Сценарии к фильмам на английском языке - Неуязвимый (Unbreakable)

В ролях: Брюс Уиллис, Сэмюэл Л. Джексон, Имонн Уокер, Лесли Стефенсон, Спенсер Трит Кларк, Элизабет Лоуренс
Сценарий/субтитры

INT. CLOTHING STORE - AFTERNOON

Women's casual wear department. J.C. Penny.

Legend "1961"

An African-American man carrying two J.C. Penny shopping bags is ushered past the
department store managers and security guards on walkies that have gathered at
the entrance to the woman's dressing rooms.

CUT TO:

INT. DRESSING ROOM - AFTERNOON

A bed has been formed by a chair and three benches.

A STRIKING AFRICAN-AMERICAN WOMAN in her twenties lays across it. Her face and
clothes are covered in sweat. Her skirt is stained.

She holds something wrapped in a soft sweatshirt on her chest. We can't see it,
but WE HEAR THE BABY CRYING.

She's just given birth.

There are three frazzled saleswomen in the dressing room with her. They watch her
with quiet smiles.

A fourth SALESWOMAN arrives ushering in the man with the shopping bags.

SALESWOMAN
This is Mr. Mathison. He's
a doctor.

DR. MATHISON looks over the scene and then directly at the striking woman.

DR. MATHISON
You okay?

The woman nods, "Yes." Sweat trickles down her face. THE BABY'S PIERCING CRIES
ECHO IN THE SMALL ROOM.

SALESWOMAN
An ambulance is on the way.

Dr. Mathison puts down his shopping bags and moves to her. He kneels down and
gestures for the bundle of sweatshirts in her arms.

DR. MATHISON
Is there a name yet?

Beat. The woman smiles for the first time.

WOMAN
Elijah.

She hands him the wrapped child. We can't see the baby, but THE PIERCING CRIES
SEEM TO GET LOUDER.

WOMAN
Is he supposed to be crying
like that?

The doctor lowers the baby to his lap and unwraps him.

The woman can't see her baby anymore. She watches Dr. Mathison as he looks down
and examines her child. Beat. Dr. Mathison doesn't look up for the longest time.

WOMAN
Can I have him back?

THE BABY'S CRYING IS RELENTLESS. UNNERVING. Beat.

The doctor finally glances up. He looks shaken. He makes eye contact with the
woman for only a second. It's enough. A chill goes through her body.

He looks to the three saleswomen who were in the room.

DR. MATHISON
What happened during the
delivery?

His hard stare unsettles the women. The OLDER SALESWOMAN speaks up.

OLDER SALESWOMAN
Nothing. It was very quick.
The baby just wanted to come
right out. There was no
problems.

DR. MATHISON
Did you drop him?

Everyone becomes very still. The mother looks like she stopped breathing. THE
BABY'S SCREAMING ENGULFS THE ROOM.

DR. MATHISON
Did you drop this baby?

Beat.

OLDER SALESWOMAN
Jesus Christ, no.

The BABY SCREAMS.

The doctor whispers something to himself, we can't hear. He looks up to the
saleswoman who brought him in.

DR. MATHISON
Please inform the ambulance
we have a situation...

Dr. Mathison turns back to the mother. Beat.

DR. MATHISON
I've never seen this... It
appears your infant
sustained some fractures
while in your uterus.
(beat)
His arms and legs are
broken.

FADE TO BLACK:

EXT. TRAIN STATION NEW JERSEY - DAY

LEGEND "PRESENT DAY"

A fountain of humanity bubbles up from the escalators to the train platform.

Businessmen take their last desperate drags of their cigarettes... Women
traveling with children herd their luggage and offspring into tight shapes as
they move... College students with backpacks look around dazed at the various
track numbers.

ANNOUNCER(o.s.)
Last call track three,
Amtrak Clocker making it's
final stop at Philadelphia's
thirtieth street station.
First two passenger cars
only. First two cars only.

A face inside the train watches the stream of passengers emerging from the
escalators. DAVID DUNNE, a man in his early forties, rest his temple against the
glass and quietly observes the movement outside.

The train starts to pull out.

CUT TO:

INT. PASSENGER CAR - DAY

David sits with his coat on his lap. He's wearing a tie. He doesn't look very
comfortable in it.

He feels a stare. He looks up to find a girl, six or seven years old, peering at
him from over the seat in front of him. She just gazes at him blankly.

He gives her a small forced smile. She doesn't react. David returns his head to
the window.

His eyes begin to shut with the lulling movement of the train.

WOMAN(o.s.)
You alone?

David looks in the direction of THE VOICE. A WOMAN with dark hair and light blue
eyes stands in the aisle with two bags over her shoulder. She's wearing a tight
white t-shirt and jeans. She's beautiful.

David nods "yes."

The woman starts putting her bags on the shelf above the seats. She stretches to
get them up. Her toned stomach is exposed. She has a silver ring pierced through
her navel.

David has a gold ring on his hand. He fiddles with it. Beat. He gently slips off
his wedding band. It goes into his coat pocket.

The woman takes the seat next to him.

Beat. A LOUD VIOLENT BURST OF SOUND. The passenger car shakes as a passing
train barrels by two feet from David's window. It passes in a few seconds. The
car returns to a QUIET HUM.

David pulls a magazine out from the seat pocket in front of him.

He holds the woman's fashion magazine out.

DAVID
Someone left these. You want
one?

The woman looks over the one being offered and then points to the Sports
Illustrated peeking out of the seat pocket.

David pulls the magazine out and gives it to her.

DAVID
You like sports?

WOMAN
It's my field. I represent
athletes. I'm an agent.

DAVID
What a coincidence? I'm a
male synchronized swimmer
and I'm looking for
representation.

WOMAN(smiling)
Is that right?

DAVID
But I'm afraid of water, so
that's been holding my
career back a little bit.

The woman laughs.

DAVID
You represent someone in
Philadelphia?

WOMAN
I'm meeting a player from
Temple University. He's a
cornerback. You like
football?

Beat.

DAVID
Not really.

WOMAN
This kid is six foot two,
two hundred and forty
pounds. He runs the fifty in
under six seconds. He's
going to be a God.

Beat. David studies the excitement in her eyes.

ANOTHER LOUD VIOLENT BURST OF SOUND. David waits till the opposing train passes.
The woman goes back to her magazine. Beat.

DAVID
I'm David Dunne.

The woman looks up.

WOMAN
Kelly.

She goes back to the magazine.

Beat.

DAVID
How long are you staying in
Philly?

KELLY looks up from her Sports Illustrated. Her striking blue eyes gaze at David.
Beat.

She holds up her hand. Taps the diamond ring on her finger.

KELLY(soft)
I'm married.

DAVID(fake excitement)
Great.

Beat.

KELLY
Sorry.

DAVID(fake confusion)
What are you talking about?

An awkward silence.

DAVID
I think you got the wrong
idea.

The woman stares at David. She looks down. Beat. Closes the magazine.

KELLY
I'm going to find another
seat.

Kelly gets up. She balances herself against a headrest as the train rumbles. She
starts to the back of the car.

David sits alone. He looks like he's drowning, but there's no water.

He feels a stare. He glances up. The little girl spies on him from between the
seats.

David leans towards the window to avoid eye contact. His hand reaches into his
coat and slides out his wedding band. He puts it back on.

His temple touches the glass. The vibration of the train begins to lull his eyes
closed... Beat.

David's head bounces lightly against the window.

The shaking of the glass never allows David's eyes to completely close.

He sits up when he realizes the shaking is getting stronger.

He looks out the window. The scenery blurs as it flies by. Beat.

David turns. Some of the other passengers start to react as they realize the
train is picking up speed.

The normal bumps of the tracks become amplified.

The WORRIED VOICES OF THE TRAVELERS START FILL THE CABIN.

The train goes faster.

AND THEN THE HIGH PITCHED METAL ON METAL SCREECHING STARTS AS THE TRAIN BEGINS TO
TAKE A CURVE.

David's eyes move to the seat in front of him. The little girl is no longer
watching him.

DAVID LOOKS TO THE PASSENGERS ACROSS FROM HIM. He sees the ground slowly drop
away in the windows behind them as THEIR SIDE OF THE TRAIN STARTS TO RISE...

THE PASSENGERS SCREAM AS THE AMTRAK PASSENGER TRAIN BEGINS TO TILT OFF THE
TRACK...

CUT TO:

INT. FAMILY ROOM - AFTERNOON

A boy, age ten, sits on his head on the family couch and watches television
upside down. His floppy brown hair spreads out in a circle in front of his red
face. He changes channels with a remote control.

He moves past the upside down cartoons and the upside down talk shows. He stops
on an upside down picture of a crashed train. Beat.

His knees come forward as he flips over. He tumbles slowly off the couch and onto
the carpet. JEREMY DUNNE gazes at the television screen... A LIVE AERIAL VIEW OF
A TRAIN WRECK SMOULDERING BELOW IS SEEN. Two trains are tangled like snakes.

Jeremy gets up and moves to a small table with a phone. Next to the phone is a
notepad. On it is written...

Dad - Amtrak 177 - 3:40pm.

Jeremy looks at the television. At the bottom of the screen in red block letters
that move from right to left are words and numbers..."The 3:40 Amtrak 177 has
derailed... Amtrak Emergency number is 1-800-777-4322... The 3:40 Amtrak 177 has
derailed...Amtrak"

Jeremy doesn't take his eyes off the screen. He makes a small desperate noise
that no one hears.

CUT TO:

INT. PHYSICAL THERAPY CENTER - LATE AFTERNOON

An elderly woman can't hold back any longer and SCREAMS. An embarrassed, tortured
helpless scream.

MEGAN DUNNE continues applying pressure to her arm which is being pushed back as
far as it will go.

She counts to three and eases off. She lays her arm back in her lap.

WE ARE IN A PHYSICAL THERAPY CENTER. About a dozen people are on specialized
weight machines.

The elderly woman is seated on an exercise table and breathes slowly.

MEGAN
You okay, Virginia?

Beat. VIRGINIA shakes her head, "No."

MEGAN
I'll put something on the
t.v. Maybe we'll find some
almost naked guys to inspire
you.

Megan reaches up to the t.v. monitor mounted on the wall. She turns it on and
starts flipping channels. She stops on ESPN where a swimming meet is underway.
Men in bikini swimsuits line the edges of the pool.

Virginia starts watching with great interest.

Megan's eyes move to the tiny print moving across the bottom of the screen. Her
face goes still as she reads the train number... 177.

CUT TO:

INT. EMERGENCY ROOM - AFTERNOON

DAVID DUNNE'S EYES SLOWLY OPEN. THE DULL WHITE OF THE OVERHEAD TUBE LIGHTING
BLINDS HIM AT FIRST.

He blinks his vision back. He realizes he's in a bed.

WE HEAR AGITATED VOICES, MOVEMENT.

David looks around. He's in an emergency room. There are a half dozen prep areas
and beds next to him. They're all empty.

DAVID FOLLOWS THE URGENT SOUNDS OF ACTIVITY TO A PREP AREA DIRECTLY ACROSS FROM
HIM.

He can only see glimpses of activity through the drawn curtain. A group of
emergency room personnel are treating a man whose body is twitching violently on
a gurney.

One of the group is a man who glances through the opening in the curtain. He
notices David sitting up from across the room.

THE MAN IN SCRUBS leaves the group and walks over.

MAN IN SCRUBS
How are you feeling?

DAVID
Okay.

He FLASHES A LIGHT in David's eyes.

MAN IN SCRUBS
You are in the emergency
room of the University of
Pennsylvania Hospital. You
were in a serious accident.
(beat)
How's your vision?

DAVID
Fine.

David stares across as the scene with the other patients becomes more frantic and
disturbing.

MAN IN SCRUBS
Where were you sitting on
the train?

DAVID
Against a window.

MAN IN SCRUBS
In the passenger car?

DAVID
Yes. Where are the rest of
the passengers?

MAN IN SCRUBS
Was your family traveling
with you?

DAVID
No.

MAN IN SCRUBS
Did you get up from your
seat?

DAVID
No.

David watches the other patient.

MAN IN SCRUBS
You're certain you were in
the passenger car?

David turns to the man.

DAVID
Yes... Why are you looking
at me like that?

Beat.

MAN IN SCRUBS
Your train derailed... Some
kind of malfunction... It
took a curve way to fast. A
second train collided with
yours after it derailed. The
debris is spread over one
mile. It's unbelievable they
said.
(beat)
They only found two people
alive so far... You and him.

David looks to the other passenger now laying unnaturally still in the desperate
whirlwind of activity around him.

MAN IN SCRUBS
The man's skull was cracked
open and most of his left
side was crushed.

Beat.

MAN IN SCRUBS
And to answer your question,
there are two reasons why
I'm looking at you like
this.

David turns and stares at the man.

MAN IN SCRUBS
One, because it seems, in a
few minutes, you will
officially be the only
survivor of this train
wreck.
(beat)
And two, because you don't
have a scratch on you. You
didn't break one bone.

CUT TO:

INT. EMERGENCY RECEPTION AREA - EVENING

David moves through the depressing milky corridors of the hospital. He opens a
set of double doors.

A room crammed with cameras and photographers explodes with movement.

A CHILD'S VOICE BREAKS THEIR NOISE.

JEREMY
I told you!

Jeremy Dunne pushes forward through the mob of people and cameras. He bursts out
and runs to David. He wraps his arms around David's waist. David just stands
there, aware that the cameras are catching it all. He's overwhelmed.

Hospital staff and a couple police officers push the media back.

Jeremy tugs David to lean down. He does.

JEREMY
They thought everybody on
the train died.

David looks at his son's face. Wipes the tears on his cheek.

JEREMY
I told them they were wrong.

A woman moves to them. David stands up and faces Megan Dunne.

JEREMY
Mom even cried.

David looks at Megan's eyes.

JEREMY
A lot.

Megan looks away.

MEGAN
Not a lot.

They stand there for a moment. David looks shaken. Jeremy takes hold of his hand.

JEREMY
Let's go home.

Megan nods. They move to the exit. The pack of cameras and reporters burst to
life as they leave the building. They jockey for position to get a last glimpse
of David Dunne.

CUT TO:

INT. KITCHEN - NIGHT

David eats a bowl of pasta alone in a modest kitchen. He stares at his hand.
Opens and closes it slowly. Beat.

He rises and puts the bowl away in the sink.

INT. FRONT HALL - NIGHT

David stops just before rising the stairs. He glances into a bedroom at the
bottom of the stairs. The doorway is half open. He makes eye contact with his
wife. Beat.

DAVID
I don't think I got the job
in New York.

MEGAN
What does that mean?

DAVID
I'm still going to New York.
Just not this second.

MEGAN
I don't want to drag this
out too long for Jeremy.

DAVID
I know.

Beat.

DAVID
How about in the meantime,
you don't sleep in the
guestroom anymore?
(beat)
You sleep in our room. I'll
sleep down here.

Beat.

MEGAN
It stopped being our room a
long time ago.
(beat)
You should go up and get
some rest.

Beat. Megan slowly closes the door to the guest bedroom.

CUT TO:

INT. BEDROOM - NIGHT

David looks at his son asleep in his bed.

DAVID
Jeremy, why don't you go
sleep with your mom?

JEREMY(eyes closed)
I want to sleep here
tonight.

DAVID
I think it's be better if I
was alone.

JEREMY(eyes closed)
I won't make any noise.

DAVID
How about your room then? If
you get scared like before,
you can come back in here?

Beat. Jeremy doesn't answer because he's asleep. David rubs his forehead and gets
up. He turns on the t.v., low volume, as he moves into the bathroom.

CUT TO:

INT. BATHROOM - NIGHT

Hot water rushes over David's face as he stands in the shower. His attention is
drawn to the t.v. which is seen through the slightly open bathroom door.

He turns off the water to HEAR.

NEWS ANCHOR(t.v.)
...Derailed approximately
seven and half miles outside
Philadelphia. It came to
rest on its side on the
northbound tracks. It is
train officials belief that
some if not most of the
passengers were still alive
at this time.

NEWS ANCHOR(t.v.)
The momentary peace lasted
only a few seconds. A Boston
bound freight train on the
northbound tracks was
seconds away from passing
train 177 when it derailed.
The impact happened at about
three-fifteen p.m. The first
of the two occupied
passenger cars was severed
in half and sent careening
in two directions. The
second of the passenger cars
was crushed and dragged for
four hundred feet. Six crew
members were on the freight.
One hundred and eighteen
passengers and seven crew
members were on the
passenger train... There is
one reported survivor.
(beat)
Rescue teams will be working
for the next forty-eight
hours removing bodies and
debris.

David steps out of the shower. He sees a glimpse of Jeremy asleep in bed. David
shuts the door. Locks it.

He gets back into the shower and turns the water back on.

He closes his eyes. His face tightens up. He slowly hunches down and takes a seat
on the tiled floor of the shower. Water pours over him. Beat.

His muscular body begins to shake. Then we realize he's crying.

FADE TO BLACK:

EXT. FAIR - DAY

LEGEND "1969"

A hazy afternoon. A fair has come into town. They have set up in the vast parking
lot of the local high school.

A line of women has formed in front of the portable bathrooms.

The striking African American woman we saw giving birth is now standing in line.
She is older and somehow more beautiful.

She stands with a skinny, almost ethereal looking African American boy. The boy
wears a metal brace on his leg. THE EIGHT YEAR OLD ELIJAH holds two oversized
stuffed animals in his arms. He looks back over his shoulder as THE SOUND OF
VOICES YELLING IN EXCITEMENT FILL THE AIR. His eyes dance over the many colorful
rides in the parking lot.

The door opens to one of the portable bathrooms. A woman steps out.

Elijah's mother touches his head and enters the three foot square plastic
bathroom. She turns back and gives him a look.

MOTHER
We'll play the water pistol
game next.

Elijah nods, "Yes" happily.

The mother closes the cubicle door. Elijah is left alone amongst the line of
women. They stare at him blankly. Their eyes moves over his leg brace. Elijah
doesn't like it. He moves away from the line.

A CRESCENDO OF CHEERS RISES IN THE AIR FROM SOMEWHERE IN THE FAIR. Elijah follows
the voices. He carries the stuffed animals through the crowds of people. CLICK.
CLICK. CLICK. His metal brace sounds as he walks.

For a moment, he sees nothing but bodies all around him.

He emerges amongst a huddle of teenagers who wait at a turnstile.

A man in a red and white striped coat takes their tickets and waves them in.

Elijah looks up and sees the sign above the turnstile... "The Hurricane."

He watches the teenagers giggle as they each into a grey cup-like seat. They pull
the metal bars down in front of them.

The man in the red and white stripes leaves the turnstile.

Elijah stares up at the multi-colored sign. Beat. He moves quickly. Ducks under
the turnstile and climbs onto the platform.

Elijah finds and empty circular seat. He slips inside the gray metal compartment
and sits. He pulls down the rusted metal bar in front of him.

He looks around at all the excited faces. His eyes fill with excitement too.

His small hands feel the cold metal of the interior of the compartment. His
expression changes.

Elijah looks to the stuffed animals in his arms. He presses them to check their
softness. He places the stuffed animals on either side of him on the seat. He's
wedged in between them. Feels good.

He reaches out and touches the hard rusted metal bar in front of him. Elijah
looks a little anxious. Beat.

He pulls off his sweater and wraps it around the bar. It goes around twice before
he ties the arms together. He checks its softness.

Elijah looks around the customized cup-like compartment he sits in. He smiles an
eight year old smile of pride.

AND THEN HE HEARS HIS MOTHER'S VOICE.

He searches around and finds her walking in the waves of people. He hears her
calling.

MOTHER
Elijah...

She moves in his direction by chance. She finds herself at the entrance to The
Hurricane ride. She looks up at the sign above the turnstile. Her worried eyes
immediately start searching the young faces in the gray circular compartments.

Her eyes meet Elijah's. He waves. Her face goes very still.

A HUGE ROAR OF MACHINERY as the ride starts up.

Elijah yells to his mother as the platform starts running.

ELIJAH
I won't get hurt momma! I'm
safe!

HIS WORDS GET EATEN UP BY THE CHEERS OF THE TEENAGERS AND THE GRIND OF MACHINERY.

The platform spins. He sees a glimpse of his mother and the red and white striped
man. She's pointing at Elijah.

The platform turns... Elijah sees a flash of the red and white striped man's
angered face as he yells at the frantic woman next to him.

And then the ride speeds up.

The gray circular seats start to spin on their own. The teenagers CHEER.

Elijah's eyes fill with joy as the wind plays against his face.

Suddenly the ride changes directions. The cup-like seats get jerked. Everyone
grabs the metal bars to hold on.

Elijah laughs as he smashes into the stuffed animal on his right. It cushions him
and then falls to the floor of the compartment along with the other stuffed
animal.

Elijah's expression becomes tense as his compartment spins. His hands slide over
the rusted metal bar as the sweater unravels.

Elijah looks around... a sudden panic enters his eyes.

THE BLURRING IMAGE OF HIS MOTHER NOW IN A GROUP OF RED AND WHITE STRIPED MEN.

THE SOUND OF MACHINERY GRINDING IS HEARD as the ride changes directions
suddenly.

Elijah's hands rip away from the bar as he gets thrown to the side of the
compartment. His shoulder and arm takes the brunt of the impact. WE HEAR
SOMETHING CRACK.

TEENAGERS SCREAM IN EXCITEMENT. ELIJAH JOINS THEM WITH SCREAMS OF HIS OWN.

The ride spins its passengers. Elijah's small face looks up at the swirling
clouds in a mixture of agony and terror.

The ride changes directions.

Elijah is thrust forward. He hits the rusted metal bar square against his chest.
WE HEAR MORE CRACKS.

The world spins. Giggles and yells fill the air. Elijah slumps down onto the
floor of the compartment.

And then finally, the grind of the machinery slows and then comes to a gradual
stop.

THE TEENAGERS MOAN.

Elijah is facing directly up at the sky. The clouds now move slowly over him.

WE HEAR COMMOTION. AGITATED VOICES. HIS MOTHER'S DESPERATE VOICE.

MOTHER(o.s.)
His bones... He's not
well...

HER VOICE GETS LOUDER AS SHE MOVES CLOSER TO THE PLATFORM.

MOTHER(o.s.)
Elijah baby...

Then her face appears as she finds the cup-like seat Elijah is in. She begins to
scream.

Elijah lays on the bottom of the compartment. One arm is clutching his chest. The
other is curved horrifically like an "s". His mouth is open. His eyes are
bulging. The last thing we HERE ARE THE SHORT DESPERATE BREATHS of an eight year
old child about to black out from the pain.

FADE TO BLACK:

PRESENT: EXT. CHURCH - AFTERNOON

WE EMERGE FROM BLACK to find news vans and reporters lining the street across
from a church. They have been cordoned off by a handful of police. Mourners are
recorded as they emerge from their cars and enter the church.

David is among the arriving crowd.

MAN(o.s.)
David Dunne!

At hearing his name, David turns back as he walks. He can't tell which reporter
called his name because all of them seem to react. A storm of camera movement as
the group jockeys for the best angle of his troubled face.

David passes a magnetic board as he enters the church. It reads, "Services for
the families and friends of train 177."

CUT TO:

INT. CHURCH - AFTERNOON

A PRIEST stands before a podium.

PRIEST
Sarah Elaston, social worker
at Broad and Locust
Community Center. We pray
for your soul.
(beat)
Kevin Elliott, business man,
father of six. We pray for
your soul.
(beat)
Glen Stevens, researcher in
the area of Leukemia at
Drexel University. We pray
for your soul.

David sits amongst the mourners in the standing room only church. His eyes drift
to a woman two rows ahead of him. She's turned around, looking at him. Her eyes
are red from crying.

David looks away. His eyes stop on an old man far to his left just a few seats
away. Father, mother and daughter stare silently.

David surveys the entire church... Desperate inconsolable eyes question his
existence from every direction.

David has to look down.

PRIEST
...Jennifer Pennyman, third
grade teacher at Jefferson
Elementary.
(beat)
We pray for your soul.

CUT TO:

INT. BACK OF CHURCH - AFTERNOON

David and the priest who conducted the mass are alone in the mass preparation
room. The priest looks in his fifties, eyes tired, blood shot.

DAVID
I used to play football in
college. In my first year as
quarterback, we went on this
winning streak. It just went
on and on. It didn't matter
who we played... I'd always
win.
(beat)
You get superstitious when
something like that happens.
You give things meaning.
Like you wear the same color
socks each game or you
listen to the same B.B. King
song before you leave the
apartment. I wouldn't even
untie the shoelaces on my
cleats. I'd just slip them
on and off so nothing would
change... I gave things
meaning that had no meaning.
(beat)
I'm here to make sure I'm
not making shoelaces into
something they're not again.
(beat)
I was the only person to
survive that accident. The
only one... It feels like it
means something.

Beat.

PRIEST
Are you a religious man,
David?

David nods, "No."

The priest removes the sacred stoll from his around his neck and kisses it before
folding it carefully.

PRIEST
Good. Because I'm going to
talk to you as a man. Not as
a man of the cloth.

DAVID
Okay.

Beat. The priest turns to David.

PRIEST
It was luck.

Beat.

DAVID
What do you mean?

PRIEST
Luck... Random... Without
meaning.

David just sits awkwardly.

PRIEST
Three years ago, my cousin
died on a plane that crashed
on take off at Philadelphia
International airport. Do
you remember that crash?

David nods, "Yes."

PRIEST
I prayed and prayed and
finally found some meaning
in the event. It gave me
peace... And then not quite
a year later, an entire
family from my parish burned
to death in a hotel fire
downtown...
(beat)
Again I prayed. Again I
found meaning.
(beat)
Just two days ago, my nephew
rode with you on that train
back from New York. He was
traveling alone for the
first time.

PRIEST
I'm sorry if I can't react
to your survival with the
appropriate 'It was the hand
of God. It was a miracle.'
kind of answer... I'm fresh
out of those right now.

David is shaken. Beat.

DAVID(soft)
The metal of the watch I was
wearing was crushed like a
sledge hammer hit it.

Beat. The priest's eyes fill with emotion.

PRIEST
My twelve year old nephew's
neck was broken in four
places... What's your point?
You were chosen?
(beat)
I don't think so.

The priest turns and continues putting away artifacts from the mass. Silence
fills the back room.

CUT TO:

INT. CHURCH PARKING LOT - LATE AFTERNOON

No cameras greet his exit. No people anywhere.

David walks across the now empty parking lot. His car is the only one left.

He walks to the driver's side. Pulls out his keys. That's as far as he gets.

His eyes catch sight of the GRAY ENVELOPE tucked under the windshield wiper of
his car.

David moves forward and gently pulls it out. His name is typed on the front. He
turns it over. Two embossed words on the back.

"Limited Edition"

He opens the envelope. One line, handwritten, gazes at him from the gray index
card.

The line reads...

"How many days of your life have you been sick?"

Nothing else is written.

David Dunne looks around the empty parking lot quietly.

CUT TO:

INT. EMPLOYEE LOCKER ROOM - MORNING

A poorly lit changing room. A row of metallic lockers sits against one wall. A
bench splits the room. A brown folding table with Dunkin Donuts boxes and bagels
on it is crammed in the corner. A puke colored concrete floor sets the tone.

David and three other large men are changing out of their street clothes. They
all put on the same yellow short sleeve shirts. The same two words are written on
all their backs...

Stadium Security

This ritual goes on without a word.

CUT TO:

INT. MAIN STADIUM CORRIDOR - MORNING

David walks along the massive curved wall around the outer rim of the stadium. As
he passes the different walkways we get glimpses of the enormous and empty
sixty-thousand seat football stadium on the inside.

David stops at a door marked "PERSONNEL".

CUT TO:

INT. PERSONNEL OFFICE - MORNING

David knocks on the door as he steps into the cramped reception room to the
personnel office.

The SECRETARY, an ancient woman with thick flabby arms never stops typing and
never looks up as she talks.

ANCIENT SECRETARY
Yes?

DAVID
Is Noel in?

ANCIENT SECRETARY
No sir he is not.
(beat)
I read about you in the
paper.

DAVID
Oh.

ANCIENT SECRETARY
I was in an accident once
too. A horse almost trampled
me to death.

DAVID
Wow.

ANCIENT SECRETARY
I had to put him down.

Beat.

DAVID
That's a sad story.
(beat)
Do you think you could ask
Noel something for me?

The ancient secretary's right hand immediately picks up a pen and positions it
over a blank pad. Her left hand keeps typing. She never looks up.

ANCIENT SECRETARY
Proceed.

DAVID
Ask if he can check how many
sick days I've taken since
I've worked here?

Beat.

ANCIENT SECRETARY
Is that the entire message?

DAVID
Yes.

CUT TO:

EXT. STADIUM FIELD - AFTERNOON

Rain falls in sheets in the stadium.

David stands at the entrance to a tunnel that empties out onto the field. He
stands in an imposing dark green rain poncho and hood. The poncho almost touches
the ground. The word 'security' on the back has almost faded away. We can barely
see David's face under the hood.

There is a football game in progress on the enormous field. The players seem
unusually small. There is no one in the stands. About four hundred people are on
the sidelines of the field watching the players. A soggy limping banner stretched
behind them declares, "The Pennslvania Elementary School Championships."

David's eyes scan the tiny figures on the field. His eyes come rest on a surge of
activity on the sidelines. Beat.

David steps out into the rain.

CUT TO:

EXT. SIDELINES - AFTERNOON

A handful of red faced fathers are yelling at each other. They're in each other's
rain soaked faces. The scene feels on the verge of physical violence.

David and another security guard jog over. David steps in the middle of the tight
circle. The men stop yelling in the presence of stadium security. Everyone just
stands in the rain glaring at each other. Beat.

DAVID
You know what I think about
to calm down? I think about
those big fat, hundred and
twenty pound turtles that
live in the islands. Those
suckers never get angry,
never get in fights and live
longer than all of us and
all they do all is sit on
the beach and hump other
turtles.
(beat)
Why don't we take a second
and think about the turtles?

Nobody moves. Rain washes over the agitated faces. A father breaks the moment.

FATHER
Yeah Jerry why don't you
think about the fat ass
turtles... Like your fat ass
son on the field
jeopardizing the rest of our
chances at a fucking
championship.

David tenses. Everyone looks to JERRY. A bald man who stands just a foot away.
Jerry nods to himself. Looks like he's going to say something. Instead he lunges
forward and smashes a HEADBUTT to the man who spoke to him.

David tackles Jerry hard and fast. He drives him into the ground.

Blood starts rushing out of the nose of the dazed father who took the headbutt.

The other fathers start yelling and pushing each other. The remaining security
guard calls on his walkie for assistance.

David keeps Jerry immobilized in a powerful arm and head lock that holds the
man's enraged face hard into the wet surface of the field.

David's eyes are not on Jerry. They gaze out onto the field where twenty two
elementary school boys have stopped playing and are standing frozen, helmets off,
rain washing over their faces. They watch in horror as their parents attack each
other on the sidelines.

CUT TO:

INT. EMPLOYEE LOCKER ROOM - LATE AFTERNOON

David is the last one left. He's showered and back in his street clothes. He sits
in the dimly lit room on the bench, lost in his thoughts when the door opens.

He turns to find a somewhat pregnant looking man with a tie step in. This is
NOEL.

DAVID
Hey Noel.

Beat. He just stares.

NOEL
Forty dollars.

David turns on the bench.

DAVID
What?

NOEL
You're getting a forty
dollar raise per week...
that's it.

Silence.

NOEL
I checked. You were right.
You've never taken a sick
day.
(beat)
Five years, no sick days. I
get it. You want a raise.
You made your point.

The room is still. Beat.

NOEL
All right fifty dollars and
that's the god damn limit.
(beat)
Are we done here?

Beat. David nods, "Yes."

CUT TO:

INT. BEDROOM - NIGHT

LIGHTS OUT.

David is wide awake in his bed. He glances over. Jeremy is in deep sleep next to
him.

CUT TO:

INT. GUEST ROOM - NIGHT

David knocks again quietly. The guest bedroom door opens.

Megan looks up at David. She's just woken up.

MEGAN(low voice)
Is Jeremy okay?

DAVID(low voice)
He's asleep.

MEGAN(low voice)
Oh.

Beat. They both stand awkwardly for a moment.

DAVID(low voice)
I wanted to ask you a
question. It'll sound
strange, but just think
about it for a second.

Megan nods, "Yes."

DAVID(low voice)
When's the last time I was
sick? You remember?

Megan tries to mask her reaction to the oddness of the question. Beat.

MEGAN(low voice)
I don't know. It's been a
while.

DAVID(low voice)
I haven't been sick this
year. I know that.

MEGAN(low voice)
Okay.

DAVID(low voice)
Do you remember me getting
sick?

MEGAN(low voice)
Not a specific day. What's
this about?

DAVID (low voice)
Megan, do you ever remember
me getting sick?

Beat.

DAVID(low voice)
In the three years we've
been in this house?... In
the old apartment?... Before
Jeremy was born?... Before
we were married?

Beat.

MEGAN(low voice)
...I can't remember.

DAVID(low voice)
That's strange isn't it? Not
remembering one fever... Or
a cold... Or a sore throat.
What do you think that
means?

MEGAN(low voice)
It means we're probably to
tired to remember.

David becomes quiet as he thinks. Beat.

MEGAN(low voice)
Is that what you wanted to
ask me?

DAVID(low voice)
Yes.

MEGAN(low voice)
Is there anything else you
wanted to ask me while I'm
up?...

MEGAN(low voice)
...When was the last time
you wore pink? When was the
last time you drank soup
standing up? Final call for
strange questions at two in
the morning.

DAVID(low voice)
No that's it.

David seems lost in his thoughts.

MEGAN(low voice)
Maybe you should go up.
Jeremy might see you're gone
and get frightened.
(beat)
The train thing, really
shook him up. He's scared
something's going to happen
to you. He doesn't want to
let you out of his sight.

David stares at Megan. Beat.

DAVID(low voice)
Yeah. I know.

There's silence for a bit.

DAVID(low voice)
When was the last time I
wore pink?

MEGAN(low voice)
The Mitchell barbecue three
years ago.

DAVID(realizing)
Oh shit...

MEGAN(low voice)
Matching shirt and shorts.
It was brutal.

David half-smiles as Megan turns and starts back into the guest room.

DAVID(low voice)
Goodnight Megan.

Megan looks back at her husband. Just for a moment. Then she looks down.

MEGAN(low voice)
Goodnight David.

Megan closes the door slowly shut.

FADE TO BLACK:

INT. BEDROOM - AFTERNOON

WE EMERGE in a cramped sparse bedroom.

LEGEND "1974"

A thirteen year old Elijah sits in a chair with his arm in a sling. He watches a
small black and white television in the corner of the room.

WE HEAR FOOTSTEPS. Elijah's mother walks into the room. She looks around for a
moment, and then moves to the television. Turns it off.

The room GOES SILENT.

ELIJAH'S MOTHER
No more sitting in this
room. I've let it go on long
enough.

ELIJAH
I'm not going out anymore.
I'm not getting hurt again.
This was the last time. I
told you.

ELIJAH'S MOTHER
You can't do anything about
that. You might fall between
that chair and this
television. If that's what
God has planned for you,
that's what's going to
happen. You can't hide from
it in your room.

Elijah just sits staring at the dark television screen.

ELIJAH
They call me Mr. Glass at
school. Cause I break like
glass.

Elijah's face is tense. Unyielding. Beat.

Elijah's mother says the next words in almost a whisper.

ELIJAH'S MOTHER
...You make this decision
now to be afraid...
(beat)
And you'll never turn back
your whole life. You'll
always be afraid.

Elijah's eyes move from the television to his mother. He sees the emotion in her
face. Neither says anything for a while. Beat.

ELIJAH'S MOTHER
...I got a present for you.

ELIJAH
Why?

ELIJAH'S MOTHER
Forget why. Do you want it
or not?

Elijah thinks it over. He nods, "Yes."

ELIJAH'S MOTHER
Well, go get it then.

ELIJAH
Where is it?

ELIJAH'S MOTHER
On a bench, across the
street.

Elijah looks at his mother with disbelief.

ELIJAH'S MOTHER
You calling me a liar?

She points to the window. Beat. Elijah gets up and moves to the only window in
the room.

The view from his room looks out over a narrow street. On the other side of the
street is a public playground. A handful of children are playing on it.

There are three benches to one side of the swings. On one of them is a THIN
PACKAGE wrapped in brown paper with a bow on it.

Elijah looks to his mom who has joined him at the window.

ELIJAH
Someone's gonna take it.

Beat.

ELIJAH'S MOTHER
Then you better get out
there soon.

CUT TO:

EXT. PLAYGROUND - AFTERNOON

Elijah walks across the playground. He's very wary of the other children running
about him.

He walks towards the bench with the present on it. Takes a seat. Puts the package
on his lap. It's flat. The edges of the bend down over his thin legs.

He undoes the white bow. He peels off the clear tape holding the brown paper
together. He unfolds the paper. Beat.

Elijah stares down at the single comic book in his lap.

He feels the shadow of his mother. She takes a seat next to him.

ELIJAH'S MOTHER
I bought a whole bunch.
They'll be one of these
waiting for you, every time
you want to come out here.

Beat.

ELIJAH'S MOTHER
They said this one has a
surprise ending.

Elijah looks to his mother. His intelligent piercing eyes take her in for a
moment.

He looks back down at his lap. He opens the first page...

DISSOLVE TO:

INT. STORE - DAY

The same intelligent piercing eyes, twenty-five years older. Elijah has grown
into a handsome, regal looking man. He leans on a walking stick.

He's looking at an impressively framed charcoal sketch on a wall. Two figures are
depicted on the top of a building locked in fierce battle. One figure is
extremely muscular with a mask. The other is half human, half animal.

MAN
This is from Fritz
Champion's own library. This
is before the first issue of
the comic book hit the
stands in 1968.

Elijah glances at the BUSINESS MAN standing next to him and then back to the
sketch.

ELIJAH
It's a classic depiction of
good versus evil. Notice the
square jaw of Slayer -
common in most comic book
heroes. And the slightly
disproportionate size of
Jaguaro's body to his head.
This again is common, but
only in villains... The
thing to notice about this
piece... The thing that
makes it very, very
special... is its realistic
depiction of its figures.
When the characters
eventually made it into the
magazine they were
exaggerated... as always
happens.
(beat)
This is vintage.

The business man rubs his face. Gazes at the sketch. Beat.

BUSINESS MAN
Wrap it up.

ELIJAH
You've made a considerably
wise decision.

Elijah starts to the back of the store which we now see is some type of art
gallery where all the framed pictures are images and sketches from comic books.

BUSINESS MAN
My kid's gonna go berserk.

Elijah jams his walking stick into the extra thick carpet and stops. He turns.

ELIJAH
Once again please?

BUSINESS MAN
My son Jeb. It's a gift for
him.

ELIJAH
How old is Jeb?

BUSINESS MAN
Four.

ELIJAH
No.

Elijah starts back to the businessman shaking his head strongly.

ELIJAH
No, no, no, no no... You
need to go now.

BUSINESS MAN
What did I say?

ELIJAH
Do you see any Telletubbies
around here?... Do you see
a slender plastic tag
clipped to my shirt with my
name printed on it?... Do
you see a little Asian child
with a blank expression
sitting outside in a
mechanical helicopter that
shakes when you put a
quarter in it?... No?...
Well that's what you see at
a toy store? Any you must
think this is a toy store,
cause you're in here
shopping for an infant named
Jeb. One of us has made a
gross error and wasted the
other person's valuable
time...

Elijah's eyes pierce through the shaken man.

ELIJAH
This is an art gallery my
friend. This is piece of
art...

Elijah points at the sketch.

ELIJAH
This is one of seventeen
original drawings by Fritz
Champion remaining in the
world. It's value will
triple every year... This
piece is to be treasured. To
be cherished... To be
coveted by every single one
of your banker friends that
think they're better than
you.

The business man stares at the sketch with large eyes. Beat.

BUSINESS MAN
What if I kept it?

Beat.

ELIJAH
I'm listening.

BUSINESS MAN
I'll keep it in my office
room.

ELIJAH
What about Jeb?

BUSINESS MAN
I have a lock on the door.

Elijah just stares.

ELIJAH
Will it be near a window?

BUSINESSMAN
No direct sunlight will fall
on it.

Elijah eyes the man for many seconds. Beat.

ELIJAH
Come back in three days.
I'll think about it.

Elijah starts to the back. He passes the front door as two customers walk in.
Elijah talks over his shoulder to them.

ELIJAH
We're by appointment only.

MAN
I received a card from your
store.

ELIJAH
Congratulations, you have a
mailbox... The sale isn't
for two weeks.

MAN
This one was under the
windshield of my car.

Elijah turns and faces the customers for the first time. David Dunne stands with
Jeremy.

Elijah just stands staring for the longest time. Beat. He walks closer to them.
When Elijah speaks, his voice has a whispery quality to it.

ELIJAH
You've never been sick?

DAVID
I don't know for sure.
(beat)
...I don't think so.

David and Elijah quietly look at each other. Beat.

ELIJAH
Well if this ain't a riddle
worthy of the Riddler?

CUT TO:

EXT. LIMITED EDITION - LATE AFTERNOON

Three chairs have been placed on the walkway in front of the bay window of the
store. The words, "Limited Edition" are etched in the window.

David, Jeremy and Elijah are seated watching the people stroll by. Elijah's cane
is on his lap.

Jeremy sips a drink in a paper cup.

ELIJAH
So let's get some of the
usual questions out of the
way. Why am I using a cane?
Raise your hand if you were
thinking that.

Jeremy raises his hand.

ELIJAH
I fractured my leg. It's the
fifth time I've done that
particular bone. It didn't
really heal well this time.

ELIJAH
Raise your hand is you're
wondering who the hell
breaks the same bone five
times?

Jeremy and David raise their hands.

ELIJAH
I have something called
Osteogenesis Imperfecta.
It's a genetic disorder. I
don't make this particular
type of protein very well
and it makes my bones very
low in density, very easy to
break. I've had fifty-four
breaks in my life. I have
the tamest version of the
disorder... Type one.
(beat)
There are type two, type
three, and type four. Type
four's don't make it very
long...
(beat)
That ends our lecture on the
medical anomaly known as
Elijah Price.

Elijah stares at his two rapt listeners.

ELIJAH
How certain are you that you
haven't been sick in your
life?

DAVID
Seventy-five percent.

ELIJAH
Seventy-five percent? That's
not nearly good enough for
me. I'm extremely skeptical.

DAVID
Skeptical about what?

ELIJAH
Your answer to my question.
It's one thing to have never
been injured in your life,
but to state that you've
never taken ill, well that's
a whole new level.

JEREMY
Dad's been injured.

Beat.

ELIJAH
What's he talking about?

DAVID
In college. A car accident.

ELIJAH
Was it serious?

David nods.

JEREMY
He couldn't play football
anymore.

Beat. Elijah looks shaken.

ELIJAH
I assumed because of the
train.

DAVID
You assumed wrong.

Elijah closes his eyes. When his eyes open, the life force in them has
diminished. Beat.

ELIJAH
It's over.
(beat)
You can go now.

Elijah uses his cane to get up and walk back through the doors of the store.

INT. LIMITED EDITION - LATE AFTERNOON

David and Jeremy enter the store. Elijah leans on a walking stick before one of
the framed sketches. He gazes at it quietly.

DAVID
I think you skipped a couple
steps.

Elijah turns.

DAVID
You forgot the "Now I'm
going to tell you what the
hell is going on" step. See
usually that comes before
the, "It's over" Step. And
it always, always comes
before the "You can go"
Step.
(beat)
What is over?

ELIJAH
The life of an idea that has
lived too long in my head.

David stares at Elijah impatiently.

ELIJAH
There are probably only four
or five individuals in the
world who can claim more
knowledge of comics than
myself. I've spent a third
of my life in a hospital bed
with nothing else to do but
read. I have studied the
form intimately. I have seen
the patterns in them... The
references to social and
cultural events and the
atmosphere that surrounded
them. I've come to believe
that comics are our last
link to the ancient way of
passing on history.

ELIJAH
The Egyptians drew pictures
on walls about battles, and
events. Countries all around
the world still pass on
knowledge through pictorial
forms.
(beat)
I believe that comics, just
at their core now... have a
truth. They are depicting
what someone, somewhere felt
or experienced. Then of
course that core got chewed
up in the commercial machine
and gets jazzed up, made
titillating - cartooned for
the sale rack.

Elijah gazes at David.

ELIJAH
This city has had its share
of disasters. Well
publicized ones. It was
around the time of that
plane crash, when it first
entered my head. And there
it stayed, as I waited and
watched the news over the
years...
(beat)
And then one day I see a
news report on a train
accident and its sole
survivor who was
miraculously unharmed.
(soft)
And just like that, an idea
blossoms into the flower of
possible reality.

DAVID
What was your idea Elijah?

Beat.

ELIJAH(soft)
If there is someone like me
in the world, and I'm at one
end of the spectrum...
Couldn't there be someone
the opposite of me, at the
other end?
(beat)
A person who can't be hurt
like the rest of us. A kind
of person they were talking
about in those stories.

Elijah points at the framed comic sketches.

ELIJAH(soft)
A person they believed was
put here to protect the rest
of us. Guard us.

JEREMY
You thought my dad was a
real-

DAVID
Jeremy don't take another
sip of that drink.

Jeremy looks down at the paper cup in his hands.

DAVID
Throw it in the trashcan
near the door and wait for
me outside. Do it now
please.

David waits for Jeremy to exit the store. Beat.

DAVID
At the church... You were
following me weren't you?

ELIJAH
Technically no. I gambled
that you would attend the
church service. I just
waited for you.

David glares at Elijah.

DAVID
What's this about? This is
obviously some scam. Is this
where you tell me one of
those pictures is like an
investment?

ELIJAH
You've misunderstood.

DAVID
I see guys like you all the
time in my work. You find
someone you think is
emotionally vulnerable and
you tell them a fantastic
story, utterly convincing...
and somewhere in there, you
slip it in... 'I just need
your credit card number','I
just need a small down
payment.'

David shakes his head. He smiles out of frustration. Beat.

DAVID
Did you know that this
morning was the first
morning I can remember, that
I didn't open my eyes and
feel that sadness... Do you
know what I'm talking about?
That little bit of sadness?
(beat)
copyright - http://supernaturalserial.ru
I thought the person that
wrote that note had an
answer for me. For why I
survived that train. For why
my life feels so out of
balance...
(beat)
But I guess that's what you
were counting on.

Elijah stares carefully at David. Beat. David glances over to the entrance.
Jeremy watched through the window concerned.

DAVID
I'm going to leave now.
(beat)
Good luck with your sale.

Elijah watches David walk towards the front door.

ELIJAH
What type of job do you have
David?

David opens the door. He looks back at Elijah.

ELIJAH
You mentioned you've met
'guys like me' in your work.
(beat)
What type of job would that
be?

Beat.

DAVID
I work at the stadium as a
security guard.

Beat. David closes the door behind him. Elijah watches through the window as
Jeremy takes David's hand as they cross the street.

Elijah gazes out the window in a bit of a daze.

CUT TO:

INT. BEDROOM - NIGHT

ALL LIGHTS ARE OUT EXCEPT THE SMALL BEDSIDE LAMP ON DAVID'S SIDE.

David sits up in bed staring at a torn section of newspaper in his hands.

Jeremy is asleep horizontally with his legs over David's legs.

David doesn't blink as he gazes at the headline silently...

"TRAIN CRASH DEATH TOLL CONFIRMED AT 131 DEAD. 1 SURVIVOR"

Beat. David slides out from under his son's legs. Jeremy stirs but doesn't wake
up.

David moves to the darkness of the corner of the room. He opens a closet door.

A NAKED HANGING BULB GOES ON as David yanks a chain. David steps inside the
narrow closet and closes the door slightly so the LIGHT FROM THE BULB DOESN'T
FALL ON JEREMY.

There's just enough room to stand and look around. David reaches up and pulls a
small travel bag out of the way. David stretches as he feels on the top shelf.

His hand comes down with something wrapped in a t-shirt. He unwraps it. It's a
handgun.

He stares at it for a beat before wrapping it back up and replacing it to the
highest shelf.

He stretches even more. Reaches farther back. WE HEAR SOMETHING SLIDE ON THE
SHELF AS HE PULLS IT FORWARD.

He pulls down a folder jammed with clippings. He opens the folder to reveal a
young David in football uniform holding his helmet in the air victoriously. The
word "Champion" is written over his head. David flips through the top clippings
#ИМЯ?

He turns the pile over. Goes to the last clipping. This piece of paper is folded
over three times, unlike the others. He opens it.

It's a newspaper headline. It reads...

CAR ACCIDENT LEAVES TWO INJURED

David puts the new headline next to the old one... They look like a set. Even the
font is similar.

David stares at the old headline. Stares hard at the photo of the bent and
heavily damaged car laying upside down in the middle of the highway... The bulb
seems to flicker. David is utterly still.

SOMEONE KNOCKS AT THE BEDROOM DOOR. David gets startled.

He puts back the clippings. Stuffing the new one inside with them. He replaces it
back to the top shelf and leaves the closet.

ANOTHER SOFT SET OF KNOCKS as David moves across the bedroom. He opens the door.

Megan stands in the darkened hall. Beat.

DAVID(whisper)
Hi.

Megan nods. Beat.

MEGAN(whisper)
I've come to a decision.

DAVID(whisper)
Oh.

Beat.

MEGAN(whisper)
Let me just ask you
something okay? And you can
be totally honest. I'm
prepared for any answer. It
won't affect me...

David nods, "yes."

MEGAN(whisper)
Have you been with anyone?
Since we started havi