ATUK

REEL THREE

EXT. McKUEN MANSION - LATE AFTERNOON

Atuk is behind the steering wheel of a limo in the driveway,
pretending to drive, like he did in the airplane. Bishop
sneaks around from beside the house as Atuk talks to himself.

ATUK
Standby, this is the Bradley Fighting Vehicle
requesting clearance ... for a huge fight. Standby.
(makes engine noises, turning wheel)

Bishop jumps in the passenger seat, startling Atuk.

BISHOP
No, no, it's okay. You know how to drive?

Atuk starts to nod his head yes, then shakes it no.

BISHOP
It's easy. Just put it in neutral, turn the key ...
(Atuk does it, starts engine)
Push the pedal by your right foot.
(Atuk races the engine, startling himself again)
It's okay, just take your foot off the pedal, let it idle, then you
push the gear into drive, that's "D", push the pedal and steer.

ATUK
That's it?
(Bishop assures him, Atuk smiles)
Bullshit.

BISHOP
No, I'm absolutely serious. You can do it.

ATUK
(covers total fear)
Of course I can do it. Absolutely.

Vera steps out of the front door and calls Bishop.
He groans, then gets out of the car and walks towards her.

VERA
(harsh)
What are you doing?

BISHOP
Nothing.

The doctor steps out from behind her.

VERA
(as if futile)
Well, the doctor's been looking for you all day.

BISHOP
Tell him thank you.

VERA
(exasperated, drained)
Bishop ...

Caterers pass behind her into the house with equipment and
food. She starts to follow them in, turns to Bishop, and
shows for the first time how difficult this has been for her.

VERA
(softly, trying to get through)
Please ... could you just talk to him.

The doctor approaches Bishop as Vera goes inside.

DOCTOR
I wonder if you're avoiding something, Bishop.
I wonder if this belligerence you're showing towards
me is a device to conceal your feelings. Perhaps some
guilty feelings about the mailing tubes and so on.

BISHOP
(can't believe this guy)
What?

DOCTOR
(creepy, knowing smile)
So, where would you like to start?

BISHOP
(looks around, can't stand any more of him)
I was thinking maybe we could go for a ride.

DOCTOR
(studies the limo, sees only the back of Atuk's head)
Fine idea.

INT. LIMO - LATE AFTERNOON

Bishop opens a rear door for the doctor, gets
in the other side -- the engine is still running.

DOCTOR
(seeing Atuk, dubious)
Does he ... ?

BISHOP
(cutting him off, leaning forward)
Of course he does!

Atuk turns, gives a huge mischievious grin, pushes it in gear and
floors the accelerator. The car lunges almost immediately off the
driveway and out of control. Atuk, who might as well be a chimp
behind the wheel, refuses to give up, steering frantically through
snow and trees. The doctor goes rigid, utterly terrified, bouncing
between the ceiling, the door, and the seat. Rear-view mirrors
pop off between trees. Other trees snap and fly over the roof.

BISHOP
(earnest)
So where would you like to start, Doctor?

The car flies across a small creek, then begins to churn in several complete circles.
Bishop gives out a war yell. Atuk does the same. The doctor tries to get out the door.

BISHOP
Doctor, I'm crying out for insight. It's a battle I fight
every day -- can anyone solve this riddle of my mind?
(yells to Atuk)
What do you think, Atuk?

ATUK
(busy steering, turns to back seat)
Bradley Fighting Vehicle!

He's about to smash through a stone fence.
The doctor screams as Atuk blasts through.

EXT. HIGHWAY - LATE AFTERNOON

Perspective view. The limo roars from woods on one shoulder of
the road to woods on the other, barely missing an approaching white car.
The car hits it's brakes, then starts again, just as the limo shoots back
across the road in the other direction, again just missing the car.

EXT. WOODS - LATE AFTERNOON

The limo bucks over fallen logs and rocks, and swerves back onto the McKuen driveway.

BISHOP
(looking at his watch)
Well, doctor, I think our time is just about up.
(to Atuk)
Step on the other pedal!

EXT. McKUEN MANSION - DRIVEWAY - LATE AFTERNOON

The limo slides to a halt on the driveway near the house.

BISHOP
I feel so much better.

Atuk and Bishop get out, leaving the doctor dazed and bodily scrambled in the back seat.

BISHOP
(best buddies, as he and Atuk walk to the house)
All right, Atuk. We did it.
(yells)
Fuck you, doc.
(laughs with Atuk, yells again)
Fuck you!

ATUK
(his first illicit thrill at using the word, laughing, shouting)
Fuck you! Fucking doctor! Fuck you!

ANGLE ON VERA'S WRECKED LIMO - LATE AFTERNOON

The white car from the highway drives up, just stopping short of the
completely destroyed limo, jams on it's brakes as the doctor, still woozy,
opens a door and collapses to the ground in front of the car. The doctor
is nearly run over. Front license plate on the white car reads "N.Y. Senate".

INT. McKUEN MANSION - HALLWAY / BILLIARD ROOM - DAY

Butler and maid help the catatonic doctor out the front door
to a waiting car as Vera talks to her husband by an adjoining
hall. Both are dressed in formal clothes for the evening.

VERA
(at the end of her rope with Bishop)
What are we going to do?

Senator Pierce steps up -- a spooky looking guy in his sixties.

McKUEN
(wanting no fuss now, calmly)
We'll handle it later.

McKuen puts his arm around the Senator and walks
him down the hall, leaving Vera alone in the foyer.

McKUEN
(heartily)
Nothing to worry about, Charles -- the man will be fine.

McKuen presses open a door concealed in the hallway wall.

INT. BILLIARD ROOM - NIGHT

McKuen goes to a bar and pours drinks.

McKUEN
What can I get for you?

PIERCE
(chuckling)
A tumblerful.

McKuen goes to Pierce and hands him a glass of whiskey.

McKUEN
(laughing with him)
Well, I'm glad we have a little time before the festivities ...

Vera appears in the hallway outside the open door. She glances in, resenting
her husband's total self-interest, as McKuen, not noticing her, closes the door.

INT. McKUEN MANSION - BALLROOM - NIGHT

A quartet plays in the mansion's formal ballroom, a hundred or so
glamorous, influential zillionaire politicians and magnates dance and
mingle, along with a batch of friendly reporters and photographers.
Bishop and Atuk walk in, both wearing tuxedos. Bishop grabs a pair of drinks.

INT. McKUEN MANSION - FRONT DOOR - NIGHT

Michelle arrives, curious and a little overwhelmed. She wears a sleek black
gown. What looked no-nonsense in winter clothes is now sexy and striking.

MICHELLE
(to butler)
Excuse me ... I'm Michelle Ross ...

McKuen comes down the stairs with Pierce, heads straight for Michelle.

McKUEN
And I'm Alexander McKuen. I'm flattered you could come.

MICHELLE
(not quite sure of herself)
Thank you.

McKUEN
(takes her arm, walks her across the room smiling and nodding to guests)
I saw your film, and I wanted to tell you, personally, how
impressed I was -- I believe very strongly in the integrity of nature.
(he eyes her body as they run into Vera and Malcombe Treet)
Michelle Ross, this is my wife, Vera ...
(Vera gives her a cordial but cold greeting --
"I wonder what he's got in mind for you ...")
(McKuen nods to Treet)
And our resident media genius, Mr. Malcombe Treet.

TREET
(shaking his head)
I've asked him not to say "image consultant" -- it's bad for my image.

MICHELLE
(to McKuen)
Mr. McKuen, I was wondering if ...

McKUEN
(anticipating her)
Absolutely!
(looks around room, takes her arm again)
Come on, I'm sure he'd love to see you, too.

INT. McKUEN MANSION - NIGHT - ATUK

Talks to a stiff-looking older zillionaire and his jeweled wife.

ATUK
(good natured, feeling his oats, a little wasted)
So we were bouncing through the fucking trees, and Bishop and I were
screaming, and this doctor was in the back rolling all over the seat --
and then Bam, we'd hit another tree and spin around on the ice -- you
guys have a limousine? -- you oughta try it sometime, you'll fucking go crazy.

The couple stare at Atuk, speechless.
McKuen steps up, leaving Michelle behind Atuk.

McKUEN
Hello, Atuk ... I see you've met the Gordons ...

ATUK
(slaps man on the back)
Yeah, great talkin' to ya!
(McKuen immediately pulls Atuk away)
These people are very good listeners, Mr. McKuen.

McKUEN
(trying to keep Atuk from blowing it anymore)
Atuk, there's someone here to see you.

He walks him to Michelle. She smiles, amazed at how he looks.

ATUK
(smiling, stunned by her sleek body)
Michelle! You got so skinny!

MICHELLE
Look at you!

ATUK
(still stunned)
Yeah, but you got so skinny.

McKUEN
(fatherly)
If you'll excuse me, I'm sure you two have lots to talk about ...

He walks back to a group of friendly reporters, shakes hands, slaps backs,
then works his way to a dais. Music stops as he addresses the room.

McKUEN
May I have your attention, please? As some may already know, I have
a major announcement to make -- about something very special to me --
but before I do, I'd like to mention two things. First, Senator Pierce,
I want you to know that I have the greatest respect for the work of
your committee, and the wisdom your hearings will bring to our work.
(applause)
And secondly, I'd like to introduce you all to a man who has become
an inspiration to me -- a man my family and I have grown very close
to, and who's become to us a symbol of valor and selflessness --
please applaud a remarkable man. A man from the North -- Atuk.

More applause -- Vera and Treet clapping only for appearances. Bishop
doesn't like what he sees. Atuk is embarrassed, begins clapping with
everyone else, not knowing what else to do. Last angle on Michelle,
applauding, then looking at Treet and wonder why she's really here.

McKUEN
And now ...
(servants roll out a covered model of The Emerald, crowd hushes)
I give you ... The Emerald.

McKuen pulls the cover off the model, and the crowd gasps.

INT. COMMITTEE HEARING ROOM - DAY

A rich, panelled place covered with oil paintings. A sign
lettered "New York Senate Committee for Land Use"
stands near a long, court-like desk for the committee.
Two-thirds of the eight or nine seats are vacant. Among
the few committee members bothering to attend this
session is Senator Pierce, Committee Chairman.

The weevily Barker is at the witness table.
A handful of people sit in the gallery.

BARKER
(awkward, into microphone)
My name is Terrance Barker, and
the reason I wanted to testify here ...
(Pierce gives a bored sigh)
... is because ...

PIERCE
(cuts him off)
Sir, we realize everyone has reasons for coming to us ...
(cuts Barker off again, handles a thick file)
But with so many different matters ahead of us, let me ask if anything
you have to say isn't already contained in your other materials.

BARKER
Sir ... I realize ecological issues may not be so much in vogue these days,
and I know a man like Alexander McKuen will try to tell you and
everyone else that three bird sanctuaries won't be destroyed, and
chemicals won't be introduced into groundwater that's already polluted ...

PIERCE
Mr. Barker ...

BARKER
(louder, coming off fanatical)
But, sir, the real issues is whether so much power should be
concentrated in a few individuals whose goals are self-interest, who
behave -- who believe like zealots that their judgement is Godlike ...
(Pierce bangs gavel)
Sir, men who manipulate the public with
lies and the government with money ...

PIERCE
(bangs the gavel again)
Thank you -- the witness is excused.

Pierce gets up and walks out, as if he can't be bothered
with cranks in an already bored, superfluous proceeding.

INT. McKUEN MANSION - BISHOP'S ROOM - DAY

Atuk watches as Bishop programs notes on a
synthesizer and electric guitars simultaneously.

ATUK
Did he really mean all that stuff he said?

BISHOP
(concentrating on instruments)
He meant you're useful.
(looks up)
So you'll get a lot of attention.

ATUK
(thinks)
Is that why you were going so fast in the boat?

BISHOP
(botches a chord)
Come on, I'm trying to do this here.

ATUK
Sorry.

BISHOP
My father pays attention to one thing, and that's himself
and whatever helps his business. And he expects everyone to
understand that and not give him anything he'll have to deal with.
(plays more notes)
My mother squawks and he buys her a hotel ...

ATUK
I bet she has a lot of hotels.

BISHOP
Twenty six. And the more she gets, the more she hates herself
and the more pissed off she gets. And then I fuck up, and
he pays some cheeseball twisted fucked-up dairy-product
of a doctor to stand in for him and manage the problem.

ATUK
At least you have someone to talk to. My dad -- well,
stepfather -- he's the same way. And if you don't have exactly
the same attitude about everything, you know ... when you try
to talk to him about it, that just makes you more worthless.

BISHOP
Yeah, well I'm through fucking with it.
He wants anything, he knows where to find me.
(hits final note)

Bishop puts the guitar around Atuk's neck,
puts a headset mike on Atuk's head and his own.

BISHOP
It's all programmed.
(stands sheet music on a shelf next to Atuk)
Just sing the words.
(Atuk smiles)
Ready?

Atuk nods. Bishop flips on a pair of enormous amps, hits the computer and
a full-blast arrangement of some Chuck Berry grade songs shakes the room.

ATUK
(ecstatic, over guitar intro)
OH! OH! ROCK AND ROLL!

Atuk begins to pretend that he's playing while Bishop puts on another guitar and
actually does. Bishop sings. Atuk tries to follow, referring awkwardly to the lyrics
until the two of them are finally dancing and singing in happy, if not perfect unison.

A maid puts her head into the door of the room.

MAID
Mr. Atuk. Mr. Atuk. Mr. McKuen wants you. In the city.

Bishop shuts off the amps.

BISHOP
(cynically, re: dealing with his father)
Watch your back.

Atuk starts to walk out, pulling over an amp with the guitar cord.

EXT. McKUEN MANSION - DAY

Atuk has driven away in a limo.

INT. McKUEN MANSION - BISHOP'S ROOM - DAY

He watches Atuk through the window. Vera walks in the door.

VERA
(firmly; final)
I've had a talk with your father about your behavior.
(he turns to her)
We've decided on another course of action.

INT. McKUEN'S OFFICE - DAY

Pike and Malcombe Treet sit on couches as McKuen ushers
Michelle to a chair. She's still a little bit awed by him.

McKUEN
Thanks for coming, Michelle -- you know Mr.
Treet ... this is my assistant, Mr. Pike ... have a seat.
(she does, he's at his motivational best)
As I told you, Michelle, I admire your work a
great deal -- and I'd like to help you do more.

MICHELLE
(flattered)
Well, thank you ...

McKUEN
You must have a favorite project, some piece you've always wanted to do ...

MICHELLE
(smiles)
Sure ... about ten of 'em.

McKUEN
Good! Good! Maybe we can help each other, then. I turn you loose on
whatever you want to do, my organization handles the funding, the
publicity, everything -- and in the meantime, you can lend some of your
talent to a favorite project of my own. It's a campaign, actually -- and I
must tell you, Michelle, it's one of the most important things I'll ever do.

MICHELLE
Campaign?

AIDE
An image campaign.

TREET
(mock grimace)
Ooooo, that word.

McKUEN
(cuts him off)
I need a symbol for what I believe in, Michelle.
Something the public can grasp clearly and in their hearts.
(goes to her as Pike answers intercom)
In a way, you've already created him for me --
all I'd like you to do is help Malcombe feather
him in -- meld my beliefs to his image.
(Aide opens the door)

MICHELLE
Whose?

Atuk walks in.

McKUEN
(like a proud dad again)
Atuk!
(walks him to Michelle)
How would you like to work with your friend Michelle again?
(Michelle starts to object)

ATUK
(an obvious answer, lights up)
Sure!

McKUEN
Now this will be a real job, Atuk. With a very nice salary
and so on, but the most important thing you have to
remember is that Michelle will need your complete cooperation.

ATUK
(smiles)
Oh, yes, completely.

MICHELLE
(finally able to get a word in)
Mr. McKuen. Can I talk to you?

INT. McKUEN's OUTER OFFICE - DAY

McKuen gives Michelle a private moment.

MICHELLE
(not sure)
Mr. McKuen, I want you to know I feel this is a terrific opportunity ...

McKUEN
(cuts off her reluctance)
Not only for you, for Atuk. Did you see how his face lit
up? All I want you to do is work with him, show us the
world's greatest Eskimo! Can I count on you, Michelle?
(she finally smiles, now more or less in his thrall)
Good.

McKuen goes back into his office.

MICHELLE
(sudden thought)
But he's the world's worst Eskimo ...

McKuen doesn't hear. She follows him in.

INT. McKUEN'S OFFICE - DAY

McKUEN
(pats Atuk on back as Michelle watches)
Congratulations, young man.

PIKE
(hands card to Atuk)
Oh, and before we forget, here is your brand new Green Card.
(hands AMEX card to Atuk)
And we thought you might like a gold one as well.

ATUK
(looks at cards, fixes on the AMEX, looks up, beams to Michelle)
Credit?

She's never seen anyone so happy.

INT. STORE - AMERICAN EXPRESS CARD - CLOSE UP - DAY

Full frame: Atuk's new gold card, thrust at the camera by Atuk like a badge.

VOICE
And how would you like to pay for that, sir?

Pull back to see Atuk's grinning, proud face behind the card.

ATUK
I have credit.

EXT. EAST 57TH STREET / TRAVEL AGENCY - DAY

Atuk and Michelle walk past expensive stores. Atuk winds up going
a mile-a-minute, but his manner seems less starry-eyed -- his short
experience with success has given him a bit of a swagger. It's also
given him a complete new set of clothes -- expensive overcoat,
fur hat, and lots of shopping bags. An ORDINARY NEW
YORKER passes by, recognizes Atuk -- he's a celebrity.

MAN
Atuk! All right!

ATUK
(waves, then to Michelle)
What a life, huh -- on the move in the City. I mean, this is
my style, Michelle. Just think, all those years I was style
masquerading as a seal-killer. Do you know what I'm saying?

MICHELLE
You don't miss your home?

ATUK
Yeah, seven people in a room the size of a refrigerator -- sod covered
with newspaper -- hell, it was a refrigerator, a dirt refrigerator.

A family walks by, a KID points at Atuk.

KID
Atuk! It's Atuk!

Atuk turns and gives a thumbs up to the grinning family, then
notices a poster in an airline office behind him -- a Hawaiian
Paradise poster like the one in his hut, the one Misa made a mask of.

ATUK
(wound up)
Look -- this is the place! This is where I wanna go --
every since I was about six years old, Michelle. Let's
go -- we could charge it! "Charge it, please!"

MICHELLE
(laughing)
Atuk, slow down ...
(pauses to hail a cab)
The first thing we have to do is get started on some of this work, okay?
(he nods, she gets in a cab)
It's important you stay where I can get a hold of you, okay?
(hands him a card)
And if you need anything, just call.

ATUK
(sorry to see her go)
Okay.
(shyly)
Hey -- I just want you to know, uh ... you've
been so nice to me ... do you really like me?

MICHELLE
(likes him as a friend)
Of course I like you, Atuk. You mean a lot to me.

She waves as the cab pulls away. Atuk is still in heaven.

EXT. McKUEN's MANSION - DUSK

Limo pulls up and deposits Atuk, dressed to the teeth, dancing to the
car radio. A plain brown sedan is parked in front, with it's trunk open.
As Atuk approaches the front door, an OLDER MAN in an army colonel's
uniform steps out with a pair of suitcases, followed by Vera and Alexander.

COLONEL
Don't worry about a thing, we'll have him squared away ASAP.

McKuen is mute. He's not sure about this, while his wife, obviously, is all for it.

VERA
Well, Colonel, we've agonized over this.

The Colonel steps around Atuk as he walks up, gives
him a harsh look as he loads suitcases in the car trunk.

VERA
(into the house)
Bishop?

Bishop appears, sullen, as if being led off to prison.

McKUEN
(stopping him, genuinely sad, regretting this)
You didn't leave us any more choices, son.

Bishop doesn't buy it, walks toward Atuk and the car.

ATUK
(to Bishop)
Hey, where are you going?

The Colonel slams the trunk shut. We read "RIVERTON MILITARY
INSTITUTE - RIVERTON, NEW YORK" across the rear.

ATUK
(pointing to the lettering)
What's that?

BISHOP
(subdued)
It's a school.

ATUK
When are you coming back?

Bishop looks at his parents, resenting this totally, then looks
at Atuk -- regards Atuk's clothing and bags of merchandise.

BISHOP
What do you care?

ATUK
I'm your friend.

BISHOP
Look at yourself. Less than one day, man -- you're in his pocket.

The Colonel drives Bishop away. Atuk doesn't get it.

ATUK
Gone where?
(yells out, not wanting to believe Bishop is angry with him)
Write me a letter, okay?

INT. McKUEN DINING ROOM - NIGHT

Vera, Atuk and McKuen eat at one end of the long
table. Atuk dawdles with his food, not hungry.

ATUK
Sir, I think I'd like to go too. I was thinking maybe I could live in the City.

VERA
(glad to hear this, to her husband)
I think that's a very good idea, don't you?

ATUK
Michelle says she wanted me to stay close by,
you know, where she could get a hold of me.

McKUEN
(back to business, wary of losing control of Atuk)
I see ... she's a very nice girl, isn't she?
(Atuk nods)
Well, all I ask is that you listen to her --
let her look after you -- will you do that?
(Atuk nods, McKuen smiles)
Good.
(to Vera)
Maybe we can put him up in one of the hotels.

Vera starts to object, but it's better than having Atuk
around the house. She smiles a thin assent to Atuk.

ATUK
(gets up)
Can I be excused?
(starts to leave the room)
If all the trouble has anything to do
with that doctor, sir -- it was my fault.

McKUEN
(not wanting to deal with a painful subject, firmly)
Goodnight, Atuk.

Atuk turns and walks slowly and alone to the stairs.

EXT. WILDERNESS - DAWN

Malcombe Treet walks into the frame, surveys the splendid expanse soon
to become McKuen's Emerald, then opens a gate on the old split-rail fence.

An armada of trucks, cranes, food wagons, and Motor Homes surges through the gate
and snow, roaring, snapping fallen branches, filling the air with blue smoke, panicking
birds and deer -- assaulting the entire environment with noise and crude power.

INT. ATUK'S TRAILER - DAWN

Atuk is being made up to look darker as Michelle
goes over a storyboard pad, not showing it to Atuk.

ATUK
But why are they putting this stuff on my face?

MICHELLE
So you'll look right.

ATUK
Right for what? Who looks like this?

MICHELLE
Eskimos, remember?

ATUK
Why? Why are we doing this?

Treet steps inside, behind Atuk, makes an instant, objective
appraisal of the Eskimo, then puts a hand on Atuk's shoulder.

TREET
(skilled sincerity)
Atuk ... you look terrific.

ATUK
(gives up)
Thank you.

Michelle gives Treet a look -- "we've got trouble" -- then tries again with the storyboard.

MICHELLE
Atuk, we have to try and get through this.

TREET
(showing on storyboard, again sincere-sounding, a warm and caring guy)
All we want to do is walk across the snow and harpoon a fish.

ATUK
Why? We got about 400 sandwiches in the cooler back here.

MICHELLE
For the camera, Atuk.

ATUK
(trying to cover anxiety)
I forgot my harpoon.

TREET
(still controlled, unflappable)
That's okay, we have one for you. And we've even stocked a small stream.

ATUK
(looking at his darkened face in the mirror)
But I look like a jerk. The fish ... believe me, fish will not
respond to a color like this. You ever seen the African National
congress fishing on Hudson Bay -- heck no, they'd starve.
(lights a cigarette)
Come to think of it, the idea might appeal to them.

MICHELLE
(scolding)
Atuk, now come on.

Treet looks at Michelle. "Play it easy" is what he's saying.

ATUK
(to Michelle)
I'm sorry.

MICHELLE
(rubs his shoulder, sweetly)
Hey, I know you're just nervous ... but don't
worry about it, okay -- you'll be great.

EXT. WILDERNESS - DAY

Atuk walks away from camera, carrying a harpoon. He
glances to camera, he has a cigarette in his mouth.

ATUK
Like this?

MICHELLE
(goes to him as Treet yells cut)
Atuk, just forget about us. Just be yourself and go get the fish. Okay?

She takes the cigarette from his mouth and exits.

TREET
(O.S.)
Take two.

ATUK
Why? Why am I killing this fish?

MICHELLE
(reappears, parrots the awkward propaganda)
To show Mr. McKuen's respect for the land.

ATUK
(remembering McKuen's speech, vaguely)
Oh, yeah ...

She exits again. Treet starts the camera.

ATUK
(shouts out)
Okay! Take number two. Atuk kills the fish!

He raises the harpoon, ready for action, and growls across the snow --
the great hunter. He arrives at a small stream, literally packed with
fish, shoulder to shoulder. He steps to the water's edge, begins to
stall by rubbing snow on the harpoon, performing some Ed Norton-
type loosening-up exercises, poises over the stream for the kill, lets
out a powerful scream, plunges the harpoon, and pulls up nothing.

ATUK
(turns to camera)
Uh ... that was just a practice shot.

TREET
(O.S.)
And it looked great Atuk ... let's try it again.
(Atuk hesistates; softly)
Michelle ...

MICHELLE
You can do it, Atuk!

Atuk steels himself, then jumps into the shallow water, jabs several times,
but still can't come up with a fish. He turns to the camera and starts to
laugh -- the point of his harpoon is above his shoulder, out of frame.

ATUK
Okay, what's next?

INT. McKUEN PALACE HOTEL - DAY

Atuk walks to the desk with more shopping bags of clothes. Clerks
observe him stiffly -- a man who clearly does not belong in this hotel.

ATUK
(to clerk)
Hello ... Mr. McKuen said I could stay here. My name is Atuk.

A delivery boy appears behind Atuk with more clothes and an
enormous stereo and speakers. The CLERK consults annoyedly
with another clerk. They find Atuk's record on the their terminal.

CLERK
(suddenly friendly)
Ah, yes -- Atuk. So happy to have you with
us. Anything you'd like, just let us know.
(bellman appears)
He'll show you to your room.

INT. LUXURY SUITE (SAME USED FOR VERA'S COMMERCIAL) - NIGHT

Atuk, clothes are already put away.

ATUK
(walking around, loving it)
Great, great ... absolutely great.

Atuk lays on the bed for a while, wondering what to do next, turns on the television,
then find the card Michelle gave him, goes to the phone and dials the number.

ATUK
Hello ... Michelle? Hi. I just wanted to tell you
where I was in case you wanted to get a hold of me.

INT. MICHELLE'S APARTMENT - NIGHT

A homey, small, cluttered working woman's place. She's surrounded
by papers at a typewriter, on the phone, caught up in her work.

MICHELLE
Well, that's good, Atuk.

INT. ATUK'S LUXURY SUITE - NIGHT

ATUK
I'm not doing anything right now ... do you want to come and see my new
sound system -- I'm at the McKuen Hotel on 51st Street ... well, maybe
I could bring it over there ... well, then how about something else ...

MICHELLE
(filtered)
I'm sorry, Atuk ... I've got a lot of work ... and don't forget we
have to be back up to the location first thing in the morning.

He looks at the TV, sees a ballet.

ATUK
(excited)
Oh, Michelle -- a ballet -- we could do that ... oh ... did I
do something wrong -- I thought maybe you'd be mad at me
for screwing up, you know, with the fish and everything ...

INT. MICHELLE'S APARTMENT - NIGHT

MICHELLE
(sweetly)
No, no ... everything's okay ... really. I'll see you in the morning, okay? Goodnight.

She hangs up, feeling badly for turning him down for all this work ...

INT. ATUK'S LUXURY SUITE - NIGHT

He stares at the phone, feeling lonely and rejected, then walks
to the window, notices something below, opens the window and
yells down to a group of homeless bums by a heating vent.

ATUK
Hey! You guys! You wanna hear my sound system?

INT. ATUK'S LUXURY SUITE - NIGHT

Music blasts. The place is filled with bums. Room service waiters push in carts of food
and liquor. Atuk's on the phone, holding a drink, reading from a giant room service menu.

ATUK
(shouting over party noise)
What is a "zest" of lemon, exactly? Are they good?
Is it better than just a regular lemon? What's a lemon like?
(sees something O.S.)
I'll have to call you back.

Bum #1 from Atuk's first encounter walks in.
Atuk greets him like a long-lost friend.

ATUK
Hey ...
(to waiter with drinks)
The man's empty-handed here.
(gives bum a drink)
Where you been, man?

BUM #1
(stunned by surroundings)
Where you been?

ATUK
(gulping drink)
Passing lane, baby.
(shouts to crowd)
This is my first pal, everybody!

A pair of tarted-up hookers appear behind Bum #1. Atuk puts his arms around them.

ATUK
(to crowd)
And these are my 47th and 48th pals, respectively.
(applause, as Atuk howls and herd hookers through crowd)
Come on, pals ...
(makes roaring engine noise)
Danger! Passing lane!

INT. MICHELLE'S APARTMENT - NIGHT

She's stuck in her work, sighs, pulls her hair back, then sees her phone and dials it.

MICHELLE
Can you give me Atuk's room, please?
(waits, can't hear over noise on other end)
Hello? Hello? Who is this?

EXT. McKUEN PALACE HOTEL - NIGHT

A limo with a phone antenna pulls up. Vera and Alexander get out in
evening clothes, on their way home from the theatre. Vera storms into
the lobby, and through the glass doors, we see her confer with a manager.

INT. ATUK'S LUXURY SUITE - NIGHT

Atuk dances with the hookers like he did at the club with Bishop. He opens
his shirt, completely blasted -- even room service waiters are cheering.

INT. McKUEN PALACE HOTEL - NIGHT

Music blasts through the door. Guests peer into the hall as Vera, the
manager, Alexander, and security men exit an elevator. Vera is fuming.

McKUEN
I only suggested it for you, Vera -- you're
the one who wanted him out of the house.

VERA
(shoots him a harsh look, then smiles at guests)
How are you this evening? Just be a moment and we'll have it taken care of.

INT. ATUK'S LUXURY SUITE - NIGHT

He's on a table, sweating, exhorting the crowd.

ATUK
I LOVE ...
(crowd repeats)
I LOVE ...
(crowd repeats)
DANCING ON THE TABLE!
(crowd cheers)

Atuk dances, then jumps to a couch.

ATUK
(resumes chant)
DANCING ON A COUCH!
(dances, then jumps back to table)
DANCING ON THE TABLE AGAIN!

Crowd cheers as the whores join Atuk. The door
flies open, revealing McKuen and his wife.

ATUK
All right! More friends!

McKuen is surprised and shocked. Vera goes to the stereo and
pulls the plug as room service waiters try and compose themselves.

VERA
I want you all out!

HALLWAY

Michelle walks from an elevator towards the room.

ROOM

Vera walks back to her husband as Michelle steps up behind them.

VERA
(drills him with her eyes)
You can do anything you want, but
Goddamnit, don't tell me you did it for me.

She turns to leave, sees Michelle has heard this --
in a way she's glad someone has -- then leaves.

ATUK
(drunk, wound up)
What's the matter?

Michelle steps into the room -- the sight of Atuk so
changed, so embarrassing in a way, is terrible to her.

ATUK
These people don't have any houses.
They don't have any place to go.

The whores climb down. Atuk is left bleary and barely able
to stand. McKuen, momentarily stung by his wife and Atuk,
recovers and gives Michelle a quick, controlled instruction.

McKUEN
Make sure this doesn't get out.

He leaves. She goes to Atuk.

MICHELLE
(sadly)
Atuk ...
(but still guided by McKuen and his promises, doing her job, softly)
Come on ... we've got a big day tomorrow.

EXT. WILDERNESS - MORNING

An assistant raps on Atuk's trailer door -- no answer.
Michelle walks up, taps again -- still no answer.

MICHELLE
(gingerly)
Atuk? We're ready ...

The door opens. Atuk stand before them as a complete, disasterous wreck. He is wearing
a sweater with reindeer on it, and Levis. His dark make-up is smeared in blotches.

MICHELLE
Jesus ...
(to assistant)
Go tell Treet we'll be just a second.

Treet walks up.

ATUK
(grabs his own sweater, trying to intimidate)
You don't like it?

TREET
(delicate, trying to calm him)
Atuk -- it's not appropriate for your character, that's all.

ATUK
(points to reindeer on sweater, sardonic)
Come on, what are these -- helicopters? These are
reindeer, man -- the life blood of my people, yes sir.
(to Michelle)
You saw the situation up there -- straighten this guy out.

MICHELLE
(speaks before Treet can, tries to reason)
Atuk, we have to match what you were wearing yesterday.

ATUK
I changed my clothes, man. Hey, that's the Eskimo way --
we change five, six times a day -- something for every mood.
(steps back into trailer, slams door)

TREET
(takes Michelle aside, controlled, smooth)
Find out what the trouble is, stroke it to the surface,
and have his ass on the tundra in five minutes.

He leaves. Michelle goes to Atuk, takes his arm, and they walk.

MICHELLE
Look, I'm sorry I let you down last night --
I was just -- I just had too much to do.

ATUK
Like what?

MICHELLE
A million things -- there's a lot of pressure here. And I have to count on you to help me
out -- that's the deal we made, remember? Can you go out there and do it ... for me?

ATUK
(warms to her, embarrassed)
I don't know ... I'll try.

EXT. WILDERNESS - DAY - LATER

Treet walks across the snow, showing what he wants to happen.

TREET
All right. What I want is for Atuk to walk here, like this, pause here --
he surveys the horizon -- he considers the breadth of his vast domain.
And then he discovers something at his feet ... a tiny, struggling wildflower.
(to prop man)
Is it ready?

Prop man puts a small potted flower in the snow by Treet's feet.

TREET
And Atuk kneels and studies the flower -- clinging to life -- as he is himself.
(walks O.S.)
All right then -- let's do it.

He calls for action as Atuk, now in a parka, mopes across the snow to the flower.

TREET
Atuk, could you walk a little livelier, please?

Atuk shoots a glare at him, backs up, and
speedwalks across the snow like a pedestrian racer.

TREET
Cut!

ATUK
(turns to him)
Hey, you wanna show me how a fucking
Eskimo walks -- I'd like to know.

TREET
Just go on, then. Go to the flower.

Atuk walks to the flower, bends to look at it.

ATUK
It's beautiful -- what the hell is it doing here?

TREET
Cut! It's growing there.

He goes to Atuk, followed by Michelle.

ATUK
How can it be growing? There's gonna be a whole bunch of buildings here.

MICHELLE
(trying to defuse things)
It's symbolic, Atuk.

ATUK
(picking up flower)
What is this? Everything is symbolic.

TREET
Atuk, you've got to trust me on this, okay? You'll
understand it better when you see the final product, okay?

Atuk seems possibly mollified. Everyone retreats to restart the shot.

TREET
(O.S.)
And ... action.

ATUK
(picks up the potted flower)
How come nobody wants to trust me? This is a fucking potted plant
in the middle of the snow, for Christ's sake. Who ever heard of that?

Atuk throws the plant aside.

INT. MICHELLE'S APARTMENT - NIGHT

Atuk lays on a couch. Michelle clears empty take-out food
cartons from a coffee table and takes them to the kitchen.

ATUK
How come Mr. McKuen needs me to tell everyone how
much he respects the land? Why can't he say it himself?

MICHELLE
(returns, takes last cartons)
This wasn't exactly chicken soup, but it's ...
well, it's my entire repertoire is what it is.
(goes back to shut down the kitchen)
I should take a class, I guess -- I'm the only female in New York who refuses
to take classes -- dance, personal investing, and cooking -- the big three.
(returns)

ATUK
It was good.

MICHELLE
Thank you.

ATUK
What's he doing to that land anyway?

MICHELLE
Atuk ... I'm sure he's doing the right thing.

ATUK
How do you know that?

MICHELLE
(joking)
He hired me, didn't he?

ATUK
(looks at her, wondering if she is everything that she seems)
Yeah ... he did.

MICHELLE
(she draws blinds, turns out the lights)
I think you should stay here with me for a while -- just take things easy.

ATUK
Here?

MICHELLE
If that's okay ...

ATUK
(half-smile)
Sure.

MICHELLE
And try not to let things get to you. One more scene and you're all done.
(puts blanket over him, then walks to bedroom door, warmly)
Goodnight, Atuk.

ATUK
Michelle ...
(sits up to look at her, wants some kind of reassurance)
Goodnight.

She closes her door, darkening the room. Atuk sits for awhile,
down, unsure. He unthinkingly picks up a pencil by a phone on a
table next to the couch and begins to doodle on a pad of paper.

END
REEL THREE

ATUK - REEL FOUR

THE SUBTERRANEAN COLLECTION
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