ATUK

REEL TWO

EXT. STORE WINDOW - SAME TIME - NIGHT

Atuk, now wearing his parka, gazes intently at something inside. Camera pulls back
to reveal a tank full of fish in a Chinese restaurant. Atuk walks inside and asks the
MAITRE'D about the fish, says he's hungry, and the maitre'd asks him to leave.
Atuk steps outside, can't tear himself from the window and the irresistable attraction
of live fish. He sees the maitre'd distracted by customers, slips back inside, grabs a
huge, flat, wide flounder and rushes out with the Chinese maitre'd chasing after him.

MAITRE'D
(shrill)
You come back!

ATUK
(stops)
I'm hungry. I'll get you some more, I promise.

The maitre'd looks at him as the fish flops in Atuk's
hands. He gives up the chase as Atuk runs off.

EXT. STREET CORNER - NIGHT

Atuk rounds the corner and pauses to rip the
fin off his fish with his teeth. Atuk is starved.

Atuk runs up the block, stops by a lighted window and takes his first ravenous bite
by an enclosed automatic teller with customers inside. Appalled New Yorkers shout
and pound on the glass. Atuk runs around another corner and stops, completely
out of breath, by THREE freezing, homeless BUMS drinking wine by an exhaust grate.

ATUK
Is it okay if I sit here?
(no response)
Thank you.

He sits near them, tries to catch his breath, then digs back into the fish.

BUM #1
(leans forward, dumb, brain-fried delivery)
You ever hear of a fork?

ATUK
(wanting to get along, but more interested in chewing)
Oh, yeah, yeah -- forks, yeah. They're very good.

BUM #1
(to others)
Guy's a cannibal.

ATUK
(offering a bite)
Want some?

BUM #1
It's fucking raw.

ATUK
That's the way they come.
(stops eating for a moment, off their uncomprehending looks)
I'm an Eskimo, see -- and this is how we eat fish.

BUM #2
Right.

Atuk shivers, not so much from the cold, but from loneliness.

ATUK
I'm serious -- I'm Eskimo.

BUM #1
So where's your igloo?
(all laugh)

ATUK
Oh, well, that's pretty funny -- from
three people sitting here freezing to death.

BUM #2
(swilling wine)
Speak for yourself, Eskimo.

ATUK
(walks away, looks back, still wanting to be friends)
I can make a big one, if you wanna come.

They jeer him. Atuk walks on.

EXT. CENTRAL PARK - NIGHT

Atuk walks through snow to a clearing, begins to pack snow into blocks.

EXT. STREET - COLUMBUS CIRCLE - ENTRANCE TO PARK - NIGHT

The bums are out of wine and even colder. One tosses the empty bottle, the others get
up and try to slap the cold from their bodies. Bum #1 steps up the street towards Atuk's
footsteps in the snow. The others follow, curious now, dubious, but willing to try anything.

EXT. CENTRAL PARK - NIGHT

Atuk has stacked the blocks into a snowhouse, now two-thirds complete.

EXT. COLUMBUS CIRCLE - NIGHT

The bums, whose trail-following ability has been attenuated by liver disease
and the cold, are stymied by a confusion of footprints. Bum #1 calls
the others when he spots a single set of tracks leading into the park.

EXT. SNOW HOUSE - CENTRAL PARK

Atuk has finished an oddly homey dome with a couple of ice windows,
entry tunnel, smoke trickling from a hole in the top, and the
glow of a small fire in the windows. The three bums wander up.

BUM #2
This is the twilight zone.

INT. SNOW HOUSE - NIGHT

The bums crawl inside, cautious and leery, as Atuk blows
on a tiny pile of tinder -- not much, but it's a lot warmer
in here than outside. One bum takes off his coat.

ATUK
(proudly)
There you are, huh -- see, I told you.

BUM #1
(totally solicitous now)
Oh, yeah, we were just kiddin' around.

BUM #2
Aren't too many of these in Central Park, that's all.

Atuk gives a huge, proud grin.

EXT. SNOW HOUSE - NIGHT - LATER

In quiet darkness. You'd hardly know you weren't in the north.

ATUK
(V.O.)
I was reading about fiat currency, where a government
prints money without anything to back it up, and
they call it money just because they say it is ... do you
guys think that's a good policy? Are you awake?

DISSOLVE TO DAWN

After a pause, we hear a snow plow move down a road near the clearing.
It stops, as if considering this odd mound of snow, guns the engine, then
rams through half the snow house. The bums and Atuk scramble free.

EXT. COLUMBUS CIRCLE - ENTRANCE TO PARK - DAY - LATER

The bums and Atuk wander out, crossing Central Park West, heading toward the River.

EXT. PIERS - BATTERY PARK / NYC HARBOR

Atuk and the bums walk past abandoned, crumbling docks and warehouses.

ATUK
(seeing river)
Are there fish in there?

BUM #2
How do I know? Probably more bodies than fish.

Atuk stops, heads for the shore.

BUM #1
What the hell is he doing?

Atuk picks his way over a broken-down pier, pulls jiggle-fishing string
from his pocket, and lowers it's ivory lure through a missing plank.

ATUK
(to water)
Come on ... something too good to eat, huh ...
Mmmmmm, full of vitamins and nouvelle
presentation ... all the girls will say "What's that
you're eating, so appetizing, so sophisticated --
I love a fish who knows how to live ... "

BUM #2
(to others)
Let's get outta here.

The bums walk off. Atuk notices. He's torn between joining them or staying with the string.

ATUK
(calls out to bums)
Hey!

The bums pay no attention and walk on. Atuk finally realizes how bad, how
depressing, how disappointing his situation is. Alone, fishing on a busted pier,
surrounded by ugly ruins that look nothing like what he expected. He jiggles
the line. Nothing happens. Then he looks up, hearing a faint noise.

ATUK'S P.O.V. - DAY

He watches a dot on the water grow into the most amazing thing he's ever
seen - a 24-foot scarab lunging full-throttle up the river -- right towards him.

EXT. BATTERY PARK / NYC HARBOR - BOAT - DAY

Bishop is at the wheel on the bridge, wasted. He lets out a whoop and
makes a radical turn. The boat screams by Atuk, shoots a freezing
rooster-tail across the pier, splashing Atuk. He's oblivious to the water,
though -- he's mesmerized by the boat, he's never seen anything like it.

EXT. BATTERY PARK / NYC HARBOR - BOAT - DAY

Now headed for a row of barges in the middle of the river.
Bishop slaloms between them, loses control and hits one --
gives out another war whoop as the boat arches in the air,
bounces on the water, and sinks. Atuk watches in awe.
Bishop panics, hits the water, and shouts for help.
Atuk hesitates, then jumps in.

EXT. BATTERY PARK / NYC HARBOR - DAY - BUMS

The bums are watching from a distance, with other passerby near.

BUM #1
(yells to Atuk)
You'll freeze to death!
(they run to the dock, to onlookers)
Call the cops!

EXT. BATTERY PARK / NYC HARBOR - RIVER - DAY

Atuk grabs hold of Bishop, now limpe in the water, and swims him back to shore.

ATUK
(to Bishop, blase)
So what's the turning radius on this thing?

EXT. BATTERY - PIER - DAY

Several police cars arrive, as well as a reporter with a camera. Cops run out onto
the dock as Atuk swims up. They haul the kid up -- he's blue and nearly frozen stiff.
Atuk is brought up afterward, and wrings himself out.

COP
(amazed, to Atuk)
Are you okay?

Atuk finds a nice fat fish trapped in his parka and gives a delighted smile.

ATUK
Oh, yeah.

INT. MICHELLE'S APARTMENT (CLOSE UP) - USA TODAY - DAY

Front page photo of Atuk, smiling with the fish, under the headline -- "Eskimo
in Miracle Rescue". Pull back to see Michelle reading it in her apartment.

INT. HENRY HUDSON HOSPITAL ROOM - DAY

Other papers are spread out near Atuk on a bed -- he's a little
bewildered, surrounded by a nurse, reporters, and photographers.

REPORTER #1
What are you doing in New York?

ATUK
I just wanted to see what it was like.

REPORTER #2
Did you know who you were saving?
Have you been offered a reward?

Before Atuk can answer, Alexander McKuen and Pike
step into the room. The crowd parts, a few cameras flash.

McKUEN
(emotional, beaming)
Gentlemen, I think thats between this brave man and myself.

McKuen approaches Atuk, near tears, and shakes his hand.

McKUEN
Sir ... with all of my heart ... thank you.

ATUK
(squints from camera flash)
You're welcome.

REPORTER #3
Mr. McKuen .. is it true, you've offered him a job?

REPORTER #2
Are you buying the Arctic Circle?
(all laugh)

BARKER
(a weevily man, smacking of low-budget
liberal press, leading question)
Are you concerned about the behavior of your son?

McKuen turns on this guy, suddenly harsh, then composes himself.

McKUEN
My son, the welfare of my family effects every aspect of my life.

BARKER
Are you concerned about the negative
environmental reports on the Emerald Project?

Pike flashes a look at McKuen.

McKUEN
(smiling, slick)
I can't comment on a project until it's officially announced.

Reporters shoot more questions all at once.

NURSE
(sternly)
All right, everyone, that's enough.

McKUEN
(over shouting reporters)
Let's give the man some rest, okay?

McKuen gives a thumbs-up to Atuk and exits with his aide, reporters follow.

INT. HOSPITAL HALLWAY - DAY

McKuen, Pike, and the clamoring, picture-taking reporters exit Atuk's
room as Vera leaves Bishop's room across the hall and joins her husband.

VERA
He's still sleeping. They said he'll be out in a couple of days.

McKuen walks on with Vera and Pike, ahead of the reporters.

McKUEN
(rapidfire, to Pike)
Get a salvager and see if there's anything left of the boat,
call the school and let 'em know that Bishop will be out
for a while, tell that doctor he's been seeing that I want
him to stay at the house, and think up something
appropriate for the Eskimo -- what's his name?

PIKE
Atuk.

They walk into an elevator as Michelle walks off.

INT. HOSPITAL - NURSE'S STATION - DAY

Michelle arrives at the nurses's station, looking for Atuk.

MICHELLE
(to nurse from Atuk's room)
Excuse me, I'm looking for Atuk ...

NURSE
(busy)
Sorry, no more visitors.

MICHELLE
But he knows me -- I brought him to this country.

NURSE
(tough)
Strict orders.
(walks away, leaving Michelle out of luck)

MICHELLE
Is he allright?

NURSE
Yes, he's fine.

EXT. HOSPITAL - DAY

McKuen, Pike and Vera exit, accosted by more reporters behind police barricades.

McKUEN
(to his wife, musing philosophically)
I think it's amazing that probably the only man in the world
capable of saving my son should be here -- at this moment in time.
(to aide, reverts to business mode)
Where was I? -- Oh, yes -- find out who the hell that reporter was.

They climb into a waiting limo, close the door, and drive off.

INT. HOSPITAL ROOM - NIGHT

Atuk sits on his bed signing a letter. He reads it aloud.

ATUK
Dear Mother: This is just to say hello and that I'm doing okay. At least
that's what the doctors have been saying while I'm under routine observation
after getting a boy out of a river. That's what they do here when you get
wet, I think -- these people don't like to get water on them, so they observe
you routinely when it happens. Everything else is ... terrific. I've seen
so many things and talked to lots of people, including a lady that
had a whole coat made of silver foxes, and a newspaper that has
my picture on it with a fish. I am sending it to you along with an
advertisement for the silverware I'm going to buy to eat with ...

Bishop opens the door, dressed in dried by wrinkled
clothes, shirttail out, carrying his shoes.

BISHOP
(hushed, subdued)
I just wanted to, you know, thank you for what you did.

ATUK
You're okay now?

BISHOP
(steps in, sits by the bed)
I guess ... they said I could go home tomorrow.

ATUK
(looking around)
That's too bad. I mean, this place is pretty nice.

BISHOP
(goes to window, looks out)
You drink?

ATUK
No. I mean, liqour -- I haven't had it too much.

BISHOP
I was thinking maybe we could go out and celebrate a little.

ATUK
We could celebrate here.

BISHOP
(goes to door, grinning)
Come on, put on your clothes.

ATUK
What about the observation?

BISHOP
(handing Atuk his clothes)
Fuck it -- we'll be back before they know it.

INT. CLUB - NIGHT

A toney dance place full of rich dilitant teens.
A doorman greets Bishop and Atuk as they enter.

DOORMAN / BOUNCER
(to Bishop, knowingly)
Got any I.D.?

Bishop hands him an I.D. of sorts -- a fifty dollar bill. Atuk follows Bishop
with amazement through the lights and the motion and the noise as kids stare,
recognizing Atuk from the paper. Bishop checks their coat -- the girl can barely
lift Atuk's parka -- then gets a pair of drinks from the bar and waves to his friends.

BISHOP
(standing, raises his glass to everyone around, shouts)
Ladies and Gentlemen -- the Miracle Rescue!
(downs entire glass as everyone cheers)

Bishop raises Atuk's hand like a victorious fighter, more applause.

ATUK
(smiles, politely)
Thank you.

Atuk then copies Bishop, downs his glass, and lets out a booming yowl.
Music starts, a GIRL gives a conniving glance to a friend, then steps up to Atuk.

GIRL
(sultry)
You wanna dance?

Atuk smiles excitedly. She leads him to the dance floor. He's awkward, beginning to
feel the liquor. He tries to follow her motion and ends up doing a tribal sort of jig.
Others begin laughing at him, egging him on. Someone hands him another drink --
Bishop sees what is happening and moves through the crowd towards Atuk.

ATUK
(feeling powerful and bold)
OH! OH! I CAN DANCE TO THE MUSIC!
(mocking cheers from crowd)
I CAN BREAK THIS GLASS!
(more cheers as he throws it)
I CAN HAVE MORE DRINKS!

Atuk gulps another drink. A kid next to him begins to bark
and flap his arms like a seal, prodding Atuk to do the same.

ATUK
(sees this, catching on)
I CAN BE A SEAL!

He begins barking louder and louder, tilting his head back, imitating
a seal's movement -- the way an Eskimo might during a hunt. Kids laugh
louder. Some begin tossing ice cubes at the Atukian seal to see if he'll catch
them in his mouth. Cubes bounce off his head. Atuk tries not to pay attention.
Bishop steps in front of him, glares at the crowd, then turns to Atuk.

BISHOP
They're assholes.
(Atuk looks around, sees people staring and
laughing at him, softly, gesturing to leave)
Come on.

Atuk manages an embarrassed smile, as if to pretend that
no one was making fun of him, follows Bishop out the door.

INT. LUXURY SUITE (PLAYBACK ON TV SCREEN)

Vera McKuen walks a little stiffly through a lavish hotel suite.
Pictures of several luxury hotels are framed on the wall.

VERA
My hotels are my warmth. In elegance, in warmth,
in individualized attention to every need ...

Vera pauses as a street-smart, steel-minded, slightly rumpled
media image consultant -- MALCOLM TREET -- walks up to her.

TREET
I wanna see you sweep through the room --
you're the hostess, this is your living room.

He touches her on the waist -- these two are more
than professionally familiar with one another.

INT. McKUEN LIMO - MANHATTAN - DAY

Vera watches a VCR playing the commercial. Her
husband and Pike are involved with paperwork.

VERA
(to deflect what McKuen might have seen on the screen)
Anyway, Malcolm is doing an unbelievable job.
(turns off VCR)

McKUEN
(patronizing)
Yes, a fine job.

PIKE
Sire, on the matter of the Eskimo ... I suggest giving him some expense
money and putting him up for a couple of weeks in one of the hotels ...
(smiles to Vera)
As Mrs. McKuen's guest -- it'll be terrific publicity.

VERA
(looking out window, mind is somewhere else)
Where the hell would I put a damn Eskimo?

McKUEN
For God's sake, Vera -- the man saved our son's life and I'd like to show
him our gratitude, that's all. He has no family here, probably no friends ...
we'll give him everything he's ever dreamed of -- we'll take him home.

Vera glares at him incredulously.

VERA
(shouts)
Excuse me ... I will not have a 250 pound Indian
with moss on his feet running around my house.
(studies her husband)
Why are you really doing this?

McKUEN
(tactful but firm)
Vera, dear ... he's coming home with us, and that's final.

EXT. McKUEN MANSION - DRIVEWAY - DAY

Open tight on a pair of moss-filled muckluks stepping from a limo.
Pan up to Atuk, awestruck by a beautific vision as Vera looks down
at the shoes. Reverse angle on Vera, McKuen, and Bishop shows
them all watching Atuk gape at their magnificent palace of a home.

ATUK
This is your house?

INT. McKUEN MANSION - DAY

Atuk follows everyone in. A maid closes the door.

ATUK
(a mile a minute)
This is the most beautiful thing I've ever seen.
Is this really your house? I mean, how much
did it cost? Boy, talk about earning power.
(picks up Chinese vase)
Look at this thing ...

Vera takes the vase from him and hands it to the maid.

BISHOP
(to Atuk, heading upstairs)
Come on.

McKuen clasps his hands and gives a big smile. Vera suppresses a groan and follows
Atuk and Bishop, pointing out to the maid bits of dirt and moss on the steps as she goes.

INT. McKUEN MANSION - ATUK'S BEDROOM - DAY

A vast, ugly colonial chamber with canopied bed and dizzying flowered wallpaper.
Bishop, Atuk, and Vera walk in, followed by a maid who opens curtains.

BISHOP
(to Atuk)
Think you can handle this?

VERA
(cutting him off)
This is your room ... Alexander is having some
clothes sent up for you ... so you may want to ...

Atuk drops his parka on the bed. Vera flashes a look at the
maid, who picks up the parka -- it has deposited a huge blotch
of dirt and debris on a white hand-embroidered bedspread.

VERA
Clean yourself up.

The maid lugs the parka out of the room like it was a dead animal. Vera follows.

VERA
Bishop.

Bishop rolls his eyes to Atuk, as if to say "welcome to the asylum", then follows his mother.

VERA
(at the door, fake smile to Atuk)
I look forward to seeing you at dinner.

She closes the door. Atuk begins to take in these lavish, bizarre new surroundings.
He touches the flowers on the wallpaper, looks under the canopy, marvels at cords
he can pull to open and close the drapes, looks under the bed, then walks into a
bathroom and tries a faucet. A blast of water startles him, then deciding he likes
the noise and effect, he turns on all the taps in the sink and tub. He laughs,
plays with the spouts, squirting water all over, then wanders back into
the bedroom and discovers a telephone. He picks it up, hears a dial tone.

ATUK
(timidly)
Hello. Hello.

INT. McKUEN MANSION - ATUK'S BEDROOM - DAY - LATER

We hear a knock -- no response. A MAID puts her head in.

MAID
Pardon me, sir. Are you here?

She walks in with an older yankee HABERDASHER from Brooks
Brothers, pushing a rack of men's clothes. She leads him toward
a closet, then sees the phone cord running into the bathroom.

INT. McKUEN MANSION - ATUK'S BATHROOM - DAY

Atuk is in a full tub of water, lounging, talking on the phone like
a big shot -- the phone's base is between his knees, underwater.

ATUK
Yes, this is Air Force One, and I'm getting cleaned up
now. Yes, I'm cleaning myself. Well, I had to shoot down
all of those Russian bombers and I got a bunch of stuff
all over me, so I'm in this big thing full of water ...

The maid appears in the doorway.

MAID
Sir ... your clothes are here.

ATUK
(embarrassed, drops the phone)
Oh ... okay ...

MAID
Sir, I think you're not supposed to be in
the tub with the phone. It could kill you.

Atuk digests this, then screams and panics and jumps from the tub. Water splashes
the maid as he slips and grabs a towel rack. The rack comes off in his hand.
The maid starts at the sight of a reeling naked Eskimo and runs from the room.

INT. McKUEN MANSION - ATUK'S BEDROOM - DAY

The maid is gone. Atuk walks in, buck naked. The
Brooks Brothers man regards him with maximum reserve.

BROOKS MAN
Shall we begin?

INT. McKUEN MANSION - DINING ROOM - EVENING

Bishop, his mother and father, and the psychiatrist are served an opening course as Atuk and
the Brooks man clump down the stairs. Atuk is in a three-piece suit, and he has to plant every
step in the shoes to keep from slipping and falling down. The haberdasher exits. Atuk tries to
take a seat at the table, but the shiny hardwood floor is almost impossible for him to manage.

McKUEN
(brightly)
There you are.
(Atuk is still slipping, tries to nod; to wife)
Looks pretty good, doesn't he?

Vera rolls her eyes as Atuk struggles to his chair, then crashes with
it to the floor. Bishop helps him up as a maid serves him a salad.

VERA
Bishop, you haven't introduced our guest to Doctor Collier.

DOCTOR
(condescending again)
I've read all about you, Atuk. How does it feel to be a hero?

ATUK
(sitting, nervous smile)
Fine.

MAID
Dressing, sir?
(Atuk looks up)
Vinaigrette?

ATUK
(beaming)
Really?
(as she serves, overloud)
Wow, I can't believe this!

VERA
It's nothing special.

ATUK
Oh no -- if you come from where I come, almost everything is.
(looks at her hardened face, innocently)
Do you have a headache?

VERA
Pardon?

ATUK
I read where "50% of all headache discomfort
could be avoided by a change in lifestyle".

VERA
Really ...

Atuk starts to wolf down the salad from his plate with his hands.
Vera is appalled. Atuk remembers to use a fork, finds two forks at
his place setting, and solves the question by using one in each hand.
Bishop loves it. Atuk's entire method of eating -- chewing with his
mouth open, etc -- becomes more and more offensive, especially to Vera.

McKUEN
(to get on with things)
So, I'd like to make an announcement. We have an
opportunity now, to begin from scratch around here.
(looking at Bishop)
Today is the day we forget the past.
The trouble at school, the boat, everything.
(looks at doctor)
And begin some seriously constructive work on the future ...

DOCTOR
(sees how appalled Vera is by Atuk's
eating, arrogant chivalry, to Atuk)
Pardon me, but I wonder if you couldn't be a little more
considerate of your hosts. This is a table, not a trough.

Bishop gets up, walks around the table towards the kitchen, wheels
suddenly behind the horribly pallid and mealy doctor, and yells in
his ear. The doctor squeals and drops a mouthful of food, startled
half to death. Atuk laughs, dropping his own mouthful of food.

VERA
Bishop! Sit down!

BISHOP
Sorry, Doc.
(sits; to Atuk)
He looks like such a rock-solid guy,
I just wanted to, like, challenge myself.

McKUEN
(apologetic)
Atuk -- please pay no attention to this.

BISHOP
(to Atuk, re: doctor)
He used to be Special Forces. He's got a dick the size of a mailing tube.

VERA
Bishop!

McKUEN
(pretending none of this is happening, not wanting to deal with it)
So ... Atuk, tell us about yourself, you must have had a fascinating life.

ATUK
(smiles)
Oh, yes, fascinating. Nothing like this, though.

Bishop tilts his plate towards the doctor, revealing a long mound of food
that he's arranged into a suggestion of a penis. He winks at the doctor.

VERA
(to her husband, fuming)
Well, this is just going to go on and on, isn't it.

Vera can't take any more, leaves the table. Her husband
shakes a finger at Bishop, then calls after his wife.

INT. McKUEN MANSION - UPPER HALLWAY - NIGHT

Atuk steps out of his room, trying to trace a faint noise. He moves quietly
towards Bishop's room, puts his ear to the door and hears crying. Atuk
can't think what to do. He slips back to his room and closes the door.

INT. McKUEN MANSION - ATUK'S BEDROOM - NIGHT

Atuk tests a bedpost to make sure the canopy won't fall on his head, then crawls under
the covers. He hears a tapping at the door. Bishop walks in -- eyes red, but dry.

BISHOP
(sits by bed, trying to divert himself)
How ya doin'?

ATUK
I'm okay.
(pause)
How about you?

BISHOP
(distracted, covering)
Great ...

ATUK
(starts to laugh)
Boy, I thought that guy's eyes were going to blow out of his head.
(Bishop smiles, begins to laugh with Atuk)
How come you were going so fast in that boat?

BISHOP
(laughter dies, shrugs)
I just got in it.
(gradually more exhilarated)
And I remember shouting, like screaming, and this boat's
just bouncing across the water -- bam, it hit a wave,
and stuff is flying all over the cabin, and I pulled back
some more on the throttle, 35 knots, 40 knots, 45 ...
(Atuk is mesmerized, living the excitement)
Bam, another wave, and I cut the wheel, and that thing was
practically on it's side, man -- whipping between these huge
barges of ice -- I was just having so much ... fun, you know?

ATUK
(nods, wishing he did)
Yeah.
(wants to be accepted, tries to top him)
I was on a sled once ... and I saw this thing on the horizon --
it was a train, okay? And all I could think about was, no
matter what, I have to beat that train. And the sled was
vibrating, and the harnesses were whipping against the ice
and starting to rip apart -- but the dogs knew what I wanted
and they were running so fast you couldn't even see their
legs move. It was just like these dog bodies were just
floating about a foot above the ice. And I heard the train
whistle, okay? --It was right along side of me now, and we
were almost to thisbridge, and you know what happened?
It caught fire -- the engine just couldn't take it anymore.

BISHOP
(looks at him, grins)
You beat a train?
(Atuk shrugs, laughs)
Bullshit.

ATUK
No, no -- absolutely no bullshit.

BISHOP
(still laughing)
It caught on fire?

ATUK
Man ... it blew up.

BISHOP
Bullshit ...

DISSOLVE TO:

EXT. WILDERNESS - DAWN

A quiet, trackless wonderland of trees flocked with icicles and
white fluffy snow -- as pristine and isolated in it's own way as
Atuk's native tundra. A deer pokes into frame, freezes at a
distant sound, then runs off as a Bell Jet Ranger helicopter
screams up from behind a hill and lands in a clearing. McKuen
and Pike step out and survey the area as workmen put up a sign
above a nearby split-rail fence that reads, "McKuen Group --
Future Site of THE EMERALD". Others post "No Trespassing" signs.

McKUEN
(proudly, breathing air)
I love it here, don't you?

PIKE
(walks with McKuen)
The reporter you were interested in, sir -- his name is
Ragsdale -- he's sort of a self-styled friend of the earth.

McKUEN
(distracted, surveying)
Then he'd love it up here too, wouldn't he?

PIKE
I'm not so sure, sir.
(shows McKuen a newspaper)
This appeared yesterday under his byline -- he claims some
group has taken soil samples around this whole area, and ...
(points to article)
Well, you can see this supposed data ...

McKUEN
(mildly annoyed, walks on)
Where do these people come from?

PIKE
(following)
Nevertheless, Senator Pierce's committee is apparently feeling some heat,
and they've announced a series of land-use hearings in New York.
(catches up, worried)
They'll target the Emerald, sir -- and if the public is against us, they'll stop it.

McKUEN
(seemingly unconcerned)
Let's go back, shall we.

He turns and heads for the helicopter.

INT. McKUEN MANSION - HIS HOME OFFICE - DAY

He and his aide walk into a lavish private lair. McKuen sits at a
desk while a wall full of TVs and Qutrons, like the ones in his office,
plays silently behind him. A secretary approaches with a notepad.

SECRETARY
Mr. Reed and Mr. Gordon called and said they're definite ...

McKUEN
Add another name, will you ... no, on second thought,
I'll call him myself. Get me Senator Pierce in Albany.

INT. McKUEN MANSION - BILLIARD ROOM - DAY

The secretary dials, McKuen looks out a window as the closest TV screen behind
him shows a documentary -- footage of the dance in Atuk's meeting hall.

McKUEN
(picking up the phone)
Charlie, I hear you're coming to New York. Well, listen, I'd love for you
to come over to the house -- we're having a little get-together ... uh-huh ...

He turns, sees Eskimo footage on TV -- now a closing shot of Atuk laughing,
as he is pulled across the snow by a reindeer. Pierce yammers on the phone,
McKuen concentrates on the screen, gradually overtaken by the idea.

McKUEN
(into the phone)
8:00 tomorrow -- but come a little early, it'll give us a chance to talk. See you then.

He hangs up as a producer credit appears on the screen --
"Michelle Ross". McKuen picks up the phone again.

McKUEN
I'd like to put another name on the list.

END
REEL TWO

ATUK - REEL THREE

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