his own admission, "could not withstand the energy of the typhoon whose name was Larisa," and started the task of revising the literary foundation which he later described as "a piping philosophical parable which combined the high spirit of man with his obvious desire to keep the body as a receptacle of the spirit." The result of the work became a 70-page script that Shepitko then meticulously edited. Shepitko practised the "engineer's" approach: she did not tolerate uncertainty or haziness in work and did not rely on director's improvisation or creative inspiration. Every frame, every remark, every scene was carefully checked and planned in advance. According to Yuri Klepikov even "the fruitful spontaneity was due to the very environment of the shoot," which was ensured by the carefully crafted script. When adapting the script from Sotnikov the main concern of the director was not to lose the deeper philosophical content of the story. While the literary work by Býkaŭ was full of sensual details like "icy cold", "famine", "danger", Shepitko strongly discouraged attempts to be satisfied with external action and demanded an "internal justification" of each movement, gesture and glance of the heroes. In order to express the spiritual states she often had to deviate from the literary basis. For example, in the finale of the original story Rybak decides to hang himself in the latrine but discovers that he forgot to ask for the belt back which had been taken by the policemen an evening before. Theoretically, the film could portray the absence of the belt, but then - according to the writers - the scene would be limited to the designation of the circumstances: informative but unimpressive denial in terms of the artistic sense. The authors "returned" the belt to Rybak but he was deprived of the ability to hang himself; implying that even death refuses a traitor. Their idea was to leave Rybak alone with the knowledge of his fall. The following long close-up of majestic nature signified the freedom which Rybak desperately desires and was intended to emphasize the utmost despair "of a person who lost himself." Shepitko's husband Elem Klimov suggested the film's title. Long before, in 1963, a tradition was established between the future spouses that for a good idea they would receive ten roubles. When they just started dating, Klimov came up with the name for Shepitko's thesis film – Heat. Shepitko and