"THERE WILL BE BLOOD" (2007)

"#$#%&'((%)#%)(**+

Written by 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.

1 OVER EXTERIORSHOT OF HUGE MOUNTAINSIN THE B.G., PURE DESERTIN 1 THE F.G. MUSICBUILDS FROM SMALL TOLOUD, VIOLENT CRESCENDO, THEN OUT.

TITLE: There WillBe Blood

CAMERA looksup a steep trail. Half theframe filled witha hill in close distance,the other half issky...over the top of the hill we seea prospector's pickcome up and then down...upand then down...up and thendown...

ANGLE. BEHINDTHE MAN WITH THE PICK. DANIEL c. PLAINVIEW(late 30's here) is,with pick and ax, in the middle of the day,in 110 degree heat inNew Mexico, searching forSILVER.

He has a shaft about fifteen feetdeep at this point. Nearby is aMULE and a CART. He digsand digs and digs.

The MULE is pullinga cart filled with his prospector's supplies. He walks beside, across the very rough desert terrain. HOLD.

He's back at it again.The SHAFT ISNOW TWENTY FEET DEEP.

He hears something outside theSHAFT in between swings of the pick...

He listens ...waits ...continues with the work...but turnsback and climbsup out of the SHAFT...

ANGLE,MOUTH OF THE SHAFT. He climbs outand looks;

4A His MULE has dropped dead in the heat. It is out likea 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 thengoes back in the shaft.

cu. PICK into earth once again.

CU. DANIEL. He seessomething in the earth here.

HIS POV- IN THEROCK. The clear tracing,glistening vein of a SLIVER ORE CHAMBER.

HOLD ON HIS FACE.AND THE CAMERA EXAMINESCLOSELY THESE MINERALS IN THE ROCK. PLAYOUT FULL.

He unleashes thedead mule from the CART.and begins to LOAD IN MASSIVE CHUNKSOF ROCK, LEADED WITH SILVERORE INTO THE CART.

He catches his breath. He wipes his faceand he goes back into the SHAFT - but ashe starts back down- somewhere between passing out and tripping --he plunges- loosing all his balance, twists around andHEADS FEETFIRST STRAIGHT DOWN THE 6A SHAFT WITH NO HOLD- AND LANDS AT THEBOTTOM 6A

BOTH HIS ANKLESSNAP TOWARDS EACH OTHER.

HOLD. He passes out.

7 CU. DANIEL. 7 maybe a few moments later and hehascome to...he looksup to the top of SHAFT and sees the light-

So...over the course ofhowever long it takes,he pulls himselfup and out of theMINE SHAFT.

ANGLE, MOUTHOF THE SHAFT. he arrives at the opening...He puts himselfon hisback and rests...HOLD.

7A As he opens his eyes,he notices that theCART - from the weight 7A of SILVER ORE - it has tipped forward...and in doing so,has dropped his CANTEENOF WATER that had been strapped safely to the cart -

water dribbles out ina pool of mud where the canteen sits.

DANIEL is pushing the cart with the upper half of hisbody...then he drags himself to catchup with the cart- he does this over and over and over and over again across the desert floor-

CAMERA BEHINDHIM. Way off, in the distance,about a mile, is the trace ofa small town -

DANIEL, layingon his back on the floor of the office. CU's of watching the assay processand tallyingup the value of the silver...He will sell this leaseandmoveon...

DANIEL is working again ina large field withsome MEN. There is: CANBURRY(30s) an OLDERMAN (50s)and a YOUNG MAN (around 15)and a mining acquaintance:H.B. AlLMAN (30s) and nearby, kept in theshade in a small bassinet, isa ONE YEAR OLD BABY,Ailman's son (H.W.)

They are again,with pick and ax,digging a well.

They have arope to a Horse and have connected the rope to a pulley to raiseand lower buckets into and out of themuck.

They shovel themuddy dirt into buckets,load the contents onto a cart, which they takeby a MULE to another areaand dump.

11 CAMERA LOOKSDOWN INIDE THE WELL. 11

They are atSIXTY FEET. Inside the well isDANIEL andAlLMAN. Under their feet is oilsoaked SHALE...it is emitting considerable quantities of gasand crackling like heated popcorn.

The FUMESare CHOKING. They haveRAGS TO THEIR FACES.

After a few moments,DANIEL PASSESSTRAIGHT OUT. AlLMAN SMACKS HIM,SMACKS HIM. WAKES HIM.

12 CU. NEWSPAPERCLIPPING. 12 It shows the picture ofan old, very crude derrick in Pennsylvania.

WIDER, THATMOMENT. DANIEL, AILMAN,CANBURRY all stand over the picture,pointing to it, getting to the bottom ofhow it works.quick scene discussing exactly what would beneeded to build sucha rig.

This crew ofmen has erected a veryCRUDE TWENTY FOOT TALL DERRICK. They have fashioneda drillby attaching a cross shaped bit toa three inch rod. They've gota pump, driven by horsepower.

DANIEL operates the drill that's essentiallya20ft eucalyptus tree. The large apparatus drivesdeep into theground - the first hit is very successful.

He brings the drillback up for a second attempt.

he just watches it falldown the hole.

THE DRILL/LOGCOMES FALLING DOWN, STRAIGHTAT CAMERA. ITFALLS, STRAIGHT DOWNTHE HOLE AND SPLINTERSAPART.

HOLD.

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.

AlLMAN has DESCENDEDINTO THE DARK HOLE. DANIEL and the rest are up top. AlLMAN wears a RUBBERRAIN SLICKER. MUD EVERYWHERE.

DANIEL COACHESFROM ABOVE.

IN THE WELL,AlLMAN, HALF PASSING OUT,AND HANGING FROM A PULLEY DEVICE, WRESTLESTHE DRILL FREE BY KICKINGIT WITH HIS FEETOVER AND OVER ANDOVER AGAIN - IT EVENTUALLYBREAKS FREE AND CANBE BROUGHT UP.

15A MOMENTS LATER,AT THE TOP. 15A AlLMAN AND THEDRILL PIECE ARE PULLEDTO THE TOP.

with DANIEL. It's allbeen re-constructed. They are drilling. drilling. ONONE BLOW -- they HIT SOMETHINGVERY HARD. SOLID.

THEY CAN'T BUDGETHE DRILL FOR A MINUTE. THEN THEY GET IT.

THEY PULL THERIG UP AND OUT.

His breathing gets heavier and heavier anda little crazy.HOLD.

This scene showshow they are taking the oil,dumping it intoa reservoir they've built,then taking thatand putting it into whatever they've got:cans, containers, barrels, bottles, etc. etc.

AILMAN works while holding the one-year-oldH.W.in his arms.

DANIEL andAILMAN are in the shaft,working something. They are moving in and out of consciousness,but aresomehow driving forward,fixing a part of the drill.OIL and MUD are pooled underneath them.

DANIEL hears something. looks up.

ANGLE, THE TIMBERSUPPORTS THAT SURROUNDTHE WELL. something hascome loose...

HOLD, CU. ONDANIEL. in a state of shock.

DANIEL looks at theBABY, HW, in the basket...HOLD.He pickshim up and walksaround with him, holding ontohim awkwardly...He puts him back in the basket,looks around...looksback at thisbaby H.W...

The young babyH.W. is CRYING at the top of it's lungs,laying in the bed next toDANIEL who is out cold.Everyone else is asleep in thisflophouse.

Daniel wakesup, takes some WHISKEYfrom his bag, pours iton his FINGER and puts it in the baby's mouth.He sips some himself...babyH. W.criesand criesand cries...

ANGLE, LATER. DANIEL carries thebaby H.W. to a corner of the flophouse where a MOTHER andFATHER and THREECHILDREN are sleeping.

~The MOTHER gently takes out her breastand puts thebaby H.W. to it, calming and quieting the child.

Daniel fallsback asleep sitting on the floor.

CAMERA holdson DANIEL sleeping. Thebaby, H.W. is in the seat next tohim, awake and looking about.

CAMERA moves inCLOSE ON THEM BOTH.HOLD.

22 CU. DANIELCALDECOT PLAINVIEW. (D.C.PLAINVIEW) 1908 22

A few (six)years later. He is dressed wellnow. slight show of some wealth.overcoat, haircut,clean shaven, etc. We see nothing buthim as he speaks;

An OC VOICE INTERRUPTS,LOUDLY; Daniel holds hiscomposure.

REVEAL, AT THATMOMENT, young H.W. (age7) He is standing behind Daniel and looking at the groupOC.Daniel and H.W.;

REVERSE, THEROOM, THAT MOMENT About TENFAMILIES have packed themselves intoa very small BUNGALOW HOMEin Signal Hill nearLong Beach, Calif. They are a hungry group;

HOLD ON THEROOM. Everyone has taken this in,then: THEROOM ERUPTS ASEACH FAMILY SCREAMSAND YELLS AND UNLEASHESTHEIR WRATH ATEACH OTHER ABOUT HOW THEIRLOTS SHOULD BE DIVIDEDAND ROYALTIESSHARED AND MEASURMENTSOF 11 SMALLLOTS"11 BIGLOTS" 11 11 11 LITTLE BIGLOTS" LITTLE SMALLLOTS" WOMEN SCREAM: WE SHOULD JUST GOWITH A FAMILY OPERATION,IT'S MORE IMPORTANT!"A MAN SCREAMS: 11 BULL."

We witnesshuman dignity go completely out thewindow.

Daniel stands,slowly turns and walks out the door,without even being noticed. H.W. walks out behindDaniel_

CAMERA leads DANIELand H.W. out of thebungalow and onto the street, they arefollowed out of thehouse by a small man named PRESCOTT (50s)pleading his case

DANIEL and H.W.keep walking, THEYJUMP OVER THE OIL THAT FLOWS IN THE GUTTER,OF THIS SUBURBAN TRACTCOMMUNITY/UNDER CONSTRUCTION. PEOPLE IN THE STREETS,BUYING, SELLING, ETC. WE CAN SEE THETOP OF A DERRICK INTHE DISTANCE ON A HILL.

They walk down the center of the streetand offup a side road

II

DANIEL is now sitting witha nice,mild mannered man: JIM BANKSIDE (50s)his WIFE sits withhim and their TWO SONS aged10 and 12. HW sits beside Danieland a bit behind;

BEAT.

Bankside takes all this in,then:

DANIEL is guiding the processon the floor of the derrick, Which hasbeen erected ON TOP OF/NEXTTO/IN the BANKSIDEHOME.

HOLD on this process,and introduce the main team ofDRILLERS 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 isaDEEP,DARK RUMBLE...themen get ready...

•.it's veryquiet~

25A ...CAMERA looks straightdown onto themen working...andINAFLASH:25A A BURST OFGAS/WATER/OIL COMES STRIAGHTUP AND AT THE CAMERA.

THE SCREENGOES BLACK.

25B ...OILSPRAYSALLOVER THE BANKSIDEHOUSE... 25B

...THEMENCONTAINTHE GUSHER and "tie-off"...leading the oil into waitingLARGE DRUM CONTAINERS.

25C ...INSIDETHECONTAINER' s ...we watch theOILFILLUP. 25C

Inside what was theBankside horne,Danieland his main partner in business:FLETCHER HAMILTON (40s)have made offices. It's clearly beena few hard weeks of work,the horne isnow dirty, cramped,with tools, paper, etc.This has become theirhorne base. Just outside thewindow, we see theBASE OF THE DERRICK, invading the living room/kitchen-

H.W. sleepson a cot in the corner,behind Daniel's desk. OUTSIDE,we hear the drilling and yelling and all the rest of the circus...

He steps inside.

BEAT.

BEAT. He sits.

BEAT.

BEAT. Paul just looks athim;

H.W. wakes up in the b.g.,behind Daniel's desk and looks at the scene, sees theboy, looks around...Paul looksfromH.W.to Daniel;

Daniel reaches into hispocket- hehas $300 - Fletcher gets out an envelopeand gives him another $300.

ANGLE, MOMENTSLATER. They have amap spread out and tackedup on the wall. DANIEL, FLETCHER,HW and PAUL over it ashe points.

he points toan area about thirty miles north west.

BEAT.

Daniel walks over tohim.

BEAT.

He leaves. HOLDwith Daniel, Fletcherand HW.

HOLD.

CAMERA looksdown a long stretch ofTRAIN TRACKS that cuts across a dry, flat,empty valley floor.

We can see,in the distance, the faint trace ofDANIEL andHW driving in theirCAR on a road that runs parallel to the tracks. They bounceup and down,dust trail behind them- we PAN WITH THEMAS THEY ARRIVE AT:

28 THE TRAINDEPOT OF LITTLE BOSTON.We see some small, rolling 28 hills in thedistance~

They PARKTHEIR CAR next to the SPURSTATION, UNLOAD SOME CAMPINGEQUPIMENT FROM THEIR CAR and start walking off...we see the TOWNOF LITTLE BOSTON NEARBY...

DANIEL andHW walk the road on the outskirts oftown and towards the hills --

They're walking with theHEAVY CAMPINGEQUIPMENT.

H.W. starts to falla bit, with the camping equipment,Daniel catches him, propshim up a bit;

They walk some more until Daniel seessomething comingup ahead in the distance,says to HW;

CAMERA PANSLFT, becomes THEIR POV: Coming towards them, from the distance isa MAN. This is ABELSUNDAY (50s) He is very frail, small,worn;

They gain ground,get closer. THREESHOT. HOLD.

They arrive at each other.

They continue to chat as they walk up the road.IN the distance are some minor rolling hills•..they head aroundabend...andwe see a CHURCHON A HILL...

The threemen come up to the small,very run down HOME. Standing, waiting outside is theSUNDAYFAMILY:

MOTHER SUNDAY (50s)RUTH SUNDAY (aged12) MARY SUNDAY (aged7)

and a very skinny,man/boy, the son:ELI SUNDAY (aged 18)

They make introductions,say hello, etc.About fifty yardsfrom the house isa large oak tree;

HW goes off to getsome water. Eli just stands.

Ruth goes off to getsome eggs. HW comesback with some water;

Eli reluctantly goes off to getsomewood, Daniel walks over to Abel, extends hishand;

They chat a bit more as --DISSOLVETO:

DANIEL and HW andABEL SUNDAY sit close to theFIRE. Just back a bit,on stones, sits the rest of theFAMILY and ELI. Abel directs the girls to clear and wash their dishes-they collect the dishes,and then;

ELI speaks up;

No one seems toknow what to say next,so they stand and say good night andhead back to their house.Daniel, H.W. get inside their tent.

DANIEL and HW put out their morning fire,collect theirHUNTING GEAR and head off

CAMERA leads/followsthem as theymove...H.W.andDANIEL carrying their shotguns...while theyHUNTQUAIL.

DANIEL fires first. We follow H.W. -- watchhim SHOOT.

H.W. runs off.

In running to retrieve the quailhe steps in somethingand stumbles a bit.He stops, turns back- recognizes something and slowly movestowards it --

ANGLE, HW. He runs back to his Father.

They stand overa minor PATCH OF TAR/OILSLICK that bubbleson the surface...DANIEL is kneeling over it,dipsa stick into it, moves it about,looks at it against the light-

ANGLE, CU.DANIEL. He takes outa box of matches and attempts to light the stick on fire. Nothing.

CAMERA behind them as they climbupon top of a small hill, CAMERA risesabove them and reveals thelandscape; rolling hills. rocky and dustyand rough.not pretty. They look over the place. HOLD.

35A ANGLE, MOMENTSLATER. 35A They're walking,DANIEL is feeling theground beneath his feet. SOUND SEQUENCE.Feel of the footsteps,crunch, etc.

FOSS/ COMINGACROSS THE ABANDONEDRANCH HOUSE HERE?

They come upona SMALL, RUNDOWN HOMEat the base of some of the MOUNTAINS in canyon.Off to the side, ina run down PEN are some PIGS.

There is a POOLOF FOUL SMELLING SULPHURWATER surrounding the pen, THEYCOVER THEIR FACES, LOOKAROUND;

ANGLE, BANDY HOUSE. They move to thehouse...knockand getno answer...theyOPENTHE DOOR...

36A INSIDE, UPONTHE WALLS, THERE ARE RELIGIOUSARTIFACTS. 36A Crucifixions, portraits ofMARY, etc.A small ALTAR with CANDLES.

DANIEL and H.W.take a good look, then exit

They walk/talk quickly,carrying the quail;

CAMERA holdson DANIEL. The Sunday Family andH.W. eat the quail,minor conversation...then:

Everyone stops eating and looks at Daniel:Abel is very excited:

BEAT. MOTHERSUNDAY speaks:

Everything gets quiet.

ELI

BEAT. Eli and Daniel holda look on each other;

BEAT. Eli is quiet.

DANIEL andHW are driven on CARTAND HORSE by ELI...They approach the TRAINDEPOT AREA and their PARKEDCAR.

DANIEL hopsdown, grabs some camping equipment and movestowards the car. As HW moves to climb down,he gets a little stuck --

ELI givesHW a little PUSH, ACCIDENTALY/ONPURPOSE and hegoes straight to the ground. Daniel turnsand looks --

They start getting their car packed up.

Daniel andH.W. get in the car. Eli turnsaround the other direction,Daniel drives off - andhonks the horn, heads into town --

CAMERA behind them as they enter and greet the real estateman: AL ROSE (40s)

ANGLE, MOMENTSLATER. A MAP of the entire area isspread outon the desk in front of them; They look it over.Daniel takes outa small notepad and pencil, works it throughout;

AL ROSE

BEAT. THEN; Daniel looks up.

They sit down;

HW goes outside-

HW comes back inside witha leatherBAG and takes out some FORMS.

ANGLE, AT THETYPEWRITER - LATER. Al types out some contracts.Daniel stands over/behind him, says:

Al Rose looksup from the typewriter athim...

DANIEL and HWcome in to do some business with theTRAIN DEPOT MAN: HOWARD SOMMERVILLE(50s) He introduces himself,makes small talk and goesabout making filling outa TELEGRAM,hands it over;

Danielmoves towards the TELPHONEacross the room, while telling Howard thenumber he'd like dialed...Howard works the switchboard and places the call forhim, Daniel is connected with Fletcher;

ANGLE, HW. he looks out thewindow and sees:THE TRAIN COMES DOWNTHE TRACKS ACROSS THEVALLEY FLOOR, APPROACHINGTHE STATION.

ANGLE, DANIEL. he is speaking with Fletcher, tellinghim tocome up, etc. etc. His attention turns to theTRAIN as itPULLS UP OUTSIDETHE WINDOW.

ANGLE, GENEBLAIZE and CHARLIEWHRIGHTSMAN. (50s) Two otherINDEPENDENT OIL MEN step off the trainand walk into the depot;They see HW and start to chathim up...

Daniel finisheshis call with Fletcher and walks over;

They leave...Gene Blaize calls out toH. W. --

H.W. and theyoung girl MARY are sitting around,talking. The WATERWELL MAN is at work digging the well,which HW supervises froma distance;

FLETCHER has arrivednow and is walking the area witha GEOLOGIST namedFRED ENGLISH. They inspect the landscape/take measurements...

ANGLE, MARYAND H.W.

BEAT.

MARY

It's night andDANIEL and H.W.are in their tent. DANIEL is looking over maps,HW near hisside_.then:

He nods.

BEAT.

DANIEL is withAL ROSE and they are looking over theMAPOF THE AREA that is spread on the desk;AL is pointing to it,giving details of Daniel's purchases;

DANIEL'S WORKERSGET OFF THE TRAIN. MURGINS,GHUNDA, BEN BLAUT...ANDSOMEOTHERROUGHNECKS-.Theyhead off.

There is a NEWLYMADE ROAD.-CAMERA moves over it and follows a TEAM OF HORSES CARRYING AHUGE IRON STEAM ENGINE...ANOTHERTEAM OF HORSES CARRYINGTONS OF LONG METAL PIPE-.THISLEADSUS AROUND TO REVEAL:

THE FRESHLY BUILTDERRICK. IT'S FULLY ERECTEDAND EIGHTY FEET TALL. THERE ISA SMALL BASECAMP. TENTS/HOUSINGfor about TWENTY WORKERS. THE DERRICKIS ABOUT 200 YARDS FROMTHE SUNDAY HOUSE.

STEEL, MACHINERY,PEOPLE, A SMALL CAMPOF WORK.

A bit away from it all,H.W. and DANIEL have taken over an abandoned ranch house that'sbeen overgrown-It's being cleaned up/furnished/etc.

CAMERA watches asH. w.seems to be in charge of this-.working with the SUNDAYS:MARY and RUTH andMOTHER SUNDAY and making suggestions, cleaning weeds, etc.

CAMERA leads/followsELI as he movesaround the construction with a few FOLLOWERSfrom his CHURCH.They are handing outSMALL CLOTH BUTTONS and inviting thenew facesdown to the Church-.Eli is all smiles/cha~-

The WORKERStake the BUTTONS.

ANGLE, DANIEL. nearby,notices Eli moving aboutglad-handing.-Hewatcheshim carefully:

49 ANGLE, DANIEL'SBASECAMP OFFICE. 49

The office is small,canvas walls,wood floor.

Inside,Daniel is with FLETCHER andMURGINS (his foreman.) Eli knockson the door;

DANIEL

HW andDANIEL stand in this cleaned up abandoned ranch house. It's been put together nicely;

They exit.

This isa "spudding in"ceremony. Everyone is around.Slowly, we gather all the pieces of cast so far.

HOWARDSOMMERVILLE is here.AL ROSE is here...

Sooneror later, revealing themselves:MORE OFTHE TOWN OF LITTLEBOSTON, VARIOUSMEMBERS AND RANCH OWNERSWHO HAVE INTERESTOR WHO HAVE HADTHEIR LAND LEASED BYDANIEL.

H.W.walks proudly near his father.Daniel stepsup to make a speech. As he gathers to get ready,he notices,across the way ELI's arrival with someFOLLOWERS from his church.

Daniel speaks to the crowd;

Mary smiles.

Eli waits for his signal.-Danielpasseshim over and looks toHW.

H.W. moves a lever,which gives the enginea thump and theCHAIN gives a PULL and the gears givea RATTLE and theROTARY TABLE starts to TURN,and down underneath the derrick -comes the sound ----of spudding in. So they've begun.

The NOISE ISVERY VERY LOUD. And it repeats.and repeats.

ELI lifts his head high,ignores that he'sbeen ignored and starts to leave-MENbegin to work the DERRICK.STAY and WATCH THIS. HOLD.

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 maybehad a little too much to drink.

Mary comes over and Daniel speaks to her,right in front of Abel:

He leans in and holds her shoulder's kindly;

She runs off.HOLD. Daniel holds a look on Abel,who looksaway. Daniel getsup, walks off...

DANIEL. He's asleep,so is HW. AN OILWORKER, BEN BLAUT knocks on the door. no answer.they don't wake up.

Ben enters the house.HW hears him,wakes;

BEN tries to wakeup Daniel.

He gently toucheshim to wake him- nothing. He talks louder. He pushes him.he really tries hard to gethim to wake up. His eyes open,but his body doesn'tmove.

54 THE IMAGE. 54

SHOWhow it happened.Watch, in detail as thisman JOE GUNDHA is working around the hole,under the main stage of the derrick, thisis called, "the cellar"- he is working around deep, slippery mud and thin sheets of oil -- without slippinga cover over the hole -the dirt cavesin about the edges,so that the top of the hole is a kind of funnel, it's edges slippery with mud.-JoeGundha takes his chances -and slides around, fallson the edge of the pit, straight down,headFIRST.

FALLING, SLIPPING DOWN FIFTEEN FEET.THIS IS SHOWNIN DETAIL. VERY GRAPHIC. HIS HEADLANDS IN THE MUD AND BEGINSTO DROWN. THE HOLE IS VERY VERY THIN -BUT HIS WEIGHTAND THE SLIDE KEEPS TAKING HIM DOWN WITH ONEARM EXTENDED AND ONEARM PINNED TO HIS SIDE.

THE IMAGE AGAIN. CAMERAUNDERNEATH THE MUD.WATCHING THIS MAN DIE INSIDE THIS HORRIBLEDEATH.

Daniel is up and getting dressednow, HW staysin bed;

DANIEL and theWORKERS are working witha THREE PRONGEDGRAB.

It's essentiallya CLAW that they are bending to fitdown the hole. They get the metal bent and attach it and then start it's descentdown the hole.-They'veripped up the floor boardson the base of the derrick to make moreroom ---

58A ANGLE,INSIDE THE HOLE, WITHTHE BODY. LOOKING UP. 58A Various angles thatshow theBODY. and the claw comingdown towards it

ANGLE,THE BODY. The claw rips into the fleshand tears it up.

58B THEBODY IS PULLED UP AND OUTOF THE HOLE, COVERED INMUD AND 58B BLOOD.

CAMERA notices,on the body, is theCLOTH PIN from Eli's church.

Daniel walks off.

DANIEL and FLETCHER andMURGINS are collecting the deadJOE GHUNDA's belongings. There aresome books and clothes,but mainly RELIGIOUS ITEMS.BIBLE, CROSSES, PICTURESOF JESUS, MARY, ETC.

DANIEL packs these thingsup and looks closely at them,then;

Eli is going full throttle:

ANGLE, MOMENTS LATER. ELI is healing anOLDERWOMAN who is handicap and frail. He is casting the evil spirits out and holding her head - pushing out the spirits,shouting and whisperinginunison until she isup and walking and speakingin tongues;

ANGLE, IN THE BACK OFTHE CHURCH. DANIEL is watching Eli'sshow...HOLD.

Daniel approaches Eli at the front of the Church.Eli isgoing oversome plans to break the back wall of the church down and add-on...there issome pre-construction work already...FOLLOWERSand afew members of DANIEL'SCREW are there-.go about their business asDaniel and Eli speak;

Eli holds up his hand for silence,and makesa silent prayer to himself, then looks up:

BEAT.

BEAT. Daniel regards the church;

Danieland the Workers - they feel thisand there areINSTANT CALLSTO STOP AND HOLD THEWORK -

Feeling the drill, realizing something hashappeneddown below. HOLDFOR A FEW MOMENTS as thisis worked with, then:

BENBLAUT and DANIEL confer;

He nods as if to say,"goahead."

So begins the process of"twistingoff." Which means;THE MEN HAVETO LIFT EVERY INCHOF THE 900 FT OF PIPE UPAND OUT, UNSCREWIT IN 15 FT. SECTIONS,FOUR JOINTS AT A TIME,"BREAKING OUT,"THEY CALL IT, UNTILYOU FIND OUT WHERE THE"BREAK" IS.

It's nightnow and many hours later:

TheBROKEN PIECE revealed to the menup top, itFALLS TO THE FLOOROF THE DERRICK.DANIEL kicks the piece across the floor and off the derrick -

It'sa bit later, and theMEN are "fishing" witha device that's like an ice man's tongs,attempting to grab hold of the other side of the broken piece and pull it backup._

...theNIGHTCREW comes into replace the day crew. We have 2 - 12 hour shifts for these workers.TheNIGHT FOREMANis MURGINS and he speaks with DANIEL andBEN who appraisehim of the situation.

ANGLE, DANIEL. He takes a break, off to the side...smokesa cigarette..ABEL comes over, sits down with him;

Daniel doesn't say anything..ABEL sits...

BEAT.

DANIEL

DANIEL

Silence.

WITHTHAT, ON THE FLOOR OFTHE DERRICK, RISING UPAND BEING SUCCESFULLYFISHED OUT, ISTHE BROKEN PIECE.

THECREW CELEBRATES, SMASHESTHE BROKEN PIECE ONTHE SIDE OF THE DERRICK,SWEAR IT UP AND DOWN-.DANIEL smiles,looksahead and says:

CAMERA moves/walks withDANIEL 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;

DANIEL is talking withFLETCHE&-and working with hisMEN•

...theMEN are working with"ajar," which isa tool that strikes HEAVY BLOWS and GETSTHE CASING LOOSE,WHICH IS STUCK DOWN BELOW. They're using it to shake the casing loose...

ANGLE, HW, ON THEDERRICK. Sitting with his legs strapped over the side of the derrick, near the hole --HW listens to these blows, fardown in the earth...watching it very,verycarefully._

SUDDENLY AND WITHOUTWARNING;

Out of the earth, likea rocket shoots --GAS - with a HIGH SQUEEL AND FORCE,IT IS THIS HIGH SOUNDAND INVISIBLE FORCE THAT SMASHES BW'SBAR DRUMS and BLOWSRIM OFF THE SIDE OFTHE DERRICK --

HIS LITTLE BODYRISES IN THE AIR LIKE A RAGDOLL and he can do nothing but fall straight back down to the ground -

SOUND DROPSOUT OF THE ENTIRE SOUNDTRACK. And we watchhim land, lift hishead and look;

STRAY TOOL PIECESAND WOOD SHARDS from the Derrick thathave been ROCKETED in the air comeSLAMMINGINTO THE GROUNDALL AROUND HIM,LODGING DEEP INTO THESURFACE.

ANGLE,DANIEL. SOUND COMES BACKWHEN WE ARE WITH HIM. He has not seen what hashappened toHW. He is busy trying to deal with theGUSHER. He runs up to the derrick floor -which is now coveredin OIL - THEN:

But it's too late- SOMETHING SPARKSTHE DERRICK.

In one,two, three: THE DERRICKCATCHES TO FIRE ANDALL THE OIL BECOMESA FLAME. It's as if aFLAME THROWER is coming upfrom under ground.

This catches to the oil that's spilled all around.BLACKSMOKE FILLS THE AIR.

ANGLE,HW. SOUND DROPS OUTAGAIN. SILENT WITH HIM. He watches theFIRE coming straight towardshim.

He is unable to move.in shock. itcomes straight athim --

AT THATMOMENT, he is SCOOPEDup by a WORKER.

CAMERAFOLLOWS DANIEL OVERAND HE GRABS H.W. from the worker

They boy is cryingnow and can'tseem to makea SOUND. HELOOKS AT DANIEL, ANDWE HEAR NOTHING.

DANIEL carrieshim down to safety atTHE MESSHALL/BASE CAMP.-MEN SCRAMBLETO PREPARE THEBATTLE WITH THE GUSHER.

DANIEL brings him in, setshim down, looks over hisbody to see it's all put together,HW is starting to loose it and go crazy;

DANIEL cannot calm him down...He tries to settlehim...

67A BASE CAMP FAMILIES are comingin here for SAFETY. DANIEL 67A INSTRUCTSTHEM TO WATCHAFTER H.W. AND KEEPHIM.

ANGLE, FROM HW'S POINTOF VIEW. We hear absolutely nothing._DANIELleaves,HW follows, clinging,screaming_.DANIEL PUSHES HIM DOWN and goesback outside --

DANIEL exits, CAMERA stays withhim -

The OIL IS ON FIREAND FLOWS AND SPEWS INTHE AIR. BITS FALLALL AROUND DANIEL...WHOSTARTSTOGLOW WITH EXCITEMENT

68A ANGLE, HW. IN THEBASECAMP. SOUND IS STILLOUT. 68A He is speechless and stunned andin shock...FAMILIESGATHERAROUND HOLD HIM, ETC.

MEN are rushing around to battle theblaze-.DANIEL barks directions towardstaming the FIRE-._....

ANGLE, GUIDEWIRES. Two of the four guide wires for the derrick areSNAPPEDBYSOME MEN.-

THE DERRICKBURNS VERY QUICKLY and this will help topple in the direction down wind -

day turns to nightand BLACK SMOKEFILLS the air...

DANIEL andTHE MEN wait for it to burn and fall -- once it does, MEN WILLAPPROACH THE BASEOF THE DERRICK AND THECELLAR WALL WHICHIS BUILT INTO THE SIDEOF THE HILL.

THEYHAVE METAL SHEETSOVER THE HEADS, GET CLOSEAND BANG INTO THECELLAR DOOR.

ATTHE SAME TIME, DANIELPREPARES DYNAMITE TOPLACE IN A BOX AT THEEND OF A THIRTY FOOTMETAL POLE-

69A ...THECELLARDOORIS SMASHEDOPEN. 69A

THEMEN AND DANIEL GETTHE DYNAMITE AT THE ENDOF THE POLE POSITIONEDUP THE HILLAND START TO PUSH IT TOWARDSTHE CELLAR OPENING -

ITGETS CLOSER AND CLOSER- ONCE THE DYNAMTIEARRIVES INTO THE CELLAR -IT BLOWS - SNUFFINGOUT THE DERRICK INAN INSTANT. THE GROUND AROUND THE DERRICKSRISES, THEN CAVES IN.

SOMEFIRE STILL BURNS._

gone crazy in happiness.

HOLD ON DANIEL. THEFIRE BLAZES. HOLD IMAGES,THEN:

DANIEL comes back in,covered in OIL andMUD and ASH.-he goes to HW, who is being tendedby the SUNDAY'S. He leans down tohim, looks at him-.

Daniel rocksHW in his arms, back and forth.The boy is crying and crying,hysterical. Fletcher is sitting nearby,watching this mess...

Daniel whispers in his ear,over and over.HOLD.

FADEOUT as he continues.HOLD IN BLACK, THEN:

A LOCALDOCTOR brought in by Daniel,attempting to lookHW over. HW is very angry,kicking and screaming and punching the Doctor away. Daniel tries to holdhim down and calm him. The Doctor is kickedby HW again and again.

Fletcher nearby. This isa real mess.

FADE OUT,HOLD IN BLACK, FADE IN:

HW is asleep inside the house.

FLETCHER andDANIEL sit together here going oversome plans, sketches about building a reservoir.ALROSE is here.

They finishup some more plans forDRILLING to occur up the hill. This is all agreed upon,then:

Fletcher leaves.Daniel sits alonea moment, then goes into the house -

INSIDE,THAT MOMENT.

Daniel goes into thebedroom,where HW is lying awake in bed-.DANIEL kneelsdown in front ofhim-.

CAN YOU HEARME?

He points to his mouth, HW just stares_.

I can't stay here with you all day, I have to take care of our business.

our work. the wells.

I can't do this all day.

No.2 has it's cementdown and I have to see to it...

Daniel is frustrated...He gets himselfachange of clothes,cleans up andLEAVES.

Daniel is sitting withawoman, a TEACHER/SUPERINTENDANTnamed FANNIECLARK (30s) who hasbeen brought down to speak with Danieland help with HW.

Through the scene weHEAR ALLTHE NOISE FROM OUTSIDE,DRILLING, MEN, ETC.

Daniel,Fletcher, et al, standing in the middle of A GIANT RESERVOIR that's essentiallya large DUG HOLE INTHE GROUND.

TEAMS OF HORSES PULL PLOWSto grade it flat-.They have torn into the land as a place to dump the oil.

Across the way, into the dirt reservoir,comesELI SUNDAY.

'"Hewalks up to Daniel:

Daniel walks up tohim and SLAPS ELI STRAIGHTACROSS THE FACE. Eli is stunned.

He SLAPS HIM AGAIN,WITH OPEN HAND, STRAIGHTACROSS HIS FACE. Eli starts to well with tearsfrom theFORCE OF THIS BRUTAL SLAP.

HOLD. Everythingis still for a moment.He SLAPS HIM AGAIN. Eli moves back,goes down to his knees.

HE SLAPS ELIAGAIN, STRAIGHT ACROSSTHE FACE.

He SLAPS HIM AGAIN.Everyone is standing around.Silenced.

He SLAPSHIM AGAIN. HOLD.

CAMERA holdsa MEDIUM cu.on ELI. his face is red and bruised from the beating he took from Daniel.OC we hear thesounds of the family eating,small tal~-CAMERAsits with Eliand watches his face start to turn and scowl towardsABEL. FINALLY:

REVERSE,THAT MOMENT, ABEL.He looks across the table at his son.

EliPUSHES THE TABLE INFRONT OF HIM AND SLAMSIT TOWARDS ABEL, PUSHINGIT BACK AND PINNINGHIM AGAINST THEWALL.

ELI JUMPS UP, MOVES TOWARDSHIM, ABEL IS TERRIFYED.

A TRAIN has just arrivedsome new people/new atmosphere around..CAMERA staysBEHIND AFIGURE, IN SHILOUETTE as it steps off the train_

CAMERA follows behind thisyoung MALE STRANGER (30s)as he makes his way through the platform -

The MALE STRANGER walks,looks, then heads awayfrom the depot, towards Little Boston -we see NEW DERRICKSERECTED ON THE HILLS SURROUNDING THE TOWN.

CAMERA is behind Daniel ashe walks towards his cottage...He gets closer...sitting out front of the house,waiting...

...THESTRANGER.He holdssome camping equipment, life ina bag...He stands up as Daniel approaches...

Daniel arrives and they stand with each other.

Daniel is quiet.

BEAT.

BEAT.

DANIEL

BEAT. Long time,Daniel just looks athim.

Henry nods, "yes."

did you know about me?

He hands over someIDENTIFICATION PAPERS/LETTER.Daniel regards them. BEAT. Daniel is stunned and moved.

He reaches for Henry'shand and shakes it...then give way to hugging him...He holds hishead and looks at his faceand his eyes and sees something...Henry speaks;

Henry is eating ferociouslyfrom ameal set out in front ofhim at the breakfast table. Daniel sits withHW on his lap.

WE WATCHHENRY SPEAK AND EAT IN SILENCEFROM HW'S POV.

CU. HW.watching him.

BRING SOUNDBACK TO HEAR:

CUT BACKTO HW. AND THE SOUNDDROPS OUT. WE WATCH HIMWATCH HENRY EATAND TALK EAT AND TALK.HOLD, THEN BACK TOCONVERSATION WITH SOUND:

BACK TO HW watching withno sound as DANIEL talks-He looksHARD AT HENRY. HOLD. BACKTO DANIEL with HW on his lap. SOUND BACK;

SAME, LATER. DANIEL pours some whiskey ina glass of rnilk...he does this out of sight from HW••

He takes the milk and sets it in front ofHW...who looksup at Daniel, who says:

drink it.

He motions forhim to take the drink. HW drinks the milk.

DANIEL carriesH.W., passed out,and places him in the bed...DANIEL comesback out...HENRY is here...DANIEL sits with him...

BEAT.

It's later.Daniel and Henry areaway from it all,sipping from a flask,handed back and forth;

Why did you leave? I know you didn't get on with our Father

HOLD ONDANIEL.

BEAT.

BEAT. HOLD,THEN:

I've worked people over and gotten what I want from them and it makesme sick; Because I see that all people are lazy.

They're easy to take_.

I want to make enough money thatI can move faraway from everyone.

BEAT.

I don't need to look past seeing them to get allI need.

Iwant to rule and never,ever explain myself.

I've builtmy hatreds up over the years, littleby little, Henry...

...to haveyou here givesmeasecond breath...!couldn't keep doing this onmy own with these people•••

HW gets out of bed,looks around the empty house.

He goes into HENRY'SBAG and begins to look through the i terns .He picksup aSMALL LEATHER JOURNAL. He looks it over...

...he has it upsidedown, trying to make sense of it...he looks at more items. HOLD.

HW walks around theBURNED OUT REMAINS of the derrick.

HW is in the church,which is empty except forMARY SUNDAY. She tries to talk withh~ ..

HOLD THE TWOOF THEM. She tries to entertain him.HOLD.

A crowded scene in the local bar. people drunk,loud, etc.

DANIEL is off to the sidea bit, enjoying thingsfrom a slight distance with HENRY...

The other oil men from the area:BLAIZE andWHRIGHTSMAN are here. drunk. telling jokes/stories. etc.

FLETCHER watches from across theroom as Daniel andHenry talk and drink. HOLD.

H.W. is being cared forby MOTHER SUNDAYand MARY and RUTH.

MOTHER SUNDAY poursa bit of whisky again intoa small cup of goat's milk...she then takes thisand sets it in front of HW to drink.

ELI comes in...and looks atH. w...;

There is a LOCALVIXEN WOMAN who walks over to Daniel and takes a seat near him. HOLD.

...H. w.looksup atELI standing overhim...Eli sitsdown, crosses H.W.and gives him a blessing;

ELIcomes in real close and jostlesH.W. to pay attention, speaks rightin his face:

DANIELis in a safe, dark, quiet place with the Vixen.Heis on hisknees and has his head buried inside her legs,leaning her up againsta wall. HOLD.

He finishes and gives hersome money.

He fixes his hair, wipessweat from his face witha rag from his pocket and leaves.

It's dark and quiet. DANIEL is passed out inbed.-HENRYis in another room sleeping.

H. w. enters into Henry'sroom._____..and takes outasample bottle of CRUDE OIL. He pours thisTHICK BLACK OIL around Henry's bed--

He makes a long trail back out into the main part of the house...pouring the oil inaline._

ANGLE, H.W. He sits down in the kitchen and takes outabox of MATCHES-.and STRIKES THE OIL INSTANTLYON FIRE.

IT TAKES OFF LIKE A ROCKET,SHOCKING/TERRIFYING H.W.AND IN A FLASH HENRY'S ROOMIS ON FIRE.

BLACK SMOKE FILLSTHE AIR.

H.W. sees the FIRE start toCATCH THECURTAINS and THE FURNITURE in the MAIN ROOM...

...HENRY-.wakesup...seesBLACKSMOKEFILLINGHISROOMAND FLAMES AROUND THE BEDAND DARTS OUT OF BED -HE SEES H.W. ON THEFLOOR, FIRE AROUND HIM -

HENRY MOVES, SMACKSTHE MATCHES FROM HW'sHANDS - THROWS HIM UNDER HISARM LIKE A DOLL ANDMOVES TO DANIEL'S ROOM-

H.W. is KICKINGAND SCREAMING. HENRYCALLS OUT;

Daniel wakes,sees this.

DANIEL SMASHESA BEDROOM WINDOWAND GETS HIMSELF OUT- HENRY AND H.W. BANGTHROUGH THE FRONT DOOR--

They're outside as the cottageRIPS UP IN FLAMES,DANIEL HOLDS H.W. by HIS ARMSAND SHOUTS IN HIS FACE;

WHATARE YOU DOING TO US?

OPEN YOURMOUTH.

The PLAINVIEW COTTAGEBURNS.

Daniel and H.W. are walking together.Both dressed fora trip. They board the train.

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 athim. Daniel says and tries to communicate;

HW nods some sort of approval.Daniel leaves.HOLD with HW.

For a very long cu.we hold on HW's face ashe sits. SOUNDdrops out slowly._

window...

ANGLE, DANIEL.

CAMERA leadshim as he walks away.

ANGLE, HW. starts to go crazy and scream for his Father and moves to run off the train -

BUT IS GRABBED byFLETCHER, who is there to take hold ofhim and calm him down_.

THE TRAIN STARTSFORWARD.

FLETCHER holdshim as tight as he can ashe kicks and screams.

94 CU. DANIEL. 94 as the train leaves in the b.g.He keeps walking.HOLD THISVERY LONG WALKAWAY, as the train leaves...

CUT TO~

Daniel and Henry together,drunk. Sitting and talking. Daniel isnodding off. So drunk he can't keep his eyes open.

He begins to break down,holds his crotch,looks down;

does yourswork Henry?

our Father's worked well,look at you.

HOLD.

Daniel wobbles up and standsand walks off.••HOLDON HENRY looking at Daniel.

CAMERA holds on FLETCHER andHW. FLETCHERis holding HW and calming him down, petting hishead, speaking softly tohim-.

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 STANDARDOIL COMPANY.

They all shake hands,reserved, polite. Daniel intro's Henry as his brother from FondDu Lac, Wisconsin.

They all sit down,then:

BEAT.

BEAT.

BEAT.

BEAT. There is silence fora very long time__..VERYLONGTIME.

BEAT--··-------·········

Daniel standsup. Henry does thesame.

Daniel and Henry exit.

Daniel is speaking ashe packsa bag, in a bit of a trance, sotto scene~Fletcher is back from his trip withH.W. They commiserate~

BEAT.No answer.

BEAT.SILENCE. THEN:

BEAT.

Daniel's face changesa bit.

BEAT.

Daniel has his things gathered,as he's leaving;

He's gone.

THREE HORSES are beingSADDLED and OUTFITEDwith CAMPING SUPPLIES, GEAR andHUNTING WEAPONS.-

ANGLE, CU. CRUDEOIL SAMPLES. are loaded into jars that are wrapped for safety and loaded into POUCHES on the horses.

DANIEL and HENRY get themselvesup on theHORSES and

They head off for the hills...

DANIEL andHENRY ride up through a dry canyon -DRIVING WOOD STAKESWITH RED MARKERS INTOTHE GROUND AS THEYGO, SIGNALING AROUTE FOR THE PIPELINE.

They come out ofa clearing - and comeupon the BANDYHOUSE. This is the place with thePIGS andSULPHUR that wecame to earlier...

101 ANGLE,AT THE BANDY HOUSE. 101 Daniel and Henry rideup, outside isa young boy: WILLIAM (17 years old,Bandy's grandson)

They RIDEON...HOLD,THEN...

...HENRYDRIVESASTAKE INTO THEGROUND WITH A RED RIBBON, SIGNALINGTHE ROUTE FOR THEPIPELINE, STRAIGHT INTOBANDY'S LOT...

DANIEL andHENRY drive anotherWOOD STAKE WITH RED FLAG INTOTHE GROUND.

DANIEL andHENRY ride throughTHICK FORREST...m.oving through a new landscape...THEYPLANT AWOODSTAKE...

DANIEL andHENRY through some fertileGROVES. They plant anotherWOOD STAKE._

DANIEL andHENRY ride over a ridge,CAMERA RISESAND REVEALS:

ThePACIFIC OCEAN-.theyridedown towards it-HENRYPLANTS ANOTHER STAKEINTO THE GROUND...

DANIEL andHENRY walk through this refinery.Machines grind away. The head of UNIONOIL, old friend of Daniel's: L.P. "PRESS" ST. CLAIR (50s)comes up to greet them:

They talk and walk...and enter an office and close the door.

DANIEL and HENRY are here with sixMENFROM 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:

Everyone laughs.

SPLASH. CAMERAis IN THE WATER WITH DANIELAND HENRY. They JUMP IN AND FLOATAROUND OUT AT SEA, LOOKINGBACK AT THE SHORE LINE;

They're happy and celebratory;

BEAT.

BEAT.

HOLD. cu. DANIEL he looks atHenry from the corner of his eye.

Something has triggered in Daniel..."thePeachtree" reference has gotten past Henry...Henry dunks hishead under water,DISSAPEARS fora moment...Daniel waitsand watches forhim...he finally resurfaces...

WIDESHOT. They float around in the ocean.HOLD.

They start toswim back. CAMERA is withDANIEL in cu.as they swim back -as he breaths for air,he opens his eyes,watching HENRY swim alongside him...then it goes black ashe turns hishead

to the water...then back up for air,turning hishead to keep an eye on Henry...whoswims back alongsidehim..SOUNDDROPS IN/OUT/IN/OUT/BREATHING/WATER/BREATHING/GASPING-.looking at Henry••

FOLLOWING PROTRACTED SEQUENCECOVERING DANIEL'SSUSPICION OF HENRY-.SEQUENCE:

CAMERA with DANIEL andHENRY, from behind,as they finish swimming and arrive at the shore line-They rise up,naked, out of the water and move to their clothesand theirHORSES. HOLD THIS MOMENT.

CU. DANIEL as he watchesHENRY. SLOW ZOOMIN.

DANIEL'S POV, across the bar.HENRY is DRUNK and LOUDand talking with a WHORE. DANIEL just watches.

HENRY and DANIEL head out on theirHORSESaway from the OCEAN...Henry is clearlyHUNGOVER.they are re-tracing their trail along theWOOD STAKES IN THE GROUNDWITH THE RED FLAGS.

HENRY

Pink Revised 7/25/06 94

HENRY and DANIEL. dusk. campfire. horses off to the side. * they sit, then: *

HOLD.

113 OMITTED. 113 *

Pink Revised 7/25/06 95

HENRY is asleep. DANIEL is sitting over him, with a * REVOLVER out by his side, HENRY feels him near and wakes up: *

BEAT.

BEAT.

BEAT.

Pink Revised 7/25/06 96

BEAT. *

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 11 11 •••FondDuLac ..."•••Henry Plainview..."••.mybrother Daniel..."*

Pink Revised 7/25/06 97-103

This is a journal by the real HENRY PLAINVIEW. DANIEL KEEPS * DRINKING. AND DRINKINGAND DRINKING. *

HE PASSES OUT. *

115 OMITTED *

116 OMITTED *

117 OMITTED *

118 OMITTED *

119 OMITTED *

120 OMITTED *

Pink Revised 7/25/06 103A

DANIEL comes to...CAMERADOLLIESBACK A BIT TO REVEAL: *

A FIGURE sitting over him; *

DANIEL looks. we see this FIGURE, an OLDER MAN~.. *

BANDY * I'm Bandy. *

you feel alright? *

DANIEL * 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. *

BANDY * I'd asked you to come and talk to me when * you were leasing land... *

DANIEL * My boy's been sick_ *

BANDY * This was before you boy got sick. *

BEAT. *

DANIEL * It's only eight inch pipe, it can be * buried- without disruption *

BANDY * God has told me what you must do... *

DANIEL * what is it? *

Pink Revised 7/25/06 103B

BANDY * you should be washed in the blood of * Jesus Christ. *

DANIEL * But I am. Ihave been. *

BEAT. *

DANIEL * Ihave been. *

BANDY * 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. *

BEAT. *

DANIEL * 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 -- *

BANDY * I've followed Eli since he was a boy. * Hecame and preached by my side when my * wife and daughter were burned in * Bakersfield. *

DANIEL * what is it that I do? *

Pink Revised 7/25/06 103C

BANDY * Iwant you to be part of our Church. *

DANIEL * but whatdo you want me to do? *

BANDY * listen to Eli'sword and be baptised. * be forgiven for this sin that you've * ~~. *

DANIEL * my sin of ...what? drilling? *

BANDY * speak to God. you can speak to God. *

BANDY's GRANDSON has been lingering in the background...BANDY * hands DANIEL'S WEAPON'S OVER TO HIM. *

BANDY * may I help you back? *

we will ride back with you_ *

POSS SHOT OF THEM ALL RIDING. TRACKING?

POSS SHOT OF THEM PASSING BANDY RANCH?

DANIEL enters,cleaned up, days later.-ELIhas gota desk now and a few Church Supporters are here with him.He notices Daniel and stands,a little flinchy and nervous;

They STAREat each other...

CAMERA startson DANIEL. The CHURCHIS NOW PACKED WITHWORKERS, SUNDAYFAMILY, FOLLOWERS, FARMERS,ETC. BANDY sits next to Daniel...

The BACKWALL of the church has been broken through and gives way toa large CANVAS TENT with dirt and floorboard as the expansion that Eli hasdone. Eli goes fullsteam;

Daniel stands up...he approaches Eli on thestage._

DANIEL getsdown on his KNEES...

and say it...

you've lusted after women and you have abandoned your child. Your child thatyou raised, you have abandoned all because he was sick and you have sinned -so say it now, "Iam a sinner." Say it, say, "IAM A SINNER."

DANIEL looks hard atEli...HOLD.Daniel issomewhere between faking it/taking it/and explodingup atEli...

I ABANDONEDMY CHILD.

I ABANDONEDMY BOY.

ELI playsup the CROWD. Daniel on his knees.

ELISLAPS DANIEL ACROSS THEFACE...

ELISLAPS HIM AGAIN HARD.

ELI SLAPS DANIEL ACROSSTHE FACE AGAIN...

ELI SLAPSDANIEL AGAIN, THENPUSHES HIS PALM SMACK INTODANIEL'S FORHEAD,PUSHING HIM BACK --

...aFOLLOWERBRINGSa BOWLOF HOLY WATER and hands it to ELI1who takesDANIEL by the HAIR andPULLS HIS HEAD BACK, HELETS THE WATERPOUR OVER HIM...

Daniel standsup...HOLD.He takes his seat...People welcomehim, hold him,touch him, congratulate him, etc.

BANDY comes over and touches Daniel's shoulder...youngCHILDREN come over and touch hishands...WOMENcomfort him and welcomehim...

Thereis warmth from everyone here•••that Daniel begins to feel••.theyTOUCH THE BACKOF HIS HEAD AND HIS SHOULDERSAND GIVEHIM LOVE.

Eli notices this_

HOLDON ALL THIS, THEN:

IMAGE.There's a boy ina row boat on the lake of oil that fills the reservoir. SUN RISES.Everything is calm and quiet, distant noise of the derricks.

108A

BlueRevi•ed5/11/0'

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 youngman GBORGB REYNOLDS. Be ia a teacher at the * school. *

PLBTCBBR has aquiet word with himJ *'

'LBTCIIBR * 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? *

GEORGE REYNOLDS shakeshis head, •no.• looks at Fletcher, * then: *

123B IN'l'.TRAIN.-MOVING. 123B*

PLBTCBBR,GEORGE and BW riding on the train.

-GEORGEteaches BW sign language_

BlueRevised5/18/06

It's weeks later. THE CONSTRUCTION OP TBB PIPELINE IS UNDER WAY.

ANGLB, DANIEL. out here, sweating in the sun, working/supervising.

ANGLB, ACROSSTBB PIELDS. FLETCHER iswalking with: B.W. and GBORGB REYNOLDS.

Daniel sees themand comes walking over very quickly-grabbing BOLD OP B.W.AND KISSING AND BUGGING HIM. Pletcher watches•••

DANIBL picks himup and they walk off. (STAY WITH THEM, DANIBL WBISPBRSTO HIM, BOLDS HIM, GENTLY, KINDLY)

CUT'l'O:

DANIEL andBW sit at a Fancf restaurant-BW's feet dangling from the chair-

That's all we need here is a good strong expensive meal-

Are you hungry?

Daniel is frustrated. A WAITER.COMES OVER.

They stare at each other.

I told them no.

Wemade a deal with Union on the pipeline. and all of our output.

BEAT.

Are you looking atme and really you can hear me?

HOLD. They sit..........._......_

BecauseI need you.

I need your help.we got everything we need now to build thiscompany...

...arriving at another table: sitting here isH.M.TILFORD,from Standard Oil, who we met earlier and Daniel threatened.He is sitting with his WIFE.

DANIEL stands over him.

Ill

BlueRevi•ed5/18/06

Daniel walks back and takeshis seat witb B.W. BOLD-CU. BW's !2!-looking at Daniel continue to babble away,bearing NOTHING.

CUT TOI

BW is teaching GBORGB the language of theOIL BUSINESS.

MARY is hera as wall, learning.SIGHLANGUAGE-

They spell out words and findSIGNS for OIL BQUIPMBNT that

is laid out around thecamp - George will silently MOUTH

the word and together they makea SIGN.

BW is very confident around thisgear-BOLD ON BIK signing

away_

DANIEL is taking care ofsome business at the crowded train depot-ELI,dressed up for a journey, comas and finds him --

Blue Revi•ed5/18/06

BEAT.

Daniel hasnothing else to say__

Eli leaves. Daniel watches hia-go.

1. SHOTS OP B.W

2. SHOTS OP BW ANDMARY.

3. CU, BW RUNNINGNEAR MAGIC HOUR.

CUT TO BLACK.

TITLE CARD:

128 OMITTED

112A

BlueRevised5/18/06

FADE UP:

VARIOUS STATIC IMAGESOF DANIEL PLAI~EW'S MANSION/ESTATE. * GROUNDS, ROOMS,GOTHIC ROOMS, STONE, MARBLE, BOWLING ALLEY, * ETC, UNPAClCBDBOXES,ETC. *

Daniel is here andhe is SIGHING CHECKS. AL ROSE is here, * putting things in front of him. *

a SERVANT cleans/worksin b.g. *

Daniel eats a sandwich.END. cu, IMAGE. SIGNATURE. *

Daniel walksdown the hallway.

IMAGE.Daniel sleeping. OC we hear the voice of GEORGE

(interpreter)speak;

BW/GEORGB (VO) Bow many can say that they have known

the love of their life since they can

remember?

112B

BlueReviaed5/18/06

128E IN'l'.ACHURCHSOMEWHERE. LOOKING TOWARDS TBB ALTAR. 128E*

PRIEST,EXCHANGING VOWS-CO's priest's mouth, 8W watching. * sign language. *

BW/GEORGB (VO) 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 girlMary. *

WE BEAR./DETAILSSACRAMENT (TBD) *

BW/GEORGE (VO) The other side of Q¥ life gets darker * each day_ *

Ill

BlueReviaed5/18/06

BW issigning this LETTER that we BEAR - to GEORGE, * who speaks it to a SBCRBTARY who TYPBS THIS OUT- *

MARYis 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 TBBWINDOW WB SBB DBRRICltSFOR MILBS AND MILBS * AHDMILBS. *

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? *

113A

BlueReviaed5/18/06

SURROUNDED BY DERRICKS.WIDE SHOT. PX.

BW/GEORGB Mary and I are travelling to * Little Boston on the19~ of this month * to see ourfamily. * Perhaps it is agood time and privata place * to apeak. It has bean too long ainca we've * bean together and you must wrap yourarms * aroundMary, who demands to see you. *

ANGLE, CLOSER. * BW and MARY are with an OLDER MOTHERSUNDAY 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 porchot ~ke house.

BW/GEORGE Ihave reached a crossroads in my life,

Fletcher and Iam in need of your help.

FLETCHER, HW andGEORGE 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 THEMEN GATHERED, BW SIGNING, GEORGE IN'l'ERPRBTING-FLETCBERlistens,speaks, continue-

BOLDTHIS, THEN:

MARY and BW kiss each other.

114-117

BlueRevised5/18/06

130 OMITTED

131 OMITTED

132 OMITTED

133 OMITTED

134 OMITTED

B. w.andGBORGB coma walking down this long, dark hallway-enteringin from the FRONT DOOR-

CAMERA moves into cu.on s.w. aa they arrive at DANIEL'S OFPICEa

BlueRevised5/18/06

DANIELis 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~ •

HW/GBORGE Pine, thank you.

BEAT.something uncomfortable. AL ROSE and OTBBR CRONIB are * watching the interchange. •

BW/GEORGB can we be alone? •

BW/GBORGB I would rather speak to you in private. •

BW/GBORGE If you know, then you tellme. •

to be done in theSunday Field. •

and Iknow 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?

BlueReviaed5/18/06

BOLD.BEAT. THEN~

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.

BEAT.

DANIEI.t.. This makes you rlty-.oompetitor.

BEAT.

BlueRevised5/18/06

BEAT.

B.W./GBORGB I know thatwe don't agree * over many things and Iwould rather * keep you asmy Pather than my partner. *

BEAT. BW doesn't say anything. BOLD. *

B.W./GEORGB You're stubborn and you won't listen. *

B.W./GBORGB You will change. You will see me • sweetly again someday_ •

B.W./GEORGB Please don't say that. I know you

don't mean that.

121 -122

BlueReviaed5/18/06

s.w. watching Daniel's mouth as he finishes speaking-BW * signa, GBORGB speaks: *

BW/GBl>RGB I'm going toMexico with my wife. * I'm going away fromyou. *

BW/GBORGB If you want tofight me-it will * be the fightof your life. *

They leave. *

BlueRevi•ed5/18/01

It's dark and then a dooria opened-DANIELcomes staggering in and goes DEEP DOWMINSIDE BIS BOUSE-

LONG DISSOLVE TOa

This is a very largeparty area/bowling area/recreationalroom in the basement ofthe Plainview Bstate-

There are BMPTY LIQUORBOTTLBS around-signsof a MBSS/BOOZE/TROUBLB-

-PASSED OU'l'DRUHKIHTBB HIDDLB 01'TBB BOWLINGALLBY, WRAPPED IN A BLANDT is DAlflBL.

-an OLD MALB SERVANTcomes in...1(a.lksdown the lane and attempts to wake up DANIEL-hetries very hard, over and over and over-

BLI SUNDAY. Be isflamboyantly dressedand he has TNO PBHALB COMPANIONS withhim-they watch aa the Servanttries to wake Daniel up_

Eli directs hisLady Friends to wait upstairs,then comes over to help:

The Servant leaves...DANIELcomes to...and sees Eli's face.

Daniel stirs and sits up...Eli reaches forsome glassesand pours TWO DRINKS...of whichhe drinksBOTH.

DANIEL pours himself a drink.

DANIEL

ELI takes another drink...

DANIEL

Eli saysa silent prayer to himself.

DANIEL

BEAT. Silence.

ELI

DANIEL

BEAT. LONG PAUSE.

DANIEL

Eli takes another drink...and then begins to break downandCRY andCRY and sob like ababy...

DANIEL is HOLDING ALOOK ON ELI;

HeSMACKS Eli across the face.

You're just the younger brother. and you'llalways be the younger brother,Eli...and that land has been had-.YOUHAVENOTHING. YOU LOSE.YOU IDIOT, YOU LOSE.

Ifyou have a milkshake and Ihave a milkshake and Ihave a straw and my straw reaches ACCCRROSSSSSSSSSS the room starts to drink your milkshake:

IDRINK YOUR MILKSHAKE! IDRINK IT UP.

IN AFLASH: DANIEL isUP AND HAS GRABBED ELIAND THROWN HIM HALFWAYACROSS THE ROOM.Eli flails about as Daniel closesin, hysterical/crazy/kicking/pushing,etc_

ANGLE, DANIEL. along the way, he picksup a HEAVY SILVERTUMBLER-

WHAT DID I TELL YOU?

ANGLE, ELI. inching back on the bowling alley floor_.backfrom DanieL.

ANGLE, DANIEL. advancing on Eli...

ANGLE, ELI crawling and looking forsomewhere to go_.

DANIEL is over HIM,AND SITS ON HIS CHEST,PINNING DOWN HIS ARMS...ANDDRIVESTHETUMBLER STRAIGHT DOWNINTO ELI'S FACE.

CAMERA looks STRAIGHTDOWN on the GORGEOUSWOOD FLOOR...

...very slowly,BLOODCOMESOOZING INTO FRAME. It spreadsand moves like a slow landslide-.coveringthe floor••CAMERA moves back a bit to reveal;

in a fetal position and not moving...

Daniel drags Eli'sdead body down the lane of the bowling alley, leaving a streak ofBLOOD...

HE THROWS HIM INTOTHE BOWLING PINSAND DOWN OVER THE LIPINTO A CELLAR.

138A FROM BELOW,LOOKING UP. 138A

BOWLING PINSAND ELI'S BODY COMECRASHING THROUGH INTOTHIS CELLAR.

138B ABOVE,IN THE BOWLING LANE. 138B

Danielslumps down onto the floor...breathing heavy and covered in blood-HOLD WITH HIM ONHIS FACE.

138C ANGLE,AT THE STEPS LEADINGTO THE BOWLING ALLEY. 138C

CAMERA pulls back withALROSE coming down the steps-slowly-slowly._revealingtohim the horrific scene:

HOLD on Al' sfaceand the reality of this mess_.

Daniel turns around..satisfied: