The big blue
JACQUES gets undressed and sits down in the lotus position, concentrating... JOHANA sits down a few feet away and watches him, wondering just how far he is going to push this whole thing. As the cable unrolls, JOHANA starts crying. She understands that JACQUES is going to dive to the bottom, into the blue, into himself. JOHANA Jacques, you know I love you. JACQUES is putting on his flippers, and stands facing his gueuse. JACQUES (after a silence) Don't be sad... It's not because of you, it's me. It's all going on inside me! (a beat) I've gotta go and see. JOHANA starts pacing up and down the diving platform. JOHANA See what? There is nothing to see! It's pitch black down there! It's cold. You'll be all alone! Look at me, Jacques! I am here! I exist! Look!!! (she starts waving her arms) I'm real! I am not a dream! Jacques will you look at me? (she breaks down) Please! JACQUES has not moved, he still sits motionless, facing his gueuse. JOHANA doesn't know what to do or say. She is totally drained. JOHANA Jacques? I'm pregnant. JACQUES That's good... that's wonderful. It's wonderful for you. JOHANA You are the father. Silence. JACQUES is petrified, without any reaction. He doesn't understand. She realizes it's hopeless and stares at the sea. JOHANA (after a while) I lied... to keep you here. She kisses him. JOHANA Promise me one thing. JACQUES Anything. JOHANA Promise you won't forget me. She pulls the line releasing the gueuse. JACQUES takes a deep breath and grabbing hold of the gueuse, disappears into the water -- as if swallowed by the ocean.
good will hunting
WILL At least you have a mother. SKYLAR Fuck you! You think I want this? That money's a burden to me. Every day I wake up and I wish I could give that back. I'd give everything I have back to spend one more day with my father. But that's life. And I deal with it. So don't put that shit on me. You're the one that's afraid. WILL What the fuck am I afraid of?! SKYLAR You're afraid of me. You're afraid that I won't love you back. And guess what? I'm afraid too. But at least I have the balls to it give it a shot. At least I'm honest with you. WILL I'm not honest? SKYLAR What about your twelve brothers? WILL Oh, is that what this is about? You want to hear that I don't really have any brothers? That I'm a fuckin' orphan? Is that what you want to hear? SKYLAR Yes, Will. I didn't even know that? WILL No, you don't want to hear that. SKYLAR Yes, I do, Will. WILL You don't want to hear that I got cigarettes put out on me when I was a little kid. That this isn't surgery Will lifts his shirt, revealing a six inch SCAR on his torso. WILL (cont'd) You don't want to hear that. Don't tell me you want to hear that shit!! SKYLAR Yes I do. Did you ever think that maybe I could help you? That maybe that's the point, that we're a team? WILL What, you want to come in here and save me? Is that what you want to do? Do I have a sign that says "save me" on my back? SKYLAR I don't want to "save" you. I just want to be with you. I love you. I love you! Will, full of self-loathing, raises his hand to strike her. WILL Don't bullshit me! Don't fuckin' bullshit me! SKYLAR (standing up to him) You know what I want to hear? I want to hear that you don't love me. If you tell me that, then I'll leave you alone. I won't ask any questions and I won't be in your life. A beat. Will looks Skylar dead in the eye. Lowers his hand. WILL I don't love you. He walks out.
The props start turning. The crowd waves goodbye as the boarding door is closed. The wheels turn toward the sun. The Guardsmen race back to their trucks. A mailman carries off the mail bags he collected from the plane. The plane taxies down the runway and lifts into the air. HOLLY (v.o.) Kit and I were taken back to South Dakota. They kept him in solitary, so he didn't have a chance to get acquainted with the other inmates, though he was sure they'd like him, especially the murderers. Myself, I got off with probation and a lot of nasty looks. Later I married the son of the lawyer who defended me. (pause) Kit went to sleep in the courtroom while his confession was being read, and he was sentenced to die in the electric chair. On a warm spring night, six months later, after donating his body to science, he did. With Holly's last words we CUT INSIDE the cabin of the plane. INT. CABIN Kit sits next to the Trooper at the back of the plane. Holly sits opposite them, with a Detective behind her. Kit's attention is fixed on the military hat in the Trooper's lap. KIT Sir... Where'd you get that hat? TROOPER State. KIT Boy, I'd like to buy me one of those. The Trooper smiles. Holly looks up. TROOPER You're quite an individual, Kit. KIT Think they'll take that into consideration? The Trooper smiles and looks out the window. Kit looks to Holly, to see if she has taken this remark in the proper spirit. She smiles and looks out the window. EXT. CLOUDS - HOLLY'S POV - DUSK An unbroken sea of clouds stretches out before her. FADE OUT. END CREDITS OVER BLACK. THE END
INT. NATALIE'S BEDROOM - NIGHT Natalie, eyes closed, has her head on Leonard's chest. He is shirtless, lying on top of the covers. LEONARD I don't even know how long she's been * gone. It's like I've woken up in bed and she's not here because she's gone to the bathroom or something. But somehow I just * know that she'll never come back to bed. * I lie here, not knowing how long I've been alone. If I could just reach out and * touch her side of the bed I could know * that it was cold, but I can't. I have no * idea when she left. * Natalie's eyes are open. LEONARD (cont'd) I know I can't have her back, but I want * to be able to let her go. I don't want to wake up every morning thinking she's still here then realizing that she's not. I want time to pass, but it won't. How * can I heal if I can't feel time? Leonard bends his head around to see if Natalie is awake. She closes her eyes. Leonard gingerly slides from underneath her and moves silently out of the bedroom.
HIGH SHOT Looking straight down at Hi, asleep in the trailer bedroom. We start to crane down. VOICE OVER That night I had a dream... EXTREME WIDE SHOT A beautiful dusk landscape. We are floating in over the field, abutting the prison, that Gale and Evelle popped out of. In the middle background of the extreme long shot two men are walking across the field. VOICE OVER ...I dreamt I was as light as the ether, a floating spirit visiting things to come... BACK TO HIGH SHOT BEDROOM Craning down toward Hi. VOICE OVER The shades and shadows of the people in my life wrastled their way into my slumber. BACK TO FIELD Still floating forward but now much closer to the two walking men. We see that they are Gale and Evelle. Both are still dyed blue. They are approaching the hole in the ground. VOICE OVER I dreamt that Gale and Evelle had decided to return to prison... Evelle is starting to climb into the hole. VOICE OVER ...Probably that's just as well. I don't mean to sound superior, and they're a swell couple guys, but... Evelle has disappeared and Gale starts climbing in. VOICE OVER ...maybe they weren't ready yet to come out into the world. FLOATING UP THE WALK OF THE ARIZONA HONE The front door has a holly wreath on it. VOICE OVER And then I dreamed on, into the future, to a Christmas morn in the Arizona home... DISSOLVE THROUGH TO ARIZONA LIVING ROOM Five three-year-olds in their pajamas are opening presents around a tree as Nathan and Florence look on. VOICE OVER ...where Nathan Jr. was opening a present from a kindly couple who preferred to remain unknown. We have been isolating in on one of the children peeling the wrappings off a package marked to Nathan Jr. Inside is a shiny red plastic football. FLOATING IN TOWARD A STATION WAGON Pulled over on the state highway in the middle of the desert, a police motorcycle parked behind it. Glen is leaning out the driver's window of the car talking to the state trooper who stands facing him. VOICE OVER I saw Glen, a few years later, still havin' no luck gettin' the cops to listen to his wild tales about me'n Ed... Glen is grinning and talking with his hands cupped in front of him, as when he told Hi about the Pollack who almost stepped in the pile of shit. The trooper, in crash helmet and dark sunglasses, is listening tight-lipped and stone-faced as Glen finishes his story and slaps his knee. VOICE OVER ...Maybe he threw in one Pollack joke too many... The trooper is clicking open his ballpoint pen and reaching his citation book from his breast pocket. The name tag on the pocket says "SGT. KOWALSKI." VOICE OVER ...I don't know. FLOATING IN TOWARD A FOOTBALL It sits on a tee in the middle of a football field. VOICE OVER And still I dreamed on... A cleated foot boots the football out of frame. VOICE OVER ...further into the future than I'd ever dreamed before. HIGH SCHOOL FOOTBALL PLAYER Looking up, arms out at his sides, waiting to receive the kicked ball. VOICE OVER ...Watching Nathan Jr.'s progress from afar... He catches the ball and starts running. VOICE OVER ...Taking pride in his accomplishments as if he were our own... He is skillfully eluding and stiff-arming tacklers. VOICE OVER ...Wondering if he ever thought of us. He reaches the end zone and triumphantly spikes the football. He whips off his helmet and we track in on the face of the rosy-cheeked high-school bruiser. VOICE OVER ...and hoping that maybe we'd broadened his horizons a little, even if he couldn't remember just how they'd got broadened. BACK TO BEDROOM Still craning down, now very close to the sleeping Hi. VOICE OVER But still I hadn't dreamt nothin' about me'n Ed. Until the end... DISSOLVE THROUGH TO A COUPLE The man and woman are sitting on a sofa in the foreground with their backs to the camera. They are in the living room of Hi and Ed's trailer, which is suffused with a warm golden light. As they face the trailer's front door, all we see of the couple is the backs of their heads. They both have white hair, the woman's pulled into a bun. The old man wears a cardigan, the woman a shawl. VOICE OVER ...And this was cloudier 'cause it was years, years away. The front door bursts open. Two young couples are entering as their kids - about a dozen of them - stream in around them. The old couple on the couch raise their arms to embrace their visitors. The children boil onto the couch. VOICE OVER ...But I saw an old couple bein' visited by their children - and all their grandchildren too. And the old couple wasn't screwed up, and neither were their kids or their grandkids. And I don't know, you tell me. This whole dream, was it wishful thinking? Was I just fleein' reality, like I know I'm liable to do? FLOATING IN TOWARD A LONG DINING TABLE In the trailer. The table is all laid out with a Thanksgiving dinner, a huge turkey sitting at the far end. Cut-out letters at the other end of the room say: "WELCOME HOME KIDS!" The grandchildren are running into frame and taking their seats at the table, accompanied by their parents. VOICE OVER ...But me'n Ed, we can be good too... The elderly couple enter from either side of the camera and stand in the foreground, backs to us, facing the table. VOICE OVER ...And it seemed real. It seemed like us. And it seemed like well... our home... If not Arizona, then a land, not too far away, where all parents are strong and wise and capable, and all children are happy and beloved... I dunno, maybe it was Utah. The elderly man drapes an arm around his wife's shoulder and draws her close. She rests her head against his shoulder, and we: FADE OUT THE END
Jesse: I mean, there’s these breeds of monkeys, right, and all they do is have sex,like, all the time, you know. And, uh, they turn out to be, like, the least violent, the most peaceful, the most happy, you know, so I mean, maybe fooling around is not so bad.
Céline: Are you talking about monkeys?
Jesse: Yes. I’m talking about monkeys.
Céline: Ah, I thought so, yeah.
Céline: You know, I never heard this one, but it reminds me of, like, this perfect, you know, male argument to justify them fooling around.
Jesse: No, no, no. Woman monkeys are fooling around, too. Everybody’s fooling around.
Céline: Yeah, that’s cute. (they laugh) You know, I have this awful paranoid thought, that feminism was mostly invented by men, so they could, like, fool around a little more. You know, women, free your minds, free your bodies, sleep with me. We’re all happy and free as long as I can fuck as much as I want.
Jesse: Alright, alright, alright. But maybe, maybe there’s some biological things at work here. I mean, if you had an island, right, and there were 99 women on the island, and only one man, in a year, you’d have the possibility of 99 babies. But if you have an island with 99 men, and only one woman, in a year, you’d have the possibility of only one baby. So…
Céline: So. You know what?
Céline: On this island, you know, I think that there will only be, like, maybe 43 men left. Because they would kill each other, trying to fuck this poor woman, you know what I mean? And on the other island, there would be 99 women, 99 babies, and no more man, because they would have all gotten together, and eaten him alive.
Jesse: Oh yeah?
Jesse: Yeah? Yeah? See… see, I think there’s something to that. I think on some level, women don’t mind the idea of destroying a man, you know. Like, I was once walking down the street with my ex-girlfriend, you know, right, and we just walked by these, like, real four, kind of thuggy looking guys, next to a Camaro, you know, and one of them, sure enough, says, ‘Hey baby, nice ass.’ You know, I mean. So, I’m like, alright, Hey, no big deal, I’m not gonna get uptight about this, right?
Céline: Yeah, plus, there were four of them, right?
Jesse: Yeah, exactly, there’s four of them, right, but she turns around and she says (Jesse turns back, and flips the bird to the air behind him) Fuck you, dickheads, and I’m like, Okay, wait a minute, here, right. They’re not gonna come over here and kick her ass, you know what I mean. So who just got pushed to the front line on that one? You see what I’m saying? I mean, women say they hate it if your all territorial and protective, but if it suits them, then they’ll tell you you’re being all unmanly, or wimpy, or, uh.
Céline: You know what? I don’t think women really want to destroy men, and if, even if they want to, they don’t.. they don’t succeed. You know what I mean? I’m sure even, you know, men are destroying women, or are able… capable of destroying women, much more than women… Well, anyway, it’s depressing, I mean you know what?
Jesse: What? You want to stop talking about this?
Céline: Yeah. I really hate it. You know Men-Women you know, it’s, it’s… there’s no end to this, like, you know…
Jesse: It’s like a skipping record, you know.
Jesse: Every couple’s been having this conversation forever.
Céline: Any nobody’s come up with anything.
Days of heaven
157 INT. MASTER BEDROOM Chuck looks impatiently through a drawer. CHUCK I can't find anything around here. Last week it was my gloves; this week my talc. What's going on? He stands and watches Abby get ready for bed. She fills him with a deep adoration. He feels that in the tulip of her mouth at last he has found heaven. CHUCK You're beautiful. ABBY You don't think my skin's too fair? He comes up behind her and touches her long hair. CHUCK You're smart, too, aren't you? ABBY I know what the Magna Carta is. CHUCK Can I help you brush it out? ABBY Not right now. She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects the conspirators--and protects him, too, for he glimpses enough of the truth not to want to know any more. CHUCK What makes you so distant with me? ABBY Distant? I don't mean to be. CHUCK You know what I'm talking about, though. You aren't that way with your brother. 158 INT.ATTIC Bill, eavesdropping in the attic above them, surveys Chuck's dusty heirlooms. CHUCK (o.s.) It must be something I'm doing. I wish you'd tell me what, though. 159 INT. BEDROOM These gentle endearments, so rarely heard from Bill, stir her deeply. She throws herself in his arms. ABBY Oh, Chuck I Please forgive me. Does it mean anything that I'm sorry? CHUCK (pleased) But I don't blame you. Did I make it sound that way? ABBY You should. You have a right to. CHUCK It's just that sometimes I feel I don't know you well. ABBY You don't. It's true. CHUCK I think you love me better than before, though. She rubs her cheek against his hands. Daily she feels warmer toward him. How much of this is love, how much respect or devotion, even she cannot say. 160 TIGHT ON BILL - LATER - NIGHT The night throbs with crickets. Bill cracks open the bedroom door. Chuck lies asleep in a shaft of moonlight next to Abby. He hesitates a moment, but a strange compulsion drives him on. He has never done anything so dangerous, or had so little idea why. 161 INT. BEDROOM - NIGHT Abby wakes up to find him staring her in the face. He kisses her. Chuck stirs. Abby signals they should go outside. 162 EXT. BELVEDERE - DAY FOR NIGHT They sneak out of the Belvedere. The night is warm. ABBY You're no good. BILL Mmmm. But I love you. ABBY I can't stand it any more. This is just so cruel. We're both no good. I've got to get drunk with you, Bill. You know what I mean? Drunk. Bill wags a bottle. The dogs, awakened, bay from the kennel. They wait a moment to see if a light will go on in the house, then dart off toward the fields. A plaster lawn dwarf seems to watch them go. 163 EXT. FIELDS - DAY FOR NIGHT They run through the fields, hand in hand, laughing and flirting. The moon makes Abby's nightgown a ghostly white. ABBY We can never do this again, though. Okay? It really is too dangerous. BILL This one night. He toes a sodden old shoe. BILL Hey, I found a shoe. 164 SHOE, COYOTES, SCARECROW - DAY FOR NIGHT The shoe gleams in the moonlight. Coyotes yelp from the hilltops. A scarecrow spreads its arms against the sky. The waving fields of wheat have given way to vast reaches of cleanly shaven stubble, stained with purple morning glories. Odd, large stakes are planted among them. 165 NEW ANGLE - DAY FOR NIGHT BILL You want me to spin you around? She nods okay. He takes her by the hands and spins her around the way he used to --until they go reeling off, too dizzy to stand. Bonus track - the abyss He makes a decision. Starts pulling off his backpack. BUD Alright, put this on. LINDSEY What, you growing gills all of a sudden? You got it on, keep it on. BUD Don't argue, goddamnit, just-- LINDSEY No way! Forget it. Not an option. Bud has his pack off uncoupling it. She keeps fighting his hands, stopping him, hooking it back up. The desperation of the situation fuel the struggle. BUD Lindsey, just put the thing on and shut up-- LINDSEY NO!! Now be logical, Bud, you're-- BUD FUCK LOGIC!! They're both right up against the ceiling, water up to their chests. Lindsey's lips are blue and trembling from the cold. LINDSEY Listen... will you listen to me for a second!? You're for the suit on and you're a better swimmer than me. Right? So I got a plan... BUD What's the plan? LINDSEY I drown, you tow me back to the rig-- BUD WHAT KIND OF PLAN IS THAT!?? Lindsey's gut-scared... shaking violently, her eyes wide. But she's keeping it together. Thinking it out. Bud see the bottomless pit opening to take her and he can barely think. LINDSEY Look, this water is only a couple degrees above freezing. I drown. I go into deep hypothermia... my blood like icewater. I can maybe be revived after ten, fifteen minutes. You got all the stuff to do it on the rig. Bud stops moving and looks into her face, inches from him. The water is up to their necks. He knows that, as always, infuriatingly, Lindsey is right. BUD It is insane. LINDSEY It's the only way, Bud. Now trust me. She takes a deep breath. Before her nerve fails she busies her hands on his suit, rehooking everything. BUD Jesus, I don't believe this is happening. She raise his helmet. Water up to their chins. They lock eyes, inches apart. He can feel her breath on his face... maybe for the last time. BUD Oh God, Lins... I-- LINDSEY Tell me later. He grabs her head in both hands and pulls her mouth to his. They lock together in a fierce kiss, fueled by passion and terror... the naked realization of love hanging over the abyss of death. She breaks away at the last possible second and quickly pulls his helmet over his head. Seats is down over the neck ring. Lock the bail-out handle, sealing it. Even with her head press up into the highest point of the ceiling, Lindsey's mouth is barely above water. She give a scared little laugh. LINDSEY This is maybe not such a great plan, is it? She is half-paralyzed with the cold, shaking pathetically. Puts her face to the glass of his helmet. Seconds to go. LINDSEY Hold me. Hold me, Bud... I'm so scared... He can't hear her, but he read her lips. They clutch each other desperately. The embrace last while the water rises over her mouth and nose. She starts to choke. Her hands grip his shoulders like claws. She bucks and thrashes. Bud holds her, and a scream tears loose from him, a pure agony of the soul. BUD NOOOOO!!! The freezing seawater races into her lungs. Her finger go slack, and her hands float lifelessly. Bud stares, transfixed, as the last tiny bubble trickles out of Lindsey's open mouth. He kicks himself into gear, fingers frenzied as he spins the wheel of the lockout hatch. CUT TO: INT. DEEPCORE/COMMAND MODULE 191 TIGHT ON VIDEO SCREEN, one of the outside cameras. A ghostly figure swims out of the darkness, towing something. ONE NIGHT It's Bud. Oh my God... that's Lindsey! BUD (V.O./faint) Deepcore, Deepcore, do you read? HIPPY Read you, Bud. We're here. EXT. DEEPCORE 192 Bud swims with long, powerful kicks, towing Lindsey. Her arms and legs float as gracefully as seaweed waving in a gentle current. Bud's voice comes in short rasps, breathing hard, but icy with control. BUD Go to the infirmary... get the cart .. oxygen... de-fib kit... adrenaline in a... ten cc syringe... and some... heating blankets. You got all that? HIPPY (V.O.) Got it. Over. BUD Meet me in the moonpool. Move fast. INT. INFIRMARY 193 The door crashes open and Jammer thunders in. He picks up the CPR cart, meant to roll on wheels, and carries it out past Hippy, Catfish, and One Night, who are crowding in to get the rest of the equipment. They ransack the place in about ten seconds, grabbing everything they might need and half of everything else. EXT. DEEPCORE/UNDER THE MOONPOOL 194 Bud moves up toward the rectangle of light, towing Lindsey to the diving platform. Through the surface we can see the others arrive at the edge, looking down. INT. SUB-BAY 195 Hippy and Catfish are setting up the cart and the oxygen kit, dropping things, making mistakes. One Night is teaching herself how to fill a syringe from a bottle of adrenaline. SONNY Here he comes! Jammer and Sonny leap into the freezing water, waist deep on the submerged diving platform. Bud bursts to the surface. Together they haul Lindsey across the platform, out of the water, and onto the deck. Her skin is blue- white, her chest still. Bud rips his helmet off in a near-frenzy, like a man possessed, a man with a mission. The others are galvanized by his energy even though they all see Lindsey as dead, a corpse... cold and inert. Water flows from her mouth and nose and her lips are blue, her limbs completely limp. Hippy peels back one eyelid, to find the pupil fixed and dilated. But when Bud shouts for them to move, they move. BUD Turn her over! They flip his wife's body over. He straddles her, pushing down with both hands in the middle of her back. Seawater gushes from her slack lips. He does it again until the flow stops, then flips her onto her back. BUD Come on, hurry! Gimme the de-fib... One Night and Catfish are fumbling with the emergency cart equipment. They've all been trained in CPR and use of the gear but that was years ago, and is a friend they're working on. They're all thumbs. Catfish drops the electrodes, picks them up quickly, hands them to Bud... CATFISH Here, here, here... no, you got to have bare skin, or it won't... Bud rips into her clothing, opening her jumpsuit, literally tearing away her T-shirt, revealing her bare chest... bony and still. BUD Jesus. Gimme those, come on. Catfish, move it, man! Come on... come on! He slaps the things into Lindsey's bare skin, one on the sternum and one on the side of the rib cage. BUD Is that it? Is this right? HIPPY Yeah! I mean, I don't know... it looks right. BUD All right. Do it! One Night hits the switch and Lindsey's body convulses. It is a pure muscle reflex, and when it is over, there is not a hint of life. Hippy pushes him back and puts a black rubber oxygen mask over her mouth. He opens the valve on the cylinder and starts pumping the squeeze bag. They start packing electronic blankets around her to fight the intense hypothermia BUD Do it again, One Night. Zap her again! The current hits Lindsey again and her back arches. Bud doesn't wait for a result... he's in his own reality now, driven. He's doing it all at once, somehow, in a senseless frenzy... pumping on her chest with his hands, squeezing the oxygen bag, placing the electrodes. BUD Aw. Christ... come on, baby. Again! Do it again! Lindsey's back arches. Her body relaxes, inert. BUD Come on, One Night... what are you waiting for? A hush seems to have fallen over the group. They know instinctively that it's over. But Bud can't accept it. He looks at them, beseechingly, like they are somehow intentionally holding out on him. One Night starts to cry, quietly. CATFISH (gently) Bud, it's over, man. It's over. There is a beat of silence. Bud stares down into Lindsey's half-open, motionless eyes. TIGHT ON LINDSEY'S EYES, moving in until the pupil FILLS FRAME, a black void. REVERSE, HER POV. SILENCE. A distant, distorted image, we see Bud, One Night, Jammer, Hippy, Catfish, staring down. It is like the circular top of a dark well, their faces shimmering as if through the surface of water. It is as if we are in a well, descending, looking up at a circle of faces growing smaller as we drop away... smaller and smaller, receding until it becomes a point of light in the void, like the fading bright dot at the center of a turned-off TV. TIGHT ON BUD, rigid, staring. Catfish puts his hand gently on Bud's shoulder. Suddenly Bud tears Catfish's hand away and sets upon Lindsey like a madman, renewing his efforts in spades... totally manic. BUD No! NO! She's not... her heart is strong, she wants to live... can't you see that? Come on, Lins. Come on, baby! Zap her again! Do it... DO IT! They do. And Bud works, feverishly. He lock his lips over hers and starts mouth-to-mouth. It is frantic, passionate... the kiss of life. BUD Come on, breath! Goddamn it, you bitch, you never backed down from anything in life... now fight! He slaps her face, hard. Her head lolls. He smacks her the other way. BUD Fight, Goddamnit! LINDSEY's POV, from the bottom of the great well. The circles of faces and light rockets toward us in the blackness, as we soar upward from the pit. We see Bud yelling, but his voice is distant, windlike. BUD FIGHT!! TIGHT ON LINDSEY, still. Then something incredible happens. Something they will never forget as long as they live. Lindsey coughs once, weakly, and her hands clench in a spasm. Bud see it and his expression becomes beatific. BUD Come on, Lins. You can do it... fight your way back, baby... The others look on in wonder as Bud wills this woman back. She starts to cough, weakly at first... then more violently as she draws air into her lungs. Bud crouches over her, rubbing her limbs... trying to re- establish circulation. It is like a difficult birth. Lindsey comes hacking and howling back into the world, wet and naked and fighting for breath. Bud puts the oxygen mask over her face and she draws breath after agonized breath. He pushes her wet hair back from her face with his trembling hands, and watches her breathe. Color is returning to her skin as she lies there, gasping weakly. ONE THE GROUP... Catfish, Hippy, One Night, Jammer, the others... they're all grinning, crying, beaming... gazing at the miracle of her rebirth. ON BUD... tears are streaming down his face. BUD (a whisper, fierce and harsh) You did it, ace.