Chow Tent Book O' Jargon

(Quick note - even though the date is always the same on this post, I am constantly updating jargon and definitions, so don't forget to bookmark this page, and refresh it to see the latest additions!)

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A
abominaiken: the term commonly used to describe American Idol overexposure
agknauftic: one who devoutly follows the writings and creations of Dan Knauf
amiable: used to describe the pleasant and friendly nature we strive for in the tent
asserole: a certain hbo executive's favorite meal
atwitter/twitterpated
auto-oarotic asphyxiation: self-inflicted death by putting an oar in one's mouth
avatarology
AWESOME

B
Beckcentric
Bencyclopedia: reference tool for understanding Ben Hawkins; a person with much knowledge of Ben Hawkins
bensake
breainhruts: a common cranial afflication that occurs when attempting to type too late in the night
brong it on!
Bug Hug: the kind of hugs exclusively found in The Tent; alt. - hugs reserved for certain loveable bugs

C
cahblooey
cannota
Carnivalevant
chaos: what happens in the Chow Tent during celebrity chats if the rules are not followed
chatocracy: the set of rules used in the tent to ensure free but polite discussion, where members must adhere to the ground rules; for the penalties of failing to comply, see "modsmacked"
chinilarity
Ciao Tent: how tenters say goodbye to one another
comparing apples to avatars: the act of comparing two unlike objects as if they were similar
cooterectomy
craxy: what drinking too much grape juice late at night in the Chow Tent will do to you.

D
damn skippy: what you do when skippy has been bad
dangknickerflitch: how to swear like a Fan of BN
darking
Darth Esquire
dermalogica
dink/dinked
disgustipating: something so awful, words must be combined to describe it

E
evilitis

F
fargo'ed out: the effect that watching too many movies in tandem has on the dialect of certain tent mods
flinging flarking: a word used to replace more well known curse words, especially in the company of children or the Chow Tent; frequently abused by lulafortune while she's attempting to decipher html code
fluck: a term used to describe the type of films which no one really cares about
fongers
fooked
fowlery
freaktastic: something that's so freakishly good, it's fantastic; alt. - the combination of freakishly talented + fantastic; ie., the cast of Carnivale
frenemies: a person one is friends with on the surface, but rarely speaks to, because one, in all actuality, dislikes them
fruckinfrackingrublejammit
fruit cup

G
gangusters: the only word able to fully describe the amount of pain involved in the act of losing a tooth - see "went all dental" for an example of such an act
geniosity: used to describe intellect so raw and powerful that making up a word was the only way to discuss it
gesling: a miniature hypothesizer
ginormous: an object of such a size, that it falls between gigantic and enormous
gits and shiggles: term used when describing something done just for the hell of it, without using the more crass term
goldarn mistake: the resulting effect of attempting to swear while watching a TNT movie
gorramit
greatfuel
groovalicious

H
Haterade: preferred beverage used by jilted Carnivale fans when toasting a certain hbo entertainment executive.
hibye: the greeting commonly extended to people who leave quicker than they can be greeted; see also "speedy leavers"
holy crappa loostica
holy smithy
holy wickets: exclamation used when one is excited about something, used for emphasis
hooby-wooby
horridisgustible
hotilicious: a person who is not only gorgeous, but delicious to the eye...i.e. "eye candy"
humoerdink

I
intelligent wittiness: FanofBN
internetese
internet loitering
intrense

J
jeezy creezy

K
KCHOW: the best little radio station this side of New Canaan - DJ'd by SmohQ and airs exclusively in the Chow Tent
kibby: unusual or uncharacteristic behaviour from a generally well-mannered person or object; see also "wonky"
kinkers & butchers
kinkster
Knaufian epistle: coined by Clancy Brown, in reference to the heart-felt "official" statement released by Dan Knauf upon the cancellation of Carnivale

L
laser beans
libatious: when carnies talk trash about their fellow carnies while drinking - an act which is heavily frowned upon in the Tent
Lodzized
lulacate: how one communicates with lulafortune in the Chow Tent

M
maroonish: the reddish-brownish shade of ink that thalidar often uses in the tent
milky white sin
modsmacked: what happens to naughty tenters when they misbehave
momory
more gooder: something that's betterer, of course
mp3ified

N
nerdtord: (see andamaroo for proper definition)
nonrebukedness

O
oathetic: something so pathetic, "pathetic" alone is not enough to describe it
oceany
Oliver-Plattastic: self-explanatory, really
overshare

P
pervtard: a person so perverted, they become socially retarded; used especially when involving celebrity crushes; for example, Kate and Michelle are pervtards.
platerism: when platypi study Plato
punch bowl pissers: those who don't possess the positive attitude that is required to be considered a true Carnivale fan

R
restraining order: favored term of Dan Knauf, issued to several Tenters by Mr. DK

S
scrumtrulessant: a word created to describe something so beautiful, so wonderful, so fabulous, so fantastico that none of these words do it justice
sexy satan boy: one who portrays satan, or a satanic type character, and comes off as sexy; originally used to describe Viggo, but could also be applied to Clancy
shit fire
shimmy: the special welcome dance you receive upon entering the tent, if you're lucky enough to meet andamaroo
SIN
snausages: the preferred doggie snack for tenter's pets (and it's just fun to say)
snerk: a cross between a giggle and a snort
snert: kissing cousin to a punch bowl pisser, commonly observed in posting form
snorgeldeeblort
sparklicize: the act of adding many tiny crystals to something to enhance its appearance - usually a cell phone
speedy leavers: tentgoers who leave immediately upon entering; alternate - those who leave the tent quickly without leaving an appropriate amount of time for others to say goodbye.
speel: where words go when they are too tired to function properly
sprakle
sprag
squidgy
Stroud the Singing Sadist
Stumpyism
stupid early: the time table in which hbo cut the cord on Carnivale; alt, see the opposite of "stupid o'clock"
stupid o'clock: according to the universal time the Chow Tent runs on, the late hour at which its patrons become increasingly delusional; see also "stupid early"
stwracks: the sound commonly associated with using an oar to smack someone who is over-chatting about Star Wars; see also "thwack"

T
taxo: preferred late night snack of Chow Tent chatters
Teeth Zombies: added to the CTBOJ for the sole reason that everyone should be aware of them and prepared to take action against them
Tent Gold: the newest, shiniest crayola color in the box; frequently seen when you enter the tent, and everyone simultaneously greets you
Tent Zone
tentsomnia
tenttard
Thank Shunny: an expression of gratitude to the tent for simply 'working'
thingy doodle
3hundy
thwack: the sound commonly associated with smacking someone with an oar
toophers
Trinity Hate: hatred to a nuclear degree - the shortened form "trate" is also acceptable
typonese: the language of typo

U
uber
uberawesomeness
unkickoutofbedable

W
went all dental: how Brother Justin demonstrated his displeasure with Norman
Wisconsin, I love milk: simply because Michael J. Anderson said so!
witching hour: what happens when tent members collectively lose their sanity, frequently occurs late at night
wonky: the lasting effects of a machine misbehaving; alt - a person after consuming too much alcohol. See also "kibby"
woon
wtfark

X
xnij: when two people say opposite things at the exact same time

Y
yob
youch

Jargon coming soon!

Pending a gameplan as to how to arrange them, stay tuned for the upcoming jargon entries. In the meantime, please drop by my favorite Save Carnivale website!

Alamogordo, page 52 (last page!)

- - - - -HIROSHI
(in Japanese)
- Gozo.

She bows, gestures for him to stand in front of

A FULL-LENGTH MIRROR

She moves behind him, slips off his kimono and steps back.

From Justin's SHOULDERS to PUBIS is the TATTOO of the DEAD BIRCH TREE, on his back, the STAND OF BIRCH TREES. Stylized BRAMBLES coil around the base, wrapping around his waist, trailing down his legs and buttocks.

Eyes glittering, Justin spreads his arms wide, beholds his transformation.

He is the TATTOOED MAN.

And we're

OUT

Alamogordo, page 51

- - - - -SAMSON
- Well then, let's beat us one there.

Jones throws the truck into first.

EXT. CARNIVALE - DAWN - WIDE SHOT

The convoy lurches forward, north.

OUT.

OVER BLACK

A GONG sounds seven times.

FADE IN:

INT. APARTMENT - NIGHT

Justin, in a kimono, waits as Hiroshi enters with a tea bowl, places it atop a bamboo rest, next to a water jar.

Using a silk cloth, Hiroshi purifies the tea container and scoop, concentrating intently on her movements, a sort of meditation.

She ladles hot water into the tea bowl. Places six scoops of tea in. Lets it steep.

She passes the tea bowl to Justin, who bows, then raises and rotates it, makes sure she sees him admiring it.

He tastes the tea. Hiroshi does the same.

LONG BEAT

- - - - -BROTHER JUSTIN
(in Japanese)
- Arigato.

She bows. Justin lays money on the table.

INSERT - THE CASH

One hundred dollars in twenties.

SCENE

She picks up the bills, folds them neatly, places them in a nearby gold inlaid box.

Alamogordo, page 50

- - - - -JONES
- The hell you talkin about?

Burley motions to--

SOFIE

lifting the sacks with the best of them.

BACK TO SCENE.

Jones' jaw tightens. He angrily shoves the spokes onto the truck.

- - - - -BURLEY
- Ain'tcha gonna do somethin?

- - - - -JONES
- No.

- - - - -BURLEY
- No? I know she lost her ma and all, but God-damn, Jonesy, I ain't workin with no skirt.

But Jones won't let his goat be gotten.

- - - - -JONES
- The hell with her.

Jones returns to his task. Burley stalks off.

CUT TO:

EXT. CARNIVALE - DAWN

The last trucks are buttoned up. MOTORS GROWL to life.

INT. LEAD TRUCK CAB - NIGHT

Jones climbs in next to Samson.

- - - - -JONES
- Where to?

- - - - -SAMSON
- Ingram.

- - - - -JONES
- Texas? That shit-spot's sure off the beaten path.

Alamogordo, page 49

- - - - -SAMSON
- Maybe it was somebody looked like Skeeter.

She looks at Samson, opens her mouth to object. Thinks the better of it.

- - - - -RUTHIE
- Yeah...

He watches her for a moment.

- - - - -SAMSON
- Shame to let that perfume go to waste.
(offer an arm)
- I got standin reservations at all the finest establishments.

Ruthie takes his arm, and they head to the chow line.

EXT. CARNIVALE - NIGHT

Osgood and another ROUSTIE load tent sacks. Sofie joins them, pitches in. The Roustie does a double-take, taps Osgood on the arm, indicates Sofie.

Osgood stands there, mouth agape, until the roustie hits him a second time. He crosses to Sofie.

- - - - -OSGOOD
- Uh, hey, Sofie?

Sofie ignores him, keeps working.

- - - - -OSGOOD
(gently)
- Sokay, we got this fine.

She ignores him. Osgood turns back to his partner, shrugs, returns to his job.

ANOTHER ANGLE

Burley beelines to Jones, who is packing pieces of Colossus onto a truck bed.

- - - - -BURLEY
- You tell that dona she can work with us?

Alamogordo, page 48

INT. COOK-TENT - NIGHT

Samson swigs from his whiskey flask when Ruthie arrives, all dolled up. Seeing her, he whistles.

- - - - -SAMSON
- Well, look at you. If this is your idea of tonin down for the boy...

- - - - -RUTHIE
- No boys, t'night. You seen Skeeter Lewis?

- - - - -SAMSON
(puzzled)
- Skeeter who?

- - - - -RUTHIE
- Skeeter Lewis.

She looks around, frowns. He stares at her, queerly.

- - - - -RUTHIE
- I think I been stood up.

- - - - -SAMSON
- I'll say.

- - - - -RUTHIE
- What...?

- - - - -SAMSON
- Man's dead.

- - - - -RUTHIE
- That ain't funny.

- - - - -SAMSON
- I ain't funnin.

- - - - -RUTHIE
- I saw him, big as life, just this morning.

- - - - -SAMSON
- I saw him put in the ground five years ago next July.

She's stunned.

Alamogordo, page 47

Ben starts to protest.

- - - - -MANAGEMENT
- GO!

Ben fumbles at the doorknob, turns it, flees.

THE ALCOVE

Under the WET, RASPY BREATHS, a BIZARRE SOUND that may, in fact, be WEEPING.

EXT. MANAGEMENT'S TRAILER - NIGHT

Still dazed, Ben sits down on the steps, trying to make sense of what just happened.

- - - - -SAMSON (O.S.)
- Jumpin Jesus, kid. Thought you was a goner.

Ben looks up, sees Samson staring at him.

- - - - -SAMSON
- Next time might not be so lucky.

EXT. LODZ'S TRAILER - NIGHT

Sofie, in a shirt and pair of cinched-up trousers from Lodz' closet, sits on the stairs, alone. Her eyes are rimmed red from fatigue, yet she's wide awake, unable to sleep.

For a LONG BEAT, Sofie watches the carnival disemboweling itself, lanterns swinging as rousties CALL OUT to one another.

THE TEAR DOWN:

JUICERS roll up heavy double ELECTRIC CABLES.

TRUCKS swallow the HORSES of the carousel.

BEN helps the SLEDGE GANG yank out STAKELINES.

RIDE BOYS, pass around a quart of WHITE LIGHTENING, as they pack and fold the great SKINS OF CANVAS of the ten-in-one.

SOFIE

There's something comforting about the physicality of the work she sees, the mindlessness of it.

Alamogordo, page 46

Ben's eyes clear. He stumbles back.

- - - - -MANAGEMENT
- Get out, you fool. Go! Now!

Ben backs up until he collides with the door, then remembers--

- - - - -BEN
- What about the other stuff?

- - - - -MANAGEMENT
(short of breath)
- What -- else --

- - - - -BEN
- What Kerrigan said?

Management's GASPS slow.

- - - - -MANAGEMENT
- You--must--find--the--crone.

- - - - -BEN
- An old lady?

- - - - -MANAGEMENT
- An old woman. Yes.

- - - - -BEN
- Where?

- - - - -MANAGEMENT
- Ingram. Texas.

- - - - -BEN
- How do you know that?

- - - - -MANAGEMENT
- That was the clever part. What your father did.

- - - - -BEN
- Scudder?

- - - - -MANAGEMENT
- Scudder, yes. What he burned into that unfortunate's mind.
(beat)
- The poems were by a man named James. C. Ingram.
(exhausted)
- Now, go.

Alamogordo, page 45

- - - - -BEN
- What?

- - - - -MANAGEMENT
(hesitant)
- Come closer.

Ben takes a few steps forward.

- - - - -MANAGEMENT
- Closer.

Management's cadence is HYPNOTIC, SEDUCTIVE. The words are pregnant with desire.

Despite his trepidation, Ben finds himself unwilling to resist. Management PURRS:

- - - - -MANAGEMENT
- That's it. Yes.

BEN

Draws close, as if pulled by a magnet, eyes locked on--

THE CURTAIN

Slightly parted, the darkness within the alcove impenetrable.

- - - - -MANAGEMENT
- You must look upon me.

Ben reaches for the curtain, parts it slightly.

MANAGEMENT'S HAND

Beautiful, smooth, yet masculine. It slips into the dim light, palm open, as if reaching out to touch.

His BREATHING is heavier now, quickening, almost orgasmic.

BEN

Without realizing he's even doing so, he slowly raises his own hand.

MANAGEMENT'S HAND

Hesitates, trembling -- then, suddenly, with a TORTURED CRY, Management closes his hand into a tight fist and withdraws.

- - - - -MANAGEMENT
- NO!

Alamogordo, page 44

- - - - -MANAGEMENT
- Samhain. Necrotus. Khaybet, Lord of Shadows. A thousand names in a thousand books, but they all mean the same: the Usher of Destruction.
(reverence mixed with fear)
- He is flesh.

Ben absorbs the information. So does Management. The import of the revelation hangs heavily on the latter.

- - - - -BEN
- What does that mean?

- - - - -MANAGEMENT
- It means the end-times are not near, Hawkins. They are upon us.
(despairing)
- You will never be prepared in time.
(bitterly)
- We are lost...

Ben considers this for a moment.

- - - - -BEN
- What about you?

A DRY CHUCKLE from behind the curtain.

- - - - -MANAGEMENT
- No.

- - - - -BEN
- Why the hell not? You're strong. You know things. I seen what you can do--

- - - - -MANAGEMENT
- I'm dying.

Ben is stunned. Then he looks at his hands, takes a step toward the curtain, eyes blazing.

- - - - -BEN
- I could heal you.

LONG BEAT. Management's BREATHING slows. A whisper--

- - - - -MANAGEMENT
(to himself)
- Perhaps.

Alamogordo, page 43

- - - - -SAMSON
- Kid.

- - - - -BEN
- What?

- - - - -SAMSON
- He wants to see you.

Ben reacts to the older man's fright.

INT. MANAGEMENT'S TRAILER - NIGHT - MOMENTS LATER

Ben steps inside, closes the door behind him, guarded eyes on

THE ALCOVE

Behind the curtain, FAINT BREATHING can be heard.

BACK TO SCENE

Ben stands by the door, by the exit.

- - - - -BEN
- You wanted to talk?

- - - - -MANAGEMENT
- You've seen the Usher.

- - - - -BEN
- Usher?

- - - - -MANAGEMENT
- The tattooed man. Where?

- - - - -BEN
- In my dreams. When I'm awake. On the road. In town.
(then)
- There was a kid painted up like him. A ceremony.

- - - - -MANAGEMENT
(appalled)
- They worship him?

- - - - -BEN
- Not really. Some kinda parade. Who is he?

Alamogordo, page 42

STROUD

stands, plucks a tweed suit-jacket off the chair, slips it on. Tightens the knot of his tie.

HIROSHI

brows knit in intense concentration, breathing heavily, excited by the infliction of pain.

STROUD

pulls a sheriff's badge from the inside pocket of the coat. Amused, he pins it on, straightens his lapels. Pleased, he steps away from the mirror, REVEALING

POLICE CHIEF LYLE DONOVAN

Slumped against the wall in his skivvies, HIS THROAT SLASHED into a wide, gaping smile, the front of his undershirt SOAKED WITH BLOOD.

THE CHEESE CLOTH

soaked with ink, rubbed over torn, oozing flesh. THE TAPPING CONTINUES THROUGH TO:

DONOVAN'S WATCH

A BLOOD FRECKLED Bulova, pearl face, the TAPPING MERGING WITH ITS TICKING. The watch is removed.

STROUD

Wipes the blood clean on Donovan's undershirt, slips it on his wrist, gazing down at the body as he straightens his cuffs, turns and walks out the front door.

OUT

FADE IN:

EXT. CARNIVALE - NIGHT

Late. The carnival is closed. The rousties are in the midst of the tear down.

EXT. MIDWAY - NIGHT

Ben carries a box of slum from the Cat Toss game, when he's waylaid by Samson, who is ashen-faced.

Alamogordo, page 41

INT. HIROSHI'S APARTMENT - CALIFORNIA - NIGHT

Hiroshi pins up her hair in front of a full-length MIRROR. Her movements are deliberate, sensuous. Behind her, Justin lies waiting, naked, on a futon mat. INTERCUT WITH:

INT. DONOVAN HOUSE - LIVING ROOM - NIGHT

Stroud sits at a roll-top desk, nattily dressed in shirt, tie, wide-brimmed hat. He sports a shoulder holster, which holds a GUN.

He sifts through old mail.

STEEL NEEDLES

Grouped in a bunch, tips RED-HOT in the HEAT of candle fire.

PULL BACK to see that the set is attached to a BAMBOO HANDLE, being held by Hiroshi. She lifts them from the FLAME and lightly blows on them.

STROUD

expressionless, continues his task.

JUSTIN

O.S., the staccato tat-tap-tap of bamboo against bamboo. Justin screws his eyes shut in pain and ecstasy.

A STILETTO

SLICES open an ENVELOPE.

A ROW OF PINS

stipple FLESH, DROPETS OF BLOOD appearing on SKIN, wiped away with a cheese-cloth.

STROUD

reads a letter, grins. He's found something of value.

JUSTIN

His face trembles, tears streaming down his cheeks, breath withdrawn in an ecstatic GASP. The insistent, ceaseless TAPPING.

Alamogordo, page 40

- - - - -JONES (cont'd)
(adds)
- And her, I guess.

- - - - -LIBBY
- I guess.

- - - - -JONES
- I just wanted you to know.

Libby finds herself surprisingly touched.

- - - - -LIBBY
- I appreciate that.

She smiles. He returns it. They have a moment--

- - - - -STUMPY (O.S.)
- There you are, girl.

Stumpy approaches.

- - - - -STUMPY
- Been lookin' all over. Got a half-dozen gents waitin on ya.

Libby sighs, stands. She's feckless about her work. Jones shifts, embarassed. She flicks away her cigarette.

- - - - -LIBBY
- See ya around.

- - - - -JONES
- Sure.

Libby leaves Jones alone with Stumpy, who grins. He saw the moment.

- - - - -STUMPY
- Just lookit them stars, eh, Jonesy? They sure are out tonight.

- - - - -JONES
- Yeh...

Jones turns away until Stumpy exits. Jones settles back in the chair, sighs, eyes on the light in Lodz's trailer.

CUT TO:

Alamogordo, page 39

SOFIE

stares at the card in horror.

EXT. CARNIVALE - NIGHT

The last customers file out. The FRONT LIGHTS wink off.

INT. COOK-TENT - NIGHT

Filled with carnies and rousties, enjoying after-show coffees, snorts and smokes.

LIBBY

alone at her table, smokes a cigarette, her gaze on--

LODZ' TRAILER

lit by lamplight.

- - - - -JONES (O.S.)
- Least she's alive.

Libby gives Jones a bitter smile.

- - - - -LIBBY
- That's somethin, alright.

Libby drops her cigarette to the ground, crushes it out and lights another. He takes a seat at her table.

For a long moment, neither says anything, then:
- - - - -LIBBY- - - - -/- - - - -JONES- - - - -
-I was just-- .................. About what happened--

An awkward beat. Libby shrugs.

- - - - -JONES
- That night...

- - - - -LIBBY
- I don't wanna talk about it.

- - - - -JONES
- I know. Me neither. I just wanted you to know. I ain't said nothin to nobody and I never will. It's between you and me.

(MORE)

Alamogordo, page 38

- - - - -BEN
(shrugs)
Mebbe he can make sense of it.

- - - - -SAMSON
- Mebbe.

Samson nods, starts away.

- - - - -BEN
- I seen this other man. He got tattoos.
(withdraws the folded sketch)
Like this...

Samson unfolds it, looks at Kerrigan's sketch.

- - - - -SAMSON
- I'll show him.

Ben nods. Samson heads off to Management's trailer.

INT. LODZ' TRAILER - NIGHT

Sofie, exhausted, pulls on one of Lodz's robes, nudges her filthy clothes into a corner with her foot.

CLOSE - SOFIE

as she washes in a wash basin, dries herself off with a nearby towel, ties the robe closed. She crosses to the bed. When she pulls back the covers, she GASPS, wide-eyed--

HER POV

On the pillow is the deck of TAROT CARDS she threw away. One card is face up.

CLOSER

The Nine of Swords, a woman seated on her bed in lamentation with nine swords dangling over her. The card of utter destruction. Sorrow. Deception. Shame.

Alamogordo, page 37

EXT. CARNIVALE - MIDWAY

Ben talks to Samson

- - - - -BEN
- It was jus a buncha gibberish.

- - - - -SAMSON
- Don't matter. Give it to me.

- - - - -BEN
- I can't.

- - - - -SAMSON
- You gotta. That comes straight from him.

Ben has no choice--

- - - - -BEN
- It was poems of some kind. Or a poem, I dunno.

- - - - -SAMSON
- Poems?

- - - - -BEN
- That's what I said.

Ben tries to remember.

- - - - -BEN
- "See a face all my own." "Her cheeks are hollowed and withered." "Two paths part where I find the crone." He kept on and on about a crone.

- - - - -SAMSON
- A crone? Like a old lady.

- - - - -BEN
(shrugs)
- And then "True men, like you men". "True men, like you men, are plenty here today."

Samson just stares at him.

- - - - -SAMSON
- That's it?

Alamogordo, page 36

- - - - -ELEANOR
- 'Course. Come on, sweetheart.

A last shy smile and Celeste exits with Eleanor. Justin and Iris watch them go.

- - - - -IRIS
- Such a shame. A lovely girl like that with nobody else in the whole world.

Justin grabs an overcoat from a closet.

- - - - -IRIS
- Your words are the only thing she has. I'm sure she'll be completley devoted to you.

- - - - -BROTHER JUSTIN
- Like a sister?

Justin stares at her, evenly. Then gives her a kiss.

- - - - -BROTHER JUSTIN
- Don't wait up.

He exits the house.

Iris draws back the curtain of the front window slightly, observes Justin. We can hear his CAR STARTING, O.S.

Eleanor reenters the room.

- - - - -ELEANOR
- She's all squared away, Miss Iris.

Iris nods, deep in thought. Finally:

- - - - -IRIS
- That Mr. Dolan. He's quite a character.

- - - - -ELEANOR
- Yes ma'am. Asks a million questions about nonsense.

Iris looks back at Eleanor.

- - - - -IRIS
- Does he?

CUT TO:

Alamogordo, page 35

INT. CROWE HOUSE - LIVING ROOM - NIGHT

Justin comes down the stairs to find Iris with Celeste, who holds a battered valise.

- - - - -BROTHER JUSTIN
- Well, who do we have here?

- - - - -IRIS
- Justin, this is our new maid, Celeste Watkins.

Celeste, awestruck to be in Justin's presence, flushes prettily.

- - - - -IRIS
- Celeste will be keeping house while we attend to church business.

Justin smiles warmly at Celeste, takes her hand in both of his.

- - - - -BROTHER JUSTIN
- Welcome, Celeste.

She curtsies. Can't look him in the eye. He's charmed.

- - - - -CELESTE
- Thank you, sir. It's an honor.

- - - - -IRIS
- Celeste is an orphan. She came here all the way from Oregon when she heard your broadcast.

- - - - -BROTHER JUSTIN
- Really? How flattering.

She blushes, again.

- - - - -CELESTE
- I've never heard anyone talk like you. Not ever.

Justin smiles, takes a bow. Iris spots Eleanor crossing from the kitchen.

- - - - -IRIS
- Eleanor, please show Celeste to her room.

Alamogordo, page 34

Sofie sits down on the bed, troubled, her mind a jumble of conflicting emotions.

EXT. LODZ' TRAILER - NIGHT

The bottle in one hand, the bag of laundry in the other, Samson rounds the corner of the trailer only to find--

LILA

Who corners him.

- - - - -LILA
- Whatchya doin?

- - - - -SAMSON
- Nothin.

Lila looks pointedly at the bag and the bottle.

- - - - -LILA
- What if he comes back?

- - - - -SAMSON
- Trailer's his.

She caught his hesitancy, reads the lie.

- - - - -LILA
- You talk to the boss like I asked?

Samson contemplates another lie, decides to end it.

- - - - -SAMSON
- Lila, honey, Mangament thinks he's gone and so do I. That's the way it is. I sure as hell wish I could tell you somethin different.

- - - - -LILA
(searches his gaze)
I wish you could too.

She leaves. He's so happy the charade is over, he doesn't pick up the slight chill in her voice.

CUT TO:

EXT. CROWE HOUSE - CALIFORNIA - NIGHT

LIGHTS burn from every window.

Alamogordo, page 33

- - - - -SAMSON
- You ain't gonna totter off again?

Sofie braves a smile, shakes her head. Samson brightens.

- - - - -SAMSON
- That's bully. Cuz God knows we can use ya around here.

He grabs Lodz' dirty clothes, shoves them in a pillowcase.

- - - - -SOFIE
(sad)
- I can't read the cards...

- - - - -SAMSON
- Hell, Sofie. Nobody can. Not really.

- - - - -SOFIE
- Mama did.

Samson takes both her hands in his, meets her eyes.

- - - - -SAMSON
- Don't worry about it. We'll getchu back on your feet in no time sharp.

- - - - -SOFIE
(upset)
- But I don't know how--

He turns to her. Softly--

- - - - -SAMSON
- It don't matter, Sof. That ain't what's important right now.

He pats her hand.

- - - - -SAMSON
- You get your rest. Let somebody take care of you for a change.

She starts to protest.

- - - - -SAMSON
(stern)
- Management's orders.

Exhausted, she nods, attempts a smile. He gives her hand a squeeze, smiles and, plucking the half-full bottle of absinthe off the table, exits.

Alamogordo, page 32

- - - - -SAMSON
- Nevermind that.

- - - - -RUTHIE
- Jus glad you're back, darlin.

Ben notes Ruthie's presence. Samson and the others lead Sofie away.

SOFIE

helplessly casts a grateful glance back toward

BEN

He gently smiles at her, nods. Ruthie takes his hand.

- - - - -RUTHIE
- You, too...

Ben pulls his hand away.

- - - - -BEN
(flat)
- Yeh.

Without another word, he walks off, leaving her devastated.

INT. LODZ' TRAILER - NIGHT

Carrying a lantern, Samson keys open the lock, holds the door open for Sofie and follows her inside.

- - - - -SOFIE
- Where's Lodz?

- - - - - SAMSON
- The perfessor took a powder.

- - - - -SOFIE
- Why?

He ignores the question, throws open a window. Exhausted, Sofie sits down in Lodz's chair.

- - - - -SAMSON
- A little airin out and it'll be just dandy. Gitcher self a shower. We'll rustle up some things for you to wear, incidentals, whatnot...

Sofie nods. Samson gives her an almost comically stern look.

Alamogordo, page 31

- - - - -RITA SUE (cont'd)
(slow grind)
- How 'bout a little deposit, hm?

The man scribbles something on a five-dollar bill.

- - - - -RITA SUE
- That's more like it...
(reads his name written on the fiver, smiles)
- ...Mr. Smith See you after the show.

She tousles his hair. Other men begin furiously scribbling their names on five dollar bills, hand them to her.

EXT. COOK TENT - NIGHT

Ruthie, in her snake-charming outfit, finishes a coffee. HEADLIGHTS glare. A motor is switched off. Ruthie smiles, relieved, when she sees--

HER POV

Ben hops out of the CHEVY TRUCK. He moves to the passenger door, opens it for Sofie.

RUTHIE

Her smile fades, replaced by disappointment, maybe a touch of jealousy. She's immediately surprised and ashamed of herself, shakes it off.

SCENE

Ben helps Sofie out of the cab. Samson steps up along with Ruthie and SEVERAL OTHERS, all of them greeting Sofie, relieved to have her back.

- - - - -SAMSON
- Where'd you run off to, girl? You had us fit!

- - - - -BEN
- She was lost. Found her on the road.

She looks at Samson, playing the stern father, then the others, their expressions of concern.

- - - - -SOFIE
(weak but sincere)
- I'm sorry.

Alamogordo, page 30

- - - - -STUMPY
- All you gotta do is line up one hole with the other and you see...
(peers closely)
- I can't quite tell if that's Rudolf Valentino or Errol Flynn.
(turns the dice)
- Oh yeah, that's Errol Flynn all right...

The CROWD responds, eagerly.

Rita Sue, dressed in a sheer negligee, appears to help peddle the dice. Customers rush them, toss COINS into the DING BOX, receive dice in return.

The chumps immediately try to work the device.

- - - - -COOTCH PATRON #1
- Don't see nothin.

- - - - -COOTCH PATRON #2
- Dog my cats! I see it!

The other patron tried to get a peek through #2's dice. Before any of them can think too much--

RITA SUE

Moves through the crowd, shimmying and shaking. She's having fun, something she hasn't had in a long time.

- - - - -STUMPY
(re: Rita Sue)
- That young lady down there is the Countess von Kraut, and for another four bits, y'all can stick around and get a gander. I guarantee you'll leave her show with your hand in your pocket and a new grip on life.
(beat)
- Flash her some greenbacks and she may even be available for you private pleasure.

Men grope her, WHISPER dirty things in her ears.

- - - - -RITA SUE
- What's that, honey? I can't take you seriously if you're just gonna talk a big game.

(MORE)

Alamogordo, page 29

He leans down to her. She's confident as she moves for the stake, but he stares her down. Winks.

His cockiness begins to unnerve her. She touches the spike -- and SHRIEKS! It's real!

The Blockhead CACKLES in her face. The AUDIENCE APPLAUDS.

INT. COOCH TENT - NIGHT

Libby strides the walkway, bare-breasted, as the RANGY CROWD HOOTS and HOLLERS.

The SCRATCHY RECORD on the phonograph ends.

Libby, with an insouciant last glance over her shoulder, exits back-stage.

- - - - - STUMPY
- How 'bout some hand-to-hand music for the little lady?

APPLAUSE.

- - - - -STUMPY
- Alright. I appreciate your comin, gents. But we cannot be held responsible for any dry-cleanin bills.
(laughter)
- Well, ain't you the sports? I'll tell you what, I got somethin here that I don't normally offer but for the most discriminatin gentlemen. Anybody here hearda Mae West?

CATCALLS and SHOUTS.

- - - - -STUMPY
- Well she ain't here right now, of course. But it seems a certain private detective in Hollywood, California managed to get a shot of her doin somethin so perverse, so depraved with one of her famous love-slaves, the photograph was banned in all forty-eight states!

He's got the crowd salivating.

Stumpy pulls out his box of dice, pulls out two and lines up the pin-holes. Squints through them.

Alamogordo, page 28

SOFIE

A small sliver of animation seeps into those black eyes. Then, slowly, recognition. A QUICK FLASH OF ANGER, which dissolves as quickly as it arrived.

SCENE

Ben tentatively reaches out with both hands, places them on her shoulders. He doesn't want to, but want's got nothing to do with it.

As soon as he touches her, the walls crumble down and the anguish comes.

He pulls her to him. After a beat, she returns his embrace.

A SLOW CRANE UP

Two orphans, the only people on earth, holding each other at the intersection of two roads that go nowhere...

OUT

FADE IN:

EXT. CARNIVALE - NIGHT

The FERRIS WHEEL, the gigantic MANDALA OF LIGHTS, hurtles its cars into the sky, swoops them back down to earth. Large CROWDS mill the MIDWAY.

INT. TEN-IN-ONE - NIGHT

The AUDIENCE watches in slack-jawed awe as the HUMAN BLOCKHEAD, a man built like a safe, 40's, hammers a RAILROAD SPIKE up his nose.

- - - - -HUMAN BLOCKHEAD
- All steel, all real, all American made.

A WOMAN calls out--

- - - - -WOMAN
- That ain't gen-u-wine.

- - - - -HUMAN BLOCKHEAD
- Tell you what, missy. Why don't you pull it out for me?

Alamogordo, page 27

A flash of BRAKE LIGHTS.

The truck backs up. Ben looks at Sofie, surprised to see her. He CALLS OUT:

- - - - -BEN
- Hey! Hey, Sofie...

She ignores him. Ben KEEPS PACE WITH HER IN REVERSE.

- - - - -BEN
- Where you goin, girl?

She just keeps walking, a husk, incapable of anything but simple forward movement. Ben slips the clutch and STALLS IT.

- - - - -BEN
- Hell...

He tries to restart it, but the engine's flooded.

Frustrated, he gets out, leaving the car parked in the middle of the highway as he trots to catch up with Sofie.

- - - - -BEN
- Sofie, hey, wait up.

SOFIE

doesn't hear him. This world doesn't even exist for her any more.

- - - - -BEN
- Hey...!

He button-hooks around her, blocks her path. She comes to a stop. For a long moment, they just stand there, facing each other, Ben slightly out of breath.

SOFIE

Dead eyes gazing a million light-years past him.

BEN

All his life, he's seen a broken expression like that reflected in the mirror.

- - - - -BEN
(whispers)
- Sofie...

Alamogordo, page 26

- - - - -SAMSON
- I tole ya that boy was trouble.

- - - - -RUTHIE
- Samson. Is there somethin I should know?

Oh-oh.

- - - - -SAMSON
- He's jus a stupid kid, like I said.

- - - - -RUTHIE
- But since the other night, it's been all...wrong.

- - - - -SAMSON
- There's nothin.

He starts away, wants to be done with this conversation.

- - - - -RUTHIE
- Y'sure?

- - - - -SAMSON
- Yeah, yeah. I'm sure.

- - - - -RUTHIE
- I know you'd tell me if there was.

Samson pauses. Turns back. Manages a half smile.

- - - - -SAMSON
- You bet I would.

She gives him a half-smile back, exits. OFF SAMSON, feeling like Judas--

INT. CHEVY TRUCK - DUSK

Ben drives down the road, trying to process what he's learned, what it all means. He sees something.

HIS POV

SOFIE continues walking, even as--

EXT. HIGHWAY - DUSK

The Chevy truck passes her.

Alamogordo, page 25

- - - - -RUTHIE
- Stop.

- - - - -SAMSON
- Why, Ruthie, you devil...

- - - - -RUTHIE
- I dunno what I was thinkin.

- - - - -SAMSON
- That's the problem. Thinkin usually's got nothin to do with it.

- - - - -RUTHIE
- Y'know how it is, one thing leads to another...

- - - - -SAMSON
- ...and another and another--

- - - - -RUTHIE
- Clam it. This is serious.

Samson stops, looks at her, startled. I she thinking of marrying the kid or something?

- - - - -RUTHIE
- No, not him and me. I mean... aww hell!

- - - - -SAMSON
- What?

- - - - -RUTHIE
- I'm a damn fool.

- - - - -SAMSON
- No you ain't.

- - - - -RUTHIE
- I am!

- - - - -SAMSON
- Just tryin to keep body and soul together, like the rest of us.

- - - - -RUTHIE
- Ever since I got bit by that damn snake, he's been lookin at me like I'm somethin the coyote et then threw up over the cliff.

Worried where this is going, Samson tries to deflect.

Alamogordo, page 24

EXT. CARNIVALE - DAY

As Samson crosses the back-end, Ruthie approaches.

- - - - -RUTHIE
- Any news?

- - - - -SAMSON
- Nothin.

- - - - -RUTHIE
(crestfallen)
Oh. I thought for sure Sofie'd turn up by now.

- - - - -SAMSON
- To tell ya the truth, I'm startin to have a real bad feelin about it.

They walk together.

- - - - -RUTHIE
- Ben still out there, too?

- - - - -SAMSON
- Yeah.

Beat.

- - - - -RUTHIE
- You been spendin alot of time with him.

- - - - -SAMSON
- Who?

- - - - -RUTHIE
- Hawkins.

- - - - -SAMSON
- I like the kid. He reminds me of me. Back when I was young and handsome and stupid.

Ruthie nods. A beat, then:

- - - - -RUTHIE
- He say anythin about me, last day or so?

Samson stops, looks at her. She glances away, embarrassed. As the truth dawns, he gives her a wicked chuckle.

Alamogordo, page 23

Dolan and Eleanor turn, to--

IRIS

Who smiles, wanly, at Dolan.

- - - - -ELEANOR
- Miss Iris. We was just--

- - - - -DOLAN
- --remarking on how lovely the choir sounded today. You must've been practicing all night.

- - - - -IRIS
- Not all night.

- - - - -DOLAN
(to Eleanor)
- If you don't mind, there's some photographers I know who're real anxious to get some shots of this lovely lady and her esteemed brother for the evening edition.

- - - - -ELEANOR
- Oh, you better get on then.

Dolan smiles at Iris, proffers the crook of his arm. Iris gives him a cold smile and takes his arm. As he leads her away, she sees--

BROTHER JUSTIN

With Ada, who chatters at him. He can barely feign interest, with his gaze on--

CELESTE WATKINS

The beautiful young woman from earlier.

BROTHER JUSTIN

His eyes shift. He offers Iris a knowing smile.

IRIS

Nods, fully understanding. His will be done.

CUT TO:

Alamogordo, page 22

- - - - -ELEANOR
- Go fill up Br'er Justin's cup, sweetie.

Ada is more than happy to comply. The other girls at the table are jealous. Dolan savors one of the shortbread cookies.

- - - - -DOLAN
- These cookies are delightful.

- - - - -ELEANOR
- Oh, please, have another, Mr. Dolan. I made em myself.

- - - - -DOLAN
- You didn't! I'd've sworn they were flown in from Buckingham Palace.

Eleanor giggles, clearly smitten. Dolan continues as he chews.

- - - - -DOLAN
- Tell me something, Eleanor. How did you and Lester escape the fire?

- - - - -ELEANOR
- Oh, we weren't there.

- - - - -DOLAN
- You and Lester didn't live in?

- - - - -ELEANOR
- No, no. We jus cooked 'n cleaned. Br'er Justin and Miss Iris took turns stayin at the ministry.

- - - - -DOLAN
- Really? Was Brother Justin there that night?

- - - - -ELEANOR
- Nossir. Miss Iris. It was a miracle from heaven she got out of there in time, yes it was.

Dolan nods.

- - - - -DOLAN
- Truly.

- - - - -IRIS (O.S.)
- Hello, Mr. Dolan. Eleanor...

Alamogordo, page 21

"AMEN." Iris snaps her head to the choir, leads them in singing--

- - - - -IRIS/CHOIR
- "Standing on the promises of Christ my king; Through eternal ages let his praises sing..."

Justin wades into the crowd. All try and touch him, Jesus in the Valley of the Lepers.

- - - - -CHOIR/ALL
- "Glory in the highest, I will shout and sing; Standing on the promises of God..."

OFF IRIS, unnerved by Justin, his followers--

INT. TENT - DAY - LATER

Justin's temporary church, and enormous white canvas tent--not unlike the ten-in-one. A small reception is in progress.

ANOTHER ANGLE

Dolan stands near ELEANOR, who supervises a group of YOUNG WOMEN passing out cookies and cider at a refreshment table.

- - - - -ELEANOR
- ...After Lester and I -- Lester, that's my first born--

- - - - -DOLAN
- Yes, you've mentioned that.

- - - - -ELEANOR
- He's a good boy.

- - - - -DOLAN
- You've mentioned that, too.

- - - - -ELEANOR
- --Well, after we cleaned up, I kissed the lil darlins g'nite. That's the last I seen 'em. Po dear angels.

She shakes her head, sadly. Dolan considers that. Eleanor motions to a pretty YOUNG WOMAN, ADA, 20's--

Alamogordo, page 20

- - - - -BROTHER JUSTIN
- To whom I dedicate this holy place.
(beat)
- To the memory of Polly Ann Bonham.

The CROWD murmurs "Amen." Justin's voice grows stronger.

- - - - -BROTHER JUSTIN
- Goody Williams.

His FLOCK answers louder, "Amen." Justin SHOUTS:

- - - - -BROTHER JUSTIN
- Lula Fay McGarvey!

YELLS: "AMEN!" Justin RAGES:

- - - - -BROTHER JUSTIN
- Arlis Yocum!

The MOB responds in kind: angry "AMENS!" Justin THUNDERS to the heavens, the calls and response sounding not unlike "Heil Hitler!" in other convocations.

- - - - -BROTHER JUSTIN
- Mattie Barnes!

The HORDE, now a seething mass, ROARS back, "AMEN!" Brother Justin's words ECHO through the valley.

- - - - -BROTHER JUSTIN
- Bobby Keeland!

The MOB cries back, "AMEN!" Justin lowers his head and his voice--

- - - - -BROTHER JUSTIN
- Let us say a silent prayer for their delivery into everlasting glory in our Lord's House.

Everyone bows their heads.

IRIS

She looks over at Justin, is taken aback to see--

JUSTIN

openly glaring at her.

- - - - -BROTHER JUSTIN
- Amen.

Alamogordo, page 19

- - - - -DOLAN (cont'd)
- If only you could see it, friends, this beautiful lush farm valley filled with a bumper crop of believers, from all points of the compass--poor, middle-class, old and young, who yearn to grow strong in the golden sunshine of Brother Justin's ministry.
(lowers voice)
- Now, ladies and gentleman...
- Brother Justin.

Brother Justin steps up to a mike.

- - - - -BROTHER JUSTIN
- "The work is great, for this temple is not for man, but for the Lord God!"

The multitude BURSTS into APPLAUSE, CRY "AMEN."

SCAN THE CROWD

Men, women and children, Okies, others from the former middle class, drawing hope and sustenance from Justin's words.

One gorgeous young woman, CELESTE WATKINS, 20's, innocence personified, listens, raptly.

- - - - -BROTHER JUSTIN (O.S.)
- As I look upon the faces of the men, women and children who have joined us today at the birth of the Temple of Jericho...

BACK TO JUSTIN

- - - - -BROTHER JUSTIN
- I am reminded of other children, innocent martyrs who perished in the flames of the Dignity Ministry...

IRIS

shifts uncomfortably.

JUSTIN

He does not glance Iris's way.

Alamogordo, page 18

WIDER

Ben stoops down, touches--

THE GROUND

BEN

Immediately yanks his hand away, as if it burned. Shocked, he runs to the truck. He drives off, hauling ass, kicking up a DUST CLOUD behind him. A SLOW CRANE DOWN reveals a curious anomaly:

A HANDPRINT

Delineated against the hardscrabble faint halo of WHITE ASH. Even as we watch, the ash is BLOWN AWAY by the WIND.

CUT TO:

EXT. FARM - DAY

CLOSE ON A SHOVEL - as Brother Justin's black patent-leather shoe pushes it into RICH SOIL.

Justin lifts the spade of earth and tosses it to the side. Behind him, in the distance, is the farmhouse. A large white TENT flaps in the wind. A THRONG OF FOLLOWERS CHEER loudly.

IRIS

with the choir, BEAMS.

A HEARST METROTONE NEWSREEL CAMERA CREW

films the event.

TOMMY DOLAN

speaks into a large bank of microphones, all with the Hearst name and logo around their rings. The mikes are connected to a portable RADIO SET-UP. ENGINEERS man the CONTROL BOARD and GENERATOR.

- - - - -DOLAN
(into mike)
- That turn of the spade turns the page on the newest chapter in the saga of Brother Justin Crowe.
(beat)

(MORE)

Alamogordo, page 17

LILA

considers that. Odd. She feels, in the pocket of the dinner jacket--

LODZ'S WALLET

She hefts it.

LILA

moves quickly to his bed, works her hands under the mattress, discovers--

A GROUCH BAG

filled with cash.

LILA

sits down on the bed, struggling to wrap her mind around the implications.

EXT. ROAD FROM ALAMOGORDO - DAY

Ben drives this sand-crusted, two-lane washboard highway.

INT. TRUCK - DAY - TRAVELLING

Ben slows to a stop. Something about the place gives him pause.

EXT. TRUCK - DAY

Ben turns off the main road, to a side road, parks the truck. He climbs out.

BEN

Walks to a rise, sees spread below him--

HIS POV

A desolate desert, cupped in the bowl of the Sacramento Mountains. The Jornada del Muerta. The Valley of Death. Recognizable to us as the place where the A-Bomb exploded in episode one.

Alamogordo, page 16

- - - - -RUTHIE
- Skeeter Lewis!

REVERSE ANGLE

SKEETER LEWIS, a tall, raw-boned sawduster, 50's, glances up from a ladder, where he's been fixing seamer ropes on the ten-in-one.

- - - - -RUTHIE
- Good to see ya back!

Skeeter offers her an odd smile, nods.

- - - - -RUTHIE
- What d'ya say we get ourselves a snort after the show, catch up on our lies?

Skeeter nods, again, goes back to his job. Ruthie smiles to herself.

- - - - -RUTHIE
- Old Skeeter Lewis. Damn.

She starts away. Gabe just stares, confused.

- - - - -RUTHIE
- C'mon, Gabe.

A beat, and he follows.

INT. LODZ'S TRAILER - DAY

The door CREAKS open, a SHAFT OF LIGHT illuminates the room, until--

LILA

slips inside and shuts the door. She takes in the room, feels the furniture, the bottles.

Goes into Lodz' closet, finds his favorite smoking jacket. She carries it to the divan, sits down, leans back, holds it to her face.

Closes her eyes. No tears. Opens them. They alight on--

A TABLE

and a half-full glass of absinthe.

Alamogordo, page 15

- - - - -RITA SUE
- You talk to her yesterday, Lib? She say anythin to you?

Libby looks down at her food.

- - - - -LIBBY
- No, Mama.

- - - - -STUMPY
- Hell, don't take a genius to figger it out. Ain't nothin left for her here.

- - - - -RITA SUE
- She's family.

On guilt overload, Libby leaves, her plate nearly full.

- - - - -LIBBY
- 'Scuse me.

Rita Sue watches her go, misinterpreting.

- - - - -RITA SUE
- Poor thing. Finally found herself a friend and now--

Stumpy sticks himself, again, worse than before.

- - - - -STUMPY
- God-fuggit!

- - - - -RITA SUE
- Would you give me that?

He gratefully hands her needle and thread. As she expertly works, he pulls dice from a box, lines them up, two by two.

From all appearances, just a happy husband and wife doing a chore together.

EXT. CARNIVALE - MIDWAY - DAY

As RUTHIE and GABRIEL pass through, she spots something O.S.

- - - - -RUTHIE
- As I live and breathe.

She waves, calls--

Alamogordo, page 14

WIDER

Jones moves on. Libby crosses to--

A TABLE

And sits with RITA SUE and STUMPY. Rita Sue finishes lunch. Stumpy attempts to string a pair of MINIATURE DICE with HOLES in them together, using needle and thread. He pricks himself.

- - - - -STUMPY
- Ow. Damn. For the luva Mike...

He sucks on his finger.

- - - - -LIBBY
- Mebbe you should go out and look for Sofie, too, Daddy.

- - - - -STUMPY
- Ain't but a few roads. Jonesy, and his crew got 'em covered.

He tries, again, pricks himself, again.

- - - - -STUMPY
- God-blast sunuvabitch

- - - - -RITA SUE
- Felix, she could be out there, sick or hurt.

- - - - -STUMPY
- Yeah, and she could be on a train, half-way to sunny Californee for all we know.
(another prick)
- Jesus H. Particular Christ!

- - - - -RITA SUE
- Shoulda kept an eye on her. I don't know what I was thinkin.

This conversation is making Libby feel low.

- - - - -RITA SUE
- Wonder why she took off, just like that.

Libby suspects why and feels worse.

Alamogordo, page 13

- - - - -JONES
- We're down a half dozen men. We go back out, we ain't gonna be able to set up t'night.

- - - - -SAMSON
- Since when was you me?

- - - - -JONES
- I'm jus sayin--

- - - - -SAMSON
- What? What are you sayin?

- - - - -JONES
- I'm saying mebbe she don't want to be found. Ever think of that?

Samson stops, whirls on him. Quiet, but intense--

- - - - -SAMSON
- And when did that ever stop you before, Jonesy?

It's a real question. Jones still can't look at Samson.

- - - - -SAMSON
(quiet but pissed)
- I don't give a squat if somethin happened between you two. Means less than shit to me. All I care about is finding that little girl and bringing her home.

It's an order. Without another word, Jones turns and heads for the trucks. Samson watches him go.

ANOTHER ANGLE

As he passes the cook-tent, he spies--

LIBBY

Leaving the chow line. She glances up.

JONES

Starts to turn away -- but doesn't. He nods.

LIBBY

Nods back.

Alamogordo, page 12

- - - - -SAMSON
- Then you ain't looked hard enough. Drive the back roads, go all the way to the Arizona border if you gotta--

- - - - -JONES
- Samson.

Pissed at the interruption, Samson glares at Jones.

- - - - -SAMSON
- You got somethin to say?

- - - - -JONES
- She's gone.

Samson glances at the other men, then points at Jones.

- - - - -SAMSON
- You and me.

EXT. BACK-END - MOVING- DAY

Jones walks with Samson

- - - - -SAMSON
- What the hell s that, 'She's gone'? You just gonna leave it like that?

- - - - -JONES
- She's a grown woman--

- - - - -SAMSON
- She's a girl. And she useta be your girl.

Jones avoids his glance.

- - - - -JONES
- It's just--

- - - - -SAMSON
- What?

Jones struggles, pushing his original though aside and instead, continues with a half-hearted substitution.

Alamogordo, page 11

She meanders well into the traffic lane. As a CAR APPROACHES, the driver LEANS ON HIS HORN. It swerves around her and blows past.

She's past noticing, seeing, or caring.

CUT TO:

EXT. CARNIVALE - DAY

A hot day. The carnival is nearly silent. A newspaper covers a sleeping ROUSTIE. The headline reads, "ITALIAN TROOPS INVADE ABYSSINIA! MUSSOLINI: "I AM NEW LION OF AFRICA!"

ANGLE - FERRIS WHEEL

Another ROUSTIE fishes in the seat cushions, finds COINS, happily pockets same.

EXT. COOK-TENT - DAY

Lila sits at a table, picking listlessly at a plate of stew. O.S., TRUCK DOORS SLAM. She looks up, eyes full of hope.

HER POV

JONES, OSGOOD and BURLEY pull up in their vehicles, each alone.

LILA

Crestfallen, she pushes her plate away.

SAMSON

Hastens to the men. Jones sees the little man buzzing his way.

- - - - -JONES
- We tried every chuck-hill and grease spot in the road.

- - - - -BURLEY
- Even tossed beanerville.

- - - - -OSGOOD
- She ain't nowhere, Boss.

Alamogordo, page 10

- - - - -BROTHER JUSTIN
- Tommy Dolan is a man of his word.

He says it with a finality that unnerves Iris. She exits. He watches her go.

CUT TO:

EXT. TEXAS PLAINS - DAY

The sun, red and weary, rises in the dust-mottled sky over a wasteland. CRANE DOWN TO:

VARLYN STROUD

standing in the ruins of the Hawkins farm, braced against the furious WINDS and DUST. His ice-cold eyes survey the landscape.

HIS POV

Two SNARLING DOGS fight over the CARCASS OF A JACKRABBIT, ripping it in two.

STROUD

He bends, picks up a fistful of dust, lets it trickle from his hand, head cocked, watching it as the WIND catches it and blows it South.

A faint smile on his lips.

- - - - -STROUD
- Scudder...

THE DUST DEVIL

Swirls, picking up steam.

CUT TO:

EXT. HIGHWAY - DAY

Eyes vacant, SOFIE appears from a CLOUD OF DUST. She walks down this highway, face coated with grime. Arid tableland, studded with cacti and rocks that dot the landscape like brown sheep, surround her.

This is a woman who's lost everything she owns: her livelihood, her mother, the greater measure of her soul.

Alamogordo, page 9

EXT. BROTHER JUSTIN'S HOUSE - MINTERN, CALIFORNIA - DAY

To establish. Justin's Model-A is parked at the curb.

- - - - -IRIS (PRE-LAP)
- I heard you come in at dawn.

INT. BROTHER JUSTIN'S HOUSE - DINING ROOM - DAY

A breakfast is laid out on the table. Justin settles in a chair, winces.

- - - - -IRIS
- Where were you all night?

- - - - -BROTHER JUSTIN
- A parishioner called. Family emergency.

- - - - -IRIS
- I didn't hear the phone ring.

Justin doesn't reply. Iris pours coffee.

- - - - -IRIS
- You've been awfully withdrawn, lately.

Justin sips his coffee.

- - - - -IRIS
- If something's going on, I wish you'd share it with me.

Justin says nothing. Iris is frustrated.

- - - - -IRIS
- "If you have bitter jealousy and selfish ambition in your heart..."

Justin doesn't take the bait, or even indicate he's heard the lure. Iris presses.

- - - - -IRIS
- Do you know what Mr. Dolan told me once? He actually made up stories just to get ahead on the radio.

That interests Justin. He makes eye contact with her.

Alamogordo, page 8

SCUDDER

Drops the carcass in the upper triangle, the head in the lower. Spreads his arms and looks up, chanting (MOS).

BASEMENT WINDOW

Light streams in, casting a diagonal shaft across the room. A pale, NAKED FIGURE huddles in the darkness of the corner, cowering from the sunlight.

CLOSER

Trembling, eyes wide and feverish, Kerrigan clutches the snake against his chest, sucking on its severed neck like a baby with a bottle, clotted blood covering his chin, splattered on his chest.

MATCH CUT TO:

INT. KERRIGAN'S ROOM - DAY

Kerrigan violently pulls away from Ben, falls from his chair and scrambles to a corner of the room. He crouches in the corner, shrinking into himself. He YELLS at Ben--

- - - - -FATHER KERRIGAN
-"The journey I'm on with friends or alone, life, death, life -- the words of the Crone."

- - - - -BEN
- What...?

Kerrigan's eyes cloud over. His face goes blank. He rocks back and forth in a fetal position, MUMBLING--

- - - - -FATHER KERRIGAN
- "...I blinks and see a face all too like my own. But a true man, like you, man, will fill our glass with us..."

Ben stares at him. There's nothing left here for him. He picks up one of the sketches, folds it and pockets it as the old man continues babbling.

CUT TO:

Alamogordo, page 7

- - - - -FATHER KERRIGAN
- "...Where two paths part I find I'm the Crone, learn to say goodbye to strike off alone. But true men, like you men, are plenty here today..."

- - - - -BEN
(intense, angry)
- I'm Henry Scudder's boy.

- - - - -FATHER KERRIGAN
-"...Crone time comes, this life comes, to an end. There is a voice calling from around the bend. True men be you men..."

- - - - -BEN
- You knew him, what was he like? What kinda man was he?

Nothing.

- - - - -BEN
- Where is he?

Ben, pissed, grabs him by the collar, shakes him. Kerrigan reacts as if struck.

SMASH CUT TO:

QUICK, ALMOST SUBLIMINAL SHOTS

A SNAKE

HISSES, bears its fangs. Suddenly, its HEAD IS CHOPPED OFF WITH A BUTCHER-KNIFE.

PAN THE FLOOR

A LINE OF FRESH BLOOD. Pick up SCUDDER, drawing intersecting lines with the STILL BLEEDING STUMP of the limp serpent.

LOOKING DOWN

As Scudder completes the symbol on the floor -- a DIAMOND SHAPE, bisected by a single horizontal line. CANDLES gutter each point.

Alamogordo, page 6

THE ROOM

The walls are covered with HUNDREDS of PAINTINGS and SKETCHES of the TATTOOED MAN, INCHES THICK in places, many yellowed with age.

More canvases and drawings are stacked against the baseboards, on the paint-splattered floor.

FATHER DEVIN KERRIGAN sits at an easel, splotched with paint, working at a FRENZIED PACE. He's grotesque, as if corruption has eaten away his face and body as well as his soul.

Kerrigan MUTTERS NON-STOP as he paints:

- - - - -FATHER KERRIGAN
- "...I blinks and sees a face all too like my own. But a true man, like you, man, will fill your glass with us..."

Sister Agatha calls out in a slightly too-loud voice:

- - - - -SISTER AGATHA
- Father Kerrigan? There is someone here to see you.

- - - - -FATHER KERRIGAN (CONT'D)
- "...Her cheeks are hollow and her skin is withered. All true men, like you men, remember them with pride..."

She gives Ben an apologetic smile, then turns and exits, BOLTING the door behind her. Ben approaches him.

- - - - -FATHER KERRIGAN (CONT'D)
- "...Her clawlike hands grasping it as if it were life itself. Her eyes burn with a gentle intensity. In true men, like you men, act as brave a part..."

Ben approaches Kerrigan.

- - - - -BEN
(urgent)
- Mister--Father Kerrigan? My name's Ben Hawkins.

Kerrigan continues babbling, LOUDER, more fervently:

Alamogordo, page 5

Puzzled, Ben follows Sister Agatha out of the chapel. He steals a glance back at the statue.

THE MADONNA

has been restored, gazing down lovingly at her child, a subtle, angelic smile tracing her lips.

INT. ST. DYMPHNA'S - HALLWAY - DAY

Sister Agatha leads Ben down this brightly-lit corridor, a BARREL-CHESTED ORDERLY trailing behind.

- - - - -BEN
- So, uhm, what's this list I'm on?

- - - - -SISTER AGATHA
- Authorized visitors. Friends, relatives...

- - - - -BEN
- How'd you pick my name out?

- - - - -SISTER AGATHA
- It's a very short list. Besides his guardian, there's just you and one other.

- - - - -BEN
- Henry Scudder.

Sister Agatha gives him a sharp look. He grins. She shyly returns it, shakes her head.

- - - - -SISTER AGATHA
- As a matter of fact, yes.
(notes the room number)
- Here we are...

They stop at a door. Sister Agatha pulls out a large ring of keys, pauses. Indicating the orderly--

- - - - -SISTER AGATHA
- Buford will be right outside.

Ben nods. As does Buford. Sister Agatha unlocks the door and Ben follows her inside.

INT. ST. DYMPHNA'S - KERRIGAN'S ROOM - DAY

They enter. Ben stares, gaped-mouth, at--

Alamogordo, page 4

But Brother Justin pays no heed, CONTINUES PRAYING:

- - - - -BROTHER JUSTIN (CONT'D)
-...nunc et in hora mortis nostrae...

Ben raises his eyes to the object of worship.

THE CHILD-CHRIST

limp, mottled, pudgy flesh, dead. BLACK BLOOD OOZES from the corner of His open mouth, MAGGOTS swarming in His eye sockets.

- - - - -BROTHER JUSTIN (O.S.)
-...Amen.

BEN

looks in horror up at the face of

THE MADONNA

SHE HAS NO EYES, only hollowed out flesh over the sockets. The BUZZING is painfully loud now.

- - - - -SISTER AGATHA (O.S.)
- Are you Mr. Hawkins?

The BUZZING STOPS. Ben STARTS, turns.

SISTER AGATHA

stands behind him.

- - - - -BEN
-Yeah.

- - - - -SISTER AGATHA
-You may see Father Kerrigan now.

Ben quickly turns to the Prie Dieu. It's now vacant. BROTHER JUSTIN IS GONE.

- - - - -SISTER AGATHA
- Is something wrong?

- - - - -BEN
- No. I mean... how'd you know my name?

- - - - -SISTER AGATH