ent001521-168

140 SHOT OP KELLY 64. 140 showing that at his distance from the helicopter, the breeze and the tossing of sand are both quite negligible. 141 EXT. LOW ON THE HELICOPTER - DAY l4l The whirling sand is subsiding now. THE CAMERA, MOVING IN TOWARD THE DOOR (OR HATCH, OR WHATEVER THE HELL YOU CALL IT) DISCOVERS THAT HERE IN THE CENTER, CLOSE TO THE MACHINE, THERE IS VIRTUALLY NO WIND OR SAND AT ALL. WE HEAR, if we normally would hear, THE SOUND OP THE COPTER'S IDLING ENGINE. The hatch opens, a step above the ground, and a pair of feet descend. They are shod in low, simply cut, conservative shoes: military-looking, perhaps with a buckle. The second pair of shoes alighting are light, Italian, fussily expensive; the trousers legs above them are excessively (which is to say, fashionably) narrow. The buckled shoes having come to a leisurely stop, the Capezios stop beside them. Both Men evidently have paused to enjoy the beauties of nature and of early death. One of them makes a mock-compassionate SOUND: A TSK-TSK, or an equivalent sigh that says; now-isn't-that-touching. MAN'S VOICE (o. s .) What a pretty day for Nevada, Cousin ... what a beautiful day for Khadra. THE CAMERA MOVES IN ON THE BUCKLE-SHOE LEGS AND PANS UP; very casual sports jacket, the hands relaxed In both its pockets. The holiday open-collared shirt. The exceedingly mellow, well-satisfied face of The Colonel. He peers off with enthusiastic interest from one o.s. body to the other. He doesn't look like the Hallouf,.Pasha we have come to know. This one has warmth, geniality, heart. COLONEL Having spent most of your life away from home .,, and having, I'm sure, no basic understanding of history ... you probably can't really appreciate what you?re seeing here. BY NOW THE CAMERA HAS MOVED TO INCLUDE THE COLONEL'S COUSIN BESIDE HIM. Bobby Seville is not at all relaxed. His face is that of an almost caricature Arab heavy: instense, humorless, sinister and quite nervous. His hand clutches an automatic pistol as if for support. (CONTINUED)