ATUK

REEL FOUR

INT. McKUEN KITCHEN - MORNING

Open on a maid preparing breakfast as a morning talk show plays on a portable TV.
McKuen walks in from outside in a polo outfit, hot from a game. He joins Vera at
a breakfast table in an adjoining atrium. Both read papers as the maid serves them.

The weekly advocate, Barker, is on a talk show.

McKUEN
(passing maid)
Good morning, Jean.

BARKER
Just let me read from this report ...
"Furthermore, contaminants already present in the proposed water supply, when
combined with waste from a development of this scope, will produce toxicity which
has been shown to cause, among other things, heart problems, lung defects, spinal
deformations, cancer, and various other fatal disorders in infants and young children."

McKUEN
(to maid, affecting disinterest)
Could you turn that down, please?

Maid turns TV off as a phone rings. Vera answers.

VERA
(angry)
Well, that's too bad.

McKUEN
(absorbed in paper)
What's too bad?

Maid hands McKuen another ringing phone.

McKUEN
(into phone)
Yes? What do you mean he disappeared?

Both erupt at the same time, each becoming louder and more hostile.

McKUEN
Well, you find him and you bring him to me.
(slams phone down, to wife)
Atuk's gone.

VERA
You did everything you could do to end up
there, and that's where you are staying.
(slams phone down, to husband)
Bishop wants to come home.

This somehow gets to McKuen -- his distance from his son. He stares in silence.

INT. MICHELLE'S APARTMENT - MORNING

She sits on her couch trying to figure out what to do next. She sees
something by the phone -- Atuk's doodlings -- several versions of the
same vague shape, like an outline of an animal cracker. She turns the
paper to different angles, then finally hits what they are, and rushes out.

EXT. CENTRAL PARK ZOO - DAY

Atuk stands alone before a polar bear cage -- an ugly, blue concrete
"environment"with a single pacing bear, matching the shape of Atuk's drawing.

ATUK
(to bear)
Hey ... where you from? Yeah, I'm talking to you -- you see anyone else around?

A bundled-up family walks behind Atuk. A kid points to him. They all walk
away disappointed when they see Atuk is more interested in talking to the bear.

ATUK
(to bear)
Yeah, I was just in the area, you know. Took the day off.

Michelle runs up in the distance, sees him and slows down, wanting to be cautious.

ATUK
(to bear, lying)
Oh, pretty good, you know. Yeah, doing great.
(long pause)
Yeah, I gotta tell you, I'm doing great. How about yourself?
(bear growls at him)
Yeah, well, that's your problem, pal, because I'm doing great.

The bear yawns and walks away. Atuk turns to see Michelle.

MICHELLE
(smiles)
Hi.

ATUK
(embarrassed)
Hi, how'd you find me?
(she shows him the doodlings)

MICHELLE
(touches his face)
You feel better?

He nods, responding to her attention. She takes his arm.

INT. McKUEN'S OFFICE - DAY

Michelle and Atuk stand near a huge, empty table.
McKuen stands by a window across the room.

MICHELLE
(frames her language)
Sire ... we've asked him to bite off a pretty big chunk here, that's all ... and I
don't want to speak for Atuk, but no one has much to gain if he's this unhappy.

McKUEN
(fatherly)
I see ...
(walks to open door near her)
Would you mind if Atuk and I had a word alone?

She's a little reluctant to leave Atuk, but McKuen sounds genuinely concerned.

MICHELLE
(softly, to Atuk)
I'll be right outside, okay ...

Atuk nods. McKuen ushers her out, closes the door, then turns to Atuk.

McKUEN
Please, Atuk ... sit down.

Atuk sits. McKuen circles the table as he speaks, drawing closer and closer to Atuk.

McKUEN
(maximum charisma and power)
Atuk, I'm not going to try and raise your spirits with a pep talk,
or give you a long monologue on dedication and responsibility ...
but what I want you to understand is that all the things that attracted
you to this country, that stand out to people all over the world, are the
direct result of a single idea -- the word appears over and over in the
Constitution -- freedom of speech, freedom of religion -- freedom, to
the conduct of our lives. So when someone tries to take that away, by
saying things for whatever misguided reason that could take away my
freedom to provide for my family and friends, my freedom to do business,
then I have an obligation to fight back. Not with anger or vengeance,
but with the best weapon of all -- the truth. But something isn't true,
just because you say it -- people need to be shown. And that's why I need
you, Atuk. To show people, to give people an image of the truth. And by
doing that, you help to preserve something for me, for everyone -- our freedom.
(emotional, as if spent)
You know how important you are to me --
just finish the ad and make me proud of you.

Atuk is left spellbound. He's never been exposed to a performance
like this. McKuen squeezes his shoulder and pats him on the back.

EXT. WILDERNESS - DUSK

Atuk is back on location. Michelle walks him along a frozen
river bank to a spot where Treet and the crew set up a shot.

ATUK
(V.O.)
"Dear Mother -- Guess what I did? I made a commercial. I'm going to
be on everyone's television -- me, a simple man from inside the Arctic Circle."
(they arrive at Atuk's mark; to Michelle as she straightens him for the shot)
What if they don't like me?
What if they think I'm stupid?

MICHELLE
(as if it's absurd)
Oh, come on ...
(she finishes, walks near Treet by the camera, sees that Atuk is still worried)
Atuk -- they'll love you!

Atuk looks toward her, sees her encouraging smile, then in the warm light,
Atuk's face fills with a happy, huge smile of his own. Treet quickly whispers
to the camera operator to roll film while moving Michelle next to the camera
to drawn Atuk's smiling look toward her, and more importanly, the lens.

TREET
Terrific!

INT. MICHELLE'S APARTMENT - NIGHT

Atuk sits on a couch with his feet up on a coffee table, writing a letter on a pad.

ATUK
(V.O.)
"I also think I'm in love, with the woman who came on the airplane."

Michelle joins him with two glasses of champagne, gives one
to Atuk. His gaze stays on her -- he really does love her.

ATUK
(V.O.)
"She's beautiful and really nice, but skinnier than you may remember."

MICHELLE
What are you writing?

ATUK
Nothing -- just to my mom.

MICHELLE
(sweetly)
Atuk ... I've enjoyed, you know ... working together ... hanging out ...

ATUK
(tongue-tied, smiles)
Well, yeah ...

MICHELLE
(toasts)
So .. here's to ... you do it.

ATUK
Here is to ...
(looks confused)

MICHELLE
It's a toast -- you say something you want, something good.

ATUK
Okay ... here is to beautiful women ...
(she demures)
With no fat. Beautiful, fat-free women.
(she begins to laugh)
Lean, 100% non-fat, emaciated, very light,
beautiful fatless women. Except for there.
(points towards her breasts)

She tries to drink her champagne, but can't stop laughing -- the more
he makes her laugh, the more she realizes how much she likes him.

INT. OBSERVATION BOOTH - DAY

Technicians man a room with a two-way mirror overlooking a TV
viewing room at an ad agency. Atuk and Michelle join Treet, Vera,
McKuen, and Pike to watch a mixed group of New Yorkers being tested
for their response to the commercial. The viewers sit at desks with rows
of buttons. A man from the agency explains what is about to happen.

AGENCY MAN
What we want is for you to evaluate the commercial you're about
to see with the buttons on your desks. Five is best, zero is worst.
The areas to judge are, "Is it clear?", "Is it believable?", and "Does
it make you care about the advertiser's message?" Are we ready?

McKUEN
(to Treet in booth)
When does this start running?

TREET
If the numbers are good, right away.

Agency man leaves the room and closes the door.
An ad begins to run on a large monitor.

INT. - SCREEN - BLACK

Narration over type: "Some people resist change."

Cut to: Atuk walking across featureless white snow -- no trees, no horizon -- just snow.

Narration: "Some people recognize it's inevitability."

Cut to: Black.

Narration over type: "There are men who destroy the land they live on."

Cut to: Slow motion of Atuk making a single jab with his harpoon at the pool, stocked with fish.

Narration: "And there are men who've been living off the same land for thousands of years."

Cut to: Close up of a fish, spiked on a harpoon point.

Cut to: Close-up of Atuk's smiling face.

Narration: "There is a company that understands this."

Cut to: Tight on Atuk as he stops at the hillcrest and surveys below.

Narration: "That change need not occur at the expense of life."

Cut to: Atuk bends down to sniff at the wildflower.

Narration: "But rather, that change is life."

Cut to: McKuen logo over close-up of Atuk's smiling face --
the stolen smile -- as if he's reacting to the flower.

Narration over type: "Understanding change. Understanding life."

Dissolve to: McKuen logo, still over black.

Narration: "The McKuen Group. Building for life."

INT. VIEWING ROOM - TEST AUDIENCE - DAY

Cut to them several times during the ad, showing progressively more pleased faces.

INT. OBSERVATION ROOM - DAY

McKuen stands up, ecstatic.

McKUEN
I love it.

Michelle, McKuen, Pike, and technicians all applaud.
Atuk stares straight ahead, as if he's been hit with a brick.

TREET
(watching digital scores climb on a control panel, re: audience)
Looks good!

McKUEN
(to Atuk)
I can't tell you how sensational you were. I'm so proud of you.

ATUK
(blows up, crushed)
For what? I didn't do those things.

But McKuen doesn't hear. He's too busy spreading congratulations to others.
Vera sees Atuk's reaction and Michelle looking at him. She steps up to Michelle.

VERA
I know how you are feeling.

Michelle turns, surprised to hear a woman like Vera reading her mind.

VERA
I thought Alexander was pretty seductive, too -- but you have
to realize it isn't you he wants, honey -- it's your dignity.
(looks at her husband across the room)
Best damn collateral in the world.

Treet goes to McKuen, elated.

TREET
Ninety-seven!
(aside to McKuen)
That's not a score, that's hypnosis.
(more applause)

ATUK
Maybe you people didn't hear me -- I didn't do those things.

And they still don't hear him.

McKUEN
(to Treet)
I want this on the air tomorrow.
(to aide)
Get the Senator and tell him we've just put public opinion in our pocket.

Atuk turns and sees Vera talking with Michelle -- even she looks
traitorous. In a flash of anger and awareness, he marches from the room,
passing Michelle. The others, including McKuen, don't see him leave.

MICHELLE
(trying to stop him)
Atuk?

He throws her a betrayed "fuck you" look and leaves. Michelle takes a last glance
at Vera, and McKuen steps in front of Michelle as she starts to go after Atuk.

McKUEN
Congratulations! Wonderful job!

MICHELLE
(torn between him and Atuk -- finally, glaring at him, angrily)
Sure as hell was.

EXT. ZOO - DAY

Michelle goes to the polar bear cage. The bear paces restlessly. There's
no Atuk. Just as she's about to give up, she spots a peculiar mound in the
snow in the distance -- an igloo. She goes to it, looks for a place to knock.

MICHELLE
Hello? ... Atuk? ...
(no response)
Are you in there? Atuk, I know you're in there.
(no response, starts pacing around the igloo)
Atuk -- what can I tell you? -- I didn't know. I didn't care.
Goddamn it, Atuk, I feel horrible too. I knew those reports
about the Emerald ruining the land were probably true, but
I bought right into it, boy, I could just taste the big time.
(stern to him)
And don't you get smug with me, pal -- you were smacking
your lips pretty good yourself. You liked those $1200
coats, and the big speakers, don't tell me you didn't.
(desperate, pleading)
Atuk, will you please come out of there?

ATUK
(muffled, from inside)
Why?

MICHELLE
(crying)
So that I can ask you to forgive me.
That's how you do it -- face to face.

ATUK
That's not the way I do it.

MICHELLE
Well, what are you going to do?
Just stay in there? That'll do a lot of good.
Just hide yourself in an igloo, do nothing.
(getting angry with him)
Atuk -- you don't like something, you do
something about it. You don't feel sorry for
yourself -- what good is that gonna do anybody?
You don't want other people exploiting you,
then you take the lead for a change.
Atuk? Are you listening to me?

He suddenly busts through the wall of the snow house, ready
for action, wearing his traditional Eskimo clothes and parka.

MICHELLE
(surprised, impressed)
That's a start.

ATUK
Where's McKuen?

MICHELLE
I don't know -- he's supposed to testify at the hearing this afternoon.

ATUK
Where?

MICHELLE
The City Court building. Why.

ATUK
Meet me there.
(checks sun for time)
I have something else to do first.

He runs off. She calls after him.

EXT. 64TH STREET & 5TH AVENUE - CENTRAL PARK ZOO ENTRANCE - DAY

Atuk runs from the zoo park, sees a limo at a light.

ATUK
(to driver)
Do you know where Riverton is?

DRIVER
Over the G.W. Bridge, hit the expressway north, you'll see the exit.

ATUK
And there's a military school there, right?

DRIVER
Yeah, sure -- on the edge of town.

ATUK
Thanks.

INT. LIMOUSINE 64TH & 5TH AVENUE - CENTRAL PARK ZOO ENTRANCE - DAY

Atuk pulls the driver out, gets in, and blasts off. A wedding party
is in the back seat -- bride and bridesmaids on the way to
the church -- now screaming, badly panicking as Atuk rips
through traffic, screeching and jerking all over the road.

EXT. FRONT GATE - RIVERTON MILITARY INSTITUTE - DAY

A couple of Victorian buildings on wide, flat grounds. Atuk slides up to a
guardhouse, the passengers in the limo aren't visible through tinted windows.
The sentry has a German Shephard guard dog.

ATUK
(lowers his window, to guard)
These people are Japanese, sir.
They want to buy the school.
(guard starts to look in)
Don't look too close -- they can't speak
English, but they can read expressions.
(hushed to the guard)
They're gonna pay about ten times what this place is worth.

The guard steps back. Atuk blasts to the main building and runs inside.

INT. RIVERTON MILITARY INSTITUTE - DAY

A polished corridor leading to classrooms.
Atuk goes from door to door, looking through windows.

INT. RIVERTON MILITARY INSTITUTE - CLASSROOM - DAY

Military cadets are taking a seat. Atuk puts his head in the back.

ATUK
(sharply)
Ten-hut!

Cadets jump to their feet. Atuk darts behind them, peering up each aisle
from the rear of the room looking for Bishop -- the intructor's view of
him is blocked by the standing students. No Bishop. Atuk runs out.

INT. RIVERTON MILITARY INSTITUTE - ANOTHER CLASSROOM - DAY

Atuk does the same thing -- calls "Ten-hut", scans standing cadets
from behind until he sees one student slouchin at his desk.

ATUK
(knowing who it must be)
Hey, Bishop.

Bishop turns to see Atuk, but still sees him as sold-out to his father.

BISHOP
What, did my father send you?

INSTRUCTOR
(spotting Atuk)
Who are you?

ATUK
(shouts at instructor)
NONE OF YOUR BUSINESS!
(to Bishop, sincerely)
No, it's just me. I came to get you out of here.

Bishop sees that he means it, he lights up and rushes to Atuk.
They both say goodbye over the barking commands of the instructor.

ATUK
(to Bishop, as they run out)
I brought some girls.

INSTRUCTOR
(yells out door)
Come back here, mister.

EXT. RIVERTON MILITARY INSTITUTE - DAY

The bride hops in the front of the limo and speeds away, as Atuk and Bishop come out
the front door. It's too late to catch the car. They run around the side of the building.

EXT. BACK OF RIVERTON MILITARY INSTITUTE - DAY

Atuk and Bishop run behind a storage barn.

BISHOP
Nice girls. Now what?

Atuk sees a toboggan leaning up against a barn.
He pulls it down and drags it into the barn.

BISHOP
(following)
What are you doing?

INT. FIRST CLASSROOM - DAY

Cadets are still standing at attention. The intructor from Bishop's
classroom runs in with several of his cadets, looking around for Bishop.

INSTRUCTOR
(to his cadets)
Get the Colonel.

INT. BARN - DAY

Atuk has finished lashing the toboggan to a pair of cross-country skis
with a piece of rope. He cuts the last of it with a knife as Bishop looks
around the barn, seeing horses in stalls and a single seat snowmobile.

BISHOP
Come on, they'll catch us.

Atuk says nothing. He grabs a pile of bridles and begins tying them to the front of the
toboggan. Bishop still isn't sure of what Atuk is up to, but he runs off to do what he can.

INT. SCHOOL - DAY

Cadets run down a hall into an office -- the Colonel's gone cadets
run back up the hall trying every door looking for him.

EXT. SCHOOL - DAY

Bishop has popped the hoods on a pair of school vehicles, pulls
the last coil wire, closes both hoods, and runs back to the barn.

INT. BARN - DAY

Bishop rushes in. Atuk has laid a stepladder
sideways on the toboggan for sled handles.

ATUK
(pointing across barn)
Get the stool.

Bishop grabs a stool while Atuk looks for something to tie the ladder
with. He spots hay bales, cuts one of the bailing wires with a knife.

INT. SCHOOL - DAY

Cadets run down the stairs. They've found the Colonel.

INT. BARN - DAY

Atuk and Bishop have finished wiring down the ladder.
A dozen untied bales of hay are scattered everywhere.
The stool rests like a seat between the ladder.
Atuk looks around, then runs to the door.

EXT. BARN - DAY

Atuk steps out, draws a huge breath, and whistles, then screams.

ATUK
(screaming)
Come here, Goddamn it!

A half-dozen German Shephard guard dogs run up to him from all directions.

EXT. SCHOOL - DAY

The Colonel and cadets rush out. He orders them to scour the grounds.

COLONEL
Fan out!

Some head toward the barn.

EXT. BARN - DAY

Out of a dark open doorway charges the Atukian found-object sled,
pulled by the shepherds, with Bishop aboard the stool and Atuk at
the helm. Atuk and Bishop both let out deafening war whoops as
the sled turns up onto a wide field of snow and heads toward the road.

Cadets run after it, then give up. The Colonel jumps in a car, but it won't start.

EXT. SNOWY PLAIN - DAY

The sled's a flurry now, going 40 MPH.

BISHOP
Where are we going?

ATUK
I'm gonna have a few words with your dad.

BISHOP
Good luck.

EXT. RIVERTON MILITARY INSTITUTE - DAY

The Colonel runs toward the main gate shouting at Bishop and Atuk.

EXT. TOBOGGAN - DAY

The toboggan moves between an expressway and track track,
faster and faster. The Shepherd's legs are barely visible in the snow.

EXT. TOBOGGAN - DAY

Bishop points to something O.S. Atuk turns to see a freight train
running parallel to them in the distance. Atuk yells at the dogs.
They speed up -- they're actually beating the train, and, even better -- the
train's wheels are on fire from the speed. Atuk turns to Bishop and laughs.

BISHOP
(amazed, to Atuk)
No bullshit!

EXT. GEORGE WASHINGTON BRIDGE - DAY

Toboggan charges toward Manhattan.

EXT. TOLL GATE - DAY

A toll collector looks out his window at a dog sled racing towards him.
Atuk and Bishop streak by, out of control, duck under the gate.

INT. COMMITTEE HEARING ROOM - DAY

The entire committee is now present -- Senator Pierce and a panel of seven
or eight others. The gallery is packed. McKuen sits with his lawyer and
Pike at the witness table. Vera and Malcombe Treet sit nearby. Barker is in
the back of the crowd. Large TV screens are set up on either side of the panel.

PIERCE
Mr. McKuen, I would first like to state publicly that this Committee
very much appreciates your voluntary effort to speak here ...

BARKER
(calls out)
Is this a speech or is it a testimony?
(Pierce bangs gavel)
Maybe if he kicked in another ten grand,
you could call it a soliloquy.

PIERCE
(crowd buzzes, bangs gavel)
Sergeant-at-arms, I want that man removed.

Bailiffs move to Barker.

BARKER
How much was it, Senator?

As they drag Barker out, several of the other Senators look
queerily at Reed -- notably, a young liberal one called STEIN.

INT. COMMITTEE HEARING ROOM - DAY

Atuk's ad plays on the large TV screens.

SENATOR STEIN
(to McKuen)
Sir, it seems to me this advertisement, which was just on this
morning, by it's tone contradicts rather largely the data furnished
to us by independent experts. Do you have a comment on that?

Senator Pierce clears his throat loudly, signalling to the
junior member how bored he is with the questioning.

McKUEN
(good-humored)
Well, Senator, reasonable men differ ... which,
of course, makes one of them unreasonable.
(crowd chuckles)

EXT. CENTRAL PARK - DAY

Atuk and Bishop blast overland past the three bums Atuk
helped earlier, now standing beside a horrible, misshapen,
listing snow house they've made for themselves.

BUM #1
(raising wine bottle)
Hey Atuk! Pedal to the metal, man!

EXT. PLAZA HOTEL / FOUNTAIN - 6TH AVENUE & CENTRAL PARK SOUTH - DAY

Atuk and Bishop turn from Central Park onto Central Park South, and head
towards Fifth Avenue, past luxury hotels -- possibly a couple of McKuen's.
A woman walking nine or ten expensive dogs suddenly loses her footing, as the
toboggan passes by, and the dogs run yapping after it dragging her with them.

EXT. 5TH AVENUE - BETWEEN 55TH & 53RD STREET - DAY

The toboggan shoots past crowds, people spot Atuk and wave.

INT. COMMITTEE HEARING ROOM - DAY

SENATOR STEIN
But wouldn't you say, sir, that your responsibility to a legacy so
precious as this planet might be to err on the side of caution, rather than ...

McKUEN
(cutting in)
I'm not in business to make errors, Senator.

EXT. CITY COURT BUILDING - DAY

The toboggan pulls up behind McKuen's limo, followed by an entourage of
dogs now numbering a couple of dozen. Atuk and Bishop run up the steps.

ATUK
(turning back towards barking, swarming dogs)
STAY!

All dogs -- scattered in the street, on the sidewalks,
everywhere -- freeze in their directions.

INT. CITY COURT BUILDING - HALLWAY - DAY

Bishop and Atuk find the hearing room door.
Atuk starts to go in, sees Bishop hanging back.

BISHOP
(reluctant)
Go on. I just wanna wait a second.

INT. COMMITTEE HEARING ROOM - DAY

PIERCE
(eager)
Now that the Senator's time has expired, the
chair moves that these proceedings be closed, and ...
(raises gavel)

MICHELLE
(rises, shouts a last ditch protest)
Senator, I'd like to ...

Atuk bursts into the room. Everyone turns to look at him -- crowd
buzzes when they see who it is. Vera sighs; things are completely out
of hand. McKuen stands, irritated and confused. McKuen confers with
his lawyer and Pike. Crowd members point and whisper Atuk's name,
as he walks gingerly towards the witness table. He's suddenly lost his
momentum, daunted by the room and the crowd, and most of all --
his own freeze-frame image on giant TV screens.

PIERCE
(covering microphone, angrily to an assistant)
What's going on?

McKUEN
(to Atuk)
Atuk, you're interrupting here.

ATUK
(looking around, intimidated, then blurts out)
I want to say something.

LAWYER
(to committee)
This man is not a qualified witness.

PIERCE
(raises gavel)
Then I move we adjourn ...

SENATOR STEIN
No. I'd like to hear what he has to say.
(as Pierce starts to object)
Mr. McKuen, himself, represents this man as
an expert. I think we should hear him out.

McKuen looks at Treet. Treet shakes his head no, but McKuen decides on a grossly
self-confident act of calculation to defuse the situation, by surrenduring the floor.

McKUEN
I have no objections.

PIERCE
(flummoxed)
All right, then ...
(settles back in his chair, annoyed acquiescence)
Your witness, Senator.

McKuen gives Atuk a greasy, prompting smile, pats him on the back and sits down,
as Atuk begins to pace the floor. He starts to speak a few times, but nothing
comes out, then he spots the VCR playing his commercial, and turns it off.

ATUK
I was driving here, you know, in this sled from Riverton,
New York, pulled by police dogs, and it was pretty exciting ...
you know, we were going so fast, we were even beating a train.

LAWYER
(objecting strenuously)
Senators, could we please ...

SENATOR STEIN
Tell us your point, Atuk.

Bishop slips into the room, watches from the gallery.

ATUK
Well, it was exhilarating -- and I was thinking, that's why
I came here, to this amazing country -- for these exhilarating
experiences. And then I stopped at 125th Stret and asked
all of these black people directions on how to get here ...

PIERCE
How long is this going on?

ATUK
(looks up, sees Michelle worried for him)
Well, they all pointed the way, and I drove on. Then I realized that
these poor, hopeless strangers on the sidewalk, just trying to survive --
were some of the first people, since I got to this place, who ...
(snaps)
... TOLD ME THE FUCKING TRUTH!!
Not that I wasn't suspicious.
Not that I didn't ask THIRTY or FORTY OTHER PEOPLE, JUST TO
BE SURE NOBODY WAS FUCKING ME AROUND, AS USUAL ...
I was concerned, you see, because no one ever lied to me. And I never
told a lie to anyone before -- well, sometimes, a little one -- so I wasn't
prepared, you know -- there was never a little thing on the page in
Time Magazine, like the warning on cigarettes, that said, "DANGER --
MOST OF THE MEN IN THESE EXCITING PICTURES ARE LYING.
WARNING -- LOTS OF THESE EXCITING SUCCESS STORIES ARE BASED ON
CHEATING AND FRAUD AND MANIPULATION AND FUCKING LYING."
(walks near Treet, spots him)
OH, OH, GOD NO -- THE MEDIA FUCKING HIGHLY PRINCIPLED
MIND-FUCK, IMAGE GENIUS -- MALCOMBE TREET.
(gets down on his hands and knees, as if to look at the wildflower)
"What are you doing, Atuk?"
"I'm looking for more real estate.
I'm watching the bees fuck the real estate."
(gets up, points to Vera)
"I'm going to pick up one of these lovely real estates
and put it in someone's hair, because I LOVE HER
SO FUCKING MUCH. IT'S A SYMBOL OF MY LOVE."

The senators and the crowd stare in awe at
Atuk's performance. Bishop and Michelle smile.

TREET
(under his breath, seething)
God help us.

LAWYER
(to panel)
This is preposterous.

ATUK
(walks to him, stares)
WHAT? OH, OH -- A LAWYER THINKS THIS IS PREPOSTEROUS.
I'LL STOP RIGHT NOW. I'LL RECONSIDER.

PIERCE
(bangs gavel, to Senator Stein)
Senator, will you control your witness.

SENATOR STEIN
(to Atuk)
Atuk, we need to restrict your comments to issues before the committee.

ATUK
Oh ... oh, okay ... issues, yes -- I've always
been interested in various important issues.
(looks up, sees Bishop in the gallery)
Here's an issue ...
(wheels on McKuen)
OH, OH -- THE GUY WHO PUT HIS SON IN MILITARY SCHOOL
BECAUSE HE WASN'T GETTING ANY ATTENTION AT HOME.
WHAT A BRILLIANT RESPONSE. Discipline that motherfucking
emotional greed, boy -- it's interfering with my WORK.
(to crowd, re: McKuen)
I'd like to know if anyone here can think of one person,
one principle, one idea, one living thing, that this guy
wouldn't fuck over completely. I'm looking for hands --
any remotely, possible suggestion will do. How about
a teeny, tiny, tiny helpless baby? And it's dying, okay?
And let's say the baby's got a trust fund. The trust owns
some land, McKuen wants it - the trustees have to wait
until the baby is 21 or dies, before then can sell it to him.
McKuen's in the hospital room, the baby is breathing
on a machine, McKuen sees the plug ... what does he do?
Pull the plug? No ... no, DON'T BE RIDICULOUS.

Bishop is overwhelmed by this, the truth of it is starting
to get to him -- he seems to feel his father's shame.

ATUK
(to lawyer)
DON'T BE PREPOSTEROUS. No, he finds some dumb-shit
Eskimo, and he says, "Hey, Atuk, go pull on that long, black
thing that looks like a rubber robe over there, just give it a good
pull -- and then ALL OF YOUR DREAMS WILL COME TRUE."
(meely voice)
Well, yes, Mr. McKuen, I wanna fuck people over, I wanna kill babies,
I wanna be rich -- why do you think I came here? Why do you think,
I said to my mother and father -- "You know, mom and dad, the way of
life is too slow here in the North, there is no energy in the economy,
and frankly I wanna fuck people over, kill people, and be rich."

He looks up at Michelle. She's smiling at him, pulling for him, amazed
at what he's done. He looks to Bishop, but Bishop is gone. The room
has become very quiet, and Atuk suddenly feels self-conscious.

ATUK
(subdued)
I'm ashamed of what I've done. And maybe I don't deserve to tell anyone
else what to feel ... but if you people are dumb enough to destroy your
land and your people for money, then maybe you should be ashamed, too.

Atuk walks quietly past McKuen's table, seemingly spent, then he leans to McKuen's ear.

ATUK
(points toward Treet, confidentially)
That guy is fucking your wife.

Atuk starts to walk from the room. Michelle stands. The entire crowd joins
her in an ovation. Senator Stein stands, then other committee members --
then, finally, being the consumate politician, Pierce stands up as well.

Atuk gives an embarrassed shrug and smiles as Michelle runs to him
and hugs him. Vera gets up and leaves the room. Treet follows her.

EXT. COURTHOUSE - DAY

Atuk, Michelle, and the crowd come out. The dogs are frozen in place.
Vera gets in a limo, leaving Treet on the sidewalk -- probably for good.

INT. COURTHOUSE / HEARING ROOM - DAY

The hearing room is empty now, save for McKuen -- humiliated and
defeated, closing his briefcase alone at the table. He looks around the
empty room, the empty chairs in the gallery, then starts to walk out.

VOICE
(O.S.)
Dad?

The word is plaintive and unsure. McKuen turns to see Bishop
across the floor. Bishop walks slowly towards him.

BISHOP
(not knowing what else to say)
I'm sorry ...

Bishop makes a tentative move to hug his father. McKuen
finally lets loose with a rush of emotion and throws his arms
around his boy, and hugs the only thing in the world he really has left.

INT. AIRPORT - GATE AREA - DAY

Atuk, holding his parka and still in his muckluks, etc.,
standing solemnly by a window looking at airplanes.
Bishop and his father stand behind him.

BISHOP
I'm gonna miss you. I'll write you letters.

ATUK
Me too.

They shake hands, hug, then McKuen offers his hand.
Atuk shakes it, buries the hatchet, and walks on.
Michelle steps up behind him.

MICHELLE
(softly)
Hey ...
(he turns)
You know I still feel bad.

ATUK
(not quite over the hurt)
It's okay.

MICHELLE
No, it's not just for what happened.
(she draws close to him, not wanting him to leave)
Atuk -- are you sure this is what you want to do?

ATUK
I should just be where I belong.

MICHELLE
No, you should be where you're going to be happy.

ATUK
(resigned)
I won't forget you.

MICHELLE
(tries to hold tears)
Me neither.

He hesitates, then waves goodbye and walks to the boarding gate.

MICHELLE
(calls)
Atuk!

He waves again, and walks on.

EXT. VILLAGE - DAY

Atuk's family, Misa, and all the other villagers are gathered, as a
small plane taxis to a stop. Atuk pops out the door in his parka.

ATUK
Hello! I'm back!

Everyone looks at him stone-faced.

ATUK
Yes I am -- back home!

His mother looks as if she might want to smile. His stepfather walks up,
scans the American clothes under Atuk's parka, leans over and peels
down the top of one of Atuk's muckluks, exposing a bright argyle sock.
He looks up and laughs. Everyone else begins to laugh, too. A young
sister jumps in Atuk's arms. Atuk kisses her, then puts his arm
around his mother, as the whole crowd heads back for the village.

EXT. KALEEYE'S HUT - MORNING

Misa pulls up with another titanic load of hides -- nothing has changed.

MISA
(surly)
Hey, come on. There's work to do.

INT. KALEEYE'S HUT - MORNING

Atuk lays on the bed, half asleep, his head next
to a blank space where his poster used to be.

MISA
(V.O)
Come on, it's late.

Atuk starts to rouse, then hears the drone of a plane -- a dream possibly --
recalling the day the film crew arrived with Michelle. The engine grows louder.

MISA
Atuk!

The plane buzzes the hut. Atuk's eyes open, he jolts to the window.

EXT. PLANE - HIS P.O.V. - DAY

It lands, the same red twin-engine that brought Michelle. Atuk rubs
his eyes -- deja vu, a dream -- puts on his parka and runs outside.

EXT. PLANE - PASSENGER DOOR - DAY

Opens as Atuk runs to the plane. Other villagers gather in the background -- including
Atuk's family. Michelle, dressed in a Hawaiian shirt, bathing suit, and sunglasses --
just like his poster -- appears in the doorway. Atuk stops in his track.

MICHELLE
Wanna go to the beach?

Atuk grins at her, ecstatic, turns back toward his family.
They look at him for a moment, then smile -- even Kaleeye --
they all seem to understand. Atuk runs to Michelle, grabs her
in a bear-hug, kisses her in the doorway, and hauls her inside
the plane. It begins to take off, with the door still open.

EXT. ESKIMO VILLAGE - VILLAGERS - DAY

Watching as the plane lifts and circles overhead.
We see a dark object fly out the door.

MISA
(still bitching by her sled)
Where's he going?

Atuk's 200 pound parka lands on her head, completely
covering her, squashing her into a low mound.

INT. PLANE (POSSIBLE INSERT)

Atuk and Michelle kiss, then look toward the cockpit as the
co-pilot turns to them and grins -- it's Bishop. He pulls back
on the wheel and let's out a whoop as we cut to:

EXT. PLANE (POSSIBLE INSERT)

Does a radical turn over Bishop's yelling and Atuk's
and Michelle's laughter, then:

EXT. PLANE - ANOTHER ANGLE

Climbs and heads south under credits.

THE END

THE SUBTERRANEAN COLLECTION
ULTRARARE FILMS ON DVD RECORDINGS

SUBTERRANEAN CINEMA