLDIERIS GUN. </b> Killshriek rising from her throat as she FIRES, taking out a host of aliens in a single sweep, just tagging the newborn as it leaps out of the way. Aliens jump at her, trying to kill and trying to protect the newborns, but she blows them out of the air. It feels pretty good. A few shots go wild, and punch big holes in the side of the tank. Light streams in through them. Ripley sees -- and continues firing in that direction. She makes a big enough hole that she can run and SMASH through | What happen to Auriga when it colided with Earth? | Auriga exploded. |
A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be | Who made Zeus send down a lightning bolt? | Hera. |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall mine to obey thine hest, Whate'er it be. PENTHEUS (_after hesitating once more and waiting_). Well, I will go--perchance To march and scatter them with serried lance, Perchance to take thy plan. . . . I know not yet. [_Exit_ PENTHEUS _into the Castle_. Damsels, the lion walketh to the net! He finds his Bacchae now, and sees and dies, And pays for all his sin!--O Dionyse, This is thine hour and thou not far away. Grant us our vengeance!--First, O Master, stay The course of reason in him, and instil A foam of madness. Let his seeing will, Which ne'er had stooped to put thy vesture on, Be darkened, till the deed is lightly done. Grant likewise that he find through all his streets Loud scorn, this man of wrath and bitter threats That made Thebes tremble, led in woman's guise. I go to fold that robe of sacrifice On Pentheus, that shall deck him to the dark, His mother's gift!--So shall he learn and mark God's true Son, Dionyse, in fulness God, Most fearful, yet to man most soft of mood. [_Exit_ DIONYSUS, _following_ PENTHEUS _into the Castle_. Will they ever come to me, ever again, The long long dances, On through the dark till the dim stars wane? Shall I feel the dew on my throat, and the stream Of wind in my hair? Shall our white feet gleam In the dim expanses? Oh, feet of a fawn to the greenwood fled, Alone in the grass and the loveliness; Leap of the hunted, no more in dread, Beyond the snares and the deadly press: Yet a voice still in the distance sounds, A voice and a fear and a haste of hounds; O wildly labouring, fiercely fleet, Onward yet by river and glen . . . Is [_The soldiers cut off the tress._ Next, yield me up thy staff! Raise thine own hand To take it. This is Dionysus' wand. [PENTHEUS _takes the staff_. Last, I will hold thee prisoned here. My Lord God will unloose me, when I speak the word. He may, if e'er again amid his bands Of saints he hears thy voice! Even now he stands Close here, and sees all that I suffer. What? Where is he? For mine eyes discern him not. Where I am! 'Tis thine own impurity That veils him from thee. The dog jeers at me! At me and Thebes! Bind him! [_The soldiers begin to bind him._ I charge ye, bind Me not! I having vision and ye blind! And I, with better right, say bind the more! [_The soldiers obey._ Thou knowest not what end thou seekest, nor What deed thou doest, nor what man thou art! Agâvê's son, and on the father's part Echîon's, hight Pentheus! So let it be, A name fore-written to calamity! Away, and tie him where the steeds are tied; Aye, let him lie in the manger!--There abide And stare into the darkness!--And this rout Of womankind that clusters thee about, Thy ministers of worship, are my slaves! It may be I will sell them o'er the waves, Hither and thither; else they shall be set To labour at my distaffs, and forget Their timbrel and their songs of dawning day! I go; for that which may not be, I may Not suffer! Yet for this thy sin, lo, He Whom thou deniest cometh after thee For recompense. Yea, in thy wrong to us, Thou hast cast Him into thy prison-house! [DIONYSUS, _without his wand, his hair shorn, and his arms tightly bound, is led off by the guards to his | Where do the women go to see Dionysus' rituals? | The mountains. |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve the right foot. But here, methinks, they flow In one straight line to the heel. DIONYSUS (_while tending him_). And if thou prove Their madness true, aye, more than true, what love And thanks hast thou for me? PENTHEUS (_not listening to him_). In my right hand Is it, or thus, that I should bear the wand, To be most like to them? Up let it swing In the right hand, timed with the right foot's spring. . . . 'Tis well thy heart is changed! PENTHEUS (_more wildly_). What strength is this! Kithaeron's steeps and all that in them is-- How say'st thou?--Could my shoulders lift the whole? Surely thou canst, and if thou wilt! Thy soul, Being once so sick, now stands as it should stand. Shall it be bars of iron? Or this bare hand And shoulder to the crags, to wrench them down? Wouldst wreck the Nymphs' wild temples, and the brown Rocks, where Pan pipes at noonday? Nay; not I! Force is not well with women. I will lie Hid in the pine-brake. Even as fits a spy On holy and fearful things, so shalt thou lie! PENTHEUS (_with a laugh_). They lie there now, methinks--the wild birds, caught By love among the leaves, and fluttering not! It may be. That is what thou goest to see, Aye, and to trap them--so they trap not thee! Forth through the Thebans' town! I am their king, Aye, their one Man, seeing I dare this thing! Yea, thou shalt bear their burden, thou alone; Therefore thy trial awaiteth thee!--But on; With me into thine ambush shalt thou come Unscathed; then let another bear thee home! The Queen, my mother. Marked of every eye. For that I go! Thou shalt be borne on high! That were like pride! dungeon_. PENTHEUS _returns into the Palace_. Acheloüs' roaming daughter, Holy Dircê, virgin water, Bathed he not of old in thee, The Babe of God, the Mystery? When from out the fire immortal To himself his God did take him, To his own flesh, and bespake him: "Enter now life's second portal, Motherless Mystery; lo, I break Mine own body for thy sake, Thou of the Twofold Door, and seal thee Mine, O Bromios,"--thus he spake-- "And to this thy land reveal thee." Still my prayer toward thee quivers, Dircê, still to thee I hie me; Why, O Blessèd among Rivers, Wilt thou fly me and deny me? By His own joy I vow, By the grape upon the bough, Thou shalt seek Him in the midnight, thou shalt love Him, even now! Dark and of the dark impassioned Is this Pentheus' blood; yea, fashioned Of the Dragon, and his birth From Echîon, child of Earth. He is no man, but a wonder; Did the Earth-Child not beget him, As a red Giant, to set him Against God, against the Thunder? He will bind me for his prize, Me, the Bride of Dionyse; And my priest, my friend, is taken Even now, and buried lies; In the dark he lies forsaken! Lo, we race with death, we perish, Dionysus, here before thee! Dost thou mark us not, nor cherish, Who implore thee, and adore thee? Hither down Olympus' side, Come, O Holy One defied, Be thy golden wand uplifted o'er the tyrant in his pride! Oh, where art thou? In thine own Nysa, thou our help alone? O'er fierce beasts in orient lands Doth thy thronging thyrsus wave, By the high Corycian Cave, Or where stern Olympus stands; In the elm-woods and the oaken, There where Orpheus harped of old, And | What does Pentheus' suggest he disguise himself as to avoid detection? | A female Maenad. |
That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's dungeon_. PENTHEUS _returns into the Palace_. Acheloüs' roaming daughter, Holy Dircê, virgin water, Bathed he not of old in thee, The Babe of God, the Mystery? When from out the fire immortal To himself his God did take him, To his own flesh, and bespake him: "Enter now life's second portal, Motherless Mystery; lo, I break Mine own body for thy sake, Thou of the Twofold Door, and seal thee Mine, O Bromios,"--thus he spake-- "And to this thy land reveal thee." Still my prayer toward thee quivers, Dircê, still to thee I hie me; Why, O Blessèd among Rivers, Wilt thou fly me and deny me? By His own joy I vow, By the grape upon the bough, Thou shalt seek Him in the midnight, thou shalt love Him, even now! Dark and of the dark impassioned Is this Pentheus' blood; yea, fashioned Of the Dragon, and his birth From Echîon, child of Earth. He is no man, but a wonder; Did the Earth-Child not beget him, As a red Giant, to set him Against God, against the Thunder? He will bind me for his prize, Me, the Bride of Dionyse; And my priest, my friend, is taken Even now, and buried lies; In the dark he lies forsaken! Lo, we race with death, we perish, Dionysus, here before thee! Dost thou mark us not, nor cherish, Who implore thee, and adore thee? Hither down Olympus' side, Come, O Holy One defied, Be thy golden wand uplifted o'er the tyrant in his pride! Oh, where art thou? In thine own Nysa, thou our help alone? O'er fierce beasts in orient lands Doth thy thronging thyrsus wave, By the high Corycian Cave, Or where stern Olympus stands; In the elm-woods and the oaken, There where Orpheus harped of old, And | Who is the current king grandson of? | Cadmus. |
died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless Of Thebes, hath this my magic goaded out. And there, with the old King's daughters, in a rout Confused, they make their dwelling-place between The roofless rocks and shadowy pine trees green. Thus shall this Thebes, how sore soe'er it smart, Learn and forget not, till she crave her part In mine adoring; thus must I speak clear To save my mother's fame, and crown me here As true God, born by Semelê to Zeus. Now Cadmus yieldeth up his throne and use Of royal honour to his daughter's son Pentheus; who on my body hath begun A war with God. He thrusteth me away From due drink-offering, and, when men pray, My name entreats not. Therefore on his own Head and his people's shall my power be shown. Then to another land, when all things here Are well, must I fare onward, making clear My godhead's might. But should this Theban town Essay with wrath and battle to drag down My maids, lo, in their path myself shall be, And maniac armies battled after me! For this I veil my godhead with the wan Form of the things that die, and walk as Man. O Brood of Tmolus o'er the wide world flown, O Lydian band, my chosen and mine own, Damsels uplifted o'er the orient deep To wander where I wander, and to sleep Where I sleep; up, and wake the old sweet sound, The clang that I and mystic Rhea found, The Timbrel of the Mountain! Gather all Thebes to your song round Pentheus' royal hall. I seek my new-made worshippers, to guide Their dances up Kithaeron's pine-clad side. [_As he departs, there comes stealing in from the left a band of fifteen Eastern Women, the light of the sunrise streaming upon their long white robes and streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall a ladder-stair Against this house, and in the triglyphs there Nail me this lion's head, that gloriously I bring ye, having slain him--I, even I! [_She goes through the crowd towards the Castle, showing the head and looking for a place to hang it. Enter from the Mountain_ CADMUS, _with attendants, bearing the body of_ PENTHEUS _on a bier_. On, with your awful burden. Follow me, Thralls, to his house, whose body grievously With many a weary search at last in dim Kithaeron's glens I found, torn limb from limb, And through the interweaving forest weed Scattered.--Men told me of my daughters' deed, When I was just returned within these walls, With grey Teiresias, from the Bacchanals. And back I hied me to the hills again To seek my murdered son. There saw I plain Actaeon's mother, ranging where he died, Autonoë; and Ino by her side, Wandering ghastly in the pine-copses. Agâvê was not there. The rumour is She cometh fleet-foot hither.--Ah! 'Tis true; A sight I scarce can bend mine eyes unto. AGAVE (_turning from the Palace and seeing him_). My father, a great boast is thine this hour. Thou hast begotten daughters, high in power And valiant above all mankind--yea, all Valiant, though none like me! I have let fall The shuttle by the loom, and raised my hand For higher things, to slay from out thy land Wild beasts! See, in mine arms I bear the prize, That nailed above these portals it may rise To show what things thy daughters did! Do thou Take it, and call a feast. Proud art thou now And highly favoured in our valiancy! O depth of grief, how can I fathom thee Or look upon thee!--Poor, poor, bloodstained hand! Poor sisters!--A fair sacrifice to stand Before God's altars, daughter; increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of | What licked the women clean? | Snakes. |
That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be who heldest true My castle walls; and to the folk a name Of fear thou wast; and no man sought to shame My grey beard, when they knew that thou wast there, Else had they swift reward!--And now I fare Forth in dishonour, outcast, I, the great Cadmus, who sowed the seed-rows of this state Of Thebes, and reaped the harvest wonderful. O my belovèd, though thy heart is dull In death, O still belovèd, and alway Belovèd! Never more, then, shalt thou lay Thine hand to this white beard, and speak to me Thy "Mother's Father"; ask "Who wrongeth thee? Who stints thine honour, or with malice stirs Thine heart? Speak, and I smite thine injurers!" But now--woe, woe, to me and thee also, Woe to thy mother and her sisters, woe Alway! Oh, whoso walketh not in dread Of Gods, let him but look on this man dead! Lo, I weep with thee. 'Twas but due reward God sent on Pentheus; but for thee . . . 'Tis hard. My father, thou canst see the change in me, Dionysus, we beseech thee! We have sinned! Too late! When there was time, ye knew me not! We have confessed. Yet is thine hand too hot. Ye mocked me, being God; this is your wage. Should God be like a proud man in his rage? 'Tis as my sire, Zeus, willed it long ago. AGAVE (_turning from him almost with disdain_). Old Man, the word is spoken; we must go. And seeing ye must, what is it that ye wait? Child, we are come into a deadly strait, All; thou, poor sufferer, and thy sisters twain, And my sad self. Far off to barbarous men, A grey-haired wanderer, I must take my road. And then the oracle, the doom of A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he | Who is the former king of Thebes? | Cadmus. |
Hills, why lie ye thus dismayed? Ye marked him, then, our Master, and the mighty hand he laid On tower and rock, shaking the house of Pentheus?--But arise, And cast the trembling from your flesh, and lift untroubled eyes. O Light in Darkness, is it thou? O Priest, is this thy face? My heart leaps out to greet thee from the deep of loneliness. Fell ye so quick despairing, when beneath the Gate I passed? Should the gates of Pentheus quell me, or his darkness make me fast? Oh, what was left if thou wert gone? What could I but despair? How hast thou 'scaped the man of sin? Who freed thee from the snare? I had no pain nor peril; 'twas mine own hand set me free. Thine arms were gyvèd! Nay, no gyve, no touch, was laid on me! 'Twas there I mocked him, in his gyves, and gave him dreams for food. For when he led me down, behold, before the stall there stood A Bull of Offering. And this King, he bit his lips, and straight Fell on and bound it, hoof and limb, with gasping wrath and sweat. And I sat watching!--Then a Voice; and lo, our Lord was come, And the house shook, and a great flame stood o'er his mother's tomb. And Pentheus hied this way and that, and called his thralls amain For water, lest his roof-tree burn; and all toiled, all in vain. Then deemed a-sudden I was gone; and left his fire, and sped Back to the prison portals, and his lifted sword shone red. But there, methinks, the God had wrought--I speak but as I guess-- Some dream-shape in mine image; for he smote at emptiness, Stabbed in the air, and strove in wrath, as though 'twere me he increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve [_The soldiers cut off the tress._ Next, yield me up thy staff! Raise thine own hand To take it. This is Dionysus' wand. [PENTHEUS _takes the staff_. Last, I will hold thee prisoned here. My Lord God will unloose me, when I speak the word. He may, if e'er again amid his bands Of saints he hears thy voice! Even now he stands Close here, and sees all that I suffer. What? Where is he? For mine eyes discern him not. Where I am! 'Tis thine own impurity That veils him from thee. The dog jeers at me! At me and Thebes! Bind him! [_The soldiers begin to bind him._ I charge ye, bind Me not! I having vision and ye blind! And I, with better right, say bind the more! [_The soldiers obey._ Thou knowest not what end thou seekest, nor What deed thou doest, nor what man thou art! Agâvê's son, and on the father's part Echîon's, hight Pentheus! So let it be, A name fore-written to calamity! Away, and tie him where the steeds are tied; Aye, let him lie in the manger!--There abide And stare into the darkness!--And this rout Of womankind that clusters thee about, Thy ministers of worship, are my slaves! It may be I will sell them o'er the waves, Hither and thither; else they shall be set To labour at my distaffs, and forget Their timbrel and their songs of dawning day! I go; for that which may not be, I may Not suffer! Yet for this thy sin, lo, He Whom thou deniest cometh after thee For recompense. Yea, in thy wrong to us, Thou hast cast Him into thy prison-house! [DIONYSUS, _without his wand, his hair shorn, and his arms tightly bound, is led off by the guards to his | What is Pentheus disgusted by? | Two men dressed in festival dress. |
That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, [_The soldiers cut off the tress._ Next, yield me up thy staff! Raise thine own hand To take it. This is Dionysus' wand. [PENTHEUS _takes the staff_. Last, I will hold thee prisoned here. My Lord God will unloose me, when I speak the word. He may, if e'er again amid his bands Of saints he hears thy voice! Even now he stands Close here, and sees all that I suffer. What? Where is he? For mine eyes discern him not. Where I am! 'Tis thine own impurity That veils him from thee. The dog jeers at me! At me and Thebes! Bind him! [_The soldiers begin to bind him._ I charge ye, bind Me not! I having vision and ye blind! And I, with better right, say bind the more! [_The soldiers obey._ Thou knowest not what end thou seekest, nor What deed thou doest, nor what man thou art! Agâvê's son, and on the father's part Echîon's, hight Pentheus! So let it be, A name fore-written to calamity! Away, and tie him where the steeds are tied; Aye, let him lie in the manger!--There abide And stare into the darkness!--And this rout Of womankind that clusters thee about, Thy ministers of worship, are my slaves! It may be I will sell them o'er the waves, Hither and thither; else they shall be set To labour at my distaffs, and forget Their timbrel and their songs of dawning day! I go; for that which may not be, I may Not suffer! Yet for this thy sin, lo, He Whom thou deniest cometh after thee For recompense. Yea, in thy wrong to us, Thou hast cast Him into thy prison-house! [DIONYSUS, _without his wand, his hair shorn, and his arms tightly bound, is led off by the guards to his | Whose head does Agave believe she is carrying? | A mountain lion's head. |
A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of Of Thebes, hath this my magic goaded out. And there, with the old King's daughters, in a rout Confused, they make their dwelling-place between The roofless rocks and shadowy pine trees green. Thus shall this Thebes, how sore soe'er it smart, Learn and forget not, till she crave her part In mine adoring; thus must I speak clear To save my mother's fame, and crown me here As true God, born by Semelê to Zeus. Now Cadmus yieldeth up his throne and use Of royal honour to his daughter's son Pentheus; who on my body hath begun A war with God. He thrusteth me away From due drink-offering, and, when men pray, My name entreats not. Therefore on his own Head and his people's shall my power be shown. Then to another land, when all things here Are well, must I fare onward, making clear My godhead's might. But should this Theban town Essay with wrath and battle to drag down My maids, lo, in their path myself shall be, And maniac armies battled after me! For this I veil my godhead with the wan Form of the things that die, and walk as Man. O Brood of Tmolus o'er the wide world flown, O Lydian band, my chosen and mine own, Damsels uplifted o'er the orient deep To wander where I wander, and to sleep Where I sleep; up, and wake the old sweet sound, The clang that I and mystic Rhea found, The Timbrel of the Mountain! Gather all Thebes to your song round Pentheus' royal hall. I seek my new-made worshippers, to guide Their dances up Kithaeron's pine-clad side. [_As he departs, there comes stealing in from the left a band of fifteen Eastern Women, the light of the sunrise streaming upon their long white robes and a ladder-stair Against this house, and in the triglyphs there Nail me this lion's head, that gloriously I bring ye, having slain him--I, even I! [_She goes through the crowd towards the Castle, showing the head and looking for a place to hang it. Enter from the Mountain_ CADMUS, _with attendants, bearing the body of_ PENTHEUS _on a bier_. On, with your awful burden. Follow me, Thralls, to his house, whose body grievously With many a weary search at last in dim Kithaeron's glens I found, torn limb from limb, And through the interweaving forest weed Scattered.--Men told me of my daughters' deed, When I was just returned within these walls, With grey Teiresias, from the Bacchanals. And back I hied me to the hills again To seek my murdered son. There saw I plain Actaeon's mother, ranging where he died, Autonoë; and Ino by her side, Wandering ghastly in the pine-copses. Agâvê was not there. The rumour is She cometh fleet-foot hither.--Ah! 'Tis true; A sight I scarce can bend mine eyes unto. AGAVE (_turning from the Palace and seeing him_). My father, a great boast is thine this hour. Thou hast begotten daughters, high in power And valiant above all mankind--yea, all Valiant, though none like me! I have let fall The shuttle by the loom, and raised my hand For higher things, to slay from out thy land Wild beasts! See, in mine arms I bear the prize, That nailed above these portals it may rise To show what things thy daughters did! Do thou Take it, and call a feast. Proud art thou now And highly favoured in our valiancy! O depth of grief, how can I fathom thee Or look upon thee!--Poor, poor, bloodstained hand! Poor sisters!--A fair sacrifice to stand Before God's altars, daughter; on thy command. [_Enter suddenly and in haste a Messenger from the Mountain._ Great Pentheus, Lord of all this Theban land, I come from high Kithaeron, where the frore Snow spangles gleam and cease not evermore. . . And what of import may thy coming bring? I have seen the Wild White Women there, O King, Whose fleet limbs darted arrow-like but now From Thebes away, and come to tell thee how They work strange deeds and passing marvel. Yet I first would learn thy pleasure. Shall I set My whole tale forth, or veil the stranger part? Yea, Lord, I fear the swiftness of thy heart, Thine edgèd wrath and more than royal soul. Thy tale shall nothing scathe thee.--Tell the whole. It skills not to be wroth with honesty. Nay, if thy news of them be dark, 'tis he Shall pay it, who bewitched and led them on. Albeit I tremble, and scarce may speak my thought To a king's face, yet will I hide it not. Dionyse is God, no God more true nor higher! It bursts hard by us, like a smothered fire, This frenzy of Bacchic women! All my land Is made their mock.--This needs an iron hand! Ho, Captain! Quick to the Electran Gate; Bid gather all my men-at-arms thereat; Call all that spur the charger, all who know To wield the orbèd targe or bend the bow; We march to war!--'Fore God, shall women dare Such deeds against us? 'Tis too much to bear! Thou mark'st me not, O King, and holdest light My solemn words; yet, in thine own despite, I warn thee still. Lift thou not up thy spear Against a God, but hold thy peace, and fear His wrath! He will not brook it, if thou fright His Chosen from | Who dresses Pentheus as a woman? | Dionysus. |
Hills, why lie ye thus dismayed? Ye marked him, then, our Master, and the mighty hand he laid On tower and rock, shaking the house of Pentheus?--But arise, And cast the trembling from your flesh, and lift untroubled eyes. O Light in Darkness, is it thou? O Priest, is this thy face? My heart leaps out to greet thee from the deep of loneliness. Fell ye so quick despairing, when beneath the Gate I passed? Should the gates of Pentheus quell me, or his darkness make me fast? Oh, what was left if thou wert gone? What could I but despair? How hast thou 'scaped the man of sin? Who freed thee from the snare? I had no pain nor peril; 'twas mine own hand set me free. Thine arms were gyvèd! Nay, no gyve, no touch, was laid on me! 'Twas there I mocked him, in his gyves, and gave him dreams for food. For when he led me down, behold, before the stall there stood A Bull of Offering. And this King, he bit his lips, and straight Fell on and bound it, hoof and limb, with gasping wrath and sweat. And I sat watching!--Then a Voice; and lo, our Lord was come, And the house shook, and a great flame stood o'er his mother's tomb. And Pentheus hied this way and that, and called his thralls amain For water, lest his roof-tree burn; and all toiled, all in vain. Then deemed a-sudden I was gone; and left his fire, and sped Back to the prison portals, and his lifted sword shone red. But there, methinks, the God had wrought--I speak but as I guess-- Some dream-shape in mine image; for he smote at emptiness, Stabbed in the air, and strove in wrath, as though 'twere me he hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve [_The soldiers cut off the tress._ Next, yield me up thy staff! Raise thine own hand To take it. This is Dionysus' wand. [PENTHEUS _takes the staff_. Last, I will hold thee prisoned here. My Lord God will unloose me, when I speak the word. He may, if e'er again amid his bands Of saints he hears thy voice! Even now he stands Close here, and sees all that I suffer. What? Where is he? For mine eyes discern him not. Where I am! 'Tis thine own impurity That veils him from thee. The dog jeers at me! At me and Thebes! Bind him! [_The soldiers begin to bind him._ I charge ye, bind Me not! I having vision and ye blind! And I, with better right, say bind the more! [_The soldiers obey._ Thou knowest not what end thou seekest, nor What deed thou doest, nor what man thou art! Agâvê's son, and on the father's part Echîon's, hight Pentheus! So let it be, A name fore-written to calamity! Away, and tie him where the steeds are tied; Aye, let him lie in the manger!--There abide And stare into the darkness!--And this rout Of womankind that clusters thee about, Thy ministers of worship, are my slaves! It may be I will sell them o'er the waves, Hither and thither; else they shall be set To labour at my distaffs, and forget Their timbrel and their songs of dawning day! I go; for that which may not be, I may Not suffer! Yet for this thy sin, lo, He Whom thou deniest cometh after thee For recompense. Yea, in thy wrong to us, Thou hast cast Him into thy prison-house! [DIONYSUS, _without his wand, his hair shorn, and his arms tightly bound, is led off by the guards to his | Who does Pentheus want arrested? | Anyone engaging in Dionysian worship. |
where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall births of Dionysus, from Semelê and from the body of Zeus, mentioning his mystic epiphanies as Bull and as Serpent. The next strophe is an appeal to Thebes, the birthplace or "nurse" of the God's mother, Semelê; the antistrophe, an appeal to the cavern in Crete, the birthplace of Zeus, the God's father, and the original home of the mystic Timbrel. The Epode, or closing song, is full, not of doctrine, but of the pure poetry of the worship. Pp. 86-95, ll. 170-369, Teiresias and Cadmus.]--Teiresias seems to be not a spokesman of the poet's own views--far from it--but a type of the more cultured sort of Dionysiac priest, not very enlightened, but ready to abate some of the extreme dogmas of his creed if he may keep the rest. Cadmus, quite a different character, takes a very human and earthly point of view: the God is probably a true God; but even if he is false, there is no great harm done, and the worship will bring renown to Thebes and the royal family. It is noteworthy how full of pity Cadmus is--the sympathetic kindliness of the sons of this world as contrasted with the pitilessness of gods and their devotees. See especially the last scenes of the play. Even his final outburst of despair at not dying like other men (p. 152), shows the same sympathetic humanity. Pp. 89 ff., ll. 215-262.--Pentheus, though his case against the new worship is so good, and he might so easily have been made into a fine martyr, like Hippolytus, is left harsh and unpleasant, and very close in type to the ordinary "tyrant" of Greek tragedy (cf. p. 118). It is also noteworthy, I think, that he is, as it were, out of tone with the other characters. He belongs to | What kind of birth did Semele give? | A premature birth |
where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be a ladder-stair Against this house, and in the triglyphs there Nail me this lion's head, that gloriously I bring ye, having slain him--I, even I! [_She goes through the crowd towards the Castle, showing the head and looking for a place to hang it. Enter from the Mountain_ CADMUS, _with attendants, bearing the body of_ PENTHEUS _on a bier_. On, with your awful burden. Follow me, Thralls, to his house, whose body grievously With many a weary search at last in dim Kithaeron's glens I found, torn limb from limb, And through the interweaving forest weed Scattered.--Men told me of my daughters' deed, When I was just returned within these walls, With grey Teiresias, from the Bacchanals. And back I hied me to the hills again To seek my murdered son. There saw I plain Actaeon's mother, ranging where he died, Autonoë; and Ino by her side, Wandering ghastly in the pine-copses. Agâvê was not there. The rumour is She cometh fleet-foot hither.--Ah! 'Tis true; A sight I scarce can bend mine eyes unto. AGAVE (_turning from the Palace and seeing him_). My father, a great boast is thine this hour. Thou hast begotten daughters, high in power And valiant above all mankind--yea, all Valiant, though none like me! I have let fall The shuttle by the loom, and raised my hand For higher things, to slay from out thy land Wild beasts! See, in mine arms I bear the prize, That nailed above these portals it may rise To show what things thy daughters did! Do thou Take it, and call a feast. Proud art thou now And highly favoured in our valiancy! O depth of grief, how can I fathom thee Or look upon thee!--Poor, poor, bloodstained hand! Poor sisters!--A fair sacrifice to stand Before God's altars, daughter; increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of a different atmosphere, like, to take a recent instance, Golaud in _Pelléas et Mélisande_. P. 91, l. 263, Injurious King, &c.]--It is a mark of a certain yielding to stage convention in Euripides' later style, that he allows the Chorus Leader to make remarks which are not "asides," but are yet not heard or noticed by anybody. P. 91, l. 264, Sower of the Giants' sod.]--Cadmus, by divine guidance, slew a dragon and sowed the teeth of it like seed in the "Field of Ares." From the teeth rose a harvest of Earth-born, or "Giant" warriors, of whom Echîon was one. P. 92, l. 287, Learn the truth of it, cleared from the false.]--This timid essay in rationalism reminds one of similar efforts in Pindar (e.g. _Ol._ i.). It is the product of a religious and unspeculative mind, not feeling difficulties itself, but troubled by other people's questions and objections. (See above on Teiresias.) P. 92, l. 292, The world-encircling Fire.]--This fire, or ether, was the ordinary material of which phantoms or apparitions were made. Pp. 93-95, ll. 330-369.--These three speeches are very clearly contrasted. Cadmus, thoroughly human, thinking of sympathy and expediency, and vividly remembering the fate of his other grandson, Actaeon; Pentheus, angry and "tyrannical"; Teiresias speaking like a Christian priest of the Middle Ages, almost like Tennyson's Becket. P. 95, l. 370.--The goddess [Greek: Hosia], "Purity," seems to be one of the many abstractions which were half personified by philosophy and by Orphism. It is possible that the word is really adjectival, "Immaculate One," and originally an epithet of some more definite goddess, _e.g._ as Miss Harrison suggests, of Nemesis. In this and other choruses it is very uncertain how the lines should be distributed between the whole chorus, the two semi-choruses, and the various individual choreutae. died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless | What does Semele's sisters say is the cause for Zeus's lightening bolt sent to strike Semele? | As a punishment for the lie. |
where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's who heldest true My castle walls; and to the folk a name Of fear thou wast; and no man sought to shame My grey beard, when they knew that thou wast there, Else had they swift reward!--And now I fare Forth in dishonour, outcast, I, the great Cadmus, who sowed the seed-rows of this state Of Thebes, and reaped the harvest wonderful. O my belovèd, though thy heart is dull In death, O still belovèd, and alway Belovèd! Never more, then, shalt thou lay Thine hand to this white beard, and speak to me Thy "Mother's Father"; ask "Who wrongeth thee? Who stints thine honour, or with malice stirs Thine heart? Speak, and I smite thine injurers!" But now--woe, woe, to me and thee also, Woe to thy mother and her sisters, woe Alway! Oh, whoso walketh not in dread Of Gods, let him but look on this man dead! Lo, I weep with thee. 'Twas but due reward God sent on Pentheus; but for thee . . . 'Tis hard. My father, thou canst see the change in me, Dionysus, we beseech thee! We have sinned! Too late! When there was time, ye knew me not! We have confessed. Yet is thine hand too hot. Ye mocked me, being God; this is your wage. Should God be like a proud man in his rage? 'Tis as my sire, Zeus, willed it long ago. AGAVE (_turning from him almost with disdain_). Old Man, the word is spoken; we must go. And seeing ye must, what is it that ye wait? Child, we are come into a deadly strait, All; thou, poor sufferer, and thy sisters twain, And my sad self. Far off to barbarous men, A grey-haired wanderer, I must take my road. And then the oracle, the doom of the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve | Who, in the initial story Dionysus tells, commands Zeus sends a lightening bolt on Semele? | Hera |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve ye this day of days! [_The_ LEADER _tries to speak, but is not able_; AGAVE _begins gently stroking the head_. Gather ye now to the feast! Feast!--O miserable! See, it falls to his breast, Curling and gently tressed, The hair of the Wild Bull's crest-- The young steer of the fell! Most like a beast of the wild That head, those locks defiled. AGAVE (_lifting up the head, more excitedly_). He wakened his Mad Ones, A Chase-God, a wise God! He sprang them to seize this! He preys where his band preys. LEADER (_brooding, with horror_). In the trail of thy Mad Ones Thou tearest thy prize, God! Dost praise it? I praise this? Ah, soon shall the land praise! And Pentheus, O Mother, Thy child? He shall cry on My name as none other, Bless the spoils of the Lion! Aye, strange is thy treasure! And strange was the taking! Thou art glad? Beyond measure; Yea, glad in the breaking Of dawn upon all this land, By the prize, the prize of my hand! Show then to all the land, unhappy one, The trophy of this deed that thou hast done! Ho, all ye men that round the citadel And shining towers of ancient Thêbê dwell, Come! Look upon this prize, this lion's spoil, That we have taken--yea, with our own toil, We, Cadmus' daughters! Not with leathern-set Thessalian javelins, not with hunter's net, Only white arms and swift hands' bladed fall. Why make ye much ado, and boast withal Your armourers' engines? See, these palms were bare That caught the angry beast, and held, and tare The limbs of him! . . . Father! . . . Go, bring to me My father! . . . Aye, and Pentheus, where is he, My son? He shall set up the right foot. But here, methinks, they flow In one straight line to the heel. DIONYSUS (_while tending him_). And if thou prove Their madness true, aye, more than true, what love And thanks hast thou for me? PENTHEUS (_not listening to him_). In my right hand Is it, or thus, that I should bear the wand, To be most like to them? Up let it swing In the right hand, timed with the right foot's spring. . . . 'Tis well thy heart is changed! PENTHEUS (_more wildly_). What strength is this! Kithaeron's steeps and all that in them is-- How say'st thou?--Could my shoulders lift the whole? Surely thou canst, and if thou wilt! Thy soul, Being once so sick, now stands as it should stand. Shall it be bars of iron? Or this bare hand And shoulder to the crags, to wrench them down? Wouldst wreck the Nymphs' wild temples, and the brown Rocks, where Pan pipes at noonday? Nay; not I! Force is not well with women. I will lie Hid in the pine-brake. Even as fits a spy On holy and fearful things, so shalt thou lie! PENTHEUS (_with a laugh_). They lie there now, methinks--the wild birds, caught By love among the leaves, and fluttering not! It may be. That is what thou goest to see, Aye, and to trap them--so they trap not thee! Forth through the Thebans' town! I am their king, Aye, their one Man, seeing I dare this thing! Yea, thou shalt bear their burden, thou alone; Therefore thy trial awaiteth thee!--But on; With me into thine ambush shalt thou come Unscathed; then let another bear thee home! The Queen, my mother. Marked of every eye. For that I go! Thou shalt be borne on high! That were like pride! | What is Pentheus original plan, which Dionysus dissuades him of? | Defeat and kill women with an armed force |
Hills, why lie ye thus dismayed? Ye marked him, then, our Master, and the mighty hand he laid On tower and rock, shaking the house of Pentheus?--But arise, And cast the trembling from your flesh, and lift untroubled eyes. O Light in Darkness, is it thou? O Priest, is this thy face? My heart leaps out to greet thee from the deep of loneliness. Fell ye so quick despairing, when beneath the Gate I passed? Should the gates of Pentheus quell me, or his darkness make me fast? Oh, what was left if thou wert gone? What could I but despair? How hast thou 'scaped the man of sin? Who freed thee from the snare? I had no pain nor peril; 'twas mine own hand set me free. Thine arms were gyvèd! Nay, no gyve, no touch, was laid on me! 'Twas there I mocked him, in his gyves, and gave him dreams for food. For when he led me down, behold, before the stall there stood A Bull of Offering. And this King, he bit his lips, and straight Fell on and bound it, hoof and limb, with gasping wrath and sweat. And I sat watching!--Then a Voice; and lo, our Lord was come, And the house shook, and a great flame stood o'er his mother's tomb. And Pentheus hied this way and that, and called his thralls amain For water, lest his roof-tree burn; and all toiled, all in vain. Then deemed a-sudden I was gone; and left his fire, and sped Back to the prison portals, and his lifted sword shone red. But there, methinks, the God had wrought--I speak but as I guess-- Some dream-shape in mine image; for he smote at emptiness, Stabbed in the air, and strove in wrath, as though 'twere me he hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve the right foot. But here, methinks, they flow In one straight line to the heel. DIONYSUS (_while tending him_). And if thou prove Their madness true, aye, more than true, what love And thanks hast thou for me? PENTHEUS (_not listening to him_). In my right hand Is it, or thus, that I should bear the wand, To be most like to them? Up let it swing In the right hand, timed with the right foot's spring. . . . 'Tis well thy heart is changed! PENTHEUS (_more wildly_). What strength is this! Kithaeron's steeps and all that in them is-- How say'st thou?--Could my shoulders lift the whole? Surely thou canst, and if thou wilt! Thy soul, Being once so sick, now stands as it should stand. Shall it be bars of iron? Or this bare hand And shoulder to the crags, to wrench them down? Wouldst wreck the Nymphs' wild temples, and the brown Rocks, where Pan pipes at noonday? Nay; not I! Force is not well with women. I will lie Hid in the pine-brake. Even as fits a spy On holy and fearful things, so shalt thou lie! PENTHEUS (_with a laugh_). They lie there now, methinks--the wild birds, caught By love among the leaves, and fluttering not! It may be. That is what thou goest to see, Aye, and to trap them--so they trap not thee! Forth through the Thebans' town! I am their king, Aye, their one Man, seeing I dare this thing! Yea, thou shalt bear their burden, thou alone; Therefore thy trial awaiteth thee!--But on; With me into thine ambush shalt thou come Unscathed; then let another bear thee home! The Queen, my mother. Marked of every eye. For that I go! Thou shalt be borne on high! That were like pride! | What does Pentheus disguise himself as? | A female Maenad. |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, who heldest true My castle walls; and to the folk a name Of fear thou wast; and no man sought to shame My grey beard, when they knew that thou wast there, Else had they swift reward!--And now I fare Forth in dishonour, outcast, I, the great Cadmus, who sowed the seed-rows of this state Of Thebes, and reaped the harvest wonderful. O my belovèd, though thy heart is dull In death, O still belovèd, and alway Belovèd! Never more, then, shalt thou lay Thine hand to this white beard, and speak to me Thy "Mother's Father"; ask "Who wrongeth thee? Who stints thine honour, or with malice stirs Thine heart? Speak, and I smite thine injurers!" But now--woe, woe, to me and thee also, Woe to thy mother and her sisters, woe Alway! Oh, whoso walketh not in dread Of Gods, let him but look on this man dead! Lo, I weep with thee. 'Twas but due reward God sent on Pentheus; but for thee . . . 'Tis hard. My father, thou canst see the change in me, Dionysus, we beseech thee! We have sinned! Too late! When there was time, ye knew me not! We have confessed. Yet is thine hand too hot. Ye mocked me, being God; this is your wage. Should God be like a proud man in his rage? 'Tis as my sire, Zeus, willed it long ago. AGAVE (_turning from him almost with disdain_). Old Man, the word is spoken; we must go. And seeing ye must, what is it that ye wait? Child, we are come into a deadly strait, All; thou, poor sufferer, and thy sisters twain, And my sad self. Far off to barbarous men, A grey-haired wanderer, I must take my road. And then the oracle, the doom of increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless | What does Dionysus give Pentheus after disguising him as a woman and sending him on his way? | Thyrsus and fawn skin |
where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of [_The soldiers cut off the tress._ Next, yield me up thy staff! Raise thine own hand To take it. This is Dionysus' wand. [PENTHEUS _takes the staff_. Last, I will hold thee prisoned here. My Lord God will unloose me, when I speak the word. He may, if e'er again amid his bands Of saints he hears thy voice! Even now he stands Close here, and sees all that I suffer. What? Where is he? For mine eyes discern him not. Where I am! 'Tis thine own impurity That veils him from thee. The dog jeers at me! At me and Thebes! Bind him! [_The soldiers begin to bind him._ I charge ye, bind Me not! I having vision and ye blind! And I, with better right, say bind the more! [_The soldiers obey._ Thou knowest not what end thou seekest, nor What deed thou doest, nor what man thou art! Agâvê's son, and on the father's part Echîon's, hight Pentheus! So let it be, A name fore-written to calamity! Away, and tie him where the steeds are tied; Aye, let him lie in the manger!--There abide And stare into the darkness!--And this rout Of womankind that clusters thee about, Thy ministers of worship, are my slaves! It may be I will sell them o'er the waves, Hither and thither; else they shall be set To labour at my distaffs, and forget Their timbrel and their songs of dawning day! I go; for that which may not be, I may Not suffer! Yet for this thy sin, lo, He Whom thou deniest cometh after thee For recompense. Yea, in thy wrong to us, Thou hast cast Him into thy prison-house! [DIONYSUS, _without his wand, his hair shorn, and his arms tightly bound, is led off by the guards to his | What does Agave first believe the head the messenger brings back to her is? | the head of a mountain lion |
Hills, why lie ye thus dismayed? Ye marked him, then, our Master, and the mighty hand he laid On tower and rock, shaking the house of Pentheus?--But arise, And cast the trembling from your flesh, and lift untroubled eyes. O Light in Darkness, is it thou? O Priest, is this thy face? My heart leaps out to greet thee from the deep of loneliness. Fell ye so quick despairing, when beneath the Gate I passed? Should the gates of Pentheus quell me, or his darkness make me fast? Oh, what was left if thou wert gone? What could I but despair? How hast thou 'scaped the man of sin? Who freed thee from the snare? I had no pain nor peril; 'twas mine own hand set me free. Thine arms were gyvèd! Nay, no gyve, no touch, was laid on me! 'Twas there I mocked him, in his gyves, and gave him dreams for food. For when he led me down, behold, before the stall there stood A Bull of Offering. And this King, he bit his lips, and straight Fell on and bound it, hoof and limb, with gasping wrath and sweat. And I sat watching!--Then a Voice; and lo, our Lord was come, And the house shook, and a great flame stood o'er his mother's tomb. And Pentheus hied this way and that, and called his thralls amain For water, lest his roof-tree burn; and all toiled, all in vain. Then deemed a-sudden I was gone; and left his fire, and sped Back to the prison portals, and his lifted sword shone red. But there, methinks, the God had wrought--I speak but as I guess-- Some dream-shape in mine image; for he smote at emptiness, Stabbed in the air, and strove in wrath, as though 'twere me he died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless dungeon_. PENTHEUS _returns into the Palace_. Acheloüs' roaming daughter, Holy Dircê, virgin water, Bathed he not of old in thee, The Babe of God, the Mystery? When from out the fire immortal To himself his God did take him, To his own flesh, and bespake him: "Enter now life's second portal, Motherless Mystery; lo, I break Mine own body for thy sake, Thou of the Twofold Door, and seal thee Mine, O Bromios,"--thus he spake-- "And to this thy land reveal thee." Still my prayer toward thee quivers, Dircê, still to thee I hie me; Why, O Blessèd among Rivers, Wilt thou fly me and deny me? By His own joy I vow, By the grape upon the bough, Thou shalt seek Him in the midnight, thou shalt love Him, even now! Dark and of the dark impassioned Is this Pentheus' blood; yea, fashioned Of the Dragon, and his birth From Echîon, child of Earth. He is no man, but a wonder; Did the Earth-Child not beget him, As a red Giant, to set him Against God, against the Thunder? He will bind me for his prize, Me, the Bride of Dionyse; And my priest, my friend, is taken Even now, and buried lies; In the dark he lies forsaken! Lo, we race with death, we perish, Dionysus, here before thee! Dost thou mark us not, nor cherish, Who implore thee, and adore thee? Hither down Olympus' side, Come, O Holy One defied, Be thy golden wand uplifted o'er the tyrant in his pride! Oh, where art thou? In thine own Nysa, thou our help alone? O'er fierce beasts in orient lands Doth thy thronging thyrsus wave, By the high Corycian Cave, Or where stern Olympus stands; In the elm-woods and the oaken, There where Orpheus harped of old, And the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve on thy command. [_Enter suddenly and in haste a Messenger from the Mountain._ Great Pentheus, Lord of all this Theban land, I come from high Kithaeron, where the frore Snow spangles gleam and cease not evermore. . . And what of import may thy coming bring? I have seen the Wild White Women there, O King, Whose fleet limbs darted arrow-like but now From Thebes away, and come to tell thee how They work strange deeds and passing marvel. Yet I first would learn thy pleasure. Shall I set My whole tale forth, or veil the stranger part? Yea, Lord, I fear the swiftness of thy heart, Thine edgèd wrath and more than royal soul. Thy tale shall nothing scathe thee.--Tell the whole. It skills not to be wroth with honesty. Nay, if thy news of them be dark, 'tis he Shall pay it, who bewitched and led them on. Albeit I tremble, and scarce may speak my thought To a king's face, yet will I hide it not. Dionyse is God, no God more true nor higher! It bursts hard by us, like a smothered fire, This frenzy of Bacchic women! All my land Is made their mock.--This needs an iron hand! Ho, Captain! Quick to the Electran Gate; Bid gather all my men-at-arms thereat; Call all that spur the charger, all who know To wield the orbèd targe or bend the bow; We march to war!--'Fore God, shall women dare Such deeds against us? 'Tis too much to bear! Thou mark'st me not, O King, and holdest light My solemn words; yet, in thine own despite, I warn thee still. Lift thou not up thy spear Against a God, but hold thy peace, and fear His wrath! He will not brook it, if thou fright His Chosen from | Who killed Pentheus? | Agave and the Maenads |
A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless who heldest true My castle walls; and to the folk a name Of fear thou wast; and no man sought to shame My grey beard, when they knew that thou wast there, Else had they swift reward!--And now I fare Forth in dishonour, outcast, I, the great Cadmus, who sowed the seed-rows of this state Of Thebes, and reaped the harvest wonderful. O my belovèd, though thy heart is dull In death, O still belovèd, and alway Belovèd! Never more, then, shalt thou lay Thine hand to this white beard, and speak to me Thy "Mother's Father"; ask "Who wrongeth thee? Who stints thine honour, or with malice stirs Thine heart? Speak, and I smite thine injurers!" But now--woe, woe, to me and thee also, Woe to thy mother and her sisters, woe Alway! Oh, whoso walketh not in dread Of Gods, let him but look on this man dead! Lo, I weep with thee. 'Twas but due reward God sent on Pentheus; but for thee . . . 'Tis hard. My father, thou canst see the change in me, Dionysus, we beseech thee! We have sinned! Too late! When there was time, ye knew me not! We have confessed. Yet is thine hand too hot. Ye mocked me, being God; this is your wage. Should God be like a proud man in his rage? 'Tis as my sire, Zeus, willed it long ago. AGAVE (_turning from him almost with disdain_). Old Man, the word is spoken; we must go. And seeing ye must, what is it that ye wait? Child, we are come into a deadly strait, All; thou, poor sufferer, and thy sisters twain, And my sad self. Far off to barbarous men, A grey-haired wanderer, I must take my road. And then the oracle, the doom of | Cadmus and Harmonia are fated to be turned into what creature? | Snakes |
That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless who heldest true My castle walls; and to the folk a name Of fear thou wast; and no man sought to shame My grey beard, when they knew that thou wast there, Else had they swift reward!--And now I fare Forth in dishonour, outcast, I, the great Cadmus, who sowed the seed-rows of this state Of Thebes, and reaped the harvest wonderful. O my belovèd, though thy heart is dull In death, O still belovèd, and alway Belovèd! Never more, then, shalt thou lay Thine hand to this white beard, and speak to me Thy "Mother's Father"; ask "Who wrongeth thee? Who stints thine honour, or with malice stirs Thine heart? Speak, and I smite thine injurers!" But now--woe, woe, to me and thee also, Woe to thy mother and her sisters, woe Alway! Oh, whoso walketh not in dread Of Gods, let him but look on this man dead! Lo, I weep with thee. 'Twas but due reward God sent on Pentheus; but for thee . . . 'Tis hard. My father, thou canst see the change in me, Dionysus, we beseech thee! We have sinned! Too late! When there was time, ye knew me not! We have confessed. Yet is thine hand too hot. Ye mocked me, being God; this is your wage. Should God be like a proud man in his rage? 'Tis as my sire, Zeus, willed it long ago. AGAVE (_turning from him almost with disdain_). Old Man, the word is spoken; we must go. And seeing ye must, what is it that ye wait? Child, we are come into a deadly strait, All; thou, poor sufferer, and thy sisters twain, And my sad self. Far off to barbarous men, A grey-haired wanderer, I must take my road. And then the oracle, the doom of increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of ye this day of days! [_The_ LEADER _tries to speak, but is not able_; AGAVE _begins gently stroking the head_. Gather ye now to the feast! Feast!--O miserable! See, it falls to his breast, Curling and gently tressed, The hair of the Wild Bull's crest-- The young steer of the fell! Most like a beast of the wild That head, those locks defiled. AGAVE (_lifting up the head, more excitedly_). He wakened his Mad Ones, A Chase-God, a wise God! He sprang them to seize this! He preys where his band preys. LEADER (_brooding, with horror_). In the trail of thy Mad Ones Thou tearest thy prize, God! Dost praise it? I praise this? Ah, soon shall the land praise! And Pentheus, O Mother, Thy child? He shall cry on My name as none other, Bless the spoils of the Lion! Aye, strange is thy treasure! And strange was the taking! Thou art glad? Beyond measure; Yea, glad in the breaking Of dawn upon all this land, By the prize, the prize of my hand! Show then to all the land, unhappy one, The trophy of this deed that thou hast done! Ho, all ye men that round the citadel And shining towers of ancient Thêbê dwell, Come! Look upon this prize, this lion's spoil, That we have taken--yea, with our own toil, We, Cadmus' daughters! Not with leathern-set Thessalian javelins, not with hunter's net, Only white arms and swift hands' bladed fall. Why make ye much ado, and boast withal Your armourers' engines? See, these palms were bare That caught the angry beast, and held, and tare The limbs of him! . . . Father! . . . Go, bring to me My father! . . . Aye, and Pentheus, where is he, My son? He shall set up | What is the name of the city in which Cadmus and Harmonia will lead a barbarian horde? | Hellas |
where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's | How was Semele killed? | Zeus sent down a lightening bolt. |
where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of mine to obey thine hest, Whate'er it be. PENTHEUS (_after hesitating once more and waiting_). Well, I will go--perchance To march and scatter them with serried lance, Perchance to take thy plan. . . . I know not yet. [_Exit_ PENTHEUS _into the Castle_. Damsels, the lion walketh to the net! He finds his Bacchae now, and sees and dies, And pays for all his sin!--O Dionyse, This is thine hour and thou not far away. Grant us our vengeance!--First, O Master, stay The course of reason in him, and instil A foam of madness. Let his seeing will, Which ne'er had stooped to put thy vesture on, Be darkened, till the deed is lightly done. Grant likewise that he find through all his streets Loud scorn, this man of wrath and bitter threats That made Thebes tremble, led in woman's guise. I go to fold that robe of sacrifice On Pentheus, that shall deck him to the dark, His mother's gift!--So shall he learn and mark God's true Son, Dionyse, in fulness God, Most fearful, yet to man most soft of mood. [_Exit_ DIONYSUS, _following_ PENTHEUS _into the Castle_. Will they ever come to me, ever again, The long long dances, On through the dark till the dim stars wane? Shall I feel the dew on my throat, and the stream Of wind in my hair? Shall our white feet gleam In the dim expanses? Oh, feet of a fawn to the greenwood fled, Alone in the grass and the loveliness; Leap of the hunted, no more in dread, Beyond the snares and the deadly press: Yet a voice still in the distance sounds, A voice and a fear and a haste of hounds; O wildly labouring, fiercely fleet, Onward yet by river and glen . . . Is the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's | Why did Zeus strike Semele with the lightening bolt? | Either Hera told him to, or it was a punishment. |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's mine to obey thine hest, Whate'er it be. PENTHEUS (_after hesitating once more and waiting_). Well, I will go--perchance To march and scatter them with serried lance, Perchance to take thy plan. . . . I know not yet. [_Exit_ PENTHEUS _into the Castle_. Damsels, the lion walketh to the net! He finds his Bacchae now, and sees and dies, And pays for all his sin!--O Dionyse, This is thine hour and thou not far away. Grant us our vengeance!--First, O Master, stay The course of reason in him, and instil A foam of madness. Let his seeing will, Which ne'er had stooped to put thy vesture on, Be darkened, till the deed is lightly done. Grant likewise that he find through all his streets Loud scorn, this man of wrath and bitter threats That made Thebes tremble, led in woman's guise. I go to fold that robe of sacrifice On Pentheus, that shall deck him to the dark, His mother's gift!--So shall he learn and mark God's true Son, Dionyse, in fulness God, Most fearful, yet to man most soft of mood. [_Exit_ DIONYSUS, _following_ PENTHEUS _into the Castle_. Will they ever come to me, ever again, The long long dances, On through the dark till the dim stars wane? Shall I feel the dew on my throat, and the stream Of wind in my hair? Shall our white feet gleam In the dim expanses? Oh, feet of a fawn to the greenwood fled, Alone in the grass and the loveliness; Leap of the hunted, no more in dread, Beyond the snares and the deadly press: Yet a voice still in the distance sounds, A voice and a fear and a haste of hounds; O wildly labouring, fiercely fleet, Onward yet by river and glen . . . Is increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of | How does Dionysus plan to vindicate his mother? | By appearing as a God. |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he births of Dionysus, from Semelê and from the body of Zeus, mentioning his mystic epiphanies as Bull and as Serpent. The next strophe is an appeal to Thebes, the birthplace or "nurse" of the God's mother, Semelê; the antistrophe, an appeal to the cavern in Crete, the birthplace of Zeus, the God's father, and the original home of the mystic Timbrel. The Epode, or closing song, is full, not of doctrine, but of the pure poetry of the worship. Pp. 86-95, ll. 170-369, Teiresias and Cadmus.]--Teiresias seems to be not a spokesman of the poet's own views--far from it--but a type of the more cultured sort of Dionysiac priest, not very enlightened, but ready to abate some of the extreme dogmas of his creed if he may keep the rest. Cadmus, quite a different character, takes a very human and earthly point of view: the God is probably a true God; but even if he is false, there is no great harm done, and the worship will bring renown to Thebes and the royal family. It is noteworthy how full of pity Cadmus is--the sympathetic kindliness of the sons of this world as contrasted with the pitilessness of gods and their devotees. See especially the last scenes of the play. Even his final outburst of despair at not dying like other men (p. 152), shows the same sympathetic humanity. Pp. 89 ff., ll. 215-262.--Pentheus, though his case against the new worship is so good, and he might so easily have been made into a fine martyr, like Hippolytus, is left harsh and unpleasant, and very close in type to the ordinary "tyrant" of Greek tragedy (cf. p. 118). It is also noteworthy, I think, that he is, as it were, out of tone with the other characters. He belongs to Of Thebes, hath this my magic goaded out. And there, with the old King's daughters, in a rout Confused, they make their dwelling-place between The roofless rocks and shadowy pine trees green. Thus shall this Thebes, how sore soe'er it smart, Learn and forget not, till she crave her part In mine adoring; thus must I speak clear To save my mother's fame, and crown me here As true God, born by Semelê to Zeus. Now Cadmus yieldeth up his throne and use Of royal honour to his daughter's son Pentheus; who on my body hath begun A war with God. He thrusteth me away From due drink-offering, and, when men pray, My name entreats not. Therefore on his own Head and his people's shall my power be shown. Then to another land, when all things here Are well, must I fare onward, making clear My godhead's might. But should this Theban town Essay with wrath and battle to drag down My maids, lo, in their path myself shall be, And maniac armies battled after me! For this I veil my godhead with the wan Form of the things that die, and walk as Man. O Brood of Tmolus o'er the wide world flown, O Lydian band, my chosen and mine own, Damsels uplifted o'er the orient deep To wander where I wander, and to sleep Where I sleep; up, and wake the old sweet sound, The clang that I and mystic Rhea found, The Timbrel of the Mountain! Gather all Thebes to your song round Pentheus' royal hall. I seek my new-made worshippers, to guide Their dances up Kithaeron's pine-clad side. [_As he departs, there comes stealing in from the left a band of fifteen Eastern Women, the light of the sunrise streaming upon their long white robes and | Why was Pentheus disguised as a female Maenad? | To spy on the women |
hands out unresistingly-- No change, no blanching of the wine-red cheek. He waited while we came, and bade us wreak All thy decree; yea, laughed, and made my hest Easy, till I for very shame confessed And said: 'O stranger, not of mine own will I bind thee, but his bidding to fulfil Who sent me.' And those prisoned Maids withal Whom thou didst seize and bind within the wall Of thy great dungeon, they are fled, O King, Free in the woods, a-dance and glorying To Bromios. Of their own impulse fell To earth, men say, fetter and manacle, And bars slid back untouched of mortal hand. Yea, full of many wonders to thy land Is this man come. . . . Howbeit, it lies with thee! Ye are mad!--Unhand him. Howso swift he be, My toils are round him and he shall not fly. [_The guards loose the arms of_ DIONYSUS; PENTHEUS _studies him for a while in silence, then speaks jeeringly_. DIONYSUS _remains gentle and unafraid_. Marry, a fair shape for a woman's eye, Sir stranger! And thou seek'st no more, I ween! Long curls, withal! That shows thou ne'er hast been A wrestler!--down both cheeks so softly tossed And winsome! And a white skin! It hath cost Thee pains, to please thy damsels with this white And red of cheeks that never face the light! [DIONYSUS _is silent_. Speak, sirrah; tell me first thy name and race. No glory is therein, nor yet disgrace. Thou hast heard of Tmolus, the bright hill of flowers? Surely; the ridge that winds by Sardis' towers Thence am I; Lydia was my fatherland. And whence these revelations, that thy band Spreadeth in Hellas? Their intent and use Dionysus oped to me, the Child of Zeus. Is there a Zeus there, died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve | While on Mount Cithaeron, what does Dionysus do to defeat Pentheus? | He reveals that Pentheus is in disguise. |
Hills, why lie ye thus dismayed? Ye marked him, then, our Master, and the mighty hand he laid On tower and rock, shaking the house of Pentheus?--But arise, And cast the trembling from your flesh, and lift untroubled eyes. O Light in Darkness, is it thou? O Priest, is this thy face? My heart leaps out to greet thee from the deep of loneliness. Fell ye so quick despairing, when beneath the Gate I passed? Should the gates of Pentheus quell me, or his darkness make me fast? Oh, what was left if thou wert gone? What could I but despair? How hast thou 'scaped the man of sin? Who freed thee from the snare? I had no pain nor peril; 'twas mine own hand set me free. Thine arms were gyvèd! Nay, no gyve, no touch, was laid on me! 'Twas there I mocked him, in his gyves, and gave him dreams for food. For when he led me down, behold, before the stall there stood A Bull of Offering. And this King, he bit his lips, and straight Fell on and bound it, hoof and limb, with gasping wrath and sweat. And I sat watching!--Then a Voice; and lo, our Lord was come, And the house shook, and a great flame stood o'er his mother's tomb. And Pentheus hied this way and that, and called his thralls amain For water, lest his roof-tree burn; and all toiled, all in vain. Then deemed a-sudden I was gone; and left his fire, and sped Back to the prison portals, and his lifted sword shone red. But there, methinks, the God had wrought--I speak but as I guess-- Some dream-shape in mine image; for he smote at emptiness, Stabbed in the air, and strove in wrath, as though 'twere me he died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless a ladder-stair Against this house, and in the triglyphs there Nail me this lion's head, that gloriously I bring ye, having slain him--I, even I! [_She goes through the crowd towards the Castle, showing the head and looking for a place to hang it. Enter from the Mountain_ CADMUS, _with attendants, bearing the body of_ PENTHEUS _on a bier_. On, with your awful burden. Follow me, Thralls, to his house, whose body grievously With many a weary search at last in dim Kithaeron's glens I found, torn limb from limb, And through the interweaving forest weed Scattered.--Men told me of my daughters' deed, When I was just returned within these walls, With grey Teiresias, from the Bacchanals. And back I hied me to the hills again To seek my murdered son. There saw I plain Actaeon's mother, ranging where he died, Autonoë; and Ino by her side, Wandering ghastly in the pine-copses. Agâvê was not there. The rumour is She cometh fleet-foot hither.--Ah! 'Tis true; A sight I scarce can bend mine eyes unto. AGAVE (_turning from the Palace and seeing him_). My father, a great boast is thine this hour. Thou hast begotten daughters, high in power And valiant above all mankind--yea, all Valiant, though none like me! I have let fall The shuttle by the loom, and raised my hand For higher things, to slay from out thy land Wild beasts! See, in mine arms I bear the prize, That nailed above these portals it may rise To show what things thy daughters did! Do thou Take it, and call a feast. Proud art thou now And highly favoured in our valiancy! O depth of grief, how can I fathom thee Or look upon thee!--Poor, poor, bloodstained hand! Poor sisters!--A fair sacrifice to stand Before God's altars, daughter; ye this day of days! [_The_ LEADER _tries to speak, but is not able_; AGAVE _begins gently stroking the head_. Gather ye now to the feast! Feast!--O miserable! See, it falls to his breast, Curling and gently tressed, The hair of the Wild Bull's crest-- The young steer of the fell! Most like a beast of the wild That head, those locks defiled. AGAVE (_lifting up the head, more excitedly_). He wakened his Mad Ones, A Chase-God, a wise God! He sprang them to seize this! He preys where his band preys. LEADER (_brooding, with horror_). In the trail of thy Mad Ones Thou tearest thy prize, God! Dost praise it? I praise this? Ah, soon shall the land praise! And Pentheus, O Mother, Thy child? He shall cry on My name as none other, Bless the spoils of the Lion! Aye, strange is thy treasure! And strange was the taking! Thou art glad? Beyond measure; Yea, glad in the breaking Of dawn upon all this land, By the prize, the prize of my hand! Show then to all the land, unhappy one, The trophy of this deed that thou hast done! Ho, all ye men that round the citadel And shining towers of ancient Thêbê dwell, Come! Look upon this prize, this lion's spoil, That we have taken--yea, with our own toil, We, Cadmus' daughters! Not with leathern-set Thessalian javelins, not with hunter's net, Only white arms and swift hands' bladed fall. Why make ye much ado, and boast withal Your armourers' engines? See, these palms were bare That caught the angry beast, and held, and tare The limbs of him! . . . Father! . . . Go, bring to me My father! . . . Aye, and Pentheus, where is he, My son? He shall set up increasingly marked in all the victims of Dionysus towards the end of the play, and contrasts the more vividly with the God's pitilessness. Cadmus is always gentle, and always thinking of the sufferings of others; and, indeed, so is Agâvê, after her return to reason, though with more resentment against the oppressor. Pp. 139-143, ll. 1165-1200.--This marvellous scene defies comment. But I may be excused for remarking (1) that the psychological change of the chorus is, to my mind, proved by the words of the original, and does not in the least depend on my interpolated stage directions; (2) the extraordinary exultation of Agâvê is part of her Bacchic possession. It is not to be supposed that, if she had really killed a lion, such joy would be the natural thing. P. 141, _after_ l. 1183, _The Leader tries to speak_, &c.]--It is also possible that by some error of a scribe two lines have been omitted in the MS. But I think the explanation given in the text more probable and more dramatic. P. 142, l. 1195, And Pentheus, O Mother?]--The Leader mentions Pentheus, I suppose, in order deliberately to test Agâvê's delusion, to see if she is indeed utterly unconscious of the truth. P. 146, l. 1267, More shining than before, &c.]--The sight of the pure heaven brings back light to her mind--that is clear. But does she mean that the sky is brighter because of her madness which still remains, or that it is brighter now, after having been darkened in her madness? P. 149, l. 1313, And now I fare forth in dishonour.]--He has not yet been sentenced to exile, though he might well judge that after such pollution all his family would be banished. But probably this is another mark of the unrevised state of | What happens to Pentheus once he is discovered by the Maenads? | He was torn to pieces. |
A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless | What does Agave reveal to Cadmus? | Her son's head. |
A Series of Verse Translations of the Greek Dramatic Poets, with Commentaries and Explanatory Notes. Crown 8vo, cloth, gilt top, 7s. 6d. each net. Each Volume Illustrated from ancient Sculptures and Vase-Painting. AESCHYLUS: _The Orestean Trilogy._ By Prof. G. C. Warr. With an Introduction on _The Rise of Greek Tragedy_, and 13 Illustrations. SOPHOCLES: _OEdipus Tyrannus_ and _Coloneus_, and _Antigone_. By Prof. J. S. Phillimore. With an Introduction on _Sophocles and his Treatment of Tragedy_, and 16 Illustrations. EURIPIDES: _Hippolytus_; _Bacchae_; _Aristophanes' 'Frogs.'_ By Prof. Gilbert Murray. With an Appendix on _The Lost Tragedies of Euripides_, and an Introduction on _The Significance of the Bacchae in Athenian History_, and 12 Illustrations. [_Third Edition._ THE HOMERIC HYMNS. A New Prose Rendering by Andrew Lang, with Essays Critical and Explanatory, and 14 Illustrations. Translated into English Rhyming Verse, with Explanatory Notes, by Prof. Gilbert Murray. Crown 8vo, cloth, 2s. each net. One Shilling Net. 1906 [All rights reserved] DIONYSUS, THE GOD; _son of Zeus and of the Theban princess Semelê_. CADMUS, _formerly King of Thebes, father of Semelê_. PENTHEUS, _King of Thebes, grandson of Cadmus_. AGÃVÃ, _daughter of Cadmus, mother of Pentheus_. TEIRESIAS, _an aged Theban prophet_. A SOLDIER OF PENTHEUS' GUARD. TWO MESSENGERS. A CHORUS OF INSPIRED DAMSELS, _following Dionysus from the East._ "_The play was first produced after the death of Euripides by his son, who bore the same name, together with the 'Iphigenîa in Aulis' and the 'Alcmaeon,' probably in the year_ 405 B.C." Behold, God's Son is come unto this land Of Thebes, even I, Dionysus, whom the brand Of heaven's hot splendour lit to life, when she Who bore me, Cadmus' daughter Semelê, Died here. So, changed in shape from God to man, I walk again by Dirce's That sprang from mine own daughter? Surely then Must thou and I with all the strength of men Exalt him. Where then shall I stand, where tread The dance and toss this bowed and hoary head? O friend, in thee is wisdom; guide my grey And eld-worn steps, eld-worn Teiresias.--Nay; I am not weak. [_At the first movement of worship his manner begins to change; a mysterious strength and exaltation enter into him._ Surely this arm could smite The wild earth with its thyrsus, day and night, And faint not! Sweetly and forgetfully The dim years fall from off me! As with thee, With me 'tis likewise. Light am I and young, And will essay the dancing and the song. Quick, then, our chariots to the mountain road. Nay; to take steeds were to mistrust the God. So be it. Mine old arm shall guide thee there. The God himself shall guide! Have thou no care. And in all Thebes shall no man dance but we? Aye, Thebes is blinded. Thou and I can see. 'Tis weary waiting; hold my hand, friend; so. Lo, there is mine. So linkèd let us go. Shall things of dust the Gods' dark ways despise? Or prove our wit on Heaven's high mysteries? Not thou and I! That heritage sublime Our sires have left us, wisdom old as time, No word of man, how deep soe'er his thought And won of subtlest toil, may bring to naught. Aye, men will rail that I forget my years, To dance and wreathe with ivy these white hairs; What recks it? Seeing the God no line hath told To mark what man shall dance, or young or old; But craves his honours from mortality All, no man marked apart; and great shall be! CADMUS (_after looking away where no man thought. So hath it fallen here. [_Exeunt._ The _Bacchae_, being from one point of view a religious drama, a kind of "mystery play," is full of allusions both to the myth and to the religion of Dionysus. 1. The Myth, as implied by Euripides. Semelê, daughter of Cadmus, being loved by Zeus, asked her divine lover to appear to her once in his full glory; he came, a blaze of miraculous lightning, in the ecstasy of which Semelê died, giving premature birth to a son. Zeus, to save this child's life and make him truly God as well as Man, tore open his own flesh and therein fostered the child till in due time, by a miraculous and mysterious Second Birth, the child of Semelê came to full life as God. 2. The Religion of Dionysus is hard to formulate or even describe, both because of its composite origins and because of its condition of constant vitality, fluctuation, and development. (_a_) The first datum, apparently, is the introduction from Thrace of the characteristic God of the wild northern mountains, a God of Intoxication, of Inspiration, a giver of superhuman or immortal life. His worship is superposed upon that of divers old Tree or Vegetation Gods, already worshipped in Greece. He becomes specially the God of the Vine. Originally a god of the common folk, despised and unauthorised, he is eventually so strong as to be adopted into the Olympian hierarchy as the "youngest" of the Gods, son of Zeus. His "Olympian" name, so to speak, is Dionysus, but in his worship he is addressed by numbers of names, more or less mystic and secret--Bromios, Bacchios or Baccheus, Iacchos, Eleuthercus, Zagreus, Sabazios, &c. Some of these may be died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless streams and scan Ismenus' shore. There by the castle side I see her place, the Tomb of the Lightning's Bride, The wreck of smouldering chambers, and the great Faint wreaths of fire undying--as the hate Dies not, that Hera held for Semelê. Aye, Cadmus hath done well; in purity He keeps this place apart, inviolate, His daughter's sanctuary; and I have set My green and clustered vines to robe it round. Far now behind me lies the golden ground Of Lydian and of Phrygian; far away The wide hot plains where Persian sunbeams play, The Bactrian war-holds, and the storm-oppressed Clime of the Mede, and Araby the Blest, And Asia all, that by the salt sea lies In proud embattled cities, motley-wise Of Hellene and Barbarian interwrought; And now I come to Hellas--having taught All the world else my dances and my rite Of mysteries, to show me in men's sight Manifest God. And first of Hellene lands I cry thus Thebes to waken; set her hands To clasp my wand, mine ivied javelin, And round her shoulders hang my wild fawn-skin. For they have scorned me whom it least beseemed, Semelê's sisters; mocked my birth, nor deemed That Dionysus sprang from Dian seed. My mother sinned, said they; and in her need, With Cadmus plotting, cloaked her human shame With the dread name of Zeus; for that the flame From heaven consumed her, seeing she lied to God. Thus must they vaunt; and therefore hath my rod On them first fallen, and stung them forth wild-eyed From empty chambers; the bare mountain side Is made their home, and all their hearts are flame. Yea, I have bound upon the necks of them The harness of my rites. And with them all The seed of womankind from hut and hall | Who is Agave and Cadmus' son? | Pentheus |
died, The sinner smitten to death, even where his sin was sore! [_The_ MESSENGER _departs into the Castle_. Weave ye the dance, and call Praise to God! Bless ye the Tyrant's fall! Down is trod Pentheus, the Dragon's Seed! Wore he the woman's weed? Clasped he his death indeed, Clasped the rod? Yea, the wild ivy lapt him, and the doomed Wild Bull of Sacrifice before him loomed! Ye who did Bromios scorn, Praise Him the more, Bacchanals, Cadmus-born; Praise with sore Agony, yea, with tears! Great are the gifts he bears! Hands that a mother rears Red with gore! But stay, Agâvê cometh! And her eyes Make fire around her, reeling! Ho, the prize Cometh! All hail, O Rout of Dionyse! [_Enter from the Mountain_ AGAVE, _mad, and to all seeming wondrously happy, bearing the head of_ PENTHEUS _in her hand. The_ CHORUS MAIDENS _stand horror-struck at the sight; the_ LEADER, _also horror-struck, strives to accept it and rejoice in it as the God's deed_. Ye from the lands of Morn! Call me not; I give praise! Lo, from the trunk new-shorn Hither a Mountain Thorn Bear we! O Asia-born Bacchanals, bless this chase! I see. Yea; I see. Have I not welcomed thee? AGAVE (_very calmly and peacefully_). He was young in the wildwood: Without nets I caught him! Nay; look without fear on The Lion; I have ta'en him! Where in the wildwood? Whence have ye brought him? Kithaeron. . . . The Mountain hath slain him! Who first came nigh him? I, I, 'tis confessèd! And they named me there by him Agâvê the Blessèd! Who was next in the band on him? The daughters. . . Of Cadmus laid hand on him. But the swift hand that slaughters Is mine; mine is the praise! Bless the world with a great wind blows, Shining, and not from thee; Blowing to beautiful things, On, amid dark and light, Till Life, through the trammellings Of Laws that are not the Right, Breaks, clean and pure, and sings Glorying to God in the height! Hither for doom and deed! Hither with lifted sword, Justice, Wrath of the Lord, Come in our visible need! Smite till the throat shall bleed, Smite till the heart shall bleed, Him the tyrannous, lawless, Godless, Echîon's earth-born seed! Appear, appear, whatso thy shape or name O Mountain Bull, Snake of the Hundred Heads, Lion of Burning Flame! O God, Beast, Mystery, come! Thy mystic maids Are hunted!--Blast their hunter with thy breath, Cast o'er his head thy snare; And laugh aloud and drag him to his death, Who stalks thy herded madness in its lair! Woe to the house once blest in Hellas! Woe To thee, old King Sidonian, who didst sow The dragon-seed on Ares' bloody lea! Alas, even thy slaves must weep for thee! News from the mountain?--Speak! How hath it sped? Pentheus, my king, Echîon's son, is dead! All hail, God of the Voice, Manifest ever more! What say'st thou?--And how strange thy tone, as though In joy at this my master's overthrow! With fierce joy I rejoice, Child of a savage shore; For the chains of my prison are broken, and the dread where I cowered of yore! And deem'st thou Thebes so beggared, so forlorn Of manhood, as to sit beneath thy scorn? Thebes hath o'er me no sway! None save Him I obey, Dionysus, Child of the Highest, Him I obey and adore! One can forgive thee!--Yet 'tis no fair thing, Maids, to rejoice in a man's suffering. Speak of the mountain side! Tell us the doom he the hills of their delight. Peace, thou! And if for once thou hast slipped thy chain, Give thanks!--Or shall I knot thine arms again? Better to yield him prayer and sacrifice Than kick against the pricks, since Dionyse Is God, and thou but mortal. That will I! Yea, sacrifice of women's blood, to cry His name through all Kithaeron! Ye shall fly, All, and abase your shields of bronzen rim Before their wands. There is no way with him, This stranger that so dogs us! Well or ill I may entreat him, he must babble still! Wait, good my friend! These crooked matters may Even yet be straightened. [PENTHEUS _has started as though to seek his army at the gate._ Aye, if I obey Mine own slaves' will; how else? Myself will lead The damsels hither, without sword or steed. How now?--This is some plot against me! What Dost fear? Only to save thee do I plot. It is some compact ye have made, whereby To dance these hills for ever! Verily, That is my compact, plighted with my Lord! PENTHEUS (_turning from him_). Ho, armourers! Bring forth my shield and sword!-- And thou, be silent! DIONYSUS (_after regarding him fixedly, speaks with resignation_). Ah!--Have then thy will! [_He fixes his eyes upon_ PENTHEUS _again, while the armourers bring out his armour; then speaks in a tone of command_. Man, thou wouldst fain behold them on the hill Praying! PENTHEUS (_who during the rest of this scene, with a few exceptions, simply speaks the thoughts that_ DIONYSUS _puts into him, losing power over his own mind_). That would I, though it cost me all The gold of Thebes! So much? Thou art quick to fall To such great longing. PENTHEUS (_somewhat bewildered at what he has said_). Aye; 'twould grieve ye this day of days! [_The_ LEADER _tries to speak, but is not able_; AGAVE _begins gently stroking the head_. Gather ye now to the feast! Feast!--O miserable! See, it falls to his breast, Curling and gently tressed, The hair of the Wild Bull's crest-- The young steer of the fell! Most like a beast of the wild That head, those locks defiled. AGAVE (_lifting up the head, more excitedly_). He wakened his Mad Ones, A Chase-God, a wise God! He sprang them to seize this! He preys where his band preys. LEADER (_brooding, with horror_). In the trail of thy Mad Ones Thou tearest thy prize, God! Dost praise it? I praise this? Ah, soon shall the land praise! And Pentheus, O Mother, Thy child? He shall cry on My name as none other, Bless the spoils of the Lion! Aye, strange is thy treasure! And strange was the taking! Thou art glad? Beyond measure; Yea, glad in the breaking Of dawn upon all this land, By the prize, the prize of my hand! Show then to all the land, unhappy one, The trophy of this deed that thou hast done! Ho, all ye men that round the citadel And shining towers of ancient Thêbê dwell, Come! Look upon this prize, this lion's spoil, That we have taken--yea, with our own toil, We, Cadmus' daughters! Not with leathern-set Thessalian javelins, not with hunter's net, Only white arms and swift hands' bladed fall. Why make ye much ado, and boast withal Your armourers' engines? See, these palms were bare That caught the angry beast, and held, and tare The limbs of him! . . . Father! . . . Go, bring to me My father! . . . Aye, and Pentheus, where is he, My son? He shall set up a ladder-stair Against this house, and in the triglyphs there Nail me this lion's head, that gloriously I bring ye, having slain him--I, even I! [_She goes through the crowd towards the Castle, showing the head and looking for a place to hang it. Enter from the Mountain_ CADMUS, _with attendants, bearing the body of_ PENTHEUS _on a bier_. On, with your awful burden. Follow me, Thralls, to his house, whose body grievously With many a weary search at last in dim Kithaeron's glens I found, torn limb from limb, And through the interweaving forest weed Scattered.--Men told me of my daughters' deed, When I was just returned within these walls, With grey Teiresias, from the Bacchanals. And back I hied me to the hills again To seek my murdered son. There saw I plain Actaeon's mother, ranging where he died, Autonoë; and Ino by her side, Wandering ghastly in the pine-copses. Agâvê was not there. The rumour is She cometh fleet-foot hither.--Ah! 'Tis true; A sight I scarce can bend mine eyes unto. AGAVE (_turning from the Palace and seeing him_). My father, a great boast is thine this hour. Thou hast begotten daughters, high in power And valiant above all mankind--yea, all Valiant, though none like me! I have let fall The shuttle by the loom, and raised my hand For higher things, to slay from out thy land Wild beasts! See, in mine arms I bear the prize, That nailed above these portals it may rise To show what things thy daughters did! Do thou Take it, and call a feast. Proud art thou now And highly favoured in our valiancy! O depth of grief, how can I fathom thee Or look upon thee!--Poor, poor, bloodstained hand! Poor sisters!--A fair sacrifice to stand Before God's altars, daughter; | After Pentheus is killed, what happens to Agave and her sisters? | They are sent into exile. |
(beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear Boys, this is what you get, homes. UNDER THE BED - the cigarette smoldering on the carpet. QUINCEY (cont'd) Domingo thought you might be the one who went rat on him. Quincey looks at Colette QUINCEY (cont'd) So I brought in a rat of my own. Danny looks at Colette, dumbfounded. Danny can't help from laughing at the irony. Beads of sweat are forming on his blanched face. He looks at Colette with a wry smile. Danny looks down at his bloody stomach. Danny stares at her, not sure what to believe. He looks over at Quincey. Quincey shakes his head. Danny looks at Colette, imagining the awful beating she must have taken. Quincey grabs her arm. QUINCEY (cont'd) Let's go. The drapes go up in flames. Quincey puts the gun to the back of her head. The fire continues to spread. Colette kisses Danny on the lips. Quincey pulls her away. Collette looks back one last time just as the flames reach the door, cutting off any escape. Danny breathing hard. He gets up. Staggers over to the mirror where his trumpet is. He opens the case and takes the trumpet out. He plops down on the bed and BLOWS A FEW NOTES. He stops for a second, a smile on his lips. He starts to play SAETA. Pieces of the roof start falling in. DANNY (cont'd) Tom Van Allen or Danny Flynne? (beat) Avenging angel or plain old Judas? He stops playing. DANNY (cont'd) (weakly) You decide, friend. You decide. He closes his eyes. DANNY (cont'd) I'm too tired ... so you decide. He drops his trumpet and lays his head back. CLOSE ON DANNY'S HEAD - seemingly floating through the fiery room. Emerging from the flames into a dark hallway. | What musical instrument does the protagonist play at the beginning of the story? | Trumpet |
house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body | Who is Danny Parker? | The alias of the protagonist |
signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera He is playing Miles Davis' moody, Spanish-influenced SAETA, a haunting and lonely piece. A DUFFLE BAG FULL OF MONEY ON THE BED. The money burning, tiny flaming pieces floating around the room. DANNY (cont'd) ... I don't know anymore. (beat) Maybe I'll let you decide. Maybe you can help me, friend. As you can see, I don't have a hell of a lot of time left. A PHOTOGRAPH of a woman taped to the inside of a trumpet case. The photo is on fire. Only her smile remains. DANNY (cont'd) Avenging angel ... Judas Iscariot ... Loving husband ... Prodigal Son ... The prince of Denmark ...? A GREETING CARD on the floor, a teddy bear and the word, CONGRATULATIONS! on the front. The wind from the fire blows the card open. Inside, a BLACKENED BLOOD STAIN. DANNY (cont'd) All of these? None of these? You decide, friend. You decide. Trumpet player? Speed freak? (beat) Speed freak. (beat) That's as good a place as any. (beat) But first, a little background on the mad world of the tweaker .. STOCK BATTLE FOOTAGE - a Japanese Zero crashes into a battleship, bursting into a ball of flames. She attacks the same spot over and over again, one hand clutching the vacuum, the other stiffly holding a cigarette. DANNY (cont'd) Now that's a classic speed freak for you, skinny and cleaning the house. I'll bet her poor husband never knew what hit him in the sack either. Kennedy talking animatedly. DANNY (cont'd) If it's true, I'll bet ol' Krushchev never got a word in edgewise. The cashier looks up at the aforementioned FREAK, a frozen grin plastered on his face. DANNY (cont'd) Take it from me, he ain't got no cold. He's a confused and try to flush yourself? Garcetti (all business) You tell him? Garcetti sits down next to Danny. Sighs. Garcetti puts his hand on Danny's shoulder, really playing it up. Garcetti leans in close GARCETTI (cont'd) You know that thing where they slit your throat and pull your tongue out of the hole. Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI (cont'd) Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Isn't that weird, Danny? Isn't that weird? Danny turns to Tanner Danny paces back and forth. TANNER (cont'd) And if you're that worried about it, maybe you ought to get out of town. Garcetti chuckles at Danny's fear A PICKUP TRUCK slowly winds its way up the access road towards Danny. Danny stands up. Dusts his pants off. The truck stops nearby. The strains of GARTH BROOKS from inside. Danny approaches. The passenger's side window rolls down revealing ... ... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA. An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge-breasted Pamela Anderson-type on the saddle behind him. Bubba fires up a cigarette, revealing a pock-marked face. He carries a gun in a tooled leather shoulder holster. DANNY (cont'd) You consider my presentation? Danny climbs in. The window goes back up. As the care pulls away, we <b>... </b> ... MOVE back over to the gravestone. He has nothing to worry about with this crowd, harmless alcoholics all. Jimmy The Finn enters and approaches Danny. Danny | Who lost their nose from snorting too much "gak"? | Pooh Bear |
festooned with gold jewelry, his hair all wet jerry-curl. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA That's right, it's the Colt .357 Magnum revolver. Rubber combat-style grip, fixed rear, ramp front sights, 2 inch barrel. Weighs in at a feather-like 21 ounces. 6 shot capacity with double action. Mister, if you're looking for impact, the Magnum will satisfy all of your needs. (the last gun) I don't know you, mister, but you look like a man of style so maybe you in the market for a custom piece. Mister, it's your lucky day 'cause this gun got style to burn. You lookin' at the Les Baer Custom Premier Tactical 45. Fresh blue finish, deluxe grips, 5 inch barrel, 37 ounces, guaranteed to shoot 1 1/2 groups at a distance of 50 yards. Aluminum speed trigger, throated barrel, single action with 12 shot capacity magazine. I could see you with this gun, mister. And I can give it to you for the low price of seven hundred and ninety-five dollars. Mister, these are my guns. All sales are final, and all prices are negotiable. He finishes .... staring at ... Danny and Jimmy, standing there, wide-eyed and amazed by the incredible sales pitch. Danny pockets the GLOCK he just purchased. He also carries a BULLET- PROOF VEST over this shoulder. They walk along. They continue on. Jimmy looks at the vest. Danny at his door, fumbling with his keys, watching the dude. The dude looks down at this beat-up motorcycle boots. The dude ignores Danny and keeps pounding on the door. DANNY (cont'd) Goodbye now. Nice meeting you. The sounds of a struggle. Colette screams. The dude yelling at the top of his lungs. A LOUD SMACK. SILENCE. Colette sobbing. The dude talking in hushed tones, contrite. ... the floorboard, or lack thereof. It is confused and try to flush yourself? Garcetti (all business) You tell him? Garcetti sits down next to Danny. Sighs. Garcetti puts his hand on Danny's shoulder, really playing it up. Garcetti leans in close GARCETTI (cont'd) You know that thing where they slit your throat and pull your tongue out of the hole. Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI (cont'd) Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Isn't that weird, Danny? Isn't that weird? Danny turns to Tanner Danny paces back and forth. TANNER (cont'd) And if you're that worried about it, maybe you ought to get out of town. Garcetti chuckles at Danny's fear A PICKUP TRUCK slowly winds its way up the access road towards Danny. Danny stands up. Dusts his pants off. The truck stops nearby. The strains of GARTH BROOKS from inside. Danny approaches. The passenger's side window rolls down revealing ... ... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA. An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge-breasted Pamela Anderson-type on the saddle behind him. Bubba fires up a cigarette, revealing a pock-marked face. He carries a gun in a tooled leather shoulder holster. DANNY (cont'd) You consider my presentation? Danny climbs in. The window goes back up. As the care pulls away, we <b>... </b> ... MOVE back over to the gravestone. He has nothing to worry about with this crowd, harmless alcoholics all. Jimmy The Finn enters and approaches Danny. Danny cash. Pockets the dope. MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of sight. Tanner produces a print out from an F.B.I criminal computer file. A MUG SHOT OF BUBBA. The name BUFORD "BUBBA" NGUYEN underneath. TANNER (cont'd) Nothing local so we ran his prints through the F.B.I. Believed to be a major supplier in Texas. Jumped bail on a murder rap last April. Danny heaves a sign and plops down on a bench. Danny looks up. He doesn't look happy. Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS. CATHOLIC ICONS ABOUND: crucifixes, Virgin Mary's, needle point prayers. A KNOCK ON THE DOOR. Nancy gets up to answer. Nancy and Verne look at one another. Nancy pours the coffee. NANCY (cont'd) Billy's a cop now, you know. Danny pushes away from the table. Nancy grabs Danny's wrist. Danny stays put. NANCY (cont'd) I know everyone deals with grief in their own way. I know how hard it is to find closure. Danny looks at the shrine to Liz on top of the piano. Verne's silence is answer enough. DANNY (cont'd) I don't blame you for hating me. At least I understand that. (back to Nancy) But forgiving the butchers who killed Liz well I'm having some trouble with that one. Danny touches Nancy's hand tenderly. Verne slams his hand down on the table. Verne glares at Danny. No forgiveness in his heart. VERNE (cont'd) You ever think you might be buying drugs from the very people who took her life? Danny starts to say something. Stops. He is endorsing the back of a life insurance check. His Tom Van Allen driver's license laying next to it. He pockets the | Who was wearing a bulletproof vest during the drug deal turned massacre? | Danny |
festooned with gold jewelry, his hair all wet jerry-curl. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. That's right, it's the Colt .357 Magnum revolver. Rubber combat-style grip, fixed rear, ramp front sights, 2 inch barrel. Weighs in at a feather-like 21 ounces. 6 shot capacity with double action. Mister, if you're looking for impact, the Magnum will satisfy all of your needs. (the last gun) I don't know you, mister, but you look like a man of style so maybe you in the market for a custom piece. Mister, it's your lucky day 'cause this gun got style to burn. You lookin' at the Les Baer Custom Premier Tactical 45. Fresh blue finish, deluxe grips, 5 inch barrel, 37 ounces, guaranteed to shoot 1 1/2 groups at a distance of 50 yards. Aluminum speed trigger, throated barrel, single action with 12 shot capacity magazine. I could see you with this gun, mister. And I can give it to you for the low price of seven hundred and ninety-five dollars. Mister, these are my guns. All sales are final, and all prices are negotiable. He finishes .... staring at ... Danny and Jimmy, standing there, wide-eyed and amazed by the incredible sales pitch. Danny pockets the GLOCK he just purchased. He also carries a BULLET- PROOF VEST over this shoulder. They walk along. They continue on. Jimmy looks at the vest. Danny at his door, fumbling with his keys, watching the dude. The dude looks down at this beat-up motorcycle boots. The dude ignores Danny and keeps pounding on the door. DANNY (cont'd) Goodbye now. Nice meeting you. The sounds of a struggle. Colette screams. The dude yelling at the top of his lungs. A LOUD SMACK. SILENCE. Colette sobbing. The dude talking in hushed tones, contrite. ... the floorboard, or lack thereof. It is completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA | Who is Tom Van Allen? | Danny's other persona as a trumpet player. |
Danny drops the card. Stares down at it as ... ... the blood from the floor pools out and engulfs the card. ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill. He draws the meth into a syringe then turns on the stereo with a remote. ... Garcetti's gun moving to the back of Pooh-Bear's head. Pooh-Bear about to plunge the drugs when GARCETTI FIRES. Pooh-Bear pitches forward, dead. The syringe falls to the floor. Tanner and Garcetti standing over him. They pull their ski masks off. Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI (cont'd) Let's get out of here. A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit. Tanner staring down the sucker's end of Danny's gun. DANNY (cont'd) Tom Van Allen Danny raises his gun. Danny shoots Tanner in the shoulder. He collapses to the floor. ON GARCETTI - his eyes flutter and open. Danny walks over to Tanner and stands above him. DANNY (cont'd) ... there's two guys with masks and guns in the other room about to kill your wife. Tanner looks at Danny, confused. DANNY (cont'd) But you know if you go out there, they'll kill you, too. You'll both die. What do you do? Tanner realizes what Danny is talking about. DANNY (cont'd) Do you go out there and die like a man or do you live to fight another day? Tanner doesn't answer. Danny (cont'd) What do you do? Still no answer. DANNY (cont'd) Answer the question! Tanner is ghost white, loosing blood quickly. Danny (cont'd) What do you do! When Danny goes to shoot Tanner again ... ... Tanner pulls a K-BAR KNIFE Boys, this is what you get, homes. UNDER THE BED - the cigarette smoldering on the carpet. QUINCEY (cont'd) Domingo thought you might be the one who went rat on him. Quincey looks at Colette QUINCEY (cont'd) So I brought in a rat of my own. Danny looks at Colette, dumbfounded. Danny can't help from laughing at the irony. Beads of sweat are forming on his blanched face. He looks at Colette with a wry smile. Danny looks down at his bloody stomach. Danny stares at her, not sure what to believe. He looks over at Quincey. Quincey shakes his head. Danny looks at Colette, imagining the awful beating she must have taken. Quincey grabs her arm. QUINCEY (cont'd) Let's go. The drapes go up in flames. Quincey puts the gun to the back of her head. The fire continues to spread. Colette kisses Danny on the lips. Quincey pulls her away. Collette looks back one last time just as the flames reach the door, cutting off any escape. Danny breathing hard. He gets up. Staggers over to the mirror where his trumpet is. He opens the case and takes the trumpet out. He plops down on the bed and BLOWS A FEW NOTES. He stops for a second, a smile on his lips. He starts to play SAETA. Pieces of the roof start falling in. DANNY (cont'd) Tom Van Allen or Danny Flynne? (beat) Avenging angel or plain old Judas? He stops playing. DANNY (cont'd) (weakly) You decide, friend. You decide. He closes his eyes. DANNY (cont'd) I'm too tired ... so you decide. He drops his trumpet and lays his head back. CLOSE ON DANNY'S HEAD - seemingly floating through the fiery room. Emerging from the flames into a dark hallway. (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera | How did the protagonist's wife die? | Murdered by Morgan and Garcetti |
festooned with gold jewelry, his hair all wet jerry-curl. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get | What is the signifigance of the Salton Sea? | It is where the protagonist's wife was murdered. |
house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get LONG SHOT-Back on the Salton Sea, placid and silvered with moonlight. She is inches closer to him. Colette puts her arms around him and hugs him tight. The IMAGE OF THE SEA FLICKERS AND FADES behind them. CLOSE ON DANNY-holding Colette. Colette pulls back. DANNY (cont'd) But you gotta be serious about it. Danny goes over to the dresser. Takes out a baggie of meth. DANNY (cont'd) I want you to hide this somewhere where Quincy won't find it. Danny stalks her. DANNY (cont'd) Tommorrow night, when he is asleep. I want you to beep me at this number. He writes the number down on a dollar bill. Colette goes to protest. Danny puts his hand to her mouth the same way she did to him earlier. Jimmy looks hurt. DANNY (cont'd) I need you to do me a favor instead. Jimmy slides the money back over. Danny smiles, genuinely touched. Jimmy rolls his sleeve up, revealing a tattoo. Jimmy sits there, admiring the tattoo. Danny stares at Jimmy with pity. DANNY (cont'd) I really have to tell you something. It's important. Danny is deadpan. Jimmy starts laughing DANNY (cont'd) I'm not joking. Jimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops laughing. DANNY (cont'd) You asked me how I always keep my shit together. Well, that's how. Jimmy is agitated and confused. DANNY (cont'd) It's cool. I understand Danny gets up to leave. Danny taps Jimmy's arm. Jimmy rubs his arm where the tattoo is. Danny takes the envelope from his pocket. Danny tries to hive Jimmy the envelope. Jimmy pushes it away. Bubba hangs up. Danny turns the phone off. Danny hands the phone back to Garcetti Danny opens the back door. Danny gets out of the car. Shuts the door. As Danny approaches the truck, the | Where does Danny hide a gun prior to the drug deal with Pooh Bear? | Taped under a table |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get | Who is the neighbor Danny tells the story of his wife to? | Colette |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear Danny drops the card. Stares down at it as ... ... the blood from the floor pools out and engulfs the card. ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill. He draws the meth into a syringe then turns on the stereo with a remote. ... Garcetti's gun moving to the back of Pooh-Bear's head. Pooh-Bear about to plunge the drugs when GARCETTI FIRES. Pooh-Bear pitches forward, dead. The syringe falls to the floor. Tanner and Garcetti standing over him. They pull their ski masks off. Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI (cont'd) Let's get out of here. A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit. Tanner staring down the sucker's end of Danny's gun. DANNY (cont'd) Tom Van Allen Danny raises his gun. Danny shoots Tanner in the shoulder. He collapses to the floor. ON GARCETTI - his eyes flutter and open. Danny walks over to Tanner and stands above him. DANNY (cont'd) ... there's two guys with masks and guns in the other room about to kill your wife. Tanner looks at Danny, confused. DANNY (cont'd) But you know if you go out there, they'll kill you, too. You'll both die. What do you do? Tanner realizes what Danny is talking about. DANNY (cont'd) Do you go out there and die like a man or do you live to fight another day? Tanner doesn't answer. Danny (cont'd) What do you do? Still no answer. DANNY (cont'd) Answer the question! Tanner is ghost white, loosing blood quickly. Danny (cont'd) What do you do! When Danny goes to shoot Tanner again ... ... Tanner pulls a K-BAR KNIFE Boys, this is what you get, homes. UNDER THE BED - the cigarette smoldering on the carpet. QUINCEY (cont'd) Domingo thought you might be the one who went rat on him. Quincey looks at Colette QUINCEY (cont'd) So I brought in a rat of my own. Danny looks at Colette, dumbfounded. Danny can't help from laughing at the irony. Beads of sweat are forming on his blanched face. He looks at Colette with a wry smile. Danny looks down at his bloody stomach. Danny stares at her, not sure what to believe. He looks over at Quincey. Quincey shakes his head. Danny looks at Colette, imagining the awful beating she must have taken. Quincey grabs her arm. QUINCEY (cont'd) Let's go. The drapes go up in flames. Quincey puts the gun to the back of her head. The fire continues to spread. Colette kisses Danny on the lips. Quincey pulls her away. Collette looks back one last time just as the flames reach the door, cutting off any escape. Danny breathing hard. He gets up. Staggers over to the mirror where his trumpet is. He opens the case and takes the trumpet out. He plops down on the bed and BLOWS A FEW NOTES. He stops for a second, a smile on his lips. He starts to play SAETA. Pieces of the roof start falling in. DANNY (cont'd) Tom Van Allen or Danny Flynne? (beat) Avenging angel or plain old Judas? He stops playing. DANNY (cont'd) (weakly) You decide, friend. You decide. He closes his eyes. DANNY (cont'd) I'm too tired ... so you decide. He drops his trumpet and lays his head back. CLOSE ON DANNY'S HEAD - seemingly floating through the fiery room. Emerging from the flames into a dark hallway. and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get | Who saved the protagonist from the fire? | Jimmy |
door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) cash. Pockets the dope. MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of sight. Tanner produces a print out from an F.B.I criminal computer file. A MUG SHOT OF BUBBA. The name BUFORD "BUBBA" NGUYEN underneath. TANNER (cont'd) Nothing local so we ran his prints through the F.B.I. Believed to be a major supplier in Texas. Jumped bail on a murder rap last April. Danny heaves a sign and plops down on a bench. Danny looks up. He doesn't look happy. Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS. CATHOLIC ICONS ABOUND: crucifixes, Virgin Mary's, needle point prayers. A KNOCK ON THE DOOR. Nancy gets up to answer. Nancy and Verne look at one another. Nancy pours the coffee. NANCY (cont'd) Billy's a cop now, you know. Danny pushes away from the table. Nancy grabs Danny's wrist. Danny stays put. NANCY (cont'd) I know everyone deals with grief in their own way. I know how hard it is to find closure. Danny looks at the shrine to Liz on top of the piano. Verne's silence is answer enough. DANNY (cont'd) I don't blame you for hating me. At least I understand that. (back to Nancy) But forgiving the butchers who killed Liz well I'm having some trouble with that one. Danny touches Nancy's hand tenderly. Verne slams his hand down on the table. Verne glares at Danny. No forgiveness in his heart. VERNE (cont'd) You ever think you might be buying drugs from the very people who took her life? Danny starts to say something. Stops. He is endorsing the back of a life insurance check. His Tom Van Allen driver's license laying next to it. He pockets the | What drug was "Danny Parker" allegedly addicted to? | Methamphetamine. |
signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear to nerve it out Danny gets up to leave. One of his hands shaking uncontrollably. He steadies it with the other hand. Danny goes to leave again. Pooh-Bear stands up. POOH-BEAR (cont'd) You got a deal. They shake hands. Pooh-Bear takes something from the kitchen counter and tosses it on the table ... ... a store-bought package of COW BRAINS. QUICK FLASH BACK: REVEAL that Pooh-Bear has been standing at the meat section in a GROCERY STORE. He is looking down at the package of COW BRAINS in his hand. Pooh-Bear tosses the package in his cart and walks away, whistling. Danny has been had. Pooh-Bear laughs uproariously. Jimmy holds out a bullet dispenser of crank. Jimmy pockets the drugs. Jimmy drives for a while, then ... Danny, Jimmy, Kujo and Creeper sitting in a booth. Jimmy and Creeper are amped, jaws grinding, eyes bugging. Kujo rambles on but Danny isn't listening. He looks exhausted, his face is pinched, there are bags under his eyes. He scans the bar, stopping on ... Colette sees Danny looking. Smiles at him. Danny returns the smile until the trashy dude looks over. Danny looks away. Kujo leans in and lowers his voice Danny shakes his head in amazement, then looks back at Colette again. She sneaks another look at him. ON THE TABLE - Kujo slides a drink glass in front of him. Danny amused by the conversation. He sees something out of the corner of his eye ... The boyfriend kissing Colette roughly. She obviously isn't enjoying it. Danny watching intently. KUJO (cont'd) Danny, come on. If I'm gonna let you in on the opportunity of a lifetime, the least you can do is pay attention. Danny turns back to the table. Kujo slides another | What body part did Pooh Bear loose due to his drug habit? | His nose. |
door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) | What did Danny share to a neighbor about how his wife died? | She was gunned down by masked thieves. |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA | Who killed Danny's wife? | The corrupt policemen, Gus Morgan and Al Garcetti. |
signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. cash. Pockets the dope. MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of sight. Tanner produces a print out from an F.B.I criminal computer file. A MUG SHOT OF BUBBA. The name BUFORD "BUBBA" NGUYEN underneath. TANNER (cont'd) Nothing local so we ran his prints through the F.B.I. Believed to be a major supplier in Texas. Jumped bail on a murder rap last April. Danny heaves a sign and plops down on a bench. Danny looks up. He doesn't look happy. Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS. CATHOLIC ICONS ABOUND: crucifixes, Virgin Mary's, needle point prayers. A KNOCK ON THE DOOR. Nancy gets up to answer. Nancy and Verne look at one another. Nancy pours the coffee. NANCY (cont'd) Billy's a cop now, you know. Danny pushes away from the table. Nancy grabs Danny's wrist. Danny stays put. NANCY (cont'd) I know everyone deals with grief in their own way. I know how hard it is to find closure. Danny looks at the shrine to Liz on top of the piano. Verne's silence is answer enough. DANNY (cont'd) I don't blame you for hating me. At least I understand that. (back to Nancy) But forgiving the butchers who killed Liz well I'm having some trouble with that one. Danny touches Nancy's hand tenderly. Verne slams his hand down on the table. Verne glares at Danny. No forgiveness in his heart. VERNE (cont'd) You ever think you might be buying drugs from the very people who took her life? Danny starts to say something. Stops. He is endorsing the back of a life insurance check. His Tom Van Allen driver's license laying next to it. He pockets the house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear | Why was Danny not killed by the gunshot to the chest? | He was wearing a bulletproof vest. |
house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... Danny drops the card. Stares down at it as ... ... the blood from the floor pools out and engulfs the card. ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill. He draws the meth into a syringe then turns on the stereo with a remote. ... Garcetti's gun moving to the back of Pooh-Bear's head. Pooh-Bear about to plunge the drugs when GARCETTI FIRES. Pooh-Bear pitches forward, dead. The syringe falls to the floor. Tanner and Garcetti standing over him. They pull their ski masks off. Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI (cont'd) Let's get out of here. A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit. Tanner staring down the sucker's end of Danny's gun. DANNY (cont'd) Tom Van Allen Danny raises his gun. Danny shoots Tanner in the shoulder. He collapses to the floor. ON GARCETTI - his eyes flutter and open. Danny walks over to Tanner and stands above him. DANNY (cont'd) ... there's two guys with masks and guns in the other room about to kill your wife. Tanner looks at Danny, confused. DANNY (cont'd) But you know if you go out there, they'll kill you, too. You'll both die. What do you do? Tanner realizes what Danny is talking about. DANNY (cont'd) Do you go out there and die like a man or do you live to fight another day? Tanner doesn't answer. Danny (cont'd) What do you do? Still no answer. DANNY (cont'd) Answer the question! Tanner is ghost white, loosing blood quickly. Danny (cont'd) What do you do! When Danny goes to shoot Tanner again ... ... Tanner pulls a K-BAR KNIFE and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get | Who saves Danny from the fire? | Jimmy. |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... (beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) | Why did Colette turn on Danny? | He daughter was being held hostage. |
Subsets and Splits