There Will Be Blood_2007
<script>
  <scene>
    <character>!"#$#%&amp;'((%)#%)(\*\*+</character>
    <dialogue>Written by</dialogue>
    <scene_description>Paul Thomas Anderson Based on "Oil!" by Upton Sinclair FINAL SHOOTING SCRIPT Pink 7.25.06 Blue 5.18.06 White (Numbered) 2.20.06 This script is the confidential and proprietary property of Paramount Vantage, and no portion of it may be performed, distributed, reproduced, used, quoted, or published without prior written permission. OVER EXTERIOR SHOT OF HUGE MOUNTAINS IN THE B.G., PURE DESERT IN</scene_description>
    <character>THE F.G. MUSIC BUILDS FROM SMALL TO LOUD, VIOLENT CRESCENDO,</character>
    <dialogue>THEN OUT.</dialogue>
    <dialogue>TITLE: There Will Be Blood</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. NEW MEXICO DESERT - DAY -</stage_direction>
    <scene_description>CAMERA looks up a steep trail. Half the frame filled with a hill in close distance, the other half is sky ... over the top of the hill we see a prospector's pick come up and then down ... up and then down ... up and then down ...</scene_description>
    <character>ANGLE. BEHIND THE MAN WITH THE PICK.</character>
    <dialogue>DANIEL c. PLAINVIEW (late 30's here) is, with pick and ax, in the middle of the day, in 110 degree heat in New Mexico, searching for SILVER.</dialogue>
    <dialogue>He has a shaft about fifteen feet deep at this point. Nearby is a MULE and a CART. He digs and digs and digs.</dialogue>
    <character>FRONT ANGLE. CU. DANIEL'S FACE.</character>
    <dialogue>He continues.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DESERT - EVENING.</stage_direction>
    <scene_description>The MULE is pulling a cart filled with his prospector's supplies. He walks beside, across the very rough desert terrain. HOLD. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MINE SHAFT- ANOTHER DAY.</stage_direction>
    <scene_description>He's back at it again. The SHAFT IS NOW TWENTY FEET DEEP. He hears something outside the SHAFT in between swings of the pick... He listens ...waits ... continues with the work... but turns back and climbs up out of the SHAFT...</scene_description>
    <character>ANGLE, MOUTH OF THE SHAFT.</character>
    <dialogue>He climbs out and looks;</dialogue>
    <scene_description>4A His MULE has dropped dead in the heat. It is out like a light, 4A turned over on it's side, the CART has fallen over with it ... He walks over, inspects, wipes his sweat off, takes a break for a minute and then goes back in the shaft. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHAFT. LATER.</stage_direction>
    <scene_description>cu. PICK into earth once again. CU. DANIEL. He sees something in the earth here. HIS POV- IN THE ROCK. The clear tracing, glistening vein of a SLIVER ORE CHAMBER.</scene_description>
    <character>HOLD ON HIS FACE. AND THE CAMERA EXAMINES CLOSELY THESE MINERALS</character>
    <scene_description>OUTSIDE THE SHAFT, LATER. He unleashes the dead mule from the CART. and begins to LOAD IN MASSIVE CHUNKS OF ROCK, LEADED WITH SILVER ORE INTO THE CART. He catches his breath. He wipes his face and he goes back into the SHAFT - but as he starts back down - somewhere between passing out and tripping -- he plunges - loosing all his balance, twists around and HEADS FEET FIRST STRAIGHT DOWN THE 6A SHAFT WITH NO HOLD - AND LANDS AT THE BOTTOM 6A</scene_description>
    <character>BOTH HIS ANKLES SNAP TOWARDS EACH OTHER.</character>
    <dialogue>HOLD. He passes out.</dialogue>
    <scene_description>CU. DANIEL. maybe a few moments later and he has come to ... he looks up to the top of SHAFT and sees the light - So... over the course of however long it takes, he pulls himself up and out of the MINE SHAFT.</scene_description>
    <character>ANGLE, MOUTH OF THE SHAFT.</character>
    <dialogue>he arrives at the opening ... He puts himself on his back and rests ... HOLD.</dialogue>
    <scene_description>7A As he opens his eyes, he notices that the CART - from the weight 7A of SILVER ORE - it has tipped forward ... and in doing so, has dropped his CANTEEN OF WATER that had been strapped safely to the cart - water dribbles out in a pool of mud where the canteen sits. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DESERT. DAY</stage_direction>
    <scene_description>DANIEL is pushing the cart with the upper half of his body ... then he drags himself to catch up with the cart - he does this over and over and over and over again across the desert floor - CAMERA BEHIND HIM. Way off, in the distance, about a mile, is the trace of a small town - CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SILVER ASSAY OFFICE/LEASE OFFICE - DAY.</stage_direction>
    <scene_description>DANIEL, laying on his back on the floor of the office. CU's of watching the assay process and tallying up the value of the silver... He will sell this lease and move on... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SOMEWHERE IN CALIFORNIA. DAY -A FEW YEARS LATER- 1902</stage_direction>
    <scene_description>DANIEL is working again in a large field with some MEN. There is: CANBURRY (30s) an OLDER MAN (50s) and a YOUNG MAN (around 15) and a mining acquaintance: H.B. AlLMAN (30s) and nearby, kept in the shade in a small bassinet, is a ONE YEAR OLD BABY, Ailman's son (H.W.) They are again, with pick and ax, digging a well. They have a rope to a Horse and have connected the rope to a pulley to raise and lower buckets into and out of the muck. They shovel the muddy dirt into buckets, load the contents onto a cart, which they take by a MULE to another area and dump. CAMERA LOOKS DOWN INIDE THE WELL. They are at SIXTY FEET. Inside the well is DANIEL and AlLMAN. Under their feet is oil soaked SHALE ... it is emitting considerable quantities of gas and crackling like heated popcorn. The FUMES are CHOKING. They have RAGS TO THEIR FACES. After a few moments, DANIEL PASSES STRAIGHT OUT. AlLMAN SMACKS HIM, SMACKS HIM. WAKES HIM. CUT TO: CU. NEWSPAPER CLIPPING. It shows the picture of an old, very crude derrick in Pennsylvania.</scene_description>
    <character>WIDER, THAT MOMENT.</character>
    <dialogue>DANIEL, AILMAN, CANBURRY all stand over the picture, pointing to it, getting to the bottom of how it works. quick scene discussing exactly what would be needed to build such a rig.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DRILLING SITE - DAY</stage_direction>
    <scene_description>This crew of men has erected a very CRUDE TWENTY FOOT TALL DERRICK. They have fashioned a drill by attaching a cross shaped bit to a three inch rod. They've got a pump, driven by horsepower. DANIEL operates the drill that's essentially a 20ft eucalyptus tree. The large apparatus drives deep into the ground - the first hit is very successful. He brings the drill back up for a second attempt.</scene_description>
    <character>WIDE ANGLE.</character>
    <dialogue>DANIEL drives the 300 pound apparatus down - it breaks loose from his hands -- SLIPS COMPLETELY FROM HIS GRASP - AND PLUMMETS - He is left holding nothing ...</dialogue>
    <dialogue>he just watches it fall down the hole.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOLE. - THAT MOMENT</stage_direction>
    <character>THE DRILL/LOG COMES FALLING DOWN, STRAIGHT AT CAMERA. IT FALLS,</character>
    <dialogue>STRAIGHT DOWN THE HOLE AND SPLINTERS APART.</dialogue>
    <scene_description>14A ANGLE, DANIEL, UP AT THE TOP. 14A looking down after it, then back up at the rig they've built. He looks to Ailman. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOLE.</stage_direction>
    <scene_description>AlLMAN has DESCENDED INTO THE DARK HOLE. DANIEL and the rest are up top. AlLMAN wears a RUBBER RAIN SLICKER. MUD EVERYWHERE.</scene_description>
    <character>DANIEL COACHES FROM ABOVE.</character>
    <dialogue>IN THE WELL, AlLMAN, HALF PASSING OUT, AND HANGING FROM A PULLEY DEVICE, WRESTLES THE DRILL FREE BY KICKING IT WITH HIS FEET OVER AND OVER AND OVER AGAIN - IT EVENTUALLY BREAKS FREE AND CAN BE BROUGHT UP.</dialogue>
    <scene_description>15A MOMENTS LATER, AT THE TOP. 15A AlLMAN AND THE DRILL PIECE ARE PULLED TO THE TOP. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOLE. DAY.</stage_direction>
    <scene_description>with DANIEL. It's all been re-constructed. They are drilling. drilling. ON ONE BLOW -- they HIT SOMETHING VERY HARD. SOLID.</scene_description>
    <character>THEY CAN'T BUDGE THE DRILL FOR A MINUTE.</character>
    <dialogue>THEN THEY GET IT.</dialogue>
    <character>THEY PULL THE RIG UP AND OUT.</character>
    <dialogue>CU. THE DRILL LOG.</dialogue>
    <dialogue>it lands on the ground. It's ABSOLUTELY SOAKED in OIL measuring up about lOft on the large WOOD DRILL PIECE. DANIEL enters FRAME, on his side ... gets down and looks at it.</dialogue>
    <dialogue>His breathing gets heavier and heavier and a little crazy. HOLD.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DRILLING SITE. DAYS LATER.</stage_direction>
    <scene_description>This scene shows how they are taking the oil, dumping it into a reservoir they've built, then taking that and putting it into whatever they've got: cans, containers, barrels, bottles, etc. etc. AILMAN works while holding the one-year-old H.W. in his arms. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHAFT.</stage_direction>
    <scene_description>DANIEL and AILMAN are in the shaft, working something. They are moving in and out of consciousness, but are somehow driving forward, fixing a part of the drill. OIL and MUD are pooled underneath them. DANIEL hears something. looks up.</scene_description>
    <character>ANGLE, THE TIMBER SUPPORTS THAT SURROUND THE WELL.</character>
    <dialogue>something has come loose ...</dialogue>
    <character>CU. DANIEL.</character>
    <dialogue>he looks at AILMAN.</dialogue>
    <character>CU. TIMBER</character>
    <dialogue>a very large, sharp piece, like an icicle, cracks in the support and comes flying STRAIGHT AT CAMERA.</dialogue>
    <character>DANIEL AND AILMAN. TWO SHOT.</character>
    <dialogue>THE PIECE COMES FLYING DOWN LIKE A DAGGER AND GOES STRAIGHT</dialogue>
    <dialogue>INTO THE TOP OF AlLMAN'S HEAD, BLOOD PUSHES FROM HIS MOUTH AND EYES AND SPRAYS DANIEL.</dialogue>
    <dialogue>HOLD, CU. ON DANIEL. in a state of shock.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DRILLING SITE. DAY</stage_direction>
    <scene_description>DANIEL looks at the BABY, HW, in the basket ... HOLD. He picks him up and walks around with him, holding onto him awkwardly... He puts him back in the basket, looks around... looks back at this baby H.W... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FLOP HOUSE. NIGHT</stage_direction>
    <scene_description>The young baby H.W. is CRYING at the top of it's lungs, laying in the bed next to DANIEL who is out cold. Everyone else is asleep in this flophouse. Daniel wakes up, takes some WHISKEY from his bag, pours it on his FINGER and puts it in the baby's mouth. He sips some himself ... baby H. W. cries and cries and cries ...</scene_description>
    <character>ANGLE, LATER.</character>
    <dialogue>DANIEL carries the baby H.W. to a corner of the flophouse where a MOTHER and FATHER and THREE CHILDREN are sleeping.</dialogue>
    <dialogue>~The MOTHER gently takes out her breast and puts the baby H.W. to it, calming and quieting the child.</dialogue>
    <dialogue>Daniel falls back asleep sitting on the floor.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN. MOVING. DAY.</stage_direction>
    <scene_description>CAMERA holds on DANIEL sleeping. The baby, H.W. is in the seat next to him, awake and looking about. CAMERA moves in CLOSE ON THEM BOTH. HOLD. LONG DISSOLVE TO: CU. DANIEL CALDECOT PLAINVIEW. (D.C. PLAINVIEW) 1908 A few (six) years later. He is dressed well now. slight show of some wealth. overcoat, haircut, clean shaven, etc. We see nothing but him as he speaks;</scene_description>
    <character>DANIEL</character>
    <dialogue>Ladies and Gentlemen, I've traveled over half our state to get here this evening. I couldn't get away sooner because my new well was coming in at Coyote Hills and I had to see about it. That well is now flowing at two thousand barrels and it's paying me an income of five thousand dollars a week. I have two others drilling and I have sixteen producing at Antelope. So- Ladies and Gentlemen- if I say I'm an oil man, you will agree.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>You have a great chance here - but bear in mind: you can loose it all if you're not careful. Out of all men that beg for a chance to drill your lots, maybe one in twenty will be oil men; the rest will be speculators - men trying to get between you and the oil men - to get some of the money that ought by rights come to you. Even if you find one that has money, and means to drill, he'll maybe know nothing about drilling and he'll have to hire out the job on contract - and then you're depending on a contractor that's tryin' to rush the job through - so he can get another contract just as quick as he can. This is way that this works.</dialogue>
    <scene_description>An OC VOICE INTERRUPTS, LOUDLY; Daniel holds his composure.</scene_description>
    <character>OC MALE VOICE</character>
    <dialogue>WHAT IS YOUR OFFER? WE'RE WASTING TIME.</dialogue>
    <character>DANIEL</character>
    <dialogue>I do my own drilling and the men that work for me, work for me and they are men I know. I make it my business to be there and see to their work. I don't lose my tools in the hole and spend months fishing for them; I don't botch the cementing off and let water in the hole and ruin the whole lease.</dialogue>
    <scene_description>REVEAL, AT THAT MOMENT, young H.W. (age 7) He is standing behind Daniel and looking at the group OC. Daniel and H.W.;</scene_description>
    <character>DANIEL</character>
    <dialogue>I'm fixed like no other company in this field and that's because my Coyote Hills well has just come in - I have a string of tools all ready to put to work... I can load a rig onto trucks and have them here in a week. I have business connections so I can get the lumber for the derrick - such things go by friendship in a rush like this. And this is why I can guarantee to start drilling and put up the cash to back my word. I assure you, whatever the others promise to do, when it comes to the showdown, they won't be there ...</dialogue>
    <scene_description>REVERSE, THE ROOM, THAT MOMENT About TEN FAMILIES have packed themselves into a very small BUNGALOW HOME in Signal Hill near Long Beach, Calif. They are a hungry group;</scene_description>
    <character>MAN</character>
    <dialogue>THAT'S FINE. THAT'S JUST FINE, BUT HOW</dialogue>
    <character>DO YOU PROPOSE TO SPLIT UP THE LOTS?</character>
    <dialogue>WOMAN</dialogue>
    <character>WHAT ARE YOU SAYING, MR. PLAINVIEW?</character>
    <dialogue>MARRIED MAN</dialogue>
    <character>WE DON'T HAVE TIME FOR THIS IF YOU</character>
    <dialogue>CAN'T TELL US HOW YOU PLAN TO PAY</dialogue>
    <character>EACH AND EVERY PERSON THAT IS</character>
    <dialogue>IN THIS ROOM.</dialogue>
    <character>ANOTHER MAN</character>
    <dialogue>LET HIM FINISH. LET HIM FINISH.</dialogue>
    <character>MAN</character>
    <dialogue>IF SOMEONE HAS A MARKED BOUNDARY AND</dialogue>
    <character>A SMALL LOT, THAT INFRINGES</character>
    <dialogue>ANOTHER MAN</dialogue>
    <character>LET HIM FINISH!</character>
    <dialogue>MAN</dialogue>
    <character>INFRINGING ON MY LOT AND TAKING MY MONEY.</character>
    <dialogue>ANOTHER MAN</dialogue>
    <scene_description>LET HIM FINISH. Please, Mr. Plainview --</scene_description>
    <character>DANIEL</character>
    <dialogue>It's not up to me to say how you're going to divide the royalty. But let me say this; whatever you give up so you can get together it will be smart compared to what you may loose by delay. The crooks and the gamblers are near and the wolf is scratching the door. Ladies and Gentlemen, take it from me as an oil man - humbly - there aren't going to be many gushers here at Signal Hill. A field plays out very quick. In two or three years, these wells will be dry - even this discovery well that's gushing down the road and has everyone so crazy. So my suggestion, with respect, is take a smaller share of royalty and we will see that it's a small share of a bigger royalty. That, ladies and gentleman, is what I had to say.</dialogue>
    <scene_description>HOLD ON THE ROOM. Everyone has taken this in, then: THE ROOM ERUPTS AS EACH FAMILY SCREAMS AND YELLS AND UNLEASHES THEIR WRATH AT EACH OTHER ABOUT HOW THEIR LOTS SHOULD BE DIVIDED AND ROYALTIES SHARED AND MEASURMENTS OF 11 SMALL LOTS" 11 BIG LOTS" 11 JUST GO WITH A FAMILY OPERATION, IT'S MORE IMPORTANT!" A MAN SCREAMS: 11 BULL." We witness human dignity go completely out the window. Daniel stands, slowly turns and walks out the door, without even being noticed. H.W. walks out behind Daniel\_ CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SIGNAL HILL - THAT MOMENT.</stage_direction>
    <scene_description>CAMERA leads DANIEL and H.W. out of the bungalow and onto the street, they are followed out of the house by a small man named PRESCOTT (50s) pleading his case</scene_description>
    <character>PRESCOTT</character>
    <dialogue>no, please, Mr. Plainview where are you going?</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't need the lease, thank you.</dialogue>
    <character>PRESCOTT</character>
    <dialogue>But, no, no, we need you, we'd like for you to begin -</dialogue>
    <character>DANIEL</character>
    <dialogue>There's too much confusion. Thank you for your time.</dialogue>
    <character>PRESCOTT</character>
    <dialogue>No confusion, let us just, please come back and we can all settle this -</dialogue>
    <character>DANIEL</character>
    <dialogue>I wouldn't take the lease if you gave it to me as a gift.</dialogue>
    <scene_description>DANIEL and H.W. keep walking, THEY JUMP OVER THE OIL THAT FLOWS IN THE GUTTER, OF THIS SUBURBAN TRACT COMMUNITY/UNDER CONSTRUCTION. PEOPLE IN THE STREETS, BUYING, SELLING, ETC. WE CAN SEE THE TOP OF A DERRICK IN THE DISTANCE ON A HILL. They walk down the center of the street and off up a side road CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BANKSIDE HOME - NIGHT.</stage_direction>
    <scene_description>DANIEL is now sitting with a nice, mild mannered man: JIM BANKSIDE (50s) his WIFE sits with him and their TWO SONS aged 10 and 12. HW sits beside Daniel and a bit behind;</scene_description>
    <character>DANIEL</character>
    <dialogue>Mr. Bankside, I'm not going to waste your time and I'd like it if you didn't waste mine. If you want to sign with me we can have a well drilling within ten days. Your lot is further North from the discovery well up here so it means we will probably have to dig deeper. If there's as much oil up here as I think there is, it will be harder to reach but once we find it we can take it right out. But we have to act quickly because very soon these grounds will dry up. I need you to know what you want to do. Because of the distance from the discovery well I'll pay you a smaller royalty than you'd get down there- but I'll give you a thousand dollar bonus on your lot.</dialogue>
    <character>BANKS IDE</character>
    <dialogue>what royalty?</dialogue>
    <character>DANIEL</character>
    <dialogue>A sixth - now that's standard. And a guarantee to start drilling within ten days -which isn't.</dialogue>
    <character>KIDS</character>
    <dialogue>DO IT, DAD. DO IT. DO IT.</dialogue>
    <scene_description>BANKSIDE (to kids)</scene_description>
    <character>SHUT UP.</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>The oil-game is like heaven. Everyone is called but few are chosen.</scene_description>
    <character>BEAT.</character>
    <dialogue>MRS. BANKSIDE</dialogue>
    <scene_description>Where is your wife?</scene_description>
    <character>DANIEL</character>
    <dialogue>She died at child birth, Mrs. Bankside. It's just me and my boy.</dialogue>
    <scene_description>Bankside takes all this in, then: CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DERRICK FLOOR - EVENING - WEEKS LATER.</stage_direction>
    <scene_description>DANIEL is guiding the process on the floor of the derrick, Which has been erected ON TOP OF/NEXT TO/IN the BANKSIDE HOME. HOLD on this process, and introduce the main team of DRILLERS that Daniel works with; BEN BLAUT (40s), MURGINS (50s) JOE GHUNDA (40s) and FOUR OTHER FACES/ROUGHNECKS. We watch them and hear technical details, etc . ... there is a DEEP, DARK RUMBLE ... the men get ready ... •. it's very quiet~ 25A ...CAMERA looks straight down onto the men working ... and IN A FLASH: 25A</scene_description>
    <character>A BURST OF GAS/WATER/OIL COMES STRIAGHT UP AND AT THE CAMERA.</character>
    <scene_description>25B ...OIL SPRAYS ALL OVER THE BANKSIDE HOUSE ... 25B ... THE MEN CONTAIN THE GUSHER and "tie-off" ... leading the oil into waiting LARGE DRUM CONTAINERS. 25C ... INSIDE THE CONTAINER' s ...we watch the OIL FILL UP. 25C CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW AMERICA DRILLING CO. (BANKSIDE HOUSE) NIGHT</stage_direction>
    <scene_description>Inside what was the Bankside horne, Daniel and his main partner in business: FLETCHER HAMILTON (40s) have made offices. It's clearly been a few hard weeks of work, the horne is now dirty, cramped, with tools, paper, etc. This has become their horne base. Just outside the window, we see the BASE OF THE DERRICK, invading the living room/kitchen - H.W. sleeps on a cot in the corner, behind Daniel's desk. OUTSIDE, we hear the drilling and yelling and all the rest of the circus ... A YOUNG KID (PAUL SUNDAY aged 16) knocks on the screen door, looks inside. He is skinny, dirty, traveled, worn;</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>rnr. plainview?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes?</dialogue>
    <scene_description>He steps inside.</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>are you daniel plainview?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>what can I do for you?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>you look for oil?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>what do you pay for a place that has it?</dialogue>
    <character>DANIEL</character>
    <dialogue>that depends.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>what does it depend on?</dialogue>
    <character>DANIEL</character>
    <dialogue>lots of things.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>If I told you I knew a place that had oil, where land could be bought cheaply - what do you think that would be worth?</dialogue>
    <character>DANIEL</character>
    <dialogue>I think you'd have to let me know what you know. And we would try and work something out.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Can I sit down?</dialogue>
    <scene_description>BEAT. He sits.</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>what church do you belong to?</dialogue>
    <character>DANIEL</character>
    <dialogue>r\_renjoy all faiths\_! don't belong</dialogue>
    <scene_description>to one church in particular - I like them all - I like everything. Where are you from?</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>That would be telling you. That's what I want to sell you.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>what are you doing in Signal Hill?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>.........we have oil and it seeps through the ground -- do you want to pay me to know where it is?</dialogue>
    <character>DANIEL</character>
    <dialogue>just because there's something on the ground doesn't mean there's anything beneath it.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>...why did Standard Oil buy up land?</dialogue>
    <scene_description>BEAT. Paul just looks at him;</scene_description>
    <character>DANIEL</character>
    <dialogue>Is it in California?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>maybe.</dialogue>
    <character>DANIEL</character>
    <dialogue>How much land did they buy?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>I'd like it better if you didn't think I was stupid.</dialogue>
    <character>DANIEL</character>
    <dialogue>...why did you come to me?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>You just brought this well in.</dialogue>
    <character>DANIEL</character>
    <dialogue>that's right.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>yeah, so: just give me five hundred dollars in cash right now and I'll tell you where it is.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'll give you one hundred dollars now and if it looks like a promising lease, I'll give you a thousand dollar bonus.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Six hundred dollars.</dialogue>
    <character>DANIEL</character>
    <dialogue>tell me one thing to help me decide: what else do you have up there? what do you grow?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>We have a big ranch, but it's mostly rocks. you plant things, nothing grows but weeds - what makes you think it's up?</dialogue>
    <character>FLETCHER</character>
    <dialogue>is there sulphur around or alkali deposits?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Alkali nearby. I don't know sulphur.</dialogue>
    <scene_description>H.W. wakes up in the b.g., behind Daniel's desk and looks at the scene, sees the boy, looks around... Paul looks from H. W. to Daniel;</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>Is that your son?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Hi.</dialogue>
    <character>H.W.</character>
    <dialogue>Hi.</dialogue>
    <scene_description>PAUL SUNDAY (to Fletcher) Who are you?</scene_description>
    <character>FLETCHER</character>
    <dialogue>My name is Fletcher Hamilton. nice to meet you, Paul.</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>What do you do?</dialogue>
    <character>FLETCHER</character>
    <dialogue>I work with Mr. Plainview.</dialogue>
    <character>DANIEL</character>
    <dialogue>four hundred dollars\_</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>It's six now. I'm leaving my home for good, so I need this -- I want six hundred dollars. give it to me or I'll go somewhere else.</dialogue>
    <scene_description>Daniel reaches into his pocket - he has $300 - Fletcher gets out an envelope and gives him another $300.</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>I come from a town called Little Boston in Isabella County.</dialogue>
    <scene_description>ANGLE, MOMENTS LATER. They have a map spread out and tacked up on the wall. DANIEL, FLETCHER, HW and PAUL over it as he points.</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>this is us here. spur station here at Little Boston. The Sunday ranch is what you're looking for. There's a sheep trail that leads you there - it's a mile from town heading west - not far. just through a small pass - near the base of the hills. follow the sheep trail.</dialogue>
    <character>DANIEL</character>
    <dialogue>And where did Standard buy up?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Here and here.</dialogue>
    <scene_description>he points to an area about thirty miles north west.</scene_description>
    <character>DANIEL</character>
    <dialogue>your family's name is Sunday?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>that's right.</dialogue>
    <character>DANIEL</character>
    <dialogue>how many in your family?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>My father and mother and and my sisters and my younger brother, Eli.</dialogue>
    <character>H.W.</character>
    <dialogue>How many sisters do you have?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Two. Mary and Ruth.</dialogue>
    <character>DANIEL</character>
    <dialogue>What's your name?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>Paul.</dialogue>
    <character>FLETCHER</character>
    <dialogue>Does your family know about the oil that you say is there?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>I don't know. My Uncle always said there was oil there - but I don't know what they heard or what they think.</dialogue>
    <character>FLETCHER</character>
    <dialogue>what do you grow?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>it's goats. a goat farm. I told you: there's nothing grows up there but weeds.</dialogue>
    <character>FLETCHER</character>
    <dialogue>water?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>it's salty. you drill a well, it hard not to get salt water.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>The oil is there. I'm telling you.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>PAUL SUNDAY</character>
    <dialogue>I wanna go now. so: good luck to you.</dialogue>
    <character>DANIEL</character>
    <dialogue>you can stay here tonight</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>No. I wanna go now. I wanna leave.</dialogue>
    <scene_description>Daniel walks over to him.</scene_description>
    <character>DANIEL</character>
    <dialogue>If I travel all the way there and I find out that you're a liar, I'll find you and I'll take more than my money back, is that alright with you?</dialogue>
    <character>PAUL SUNDAY</character>
    <dialogue>yessir.</dialogue>
    <character>BEAT.</character>
    <dialogue>PAUL SUNDAY</dialogue>
    <scene_description>nice luck to you. good bye. He leaves. HOLD with Daniel, Fletcher and HW.</scene_description>
    <character>FLETCHER</character>
    <dialogue>you know there was an earthquake up there a few days ago ...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Anything he's seeing on the ground could just be loose stuff set free~</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN DEPOT/LITTLE BOSTON, CALIFORNIA- LATE DAY.</stage_direction>
    <scene_description>CAMERA looks down a long stretch of TRAIN TRACKS that cuts across a dry, flat, empty valley floor. We can see, in the distance, the faint trace of DANIEL and HW driving in their CAR on a road that runs parallel to the tracks. They bounce up and down, dust trail behind them- we PAN WITH THEM AS THEY ARRIVE AT: THE TRAIN DEPOT OF LITTLE BOSTON. We see some small, rolling hills in the distance~ They PARK THEIR CAR next to the SPUR STATION, UNLOAD SOME CAMPING EQUPIMENT FROM THEIR CAR and start walking off ...we see the TOWN OF LITTLE BOSTON NEARBY ... DANIEL and HW walk the road on the outskirts of town and towards the hills -- CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SHEEP ROAD/BASE OF HILLS- DUSK.</stage_direction>
    <scene_description>They're walking with the HEAVY CAMPING EQUIPMENT. H.W. starts to fall a bit, with the camping equipment, Daniel catches him, props him up a bit;</scene_description>
    <character>DANIEL</character>
    <dialogue>Alright?</dialogue>
    <character>HW</character>
    <dialogue>yeah.</dialogue>
    <scene_description>They walk some more until Daniel sees something coming up ahead in the distance, says to HW;</scene_description>
    <character>DANIEL</character>
    <dialogue>Remember your silence ... (walk beside me, not behind me.)</dialogue>
    <scene_description>CAMERA PANS LFT, becomes THEIR POV: Coming towards them, from the distance is a MAN. This is ABEL SUNDAY (50s) He is very frail, small, worn;</scene_description>
    <character>ABEL SUNDAY</character>
    <dialogue>Good evening.</dialogue>
    <character>DANIEL</character>
    <dialogue>Good evening.</dialogue>
    <scene_description>They gain ground, get closer. THREE SHOT. HOLD.</scene_description>
    <character>DANIEL</character>
    <dialogue>My name is Daniel Plainview. This is my son HW.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Are you hunting?</dialogue>
    <character>DANIEL</character>
    <dialogue>We're hunting for quail. We were told there might be a good place to camp up here near the Sunday ranch ...</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>This is the Sunday ranch. you can camp here.</dialogue>
    <character>DANIEL</character>
    <dialogue>do you have water?</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Yes.</dialogue>
    <scene_description>They arrive at each other.</scene_description>
    <character>ABEL SUNDAY</character>
    <parenthetical>(extends his hand)</parenthetical>
    <dialogue>I am Abel Sunday.</dialogue>
    <character>DANIEL</character>
    <dialogue>Pleasure to meet you. We heard there was an earthquake here a few days ago is that right?</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Yes.</dialogue>
    <character>DANIEL</character>
    <dialogue>Your family?</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Yeah, all fine, thank you. We've got some milk if you'd like, goat's milk up at the ranch if that's ok...</dialogue>
    <character>DANIEL</character>
    <dialogue>That'd be fine.</dialogue>
    <scene_description>They continue to chat as they walk up the road. IN the distance are some minor rolling hills •.. they head around a bend... and we see a CHURCH ON A HILL... DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY RANCH/MOMENTS LATER.</stage_direction>
    <scene_description>The three men come up to the small, very run down HOME. Standing, waiting outside is the SUNDAY FAMILY: MOTHER SUNDAY (50s) RUTH SUNDAY (aged 12) MARY SUNDAY (aged 7) and a very skinny, man/boy, the son: ELI SUNDAY (aged 18) They make introductions, say hello, etc. About fifty yards from the house is a large oak tree;</scene_description>
    <character>DANIEL</character>
    <dialogue>Can we set a tent over here? we'll be out of your way here</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>that's fine. Eli, help this boy right now and get them some water.</dialogue>
    <character>HW</character>
    <dialogue>I've got it.</dialogue>
    <scene_description>HW goes off to get some water. Eli just stands.</scene_description>
    <character>ABEL SUNDAY</character>
    <dialogue>Mr. Plainview- would you like that milk now?</dialogue>
    <character>DANIEL</character>
    <dialogue>That's fine thank you.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Go, Mary. Ruth help them with their tent --</dialogue>
    <character>DANIEL</character>
    <dialogue>No, please. We set ourselves on this camping trip, we've got to do the camping.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>The eggs, Ruth.</dialogue>
    <scene_description>Ruth goes off to get some eggs. HW comes back with some water;</scene_description>
    <character>DANIEL</character>
    <dialogue>Do you have any bread?</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>We have potatoes.</dialogue>
    <character>DANIEL</character>
    <dialogue>Potatoes would be nice, thank you.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>I'll have them boil you up some potatoes.</dialogue>
    <character>DANIEL</character>
    <dialogue>That's alright, I thought maybe we'd make a fire. I wanted to work with my son on making a fire.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Eli, would you get them some wood?</dialogue>
    <scene_description>Eli reluctantly goes off to get some wood, Daniel walks over to Abel, extends his hand;</scene_description>
    <character>DANIEL</character>
    <dialogue>Thank you for your hospitality, Abel. we'll stay out of your way, just hunting quail -</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>I'm sorry we don't have any bread. Corn just doesn't fill out in the hills here. It's mostly rock and we don't have room to raise the grain ......</dialogue>
    <scene_description>They chat a bit more as -- DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUNDAY RANCH/NIGHT - LATER.</stage_direction>
    <scene_description>DANIEL and HW and ABEL SUNDAY sit close to the FIRE. Just back a bit, on stones, sits the rest of the FAMILY and ELI. Abel directs the girls to clear and wash their dishes - they collect the dishes, and then;</scene_description>
    <character>ABEL SUNDAY</character>
    <dialogue>Brother, may I ask you a personal question?</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Are you saved?</dialogue>
    <character>DANIEL</character>
    <dialogue>... yes ...</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>And you've been washed in Blood?</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes, brother. We've been washed.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>What is your church?</dialogue>
    <character>DANIEL</character>
    <dialogue>Our church is called The Church of the World.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>I don't know that Church. I don't know what their message is --</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Can you tell me about the message of the Church of the World?</dialogue>
    <character>DANIEL</character>
    <dialogue>Well, Brother Abel, we are told in the Book not to discuss our faith with stangers. Even if they're so nice and helpful.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>We're told in our book, uThe Lord has called us to preach the Gospel unto them."</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes, that's right. uAnd the Gospel must first be published among all nations."</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>That's right!</dialogue>
    <character>DANIEL</character>
    <dialogue>But according to our faith, we believe that we get to know a man through friendship and business - and we talk about faith later.</dialogue>
    <scene_description>ELI speaks up;</scene_description>
    <character>ELI</character>
    <dialogue>May I ask a question?</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes, Eli?</dialogue>
    <character>ELI</character>
    <dialogue>What does your Church teach about earthquakes?</dialogue>
    <character>DANIEL</character>
    <dialogue>About the earthquakes? Like the earthquake you had up here?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We are taught that it is God's mighty power.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>My son is a healer and a vessel for the Holy Spirit. He has a church ...</dialogue>
    <character>ELI</character>
    <dialogue>Our earthquake means that the Holy Spirit has grown weary of drunkeness and lying in the world.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Have you been doing any of these things?</dialogue>
    <character>H.W.</character>
    <dialogue>No we haven't.</dialogue>
    <scene_description>DANIEL (to Eli) No, son. We haven't.</scene_description>
    <character>ELI</character>
    <dialogue>thank you.</dialogue>
    <scene_description>No one seems to know what to say next, so they stand and say good night and head back to their house. Daniel, H.W. get inside their tent. DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY RANCH - DAWN</stage_direction>
    <scene_description>DANIEL and HW put out their morning fire, collect their HUNTING GEAR and head off CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HILLS NEARBY/CANYON - MORNING.</stage_direction>
    <scene_description>CAMERA leads/follows them as they move ... H.W. and DANIEL carrying their shotguns ...while they HUNT QUAIL. DANIEL fires first. We follow H.W. -- watch him SHOOT.</scene_description>
    <character>ANOTHER ANGLE.</character>
    <dialogue>The same thing. HW raises the GUN and shoots, hitting another.</dialogue>
    <character>DANIEL</character>
    <dialogue>Go get 'em.</dialogue>
    <scene_description>H.W. runs off. In running to retrieve the quail he steps in something and stumbles a bit. He stops, turns back - recognizes something and slowly moves towards it --</scene_description>
    <character>CU. H.W</character>
    <dialogue>he looks closer. BEAT. He looks down towards his shoes. THEN;</dialogue>
    <character>ANGLE, HW.</character>
    <dialogue>He runs back to his Father.</dialogue>
    <character>HW</character>
    <dialogue>Dad.</dialogue>
    <character>DANIEL</character>
    <dialogue>What?</dialogue>
    <character>HW</character>
    <dialogue>Look at my shoe.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD - MOMENTS LATER.</stage_direction>
    <scene_description>They stand over a minor PATCH OF TAR/OIL SLICK that bubbles on the surface ... DANIEL is kneeling over it, dips a stick into it, moves it about, looks at it against the light -</scene_description>
    <character>ANGLE, CU. DANIEL.</character>
    <dialogue>He takes out a box of matches and attempts to light the stick on fire. Nothing.</dialogue>
    <character>ANGLE. CU. THE OIL.</character>
    <dialogue>He moves to another area of the oil slick and dips the stick in again, takes some out, strikes match and it FLAMES. HOLD.</dialogue>
    <character>DANIEL</character>
    <dialogue>This is earthquake stuff set loose.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NEARBY HILL - MOMENTS LATER</stage_direction>
    <scene_description>CAMERA behind them as they climb up on top of a small hill, CAMERA rises above them and reveals the landscape; rolling hills. rocky and dusty and rough. not pretty. They look over the place. HOLD. 35A ANGLE, MOMENTS LATER. 35A They're walking, DANIEL is feeling the ground beneath his feet. SOUND SEQUENCE. Feel of the footsteps, crunch, etc. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BANDY RANCH/NEARBY CANYON - LATER</stage_direction>
    <scene_description>They come upon a SMALL, RUNDOWN HOME at the base of some of the MOUNTAINS in canyon. Off to the side, in a run down PEN are some PIGS. There is a POOL OF FOUL SMELLING SULPHUR WATER surrounding the pen, THEY COVER THEIR FACES, LOOK AROUND;</scene_description>
    <character>DANIEL</character>
    <dialogue>He puts his pigs here - near the sulphur water to kill their fleas and cure the mange. This is a nice place to drill. This is your pay sand.</dialogue>
    <character>ANGLE, BANDY HOUSE.</character>
    <dialogue>They move to the house ... knock and get no answer ... they OPEN THE DOOR. ..</dialogue>
    <character>DANIEL</character>
    <dialogue>Hello?</dialogue>
    <scene_description>36A INSIDE, UPON THE WALLS, THERE ARE RELIGIOUS ARTIFACTS. 36A Crucifixions, portraits of MARY, etc. A small ALTAR with CANDLES. DANIEL and H.W. take a good look, then exit CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HILLS. LATER/LATE AFTERNOON.</stage_direction>
    <scene_description>They walk/talk quickly, carrying the quail;</scene_description>
    <character>DANIEL</character>
    <dialogue>so ...</dialogue>
    <character>HW</character>
    <dialogue>so ...</dialogue>
    <character>DANIEL</character>
    <dialogue>so-so. if there's anything here ...we take it to the sea -- we can go into town and see a map - but what we do - we take a pipeline from here to Port Hueneme or Santa Paula and we make a deal with Union Oil - this is what we do and we don't need the railroads and the shipping costs anymore, you see?</dialogue>
    <character>HW</character>
    <dialogue>yeah.</dialogue>
    <character>DANIEL</character>
    <dialogue>you see that?</dialogue>
    <character>HW</character>
    <dialogue>yes.</dialogue>
    <character>DANIEL</character>
    <dialogue>and then we're making money. we make the real money that we should be making and we're not throwing it away -- otherwise it's just mud.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUNDAY RANCH - DUSK.</stage_direction>
    <scene_description>CAMERA holds on DANIEL. The Sunday Family and H.W. eat the quail, minor conversation... then:</scene_description>
    <character>DANIEL</character>
    <dialogue>what would you say is a fair price for this lot, Abel?</dialogue>
    <scene_description>Everyone stops eating and looks at Daniel: Abel is very excited:</scene_description>
    <character>ABEL SUNDAY</character>
    <dialogue>The Lord has sent you here. The Prophet Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>yes. let me finish telling you-</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>This is according to the revelation of the True Word. This is it.</dialogue>
    <character>DANIEL</character>
    <dialogue>I think it is, yes. now what would you say is a fair price?</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>Five dollars an acre.</dialogue>
    <character>ELI</character>
    <dialogue>Six.</dialogue>
    <character>DANIEL</character>
    <dialogue>Six dollars. thank you, Eli.</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>And with the improvements I've made at five hundred --</dialogue>
    <character>DANIEL</character>
    <dialogue>I'll offer to buy the ranch for thirty-seven hundred dollars.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>That's three thousand and seven hundred dollars.</dialogue>
    <scene_description>BEAT. MOTHER SUNDAY speaks:</scene_description>
    <character>MOTHER SUNDAY</character>
    <dialogue>I don't want to leave here, this isn't for sale.</dialogue>
    <character>DANIEL</character>
    <dialogue>no, no, no. you don't have to leave. You may stay here as long as you like and I will give you my word - you can have all the farming rights - what we can do is develop a lease - I will lease you the land after the purchase for the next ninety-nine years at ten dollars a year.</dialogue>
    <character>MOTHER SUNDAY</character>
    <dialogue>We don't have any money.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm giving you some ...</dialogue>
    <scene_description>Everything gets quiet.</scene_description>
    <character>DANIEL</character>
    <dialogue>Does this seem fair to you?</dialogue>
    <character>ABEL SUNDAY</character>
    <dialogue>This is according to the Revelation Eli, this is according to --</dialogue>
    <character>ELI</character>
    <dialogue>And what about the rock oil?</dialogue>
    <character>DANIEL</character>
    <dialogue>...well, yes, what ... ?</dialogue>
    <character>ELI</character>
    <dialogue>And what do you want to do about the rock oil?</dialogue>
    <character>DANIEL</character>
    <dialogue>what about it?</dialogue>
    <character>ELI</character>
    <dialogue>We have oil here. that's worth something.</dialogue>
    <character>DANIEL</character>
    <dialogue>do you have someone who can drill for it?</dialogue>
    <character>ELI</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>Do you think there's oil here?</scene_description>
    <character>ELI</character>
    <dialogue>I know there is.</dialogue>
    <character>DANIEL</character>
    <dialogue>it's very expensive to drill-to get it up out of the ground.</dialogue>
    <dialogue>have you ever tried that before?</dialogue>
    <character>ELI</character>
    <dialogue>how much is it?</dialogue>
    <character>DANIEL</character>
    <dialogue>... costly.</dialogue>
    <character>ELI</character>
    <dialogue>what would you give us for that?</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't know.</dialogue>
    <scene_description>SOMETHING YOU DON'T KNOW!</scene_description>
    <character>DANIEL</character>
    <dialogue>what would you like, Eli?</dialogue>
    <character>ELI</character>
    <dialogue>I think that you should share the mineral rights with my Church. you've given us the farming rights, now why not share the mineral rights?</dialogue>
    <scene_description>BEAT. Eli and Daniel hold a look on each other;</scene_description>
    <character>DANIEL</character>
    <dialogue>If we decide to drill for oil, if the well begins to produce I'll give your Church a five thousand dollar signing bonus.</dialogue>
    <character>ELI</character>
    <dialogue>that's not enough.</dialogue>
    <character>DANIEL</character>
    <dialogue>do you want to find someone else that's gonna come up here and drill? Eli? make the investment and do all the work that goes into it? I can hunt for quail on another ranch just as easily as I can here.</dialogue>
    <scene_description>BEAT. Eli is quiet.</scene_description>
    <character>DANIEL</character>
    <dialogue>I would be happy to be a supporter of your Church as long as I can. with the bonus only ... I do have some connections that could get us started drilling for oil...how do you feel about that Abel?</dialogue>
    <character>ABEL</character>
    <dialogue>yes. what Eli says.</dialogue>
    <character>DANIEL</character>
    <dialogue>Fine. Fine. Let's draw up some contracts and let's try.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN DEPOT/LITTLE BOSTON - MORNING (START MUSIC)</stage_direction>
    <scene_description>DANIEL and HW are driven on CART AND HORSE by ELI...They approach the TRAIN DEPOT AREA and their PARKED CAR.</scene_description>
    <character>DANIEL</character>
    <dialogue>you can just leave us here.</dialogue>
    <scene_description>ELI (re: the car) is this yours?</scene_description>
    <character>DANIEL</character>
    <dialogue>looks like it.</dialogue>
    <scene_description>DANIEL hops down, grabs some camping equipment and moves towards the car. As HW moves to climb down, he gets a little stuck -- ELI gives HW a little PUSH, ACCIDENTALY/ON PURPOSE and he goes straight to the ground. Daniel turns and looks --</scene_description>
    <character>DANIEL</character>
    <dialogue>you alright?</dialogue>
    <character>HW</character>
    <dialogue>yeah.</dialogue>
    <scene_description>They start getting their car packed up.</scene_description>
    <character>ELI</character>
    <dialogue>That's a very nice car.</dialogue>
    <character>DANIEL</character>
    <dialogue>Maybe you'll have one just like it someday, Eli.</dialogue>
    <scene_description>Daniel and H.W. get in the car. Eli turns around the other direction, Daniel drives off - and honks the horn, heads into town -- CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROSE REAL ESTATE, INSURANCE, LOANS OFFICE - MORNING.</stage_direction>
    <scene_description>CAMERA behind them as they enter and greet the real estate man: AL ROSE (40s)</scene_description>
    <character>DANIEL</character>
    <dialogue>Hello.</dialogue>
    <character>AL ROSE</character>
    <dialogue>hello. can I help you?</dialogue>
    <character>DANIEL</character>
    <dialogue>Well...!' d like to talk to you. I'm looking for some land, I've</dialogue>
    <scene_description>just bought the Sunday ranch, and ... ...where' s the map? ANGLE, MOMENTS LATER. A MAP of the entire area is spread out on the desk in front of them; They look it over. Daniel takes out a small notepad and pencil, works it throughout;</scene_description>
    <character>AL ROSE</character>
    <dialogue>There's the Bandy tract which is the neighboring lot. He has over 600 acres</dialogue>
    <character>DANIEL</character>
    <dialogue>and what about this?</dialogue>
    <character>AL ROSE</character>
    <dialogue>AC Maude, Blodget, Redlick... Carr ...</dialogue>
    <character>DANIEL</character>
    <dialogue>What's it held at?</dialogue>
    <character>AL ROSE</character>
    <dialogue>Six dollars an acre.</dialogue>
    <character>DANIEL</character>
    <dialogue>and what about this?</dialogue>
    <character>AL ROSE</character>
    <dialogue>That's the Belvins and that could be got, I'm sure.</dialogue>
    <character>DANIEL</character>
    <dialogue>Can everything around here be got?</dialogue>
    <character>AL ROSE</character>
    <dialogue>BEAT. THEN; Daniel looks up.</dialogue>
    <character>AL ROSE</character>
    <dialogue>sure.</dialogue>
    <scene_description>They sit down;</scene_description>
    <character>DANIEL</character>
    <dialogue>I want you to buy this for me and I want you to be my man, Al. But I want it just enough to pay fair price - and I don't want it any more than that. People don't need to start boosting prices. If they do, you can tell them to forget it and I'll forget it too. You can collect your commission from the seller in the usual way and on top of that you can have five percent from me. And that'll be what makes you a man. You seem aware enough that this should be done quickly and quietly so there aren't any ideas that there's a boom on - does this make sense to you?</dialogue>
    <character>AL ROSE</character>
    <dialogue>Yes. but I'm not sure how quietly --</dialogue>
    <character>DANIEL</character>
    <dialogue>Son, can you go to the car and get my bag please?</dialogue>
    <scene_description>HW goes outside -</scene_description>
    <character>DANIEL</character>
    <dialogue>you make the buying for an unknown client you buy the options for cash - that means if someone is home you should be able to make a deal right there -</dialogue>
    <character>AL ROSE</character>
    <dialogue>you have this money on you?</dialogue>
    <character>DANIEL</character>
    <dialogue>I have some and I can have a wire for more in the morning. have the options ready so they can be signed on the spot</dialogue>
    <scene_description>HW comes back inside with a leather BAG and takes out some FORMS.</scene_description>
    <character>DANIEL</character>
    <dialogue>I carry everything in my car. These forms will make it easy for you- so let's type up an agreement to list these tracts and purchase the Sunday tract.</dialogue>
    <character>ANGLE, AT THE TYPEWRITER - LATER.</character>
    <dialogue>Al types out some contracts. Daniel stands over/behind him, says:</dialogue>
    <character>DANIEL</character>
    <dialogue>If I needed to get a real road in Little Boston that went out to the Sunday Ranch -- who would be a good man to talk to?</dialogue>
    <scene_description>Al Rose looks up from the typewriter at him...</scene_description>
    <character>AL ROSE</character>
    <dialogue>I'd talk to Jake Coffey.</dialogue>
    <character>DANIEL</character>
    <dialogue>What's Jake's business?</dialogue>
    <character>AL ROSE</character>
    <dialogue>Hay and Feed ... and Insurance.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN DEPOT - DAY - LATER.</stage_direction>
    <scene_description>DANIEL and HW come in to do some business with the TRAIN DEPOT MAN: HOWARD SOMMERVILLE (50s) He introduces himself, makes small talk and goes about making filling out a TELEGRAM, hands it over;</scene_description>
    <character>DANIEL</character>
    <dialogue>Howard, who's the best man in town to contact for a water well?</dialogue>
    <character>HOWARD</character>
    <dialogue>Sam Davis.</dialogue>
    <character>DANIEL</character>
    <dialogue>can you contact him for me and have him meet my son out at the Sunday ranch?</dialogue>
    <character>HOWARD</character>
    <dialogue>to talk to your son?</dialogue>
    <character>DANIEL</character>
    <dialogue>To drill a proper well. My son knows what I'd like done. Can I use that telephone?</dialogue>
    <scene_description>Daniel moves towards the TELPHONE across the room, while telling Howard the number he'd like dialed ... Howard works the switchboard and places the call for him, Daniel is connected with Fletcher; ANGLE, HW. he looks out the window and sees: THE TRAIN COMES DOWN THE TRACKS ACROSS THE VALLEY FLOOR, APPROACHING THE STATION. ANGLE, DANIEL. he is speaking with Fletcher, telling him to come up, etc. etc. His attention turns to the TRAIN as it PULLS UP OUTSIDE THE WINDOW. ANGLE, GENE BLAIZE and CHARLIE WHRIGHTSMAN. (50s) Two other INDEPENDENT OIL MEN step off the train and walk into the depot; They see HW and start to chat him up... Daniel finishes his call with Fletcher and walks over;</scene_description>
    <character>GENE BLAIZE</character>
    <dialogue>Plainview and Son.</dialogue>
    <character>DANIEL</character>
    <dialogue>Hello, Gene. Charlie. You guys are a long way from Signal Hill. You on your way somewhere else?</dialogue>
    <character>GENE BLAIZE</character>
    <dialogue>Passing through and looking around. Funny to see you.</dialogue>
    <character>DANIEL</character>
    <dialogue>Funny.</dialogue>
    <character>GENE BLAIZE</character>
    <dialogue>Congratulations on your well, I heard that hit nicely --</dialogue>
    <character>DANIEL</character>
    <dialogue>300 barrels a day. you remember my son, H.W.?</dialogue>
    <character>GENE BLAIZE</character>
    <dialogue>You boys are a regular family business ...</dialogue>
    <character>DANIEL</character>
    <dialogue>you boys are a little late\_</dialogue>
    <character>GENE BLAIZE</character>
    <dialogue>What'd you find?</dialogue>
    <character>DANIEL</character>
    <dialogue>I found some interesting prospects.</dialogue>
    <character>GENE BLAIZE</character>
    <dialogue>Did you hear Standard bought up?</dialogue>
    <character>DANIEL</character>
    <dialogue>-I did hear. further North.</dialogue>
    <character>GENE BLAIZE</character>
    <dialogue>that's right.</dialogue>
    <character>DANIEL</character>
    <dialogue>I like you Gene, and I wanna tell you: If you're gonna make a play: look east, cause there's a lot around here that's been taken. I'd rather have it be you than someone else.</dialogue>
    <character>WHRIGHTSMAN</character>
    <dialogue>Life must be easy when you've got such a cute face to carry around with you.</dialogue>
    <character>DANIEL</character>
    <dialogue>Are you telling me how handsome my son is?</dialogue>
    <character>WHRIGHTSMAN</character>
    <dialogue>that's right.</dialogue>
    <character>DANIEL</character>
    <dialogue>Thank you. That's very nice. Good luck. Remember what I said. Go east.</dialogue>
    <scene_description>They leave ... Gene Blaize calls out to H. W. --</scene_description>
    <character>GENE BLAIZE</character>
    <dialogue>I'll be your lawyer if you need to draw up a contract - make sure you don't get swindled, boy -- get half of what your Dad is making -- !</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY RANCH. DAYS LATER. LATE AFTERNOON.</stage_direction>
    <scene_description>H.W. and the young girl MARY are sitting around, talking. The WATER WELL MAN is at work digging the well, which HW supervises from a distance; FLETCHER has arrived now and is walking the area with a GEOLOGIST named FRED ENGLISH. They inspect the landscape/take measurements ...</scene_description>
    <character>ANGLE, MARY AND H. W.</character>
    <dialogue>MARY</dialogue>
    <scene_description>what are they doing?</scene_description>
    <character>HW</character>
    <dialogue>they're just looking around.</dialogue>
    <character>MARY</character>
    <dialogue>how much money can we make from this?</dialogue>
    <character>HW</character>
    <dialogue>it depends.</dialogue>
    <character>MARY</character>
    <dialogue>how much?</dialogue>
    <character>HW</character>
    <dialogue>I don't know.</dialogue>
    <character>MARY</character>
    <dialogue>a thousand dollars?</dialogue>
    <character>HW</character>
    <dialogue>It depends. you can't say.</dialogue>
    <character>MARY</character>
    <dialogue>ten thousand dollars?</dialogue>
    <character>HW</character>
    <dialogue>I don't know.</dialogue>
    <character>BEAT.</character>
    <dialogue>MARY</dialogue>
    <scene_description>My father hits me in the face if I don't pray.</scene_description>
    <character>HW</character>
    <dialogue>what do you do?</dialogue>
    <character>MARY</character>
    <dialogue>HW</dialogue>
    <scene_description>does he do it a lot?</scene_description>
    <character>MARY</character>
    <dialogue>how much money can we make from this?</dialogue>
    <character>HW</character>
    <dialogue>... it depends • you never know\_,</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TENT/SUNDAY RANCH. NIGHT.</stage_direction>
    <scene_description>It's night and DANIEL and H.W. are in their tent. DANIEL is looking over maps, HW near his side\_.then:</scene_description>
    <character>HW.</character>
    <dialogue>Mary told me that her father beats her if she doesn't do all the praying shivering lord stuff that they do...</dialogue>
    <character>DANIEL</character>
    <dialogue>How old is Mary?</dialogue>
    <character>HW</character>
    <dialogue>I don't know.</dialogue>
    <character>DANIEL</character>
    <dialogue>She's the smaller one?</dialogue>
    <scene_description>He nods.</scene_description>
    <character>DANIEL</character>
    <dialogue>You did a nice job on the water well, son. very nice, thank you.</dialogue>
    <character>HW.</character>
    <dialogue>Your welcome.</dialogue>
    <character>DANIEL</character>
    <dialogue>I love you.</dialogue>
    <character>HW</character>
    <dialogue>I love you too.</dialogue>
    <character>BEAT.</character>
    <dialogue>HW</dialogue>
    <scene_description>do you know how many other lots we got up here?</scene_description>
    <character>DANIEL</character>
    <dialogue>we'll see tomorrow.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROSE REAL ESTATE. DAY</stage_direction>
    <scene_description>DANIEL is with AL ROSE and they are looking over the MAP OF THE AREA that is spread on the desk; AL is pointing to it, giving details of Daniel's purchases;</scene_description>
    <character>AL ROSE</character>
    <dialogue>Congratulations, Mr. Plainview. It was all successful! We got all these lots at five and half dollars and acre for a total of 10,400 acres.</dialogue>
    <character>DANIEL</character>
    <dialogue>That's not right. That's not successful.</dialogue>
    <character>AL ROSE</character>
    <dialogue>Well, this tract here next to the Sunday Ranch: This is Mr. Bandy and he wasn't interested in a sale.</dialogue>
    <character>DANIEL</character>
    <dialogue>Who is he?</dialogue>
    <character>AL ROSE</character>
    <dialogue>He's an old man, Bandy... he homsteaded here. He lives with his grandson... he said he would like to talk to you...</dialogue>
    <character>DANIEL</character>
    <dialogue>Is he boosting his price?</dialogue>
    <character>AL ROSE</character>
    <dialogue>He said he'd like to speak with you.</dialogue>
    <character>DANIEL</character>
    <dialogue>About what?</dialogue>
    <character>AL ROSE</character>
    <dialogue>I don't know. He just said he'd like to speak with whoever was doing the buying.</dialogue>
    <character>DANIEL</character>
    <dialogue>did you mention my name?</dialogue>
    <character>AL ROSE</character>
    <dialogue>No.</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't have time to sit and speak with this man, he either wants to sell or not.</dialogue>
    <character>AL ROSE</character>
    <dialogue>It's just the hilly stuff\_</dialogue>
    <character>DANIEL</character>
    <dialogue>It's a very good tract, this is where the sulphur is, don't tell me if it's good or not, Al, you</dialogue>
    <dialogue>wouldn't know. don't talk to me like that.</dialogue>
    <character>AL ROSE</character>
    <dialogue>Well...maybe he wants to boost his price and just speak with you about it.</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't see what good talking is going to do. What does he raise up there, those pigs?</dialogue>
    <character>AL ROSE</character>
    <dialogue>That's right.</dialogue>
    <character>DANIEL</character>
    <dialogue>Well...let him wait. I don't need this man and I don't need to sit and talk with him to do what I want. You did a good job, here. Al, Thank you.</dialogue>
    <character>AL ROSE</character>
    <dialogue>It's all successful</dialogue>
    <character>DANIEL</character>
    <dialogue>Not yet. What's important now is protecting the quail. Do you think you can get "No Trespassing" signs over my 10,400 acres?</dialogue>
    <character>AL ROSE</character>
    <dialogue>... urn... that could take some time.</dialogue>
    <character>DANIEL</character>
    <dialogue>Who's the best man to talk to about some lumber?</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN DEPOT. DAY</stage_direction>
    <character>DANIEL'S WORKERS GET OFF THE TRAIN. MURGINS, GHUNDA, BEN</character>
    <dialogue>BLAUT...AND SOME OTHER ROUGHNECKS-.They head off.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY RANCH. NEW ROAD. DAY.</stage_direction>
    <scene_description>There is a NEWLY MADE ROAD.-CAMERA moves over it and follows a TEAM OF HORSES CARRYING A HUGE IRON STEAM ENGINE ...ANOTHER TEAM OF HORSES CARRYING TONS OF LONG METAL PIPE-.THIS LEADS US AROUND TO REVEAL:</scene_description>
    <character>THE FRESHLY BUILT DERRICK. IT'S FULLY ERECTED AND EIGHTY FEET</character>
    <dialogue>TALL. THERE IS A SMALL BASECAMP. TENTS/HOUSING for about TWENTY WORKERS. THE DERRICK IS ABOUT 200 YARDS FROM THE SUNDAY HOUSE.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED RANCH HOUSE/NEW PLAINVIEW HOUSE. DAY.</stage_direction>
    <scene_description>A bit away from it all, H.W. and DANIEL have taken over an abandoned ranch house that's been overgrown-It's being cleaned up/furnished/etc. CAMERA watches as H. w. seems to be in charge of this-.working with the SUNDAYS: MARY and RUTH and MOTHER SUNDAY and making suggestions, cleaning weeds, etc. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY RANCH/DERRICK AREA. DAY.</stage_direction>
    <scene_description>CAMERA leads/follows ELI as he moves around the construction with a few FOLLOWERS from his CHURCH. They are handing out SMALL CLOTH BUTTONS and inviting the new faces down to the Church-.Eli is all smiles/cha~-</scene_description>
    <character>ELI</character>
    <dialogue>Hello, Brother. Hello. Good afternoon. The Church Of the Third Revelation would Love to welcome you and offer an oasis of healing by the Holy Spirit...</dialogue>
    <scene_description>The WORKERS take the BUTTONS.</scene_description>
    <character>ELI</character>
    <dialogue>You can just follow the new road right to the Church... the new road will lead you there.</dialogue>
    <character>ANGLE, DANIEL.</character>
    <dialogue>nearby, notices Eli moving about glad-handing.-He watches him carefully:</dialogue>
    <scene_description>ANGLE, DANIEL'S BASECAMP OFFICE. The office is small, canvas walls, wood floor. Inside, Daniel is with FLETCHER and MURGINS (his foreman.) Eli knocks on the door;</scene_description>
    <character>ELI</character>
    <dialogue>Daniel, may I have a word?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes.</dialogue>
    <character>ELI</character>
    <dialogue>is everything going alright with everything?</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes it is.</dialogue>
    <character>ELI</character>
    <dialogue>Good, good. Daniel, I understand that you've asked everyone to come around to watch the well start, is that right?</dialogue>
    <character>DANIEL</character>
    <dialogue>I did.</dialogue>
    <character>ELI</character>
    <dialogue>I think that I should bless the well.</dialogue>
    <character>DANIEL</character>
    <dialogue>ELI</dialogue>
    <scene_description>Do you think it would be nice - I think it would be nice if you introduced me - I could come up the hill, and just as I'm coming up the hill and I arrive at the oil well -</scene_description>
    <character>DANIEL</character>
    <dialogue>-- the derrick.</dialogue>
    <character>ELI</character>
    <dialogue>Yes. At that moment, you could introduce me.</dialogue>
    <character>DANIEL</character>
    <dialogue>When you walk up?</dialogue>
    <character>ELI</character>
    <dialogue>That's right. And maybe you could say, "The proud son of these hills •• "</dialogue>
    <character>DANIEL</character>
    <dialogue>when?</dialogue>
    <character>ELI</character>
    <dialogue>When you introduce me. So you would see me walking up. and then. as I arrived, you could say, something, a few words and then say: "and now: the proud son of these hills, who tended his father's flock..." and then you would say my name.</dialogue>
    <character>DANIEL</character>
    <dialogue>Sounds fine.</dialogue>
    <character>ELI</character>
    <dialogue>Good. will you remember the words?</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes.</dialogue>
    <character>ELI</character>
    <dialogue>Would you like me to write them down?</dialogue>
    <character>DANIEL</character>
    <dialogue>I'll remember.</dialogue>
    <character>ELI</character>
    <dialogue>Good. And then we can proceed after I say a few words to the followers and the people. what happens then?</dialogue>
    <character>DANIEL</character>
    <dialogue>We'll start the drill.</dialogue>
    <character>ELI</character>
    <dialogue>Good. Does this sound good to you?</dialogue>
    <character>DANIEL</character>
    <dialogue>That's fine.</dialogue>
    <character>ELI</character>
    <dialogue>Should we practice it?</dialogue>
    <character>DANIEL</character>
    <dialogue>No.</dialogue>
    <character>ELI</character>
    <dialogue>What time?</dialogue>
    <character>DANIEL</character>
    <dialogue>What time is good for you, Eli?</dialogue>
    <character>ELI</character>
    <dialogue>One o clock.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED RANCH HOUSE/NEW PLAINIEW COTTAGE. DAY</stage_direction>
    <scene_description>HW and DANIEL stand in this cleaned up abandoned ranch house. It's been put together nicely;</scene_description>
    <character>DANIEL</character>
    <dialogue>You did a good job on the house, boy.</dialogue>
    <character>HW</character>
    <dialogue>thank you.</dialogue>
    <character>DANIEL</character>
    <dialogue>You ready?</dialogue>
    <scene_description>They exit. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE ERECTED DERRICK - LATE AFTERNOON.</stage_direction>
    <scene_description>This is a "spudding in" ceremony. Everyone is around. Slowly, we gather all the pieces of cast so far. HOWARD SOMMERVILLE is here. AL ROSE is here ... Sooner or later, revealing themselves: MORE OF THE TOWN OF LITTLE BOSTON, VARIOUS MEMBERS AND RANCH OWNERS WHO HAVE INTEREST OR WHO HAVE HAD THEIR LAND LEASED BY DANIEL. H.W. walks proudly near his father. Daniel steps up to make a speech. As he gathers to get ready, he notices, across the way ELI's arrival with some FOLLOWERS from his church. Daniel speaks to the crowd;</scene_description>
    <character>DANIEL</character>
    <dialogue>It's such a pleasureable evening to be here and begin this -- One man doesn't prospect from the ground - it takes a community of people. And this is the best way - we stay together, we pray together, we work together and we share in the wealth together. Now before we spud in, "Mary's Well Number One," named for the lovely Ms. Mary Sunday who is with us today-</dialogue>
    <scene_description>Mary smiles.</scene_description>
    <character>DANIEL</character>
    <dialogue>I'd like to say: "God Bless Us All."</dialogue>
    <scene_description>Eli waits for his signal.-Daniel passes him over and looks to HW.</scene_description>
    <character>DANIEL</character>
    <dialogue>Go ahead now, son.</dialogue>
    <scene_description>H.W. moves a lever, which gives the engine a thump and the CHAIN gives a PULL and the gears give a RATTLE and the ROTARY TABLE starts to TURN, and down underneath the derrick - comes the sound ---- of spudding in. So they've begun.</scene_description>
    <character>CU. THE EARTH.</character>
    <dialogue>The DRILL BIT MOVES INTO IT.</dialogue>
    <dialogue>The NOISE IS VERY VERY LOUD. And it repeats. and repeats.</dialogue>
    <scene_description>ELI lifts his head high, ignores that he's been ignored and starts to leave-MEN begin to work the DERRICK. STAY and WATCH THIS. HOLD. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DERRICK AREA. SUNDAY FARM. DUSK.</stage_direction>
    <scene_description>This is later that night. A small celebration and dinner has happened. At a long table, the last of some food. Various Little Boston residents. H.W. is running around with Mary. Daniel has maybe had a little too much to drink. Mary comes over and Daniel speaks to her, right in front of Abel:</scene_description>
    <character>DANIEL</character>
    <dialogue>I like your new dress, Mary.</dialogue>
    <character>MARY</character>
    <dialogue>Thank you.</dialogue>
    <character>DANIEL</character>
    <dialogue>Your welcome. I knew you would like it. Are you happy that I came here?</dialogue>
    <character>MARY</character>
    <dialogue>Yes.</dialogue>
    <character>DANIEL</character>
    <dialogue>Daddy doesn't hit you anymore does he? does he now? he better not, right? I'll take care of you.</dialogue>
    <scene_description>He leans in and holds her shoulder's kindly;</scene_description>
    <character>DANIEL</character>
    <dialogue>No more hitting, right? no more hitting. Now go. go play some more and don't come back!</dialogue>
    <scene_description>She runs off. HOLD. Daniel holds a look on Abel, who looks away. Daniel gets up, walks off ... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLANVIEW COTTAGE - NIGHT</stage_direction>
    <scene_description>DANIEL. He's asleep, so is HW. AN OIL WORKER, BEN BLAUT knocks on the door. no answer. they don't wake up. Ben enters the house. HW hears him, wakes;</scene_description>
    <character>HW</character>
    <dialogue>It's ok son, I'm here to talk to your dad. It's Ben Blaut."</dialogue>
    <scene_description>BEN tries to wake up Daniel. BEN (to Daniel) Sir. Sir. Sir. He gently touches him to wake him- nothing. He talks louder. He pushes him. he really tries hard to get him to wake up. His eyes open, but his body doesn't move.</scene_description>
    <character>BEN</character>
    <dialogue>A man fell into the well.</dialogue>
    <character>DANIEL</character>
    <dialogue>What man?</dialogue>
    <character>BEN</character>
    <dialogue>Joe Gundha.</dialogue>
    <character>DANIEL</character>
    <dialogue>When was it?</dialogue>
    <character>BEN</character>
    <dialogue>Just ten minutes ago. We were changing the bit, and this fellow went down into the cellar for some reason - nobody thought about him for a while. he had no business being there.</dialogue>
    <character>DANIEL</character>
    <dialogue>you're sure he went down?</dialogue>
    <character>BEN</character>
    <dialogue>we got a bit of his shirt when we went fishing with the hook.</dialogue>
    <scene_description>CUT TO: THE IMAGE. SHOW how it happened. Watch, in detail as this man JOE GUNDHA is working around the hole, under the main stage of the derrick, this is called, "the cellar" - he is working around deep, slippery mud and thin sheets of oil -- without slipping a cover over the hole - the dirt caves in about the edges, so that the top of the hole is a kind of funnel, it's edges slippery with mud.-Joe Gundha takes his chances - and slides around, falls on the edge of the pit, straight down, head FIRST.</scene_description>
    <character>FALLING, SLIPPING DOWN FIFTEEN FEET. THIS IS SHOWN IN DETAIL.</character>
    <dialogue>VERY GRAPHIC. HIS HEAD LANDS IN THE MUD AND BEGINS TO DROWN.</dialogue>
    <character>THE HOLE IS VERY VERY THIN - BUT HIS WEIGHT AND THE SLIDE KEEPS</character>
    <dialogue>TAKING HIM DOWN WITH ONE ARM EXTENDED AND ONE ARM PINNED TO HIS</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE - CONTD.</stage_direction>
    <character>DANIEL</character>
    <dialogue>can you hear anything?</dialogue>
    <character>BEN</character>
    <dialogue>no.</dialogue>
    <character>DANIEL</character>
    <dialogue>Well: he's drowned in the mud.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE WELL.</stage_direction>
    <character>THE IMAGE AGAIN. CAMERA UNDERNEATH THE MUD. WATCHING THIS MAN</character>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE - CONTD.</stage_direction>
    <scene_description>Daniel is up and getting dressed now, HW stays in bed;</scene_description>
    <character>DANIEL</character>
    <dialogue>GODDAMMIT! GODDAMNIT! THIS MAKES ME</dialogue>
    <character>WANT OUT OF THIS STUPID MISERABLE</character>
    <dialogue>BUSSINESS. DAMMIT. DAMMIT.</dialogue>
    <character>DAMMIT. GOD. DAMMIT. HOW CAN YOU</character>
    <dialogue>HELP PEOPLE IF THEY DON'T HELP</dialogue>
    <character>THEMSELVES, THIS MISERABLE</character>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DERRICK - NIGHT.</stage_direction>
    <scene_description>DANIEL and the WORKERS are working with a THREE PRONGED GRAB. It's essentially a CLAW that they are bending to fit down the hole. They get the metal bent and attach it and then start it's descent down the hole.-They've ripped up the floor boards on the base of the derrick to make more room --- 58A ANGLE, INSIDE THE HOLE, WITH THE BODY. LOOKING UP. 58A Various angles that show the BODY. and the claw coming down towards it</scene_description>
    <character>ANGLE, THE BODY.</character>
    <dialogue>The claw rips into the flesh and tears it up.</dialogue>
    <scene_description>58B THE BODY IS PULLED UP AND OUT OF THE HOLE, COVERED IN MUD AND 58B</scene_description>
    <character>BLOOD.</character>
    <dialogue>CAMERA notices, on the body, is the CLOTH PIN from Eli's church.</dialogue>
    <scene_description>DANIEL (to the Men)</scene_description>
    <character>THERE IS A COVER FOR THE HOLE AND</character>
    <dialogue>IF ANY MAN GOES DOWN INTO THE CELLAR</dialogue>
    <character>YOU SLIP IT INTO PLACE. THAT IS THE</character>
    <dialogue>WAY. THAT IS THE WAY WE DO THINGS.</dialogue>
    <scene_description>Daniel walks off. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING QUARTERS. MORNING.</stage_direction>
    <scene_description>DANIEL and FLETCHER and MURGINS are collecting the dead JOE GHUNDA's belongings. There are some books and clothes, but mainly RELIGIOUS ITEMS. BIBLE, CROSSES, PICTURES OF JESUS, MARY, ETC. DANIEL packs these things up and looks closely at them, then; CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELI'S CHURCH. DAY</stage_direction>
    <scene_description>Eli is going full throttle:</scene_description>
    <character>ELI SUNDAY</character>
    <dialogue>-.and from that day to this when a man has been a sinner and has covered himself, it has been by and through faith in the shed blood of Jesus Christ. Every Jew covered his sins and received pardon through the blood of the rams and the doves! An infidel that I met in Isabella County said to me once, (mimics voice) "But I Don't Believe In Atonement Through Blood. It Doesn't Come Up To My Ideas Of What Is Right." I SAID: "TO HELL WITH YOUR IDEAS OF WHAT IS RIGHT. DO YOU THINK GOD IS COMING DOWN HERE TO CONSULT YOU WITH YOUR GREAT INTELLECT AND WONDERFUL BRAIN AND FIND OUT WHAT YOU THINK IS RIGHT BEFORE HE DOES IT? YOU MAKE ME SICK! YOU THINK THAT BECAUSE YOU DON'T BELIEVE THAT IT ISN'T TRUE? FOOL!"</dialogue>
    <character>ANGLE, MOMENTS LATER.</character>
    <dialogue>ELI is healing an OLDER WOMAN who is handicap and frail. He is casting the evil spirits out and holding her head - pushing out the spirits, shouting and whispering in unison until she is up and walking and speaking in tongues;</dialogue>
    <character>THAT IS WHAT'S RIGHT!</character>
    <dialogue>RIGHT YOU DUMMIES WHO YOU THINK GOD IS JUST BY AND LISTEN TO YOUR CRYING ABOUT WHAT YOU</dialogue>
    <character>THAT IS WHAT'S</character>
    <dialogue>DON'T BELIEVE! GONNA STAND SNIVELING AND BELIEVE?! DUMMIES!</dialogue>
    <character>ANGLE, IN THE BACK OF THE CHURCH.</character>
    <dialogue>DANIEL is watching Eli's show...HOLD.</dialogue>
    <character>ELI SUNDAY</character>
    <dialogue>HALLELUJIAH! IT'S A MIRACLE, LOOK AT HER</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CHURCH. LATER.</stage_direction>
    <scene_description>Daniel approaches Eli at the front of the Church. Eli is going over some plans to break the back wall of the church down and add-on ...there is some pre-construction work already...FOLLOWERS and a few members of DANIEL'S CREW are there-.go about their business as Daniel and Eli speak;</scene_description>
    <character>DANIEL</character>
    <dialogue>Hello, Eli.</dialogue>
    <character>ELI</character>
    <dialogue>Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>.-we had a tragedy at the well last night.</dialogue>
    <character>ELI</character>
    <dialogue>Yes I heard\_.</dialogue>
    <scene_description>Eli holds up his hand for silence, and makes a silent prayer to himself, then looks up:</scene_description>
    <character>DANIEL</character>
    <dialogue>Joe Ghunda was a deeply faithful man and I was hoping you might speak at his burial.</dialogue>
    <character>ELI</character>
    <dialogue>...Daniel: This accident could have been avoided. It's terrible to think of that drilling well working away up there unblessed</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes it could have. These men work in twelve hour shifts and they need their rest. If they don't have it they make stupid mistakes.</dialogue>
    <character>ELI</character>
    <dialogue>I've seen some of the men drinking alcohol - do you think that has something to do with it?</dialogue>
    <character>DANIEL</character>
    <dialogue>We need these men rested to bring this well in - some of them can't get it if they're coming here for your gospel - and then the well can't produce and blow gold all over the place.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>ELI</character>
    <dialogue>-I wish I'd had more time with Joe Ghunda...more could have been done.\_</dialogue>
    <character>DANIEL</character>
    <dialogue>We'd be honored to have you speak at his burial tomorrow. We can do it at noon if that's alright with you?</dialogue>
    <character>ELI</character>
    <dialogue>That would be fine.</dialogue>
    <character>DANIEL</character>
    <dialogue>Are you planning some renovations?</dialogue>
    <character>ELI</character>
    <dialogue>I had a vision from the Holy Spirit that we'd be needing more room at the Church of the Third Revelation. He explained to me I was to break down this wall, for his visits would be often -</dialogue>
    <scene_description>BEAT. Daniel regards the church;</scene_description>
    <character>DANIEL</character>
    <dialogue>I must confess that I only know of two revelations ... there's one in the old testament and one in the new testament ... is that right?</dialogue>
    <character>ELI</character>
    <dialogue>That's right, Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>What is the Third?</dialogue>
    <character>ELI</character>
    <dialogue>Me .......\_ I am the Third Revelation.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DERRICK FLOOR - THAT MOMENT - DAY</stage_direction>
    <scene_description>Daniel and the Workers - they feel this and there are INSTANT CALLS TO STOP AND HOLD THE WORK -</scene_description>
    <character>BEN BLAUT</character>
    <dialogue>HOLD! HOLD! WAIT!</dialogue>
    <scene_description>Feeling the drill, realizing something has happened down below. HOLD FOR A FEW MOMENTS as this is worked with, then: BEN BLAUT and DANIEL confer;</scene_description>
    <character>BEN BLAUT</character>
    <dialogue>We've gotta twist off.</dialogue>
    <character>DANIEL</character>
    <dialogue>how far are we?</dialogue>
    <character>BEN BLAUT</character>
    <dialogue>900 ft.</dialogue>
    <scene_description>He nods as if to say, "go ahead." So begins the process of "twisting off." Which means; THE MEN HAVE TO LIFT EVERY INCH OF THE 900 FT OF PIPE UP AND OUT, UNSCREW IT IN 15 FT. SECTIONS, FOUR JOINTS AT A TIME, "BREAKING OUT," THEY CALL IT, UNTIL YOU FIND OUT WHERE THE "BREAK" IS. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DERRICK - NIGHT.</stage_direction>
    <scene_description>It's night now and many hours later: The BROKEN PIECE revealed to the men up top, it FALLS TO THE FLOOR OF THE DERRICK. DANIEL kicks the piece across the floor and off the derrick -</scene_description>
    <character>DANIEL</character>
    <dialogue>go fish.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DERRICK - NIGHT.</stage_direction>
    <scene_description>It's a bit later, and the MEN are "fishing" with a device that's like an ice man's tongs, attempting to grab hold of the other side of the broken piece and pull it back up.\_ ...the NIGHT CREW comes in to replace the day crew. We have 2 - 12 hour shifts for these workers. The NIGHT FOREMAN is MURGINS and he speaks with DANIEL and BEN who appraise him of the situation.</scene_description>
    <character>ANGLE, DANIEL.</character>
    <dialogue>He takes a break, off to the side... smokes a cigarette..ABEL comes over, sits down with him;</dialogue>
    <character>ABEL</character>
    <dialogue>may I sit down, Daniel?</dialogue>
    <scene_description>Daniel doesn't say anything..ABEL sits ...</scene_description>
    <character>ABEL</character>
    <dialogue>How much longer will the men be fishing?</dialogue>
    <character>DANIEL</character>
    <dialogue>You keep fishing until you find the piece.</dialogue>
    <character>BEAT.</character>
    <dialogue>ABEL</dialogue>
    <scene_description>it's been almost three weeks ... is that normal?</scene_description>
    <character>DANIEL</character>
    <dialogue>ABEL</dialogue>
    <scene_description>... in your Church of the World, do you know the word, "backslider?"</scene_description>
    <character>DANIEL</character>
    <dialogue>ABEL</dialogue>
    <scene_description>... sometimes I think if you were to be more honest with the Holy Spirit that some of this misfortune might pass. Silence.</scene_description>
    <character>ABEL</character>
    <dialogue>many of the new faces here have joined Eli down at the Church of The Third Revelation - I know you haven't had the time -but I know that to lead a full life - you must make the time. I know that if Eli were allowed to perform a blessing on this well that it would bear fruit and you wouldn't have to go fishing.\_but you need to not be a backslider, Daniel. you're on a very bad path.</dialogue>
    <character>DANIEL</character>
    <dialogue>am I?</dialogue>
    <character>ABEL</character>
    <dialogue>you don't like the way I raise my children and guide my family - but one day you will see that my faith is stronger than yours.</dialogue>
    <scene_description>WITH THAT, ON THE FLOOR OF THE DERRICK, RISING UP AND BEING SUCCESFULLY FISHED OUT, IS THE BROKEN PIECE. THE CREW CELEBRATES, SMASHES THE BROKEN PIECE ON THE SIDE OF THE DERRICK, SWEAR IT UP AND DOWN-.DANIEL smiles, looks ahead and says:</scene_description>
    <character>DANIEL</character>
    <dialogue>I think Eli is a lunatic. And I think you are a weak little man. And I'm glad to have your land and to make a living off it where you couldn't. You're lucky the day I showed up here, Abel. So I want you to stay away from me now. go back down to your house and stay there. you'll know when the well comes in.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY DRILLING AREA. DAY.</stage_direction>
    <scene_description>CAMERA moves/walks with DANIEL around the derrick and the workers and all of it\_ -~Y and HW are nearby, playing with each other, they run past Daniel, who smiles to them and says;</scene_description>
    <character>DANIEL</character>
    <dialogue>How are my kids? how's my family?</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUNDAY DRILLING AREA. AT THE DERRICK. DAY.</stage_direction>
    <scene_description>DANIEL is talking with FLETCHE&amp;-and working with his MEN • ...the MEN are working with "a jar," which is a tool that strikes HEAVY BLOWS and GETS THE CASING LOOSE, WHICH IS STUCK DOWN BELOW. They're using it to shake the casing loose ...</scene_description>
    <character>ANGLE, HW, ON THE DERRICK.</character>
    <dialogue>Sitting with his legs strapped over the side of the derrick, near the hole -- HW listens to these blows, far down in the earth...watching it very, very carefully.\_</dialogue>
    <character>SUDDENLY AND WITHOUT WARNING;</character>
    <dialogue>Out of the earth, like a rocket shoots -- GAS - with a HIGH SQUEEL AND FORCE, IT IS THIS HIGH SOUND AND INVISIBLE FORCE THAT SMASHES BW'S BAR DRUMS and BLOWS RIM OFF THE SIDE OF THE DERRICK --</dialogue>
    <dialogue>HIS LITTLE BODY RISES IN THE AIR LIKE A RAG DOLL and he can do nothing but fall straight back down to the ground -</dialogue>
    <dialogue>SOUND DROPS OUT OF THE ENTIRE SOUNDTRACK. And we watch him land, lift his head and look;</dialogue>
    <dialogue>STRAY TOOL PIECES AND WOOD SHARDS from the Derrick that have been ROCKETED in the air come SLAMMING INTO THE GROUND ALL AROUND HIM, LODGING DEEP INTO THE SURFACE.</dialogue>
    <character>THE DERRICK.</character>
    <dialogue>It blows WATER FOR A QUICK BLAST, THEN, OIL. IT IS SUDDENLY BLACK EVERYWHERE.</dialogue>
    <character>ANGLE, DANIEL. SOUND COMES BACK WHEN WE ARE WITH HIM.</character>
    <dialogue>He has not seen what has happened to HW. He is busy trying to deal with the GUSHER. He runs up to the derrick floor - which is now covered in OIL - THEN:</dialogue>
    <character>DANIEL</character>
    <dialogue>LIGHTS OUT! LIGHTS OUT! EVERYONE LIGHTS OUT.</dialogue>
    <scene_description>But it's too late- SOMETHING SPARKS THE DERRICK. In one, two, three: THE DERRICK CATCHES TO FIRE AND ALL THE OIL BECOMES A FLAME. It's as if a FLAME THROWER is coming up from under ground. This catches to the oil that's spilled all around. BLACK SMOKE FILLS THE AIR.</scene_description>
    <character>ANGLE, HW. SOUND DROPS OUT AGAIN. SILENT WITH HIM.</character>
    <dialogue>He watches the FIRE coming straight towards him.</dialogue>
    <dialogue>He is unable to move. in shock. it comes straight at him --</dialogue>
    <dialogue>AT THAT MOMENT, he is SCOOPED up by a WORKER.</dialogue>
    <dialogue>CAMERA FOLLOWS DANIEL OVER AND HE GRABS H.W. from the worker</dialogue>
    <character>DANIEL</character>
    <dialogue>You alright? You alright? GODDAMIT TALK TO ME. WHAT'S WRONG? WHAT HAPPENED? SPEAK. TELL ME.</dialogue>
    <scene_description>They boy is crying now and can't seem to make a SOUND. HE LOOKS AT DANIEL, AND WE HEAR NOTHING. DANIEL carries him down to safety at THE MESS HALL/BASE CAMP.-MEN SCRAMBLE TO PREPARE THE BATTLE WITH THE GUSHER. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MESS HALL. THAT MOMENT</stage_direction>
    <scene_description>DANIEL brings him in, sets him down, looks over his body to see it's all put together, HW is starting to loose it and go crazy; I CAN'T HEAR MY VOICE. I CAN'T HEAR MY VOICE.: DADDY, I DON'T WANNA, I CAN'T HEAR MY VOICE.:</scene_description>
    <character>DANIEL</character>
    <dialogue>You're alright. You're alright. Just calm down.</dialogue>
    <character>HW</character>
    <dialogue>AHHHHHHHHH. I CAN'T HEAR, PLEASE.</dialogue>
    <character>PLEASE. PLEASE.</character>
    <dialogue>DANIEL cannot calm him down...He tries to settle him...</dialogue>
    <character>DANIEL</character>
    <dialogue>STAY HERE. YOU STAY HERE. WAIT FOR ME HERE.</dialogue>
    <scene_description>67A BASE CAMP FAMILIES are coming in here for SAFETY. DANIEL 67A</scene_description>
    <character>INSTRUCTS THEM TO WATCH AFTER H.W. AND KEEP HIM.</character>
    <dialogue>ANGLE, FROM HW'S POINT OF VIEW. We hear absolutely nothing.\_DANIEL leaves, HW follows, clinging, screaming\_.DANIEL PUSHES HIM DOWN and goes back outside --</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BASECAMP - THAT MOMENT</stage_direction>
    <scene_description>DANIEL exits, CAMERA stays with him - The OIL IS ON FIRE AND FLOWS AND SPEWS IN THE AIR. BITS FALL ALL AROUND DANIEL...WHO STARTS TO GLOW WITH EXCITEMENT 68A ANGLE, HW. IN THE BASECAMP. SOUND IS STILL OUT. 68A He is speechless and stunned and in shock... FAMILIES GATHER AROUND HOLD HIM, ETC. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GUSHER. THAT MOMENT.</stage_direction>
    <scene_description>MEN are rushing around to battle the blaze-.DANIEL barks directions towards taming the FIRE-.\_....</scene_description>
    <character>ANGLE, GUIDE WIRES.</character>
    <dialogue>Two of the four guide wires for the derrick are SNAPPED BY SOME MEN.-</dialogue>
    <dialogue>THE DERRICK BURNS VERY QUICKLY and this will help topple in the direction down wind -</dialogue>
    <dialogue>day turns to night and BLACK SMOKE FILLS the air...</dialogue>
    <dialogue>DANIEL and THE MEN wait for it to burn and fall -- once it does, MEN WILL APPROACH THE BASE OF THE DERRICK AND THE CELLAR WALL WHICH IS BUILT INTO THE SIDE OF THE HILL.</dialogue>
    <character>THEY HAVE METAL SHEETS OVER THE HEADS, GET CLOSE AND BANG INTO</character>
    <dialogue>THE CELLAR DOOR.</dialogue>
    <character>AT THE SAME TIME, DANIEL PREPARES DYNAMITE TO PLACE IN A BOX AT</character>
    <scene_description>69A ...THE CELLAR DOOR IS SMASHED OPEN. 69A</scene_description>
    <character>THE MEN AND DANIEL GET THE DYNAMITE AT THE END OF THE POLE</character>
    <dialogue>POSITIONED UP THE HILL AND START TO PUSH IT TOWARDS THE CELLAR</dialogue>
    <character>OPENING -</character>
    <dialogue>IT GETS CLOSER AND CLOSER - ONCE THE DYNAMTIE ARRIVES INTO THE</dialogue>
    <character>CELLAR - IT BLOWS - SNUFFING OUT THE DERRICK IN AN INSTANT. THE</character>
    <dialogue>GROUND AROUND THE DERRICKS RISES, THEN CAVES IN.</dialogue>
    <character>SOME FIRE STILL BURNS.\_</character>
    <dialogue>ROSE comes over to DANIEL, who is all smiles, he is a Man</dialogue>
    <character>.\_�..AL</character>
    <dialogue>gone crazy in happiness.</dialogue>
    <character>DANIEL</character>
    <dialogue>WHY DO YOU LOOK SO GREEN, AL?</dialogue>
    <character>AL ROSE</character>
    <dialogue>THE WELL IS RUINED.</dialogue>
    <character>DANIEL</character>
    <dialogue>AL:</dialogue>
    <character>WE'VE GOT AN OCEAN OF OIL UNDERNEATH</character>
    <dialogue>YOUR FEET AND NOT A SOUL CAN GO NEAR</dialogue>
    <character>IT BUT ME. LIGHT A CIGAR ON THAT FIRE.</character>
    <dialogue>IT'LL BURN ITSELF OUT.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MESS HALL. LATER.</stage_direction>
    <scene_description>DANIEL comes back in, covered in OIL and MUD and ASH.-he goes to HW, who is being tended by the SUNDAY'S. He leans down to him, looks at him-. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE. NIGHT, LATER.</stage_direction>
    <scene_description>Daniel rocks HW in his arms, back and forth. The boy is crying and crying, hysterical. Fletcher is sitting nearby, watching this mess ...</scene_description>
    <character>HW</character>
    <dialogue>I can't hear my voice. I can't hear my voice, daddy. daddy, please make me hear my voice. I don't want this. I don't wanna.</dialogue>
    <scene_description>Daniel whispers in his ear, over and over. HOLD.</scene_description>
    <character>DANIEL</character>
    <dialogue>I love you, I love you my boy. it's alright. listen to me if you can: you'll be fine. a-b-c-d-e-f-g-h-i-j-k-I love you I love you. 1-2-3-4-5-6-7-8-9-1 0-11-12-13-14-·-··</dialogue>
    <scene_description>FADE OUT as he continues. HOLD IN BLACK, THEN: CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE. MORNING.</stage_direction>
    <scene_description>A LOCAL DOCTOR brought in by Daniel, attempting to look HW over. HW is very angry, kicking and screaming and punching the Doctor away. Daniel tries to hold him down and calm him. The Doctor is kicked by HW again and again. Fletcher nearby. This is a real mess.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE. LATER/MORNING.</stage_direction>
    <scene_description>HW is asleep inside the house. FLETCHER and DANIEL sit together here going over some plans, sketches about building a reservoir. AL ROSE is here. They finish up some more plans for DRILLING to occur up the hill. This is all agreed upon, then:</scene_description>
    <character>DANIEL</character>
    <dialogue>Who do we know in San Francisco or in Los Angeles that would work with - we can - someone</dialogue>
    <scene_description>a teacher? for H.W. How can you figure out that - call -what's his name?</scene_description>
    <character>FLETCHER</character>
    <dialogue>Bob Brodie in San Francisco.</dialogue>
    <character>DANIEL</character>
    <dialogue>Call Bob Brodie and get someone down here.</dialogue>
    <scene_description>Fletcher leaves. Daniel sits alone a moment, then goes into the house -</scene_description>
    <character>INSIDE, THAT MOMENT.</character>
    <dialogue>Daniel goes into the bedroom, where HW is lying awake in bed-.DANIEL kneels down in front of him-.</dialogue>
    <character>DANIEL</character>
    <dialogue>can you hear me?</dialogue>
    <character>CAN YOU HEAR ME?</character>
    <dialogue>He points to his mouth, HW just stares\_.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm going... ! have to go and see about the rigs ... Do you understand?</dialogue>
    <dialogue>I can't stay here with you all day, I have to take care of our business.</dialogue>
    <dialogue>our work. the wells.</dialogue>
    <dialogue>I can't do this all day.</dialogue>
    <dialogue>No.2 has it's cement down and I have to see to it...</dialogue>
    <scene_description>Daniel is frustrated ...He gets himself a change of clothes, cleans up and LEAVES. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DANIEL'S OFFICE/BASECAMP. DAYS LATER.</stage_direction>
    <scene_description>Daniel is sitting with a woman, a TEACHER/SUPERINTENDANT named FANNIE CLARK (30s) who has been brought down to speak with Daniel and help with HW. Through the scene we HEAR ALL THE NOISE FROM OUTSIDE, DRILLING, MEN, ETC.</scene_description>
    <character>TEACHER</character>
    <dialogue>Can he read?</dialogue>
    <character>DANIEL</character>
    <dialogue>...No...</dialogue>
    <character>TEACHER</character>
    <dialogue>does he know a few words? to read - are their words that he can recognize?</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't know.</dialogue>
    <character>TEACHER</character>
    <dialogue>did he go to school?</dialogue>
    <character>DANIEL</character>
    <dialogue>He's smarter than any child you've ever met.</dialogue>
    <character>TEACHER</character>
    <dialogue>Our facility -</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't want him to go anywhere, I want you to come here.</dialogue>
    <character>TEACHER</character>
    <dialogue>The school that we have in San Francisco has other children and that would be a very good place for him. He can be with other children and we have six other teachers.</dialogue>
    <character>DANIEL</character>
    <dialogue>I will build you a school here and you can bring all the children down.</dialogue>
    <dialogue>I'm offering to build you a school that's anything you want it to be.</dialogue>
    <character>TEACHER</character>
    <dialogue>Yes, but, these children have families in San Francisco.</dialogue>
    <character>DANIEL</character>
    <dialogue>We'll bring their families. We can build a school that is the best in this State. In this country. You're the best teacher they say,</dialogue>
    <dialogue>so why don't you have your own school?</dialogue>
    <character>TEACHER</character>
    <dialogue>I live in San Francisco.</dialogue>
    <character>DANIEL</character>
    <dialogue>Not anymore. I'll have a temporary school built in one month and once you're here we can make plans for a larger place to be built within</dialogue>
    <dialogue>a year. I'll pay you two thousand dollars in salary and build you a home as well. Does this sound fine to you?</dialogue>
    <character>TEACHER</character>
    <dialogue>No. It doesn't. You need to send your son to San Francisco if you want him to learn how to deal with what's happened. He needs to go to school.</dialogue>
    <character>DANIEL</character>
    <dialogue>yes or no?</dialogue>
    <character>TEACHER</character>
    <dialogue>No, sir.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm only going to ask you once.</dialogue>
    <character>TEACHER</character>
    <dialogue>You already have. Building a school here may be better for you but it's not better for you boy.</dialogue>
    <character>DANIEL</character>
    <dialogue>Well then get out of here. get out. I'll have someone get you back to San Francisco.</dialogue>
    <character>TEACHER</character>
    <dialogue>You don't want me to see him?</dialogue>
    <character>DANIEL</character>
    <dialogue>No.</dialogue>
    <character>TEACHER</character>
    <dialogue>I've come a long way because you asked for me personally and Mr. Brodie suggested</dialogue>
    <character>DANIEL</character>
    <dialogue>That's all over. Someone will get you back to San Francisco, I'm wasting my time with you right now if you don't take my offer I have work. I have important work.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. A GIANT RESERVOIR UNDER CONSTRUCTION- DAY.</stage_direction>
    <scene_description>Daniel, Fletcher, et al, standing in the middle of A GIANT RESERVOIR that's essentially a large DUG HOLE IN THE GROUND. TEAMS OF HORSES PULL PLOWS to grade it flat-.They have torn into the land as a place to dump the oil. Across the way, into the dirt reservoir, comes ELI SUNDAY. '"He walks up to Daniel:</scene_description>
    <character>ELI</character>
    <dialogue>When do we get our money, Daniel?</dialogue>
    <scene_description>Daniel walks up to him and SLAPS ELI STRAIGHT ACROSS THE FACE. Eli is stunned. He SLAPS HIM AGAIN, WITH OPEN HAND, STRAIGHT ACROSS HIS FACE. Eli starts to well with tears from the FORCE OF THIS BRUTAL SLAP. HOLD. Everything is still for a moment. He SLAPS HIM AGAIN. Eli moves back, goes down to his knees.</scene_description>
    <character>DANIEL</character>
    <dialogue>aren't you a healer and a vessel for the holy spirit? When are you coming over and make my son hear again? CAN'T YOU DO THAT?</dialogue>
    <character>ELI</character>
    <dialogue>You should have let me bless the well, this wouldn't have happened to him-</dialogue>
    <scene_description>HE SLAPS ELI AGAIN, STRAIGHT ACROSS THE FACE.</scene_description>
    <character>ELI</character>
    <dialogue>you shouldn't have done that--</dialogue>
    <scene_description>He SLAPS HIM AGAIN. Everyone is standing around. Silenced.</scene_description>
    <character>ELI</character>
    <dialogue>You owe the Church of the Third Revelation five thousand dollars as part of the arrangement that we made.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm gonna make you leave here and bury you under ground, Eli. get away from me.</dialogue>
    <character>ELI</character>
    <dialogue>you'll learn soon enough -</dialogue>
    <scene_description>He SLAPS HIM AGAIN. HOLD.</scene_description>
    <character>ELI</character>
    <dialogue>You've got something else coming to you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SUNDAY RANCH. NIGHT.</stage_direction>
    <scene_description>CAMERA holds a MEDIUM cu. on ELI. his face is red and bruised from the beating he took from Daniel. OC we hear the sounds of the family eating, small tal~-CAMERA sits with Eli and watches his face start to turn and scowl towards ABEL. FINALLY:</scene_description>
    <character>ELI</character>
    <dialogue>You are such a stupid man, Abel.</dialogue>
    <scene_description>REVERSE, THAT MOMENT, ABEL. He looks across the table at his son.</scene_description>
    <character>ELI</character>
    <dialogue>You've let someone come in here and walk all over us. You've let him in and do his work here and you're a stupid man for what we could have had. Nothing but goats and rocks and all the time we were rich.</dialogue>
    <character>ABEL</character>
    <dialogue>I followed His word, Eli... I 've tried -</dialogue>
    <character>ELI</character>
    <dialogue>you didn't do anything but sit down. You're lazy and you're stupid.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Do you think God is going to come down here and save you for being stupid? He doesn't save stupid people, Abel.</dialogue>
    <scene_description>Eli PUSHES THE TABLE IN FRONT OF HIM AND SLAMS IT TOWARDS ABEL, PUSHING IT BACK AND PINNING HIM AGAINST THE WALL.</scene_description>
    <character>ELI JUMPS UP, MOVES TOWARDS HIM, ABEL IS TERRIFYED.</character>
    <scene_description>I WILL TEAR YOU APART FOR WHAT YOU'VE DONE.: YOU STUPID MAN. YOU STUPID, SMALL MAN.:</scene_description>
    <character>ABEL</character>
    <dialogue>Son, stop this please. please.</dialogue>
    <character>ELI</character>
    <dialogue>How did he come here? Do you want to know? I KNOW. I HAVE SEEN THIS IN A VISION. It was your stupid son. It was Paul who told him to come here. I know it. He told him to come here and he told him what he could take you for. He went to him and he said, "My stupid, weak father will give away his lots - go and take him - 11 and you let it happen -- from a stupid father to a stupid son.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN DEPOT/NEAR LITTLE BOSTON. ANOTHER DAY.</stage_direction>
    <scene_description>A TRAIN has just arrived some new people/new atmosphere around..CAMERA stays BEHIND A FIGURE, IN SHILOUETTE as it steps off the train\_ CAMERA follows behind this young MALE STRANGER (30s) as he makes his way through the platform - The MALE STRANGER walks, looks, then heads away from the depot, towards Little Boston - we see NEW DERRICKS ERECTED ON THE HILLS SURROUNDING THE TOWN. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PLAINVIEW COTTAGE. EVENING.</stage_direction>
    <scene_description>CAMERA is behind Daniel as he walks towards his cottage... He gets closer... sitting out front of the house, waiting... ...THE STRANGER. He holds some camping equipment, life in a bag...He stands up as Daniel approaches ...</scene_description>
    <character>DANIEL</character>
    <dialogue>Can I help you?</dialogue>
    <character>STRANGER</character>
    <dialogue>Daniel?</dialogue>
    <character>DANIEL</character>
    <dialogue>Who's that?</dialogue>
    <character>STRANGER</character>
    <dialogue>My name is Henry.</dialogue>
    <character>DANIEL</character>
    <dialogue>yeah?</dialogue>
    <character>HENRY</character>
    <dialogue>I'm Henry.</dialogue>
    <scene_description>Daniel arrives and they stand with each other.</scene_description>
    <character>DANIEL</character>
    <dialogue>what can I do for you?</dialogue>
    <character>HENRY</character>
    <dialogue>I'm Henry Plainview\_.! 'm from Fond du lac.</dialogue>
    <scene_description>Daniel is quiet.</scene_description>
    <character>HENRY</character>
    <dialogue>I'm your brother from another mother.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>HENRY</character>
    <dialogue>Ernest is my father.</dialogue>
    <character>DANIEL</character>
    <dialogue>who are you?</dialogue>
    <character>HENRY</character>
    <dialogue>Henry.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>Marion Brands ... ? is that your mother?</dialogue>
    <character>HENRY</character>
    <dialogue>yes, that's right.</dialogue>
    <character>DANIEL</character>
    <dialogue>HENRY</dialogue>
    <scene_description>I read about your gusher in the paper. about your success. BEAT. Long time, Daniel just looks at him.</scene_description>
    <character>DANIEL</character>
    <dialogue>you heard about my strike and you just show up?</dialogue>
    <character>HENRY</character>
    <dialogue>Our father's dead. Ernest died. I've heard and I wanted to find you • ...Did you know this?</dialogue>
    <character>DANIEL</character>
    <dialogue>When?</dialogue>
    <character>HENRY</character>
    <dialogue>... three months ago. I got a letter from Anabelle --</dialogue>
    <character>DANIEL</character>
    <dialogue>My sister Anabelle?</dialogue>
    <scene_description>Henry nods, "yes."</scene_description>
    <character>DANIEL</character>
    <dialogue>Where is she?</dialogue>
    <character>HENRY</character>
    <dialogue>still at home. Fond du Lac.</dialogue>
    <character>DANIEL</character>
    <dialogue>You came all the way from Wisconson --</dialogue>
    <character>HENRY</character>
    <dialogue>I'm coming from New Mexico. I've been there. I came to find you ...</dialogue>
    <dialogue>did you know about me?</dialogue>
    <character>DANIEL</character>
    <dialogue>...you have identification? do you have this letter?</dialogue>
    <scene_description>He hands over some IDENTIFICATION PAPERS/LETTER. Daniel regards them. BEAT. Daniel is stunned and moved.</scene_description>
    <character>DANIEL</character>
    <dialogue>come inside.</dialogue>
    <scene_description>He reaches for Henry's hand and shakes it...then give way to hugging him... He holds his head and looks at his face and his eyes and sees something...Henry speaks;</scene_description>
    <character>HENRY</character>
    <dialogue>Daniel: I'm starving.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE. DAY. LATER.</stage_direction>
    <scene_description>Henry is eating ferociously from a meal set out in front of him at the breakfast table. Daniel sits with HW on his lap.</scene_description>
    <character>WE WATCH HENRY SPEAK AND EAT IN SILENCE FROM HW'S POV.</character>
    <dialogue>CU. HW. watching him.</dialogue>
    <character>BRING SOUND BACK TO HEAR:</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>Where are you coming from?</scene_description>
    <character>HENRY</character>
    <dialogue>From New Mexico.</dialogue>
    <character>DANIEL</character>
    <dialogue>Yes, I know, but from where?</dialogue>
    <character>HENRY</character>
    <dialogue>Silver City. I've been there for two years.</dialogue>
    <character>CUT BACK TO HW. AND THE SOUND DROPS OUT. WE WATCH HIM WATCH</character>
    <dialogue>HENRY EAT AND TALK EAT AND TALK. HOLD, THEN BACK TO CONVERSATION</dialogue>
    <character>WITH SOUND:</character>
    <dialogue>HENRY</dialogue>
    <scene_description>I was trying drilling of my own for years, getting leases in texas and louisiana.</scene_description>
    <character>DANIEL</character>
    <dialogue>Anything that produced?</dialogue>
    <character>HENRY</character>
    <dialogue>No. not like you. not like your success.</dialogue>
    <character>DANIEL</character>
    <dialogue>Are you married?</dialogue>
    <character>HENRY</character>
    <dialogue>no. I spent time in jail. I had a stretch of very bad time. had nothing and was picked up in louisiana. I worked on a chain gang for six months. building roads. that was a very hard time. Are you married?</dialogue>
    <character>DANIEL</character>
    <dialogue>What were you in jail for?</dialogue>
    <character>HENRY</character>
    <dialogue>Believe it or not, for all the terrible things that I'd gotten myself into, when they picked me up I hadn't done anything. but I've done my share of things that shouldn't be talked about.</dialogue>
    <character>DANIEL</character>
    <dialogue>Have you ever thought about going back home?</dialogue>
    <character>HENRY</character>
    <dialogue>Yes. have you?</dialogue>
    <character>DANIEL</character>
    <dialogue>No.</dialogue>
    <scene_description>BACK TO HW watching with no sound as DANIEL talks-He looks HARD AT HENRY. HOLD. BACK TO DANIEL with HW on his lap. SOUND BACK;</scene_description>
    <character>DANIEL</character>
    <dialogue>I have my own family now. And my own concerns.</dialogue>
    <scene_description>SAME, LATER. DANIEL pours some whiskey in a glass of rnilk...he does this out of sight from HW •• He takes the milk and sets it in front of HW...who looks up at Daniel, who says:</scene_description>
    <character>DANIEL</character>
    <dialogue>drink.</dialogue>
    <dialogue>drink it.</dialogue>
    <scene_description>He motions for him to take the drink. HW drinks the milk.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE - LATER - NIGHT.</stage_direction>
    <scene_description>DANIEL carries H.W., passed out, and places him in the bed...DANIEL comes back out...HENRY is here ... DANIEL sits with him...</scene_description>
    <character>DANIEL</character>
    <dialogue>So what do you want, Henry?</dialogue>
    <character>HENRY</character>
    <dialogue>Nothing... if you can spare something, I can work for you in any way - I know I'll keep moving before long to get back to Fond du Lac.</dialogue>
    <character>DANIEL</character>
    <dialogue>do you have any money?</dialogue>
    <character>HENRY</character>
    <dialogue>some. not much.</dialogue>
    <character>DANIEL</character>
    <dialogue>just answer me directly. you say, "nothing," and then you say you want to stay and work. it's better I'd just like to hear you say you'd like to be here.</dialogue>
    <character>HENRY</character>
    <dialogue>I would like to be here. I'm a good worker, I've worked cable-tool rigs and built railroads, I won't need any favors ...</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELDS - NIGHT - LATER.</stage_direction>
    <scene_description>It's later. Daniel and Henry are away from it all, sipping from a flask, handed back and forth;</scene_description>
    <character>DANIEL</character>
    <dialogue>What did my Mother know... ?</dialogue>
    <character>HENRY</character>
    <dialogue>I don't know. I don't know if she knew and looked the other way... if she never knew.</dialogue>
    <character>DANIEL</character>
    <dialogue>How did you know?</dialogue>
    <character>HENRY</character>
    <dialogue>I worked for Winchell Hedrick, do you remember?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes.</dialogue>
    <character>HENRY</character>
    <dialogue>He told me.</dialogue>
    <dialogue>Why did you leave? I know you didn't get on with our Father</dialogue>
    <character>DANIEL</character>
    <dialogue>I worked for Geological Survey and went to Kansas ... ! couldn't stay there. I just couldn' t ... I don't like to explain myself.</dialogue>
    <scene_description>HOLD ON DANIEL.</scene_description>
    <character>DANIEL</character>
    <dialogue>are you an angry man, Henry?</dialogue>
    <character>HENRY</character>
    <dialogue>.\_about what?</dialogue>
    <character>DANIEL</character>
    <dialogue>are you envious? do you get envious?</dialogue>
    <character>HENRY</character>
    <dialogue>I don't think so.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>I have a competition in me. I want no one else to succeed. I hate most people.</dialogue>
    <character>HENRY</character>
    <dialogue>That part of me is gone ...working and not succeeding - all my failures has left me - I don't care as much -</dialogue>
    <character>DANIEL</character>
    <dialogue>...if it's in me, it's in you...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>There are times when I look at people and I see nothing worth liking.</dialogue>
    <scene_description>BEAT. HOLD, THEN:</scene_description>
    <character>DANIEL</character>
    <dialogue>Don't you want to succeed?</dialogue>
    <character>HENRY</character>
    <dialogue>I used to dream and go after a success like yours-.now I just want to survive. I don't have the dedication to things that I once had.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>.I just don't feel that way\_,</dialogue>
    <character>DANIEL</character>
    <dialogue>You're being lazy. that's what it is. and you don't have to be.</dialogue>
    <dialogue>I've worked people over and gotten what I want from them and it makes me sick; Because I see that all people are lazy.</dialogue>
    <dialogue>They're easy to take\_.</dialogue>
    <dialogue>I want to make enough money that I can move far away from everyone.</dialogue>
    <character>HENRY</character>
    <dialogue>What will you do about your boy?</dialogue>
    <character>DANIEL</character>
    <dialogue>I don't know. Maybe it will change. Does your sound come back to you? I don't know. Maybe no one knows that. A doctor might not know that.</dialogue>
    <character>HENRY</character>
    <dialogue>Where is his mother?</dialogue>
    <character>DANIEL</character>
    <dialogue>... I don't want to talk about those things ...</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>I see the worst in people.</dialogue>
    <dialogue>I don't need to look past seeing them to get all I need.</dialogue>
    <dialogue>I want to rule and never, ever explain myself.</dialogue>
    <dialogue>I've built my hatreds up over the years, little by little, Henry...</dialogue>
    <dialogue>...to have you here gives me a second breath... ! couldn't keep doing this on my own with these people •••</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE. MORNING.</stage_direction>
    <scene_description>HW gets out of bed, looks around the empty house. He goes into HENRY'S BAG and begins to look through the i terns . He picks up a SMALL LEATHER JOURNAL. He looks it over... ... he has it upside down, trying to make sense of it... he looks at more items. HOLD. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BURNED DRILLING AREA. DAY.</stage_direction>
    <scene_description>HW walks around the BURNED OUT REMAINS of the derrick. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELI'S CHURCH. DAY.</stage_direction>
    <scene_description>HW is in the church, which is empty except for MARY SUNDAY. She tries to talk with h~.. HOLD THE TWO OF THEM. She tries to entertain him. HOLD. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAR. LITTLE BOSTON. NIGHT.</stage_direction>
    <scene_description>A crowded scene in the local bar. people drunk, loud, etc. DANIEL is off to the side a bit, enjoying things from a slight distance with HENRY... The other oil men from the area: BLAIZE and WHRIGHTSMAN are here. drunk. telling jokes/stories. etc. FLETCHER watches from across the room as Daniel and Henry talk and drink. HOLD. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUNDAY RANCH HOUSE. NIGHT.</stage_direction>
    <scene_description>H.W. is being cared for by MOTHER SUNDAY and MARY and RUTH. MOTHER SUNDAY pours a bit of whisky again into a small cup of goat's milk... she then takes this and sets it in front of HW to drink. ELI comes in... and looks at H. w... ;</scene_description>
    <character>ELI</character>
    <dialogue>Hello, young boy\_.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAR - CONTINUED.</stage_direction>
    <scene_description>There is a LOCAL VIXEN WOMAN who walks over to Daniel and takes a seat near him. HOLD. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUNDAY HOUSE. THAT MOMENT �</stage_direction>
    <scene_description>...H. w. looks up at ELI standing over him...Eli sits down, crosses H.W. and gives him a blessing;</scene_description>
    <character>ELI</character>
    <dialogue>There is only one Father. And there is only one son.</dialogue>
    <character>MARY</character>
    <dialogue>he can't hear you</dialogue>
    <character>ELI</character>
    <dialogue>yes he can.</dialogue>
    <character>MARY</character>
    <dialogue>Eli...he can't hear you- he doesn't-</dialogue>
    <scene_description>QUIET.: ELI comes in real close and jostles H.W. to pay attention, speaks right in his face:</scene_description>
    <character>ELI</character>
    <dialogue>You listen to this boy, because I know you can hear me: Your Father has provoked me.-and he has provoked God. You should save yourself before it's too late.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEY WAY/OUTSIDE BAR. NIGHT</stage_direction>
    <scene_description>DANIEL is in a safe, dark, quiet place with the Vixen. He is on his knees and has his head buried inside her legs, leaning her up against a wall. HOLD. He finishes and gives her some money. He fixes his hair, wipes sweat from his face with a rag from his pocket and leaves. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW COTTAGE. NIGHT - LATER.</stage_direction>
    <scene_description>It's dark and quiet. DANIEL is passed out in bed.-HENRY is in another room sleeping. H. w. enters into Henry's room... and takes out a sample bottle of CRUDE OIL. He pours this THICK BLACK OIL around Henry's bed-- He makes a long trail back out into the main part of the house ... pouring the oil in a line.\_</scene_description>
    <character>ANGLE, H.W.</character>
    <dialogue>He sits down in the kitchen and takes out a box of MATCHES-.and STRIKES THE OIL INSTANTLY ON FIRE.</dialogue>
    <character>IT TAKES OFF LIKE A ROCKET, SHOCKING/TERRIFYING H.W. AND IN A</character>
    <dialogue>FLASH HENRY'S ROOM IS ON FIRE.</dialogue>
    <character>BLACK SMOKE FILLS THE AIR.</character>
    <dialogue>H.W. sees the FIRE start to CATCH THE CURTAINS and THE FURNITURE in the MAIN ROOM...</dialogue>
    <dialogue>...HENRY-.wakes up...sees BLACK SMOKE FILLING HIS ROOM AND FLAMES AROUND THE BED AND DARTS OUT OF BED - HE SEES H.W. ON THE FLOOR, FIRE AROUND HIM -</dialogue>
    <dialogue>HENRY MOVES, SMACKS THE MATCHES FROM HW's HANDS - THROWS HIM UNDER HIS ARM LIKE A DOLL AND MOVES TO DANIEL'S ROOM-</dialogue>
    <dialogue>H.W. is KICKING AND SCREAMING. HENRY CALLS OUT;</dialogue>
    <character>HENRY</character>
    <dialogue>DANIEL. DANIEL. GET UP. GET UP.</dialogue>
    <scene_description>Daniel wakes, sees this.</scene_description>
    <character>HENRY</character>
    <dialogue>COME, COME, WAKE UP AND LEAVE RIGHT NOW.</dialogue>
    <character>DANIEL SMASHES A BEDROOM WINDOW AND GETS HIMSELF OUT - HENRY AND</character>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PLAINVIEW COTTAGE. NIGHT. THAT MOMENT.</stage_direction>
    <scene_description>They're outside as the cottage RIPS UP IN FLAMES, DANIEL HOLDS H.W. by HIS ARMS AND SHOUTS IN HIS FACE;</scene_description>
    <character>DANIEL</character>
    <dialogue>WHAT ARE YOU DOING?</dialogue>
    <character>WHAT ARE YOU DOING TO US?</character>
    <dialogue>OPEN YOUR MOUTH.</dialogue>
    <scene_description>The PLAINVIEW COTTAGE BURNS. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN DEPOT. LITTLE BOSTON. DAY.</stage_direction>
    <scene_description>Daniel and H.W. are walking together. Both dressed for a trip. They board the train. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN. MOMENTS LATER.</stage_direction>
    <scene_description>Daniel and H.W. sit on the train...waiting for it to leave. Daniel is clearly hiding something and fighting back emotions. He HUGS H.W. very tight. kisses his head over and over and over again. HOLD. HW looks up at him. Daniel says and tries to communicate;</scene_description>
    <character>DANIEL</character>
    <dialogue>I'll be right back. I'm going to go to talk to the conductor. I will be right back. you stay here. you stay here?</dialogue>
    <scene_description>HW nods some sort of approval. Daniel leaves. HOLD with HW. For a very long cu. we hold on HW's face as he sits. SOUND drops out slowly.\_ .\_the TRAIN starts to move a little. HW gets up and looks out the window...</scene_description>
    <character>HIS POV.</character>
    <dialogue>Daniel is walking away from the TRAIN DEPOT.</dialogue>
    <character>ANGLE, DANIEL.</character>
    <dialogue>CAMERA leads him as he walks away.</dialogue>
    <character>ANGLE, HW.</character>
    <dialogue>starts to go crazy and scream for his Father and moves to run off the train -</dialogue>
    <dialogue>BUT IS GRABBED by FLETCHER, who is there to take hold of him and calm him down\_.</dialogue>
    <character>THE TRAIN STARTS FORWARD.</character>
    <dialogue>HW</dialogue>
    <character>NO. NO. NO. NO. NO. NO.</character>
    <dialogue>FLETCHER holds him as tight as he can as he kicks and screams.</dialogue>
    <scene_description>CU. DANIEL. as the train leaves in the b.g. He keeps walking. HOLD THIS VERY LONG WALK AWAY, as the train leaves ...</scene_description>
    <character>CUT</character>
    <dialogue>TO~</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MESS HALL. NIGHT.</stage_direction>
    <scene_description>Daniel and Henry together, drunk. Sitting and talking. Daniel is nodding off. So drunk he can't keep his eyes open.</scene_description>
    <character>DANIEL</character>
    <dialogue>He's not my son. He's not even my son.</dialogue>
    <character>HENRY</character>
    <dialogue>What do you mean?</dialogue>
    <character>DANIEL</character>
    <dialogue>He's not my son\_</dialogue>
    <scene_description>He begins to break down, holds his crotch, looks down;</scene_description>
    <character>DANIEL</character>
    <dialogue>...my cock doesn't even work how' m</dialogue>
    <scene_description>I gonna make a kid? does yours work Henry? our Father's worked well, look at you.</scene_description>
    <character>HOLD.</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>I asked you a question •••</scene_description>
    <character>HENRY</character>
    <dialogue>...when I'm lucky.</dialogue>
    <scene_description>Daniel wobbles up and stands and walks off .•• HOLD ON HENRY looking at Daniel. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN - MOVING - LATER.</stage_direction>
    <scene_description>CAMERA holds on FLETCHER and HW. FLETCHER is holding HW and calming him down, petting his head, speaking softly to him-. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LITTLE BOSTON TRAIN DEPOT. DAY</stage_direction>
    <scene_description>It's days later. DANIEL and HENRY enter, dressed and clean and meet with two MEN (40s) waiting for them: H.M. TILFORD and J.J. CARTER from STANDARD OIL COMPANY. They all shake hands, reserved, polite. Daniel intro's Henry as his brother from Fond Du Lac, Wisconsin. They all sit down, then:</scene_description>
    <character>TILFORD</character>
    <dialogue>how's your boy?</dialogue>
    <character>DANIEL</character>
    <dialogue>thank you for asking.</dialogue>
    <character>TILFORD</character>
    <dialogue>is there anything we can do?</dialogue>
    <character>DANIEL</character>
    <dialogue>Thanks for asking is enough.</dialogue>
    <character>TILFORD</character>
    <dialogue>So: What are your plans?</dialogue>
    <character>DANIEL</character>
    <dialogue>is this about buying up my tracts here?</dialogue>
    <character>TILFORD</character>
    <dialogue>yes.</dialogue>
    <character>DANIEL</character>
    <dialogue>The cable said it was about my Coyote Hills lease.</dialogue>
    <character>TILFORD</character>
    <dialogue>We'd like that too.</dialogue>
    <character>DANIEL</character>
    <dialogue>What's your offer for Coyote Hills?</dialogue>
    <character>TILFORD</character>
    <dialogue>We'll offer 150,000 for full title.</dialogue>
    <character>DANIEL</character>
    <dialogue>That's a deal.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>what? what's next?</dialogue>
    <character>TILFORD</character>
    <dialogue>You have 11,000 acres in Little Boston. You have one proven well that was damaged --</dialogue>
    <character>DANIEL</character>
    <dialogue>I have three wells proven, you haven't been paying attention. It's three proven wells.</dialogue>
    <character>TILFORD</character>
    <dialogue>We'll make you a millionaire from one minute to the next while you're sitting here.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>What else would I do with myself?</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>TILFORD</character>
    <dialogue>are you asking me?</dialogue>
    <character>DANIEL</character>
    <dialogue>what else would I do with myself?</dialogue>
    <character>TILFORD</character>
    <dialogue>Take care of your son.</dialogue>
    <scene_description>............ ?:</scene_description>
    <character>TILFORD</character>
    <dialogue>I don't know what you would do.</dialogue>
    <character>DANIEL</character>
    <dialogue>If you were me and Standard offered to buy what you had for a million dollars ---- why? So why?</dialogue>
    <character>TILFORD</character>
    <dialogue>you know why.</dialogue>
    <character>DANIEL</character>
    <dialogue>...you guys should scratch around and find it like the rest of us instead of buying up someone else's hard work --</dialogue>
    <character>TILFORD</character>
    <dialogue>what do you want?</dialogue>
    <character>DANIEL</character>
    <dialogue>are you gonna change your shipping costs?</dialogue>
    <character>TILFORD</character>
    <dialogue>we don't dictate shipping costs. That's railroad business</dialogue>
    <character>DANIEL</character>
    <dialogue>you don't control the railroads? of course you do. of course you do.</dialogue>
    <character>TILFORD</character>
    <dialogue>how you gonna get this stuff out of here? build a pipeline, make a deal with Union Oil, be my guest, but if you don't pull that off = you've got an ocean of oil under your feet with nowhere to go\_..\_ Why don't you let us take it from here and make you rich.-spend time with your boy. It's a great discovery\_.now let us help you.</dialogue>
    <scene_description>BEAT. There is silence for a very long time..VERY LONG TIME.</scene_description>
    <character>DANIEL</character>
    <dialogue>Did you just tell me how to run my Family?</dialogue>
    <character>TILFORD</character>
    <dialogue>it might be more important for you now that you've proven the field and we're offering to buy you out.</dialogue>
    <scene_description>BEAT--··-------·········</scene_description>
    <character>DANIEL</character>
    <dialogue>One night.---! 'm gonna come inside your house, wherever you're sleeping...and I'm gonna cut your throat.</dialogue>
    <character>TILFORD</character>
    <dialogue>what? what are you talking about Daniel, have you gone crazy?</dialogue>
    <character>DANIEL</character>
    <dialogue>-- did you hear what I said?</dialogue>
    <character>TILFORD</character>
    <dialogue>-- yes, I did, why are you saying it?</dialogue>
    <character>DANIEL</character>
    <dialogue>You Don't Tell Me About My Son.</dialogue>
    <character>TILFORD</character>
    <dialogue>-- why are acting insane and saying you're gonna cut my throat?</dialogue>
    <character>CARTER</character>
    <dialogue>Daniel, what is this? get ahold of yourself.</dialogue>
    <character>TILFORD</character>
    <dialogue>We're not telling you anything. I'm sorry if you're offended. I want you to be reasonable.</dialogue>
    <scene_description>Daniel stands up. Henry does the same.</scene_description>
    <character>DANIEL</character>
    <dialogue>You'll see what I can do.</dialogue>
    <scene_description>Daniel and Henry exit. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DANIEL'S TENT. NIGHT - DAYS LATER</stage_direction>
    <scene_description>Daniel is speaking as he packs a bag, in a bit of a trance, sotto scene~ Fletcher is back from his trip with H.W. They commiserate~</scene_description>
    <character>FLETCHER</character>
    <dialogue>How much did they offer?</dialogue>
    <scene_description>BEAT. No answer.</scene_description>
    <character>DANIEL</character>
    <dialogue>It's the irony of fate that they have to come knocking isn't it? trying to buy up what we've done- we'll do it this way and we won't have to grovel.</dialogue>
    <character>BEAT. SILENCE. THEN:</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>That stupid woman should have let us build a hospital here ••• how big is his room?</scene_description>
    <character>FLETCHER</character>
    <dialogue>He shares a room with another boy.</dialogue>
    <character>DANIEL</character>
    <dialogue>Who?</dialogue>
    <character>FLETCHER</character>
    <dialogue>an older boy about twelve, he's been there for a year, named Ballard.</dialogue>
    <character>DANIEL</character>
    <dialogue>how big is the room?</dialogue>
    <character>FLETCHER</character>
    <dialogue>small..--i t' s bigger than this tent.\_</dialogue>
    <character>DANIEL</character>
    <dialogue>That woman should have listened to me. we could have built them something better\_.</dialogue>
    <character>BEAT.</character>
    <dialogue>FLETCHER</dialogue>
    <scene_description>Daniel: How much do you know about Henry?</scene_description>
    <character>DANIEL</character>
    <dialogue>uh-huh.</dialogue>
    <scene_description>Daniel's face changes a bit.</scene_description>
    <character>FLETCHER</character>
    <dialogue>Let me have someone look around Fond Du Lac to see your family and ask --</dialogue>
    <character>DANIEL</character>
    <dialogue>Do you really think I wouldn't know my own brother."? That I would be taken like that?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>are you envious?</dialogue>
    <character>FLETCHER</character>
    <dialogue>yes.</dialogue>
    <character>DANIEL</character>
    <dialogue>We've worked together for a long time, Fletcher. But you're not my brother. and that might make you envious.</dialogue>
    <character>FLETCHER</character>
    <dialogue>This is my business as well and it's only that ...what's best for the work... for the safety of all our work, there's no harm in contacting Fond du Lac and your family --</dialogue>
    <character>DANIEL</character>
    <dialogue>Don't talk anymore about it or do that, to talk to the~. He's my brother. That's it.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>FLETCHER</character>
    <dialogue>What to do about Eli?</dialogue>
    <character>DANIEL</character>
    <dialogue>Nothing. Eli's a child.</dialogue>
    <character>FLETCHER</character>
    <dialogue>No he's not. I think we should pay him something.</dialogue>
    <character>DANIEL</character>
    <dialogue>That woman should have taken our offer to build a hospital. Stupid.</dialogue>
    <scene_description>Daniel has his things gathered, as he's leaving;</scene_description>
    <character>DANIEL</character>
    <dialogue>the pipeline solves all our trouble.</dialogue>
    <scene_description>He's gone. CUT TO: EXT. BASECAMP. DAWN. (start music/building) THREE HORSES are being SADDLED and OUTFITED with CAMPING SUPPLIES, GEAR and HUNTING WEAPONS.-</scene_description>
    <character>ANGLE, CU. CRUDE OIL SAMPLES.</character>
    <dialogue>are loaded into jars that are wrapped for safety and loaded into POUCHES on the horses.</dialogue>
    <dialogue>DANIEL and HENRY get themselves up on the HORSES and</dialogue>
    <dialogue>They head off for the hills ...</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BANDY'S LAND. MORNING.</stage_direction>
    <scene_description>DANIEL and HENRY ride up through a dry canyon - DRIVING WOOD STAKES WITH RED MARKERS INTO THE GROUND AS THEY GO, SIGNALING A ROUTE FOR THE PIPELINE. They come out of a clearing - and come upon the BANDY HOUSE. This is the place with the PIGS and SULPHUR that we came to earlier... ANGLE, AT THE BANDY HOUSE. Daniel and Henry ride up, outside is a young boy: WILLIAM (17 years old, Bandy's grandson)</scene_description>
    <character>DANIEL</character>
    <dialogue>Is your father Bandy?</dialogue>
    <character>WILLIAM</character>
    <dialogue>Grandfather.</dialogue>
    <character>DANIEL</character>
    <dialogue>Where is he?</dialogue>
    <character>WILLIAM</character>
    <dialogue>not here.</dialogue>
    <character>DANIEL</character>
    <dialogue>where is he?</dialogue>
    <character>WILLIAM</character>
    <dialogue>he's out. what do you want?</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm Daniel Plainview... ! want to talk to him about his property...</dialogue>
    <character>WILLIAM</character>
    <dialogue>about what?</dialogue>
    <character>DANIEL</character>
    <dialogue>... it's something I' 11 talk with him about.</dialogue>
    <character>WILLIAM</character>
    <dialogue>are you the oil man?</dialogue>
    <character>DANIEL</character>
    <dialogue>that's right.</dialogue>
    <character>WILLIAM</character>
    <dialogue>he's not interested in drilling.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm not either.-...when will he be back?</dialogue>
    <character>WILLIAM</character>
    <dialogue>few days.</dialogue>
    <character>DANIEL</character>
    <dialogue>you tell him I'd like to speak with hba.. not for drilling... I '11 be back in a week.</dialogue>
    <scene_description>They RIDE ON...HOLD, THEN...</scene_description>
  </scene>
  <scene>
    <stage_direction>..HENRY DRIVES A STAKE INTO THE GROUND WITH A RED RIBBON,</stage_direction>
    <scene_description>SIGNALING THE ROUTE FOR THE PIPELINE, STRAIGHT INTO BANDY'S LOT... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LARGE FLAT FIELD. DAY.</stage_direction>
    <scene_description>DANIEL and HENRY drive another WOOD STAKE WITH RED FLAG INTO THE GROUND. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MOUNTAINS. DAY.</stage_direction>
    <scene_description>DANIEL and HENRY ride through THICK FORREST...m.oving through a new landscape...THEY PLANT A WOOD STAKE... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FERTILE FARM LAND. DAY.</stage_direction>
    <scene_description>DANIEL and HENRY through some fertile GROVES. They plant another WOOD STAKE.\_ CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIDGE - DAYS LATER.</stage_direction>
    <scene_description>DANIEL and HENRY ride over a ridge, CAMERA RISES AND REVEALS: The PACIFIC OCEAN-.they ride down towards it-HENRY PLANTS ANOTHER STAKE INTO THE GROUND... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UNION OIL REFINERY. DAY.</stage_direction>
    <scene_description>DANIEL and HENRY walk through this refinery. Machines grind away. The head of UNION OIL, old friend of Daniel's: L.P. "PRESS" ST. CLAIR (50s) comes up to greet them:</scene_description>
    <character>L.P.</character>
    <dialogue>Daniel. you're a sight for sore eyes.</dialogue>
    <character>DANIEL</character>
    <dialogue>Press.\_</dialogue>
    <character>L.P.</character>
    <dialogue>congratulations.</dialogue>
    <character>DANIEL</character>
    <dialogue>-- this is my brother Henry Brands from Wisconsin. Press St. Clair.</dialogue>
    <character>L.P.</character>
    <dialogue>good to meet you, come in, you get cleaned up, get you a drink. come over here - congratulations, Daniel. you hit quite a strike.</dialogue>
    <character>DANIEL</character>
    <dialogue>Thank you.</dialogue>
    <character>L.P.</character>
    <dialogue>how's your boy?</dialogue>
    <character>DANIEL</character>
    <dialogue>He's fine.</dialogue>
    <scene_description>They talk and walk...and enter an office and close the door. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UNION OIL MEETING HALL/NEAR THE OCEAN- DAY.</stage_direction>
    <scene_description>DANIEL and HENRY are here with six MEN FROM UNION OIL, led by "PRESS" st. CLAIR. They discuss pipelines, oil, etc. Maps and drawings and crude samples in front of them; come to the scene for celebratory feeling, a joke after business has finished:</scene_description>
    <character>L.P.</character>
    <dialogue>What's the relationship between your wife, Standard Oil and a free whore?</dialogue>
    <character>GROUP</character>
    <dialogue>what is it?</dialogue>
    <character>L.P.</character>
    <dialogue>You can always beat your wife, you can occasionally beat Standard Oil, but you can never beat a free whore.</dialogue>
    <scene_description>Everyone laughs. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PACIFIC OCEAN. DUSK.</stage_direction>
    <scene_description>SPLASH. CAMERA is IN THE WATER WITH DANIEL AND HENRY. They JUMP IN AND FLOAT AROUND OUT AT SEA, LOOKING BACK AT THE SHORE LINE; They're happy and celebratory;</scene_description>
    <character>DANIEL</character>
    <dialogue>There was that house in Fond Du Lac that Maurice LaConte built - do you remember?</dialogue>
    <character>HENRY</character>
    <dialogue>mmm.</dialogue>
    <character>DANIEL</character>
    <dialogue>I thought, when I was a boy, that was the most beautiful house I'd ever seen and I wanted it. I wanted to live in it and eat in it and clean it and even as a boy, I wanted to have children...to run around it.</dialogue>
    <character>HENRY</character>
    <dialogue>You can have anything you like now Daniel. and you should. where are you gonna build it?</dialogue>
    <character>DANIEL</character>
    <dialogue>Here. maybe. near the ocean. up the coast away from this smell</dialogue>
    <character>HENRY</character>
    <dialogue>Would you make it look like that house?</dialogue>
    <character>DANIEL</character>
    <dialogue>Which house?</dialogue>
    <character>HENRY</character>
    <dialogue>The house in Fond Du lac.</dialogue>
    <character>DANIEL</character>
    <dialogue>No. I'm sure if I saw that house now it would make me sick. I need something better.</dialogue>
    <character>BEAT.</character>
    <dialogue>HENRY</dialogue>
    <scene_description>We can eat and get some women.</scene_description>
    <character>DANIEL</character>
    <dialogue>...... take them to the Peachtree dance.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>HENRY</character>
    <dialogue>... ?</dialogue>
    <character>DANIEL</character>
    <dialogue>Get liquored up and go to the Peachtree dance?</dialogue>
    <character>HENRY</character>
    <dialogue>yes,yes.</dialogue>
    <scene_description>HOLD. cu. DANIEL he looks at Henry from the corner of his eye. Something has triggered in Daniel ... "the Peachtree" reference has gotten past Henry...Henry dunks his head under water, DISSAPEARS for a moment ...Daniel waits and watches for him...he finally resurfaces ... WIDE SHOT. They float around in the ocean. HOLD.</scene_description>
    <character>DANIEL</character>
    <dialogue>you ready?</dialogue>
    <character>HENRY</character>
    <dialogue>yeah.</dialogue>
    <scene_description>They start to swim back. CAMERA is with DANIEL in cu. as they swim back - as he breaths for air, he opens his eyes, watching HENRY swim alongside him...then it goes black as he turns his head to the water... then back up for air, turning his head to keep an eye on Henry...who swims back alongside him.. SOUND DROPS IN/OUT/IN/OUT/BREATHING/WATER/BREATHING/GASPING-.looking at Henry •• .-the paranoia has started in Daniel. THIS SETS IN MOTION THE FOLLOWING PROTRACTED SEQUENCE COVERING DANIEL'S SUSPICION OF HENRY-.SEQUENCE: CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SEA SHORE. DUSK.</stage_direction>
    <scene_description>CAMERA with DANIEL and HENRY, from behind, as they finish swimming and arrive at the shore line-They rise up, naked, out of the water and move to their clothes and their HORSES. HOLD THIS MOMENT. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAR. NIGHT. LATER.</stage_direction>
    <scene_description>CU. DANIEL as he watches HENRY. SLOW ZOOM IN.</scene_description>
    <character>DANIEL'S POV,</character>
    <dialogue>across the bar. HENRY is DRUNK and LOUD and talking with a WHORE. DANIEL just watches.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HILLS - DAWN.</stage_direction>
    <scene_description>HENRY and DANIEL head out on their HORSES away from the OCEAN...Henry is clearly HUNG OVER. they are re-tracing their trail along the WOOD STAKES IN THE GROUND WITH THE RED FLAGS.</scene_description>
    <character>DANIEL</character>
    <dialogue>how was that woman?</dialogue>
    <character>HENRY</character>
    <dialogue>good.</dialogue>
    <character>DANIEL</character>
    <dialogue>you get that from our Father. sticking it in whatever you see.</dialogue>
    <character>HENRY</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>you sure you don't have any children anywhere?</scene_description>
    <character>HENRY</character>
    <dialogue>I have two...... last time I saw them I was in Louisiana.</dialogue>
    <character>DANIEL</character>
    <dialogue>with the same woman?</dialogue>
    <character>HENRY</character>
    <dialogue>yes.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FORREST - DUSK. 112 \*</stage_direction>
    <scene_description>HENRY and DANIEL. dusk. campfire. horses off to the side. \* they sit, then: \*</scene_description>
    <character>HENRY</character>
    <dialogue>what do you do next with your Company, Daniel?</dialogue>
    <character>DANIEL</character>
    <dialogue>...what ... ?</dialogue>
    <character>HENRY</character>
    <dialogue>what's next?</dialogue>
    <character>DANIEL</character>
    <dialogue>what are you asking?</dialogue>
    <character>HENRY</character>
    <dialogue>can you sell stock in your company?</dialogue>
    <character>DANIEL</character>
    <dialogue>... something like that.</dialogue>
    <character>HENRY</character>
    <dialogue>If you'd like my help. I can help with that. As things grow more successful~I'm a good salesman and broker for stock and what you might want ...</dialogue>
    <character>DANIEL</character>
    <dialogue>... good ...</dialogue>
    <scene_description>HOLD. 113 OMITTED. 113 \*</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SAME - NIGHT. 114 \*</stage_direction>
    <scene_description>HENRY is asleep. DANIEL is sitting over him, with a \* REVOLVER out by his side, HENRY feels him near and wakes up: \*</scene_description>
    <character>DANIEL</character>
    <dialogue>I want to know something, Henry~</dialogue>
    <character>HENRY</character>
    <dialogue>what?</dialogue>
    <character>DANIEL</character>
    <dialogue>What was the name of the farm next to the Hill house?</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>What was the name of the farm next to the Hill house?</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>HENRY</character>
    <dialogue>I don't remember, Daniel.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>HENRY</character>
    <dialogue>I remember the Hills. I remember their daughter Jenny. I remember Hill and his wife ...</dialogue>
    <character>DANIEL</character>
    <dialogue>What was her name?</dialogue>
    <character>HENRY</character>
    <dialogue>who?</dialogue>
    <character>DANIEL</character>
    <dialogue>His wife ...</dialogue>
    <scene_description>\*:</scene_description>
    <character>HENRY</character>
    <dialogue>I can't remember right now...</dialogue>
    <character>DANIEL</character>
    <dialogue>who are you?</dialogue>
    <character>HENRY</character>
    <dialogue>I' 11 leave, Daniel... just let me get up and go ...</dialogue>
    <scene_description>BEAT. \*</scene_description>
    <character>DANIEL</character>
    <dialogue>Do I have a brother? \*</dialogue>
    <character>HENRY</character>
    <dialogue>I met a man in King City who said \* he was your brother, we were friends \* for months, working in King City \* and he wanted to make his way to \* you Daniel, we didn't have any money. \* He died of tuberculosis. he wasn't harmed, \* he wasn't killed, nothing bad but he told \* me about you and I just took his \* story - and used his diary - \* Daniel, I'm your friend ... I 'm not \* trying to hurt you, just survive \*</dialogue>
    <scene_description>DANIEL puts the GUN TO HENRY'S HEAD AND FIRES. HENRY \* SLUMPS OVER. HOLD ON DANIEL. WIDE SHOT. STAY WITH THIS SCENE AND WATCH AS DANIEL DIGS \* A SHALLOW GRAVE. \* OVER TIME. DAWN COMES. HE PUTS THE BODY IN THE GRAVE, \* HE GETS RID OF HENRY'S HORSE. HE BEGINS TO DRINNK \* DURING THIS PROCESS. \* HE OPENS UP THE JOURNAL OF HENRY'S AND SCANS, READS - \* HE DRINKS BOOZE THE ENTIRE TIME. \* CU. IDENTIFICATION. He studies it. The name of Henry \* Plainview, etc. Height, Weight, etc. \* THERE IS A SMALL NOTEBOOK. DANIEL opens it, looks inside, \* seeing key words; \* 11 ••• Fond Du Lac ... " 11 ••• Henry Plainview... " 11 •• .my brother Daniel... " \* This is a journal by the real HENRY PLAINVIEW. DANIEL KEEPS \* DRINKING. AND DRINKING AND DRINKING. \* HE PASSES OUT. \* CUT TO: 115 OMITTED \* 116 OMITTED \* 117 OMITTED \* 118 OMITTED \* 119 OMITTED \* 120 OMITTED \*</scene_description>
  </scene>
  <scene>
    <stage_direction>120A INT. SAME. DAWN. 120A \*</stage_direction>
    <scene_description>DANIEL comes to ... CAMERA DOLLIES BACK A BIT TO REVEAL: \* A FIGURE sitting over him; \* DANIEL looks. we see this FIGURE, an OLDER MAN~.. \*</scene_description>
    <character>BANDY \*</character>
    <dialogue>I'm Bandy. \* you feel alright? \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>I'd like to lease your land. \* I tried to lease your land before \* but you wouldn' t ... I 'm Daniel Plainview \* and I'ma prospector. I'd like to lease \* your land. \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>I'd asked you to come and talk to me when \* you were leasing land... \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>My boy's been sick\_ \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>This was before you boy got sick. \*</dialogue>
    <scene_description>BEAT. \*</scene_description>
    <character>BANDY</character>
    <dialogue>I know that you'd like to build a pipeline \* through my property. Is this right? \* What I've heard? \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>It's only eight inch pipe, it can be \* buried - without disruption \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>God has told me what you must do... \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>what is it? \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>you should be washed in the blood of \* Jesus Christ. \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>But I am. I have been. \*</dialogue>
    <scene_description>BEAT. \*</scene_description>
    <character>DANIEL \*</character>
    <dialogue>I have been. \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>You should be washed in the blood of \* Jesus Christ. It's your only way to \* salvation and your only way for what you \* want. You can take it at the Church \* of the Third Revelation. \*</dialogue>
    <scene_description>BEAT. \*</scene_description>
    <character>DANIEL \*</character>
    <dialogue>I'll pay you three thousand dollars. \* What's Eli paying you? \* I'll pay you five thousand dollars. \* there can be ways around this -- \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>I've followed Eli since he was a boy. \* He came and preached by my side when my \* wife and daughter were burned in \* Bakersfield. \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>what is it that I do? \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>I want you to be part of our Church. \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>but what do you want me to do? \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>listen to Eli's word and be baptised. \* be forgiven for this sin that you've \* ~~. \*</dialogue>
    <character>DANIEL \*</character>
    <dialogue>my sin of ...what? drilling? \*</dialogue>
    <character>BANDY \*</character>
    <dialogue>speak to God. you can speak to God. \*</dialogue>
    <scene_description>BANDY's GRANDSON has been lingering in the background... BANDY \* hands DANIEL'S WEAPON'S OVER TO HIM. \*</scene_description>
    <character>BANDY \*</character>
    <dialogue>may I help you back? \* we will ride back with you\_ \*</dialogue>
    <scene_description>POSS SHOT OF THEM ALL RIDING. TRACKING? POSS SHOT OF THEM PASSING BANDY RANCH?</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CHURCH OF THE THIRD REVELATION. DAY LATER.</stage_direction>
    <scene_description>DANIEL enters, cleaned up, days later.-ELI has got a desk now and a few Church Supporters are here with him. He notices Daniel and stands, a little flinchy and nervous; They STARE at each other...</scene_description>
    <character>ELI</character>
    <dialogue>don't you dare hit me.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm looking for a fresh start, Eli • ... I need your blessing...</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CHURCH OF THE THIRD REVELATION. DAY.</stage_direction>
    <scene_description>CAMERA starts on DANIEL. The CHURCH IS NOW PACKED WITH WORKERS, SUNDAY FAMILY, FOLLOWERS, FARMERS, ETC. BANDY sits next to Daniel... The BACK WALL of the church has been broken through and gives way to a large CANVAS TENT with dirt and floor board as the expansion that Eli has done. Eli goes full steam;</scene_description>
    <character>ELI</character>
    <dialogue>I truly wish that everyone could be saved - but it's just not the case. The doctrine of universal salvation is a lie. I wish everyone would be saved, but they won't! No They Won't! You will never be saved if what -- ?</dialogue>
    <character>CHURCH</character>
    <dialogue>IF YOU REJECT THE BLOOD!</dialogue>
    <character>ELI</character>
    <dialogue>NOW IS THERE A SINNER HERE LOOKING</dialogue>
    <character>FOR SALVATION? A NEW MEMBER?</character>
    <dialogue>I'll ask it again: Is there a sinner looking for God?</dialogue>
    <scene_description>Daniel stands up... he approaches Eli on the stage.\_</scene_description>
    <character>ELI</character>
    <dialogue>Thank you for coming, Brother Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>Thank you, Eli.</dialogue>
    <character>ELI</character>
    <dialogue>WE HAVE A SINNER WITH US HERE</dialogue>
    <character>WHO WISHES FOR SALVATION. DANIEL.</character>
    <dialogue>ARE YOU A SINNER?</dialogue>
    <character>DANIEL</character>
    <dialogue>yes.</dialogue>
    <character>ELI</character>
    <dialogue>THE LORD CAN'T HEAR YOU, SAY IT TO HIM,</dialogue>
    <dialogue>LOUDER, Go ahead and speak to him, it's alright ••</dialogue>
    <character>DANIEL</character>
    <dialogue>YES.</dialogue>
    <character>ELI</character>
    <dialogue>DOWN ON YOUR KNEES AND UP TO HIM.</dialogue>
    <scene_description>DANIEL gets down on his KNEES ...</scene_description>
    <character>ELI</character>
    <dialogue>look up to the sky\_.</dialogue>
    <scene_description>and say it...</scene_description>
    <character>DANIEL</character>
    <dialogue>I don't know what to say\_</dialogue>
    <character>ELI</character>
    <dialogue>Daniel: You've come here and you've brought good and wealth but you have also brought your bad habits as a backslider.\_</dialogue>
    <dialogue>you've lusted after women and you have abandoned your child. Your child that you raised, you have abandoned all because he was sick and you have sinned - so say it now, "I am a sinner." Say it, say, "I AM A SINNER."</dialogue>
    <scene_description>CU. DANIEL. The crowd grows restless and begins to encourage Daniel to say this ... Daniel is steaming...</scene_description>
    <character>ELI</character>
    <dialogue>SAY IT: I AM A SINNER.</dialogue>
    <character>DANIEL</character>
    <dialogue>I am a Sinner.</dialogue>
    <character>ELI</character>
    <dialogue>I AM SORRY LORD.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'm sorry Lord.</dialogue>
    <character>ELI</character>
    <dialogue>I WANT THE BLOOD.</dialogue>
    <character>DANIEL</character>
    <dialogue>I want the blood.</dialogue>
    <character>ELI</character>
    <dialogue>I HAVE ABANDONED MY CHILD.</dialogue>
    <character>DANIEL</character>
    <dialogue>I have abandoned my child.</dialogue>
    <character>ELI</character>
    <dialogue>I WILL NEVER BACKSLIDE.</dialogue>
    <character>DANIEL</character>
    <dialogue>I will never backslide.</dialogue>
    <character>ELI</character>
    <dialogue>I WAS LOST BUT NOW I'M FOUND.</dialogue>
    <character>DANIEL</character>
    <dialogue>I was lost but now I'm found.</dialogue>
    <character>ELI</character>
    <dialogue>I ABANDONED MY CHILD.</dialogue>
    <scene_description>DANIEL looks hard at Eli...HOLD. Daniel is somewhere between faking it/taking it/and exploding up at Eli...</scene_description>
    <character>ELI</character>
    <dialogue>SPEAK TO HIM AND SAY IT SINNER.</dialogue>
    <character>DANIEL</character>
    <dialogue>I ABANDONED MY CHILD.</dialogue>
    <character>ELI</character>
    <dialogue>SPEAK TO HIM, SAY IT LOUDER.</dialogue>
    <character>DANIEL</character>
    <dialogue>I ABANDONED MY CHILD.</dialogue>
    <character>I ABANDONED MY CHILD.</character>
    <dialogue>I ABANDONED MY BOY.</dialogue>
    <character>ELI</character>
    <dialogue>BEG FOR THE BLOOD.</dialogue>
    <character>DANIEL</character>
    <dialogue>GIVE ME THE BLOOD ELI, LET</dialogue>
    <character>ME GET AWAY FROM THIS. JUST</character>
    <dialogue>GIVE ME THE BLOOD LORD AND</dialogue>
    <character>LET ME GET AWAY.</character>
    <dialogue>ELI plays up the CROWD. Daniel on his knees.</dialogue>
    <character>ELI</character>
    <dialogue>DO YOU ACCEPT JESUS CHRIST AS YOUR</dialogue>
    <character>LORD AND SAVIOR?</character>
    <dialogue>DANIEL</dialogue>
    <character>YES.</character>
    <dialogue>ELI</dialogue>
    <scene_description>ELI SLAPS DANIEL ACROSS THE FACE ...</scene_description>
    <character>ELI</character>
    <scene_description>ELI SLAPS HIM AGAIN HARD.</scene_description>
    <character>ELI</character>
    <dialogue>DO YOU ACCEPT THE CHURCH OF THE</dialogue>
    <character>THIRD REVELATION AS YOUR SPIRITUAL</character>
    <dialogue>GUIDE?</dialogue>
    <character>DANIEL</character>
    <scene_description>ELI SLAPS DANIEL ACROSS THE FACE AGAIN...</scene_description>
    <character>ELI</character>
    <dialogue>GET OUTTA OF HERE GHOST! GET OUTTA</dialogue>
    <character>OF HERE AND GO BACK WHERE YOU BELONG!</character>
    <dialogue>ELI SLAPS DANIEL AGAIN, THEN PUSHES HIS PALM SMACK INTO DANIEL'S</dialogue>
    <character>FORHEAD, PUSHING HIM BACK --</character>
    <dialogue>ELI</dialogue>
    <character>DO YOU ACCEPT JESUS CHRIST AS YOUR SAVIOR?</character>
    <dialogue>DANIEL</dialogue>
    <character>YES I DO �</character>
    <dialogue>... a FOLLOWER BRINGS a BOWL OF HOLY WATER and hands it to ELI 1 who takes DANIEL by the HAIR and PULLS HIS HEAD BACK, HE LETS THE WATER POUR OVER HIM...</dialogue>
    <dialogue>Daniel stands up...HOLD. He takes his seat...People welcome him, hold him, touch him, congratulate him, etc.</dialogue>
    <dialogue>BANDY comes over and touches Daniel's shoulder...young CHILDREN come over and touch his hands ...WOMEN comfort him and welcome him...</dialogue>
    <dialogue>There is warmth from everyone here ••• that Daniel begins to feel ••. they TOUCH THE BACK OF HIS HEAD AND HIS SHOULDERS AND GIVE HIM LOVE.</dialogue>
    <dialogue>Eli notices this\_</dialogue>
    <character>ELI</character>
    <dialogue>... that's enough now...that' s enough...he must take the Holy Spirit in on his own now-.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RESERVOIR FULL OF OIL - DAWN.</stage_direction>
    <scene_description>IMAGE. There's a boy in a row boat on the lake of oil that fills the reservoir. SUN RISES. Everything is calm and quiet, distant noise of the derricks. CUT TO:</scene_description>
    <character>108A</character>
    <dialogue>Blue Revi•ed 5/11/0'</dialogue>
  </scene>
  <scene>
    <stage_direction>12 3A INT. SCHOOL FOR TBB DEAF IN S. F. - DAY 123A\*</stage_direction>
    <scene_description>BW is sitting, waiting in the foyer of this school. \* PLBTCBBR ia here, and he ia off ~o the aida a bit, speaking \* with a young man GBORGB REYNOLDS. Be ia a teacher at the \* school. \* PLBTCBBR has a quiet word with himJ \*'</scene_description>
    <character>!'LBTCIIBR \*</character>
    <dialogue>Mr. Plainview would pay you two thou•and \* dollar• a year-in cash. all your accommodations \* will be of premier class-you have to be \* prepared to travel wherever Mr. Plainview and \* his aon may travel, do you have family here \* in San Francisco? \*</dialogue>
    <scene_description>GEORGE REYNOLDS shakes his head, •no.• looks at Fletcher, \* then: \*</scene_description>
    <character>CUT TO:</character>
    <dialogue>123B IN'l'. TRAIN. - MOVING. 123B\*</dialogue>
    <scene_description>PLBTCBBR, GEORGE and BW riding on the train. \* -GEORGE teaches BW sign language\_ \*</scene_description>
    <character>CUT TO:</character>
    <dialogue>Blue Revised 5/18/06</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FIELDS NEAR THE SUNDAY RANCH. DAY.</stage_direction>
    <scene_description>It's weeks later. THE CONSTRUCTION OP TBB PIPELINE IS UNDER WAY. ANGLB, DANIEL. out here, sweating in the sun, working/supervising. ANGLB, ACROSS TBB PIELDS. FLETCHER is walking with: B.W. and GBORGB REYNOLDS. \* Daniel sees them and comes walking over very quickly-grabbing BOLD OP B.W. AND KISSING AND BUGGING HIM. Pletcher watches ••• DANIBL picks him up and they walk off. (STAY WITH THEM, DANIBL WBISPBRS TO HIM, BOLDS HIM, GENTLY, KINDLY) CUT'l'O:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FANCY RESTAURANT/ISABELLA COUNTY -NIGHT- LATER</stage_direction>
    <scene_description>DANIEL and BW sit at a Fancf restaurant-BW's feet dangling from the chair-</scene_description>
    <character>DANIBL</character>
    <dialogue>We'll get you a good meal- That's all we need here is a good strong expensive meal- Are you hungry?</dialogue>
    <scene_description>Daniel is frustrated. A WAITER. COMES OVER.</scene_description>
    <character>DANIEL</character>
    <dialogue>Two steaks. Whiskey.</dialogue>
    <scene_description>And water for him. and goat's milk. They stare at each other.</scene_description>
    <character>DANIEL</character>
    <dialogue>Standard offered us a million dollars for the Little Boston leases. I told them no. We made a deal with Union on the pipeline. and all of our output.</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>Can you hear me?</dialogue>
    <dialogue>Are you looking at me and really you can hear me?</dialogue>
    <scene_description>HOLD. They sit...........\_......\_</scene_description>
    <character>DANIEL</character>
    <dialogue>We're gonna have that Teacher help you and help take care of all this.</dialogue>
    <dialogue>Because I need you.</dialogue>
    <dialogue>I need your help. we got everything we need now to build this company...</dialogue>
    <scene_description>CU. DANIEL. he looks across the RESTAURANT and sees something... he stands up, leaving HW •</scene_description>
  </scene>
  <scene>
    <stage_direction>..arriving at another table: sitting here is H.M. TILFORD, from Standard Oil, who we met earlier and Daniel threatened. He is sitting with his WIFE.</stage_direction>
    <scene_description>DANIEL stands over him.</scene_description>
    <character>DANIEL</character>
    <dialogue>I want you to look over there.</dialogue>
    <character>TILFORD</character>
    <dialogue>Hello, Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>Look over there. That's my son. You see? SEE?</dialogue>
    <character>TILFORD</character>
    <dialogue>Daniel -</dialogue>
    <character>DANIEL</character>
    <dialogue>you see him? you don't tell me how to raise my family. I told you not to tell me how to raise my family so what do you see?</dialogue>
    <character>TILFORD</character>
    <dialogue>I'm happy for you that everything --</dialogue>
    <scene_description>Ill Blue Revi•ed 5/18/06</scene_description>
    <character>DANIEL</character>
    <dialogue>I've made a deal with union and my son is happy and safe and I'm taking care of him now - so you look like a fool, Hamil ton. Don't you?</dialogue>
    <character>TILFORD</character>
    <dialogue>Yea.</dialogue>
    <character>DANIEL</character>
    <dialogue>I told you what I was gonna do-</dialogue>
    <scene_description>Daniel walks back and takes his seat wi tb B. W. BOLD-CU. BW' s !!2!-looking at Daniel continue to babble away, bearing NOTHING.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASECAMP OIL FIBLDS. DAY. 126\*</stage_direction>
    <scene_description>BW is teaching GBORGB the language of the OIL BUSINESS. \* MARY is hera as wall, learning. SIGH LANGUAGE- \* They spell out words and find SIGNS for OIL BQUIPMBNT that \* is laid out around the camp - George will silently MOUTH \* the word and together they make a SIGN. \* BW is very confident around this gear-BOLD ON BIK signing \* away\_ \* CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN DEPOT. DAY. WEEKS LATER.</stage_direction>
    <scene_description>DANIEL is taking care of some business at the crowded train depot-ELI, dressed up for a journey, comas and finds him --</scene_description>
    <character>BLI</character>
    <dialogue>Bello, Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>going somewhere?</dialogue>
    <character>ELI</character>
    <dialogue>That's right. I'm going on a mission. Oildale, Taft, I'm going to Bakersfield. I've been invited to spread his word-and it's time for our congregation to grow.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'll be sorry to see you go.</dialogue>
    <scene_description>Blue Revi•ed 5/18/06</scene_description>
    <character>ELI</character>
    <dialogue>I know that's not true-</dialogue>
    <character>BEAT.</character>
    <dialogue>ELI</dialogue>
    <scene_description>It's good that B.W. is back home where he belongs. Be's a fine boy. Daniel has nothing else to say\_\_</scene_description>
    <character>ELI</character>
    <dialogue>God bless you.-</dialogue>
    <character>DANIEL</character>
    <dialogue>Be very very careful where you turn in your travels, Eli.</dialogue>
    <character>ELI</character>
    <dialogue>and God be with your boy.</dialogue>
    <scene_description>Eli leaves. Daniel watches hia-go. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>127A EXT. VARIOUS LOCATIONS. TBD. 127A\*</stage_direction>
    <character>2.</character>
    <dialogue>3.</dialogue>
    <character>SHOTS OP BW AND MARY.</character>
    <dialogue>CU, BW RUNNING NEAR MAGIC HOUR.</dialogue>
    <character>CUT TO BLACK.</character>
    <scene_description>128 OMITTED \* Blue Revised 5/18/06</scene_description>
  </scene>
  <scene>
    <stage_direction>128A EXT./INT. P~~BW MANSION - DUSK. 128A\*</stage_direction>
    <character>VARIOUS STATIC IMAGES OF DANIEL PLAI~EW'S MANSION/ESTATE. \*</character>
    <dialogue>GROUNDS, ROOMS, GOTHIC ROOMS, STONE, MARBLE, BOWLING ALLEY, \*</dialogue>
    <dialogue>ETC, UNPAClCBD BOXES, ETC. \*</dialogue>
    <scene_description>COTTO:</scene_description>
  </scene>
  <scene>
    <stage_direction>128B INT. KITCBBN. PLAINVIEW MANSION. DAY. 128B\*</stage_direction>
    <scene_description>Daniel is here and he is SIGHING CHECKS. AL ROSE is here, \* putting things in front of him. \* a SERVANT cleans/works in b.g. \* Daniel eats a sandwich. END. cu, IMAGE. SIGNATURE. \* COTTO:</scene_description>
  </scene>
  <scene>
    <stage_direction>128C INT. HALLWAY. NIGHT. 128C\*</stage_direction>
    <scene_description>Daniel walks down the hallway. \* CUT TO: \*:</scene_description>
  </scene>
  <scene>
    <stage_direction>128D INT. BEDROOM. MORNING. 128D\*</stage_direction>
    <scene_description>IMAGE. Daniel sleeping. OC we hear the voice of GEORGE \* (interpreter) speak; \*</scene_description>
    <character>BW/GEORGB ( VO)</character>
    <dialogue>Bow many can say that they have known \* the love of their life since they can \* remember? \*</dialogue>
    <scene_description>CUT TO: Blue Reviaed 5/18/06 128E IN'l'. A CHURCH SOMEWHERE. LOOKING TOWARDS TBB ALTAR. 128E\* OLDER HW (aged 25) AND OLDER MARY (aged 25) are on knees, \* wedding vows and sacrament- \* PRIEST, EXCHANGING VOWS-CO's priest's mouth, 8W watching. \* sign language. \*</scene_description>
    <character>BW/GEORGB ( VO)</character>
    <dialogue>I know not many. And I hold it as my deepest \* pleasure. \* I am sure that I have idolized Mary since \* I mat her so long ago - and I will \* continue to idolize her the rest of \* my life. My ring baa never been offered \* or worn by another but my little girl Mary. \*</dialogue>
    <character>WE BEAR. /DETAILS</character>
    <dialogue>BW/GEORGE (VO)</dialogue>
    <character>SACRAMENT ( TBD)</character>
    <dialogue>The other side of Q¥ life gets darker each day\_ \*</dialogue>
    <character>CUT TO:</character>
    <dialogue>Blue Reviaed 5/18/06</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRIVATE RAIL CAR. DAY. MOVING. 129\*</stage_direction>
    <scene_description>BW is signing this LETTER that we BEAR - to GEORGE, \* who speaks it to a SBCRBTARY who TYPBS THIS OUT- \* MARY is here\_ \* BW/GBORGB (VO) (temp narration) \* My father's fe~ocious appetite for buying \* new land while ignoring existing contracts \* is blind to the future of this industry. \* OUT TBB WINDOW WB SBB DBRRICltS FOR MILBS AND MILBS \* AHD MILBS. \* BW/GBORGB (VO) (temp narration) \* I cannot continue to put a happy face on \* the trouble I see. There is a downfall ahead, \* and my Father is unable or unwilling to see \* this- would you consider a meeting to \* discuss your future plans? \* CUT TO:</scene_description>
    <character>113A</character>
    <dialogue>Blue Reviaed 5/18/06</dialogue>
  </scene>
  <scene>
    <stage_direction>129A EXT. NEW SUNDAY RANCH BOOSE. AFTERNOON. 129A\*</stage_direction>
    <character>SURROUNDED BY DERRICKS. WIDE SHOT. PX. \*</character>
    <dialogue>BW/GEORGB</dialogue>
    <scene_description>Mary and I are travelling to \* Little Boston on the 19~ of this month \* to see our family. \* Perhaps it is a good time and privata place \* to apeak. It has bean too long a inca we've \* bean together and you must wrap your arms \* around Mary, who demands to see you. \*</scene_description>
    <character>ANGLE, CLOSER. \*</character>
    <dialogue>BW and MARY are with an OLDER MOTHER SUNDAY AND OLDER ROTH \* AND HER HUSBAND AND KIDS. \* ANGLE, PLETCHER. \* is baing driven in a nice car, up to the house, through the \* oil fields. \* ANGLE, PORCH. \* They all sit on the porch ot ~ke house. \*</dialogue>
    <character>BW/GEORGE</character>
    <dialogue>I have reached a crossroads in my life, \* Fletcher and I am in need of your help. \*</dialogue>
    <scene_description>COTTO:</scene_description>
  </scene>
  <scene>
    <stage_direction>129B EXT. SUNDAY BOUSE. DUSK. 129B\*</stage_direction>
    <scene_description>FLETCHER, HW and GEORGE are off to the side, away from it \* all having a conversation. WE SEE THIS INTENSE CONVERSATION \* ONLY FROM A DISTANCE. \* CO. MARY. \* she watches them across the way. \* LONG LENS. IMAGE \* OF THE MEN GATHERED, BW SIGNING, GEORGE IN'l'ERPRBTING-FLETCBER listens, speaks, continue- \* BOLD THIS, THEN: 129C INT. ROOM. NIGHT. (TBD) (maybe?) 129C\* MARY and BW kiss each other. \* COT TO: Blue Revised 5/18/06 130 OMITTED \* 131 OMITTED \* 132 OMITTED \* 133 OMITTED \* 134 OMITTED \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PLAINVIEW MANSION - FOYER/HALLWAY - DAY (LATER) 13~</stage_direction>
    <scene_description>B. w. and GBORGB coma walking down this long, dark hallway-entering in from the FRONT DOOR- CAMERA moves into cu. on s.w. aa they arrive at DANIEL'S OFPICEa</scene_description>
    <character>CUT TO:</character>
    <dialogue>Blue Revised 5/18/06</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE. MOMENTS LATER. 136\*</stage_direction>
    <scene_description>DANIEL is here, sitting at his desk, looking at HW and \* GBORGB enter. Be ia ready for something. \* They come in, walk up--sit down. Daniel looks right at him~ •</scene_description>
    <character>DABIBL</character>
    <dialogue>Bow was your trip? \*</dialogue>
    <character>HW/GBORGE</character>
    <dialogue>Pine, thank you. \*</dialogue>
    <scene_description>BEAT. something uncomfortable. AL ROSE and OTBBR CRONIB are \* watching the interchange. •</scene_description>
    <character>BW/GEORGB</character>
    <dialogue>can we be alone? •</dialogue>
    <character>DANIEL..</character>
    <dialogue>these are my cld'aest associates, they • hear everything - where have you been? •</dialogue>
    <character>BW/GBORGB</character>
    <dialogue>I would rather speak to you in private. •</dialogue>
    <character>DANIEL</character>
    <dialogue>You can't apeak. so why don't you • just tell me where you've been? • or do you think I don't know? •</dialogue>
    <character>BW/GBORGE</character>
    <dialogue>If you know, then you tell me. •</dialogue>
    <character>DANIEL</character>
    <dialogue>I know that we have no business \* to be done in the Sunday Field. • and I know that if you take \* my rail car on business it should \* be used for business. \* and I have no business with Pletcher • Hamilton. so what is it that you're \* here to tell me?</dialogue>
    <scene_description>Blue Reviaed 5/18/06 BOLD. BEAT. THEN~</scene_description>
    <character>BW</character>
    <dialogue>This is very hard for me to say, but \* I will tell you first: I love you very much. \* I have learned to love what I do because \* of you. I am leaving here. I'm going to \* Mexico. I am taking Mary and I am going to \* Mexico. I miss working outside. I miss the \* fields. \* It will only be for a time. Por me to \* do my own drilling and start my own \* company. \* It's time to make a change. \*</dialogue>
    <scene_description>BEAT. DANIEI.t.. This makes you rlty -.oompeti tor. \*</scene_description>
    <character>BW</character>
    <dialogue>No, no, it's not like that. \*</dialogue>
    <character>DANIEL</character>
    <dialogue>It is like that, boy. \*</dialogue>
    <scene_description>BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>Your own company? \*</dialogue>
    <character>BW</character>
    <dialogue>That's right. \*</dialogue>
    <character>DANIEL</character>
    <dialogue>In Mexico? \*</dialogue>
    <character>BW</character>
    <dialogue>Yes. \*</dialogue>
    <character>DANIEL</character>
    <dialogue>You are making such a misstep. \*</dialogue>
    <scene_description>Blue Revised 5/18/06 BEAT.</scene_description>
    <character>DANIEL</character>
    <dialogue>so-what are you doing? \*</dialogue>
    <character>HW</character>
    <dialogue>I've tried to talk to you. \*</dialogue>
    <character>DANIEL</character>
    <dialogue>-- you talk through your little dog. \*</dialogue>
    <character>B.W./GBORGB</character>
    <dialogue>I know that we don't agree \* over many things and I would rather \* keep you as my Pather than my partner. \*</dialogue>
    <scene_description>DANIEL (to HW) Then say it- \* You've got something to say to me? \* Then say it. I'd like to hear speak \* instead of your ·l!ttle dog. • BEAT. BW doesn't say anything. BOLD. \*</scene_description>
    <character>DANIEL</character>
    <dialogue>You're killing us with what you're doing. \*</dialogue>
    <character>B.W./GEORGB</character>
    <dialogue>You're stubborn and you won't listen. \*</dialogue>
    <character>DANIEL</character>
    <dialogue>You're killing my image of you as my son. •</dialogue>
    <character>B.W./GBORGB</character>
    <dialogue>You will change. You will see me • sweetly again someday\_ •</dialogue>
    <character>DANIEL</character>
    <dialogue>You're not my son. \*</dialogue>
    <character>B.W./GEORGB</character>
    <dialogue>Please don't say that. I know you \* don't mean that. \*</dialogue>
    <character>121 -122</character>
    <dialogue>Blue Reviaed 5/18/06</dialogue>
    <character>DARIBL</character>
    <dialogue>It's the truth -you're not my son. \*</dialogue>
    <scene_description>and you never have been-you're an orphan. \* and you've operated here today like one. \* I should have seen this coming\_ \* I should have known that under this all, \* these past years you've been building your \* hate for me piece by piece-and I don't \* even know who you are-because you have none \* of me in yau-You're Someone Blse's- \* This anger-your maliciousness and backwards \* dealings with me-you're an orphan froa a \* basket in the middle of the desert-and I \* took you for no other reason than I needed \* a sweet face to buy land. You're lower \* than a bastard. \* s.w. watching Daniel's mouth as he finishes speaking-BW \* signa, GBORGB speaks: \* BW/GBl&gt;RGB I'm going to Mexico with my wife. \* I'm going away from you. \*</scene_description>
    <character>DARIBL</character>
    <dialogue>You have none of -. in you. \*</dialogue>
    <character>BW/GBORGB</character>
    <dialogue>If you want to fight me-it will \* be the fight of your life. \*</dialogue>
    <scene_description>They leave. \*</scene_description>
    <character>DANIBL</character>
    <dialogue>YOU' RB A BASTARD FROM A BASUT. BASTARD \*</dialogue>
    <character>FROM A BASDT. \*</character>
    <dialogue>CUT TO:</dialogue>
    <scene_description>Blue Revi•ed 5/18/01</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRWBLL. LATER.</stage_direction>
    <scene_description>It's dark and then a door ia opened-DANIEL comes staggering in and goes DEEP DOWM INSIDE BIS BOUSE- LONG DISSOLVE TOa</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BOWLING ALLBY/PLAIHVID MANSIOB. HIGHT</stage_direction>
    <scene_description>This is a very large party area/bowling area/recreational room in the basement of the Plainview Bstate- There are BMPTY LIQUOR BOTTLBS around-signs of a MBSS/BOOZE/TROUBLB- -PASSED DRUHK IH OU'l' TBB HIDDLB 01' TBB BOWLING ALLBY, WRAPPED IN A BLANDT is DAlflBL. -an OLD MALB SERVANT comes in...1(a.lks down the lane and attempts to wake up DANIEL-he tries very hard, over and over and over- ANGLB 1 TBB DOORWAY. Down into this area-STBPSa BLI SUNDAY. Be is flamboyantly dressed and he has TNO PBHALB COMPANIONS with him-they watch aa the Servant tries to wake Daniel up\_ Eli directs his Lady Friends to wait upstairs, then comes over to help:</scene_description>
    <character>ELI</character>
    <dialogue>DANIEL. DANIEL. DANIEL PLAINVIEW</dialogue>
    <character>THE HOUSE IS ON FIRE.</character>
    <parenthetical>(beat, to Servant)</parenthetical>
    <dialogue>you can leave us ... please.\_</dialogue>
    <scene_description>The Servant leaves ... DANIEL comes to...and sees Eli's face.</scene_description>
    <character>ELI</character>
    <dialogue>Brother Daniel-it's Eli-</dialogue>
    <character>DANIEL</character>
    <dialogue>--yes it is ...</dialogue>
    <scene_description>Daniel stirs and sits up...Eli reaches for some glasses and pours TWO DRINKS ...of which he drinks BOTH. DANIEL pours himself a drink.</scene_description>
    <character>ELI</character>
    <dialogue>Your home is a miracle. It's beautiful. God bless it.</dialogue>
    <character>DANIEL</character>
    <dialogue>ELI</dialogue>
    <scene_description>... I've been spreading His word far and wide, far and wide, so much travel for him... I 've been working in radio... ! So much has been happening, but to be here and find you and see you well is wonderful and we have a chance to catch up! (beat) My Brother, Daniel...we' re such old friends! so much time ... ELI takes another drink...</scene_description>
    <character>ELI</character>
    <dialogue>ahhhh. things go up, things go down but at least the Lord is always around.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We've seen ups and downs, haven't we?</dialogue>
    <character>DANIEL</character>
    <dialogue>are things down right now Eli?</dialogue>
    <character>ELI</character>
    <dialogue>no, no...But I come with some sad news: Perhaps you remember Mr. Bandy?</dialogue>
    <character>DANIEL</character>
    <dialogue>ELI</dialogue>
    <scene_description>Mr. Bandy has passed on to the Lord. Eli says a silent prayer to himself.</scene_description>
    <character>ELI</character>
    <dialogue>He lived to be 99 years old. Mr. Bandy has a Grand Son. have you met his grandson? William?</dialogue>
    <character>DANIEL</character>
    <dialogue>ELI</dialogue>
    <scene_description>William Bandy is one of the finest members we have in the Church of the Third Revelation. He is young and fit and strong with good charismatic ability and he is headed for wonderful things. He is eager to come to Hollywood to be in movies. He is very good looking. And I do think he will have success.</scene_description>
    <character>DANIEL</character>
    <dialogue>That's wonderful.</dialogue>
    <character>ELI</character>
    <dialogue>Would you like me to speak with him?</dialogue>
    <scene_description>BEAT. Silence.</scene_description>
    <character>ELI</character>
    <dialogue>Daniel, I'm asking if you'd like to have business with the Church of the Third Revelation in developing this lease on young Bandy's thousand acre tract.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>I'm offering you to drill on one of the great un-developed fields of Little Boston!</dialogue>
    <character>DANIEL</character>
    <dialogue>I'd be happy to work with you...</dialogue>
    <character>ELI</character>
    <dialogue>you would? yes, yes of course. wonderful.</dialogue>
    <character>DANIEL</character>
    <dialogue>But there is one condition for this work.</dialogue>
    <character>ELI</character>
    <dialogue>Alright.</dialogue>
    <character>DANIEL</character>
    <dialogue>I'd like you to tell me that you are a False Prophet.</dialogue>
    <character>ELI</character>
    <dialogue>DANIEL</dialogue>
    <scene_description>I'd like you to tell me that you are, and have been, a False Prophet...and that God is a superstition.</scene_description>
    <character>ELI</character>
    <dialogue>...but that's a lie.</dialogue>
    <character>DANIEL</character>
    <dialogue>ELI</dialogue>
    <scene_description>It's a lie. I cannot say it. BEAT. LONG PAUSE.</scene_description>
    <character>ELI</character>
    <dialogue>When can we begin to drill?</dialogue>
    <character>DANIEL</character>
    <dialogue>Right away.</dialogue>
    <character>ELI</character>
    <dialogue>How long will it take to bring in the well?</dialogue>
    <character>DANIEL</character>
    <dialogue>Should be very quick.</dialogue>
    <character>ELI</character>
    <dialogue>I would like a one hundred thousand dollar signing bonus plus the five that is owed with interest.</dialogue>
    <character>DANIEL</character>
    <dialogue>That's only fair.</dialogue>
    <character>ELI</character>
    <dialogue>... I am a false prophet and God is a superstition. If that's what you believe, then I will say it.</dialogue>
    <character>DANIEL</character>
    <dialogue>Say it like you mean it.</dialogue>
    <character>ELI</character>
    <dialogue>Daniel...</dialogue>
    <character>DANIEL</character>
    <dialogue>Say it like it's your sermon.</dialogue>
    <character>ELI</character>
    <dialogue>This is foolish.</dialogue>
    <character>DANIEL</character>
    <scene_description>"I AM A FALSE PROPHET. GOD IS A SUPERSTITION." is that fine?</scene_description>
    <character>DANIEL</character>
    <dialogue>Those area's have been drilled.</dialogue>
    <character>ELI</character>
    <dialogue>...what?</dialogue>
    <character>DANIEL</character>
    <dialogue>Those Area's Have Been Drilled.</dialogue>
    <character>ELI</character>
    <dialogue>no they haven't.</dialogue>
    <character>DANIEL</character>
    <dialogue>It's called drainage. I own everything around i t ...\_.\_.so I get everything underneath it.</dialogue>
    <character>ELI</character>
    <dialogue>But there are no derricks there. This is the Bandy tract. Do you understand?</dialogue>
    <character>DANIEL</character>
    <dialogue>Do you? I drink your water, Eli. I drink it up. Everyday. I drink the blood of lamb from Bandy's tract.</dialogue>
    <character>ELI</character>
    <dialogue>ahuh.</dialogue>
    <scene_description>Eli takes another drink... and then begins to break down and CRY and CRY and sob like a baby...</scene_description>
    <character>ELI</character>
    <dialogue>oh, Daniel...please... I 'm in desperate times ... ! need a friend ... ! feel the walls closing in... I'VE SINNED... ! NEED HELP ... ! 'm A SINNER... I've let the Devil grab hold of me in ways that I never imagined! I'm so full of sin.</dialogue>
    <character>DANIEL</character>
    <dialogue>The Lord sometimes challenges us, doesn't he?</dialogue>
    <character>ELI</character>
    <dialogue>ohhhh yes he duz. yes he duzzzzaaaa! aaaaawhoa. HE'S COMPLETELY FAILED TO ALERT ME TO THE RECENT PANIC IN OUR ECONOMY AND THIS. I MUST HAVE THIS • ... I must have this ... ! 've invested..my investments have ... oh, Daniel, I won't bore you, but I - IF I COULD GRAB THE LORDS HAND FOR HELP I WOULD, BUT HE DOES THESE THINGS ALL THE TIME, THESE MYSTERIES THAT HE PRESENTS AND WHILE WE WAIT...WHILE WE WAIT...wai t for his word...</dialogue>
    <scene_description>DANIEL is HOLDING A LOOK ON ELI;</scene_description>
    <character>DANIEL</character>
    <dialogue>You're not the chosen brother, Eli. It was Paul who was chosen. He found me and he told me about your land. You're a fraud.</dialogue>
    <character>ELI</character>
    <dialogue>Why are you talking about Paul? don't say this ...don' t say this to me, Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>I did what your brother couldn't. I broke you and I beat you. It was Paul who told me about you. He's the prophet. He's the smart one. He knew what was there and he found me to take it out of the ground.</dialogue>
    <scene_description>He SMACKS Eli across the face.</scene_description>
    <character>DANIEL</character>
    <dialogue>STOP CRYING YOU SNIVELING ASS.</dialogue>
    <character>STOP YOUR NONSENSE.</character>
    <dialogue>You're just the younger brother. and you'll always be the younger brother, Eli...and that land has been had-.YOU HAVE NOTHING. YOU LOSE. YOU IDIOT, YOU LOSE.</dialogue>
    <character>ELI</character>
    <dialogue>If you take this lease on the Bandy lot, the Church would</dialogue>
    <character>DANIEL</character>
    <dialogue>DRAINAGE! DRAINAGE, ELI! DRAINED DRY, YOU BOY.</dialogue>
    <dialogue>If you have a milkshake and I have a milkshake and I have a straw and my straw reaches ACCCRROSSSSSSSSSS the room starts to drink your milkshake:</dialogue>
    <character>I DRINK YOUR MILKSHAKE! I DRINK IT UP.</character>
    <dialogue>ELI</dialogue>
    <scene_description>Don't bully me Daniel, please. HELP ME. PLEASE. MY FAITH HAS BEEN LOST AND I NEED A NEW WAY. I ASK FOR YOUR HELP IN A FLASH: DANIEL is UP AND HAS GRABBED ELI AND THROWN HIM HALFWAY ACROSS THE ROOM. Eli flails about as Daniel closes in, hysterical/crazy/kicking/pushing,etc\_</scene_description>
    <character>DANIEL</character>
    <dialogue>I TOOK WHAT I WANTED WHEN YOU WEREN'T LOOKING</dialogue>
    <character>AND THE BLOOD OF THE LAMB IS IN MY POCKET.</character>
    <dialogue>DO YOU THINK GOD IS GOING TO BALANCE</dialogue>
    <character>YOUR INVESTMENTS? GOD DOESN'T SAVE IDIOTS, ELI.</character>
    <dialogue>YOU ARE BROKE AND YOU ARE LAME AND</dialogue>
    <character>YOU ARE DONE FOR.</character>
    <dialogue>ELI</dialogue>
    <scene_description>No I'm not.</scene_description>
    <character>DANIEL</character>
    <dialogue>DID YOU THINK THAT YOUR SONG AND DANCE</dialogue>
    <character>AND YOUR SUPERSTITION WOULD SAVE YOU?</character>
    <dialogue>I AM THE THIRD REVELATION 1 I AM</dialogue>
    <character>WHO THE LORD HAS CHOSEN. BECAUSE I'M</character>
    <dialogue>SMARTER THAN YOU. I AM OLDER AND WISER</dialogue>
    <character>AND I AM NOT A FALSE PROPHET, YOU</character>
    <dialogue>SNIVELING BOY. YOU'RE DONE FOR.</dialogue>
    <character>ELI</character>
    <dialogue>Not done for, no.</dialogue>
    <character>DANIEL</character>
    <scene_description>ANGLE, DANIEL. along the way, he picks up a HEAVY SILVER TUMBLER-</scene_description>
    <character>DANIEL</character>
    <dialogue>I AM THE THIRD REVELATION 1 I AM THE</dialogue>
    <character>THIRD REVELATION! I TOLD YOU I WOULD EAT</character>
    <dialogue>YOU UP, I TOLD YOU I WOULD EAT YOU.</dialogue>
    <character>HOW DARE YOU COME TO ME? HOW DARE YOU?</character>
    <dialogue>WHAT DID I TELL YOU?</dialogue>
    <character>ANGLE, ELI.</character>
    <dialogue>inching back on the bowling alley floor\_.back from DanieL.</dialogue>
    <character>DANIEL</character>
    <dialogue>WHAT DID I TELL YOU?</dialogue>
    <character>ANGLE, DANIEL.</character>
    <dialogue>advancing on Eli...</dialogue>
    <character>DANIEL</character>
    <dialogue>I TOLD YOU I'D EAT YOU UP.</dialogue>
    <character>ANGLE, ELI</character>
    <dialogue>crawling and looking for somewhere to go\_.</dialogue>
    <character>DANIEL</character>
    <dialogue>How dare you come to my home?</dialogue>
    <scene_description>DANIEL is over HIM, AND SITS ON HIS CHEST, PINNING DOWN HIS ARMS ...AND DRIVES THE TUMBLER STRAIGHT DOWN INTO ELI'S FACE. CAMERA looks STRAIGHT DOWN on the GORGEOUS WOOD FLOOR... ...very slowly, BLOOD COMES OOZING INTO FRAME. It spreads and moves like a slow land slide-.covering the floor •• CAMERA moves back a bit to reveal; .-blood pouring from Eli's skull and this head wound... he' s curled in a fetal position and not moving...</scene_description>
    <character>CU. DANIEL.</character>
    <dialogue>his eyes wet and out of breath from the struggle, looking at what he's done. HOLD. He gets up --</dialogue>
    <dialogue>Daniel drags Eli's dead body down the lane of the bowling alley, leaving a streak of BLOOD...</dialogue>
    <character>HE THROWS HIM INTO THE BOWLING PINS AND DOWN OVER THE LIP INTO</character>
    <scene_description>138A FROM BELOW, LOOKING UP. 138A</scene_description>
    <character>BOWLING PINS AND ELI'S BODY COME CRASHING THROUGH INTO THIS</character>
    <scene_description>138B ABOVE, IN THE BOWLING LANE. 138B Daniel slumps down onto the floor ...breathing heavy and covered in blood- HOLD WITH HIM ON HIS FACE. 138C ANGLE, AT THE STEPS LEADING TO THE BOWLING ALLEY. 138C CAMERA pulls back with AL ROSE coming down the steps-slowly-slowly.\_revealing to him the horrific scene: .• and sees the BLOOD spilled across the floor ...and sees Daniel... HOLD on Al' s face and the reality of this mess\_. Daniel turns around..satisfied:</scene_description>
    <character>DANIEL</character>
    <dialogue>I'm finished.</dialogue>
    <character>THE END.</character>
  </scene>
</script>
In 1898, Daniel Plainview finds silver while prospecting in New Mexico but breaks his leg. Dragging himself from the pit, he takes a sample to an assay office and receives a silver and gold claim. In 1902, he discovers oil near Los Angeles and establishes a drilling company. Following the death of a worker in an accident, Daniel adopts the man's orphaned son, H.W. The boy becomes his nominal business partner, allowing Daniel to present himself to potential investors as a family man. In 1911, Daniel is approached by Paul Sunday, a young man who tells him of an oil deposit under his family's property in Little Boston, California. Daniel visits the Sundays' property and meets Paul's identical twin brother Eli, a local preacher. Daniel attempts to purchase the farm from the Sundays at a bargain price under the ruse of using it to hunt quail, but his motives are questioned by Eli, who knows the land has drilling potential. In exchange for the property, Eli demands $10,000 for his church. An agreement is made and Daniel acquires all the available land in and around the Sunday property, save for one holdout, William Bandy, after Daniel neglected to negotiate with him. After Daniel reneges on an agreement to let Eli bless the well before drilling begins, a series of misfortunes occur: an accident kills one worker and a gas blowout deafens H.W. and destroys the drilling infrastructure. Eli blames the disasters on the well not having been blessed. When Eli publicly demands the money still owed to him, Daniel beats and humiliates him. At the dinner table that night, Eli attacks and berates his father for having trusted Daniel. A man arrives at Daniel's doorstep claiming to be his half-brother, Henry, and Daniel hires him. A jealous H.W. sets fire to their house, intending to kill Henry. Daniel sends H.W. to a school for the deaf in San Francisco. A Standard Oil representative offers to buy out Daniel's local interests, but, after a perceived slight, Daniel refuses and instead strikes a deal with Union Oil to build a pipeline to the California coast. However, Bandy's ranch remains an impediment. Daniel becomes suspicious of Henry after he failed to recognize a local joke and confronts him one night at gunpoint. "Henry" confesses that he was a friend of the real Henry, who died of tuberculosis, and that he had impersonated Henry in the hope that Daniel could give him a job. Although the impostor promises to leave and never return, an enraged Daniel murders him and buries his body. Daniel drinks heavily and weeps. The next morning, Daniel is awakened by Bandy, who knows of Daniel's crime and wants him to publicly repent in Eli's church in exchange for an easement for the pipeline running across his land. As part of his baptism, Eli humiliates Daniel and coerces him into confessing that he abandoned his son. Later, while the pipeline is being built, H.W. reunites with Daniel, and Eli becomes a missionary. In 1927, H.W. marries Paul and Eli's sister. Daniel, now extremely wealthy but a chronically embittered alcoholic, lives alone in a large mansion. H.W. asks his father to dissolve their partnership so that he can establish his own independent drilling company in Mexico. Daniel angrily mocks H.W.'s deafness before revealing his true origins. H.W. tells Daniel he is glad that they are not related and walks out with Daniel jeering at H.W. as he departs. While Daniel, drunk, is in his mansion's private bowling alley, Eli, now a radio preacher, visits him. Eli offers to sell Daniel the Bandy ranch property rights, since Bandy has recently died. Daniel agrees on the condition that Eli denounce his faith and credibility. Once Eli acquiesces, Daniel coldly reveals that the property is now worthless, because his neighboring wells have already drained the same oil reservoir, comparing it to stealing a milkshake using a long straw. Desperate, Eli confesses to having lost money while speculating in the 1929 stock market crash and straying morally. Daniel taunts Eli, chases him around the bowling alley, and murders him with a bowling pin. When his butler appears to ask about the commotion, Daniel announces, "I'm finished."