go back home.  leave me alone.
no.  stay here.  stay! hector takes a few steps. the boy follows.
no.  go back.  go away.
leave me alone! stay here.  stay!
up the hill!
up the hill! they're down there already. i saw them!
don't move from here. i'll come for you in the morning. there's no food. try and sleep in the branches. don't cry. don't make a noise. hector moves off, looking back to his children in the tree. they too gaze anxiously at him. they don't wave. maybe waving hasn't been invented yet. hector heads off alone, higher into the hills.
yes.
two mice.  and some bread.
two chicken legs, then, cold, and the bread. as hector is given the food and pays for it, he sees another man, julian, approach lucinnius, trailed by two slaves. one of them is carrying a folding chair much more substantial than lucinnius's. julian and lucinnius greet one another and sit down to talk, lucinnius at something of a height disadvantage. the two slaves move off to one side. lucinnius's mood has brightened since the arrival of his friend. their conversation seems open and friendly. hector gives his master his food, and then moves to join the two slaves, hearing a snatch of the conversation as he goes.
when did you hear?
this is the worst it's been. *
he's finished.  you reckon? the other two nod their heads.
well.  if he'd pulled it off he'd be in rome by now.
and me with him.  half way home.
will he lend you the money?
that's a problem.
have they?
yes.
it sounds good. lucinnius misses the irony in hector's voice and enthuses about his own future generosity.
you must.
he kept me working until morning.
he has no money and a lot of enemies. if he's very clever he'll survive.  but the omens are bad.  and he's not very clever.
nobody does. he's unfortunate. you get people like that. clumsy and sad. thalia looks out towards the sea.
it's the gods arguing. they're working out what to do with lucinnius.  he'll be lying awake down there.  wondering what they're saying about him.
if he goes down i'll ask for my freedom.  he owes it to me.  he said as much.  you too.  we could be free.
what we talk about.
i just made that up.  i don't * know which way they are.  anyway * .  you can't think like that. * not after so many years.  *
we talk about it because it can * never happen. what we do is you * and me.
never. it's you and me now. that's all.
then i can see you every night. i'm tired.
sorry to trouble you.  just fetching a chicken.  good night .  the roof's free.  the man shakes his head with a smile. hector leaves, the sleepy chicken going to meet her fate in his arms.
come on, miss, you can tell lucinnius his future.
you look happier.
will he help you?
what if you don't.
i don't know what to say.
i don't understand. what do you want me to do.  i don't think i can help you.
i don't know what you mean. what mess? *
you say we.  i don't know.  what is we? i've done nothing.  i * know nothing.  lucinnius changes his tone, becomes more, in his own mind, frank, man-to-man.
what kind of story?
so i'm a conspirator?
can i sit down?
this is the worst it's been.
but even if it's round you can still fall off the edge. hector has picked up a large metal plate to help him make his point.
do you believe everything that greek tells you?
so, where is my home?
seven. gallus walks out the distance from rome with his fingers, * as if there is serious calculation. *
i wasn't upside down.  and how * could you see the sun round there .  i saw the sun at home.  every day.  gallus is stumped for answers. *
yes, tell me tomorrow.  i'd like to know.  because my children are round there and i want to know that they're getting the sun.  ask him something else, too.  where are the gods if the whole thing is round?
it's saying yes.  there's a way.
but you asked it if we had to die, or if there was another way.  it's saying yes, there is.
maybe it's just hungry.  the chicken is inscrutable, as they are prone to be.
only chickens.
no.  but i want something.
i want to die a free man.  i don't want to die a slave.
in writing.  so that when they find me.  they know i died a free man.  please.
thank you.
what do you want me to do?
i understand.
you've done it.  you've done it .  lie down.  hector speaks gently, like coaxing a frightened animal. he helps lucinnius lie out on the marble floor.
close your eyes.  you did it.
lie still.  lie still.
shush.  i'll need the knife.
i'm leaving.  come now if you want to.  but we must hurry.  i'm a free man.  i'm free. will you come?
i have some mail for tyre.  where are the east-bound ships?
we want a timber ship.  they go west.  straight to rome.
you can go to anywhere from rome.
where is the captain?
good morning, captain.  i'm looking for passage to rome, for both of us.
i'm the steward of lucinnius the merchant.  we have business in rome.  i need an immediate passage.
of course. *
when do you leave?
keen to start, yes.
yes, of course. we can tell he is lying.
no.  they can't be.  they're lost.
a bit cold.  walking.  she smiles at him. he sits opposite her in the wagon, and allows his foot to touch hers. she doesn't move away. hector calls to the driver.
how long to get there?
i thought i heard fighting.  back there.  beatrice replies, but in a language that hector doesn't understand.
i don't know what you're saying.
i don't understand. beside hector the girl has stopped sobbing but she is still troubled. she turns to him and speaks quietly but with determination.
i saw some fighting today.  back up the road.
i don't know. they all look the same to me.
how do you know she's a widow?
you did, ronald.
i won't be travelling today.
i'll stay.
i think you know what i'm saying .  a little.
how come you don't speak like anyone else? are you far from home? home? where you sleep and live?
i'm far from home, too.  way, way * over there.  then across the sea.
have you ever seen the sea? water * everywhere.  right to the end of the world.  i come from the other side of the little water, then * there's the big, big water.  i * had a friend who sailed on that.  * went too far.  fell right over * the edge.  into nothing. they never came back.  they fell off the world.  hector smiles, pleased with himself. beatrice laughs.
you think that's funny? it's true.  it's a sad story.  you shouldn't laugh.
i'm not making sense, am i? well, let's go back to homes. that's where i'm going.  i've been away for too long.  some people locked me up.  i had to run away. *
we have to learn to talk the same.  try it like me, say it.  home.
home.  home.  try it.  home.
i don't want your word for home, i want you to say mine.  home.  home.
home.  home.  beatrice smiles. in this tiny victory the dynamic of their relationship is set.
flea.  a flea.  thanks.
why don't we go somewhere and have a good session.  i could do you.  i'd like to give you a good grooming.  they understand each other perfectly now. they look around for a more private spot.
yes, it does feel good. she gives his scalp a final delicious rub, and then stops.
got one.  a tiny little one.  yours are so small.  and fair.  * to hector even her fleas are a delight. he seems to want * to keep it as a pet. there is no hope for this man. * beatrice moans softly, happily. hector still kneading * her scalp.
i don't know your name. i'm hector.  who are you? i'm hector. beatrice replies with a hint of breathlessness.
beatrice.
yes, i think beatrice is a good name. * beatrice is sighing contentedly now.
good morning. hector and beatrice look at each other. the priest looks at them in turn. their cheeky act of innocence mocks him.
you're a busy man, what with all these souls departing.
nothing at all.
moving on, as you told me to.  we'll meet up, like you said. i'll wait for you at the channel. *
witch my arse. stop giving me orders. both of them are unhappy now, confusing one another, spoiling their friendship.
you're a strange fellow. are you a priest? are you jealous?
you have work to do here. the priest walks back up to the farm. hector calls out * what might be an attempt at an apology or simply another * taunt.
i don't understand you.
i'm glad we're going the same way.
why do you smell so wonderful? he lifts his head to let her see him sniffing. *
he's not moving. he must've seen us, though. * she sits up and straightens her clothing, suddenly anxious.
it's a dead man.
come on, we're going that way at any rate. they move cautiously. when they are closer to it, and * can see it for what is is, they walk straight for the dead body.
no sign of a battle.  only a few horses.  or just one. he wasn't killed in a fight.
that's good of you.
it's all we can do. it won't keep the wolves away though.
you've put magic in this stuff, haven't you, you're bewitching me.  they appear to get the gist of one another's love talk.
i don't know what you're saying but i like you when you talk.
we should go now. we've been here too long.
you said mama. i know what that is.  mama.  we can talk the same.
i have to keep the sun on my back, that's what ronald said.  the sun on my back all the way home.  i'll stay on this side of the river.
i stay on this side.
oh yes.  oh yes.
i think we're going the wrong way. i want the sun on my back. we should have stayed on the other side.
is there water.  to drink.  to wash? he mimes with his hands. beatrice understands that he wants some breathing space. she talks to her son.
no, no.  sit down.  i just came to watch.  please.  sit.  he guides the mother back to the good chair. they struggle comically for a while, but eventually she allows hector to settle her there. she mumbles unhappily.
you must sit there.  look.  you need the light from the window.  it's your seat.  i don't want it.  it's yours.  i can sit on the box. the old woman allows herself a shy smile. whether in innocence or mischief, she has secured the best seat in the house for herself. if he stays, hector will never dare rest his bones in it.
ah.  the boy says something and points towards his sister. she stands by her cauldron, stirring the bubbling liquid. hector goes to watch her work. he looks in the cauldron.
good color.  for cloth?
ugh.
peepee? the girl nods enthusiastically. the boy is sniggering.
mmmm.  good food.
i have to leave soon. i can't stay.  it would be wrong to stay for just a while.
i have to go.  have to keep the sun on my back.  i have to get home.  i have a family, just like you.  i like you.  you * smell good.  wonderful.
i had a wonderful dream. i was * lying under a tree, beside a river. i was dozing. i heard the water.  beautiful clear water. i got up and drank some. i think i ate some * raspberries too.
i think there's more chance of me eating you, andre.
i have a carpet and some cloth.  i thought if we worked together we could make a better shelter.  francisco barely stops his work to reply.
at least ask dona ursula.
well.  would you take my cloth, at least?
good work, andre.
you go and sleep by the big fire, andre. keep warm.
thank you, nuno.
i'll start with two.
but there's tomorrow, nuno.  we must eat tomorrow too.
dom paulo would call it a waste. you must keep yourself strong, nuno, that's what he'd say.  so that you can help the others.  god knows what we have ahead of us.  we'll need strong people like you.  nuno is silent, unconvinced.
try not to think about lopo any more.  the guards wouldn't let you near him anyway.
goodnight!
i hate it when people have to die. *
it's foolish squabbling at all. we should be friends. francisco looks at him for the meaning in what he is saying. hector shrugs. he takes a small bundle from his jacket and gives it to francisco.
some bread and raisins.
well this wasn't. it's for her.  and you. francisco looks hector straight in the eye, looking for his angle. but this time there is none. hector is simply a lonely man seeking to retrieve lost friendship. there is a glimmer of sympathy in francisco's face.
i must speak to her!
how are they?
yours were fine?
have you any eggs left?
you were lucky. what?
you don't like andre anymore?
we're not going to die, andre.  hector smiles at his own insensitivity.
i've forgotten your name.
now i remember why we called you andre.
i will, andre.  i promise.  i'll call you that.  when i remember.  andre is satisfied, and leaves. hector calls to him.
good night.  keta.
yes.  good night.
hey! stop that, will you? think of the older people, and the sick.  i'll give you an egg if * you stop.  here.  *
stop that.  leave her alone.  get back to the camp.  or i'll tell your mother.  how can you play like this when there are people needing your help back there? the boy is standing now and fixing his clothing. he walks off back to the camp. the girl remains sitting in the sand, buttoning her dress, too embarrassed even to raise her head to hector.
come back.  i didn't mean it.  it was a joke.  you come back.  she's still here.  i won't say anything.
i'm sorry.
suck out the marrow.  it's the best bit. nuno follows hector's example. hector allows him to feel the benefit of his gift before he starts to talk.
i'm sorry about today.
but it does.  it was mean of me.  i was upset at something.  i wasn't really angry at you.
you don't think too badly of me?
you still like me? nuno shyly nods his head. *
you do?
well, that makes me feel better.  we all have to like each other.  and respect each other.  that's important too. they are silent for a moment.
if you don't respect me, just say so.
i have a boy like you.  maybe * you could meet him when we get home.  this doesn't produce much of a response. hector tries again. he starts to chuckle to himself and nudges nuno in the ribs.
you can take her back there tomorrow, eh?
i'll be glad when we're on the move.  the sound of the sea is driving me mad.
where is ursula? sleeping?
will you share a bottle of wine with me? i've had it since we left the ship.  i want to drink it tonight, with you. this offer has found a chink in francisco's armor.
yes.
i know. i feel very guilty. i brought this too.
honeyed fruit. the last i have. francisco can't believe such food still exits. he smiles in anticipation.
i brought it for ursula.  francisco talks through his munching.
surely.  some fruit couldn't.
why is it always me? why am i always guilty, always sorry.  am i so bad?
i had to get home.  just like you.
but.  the other raft was sinking.  francisco * so? *
you must come with us.
and afterwards.  what will you do then?
alone?
francisco.  i have to see her * before we leave.
ursula.  it's hector.
we're leaving soon. i've come to say goodbye.
i won't forget you.  i won't forget india.  i can't forget how i hurt you.
we should have talked.  i could have explained.  many things.  she manages a whispered word.
yes.  i'll pray for you in lisbon.  at the cathedral.  she lies still. hector lingers for a moment. then he speaks again.
i'm sorry i hurt your pride.
nothing, nothing.  ursula speaks one word, and then falls back into a dead faint.
ursula?
francisco, i must talk to you alone.
yes. i think so.  *
is there anything that i can do for you? a letter.  a message? * francisco laughs softly.
i want to ask you something. * there's no easy way to do it.
your boots.  francisco looks down at his boots.
can i have them? you can have mine.  they'll be fine for here.  but i have to walk six hundred miles.  hector lifts a foot to show francisco his boot. francisco is stunned into silence. but then a smile comes to his * face.
i'll walk all the way home, francisco.  i'll pray for your soul in the cathedral in lisbon.
yes.
they were made by da fosca, weren't they? francisco is giggling now.
how long?
damn them.
it's sandy's.  whiskey.
it's too high for indians?
if you did find an indian, what would he be?
we keep working?
you think we'll get out?
i'm not fast.  you're slowing down. they obviously have this tiff every morning.
what's the point of having two chronometers when you don't take the average?
you're unscientific, bobby.  at heart.  hector writes in the book. he speaks pointedly.
seven twenty-five.
sure this is a good idea.
hi! hello! the indian backs off from them, holding his hands up and smiling crazily, as if to say, "don't mind me, boys, i'm just leaving" hector and bobby are equally silly in their response.
hey, come back.  we're just moving through.  don't apologize.  we all got a fright.  goodbye.
did you see him?
was he a delaware?
yeah.  i think he was an indian too.  what about the horse?
don't panic, bobby.
what did you see?
an indian.  with long hair.
yeah.  he was't tall.
let's get a bit further up. they move off. bobby looks at hector's backpack.
some food, the logbooks, my letters, a candle.
no.
what about bears, without a fire?
what? no.  not tonight.
dear, father, i miss you. three frogs are dead. everybody misses you. bring me a bear's head and claws and a gun. school is good. miss white has married a fireman. come back soon. do not worry about the frogs, they did not have names. nathaniel.
it's not so funny now as it was.
if you knew him.  if you could picture him saying it.  it would be funnier.
i'm going home, for the winter.
no.
tobacco?
i was saving it.  you have it.
well have it now.  i don't smoke.  take it.
i was saving it for my birthday.  i was going to give it to you then.
go on, smoke it.  have it now.
i know, bobby.  but that's how i feel about you, too.  that's why we're friends.  we try hard.  come on.  smoke your pipe.
come on.  tell me.  who would you rather be sitting here with.  have a think.
yeah. he would be a help.  but after daniel boone.
no we're not.  we're going to talk.  all night.  bobby yields to this with the softest, most vulnerable smile we have yet seen on his face.
so.  where do you want to start?
i know where you want to start.
alicia.
i'm sorry.
what do you mean, you're sorry.  i'm the one that has to apologize.
i've said who we are and where we're headed. want to sign it, write anything?
the peak we logged yesterday.  i've named it nathanial mountain. after my boy.  is that fine with you?
north?
what's wrong?
does it have to be bad? they might be friendly.
what's wrong? *
i'll do what you do. * they leap to their feet and run. there is only one way to go, over the rise, through the women and children and across the stream. to the watching indians it looks like a direct attack on their families. from behind trees and rocks they emerge and begin the chase. a tragedy of misunderstanding.
they're not going to catch us. we're going home. hector stretches out an arm to bobby.
hold my hand, bobby.  they hold hands and run.
what?
this isn't really my building.  it's my partner's.  i just took the call and came right over.  i have to leave town in an hour * or so anyway.
3:35.
where is she? the detective and hector walk down the hall. they stop at the door of the bathroom. hector looks inside. there is a large ragged hole in the floor. at the far side of it the toilet unit dangles at a dangerous angle into the hole, held only by its plumbing. firemen are working to secure it and what is left of the floor with metal props and hydraulic jacks. lying on the floor below, surrounded by rubble, and being attended by the paramedics, is an old lady, mrs. philippopolis. she tries to sit up when she sees hector peering at her over the rim of the hole. she looks angry.
not me, mrs. philippopolis.  my ex-partner.  i think you spoke * to him.  how are you feeling? hector says this clearly, for the benefit of the detective and mr. santiago. the detecitve is unimpressed.
i'll make a couple of calls.  i'll straighten it out.  is she bad? why don't they move her?
she seems in good spirits.
boris.  why did you do this to me? get down here now.  they want all kinds of certificates.  they won't let me leave the building.  i have my kids tonight, i haven't seen them in four years.  i did tell you, i've been talking about it all week.  how come they phoned me, this isn't my building? what? don't tell me anymore.  i want you here, now.  and on your knee.  i'll phone the lawyer.  but you move. my weekend's ruined before it's started.
anna.  thank god.  you have to help me.  i'm still in queens.  * i've got cops here and everything * .  i need your car.  i don't have time to pick up the rental now.  they won't let me leave the building.  you come down here.  and put my bag in the car.  no.  * i have to pick the kids up by six, otherwise i fuck up her weekend too.  she'll kill me.  this is an emergency.  what can i say? please.  right.  okay.
at the office.  i might have some bills.  it's not my building. * santiago is talking almost to himself now, absorbed in the mundane mechanics of hector's building.
i don't really know.
can i do it monday?
can i speak with leonard, please.  mr. deutsch? my name is hector troup, borlonski and troup, real estate.  there is a moment's pause.
leonard.  it's hector.  borlonski and troup.  yes.  listen, we've had a domestic accident at our eighth street building.  a floor * .  and an old lady.  she did mention the word sue, but it might have been hysterics.  what i need to know is what certificates you have on file for the building.  i * know it's friday.  just do one * thing.  let me know if the insurance is current.  i need to know that.  i'm on my mobile.  anything you have.  before five .  thank you.  during the call hector has walked down the hall and back to the hole in the floor. he sees mrs. philippopolis, now strapped in a stretcher, being carried out of the room below. at the sight of him, she tries to sit up, straining on her straps.
i'll be on the way in thirty minutes at the outside.  i can't say.  queens to new jersey, on a friday.  what do you think? i'll be there.  it's important to me too, i've been trying to put this weekend together for years.  i'll be there.  i won't take it out on the kids, i can walk away from problems.  as soon as i get the car.  i'll be there.  all the while mrs. philippopolis issues a non-stop * torrent of greek expletives -- calmly and in a considered * tone, but obviously obscene. hector is shocked. *
i'm sorry about your mother.
what?
well, i wasn't planning to.
i've talked to your mother, given her my best wishes.  she wants her family with her now.  any other friday but this one.
look, george.  here's what i can do.  i'll visit her on tuesday, i'll organize some flowers.  lots.  *
they won't let me leave here.  the policeman this time backs him up.
it's never been this bad, boris. deutsch is checking the insurance.  did you bring the rest?
what's with the we.  it's your problem.
she's a witch.  her bones must be made of steel.  she didn't break a thing.  it might help if you make a visit to the hospital.  why did you do this to me?
i told you to stop doing that.  why does this keep happening to me.  my name is mine.  use your own name, boris borlonski.  will you remember that? boris borlonski!
yeah, i'm sorry too.  you have to get out of this business.  i thought i had.
this is the worst it's been.
you bring my bag?
sure. thanks.
not much.  just like i'm being executed.
i'm glad you talked me into it.
you're right.  you're absolutely right.  i was ready.  i am ready, for everything.  i'm fixing all that shit with boris.  i told him.  it can't go on.  i want my freedom. anna is looking at him amusedly, nodding her head with every earnest pronouncement that he makes.
 and the kids.  that'll work out.  we can have them over sometimes.  yeah?
right, when we have the space.  when we get the bigger apartment.  together.
yeah.  i said it, didn't i?
yes i am.  together.  i said it .  and get out of my car at the corner here.  i don't have the time to go 'round the block.
thanks.  for the car.  everything.
what? anna, i can't.
hello.  leonard, hello.  yes.  we're insured.  thank god.  yes now i know god's a lawyer.  thanks.  on the outskirts of jersey city he finds the suburban street he is looking for. if the last crosslight holds on green then he might even make it on time. hector stops the car outside janet's house and lets out a sigh of relief.
why didn't you say? i could have fixed up something else. i thought it would be a good place to get to know them again.
maybe this is a bit sudden for them.  maybe i should have come over a couple of nights and got to know them.
hi. they hardly lift their heads to him.
oh no.  jesus save me.  what have i done.
no.  i can't face it, not just now.  he looks at the kids.
let's go.
excuse me, kids.  i have to consult the oracle.
hello.  god? no, leonard, it's hector.  just a joke.  sorry to phone you at home, did boris call you? the insurance is fine? good .  but she could claim negligence .  oh, she's got a lawyer already? that's a bad omen.  betsy and tom are listening in the back seat, eager for clues about this virtual stranger in front of them.
is there anything we can do right now.  make her an offer.  sure, with the insurance company.  sure.  you're right.  me, too.  i have the kids in the car with me right now.  sorry to bother you.  'bye.
that's it! the last call.  the weekend starts right now.  we have things to do.  look out for a safeway.  we need some supplies.  and gas.  oh my god, gas.  soon.  they return his look with blank expressions. he picks up the phone and offers it to them.
want to make any calls? betsy? she shakes her head.
tom?
but we called you tom.  that's what it says on your birth certificate.
right.  it's your name.  you * can do that.  safeway.  keep your * eyes skinned.  and i could murder * a chicken mcnugget. *
what's wrong with that? it's a kitchen roll.  why can't i pick a kitchen roll?
good point, betsy.  betsy keeps on the attack.
you're right.
well, get to it.  i'll just tag along.
can i just keep a couple of those steaks? we can't live on chicken. *
don't mention the flowers.
how about some eggs? they shake their heads.
you don't eat eggs?
three. is that all right?
how about pancakes, betsy.  d'you like pancakes?
i just wondered. pancakes don't mean much to you?
nothing. the mystery of betsy's pancake dream is evidently lost in infinity. hector changes the subject.
i thought we could walk into town this morning. i saw the funfair when we came through last night.
let's take the walk anyway.
no. we're taking a walk.
here's an umbrella.  and there must be some old coats in here.  and shoes.  i only have these i'm wearing.
i don't know if i want to wear donald's shoes.
wow. look at this. the kids' heights have been marked on the wall on some long-ago holiday. the dates are beside them.
six years ago. look at that.  what's this?
it comes up every year?
where are the birds? is it the wrong time of year?
that's what donald says?
please don't rain.  please.
let's have a ride.  he has stopped at some dated space rockets.
kitchen roll, unbleached, re-cycled, biodegradable.  dry seats.  betsy has the grace to smile as the three of them climb aboard the rockets.
this is ridiculous. let's go somewhere and talk. betsy smiles her small patient smile.
how do we land these things?
sure you won't have a pancake, * betsy? * betsy gets impatient. *
okay, first question? *
well, that's a fair question.  your mother and i got divorced.  you're big enough to remember.  she must have told you all that?
you're right.  what can i tell you.  i went kind of crazy after that, for a good while.  i came around a few times.  remember?
well, it wasn't easy.  everything with her and donald happened pretty quickly. i missed you both really badly.  but for a while i thought i should stay away, until your mother got settled.  no, that's not really true.  i missed you.  but i was kind of crazy at the same time.  your mother and i married young.  i wasn't used to the freedom.  it went to my head .  then you moved to new jersey.
you're right, you're right. i don't have too many excuses for the first year.  the second year is easier.  i was in jail. hector is pleased with this. a solid excuse.
we were doing government work, big contracts.  there were some temptations.  my boss asked me to shuffle a few papers.  there was a lot of money in it.  i had to testify against him.  it was like killing somebody.
you did?
well i appreciate that.  but i'm glad your mother didn't let you. i'll tell you all about it some day. it was no fun. one year and eight months.
i wasn't in great shape.  i sure didn't want you to see me then.  so i got back to work.  in real estate.  found a partner, we met * in jail.  *
yes. we rent apartments.  but we want to get into commercial property.  people are a nuisance.  does that sound bad? betsy shrugs her shoulders.
just recently i've been feeling good, things have been going well.  and i missed you two.  so here we are.
who told you about her?
anna.  she's nice.  she wants to meet you, real soon.  she sells flowers.  well, you know that.  and on monday she's probably going to kill me.
no.  heck.  no.  did you think she was following us?
she's right, thomas.  people should talk more.
what do you mean? is that what you thought? i was avoiding you two? no.  you mustn't think that.  that's terrible.  they have almost exhausted themselves in this first bout of talking. hector looks out at the sea.
the rain's off. let's go.
go on.
i didn't leave because it was two days before your test.  it was just what your mother and i decided.  i taught you how to swim.  we went to the pool twice a week.  why would i leave?
oh, god, betsy. i'm sorry.
how did you do, in the test?
hey, thomas! we're going home.  we're having a barbecue.  betsy said she'll even let me eat a steak!
don't call him tom, he doesn't like it.
your mother said it, when we split up.  don't lose the children.  didn't mean much at the time. but she was right.
betsy. on monday will you come with me when i take the flowers back to anna? i can't face her alone. she wants to meet you anyway.
you'll be there, right beside me?
is that bad?
just tell them you were with your invisible dad.
the funny thing is i fell in love with her before i ever saw her.  i smelled her.  it was the day i got out of jail.  i was on the train and she was sitting behind me.  it was just this incredible perfume.  remember i'd been inside for nearly two years with four hundred sweating males.  she got off the train and i followed her.  i couldn't help it.  that's how good she is.  she listened to a bum who followed her off a train.  betsy looks at him kindly.
 but she's still going to kill me on monday.
it's just like a big pancake up there, isn't it? betsy doesn't take the bait. there is a silence.
i remember when you two were tiny.  i used to watch you sleeping.  it was like now.  i felt close to you, could touch you.  but you weren't there.  you were gone.  dreamland .  just when i was closest to you, you weren't there.  i felt it last night, too.
i'm not smart about things like that, usually.
no?
is that a joke?
who are you? who's inside there?
come on in, kids.  that boat doesn't look too safe.  they call back to him.
i've just found you.  i don't want to lose you. what would i tell your mother.  come on in.
throw me the rope, thomas, i'll pull you in. thomas throws the mooring rope to hector. it isn't attached to the boat. hector ends up with all of the rope in his hands. he stands there, and they all laugh.
this is one useless piece of rope, thomas.
i used to know how to do this.
i did.  i used to be really good at this.  he wafts and blows ineffectually at a flicker of flame. there's not much of the caveman about him now.
ah.  smell it.  the smell of civilization.  scorched meat.  hector serves the chicken onto their plates. he sits down beside them with his steak, and a glass of wine. he watches thomas attack his chicken, and smiles.
i'd forgotten that.  how you eat.  dedicated.  like it's your religion!
you used to hum to yourself too, when you ate.  like everything was fine with the world. thomas tries it out, eating and humming. it feels good to him. his head nods with the chewing and the tune.
there she is.  old mercury.
i'd forgotten.  we used to watch * the stars.  you could tell me the * names of all the planets.  you * could recite them like a poem.  remember.  at the tiny window upstairs in the old house?
oh well, not to worry. i'm glad you still like astronomy though.
uh-huh?
this is at school?
sounds like donald said that.
well, i'm glad you two are thinking about the old planet. i'm proud of you. look how beautiful everything is. sometimes i think it's people that make it all wrong.  we walk around with all our problems.
don't worry, you two.  i'll tell you.  it's just a big, black sheet up there with holes in it so the light comes through.  that's the truth.  the very latest.  hector has come to rest, and found peace at last, however temporary, here on the beach, beneath the same stars that our first hector wailed at six thousand years ago. on monday he will face the music. the kids will go back home, mrs. philippopolis will have to be dealt with, and the wilting three hundred dollar bouquet of flowers. in general, life will take over, on monday. but at this moment of calm on the beach, let's leave him while he's ahead.
no.  i'll tell you.  the whole thing.  stars and everything.  is sitting on the skin of a bubble of milk in a bowl of cornflakes.  and somebody's just about to eat it.  the three of them are laughing now.
okay.  it's half-and-half.  perhaps that's just about as close as hector and his * tribe of humans will ever come to working it all out. but they try. *
don't mention flowers, betsy.  please, not tonight.
	136:
2. *
4. *
5. *
14. *
26. *
33. *
54. *
67. *
68. *
69. *
74. *
78. *
86. *
98. *
103. *
107. *
108. *
110. *
111. *
112. *
113. *
115. *
116. *
117. *
118. *
119. *
124. *
129. *
130. *
131. *
133. *
135. *
136. *
141. *
142. *
151. *
153. *
157. *