FALLEN CARDS
An Action-Drama-Comedy Film
ACT I
INTERIOR. VICTORIAN MANSION. LIVING ROOM. MORNING.
INTERIOR. VICTORIAN MANSION. LIVING ROOM. MORNING.
There is a crib. A beautiful CHILD is chuckling. The curtains are opened and the lights of the early morning dash in, lighting the CHILD in the crib. A pair of beautiful hands take the CHILD. MARIANA, embracing the child, plays a small ringing bell. Then a doorbell resounds. The child is startled and frightened. And the child is focused closer and closer until the CHILD fills the screen. The CHILD cries out loud.
MARIANA puts back the CHILD in the crib.
MARIANA
Joy… Joy…! Look who’s outside!
JOY, wearing a maid’s uniform and carrying a broom and a feather duster, comes in fastly.
JOY
Ma’am! Ma’am! What is it, Ma’am?
JOY accidentally slides on the floor and drops with open legs. MARIANA is surprised and almost laughs.
JOY
Ouch! My butts!… Ouch! It hurts! Ma’am, I have seen something shiny. Ouch..!
The doorbell rings again and again and again.
JOY
You better watch out for me whoever you are!
You have caused all these.
EXTERIOR VICTORIAN MANSION. GATE-WAY. MORNING.
JACK pushes the button. He is wearing a very rugged clothes of a beggar. And he is very dirty all over. The small gate opens. It is JOY, with a stern look.
JOY
Who are you? What do you want? My boss is not around. She gets a coin in here pocket and gives it to JACK.
JOY
Beggars are prohibited in this mansion!
JACK suddenly runs inside the gate.
EXTERIOR VICTORIAN MANSION. HALLWAY. MORNING.
JOY
Hey, wait! Mister, wait!
JOY chases JACK with her broom and feather duster. She continuously whips him with those things.
INTERIOR HOSPITAL. DOCTOR’S OFFICE. MORNING.
The DOCTOR#1 is giving a certificate to REMUS. REMUS is very upset to receive it.
REMUS
Are you sure, Doctor?DOCTOR#1
I am very, very sorry, Mr. Blanco! You are sterile! You can consult other doctors if you doubt me. But we have used the most advanced technology to check your status.
REMUS
No! This cannot be true!
EXTERIOR HOSPITAL. PARKING LOT. MORNING.
Thunder rolls. Lightning flashes amidst the heat of the sun. Then it begins to rain. REMUS’s car is focused closer and closer until REMUS, who is in the driver’s seat, fills the screen.
INTERIOR REMUS’S CAR.
Wipers screech. REMUS, gripping the steering wheel, gazes through the curtain of rain slashing against the windshield. REMUS is talking to himself.
REMUS
Why? Why? You cannot do this to me!
CUT TO: REMUS’s car screeches and runs fast across the street.
INTERIOR VICTORIAN MANSION. LIVING ROOM. MORNING.
JACK, running fastly, enters. JOY is chasing him and whipping him with the broom.
JOY
Get out! Get out! I said, get out!
JACK
Ouch! Ouch! Enough, please! Ouch! Help! Somebody help me! A storm is whipping me to death! Help!
JACK and JOY are running around the crib like children. MARIANA wants to say something but she cannot speak. Then JOY slides again with open legs. JACK is laughing at her.
JOY
Ouch! My butts! Agh!
JACK is laughing very loud and louder, pointing his finger to JOY.
JOY
Shut up! Shut up! Is there something funny? You have caused all these to me!
MARIANA
Who is he, Joy? What is it that you are quarreling about?
JOY stands up. And JACK stops laughing and watches MARIANA.
JOY
Ha? I am not at fault for this Madam. I have already given him a coin but he suddenly runs towards here. I do not know him.
JACK
Please forgive me, Madam! But I do not need a coin. I am very hungry. I have not eaten foods for days.
JACK is crying out loud like a lion.
JACK
Look at me! I am very thin. I have no more flesh. And my bones are deteriorating. There is no woman left who will love me for I become a living skeleton!
JOY
And it’s true! You look like a captain of dead pirates! Have you drunk a poison?
JOY points her feather duster at JACK’S mouth. JACK uses it like a microphone and sings rock ‘n roll like Elvis Presley. And the two of them dance the boogie. But suddenly JACK slides and falls to the floor. JOY is laughing.
JACK
Ha! The floor is very shiny!
JOY
Yes, it is! It’s Johnson’s wax!
JACK
No, I am not Johnson! My name is Jack! What do you think of me? A baby who uses Johnson’s baby powder, baby cologne, and baby oil? Can I eat those?
JOY
How about floor wax? Do you want to eat Johnson’s floor wax? I will let you eat floor wax!
JACK cries and sits on the floor like a retardate while scuffling his poker cards.
JACK
I have so many kids to feed. They have not eaten for days like me. I want to breast-feed them. But I cannot squeeze my breasts! There is no milk in it. Please, have mercy on me. I am very hungry! What will happen to the kids if I die because of hunger?
MARIANA
Take him to the kitchen. Let him eat all he can! And give him food for his kids.
JACK
Thank you, Ma’am! You are so kind! God bless you!
JACK stands up and runs towards the dining room. JOY is cautious of his acts.
JOY
Hey, wait for me! That is not the direction towards the kitchen! You are going to the Comfort Room!
JOY is chasing him.
JACK
I am very hungry!
EXTERIOR VICTORIAN MANSION. MORNING.
Lightning flashes fastly. Thunder rolls louder and faster. And rains shower strongly with the wind. REMUS’S car drives up. REMUS exits his car and he is holding a gun. Fastly and fastly, his eyes on the house, he walks fastly across the front yard.
REMUS’S POV. The foggy mansion.
Back on REMUS. He is loading his gun. At the front door, angrily he turns the doorknob and throws the front door open and rushes into the house.
INTERIOR VICTORIAN MANSION MORNING. HALLWAY.
REMUS enters. He is shaking with too much anger. And he is gripping his gun tightly. His voice almost drowned by thunder, REMUS yells-
REMUS
Mariana!
MARIANA does not answer. She is trembling with so much fear. She is holding the edge of the crib. The CHILD is crying.
CUT TO: JACK suddenly stops on eating the fried chicken at the kitchen and looks at the source of the voice. While JOY also stops with a bowl of staple food in her hands she is about to serve at the table and grisly looks at the direction where the voice comes from.
Back on REMUS, he is holding MARIANA by the neck and hair.
REMUS
You tell me the truth! Who is the father of that child?
MARIANA
What do you mean? Of course, you are his father!
He is your son!
He is your son!
REMUS spanks MARIANA. And he hits her hard.
REMUS
Bitch! Don’t ever fool me! That child is not mine! You’ve cheated me! Tell me who is the father of the child!
MARIANA is crying in tears.
MARIANA
You are wrong, Remus! He is our child!
REMUS
You cannot lie to me. I have gone to the doctor. I’ve found out that I am an inutile, an impotent… I am incapable of procreating a child!
REMUS is crying with anger. MARIANA is terrified.
REMUS
Why do you make me believe that he is my child? Why didn't you tell me from the very start that the fetus you were bearing in your womb was not mine? Why?
MARIANA bursts into tears and answers like a flash of lightning with anger and pain-
MARIANA
Because I could not face Christopher after you had raped me!
You are a beast! A devil! Christopher is your best friend. You
knew that we were engaged and had scheduled our marriage.
knew that we were engaged and had scheduled our marriage.
But you never respected other people’s feelings! You are
cold-blooded! Merciless! You are heartless! You
must have been killed by a lethal injection or must have
been damned and dead in prison!
REMUS
Then why you didn't put me in prison?
Why did you marry me?
Why did you marry me?
MARIANA
Because you had threatened me that you were going to kill Christopher and my father if I would not marry you! But even with our marriage, I have never stopped loving him! And I will continue on loving him!
REMUS slaps her face with his gun in his hand.
REMUS
Bitch! I am your husband but you have loved somebody else! Why do you keep on hating me? I have done everything so that you will love me. I have loved you so much. But what have you done to me? You have cheated me! You are a prostitute!
REMUS holds MARIANA’S hair and pushes her to the floor.
MARIANA
Stop it! Enough! I am hurt!
REMUS slams her.
MARIANA
I am the victim, here! And it’s not you! I am the victim! And do not hope that I will love you because I will never love you! I hate you! All I have here for you is hatred! Can’t you understand it?
REMUS points his gun towards the CHILD. And engages it. MARIANA is horrified and shouts-
MARIANA
No, don’t! Remus, please! I beg you! No!
Don’t kill my son!
Don’t kill my son!
REMUS
He is the living witness of your love with Christopher.
He must die!
He must die!
MARIANA
No, please! Have mercy on my son! He is innocent!
If you will kill him, then kill me too!
CHRISTOPHER’S POV. REMUS, his other hand is grabbing MARIANA’S neck tightly from behind while other hand is pointing a gun on her head. SOUND OVER: Loud cries of the CHILD from the car.
If you will kill him, then kill me too!
REMUS slowly pulls the trigger. JOY suddenly enters and screams with the rolls of thunder-
JOY
Sir, no! Please, don’t! You will become a criminal by killing
your own son!
your own son!
REMUS angrily looks at JOY and yells-
REMUS
Do not intervene! What if I will kill you first and
blow up your head?
blow up your head?
JOY
No, please, I don’t wanna die. Why don’t you blow
your own head off? Or if you want, I can blow that
head of yours, Sir!
your own head off? Or if you want, I can blow that
head of yours, Sir!
JOY points a finger to REMUS’S “dick”.
JOY
Let’s see if you will not feel lifted up to the clouds
with ecstasy!
with ecstasy!
REMUS puts his gun on JOY’S mouth.
REMUS
What if you will blow job this?
JOY collapses and falls to the floor. REMUS points back his gun on to the CHILD. MARIANA cries but no words will come from her lips. Suddenly, REMUS’S cellular phone rings. REMUS, on the phone-
REMUS
Hello! What?
EXTERIOR COCCAINE LABORATORY. GARAGEWAY. DAY.
Police patrol cars are scattered all over. POLICEMEN are all holding guns and ready to fire.
CUT TO: POLICEMEN breaking into the double-doors of the laboratory.
INTERIOR COCAINE LABORATORY. DAY.
MILDRED, on the phone, is startled. CHEMISTS stop on doing something on the processing of making cocaine. CHRISTOPHER and OTHER MEN with him take out their arms and fire at the POLICE. While CHRISTOPHER’S MEN fall one by one, CHRISTOPHER runs away towards another door.
CUT TO: CHRISTOPHER, opening a vault. He puts all the bucks of money into his bag.
EXTERIOR COCAINE LABORATORY. BACKDOOR. DAY.
CHRISTOPHER is running away with the bag of money while the POLICE chase him and keep on shooting him.
INTERIOR VICTORIAN MANSION. HALLWAY. DAY.
REMUS, on the phone, yells-
REMUS
They have seized 10,000 grams of cocaine? How about the cash? What? Christopher has taken the cash? Bullshit!
EXTERIOR VICTORIAN MANSION. STREET. DAY.
The rains have stopped but the winds blow stronger on the leaves of the trees. The sun is beginning to shed light on the surroundings. JACK opens the baggage compartment of REMUS’S CAR and sneaks into it and closes it.
CUT TO: REMUS, still holding a gun, gripping tight MARIANA’S shoulder, pulls her forcefully towards the car. MARIANA is embracing her CHILD in her arms with so much fear.
MARIANA
Where are you taking us?
REMUS
To hell! To find Christopher! You will be my shield against him. He must give back the money or else I will kill you both and your son!
REMUS opens the front door of the car and pushes MARIANA inside the car.
INTERIOR REMUS’S CAR. DAY.
The CHILD is crying. MARIANA is trying to calm the CHILD. REMUS is very angry looking at the CHILD.
REMUS
Make him stop! Or I will blow his mouth with the gun!
HIGHWAY. DAY.
On REMUS’S CAR driving along the seashore.
CUT TO: Waves breaking against the shore.
INTERIOR ALLEY. NIGHT.
CHRISTOPHER ducks into the alley. Shadowy walls protecting him, he runs to the welcoming sight of a warehouse. SOUND OVER: Shots of guns and footfalls of people running as in chase. The shooters close in. CHRISTOPHER hurries on. He looks over his shoulder.
POV CHRISTOPHER the alley behind him looms dark and he sees the POLICE following him. POLICE 1 makes a warning shot.
POLICE 1
Stop!
The POLICE shoot. SOUND OVER: A successive gunshots.
Back on CHRISTOPHER his left shoulder is hit. Unintentionally, he has thrown the bag of money into the air. Some paper bills fly away from the bag and scatter all over the alley. He stops and looks behind to get back the bag.
POV CHRISTOPHER the POLICE are closing in behind him.
CUT TO: The POLICE pick the paper bills and put them in the bag.
Back on CHRISTOPHER he runs on.
EXTERIOR WAREHOUSE PARKING LOT. NIGHT.
Holding his wounded shoulder, CHRISTOPHER fights his way in the parking lot. Feeling tired he falls against a parked car, REMUS’S car. He tries to catch his breath, tries to calm down. A shadow falls over him.
CHRISTOPHER’S POV. REMUS, his other hand is grabbing MARIANA’S neck tightly from behind while other hand is pointing a gun on her head. SOUND OVER: Loud cries of the CHILD from the car.
Back on CHRISTOPHER, gripping his gun tightly he stands up.
CHRISTOPHER
Remus? What are you doing to her?
CHRISTOPHER points a gun to REMUS and yells-
CHRISTOPHER
Put that down!
REMUS laughs mockingly. And sternly-
REMUS
You, put that down. Or else, your beloved Mariana
will die.
will die.
MARIANA
Don’t listen to him, Christopher! He will kill us both right after taking back the Triad’s money. You must better leave and take our child!
CHRISTOPHER is startled, unbelieving.
CHRISTOPHER
Our child?
REMUS
Yes, you have a child with her, Christopher. I will kill that child and her if you will not give me back the money! Give me the money back!
REMUS starts to pull the trigger.
CHRISTOPHER
But the Police took it!
EXTERIOR REMUS’S CAR COMPARTMENT. NIGHT.
JACK gets out from the compartment and slowly catwalks to the other side of the car.
EXTERIOR WAREHOUSE PARKING LOT. NIGHT.
REMUS points his gun to CHRISTOPHER angrily. But still REMUS is grabbing MARIANA’S neck by the other hand. But CHRISTOPHER also points his gun at REMUS
REMUS
Son of a bitch! I have trusted you all my life! You are my best friend. But look what have you done to me! You betrayed me! You’ve taken everything I got! You must die!
CHRISTOPHER
Go ahead! Pull the trigger and both of us will die!
REMUS on his gun pulls the trigger.
MARIANA
No…!
MARIANA suddenly steps on REMUS’S foot and elopes from him and runs towards CHRISTOPHER and embraces him. SOUND OVER: A loud gunshot.
INTERIOR REMUS’S CAR. BACKSEAT. NIGHT.
JACK taking the CHILD in his hands is astonished.
JACK
Oh, God! This is like war in Arabia! Oh, my little angel you must go with me before the Devil takes you to hell! Be quiet!
JACK looks outside the car.
JACK’S POV. MARIANA falls to the floor.
CUT TO: CHRISTOPHER embracing MARIANA in his hands, crying-
CHRISTOPHER
Mariana! Mariana…! Please don’t die for me! Mariana!
CHRISTOPHER breaks into sobs. REMUS is very shocked and trembling.
CHRISTOPHER
Why? Why…? You killed her! You killed the only woman I love! You will pay for this!
INTERCUT: CHRISTOPHER pointing his gun to REMUS and REMUS pulling his trigger first. SOUND OVER: Gunshot.
CHRISTOPHER’S POV. REMUS is still pointing his gun at him. REMUS’S gun releases a little smoke. And there is a little smile seen in REMUS’S lips.
Back on CHRISTOPHER, he lies on the floor with blood all over his breast. He is still breathing and is aching for the pains. REMUS hits CHRISTOPHER’S head with his gun. CHRISTOPHER lies unconscious. REMUS takes CHRISTOPHER’S gun and replaces it with his’s. SOUND OVER: Running footfalls.
REMUS’S POV. JACK embracing the CHILD in his arms runs away. SOUND OVER: Engagement of a gun.
Back on REMUS, he pulls the trigger. SOUND OVER: Successive gunshots.
REMUS’S POV. JACK slips and is falling slowly backward and throwing the poker cards, he is holding, to the air.
The CHILD is crying loudly while slowly falling in the air with flying poker cards. Closing in until he fills the screen. SOUND OVER: Successive gunshots and siren of a police patrol car.
JOY (VOICE-OVER)
Andre…!
ACT II
EXTERIOR FOREST RESERVATION. NIGHT.
The place is foggy. Thunder rolls. The full moon is hiding in the dark clouds, which dimly illuminates a river. The water-currents of a river are rushing strongly. A NORTHERN SPOTTED OWL flies over the river towards the tall willow trees. Flapping its wings, the NORTHERN SPOTTED OWL alights a branch of a willow tree. And it is focused closer and closer until it fills the whole screen. SOUND OVER: Callings of an owl.
POV NORTHERN SPOTTED OWL. An orphanage from afar behind a man-made fountain in a garden.
ESTABLISHING SHOT: EIGHT YEARS LATER. ORPHANAGE. NIGHT.
An American designed orphanage similar to a Mark Twain’s house. It has 19 rooms. Wrapped in porches, it has a painted brick exterior and interiors. But it is modernized with huge glass windows and a redwood trim. And it is well lighted.
INTERIOR ORPHANAGE. OFFICE. NIGHT.
ANDRÉ, an eight-year old boy, squeezes the mop and pours the waters coming from it into a small pail. He mops the floor. SOUND OVER: Ringing of a celfone.
POV ANDRÉ. MILDRED on the phone sits by the office table.
CLOSE-UP CUT: MILDRED answering the phone.
MILDRED
Hello! Yes, speaking.
INTERCUT: MILDRED and REMUS on the phones. REMUS is inside a car, in the front seat, driving.
REMUS
Has the delivery arrived?
MILDRED
No, not yet!
POV MILDRED. ANDRE stops mopping the floor and keeps on staring at her.
Back on MILDRED, offs the phone angrily yells at ANDRÉ-
MILDRED
What are you looking at? Finish your work promptly! After that,
you go to the kitchen. Help the other kids in washing the dishes,
cooking the foods, and then go to the laundry and help the other kids
in washing the clothes.
you go to the kitchen. Help the other kids in washing the dishes,
cooking the foods, and then go to the laundry and help the other kids
in washing the clothes.
ANDRÉ
Yes, Miss Mildred. But Miss Mildred… Can I ask you something?
ANDRÉ squeezes the mop again.
MILDRED
What is it? Make it fast!
ANDRÉ
Will you tell me who are my parents, Miss Mildred?
MILDRED looks pale and sad.
MILDRED
I’m sorry André! But it is against the regulations of this orphanage to tell you about your parents. And to be honest with you… we really don’t know who are your parents. You were left outside in a crib with an Ace poker card when you were still an infant… about one-year old infant. Just think of them as long been dead!
Tears fall from ANDRÉ’S eyes.
EXTERIOR WOODED AREA. NIGHT.
Thunder rolls loudly. Lightning flashes fastly. Rains begin to pour. JACK walking along the street runs towards a car that is approaching and tries to stop it for a hitch ride.
POV JACK. REMUS on the drive seat only stares at him with a stern look.
Back on JACK, startled to see REMUS, has not able to notice the splash of dirty water mixed with clay which is created from the sudden impact of the wheel of REMUS’S car on a watery and shallow hole in the street. And it spilled on JACK’S face and clothes.
EXTERIOR ORPHANAGE. NIGHT.
Rains pour heavier. Lightning flashes across the sky shedding its light on REMUS’S car. REMUS’S car stops. REMUS opening a black umbrella gets out. He is carrying an attaché case on the other hand. He runs to the doorways. He closes the umbrella and throws it by the door. Knocking heavily on the door, REMUS shouts-
REMUS
Open the door! Somebody open this door!
The door opens. It is ANDRÉ.
ANDRÉ
Sir…
REMUS
Get out of my way!
REMUS pushes ANDRÉ abruptly on the sideways. And he swings the door wide open.
INTERIOR ORPHANAGE. HALLWAY.
REMUS with an attaché case hurries inside. While ANDRÉ, sitting on the floor after the push, is crying besides the pail of water and the mop. REMUS is calling-
REMUS
Mildred! Mildred…!
INTERIOR ORPHANAGE. HALL.
REMUS stops and stares back at ANDRÉ.
REMUS
Come here!
ANDRÉ
Sir! What is it, Sir?
REMUS
When I say, “Come here!” You must come here.
Come here!
Come here!
Thunder rolls loudly and lightning flashes across the hall. ANDRÉ is very nervous and afraid and hesitantly comes nearer to REMUS with the pail of water and the mop. REMUS puts down his attaché case on a table near the windows.
ANDRÉ
I am very sorry, Sir!
REMUS
Where is Mildred?
ANDRÉ
She is upstairs, Sir. Shall I call her, Sir?
REMUS
I will do it myself! Go back to your work!
ANDRÉ
Yes, Sir…!
ANDRÉ slips and falls into the floor and accidentally throws away the pail of dirty water. And the water spills on REMUS. REMUS angrily-
REMUS
Son of a bitch! Shit! Shit!
REMUS spanks ANDRÉ heavily. And he hits him hard. And he kicks him harder and harder. ANDRÉ is crying in pains.
ANDRÉ
Stop it, Sir! Please stop it, Sir! Please, have pity on me! It was an accident! Please!
ANDRÉ breaks into sobs.
REMUS
Idiot!
POV ANDRÉ. REMUS goes upstairs.
Back on ANDRÉ, on the pail and mop, he continues on crying.
ANDRÉ
If only I have parents, I might not suffer like this. Where are they? Why they had left me? Why they had casted me away? Who are my parents? Am I a son of nothing? A son of a bitch?
INTERIOR ORPHANAGE. DOORWAY.
ON FOCUS: The doorknob slowly rotates. The door slowly opens. SOUND OVER: Creaking of the door. Thunder rolls. Lightning flashes. A shadow of a man enters.
CUT TO: JACK, on the doorknob, sneaks in.
JACK
Where is that Devil? I must take my revenge!
JACK looks around suspiciously. He enters, in comical catwalks.
INTERIOR ORPHANAGE. HALL.
ANDRÉ is mopping the floor, beside the table.
POV JACK. The attaché case on the table is focused closer and closer.
Back on JACK, he is focused closer.
JACK
That is it! That is his attaché case. I am 100% sure. I must get it. But how? The child is there and he can notice me.
JACK runs like a cat silently towards the table.
CUT TO: JACK is breathtakingly pulling the attaché case. ANDRÉ slowly looks back towards the table. Quickly, JACK hides behind the table. Then slowly, JACK stands up again and slowly pulls the attaché case but ANDRÉ looks back again. And JACK hides again. But JACK’S hand is still pulling slowly the attaché case on the table. ANDRÉ is surprised to see the attaché case moves towards the other side of the table.
SHOT: The attaché case is pulled by JACK’S hand.
ANDRÉ, on his mop and pail, he is very startled. He talks to himself-
ANDRÉ
Why does it move? Can it be that ghosts possess this orphanage? Oh God! Help me! I have goose bumps!
POV ANDRÉ. The attaché case is no longer on the table.
Back on ANDRÉ, standing beside the table, he is staring at the things on the table.
ANDRÉ
Where is it? Oh, no! I will be scolded and spank by Sir Remus for this! He will throw me out from this orphanage. But it is impossible! How could it be? It could not walk by its own. But perhaps, a rat had pulled it. I will really kill that rat!
ANDRÉ, by the table, sits below. JACK stands up and looks around and then he hides back. Then ANDRÉ crawls towards the other side of the table and peeps in. JACK stands up again and looks around again. ANDRÉ stands up behind JACK and taps him. But JACK never looks back. He is just taking away the boy’s hand, on and on.
JACK
Stop on tapping on me! I said, stop on tapping on me. I am looking for someone.
ANDRÉ
Who are you looking for, Mister?
JACK
That little kid who was mopping the floor a while ago. He was a very wonderful kid. He had just disappeared like a bubble.
ANDRÉ
Perhaps he is a curupira with invisibility powers of a Negrinho do Pastoreio.
JACK, still not looking, nods. ANDRÉ, covering his mouth by his hand, chuckles.
JACK
Absolutely! But maybe he is a ghost. Oh, God! Please forgive me for all my sins! I promise, I will not do it again… but only a hundred times more. Please don’t scare me! I am afraid of ghosts! But if ever I can have a cardiac arrest, I will haunt you to death my scary ghost!
ANDRÉ
Does he look like me?
JACK looks at ANDRÉ and looks very surprised.
JACK
Yes, he looks like you!
JACK suddenly jumps away from ANDRÉ throwing the attaché case in the air. He runs towards the door but runs back and takes the attaché case. Then he runs back towards the door screaming-
JACK
Help! Help! Somebody help me! A ghost haunts me!
POV ANDRÉ. JACK hurriedly holds the doorknob and opens the door and runs outside then slams the door close.
Back on ANDRÉ, he is chuckling while pointing his finger at the door.
EXTERIOR ORPHANAGE. VERANDA.
JACK, on the already opened attaché case, puts a large number of tin caps of soft drinks inside the attaché case.
INTERIOR ORPHANAGE. HALL.
REMUS is looking around the top of the table. Then he looks angrily at ANDRÉ. And he yells-
REMUS
André! Where is my attaché case? Where is it?
POV REMUS. ANDRÉ suddenly stops chuckling and looks so shocked and terrified.
Back on REMUS, he spanks ANDRÉ’S head.
REMUS
Where is it? Who has stolen my attaché case?
ANDRÉ, in tears, sobs. And he hesitantly answers-
ANDRÉ
The thief has stolen your attaché case, Sir…!
REMUS
Who would be the thief here? There was nobody here except you! Tell me where have you hidden it!
REMUS grabs ANDRÉ by the shoulders. He angrily shouts-
REMUS
Tell me!
ANDRÉ
I am not the thief Sir! I did not steal it!
INTERIOR ORPHANAGE. STAIRWAY.
MILDRED, on the handle of the staircase, slowly continues stepping downstairs.
MILDRED
Give it to him, André! Do not wait until you will be mauled.
ANDRÉ
But Miss Mildred… a stranger had entered here
a while ago.
a while ago.
REMUS mauls ANDRÉ. And he is yelling at him-
REMUS
Where is it? Don’t you know what is inside it? It is 100 million dollars! Give it back to me! Where is it?
MILDRED
Enough Remus! He is only a kid!
REMUS does not stop. He strikes ANDRÉ on the face, on the stomach, and then throws him on the floor.
POV REMUS. ANDRÉ’S lower lip is cut and blood flows from it. And he gets black eye. He is sobbing and in tears.
Back on REMUS, he lifts ANDRÉ angrily. MILDRED is panicky.
MILDRED
Remus! That’s enough! You are hurting the kid!
INTERIOR ORPHANAGE. DOORWAY.
The door opens slimly with the loud thunder rolls and sharp lightning flashes. JACK enters with a whistle. He blows the whistle.
JACK
Foul! Time out! Don’t hit the child!
Here is your attaché case!
Here is your attaché case!
JACK throws the attaché case in the air towards REMUS.
INTERIOR ORPHANAGE. HALL.
POV JACK. The attaché case falls heavily on the floor. SOUND OVER: Crash of the attaché case on the floor. The attaché case opens with a loud bang. A large number of tin soft drink bottle’s caps throws from it. SOUND OVER: Clash of tin caps.
Back on JACK, he is very angry. He yells-
JACK
Is that what you said? A hundred million bucks? Arrogant! Look at those! Are those not tin caps? Make it sure that the second time you boast, it is really money! Or else I will throw you to the scrap yard! And weigh you like tin caps!
REMUS pulls his gun and points it at JACK angrily. JACK looks very terrified.
REMUS
Do you want to eat bullets?
JACK
Please, Sir! Don’t pull the trigger! I am just only joking! What I had said was, I would take the tin caps to the scrap yard and have them weighted!
REMUS pulls the trigger successively. SOUND OVER: Successive gunshots. REMUS is shooting at JACK but not hitting him. JACK is jumping and jumping startled and fearfully.
JACK
Oh, God! Help me! I’m dead! I’m dead! Ouch! A cannon of the gorilla! Help! Help me! Somebody help me! I don’t want to die!
INTERIOR ORPHANAGE. DOORWAY.
JACK runs fastly towards the door. He runs outside and closes the door with a loud bang.
INTERIOR ORPHANAGE. HALL.
REMUS, on his attaché case, is very angry.
REMUS
Thieves nowadays are really tough! They have courage to scold the persons they have robbed.
MILDRED
Had you really put those tin caps in it?
REMUS looks at MILDRED with surprise.
REMUS
What are you talking? Do you believe in that idiot?
I am not a fool.
I am not a fool.
REMUS handles a check from the attaché case to MILDRED.
REMUS
That is the payment for our latest shipment of the coke. You must deposit that under the name of this orphanage.
MILDRED
Oh! It’s good that that thief did not recognize this. He’s really an idiot. I saw that man begging in the streets. But I think I also saw that man in a mini-gambling casino at the remote part of this place. But I am not so sure about it. But what if…
REMUS is suddenly alarmed and worry can be seen in his face.
REMUS
I think too his face is very familiar to me. I think I have really seen him somewhere.
MILDRED
Are you sure? Can’t he be a detective?
REMUS puts his attaché case on the table.
REMUS
You are over-reacting. He is only an ordinary thief and beggar. Ah! I remember now. He was the one hit by the spill of dirty waters from the wheels of my car along the street a while ago. He must have come here to get even with me.
JACK
I hope so.
INTERIOR ORPHANAGE. DINING ROOM. MORNING.
The ORPHANS, ranging from 4 to 17 years old, are eating on the dining table. While other ORPHANS are falling in line through LIZA, a 17-year old orphan. LIZA on the cauldron of hot soup is serving the soup to the other younger orphans.
LIZA
You must hurry! At any minute they will ring the bell! And we must go to work even we haven’t done yet with our breakfast.
The ORPHANS who were falling in line go to the dining table. ANDRÉ with a bowl and a spoon enters from the door running towards LIZA.
LIZA
André! You are late again!
LIZA pours soup on ANDRÉ’S bowl.
ANDRÉ
Thank you, Liza!
CUT TO: ANDRÉ eating the soup on the dining table with the other ORPHANS.
INTERIOR JAIL. DINING ROOM. MORNING.
CHRISTOPHER is eating his breakfast with other PRISONERS on the dining table. PRISON GUARDS are standing near the dining table. The JAIL WARDEN enters approaching, calling-JAIL WARDEN
Christopher!
CHRISTOPHER, ON FOCUS, looks at the JAIL WARDEN blankly.
JAIL WARDEN
You have a visitor.
CHRISTOPHER looks surprised.
CHRISTOPHER
Are you sure it’s really for me, Warden? No one has visited me for eight long years. Who is that visitor?
INTERIOR JAIL. VISITING AREA. MORNING.
CHRISTOPHER on the phone he is sitting inside a glass booth. EVANDRO, a DEA agent, on the phone too, he is sitting outside the glass booth.
CHRISTOPHER
Who are you? Who send you? Do I know you?
How do you know me?
How do you know me?
EVANDRO
I am Evandro Rodrigues, a DEA agent.
CHRISTOPHER is a little bit irritated and seemingly uninterested.
CHRISTOPHER
What do you want from me? Are you a drug protector?
EVANDRO
DEA wants your cooperation. We need your help to trap the big drug syndicate here in Brazil.
CHRISTOPHER smiles unbelievingly.
EVANDRO
We are dead serious, Mr. Garcia.
We need your cooperation.
We need your cooperation.
CHRISTOPHER
And who said I would cooperate with you? Is it not ironic that I, who am a notorious criminal and drug smuggler, will help you trapping my own kind? I think you have come to the wrong man.
EVANDRO shows a photograph to CHRISTOPHER.
SHOT ON FOCUS: A photograph of the CHILD. A hand on the glass holds the photograph.
CHRISTOPHER is surprised to see the photograph.
CHRISTOPHER
Who is that baby? Do I know this child?
EVANDRO
He is your son. Your son with Mariana. And he is dead. Remus killed him, right before we could catch him.
We had no evidence to sue him in court.
CHRISTOPHER is much surprised, shocked, and speechless for a while.
CHRISTOPHER
But how can you be so sure that he is my son? How will you convince me to believe you? He can be anybody’s son.
EVANDRO shows a necklace to CHRISTOPHER. CHRISTOPHER is more surprised.
CHRISTOPHER
That is Mariana’s necklace! Where did you get it?
EVANDRO
On your son’s neck. The night you killed his mother. And the night the boy died.
CHRISTOPHER stands up and angrily yells-
CHRISTOPHER
I didn’t kill Mariana! How could I kill her? I loved her so much! And she was the only woman I love. How can you say that to me? How can you accuse me of that crime?
CHRISTOPHER is in tears.
EVANDRO
Had you proven that in the courts? No! In the eyes of the law, you were the murderer… a cool-blooded murderer and drug smuggler. But we can help you get out from here if you will only cooperate with us. You can have your revenge… retribution… and you can avenge your son’s death. You are sentenced 23 years in prison and this is only your 8th year. You will be rotten here if you will not cooperate with us. Think of it!
CHRISTOPHER
Why did he kill my son? He was innocent! He had had killed me instead! Why my son?
CHRISTOPHER, ON FOCUS, is trembling with anger and too much hatred but no words come from his mouth. A tear fall from one of his eyes.
INTERIOR ORPHANAGE. DINING ROOM. MORNING.
ANDRÉ and the other ORPHANS are still eating the soup. SOUND OVER: Ringing of bell. ANDRÉ, ON FOCUS, looks at the source of the sound. He takes the bowl onto his mouth and sips out the soup. And satisfied, he licks his lips with his tongue and burps.
INTERIOR ORPHANAGE. HALL. MORNING.
The ORPHANS led by ANDRÉ fall in line. They, in a synchronized movement, give a hand salute.
ANDRÉ & THE ORPHANS
Sir, yes, Sir!
ANDRÉ & THE ORPHANS salute down synchronizedly.
POV ANDRÉ. REMUS, with a commanding look, tucks in his gun on his waist. Then he lights a cigarette and smoke.
Back on ANDRÉ, he hesitantly asks-
ANDRÉ
Sir, what is it, Sir?
REMUS
The cargoes are here. Get them!
ANDRÉ and the ORPHANS synchronizedly give REMUS a hand salute.
ANDRÉ & THE ORPHANS
Sir, yes, Sir!
ANDRÉ
March time march! Ready! 1-2-3…
ANDRÉ & THE ORPHANS hurriedly in military cadence march towards the open doors.
EXTERIOR ORPHANAGE. FRONTYARD. MORNING.
ANDRÉ & THE ORPHANS are taking the packages, which are cardboard boxes wrapped in manila papers with swastika design, from a van. And they are taking the cardboard boxes towards the open doors.
EXTERIOR ORPHANAGE. GATEWAY. MORNING.
OSCAR, a 17-year old boy, and the other STREET KIDS are hiding beside the gatepost. They are falling in line with OSCAR as the leader. They are peeping in.
POV OSCAR & THE STREET KIDS. ANDRÉ and the ORPHANS are fetching the cardboard boxes to and fro.
Back on OSCAR signals the other STREET KIDS not to make a noise by a finger on his lips. Then OSCAR looks at ANDRÉ and in whisper-calls --
OSCAR
André! André…!
POV OSCAR. ANDRÉ glances towards his direction.
CUT TO: ANDRÉ, ON FOCUS, surprisingly and excitedly pauses from taking the cardboard box. And whispers --
ANDRÉ
Oscar!
POV ANDRÉ. OSCAR, ON FOCUS, is smiling at him and peeping at the gatepost.
Back on ANDRÉ, he signals OSCAR & THE STREET KIDS to get inside.
OSCAR & THE STREET KIDS run like a cat towards ANDRÉ & THE ORPHANS.
CUT TO: ANDRÉ walks behind THE ORPHANS, THE STREET KIDS, and OSCAR who all fall in line carrying cardboard boxes. THE STREET KIDS & THE ORPHANS are talking in whispers.
ANDRÉ
Oscar, you tell them to keep quiet. Sir Remus and Miss Mildred might overhear us and might detect us.
OSCAR with a commanding voice whispers –
OSCAR
Be quiet!
INTERIOR ORPHANAGE. BASEMENT STAIRCASE. DAY.
The STREET KIDS, ORPHANS, OSCAR, and ANDRÉ still carrying the cardboard boxes are going downstairs.
ANDRÉ
You must all pretend that you all are one of us.
Don’t talk any word.
Don’t talk any word.
INTERIOR ORPHANAGE. BASEMENT, A COCAINE LABORATORY. DAY.
There are a lot of CHEMISTS on the laboratory equipment, processing the making of the cocaine. And a lot of ORPHANS, in lab gowns, are assisting the CHEMISTS. There is lot of lab gowns hanged in a certain open closet. And LIZA is standing beside it. LIZA assisted the STREET KIDS, ORPHANS, OSCAR, and ANDRÉ in wearing lab gowns. Each kid after wearing each lab gown goes to assist the CHEMISTS.
LIZA
Oscar, why are you here? It’s very dangerous for you and the other street kids to be caught here. Look! This is a drug syndicate! Anytime they can catch you all and might kill you all!
OSCAR
But Liza! I need to see you. I love you! And we need to eat too. We are hungry.
LIZA is watching around, frantically.
LIZA
You are putting all of us in danger. You don’t have to come here. We can meet at the streets.
OSCAR
But how? There are too many guards around you every time you come to the streets. And a lot of clients…
LIZA is saddened.
LIZA
You don’t have to remind me of my job as a prostitute. I never want this. But they will kill us if we won’t do it.
OSCAR
I’m sorry. I didn’t mean to hurt you.
One of the CHEMISTS sees LIZA and OSCAR talking. CHEMIST #1 calls—
CHEMIST #1
Hey, Liza! Enough with that! We are in a hurry! Come here! You too, come here! I think your face is not familiar to me. Are you new here?
POV ANDRÉ. A frightened face of OSCAR with questioning eyes, ON FOCUS.
Back on ANDRÉ on the packed cocaine, he holds the hand of OSCAR. And ANDRÉ looks at CHEMIST #1 and calls--
ANDRÉ
Sir, he is a truck boy. And he has to come back soon to the van after we fetch these packs. And I need others to help me carry these.
CHEMIST #1
Okay! Who are free to help André?
The other STREET KIDS all raise their right hands and shout—
STREET KIDS
We are free, Sir!
CHEMIST #1
Then go and help them!
POV CHEMIST #1. Hurriedly, ANDRÉ, OSCAR, and the STREET KIDS put the packed cocaine in the empty cardboard boxes and then they carry them towards the staircase.
Back on CHEMIST #1, he calls—
CHEMIST #1
Hey, wait!
ANDRÉ, OSCAR, and the STREET KIDS stop anxiously.
CHEMIST #1
You have to take off your lab gowns before going upstairs. Liza, help them in doing that!
LIZA
Yes, Sir!
LIZA helps the STREET KIDS, ANDRÉ, and OSCAR in taking their clothes off.
EXTERIOR ORPHANAGE. FRONTYARD. AFTERNOON.
ANDRÉ puts the last cardboard box inside the van. And then OSCAR closes the van’s door. SOUND OVER: A starting sound of an engine. The van runs towards the gate.
EXTERIOR ORPHANAGE. GATEWAY. AFTERNOON.
The van runs outside the gate. JACK comes out from hiding beside the gatepost. JACK sneaks inside the gate like a cat.
POV JACK. ANDRÉ, OSCAR, and the STREET KIDS enter the open doors.
Back on JACK on the doorknob he opens the door slowly. And he peeps in with a comical look.
INTERIOR ORPHANAGE. HALL. AFTERNOON.
OSCAR AND THE OTHER STREET KIDS surround ANDRÉ.
ANDRÉ
Ssshhh! Quiet! They might overhear us.
OSCAR
We are too hungry! We haven’t eaten since last night.
ANDRÉ looks around consciously.
POV ANDRÉ. The staircase. The French windows upstairs at the right are opened. Crimson lights of the afternoon sun enter through these and lighted the staircase. The long scarlet curtains, which have flower embroidery, that hang at the sides of the windows are suddenly blown by gush of wind.
Back on ANDRÉ, he whispers—
ANDRÉ
There is lot of leftover in the kitchen. But we must go there without a noise.
OSCAR faces the other STREET KIDS and in a commanding voice—
OSCAR
Kids, you fall in line!
ANDRÉ leads OSCAR and the other STREET KIDS towards the door. The other STREET KIDS fall in line behind OSCAR and hold each other’s thighs. They are all frantically looking around. They all walk in a cat-like manner. JACK enters from behind and walks also in a cat-like manner a little distance from the last kid of the line. Then ANDRÉ suddenly stops making OSCAR and the other STREET KIDS stop too.
ANDRÉ
Is there anybody following us?
The STREET KIDS in chorus—
STREET KIDS
None!
ANDRÉ
Ssshhhh!
OSCAR looking slightly at his side signals the other in a like-wise manner—
OSCAR
Ssshhh!
The other STREET KIDS behind OSCAR does the same to the other, and the other to the next, and to the next. But the last one who also does that never looks back. While JACK also does that to the screen, he is focused closer and closer until he fills in the screen.
JACK
Ssshhhh! Keep quiet!
EXTERIOR JAIL. PERIMETER YARD. NIGHT.
Thunder rolls loudly. Lightning flashes fastly. Spotlight of the lighthouse moves from one direction to the other fastly, lighting the perimeter yard. CHRISTOPHER and OTHER PRISONERS are running fast away from the prison cell. SOUND OVER: Commotions of running footfalls, shouting, successive gunshots, and loud noise of a siren.
POV CHRISTOPHER. One of the POLICE fires a salvo. The PRISONERS are still running. It rains hard. The POLICE shoot. Some of the PRISONERS fall dead to the watery ground.
Back on CHRISTOPHER, very wet, he continues on running amidst the rain, the frenzy of light from bullet-firing, the flashes of lightning, the gunshots, the moving spotlight and flashlights, the barking of dogs, the sound of the siren, and the rolls of thunder. He is running closer and closer ON FOCUS, looking back at times.
POV CHRISTOPHER. Some of the PRISONERS are electrocuted by the high-voltage fences. Then the other PRISONERS with their pliers cut the electrical wirings of the fences.
Back on CHRISTOPHER, he climbs on the fences and grabs the barbwires and holds them tight. His hands are bleeding.
CUT TO: CHRISTOPHER jumps from the barbwires of the fences to the ground outside.
EXTERIOR. ON THE BRIDGE. NIGHT.
It is still raining hard, thunder rolls, lightning flashes, and flashlights flash from different directions. CHRISTOPHER is running too fast and nervously. The POLICE with their dogs, guns, and flashlights are chasing after CHRISTOPHER. The POLICE shoot CHRISTOPHER. CHRISTOPHER jumps into the river. CHRISTOPHER falls into the river with a big splash.
CUT TO: CHRISTOPHER swims underwater. He dives towards MARIANA’S necklace that is sinking towards the riverbed. He grabs it before it sank deeper. Bloods are gushing from the wounds on his hands, arms, shoulders, and body while swimming underwater.
INTERIOR ORPHANAGE. KITCHEN. NIGHT.
OSCAR and the other STREET KIDS are opening the casseroles and eating all the leftover too fast. SOUND OVER: Clashing of the casserole’s covers, spoons, forks, and plates. ANDRÉ anxiously watches the door of the kitchen.
OSCAR noticing ANDRÉ calls-
OSCAR
Hey, André! C’mon, join us!
ANDRÉ
I am not hungry. Oscar, please! You must hurry! They may come at any minute.
EXTERIOR ORPHANAGE. GATEWAY. NIGHT.
It is still raining hard. Thunder rolls. Lightning flashes across the closed gate. A black limousine drives up. The door opens. Opening an umbrella, JOY, in a governess’ attire, steps out from the limousine. She pushes the gate wide open. The limousine drives on.
CHANGE ANGLE: The limousine enters. JOY closes the gate.
INTERIOR ORPHANAGE. LOUNGE. NIGHT.
Flashes of lightning light across the French windows. OSCAR is carrying a cardboard box on his shoulder. The other STREET KIDS are boasting to each other their stolen kitchen utensils. While
ANDRÉ worriedly looks around.
ANDRÉ whispers-
ANDRÉ
Oscar, you must return that! All of you,
you must return all of that!
you must return all of that!
OSCAR puts down the cardboard box beside the couch. He sits on the couch and places his feet on top of the cardboard box with crossed legs. Then he pulls out a set of poker cards in his pocket. And he shuffles it in his hands. And he calls-
OSCAR
Who wants to play poker with me?
The other STREET KIDS raise their hands and shout-
STREET KID #1
Me!
STREET KID #2
Me!
And every other STREET KIDS raise their hands and shout: “Me!” Then they all sit on the sofa. OSCAR scrambles the cards and deals them on the side table. And they play the poker. ANDRÉ is very frantic and shouts in a whisper-
ANDRÉ
Oscar, what are you doing? You must all leave in a hurry! You do not know what they can do if they find you here! They are cold-blooded criminals! They will kill all of you!
OSCAR
You are over-reacting. What’s wrong with you boy? You are too paranoid. There’s nothing to fear. We can take care of ourselves. We are used with these kinds of people in the streets.
EXTERIOR ORPHANAGE. NIGHT.
The rains pour heavier. The black limousine stops by the fountain. The door at the driver’s seat opens. HUGO, the driver, gets out from the car and opens a black umbrella. The he opens the door at the back. DON MIGUEL in his black tuxedo and on his cane steps out. HUGO shelters him with the umbrella. JOY, from the gateway, is approaching towards the limousine.
POV DON MIGUEL. The NORTHERN SPOTTED OWL flies and alights on top of the fountain. And it wiggles its wings. SOUND OVER: Callings of an owl. A sudden flash of lightning lights across the Northern spotted owl and the fountain. And a very loud roll of thunder resounds.
Back on DON MIGUEL, on his cane, he takes the sign of the cross worriedly. While JOY jumps on and hugs HUGO, who has bore her because of so much surprise. She fearfully takes the sign of the cross and shouts-
JOY
Jesus-Maria-y-Josef!
DON MIGUEL
Oh, dear God! That spotted owl is like the one that appeared at my daughter’s burial. But she cannot be Mariana.
The DRIVER drops JOY to the watery ground.
JOY
Ouch! My butts! Why you do this to me?
What’s wrong with you?
What’s wrong with you?
JOY stands up. She closes her umbrella and slaps it to the DRIVER. The DRIVER wants to run but DON MIGUEL looks at him and warns-
DON MIGUEL
You cannot leave me here in the middle of the rain, Hugo.
HUGO
But Don Miguel…!
DON MIGUEL stares at HUGO and JOY. HUGO looks at JOY questioningly. JOY looks at HUGO blushingly and then at DON MIGUEL. She holds down her umbrella and sways her body thru and fro to her sides and shyly says in childish manner-
JOY
I’m sorry Don Miguel!
INTERIOR ORPHANAGE. LIVING ROOM. NIGHT.
OSCAR is opening the cardboard box. He is holding the set of poker cards in his right hand. The other STREET KIDS surrounds him. ANDRÉ stands a little distance from them.
ANDRÉ
Oscar, they might catch us here!
They will spank me again.
They will spank me again.
OSCAR
Don’t be afraid! They are all busy. And there are too many cartons
of canned goods in the kitchen. They will not notice this one.
We will divide these goods among us.
of canned goods in the kitchen. They will not notice this one.
We will divide these goods among us.
EXTERIOR ORPHANAGE. PORCH. NIGHT.
The rains still pour. Thunder rolls. Lightning flashes. JACK is peeping at the door. JOY is approaching with the closed umbrella.
JOY
Hmmm…!
POV JOY. The butts of JACK.
Back on JOY, she slaps JACK’S butts with the umbrella. JACK surprisingly faces JOY and shouts in pain-
JACK
Ouch! Why do that? I feel like I am hit by a cyclone! Why do you hit me?
JOY is surprised to see JACK.
JOY
Ah, you again! Why are you here?
What are you doing here?
What are you doing here?
JACK
How about you? Why are you here too?
JOY puts her hands on her hips.
JOY
Aha! Look! I am Don Miguel’s governess.
He owns this orphanage.
He owns this orphanage.
JACK
Who is Don Miguel?
JOY
He is the father of Ma’am Mariana. I am working with him since I was a little girl. He is the one paying me my salary. By the way, why do you enter here without permission? You can be sued with trespassing. You want to steal food? Are you hungry again?
JACK grins.
JACK
Good guess! Yes, I am really hungry.
I want to eat you!
I want to eat you!
JACK advances and hugs JOY. And JOY slaps him with the umbrella continuously and screams-
JOY
Maniac! Are you planning to rape me? Haven’t you look your face at the mirror? You are too ugly for me. Gee! It might be better if you are handsome.
JACK runs outside the porch, downstairs. JOY chases him with continuous slapping of the umbrella and she shouts-
JOY
Come back here, animal!
INTERIOR ORPHANAGE. BEDROOM. NIGHT.
Dim light coming from the TV monitor lights the room. Flickering flashes of lightning outside light the white curtains. MILDRED and REMUS are lying in bed, embracing and kissing, and covered with white blanket. SOUND OVER: Sirens of a lighthouse and patrol cars. REMUS turns and looks at the TV monitor.
POV REMUS. TV monitor ON FOCUS. The perimeter yard of the prison cell where there are lot of police, patrol cars, crowd, and reporters is flashed in the TV monitor.
Back on REMUS, on the TV remote control, he is sitting at the bedside, naked and only a blanket covers his privies. He is watching the TV monitor.
SERGIO
(Voice Over)
The cold-blooded criminal and notorious drug-smuggler, Christopher Garcia, has escaped together with the other prisoners of the House of Detention prison, which has an inmate population of more than 7,000 and is the largest in South America. Police in São Paulo storms here for the said incident. According to the Justice Ministry, 111 prisoners are killed in the escapo. Thirty-two police officers are wounded in the melee. After the incident, São Paulo Governor Gustavo de Campos, announces the dismissal of the state security director Darwin Yballe. Secretary Rodrigo Oliver Antonia of the Prison Affairs Department has no comment on the incident when he is asked. This is Sergio Rodrigues, Sr., of Globo News, reporting.
REMUS turns off the TV. He puts down the remote control on the bedside. He stands up, dropping down the blanket. Still lying in bed, MILDRED turns. She sees him from behind.
POV MILDRED. REMUS’S full back view. He is totally naked. He has really a very masculine and macho body from head to foot, but especially with his butts.
Back on MILDRED, covering herself with the blanket, she is smiling. She sits by the bedside.
MILDRED
Where are you going?
REMUS puts on his briefs and pants. MILDRED steps down from the bed, stands up, and hugs REMUS from behind. CHANGE ANGLE: REMUS facing the CAMERA and MILDRED behind him.
MILDRED
Can’t you stay for a little while more? I am not yet done with you, darling!
REMUS
Ahhh! Mildred, my pussycat!
REMUS turns and holds MILDRED’S face. He kisses her by the lips.
REMUS
We still have other times. I have to go. I must speak to the Triad.
Christopher can jeopardize us. We must make another plan
to trap him. He must be killed.
Christopher can jeopardize us. We must make another plan
to trap him. He must be killed.
MILDRED
But I still need you by my side. You can talk to them later.
REMUS hugs MILDRED so tightly.
REMUS
You are making me hot!
REMUS gives MILDRED a French kiss.
CUT TO: REMUS, on the doorknob, opens the door. Then he faces the CAMERA.
REMUS
I must really go!
INTERIOR ORPHANAGE. LIVING ROOM. NIGHT.
It is still thundering outside, as seen from the windows, accompanied by flickering light of the flashes of lightning. OSCAR has opened the cardboard box. ANDRÉ looks at it. While the STREET KIDS are around them, watching curiously.
OSCAR
André… These are not foods!
POV OSCAR. Ephedrine and other chemicals used in making cocaine are inside the opened cardboard box.
Back on OSCAR, on the chemicals, he looks at André fearfully.
OSCAR
You are right. We must leave!
REMUS
(Voice-over)
Who says you can leave?
OSCAR, the STREET KIDS, and ANDRÉ look at the staircase. They are all frightened.
POV ANDRÉ. REMUS, on the staircase handle, is standing above the staircase beside the French windows. He is lighted with the flickering flashes of lightning outside the windows. Thunder rolls. Too much anger is seen in his face. He is holding a gun down.
REMUS
Who are they André? What are they doing here?
Back on ANDRÉ, he is trembling in fear.
ANDRÉ
They are my friends, Sir. But they have done nothing, Sir.
The STREET KIDS are whispering to each other. And they are talking in whispers. OSCAR closes back the cardboard box. He glances at REMUS every time.
POV OSCAR. REMUS, on his gun, is approaching them slowly.
REMUS
Who told you to steal the drugs?
Back on OSCAR, he slowly stands and on the ready to run. ANDRÉ walks backward slowly away from the staircase. He is crying. The STREET KIDS too are embracing each other in fear. They too are crying.
ANDRÉ
No! Please, Sir, no! We have done nothing…!
Angrily REMUS grabs ANDRÉ’S hand and slaps him with the gun. The STREET KIDS are screaming and crying. OSCAR, in tears, is terribly shocked.
REMUS
How many times did I tell you not to allow strangers in this orphanage? Dumb! Fool!
REMUS spanks ANDRÉ every time he utters a word. Blood gushes from ANDRÉ’S nose, lips, cheeks, and forehead. OSCAR and the other STREET KIDS are crying and screaming every time REMUS hits ANDRÉ.
OSCAR
Sir! Please! Have mercy on him! He is only a little boy! He has done nothing wrong. It is my fault! Please! Sir, stop it! Stop it! André is innocent! Sir, please stop it!
REMUS stops on beating ANDRÉ. He looks at OSCAR sternly. ANDRÉ runs towards OSCAR and hugs him tightly.
ANDRÉ
Oscar! You must all run! He will kill all of you! He has done that to a lot of kids here! Please go! Hurry!
OSCAR
No! We cannot leave you here. We cannot let you die. It’s my fault. And I cannot forgive myself if something bad happens to you. I will not let him harm you again. We will fight him!
REMUS pulls ANDRÉ forcefully away from OSCAR. And he hurls him towards the STREET KIDS. Then he grabs OSCAR, hits him with the gun, and spanks him all over until the latter bleeds. REMUS pushes OSCAR down to the floor near the cardboard box. He grasps a handful of white crystalline powders from the cardboard box, forcefully opens OSCAR’S mouth and forces OSCAR to swallow the powders, yelling –
REMUS
Go on! Swallow this! Satisfy yourself with ecstasy! And let us see if your eyes will not swell!
ANDRÉ and the STREET KIDS are screaming and crying.
ANDRÉ
Sir! Please! Don’t kill him! He is my friend! I love my friend! Please, forgive him Sir!
ANDRÉ runs towards OSCAR. He embraces him and cries.
ANDRÉ
Please, Sir! I will do everything you want just don’t kill him! He is like a big brother to me!
POV ANDRÉ. OSCAR’S face has a lot of blemishes. He has black eye. His lips are swollen and bleeding. His nose too is bleeding. He is in tears and almost cannot open his eyes. He coughs.
Back on ANDRÉ, on OSCAR, he is crying. REMUS is standing not far from them.
ANDRÉ
Please, don’t die on me!
REMUS
No one who enters here and finds out our secrets can leave alive. They must all die!
REMUS engages his gun. The STREET KIDS are screaming. Thunder rolls loudly and faster. Lightning flashes faster. ANDRÉ shouts –
ANDRÉ
Run for your lives! OSCAR, stand up! You must remain alive for me! Hurry!
The STREET KIDS runs towards the doors. OSCAR stands up and tries to run. But REMUS pulls the trigger. SOUND OVER: A loud gunshot followed by loud screams of kids.
POV REMUS. A bullet hit the right breast of OSCAR. Blood gushes from it. OSCAR, out-balanced, falls backward throwing the poker cards from his hand to the air. ANDRÉ who is behind him shouts --
ANDRÉ
No! Oscar! No…!
OSCAR falls to the floor. ANDRÉ embraces him. He glances at REMUS. He is in tears.
ANDRÉ
Sir! Why? Why…?
REMUS looks at ANDRÉ, untouched and cold. The STREET KIDS halt and looks at ANDRÉ and OSCAR.
INTERIOR ORPHANAGE. DOORWAY.
The doors slam open. Thunder rolls loudly. Lightning flashes fastly. Heavy rains fall. DON MIGUEL, HUGO, and JOY enter.
DON MIGUEL
What happened here, Remus?
INTERIOR ORPHANAGE. STAIRCASE.
MILDRED is running downstairs. SOUND OVER: Running footfalls of sandals.
MILDRED
What was that shot?
POV MILDRED. A gun smoke gushes out from REMUS’S gun.
Back on MILDRED, she is very surprised.
MILDRED
My God! What have you done Remus?
INTERIOR ORPHANAGE. LIVING ROOM.
ANDRÉ, embracing OSCAR, is still crying. The STREET KIDS are surrounding them and are also crying. REMUS watches them blankly and coldly with a gun. While DON MIGUEL looks at REMUS questioningly.
REMUS
They are stealing! They are sneaking some illegal drugs into
our orphanage… putting us in danger. I tried to stop them.
But they run so I shoot them.
our orphanage… putting us in danger. I tried to stop them.
But they run so I shoot them.
DON MIGUEL
But he is only a kid, Remus! He is only a kid!
REMUS
It was an accident!
EXTERIOR ORPHANAGE. BY THE FOUNTAIN.
A flash of lightning with a loud roll of thunder lights across the skies. Hard rains pour. The NORTHERN SPOTTED OWL flies away from the fountain towards the porch.
CUT TO: The NORTHERN SPOTTED OWL alights on the roof of the porch. JACK runs towards the open doors. SOUND OVER: Calling of an owl.
INTERIOR ORPHANAGE. DOORWAY.
JACK enters the open doors. He is very wet and looks very worried. Lightning flashes. Thunder rolls. Hard rains fall.
JACK
Oscar! What happens to Oscar? What happens to him?
CUT TO: IN THE LIVING ROOM, JACK embraces OSCAR and wails.
JACK
Oscar! Oscar…! Oscar, my son! My son! Do not leave me alone! What have you done to my son? He is a good son!
REMUS is startled.
REMUS
He came here and was stealing! He was sneaking drugs... selling them to the orphans!
JACK
You, lying bastard! You, cold-blooded murderer! My son is not a thief! He is not pushing drugs! My son is a good kid!
JOY picks up the poker cards in the floor, a little distant from OSCAR. She is perplexed on looking at them. MILDRED walks towards OSCAR.
POV MILDRED. The NECKLACE worn by OSCAR is similar to MARIANA’S NECKLACE.
Back on MILDRED, she is holding the necklace worn by OSCAR.
MILDRED
It cannot be! There are only two necklaces like this! Mariana’s necklace and mine!
DON MIGUEL is also surprised.
DON MIGUEL
Are you saying that he is Mariana’s son?
Is he my only grandson?
Is he my only grandson?
MILDRED looks at JACK questioningly.
MILDRED
Is he really your son? Where did he get
this necklace? Tell me!
this necklace? Tell me!
JACK
It is his necklace since he is a child. I found him eight years ago.
FLASHBACK CUT: EXTERIOR COCAINE LABORATORY. NIGHT.
The fire of the burned cocaine laboratory has already subsided but it is still emitting fumes. A boy about nine years old soiled with cinders is standing in front of that scene. He is crying. JACK enters the scene, comforts the boy, and then takes him.
RETURN CUT: INTERIOR ORPHANAGE. NIGHT.
Rains fall harder. Thunder rolls. Lightning flashes. This is the scene outside the French windows. JACK is in tears. Beside him is ANDRÉ and MILDRED, crying. Behind them are the STREET KIDS, HUGO, and JOY. DON MIGUEL is sitting on the couch, in tears too. While REMUS is standing near them and seemingly relaxed.
JACK
He is not blood of my blood or a bone of my bones. But I love him as my real son more than my life. He is my life!
MILDRED wails hardly. REMUS is surprised.
MILDRED
No! This cannot be! No! This is not happening to me! Why? Why is it happening to me? I have searched for him for eight years but I never find him. But now, I have found him, but lost him forever! Remus, Oscar is our son! You killed your own son!
REMUS is petrified.
ACT III
EXTERIOR BEACH. DAWN.
The stormy sea-waves hurl against the rocks at the beach. The branches and leaves of the trees near the rocks, blown by the strong winds, are swaying. The coloring pigments from the horizon are beginning to paint the dark clouds in the skies. CHRISTOPHER lies unconscious at the shore. The sea-waves flush thru and fro on his body. Near his right hand lays MARIANA’S necklace. In a distance, a convent stands majestically. Two NUNS are approaching. SOUND OVER: Splashes of sea-waves, blows of winds, crows of a rooster, and rings of a church’s bell.
SHOT: A hand of a NUN picks up MARIANA’S NECKLACE.
SHOT: MARIANA, ON FOCUS, one of the NUNS, is staring at the necklace.
SISTER BIANCA, a nun, looks at MARIANA questioningly.
SISTER BIANCA
Is there something wrong, Sister Lara?
MARIANA
No. Nothing, Sister Bianca. I just remember someone in my past with this necklace. Someone who was very dear to me.
SISTER BIANCA and MARIANA turn CHRISTOPHER and make him lay on his back.
POV MARIANA. CHRISTOPHER’S face and naked body. CHRISTOPHER is wounded and filled with bruises. He is still unconscious.
Back on MARIANA, ON FOCUS, she is very surprised to see CHRISTOPHER. She utters a whisper in astonishment –
MARIANA
Christopher…!
SISTER BIANCA
You know him?
ESTABLISHING SHOT. EXTERIOR CONVENT. MORNING.
Roman Catholic “Old Basilica” decorated in the European style, a combination of Baroque and sophisticated Rococo patterns. Painted wood sculpture and stone statuary. Twelve life-sized soapstone statues of the Prophets on the terrace and staircase outside the entrance. In front of the church's terraced stairs, in six small devotional chapels, the Stations of the Cross with 66 poignant statues in cedar wood. Fifteen million bricks and 110 thousand cubic feet of concrete, the basilica looks like a cross with 70,000 sq. feet of area and a central dome at 200 feet high. At the north side, a tower with 3600 sq. foot (60 x 60 ft.), 17 floors and 300 feet high. At the east side, a gigantic marble statue of the Virgin of Aparecida standing on a globe and holding a globe in her right hand. Beneath that monument is a garden filled with beautiful flowers of different colors. Butterflies fly over. Birds alight. SOUND OVER: Chirping of birds.
INTERIOR CONVENT. BEDROOM. DAY.
INTERIOR CONVENT. BEDROOM. DAY.
CHRISTOPHER is lying in bed, half naked. His lower body is covered with blanket. He is sound asleep. Bruises can still be seen in his face and body. His palms are wrapped with bondage. The bed is in a Rococo design, which has a canopy. Right beside the headboard of the bed is a parquetry commode on which a large statue of Saint Raphael is placed. Below left are the French windows covered with curtains embroidered with flower-designs. SISTER BIANCA enters from the open doors. She is holding a tray of food. She puts it down on the small dining table near a mirror.
POV SISTER BIANCA. CHRISTOPHER is sound asleep.
Back on SISTER BIANCA, by the windows, she opens the curtains. Lights enter.
ON FOCUS, CHRISTOPHER winks his eyes due to sudden entrance of light. He opens his eyes slowly.
POV CHRISTOPHER. SISTER BIANCA gets a T-shirt, pants, and brief from the closet.
Back on CHRISTOPHER, on the blanket, he looks at his lower body. Surprised, he hurriedly sits on the bedside and wraps the blanket around his body. A pair of hands handed him the T-shirt, pants, and brief.
CUT TO: SISTER BIANCA standing near the bedside. She is facing CHRISTOPHER who is looking at her awkwardly.
SISTER BIANCA
Put them on. After that you must eat.
CHRISTOPHER
But… I am a shy person, Sister.
SISTER BIANCA looks confused at REMUS.
CHRISTOPHER
Can you face back, Sister?
SISTER BIANCA faces back but secretly puts her eyes on the mirror.
ON FOCUS: The mirror, in which can be seen CHRISTOPHER drops the blanket on the bed. He puts on the brief, pants, and T-shirt.
SISTER BIANCA secretly chuckles.
SISTER BIANCA
We set aside malice in this convent, Mister. And there is nothing to hide anymore for I have seen everything about you.
CHRISTOPHER
You mean…?
CHRISTOPHER blushes. SISTER BIANCA smiles.
SISTER BIANCA
Yes. We unclothed you. And it must be impossible for us to do it with our eyes closed.
CHRISTOPHER
You were not alone? But tell me!
Nothing happened, Sister?
Nothing happened, Sister?
SISTER BIANCA is surprised.
SISTER BIANCA
Yes, of course! We are nuns, Mister. We had found you unconscious by the beach. I think she knows you.
CHRISTOPHER is startled.
CHRISTOPHER
Who?
CUT TO: CHRISTOPHER sits on the chair and begins to eat his breakfast. SISTER BIANCA sits on another chair.
SISTER BIANCA
Sister Lara said that she remembered someone in her past after
seeing you at the beach. But she left. She is going to see the
street kids who are willing to be adopted in this convent.
Do you know her?
seeing you at the beach. But she left. She is going to see the
street kids who are willing to be adopted in this convent.
Do you know her?
CHRISTOPHER
I am sorry Sister. I really can’t remember who I am.
But I will try to recall her name. Perhaps she is a friend of mine.
But I will try to recall her name. Perhaps she is a friend of mine.
SISTER BIANCA is looking at the window. SOUND OVER: Siren of a patrol car.
POV SISTER BIANCA. The light of the patrol car continues on flashing. Two POLICEMEN get out from the car, which is parked at the gateway. The two POLICEMEN are approaching towards the Convent.
Back on SISTER BIANCA, she is facing CHRISTOPHER.
SISTER BIANCA
The Police are here!
CHRISTOPHER looks terrified.
INTERIOR HOSPITAL. WARD. DAY.
OSCAR is lying unconscious in bed. He is dextrosed. And there is an oxygen mask put on his mouth and nostrils. ANDRÉ and LIZA sit beside the bed. MILDRED is walking in circles. They are all in tears.
INTERIOR HOSPITAL. CHAPEL. DAY.
JACK and the STREET KIDS are all kneeling in front of the altar. JACK is in tears. He makes a sign of the cross.
JACK
Lord Jesus, I do not know how to pray.
I only know how to make the sign of the cross.
This is the only religious thing taught by my mother to me
when I was a kid before she died of tuberculosis.
She always told me to make a sign of the cross
before going to sleep, right after waking up from bed,
I only know how to make the sign of the cross.
This is the only religious thing taught by my mother to me
when I was a kid before she died of tuberculosis.
She always told me to make a sign of the cross
before going to sleep, right after waking up from bed,
before and after eating, before leaving the house,
and when riding on a bus.
and when riding on a bus.
The STREET KIDS response in chorus-
STREET KIDS
Forgive the lost soul of Jack, Lord.
JACK
I only know how to steal…
STREET KIDS
Amen.
JACK
How to play poker…
STREET KIDS
Amen.
JACK
How to love kids…
STREET KIDS
Bless Jack, Lord, for being a father to us!
JACK
I am not worthy of your attention, Lord.
But I beg of you for this time.
But I beg of you for this time.
Please have mercy on my most beloved son!
I cannot live without him.
I cannot live without him.
I love him very much! Please, heal him! Let him live!
The STREET KIDS are all crying. They sob. And in chorus –
STREET KIDS
Lord, have mercy on us! Do not take Oscar away from us!
INTERIOR HOSPITAL. WARD.
MILDRED leans on the wall. She is looking at ANDRÉ.
MILDRED
Will you tell me what really happened, André?
Was it really an accident?
Was it really an accident?
ANDRÉ
He had done it intentionally, Miss Mildred.
But please, don’t tell him that I have told you the truth!
Miss Mildred is Oscar going to die, isn’t he?
But please, don’t tell him that I have told you the truth!
Miss Mildred is Oscar going to die, isn’t he?
I don’t want him to die, Miss Mildred. Please help him!
ANDRÉ sobs.
MILDRED
I will not let him die, André. Liza, we must go! Stay here, André. If anybody asks you about what happened,
don’t say a word. You know nothing. Liza…
LIZA
Can I stay?
MILDRED
No!
EXTERIOR ORPHANAGE. PORCH. DAY.
The sunlight hits the benches. The autumn leaves of the trees nearby are falling filling in the others, which are scattered all over the grass. REMUS, his hands on his forehead, looking down, is sitting on the bench. DON MIGUEL, on his cane, is standing outside the porch.
DON MIGUEL
I cannot believe it, Remus! He is only a kid!
Where can a street kid have that large amount of drugs?
How can you explain that to the Police?
You don’t have to shoot that kid. He has no gun.
Will you tell me why did Mildred say that you were
the father of that kid?
the father of that kid?
REMUS
She was out of her mind. She was only desperate
to see her lost son again.That Jack only used her by confusing
his son with Mildred’s lost boy. Perhaps that Jack is a drug-lord.
Who knows? Perhaps he really owned that drugs
and used his son and the other street kids in drug pushing.
to see her lost son again.That Jack only used her by confusing
his son with Mildred’s lost boy. Perhaps that Jack is a drug-lord.
Who knows? Perhaps he really owned that drugs
and used his son and the other street kids in drug pushing.
And how could I have a son with Mildred?
I haven’t ever slept with her.
I haven’t ever slept with her.
CUT TO: DON MIGUEL, on his cane, walks towards the fountain. He takes a coin in his pocket and throws it to the fountain. REMUS is sitting at edge of the fountain, staring at the coin.
POV REMUS. The coin is sinking underwater towards the floor where a gun is put.
Back on REMUS, on the door of DON MIGUEL’S LIMOUSINE, he opens it to let DON MIGUEL enter. DON MIGUEL sits on the back seat. REMUS closes the door. DON MIGUEL opens the window.
REMUS
Don’t worry, Papa! I will not put the name of this orphanage
into a scandal. And nobody will go to jail.
into a scandal. And nobody will go to jail.
POV REMUS. DON MIGUEL’S LIMOUSINE moves on towards the gate.
Back on REMUS, ON FOCUS, he is smiling diabolically and he is talking to himself-
REMUS
Nobody will go to jail, except that fool named Jack!
INTERIOR HOSPITAL. CHAPEL. DAY.
MARIANA, on a nun’s uniform, with a basket of bread, approaches the STREET KIDS and JACK. Some of the STREET KIDS instantly noticed MARIANA.
STREET KID #1
Sister Lara…?
MARIANA smiles sweetly.
MARIANA
Ah, there you are. You must be hungry.
MARIANA gives STREET KID #1 a piece of bread.
CUT TO: The STREET KIDS are eating bread in a corner near the chapel. MARIANA and JACK are sitting on the bench in the chapel.
MARIANA
The other kids in the streets told me that you are here?
What happened? Who is in here? Who is sick?
JACK
Oscar was shot. He was suspected for stealing.
I don’t know what to do now, Sister Lara.
I loved my son very much!
JACK cracks into sobs. MARIANA calms him down. She pats his shoulder.
MARIANA
Go on, Jack. Release all your tears.
It can help you release the pains.
It can help you release the pains.
Don’t worry! God is good.
He will not leave your son.
He will not leave your son.
INTERIOR HOSPITAL. WARD. DAY.
ANDRÉ is alone with OSCAR who is still unconscious. The door opens. MARIANA enters the room. ANDRÉ looks at her penetratingly. MARIANA smiles at him.
MARIANA
Hello! How are you?
ANDRÉ
I’m fine, Sister! Why are you here? Is he really going to die, Sister?
A tear falls from ANDRÉ’S eye. MARIANA sits opposite to him and caresses his hair.
MARIANA
No, don’t cry, my son! I am Oscar’s friend. I am Sister Lara.
How about you? What is your name, son?
ANDRÉ
I am André.
Another tear falls from the other eye of ANDRÉ.
MARIANA
What is that for? Please don’t cry, my son!
Oscar is not going to die.
Oscar is not going to die.
ANDRÉ
I am crying because of joy, Sister. This is the first time
that someone calls me a son. You are the only one who
called me a son, Sister.
that someone calls me a son. You are the only one who
called me a son, Sister.
ANDRÉ cracks. MARIANA embraces him.
MARIANA
Why? Where are your parents?
ANDRÉ
I am an orphan, Sister. Oscar is my best friend. We met
at the streets when I was lost some time. I am living in an
orphanage. I have no parents since I was a baby. I never
know my parents. Sister, can you be my mother?
EXTERIOR FOREST RESERVATION. SUNSET.
A flock of birds fly away from the woods. CHRISTOPHER, in denim pants, white T-shirt, and a “Black Shirt” (black leather jacket) and with a gun, enters to the woods, running.
CUT TO: CHRISTOPHER, beneath the woods, stops on a creek. He drinks through his hands. And he washes his face. SOUND OVER: Calling of a crow.
POV CHRISTOPHER. A crow is on a branch of a tree, which has no leaves. It flies downward and alights on the body of a DEAD BOY who is naked and wounded. Blood is gushing from the wounds. The crow begins to devour the flesh from the blooded wound, which is in a form of a swastika.
Back on CHRISTOPHER, he is in tears. A mixture of sadness and anger can be seen in his face. His lips quiver.
EXTERIOR. FOREST RESERVATION. NIGHT.
CHRISTOPHER is hiding in front of the trunk of a willow tree. Afar, lot of people in brown tunics and hoods are doing a Druidic Lughnasadh in the circle of lighted candles. They are chanting and singing Enya’s “The Celts”. A priestess, MILDRED, in red tunic with a garland of roses, marigold, oak leaves, ferns, passionflower, ivy, vines, and grapes is in the middle of the circle. She is holding a cornucopia filled with gourds, pinecones, acorns, wheat, corn, pomegranate, hazel, hops, tobacco, grapes, and apples. She is dancing around a wickerwork figure of corn sheaves dressed in fine clothes. The DRUIDS in brown tunics with scythes so sharp are dancing around the wickerwork effigy as if cutting the effigy at the knee. Then they roll it and tie it by the waist, serving it barbarously and then they chant --
DRUIDS
Rise up, Jack!
The DRUIDS repeat it over and over. Then DRUID #1, in white tunic, with a bag enters. He reaches into his bag of tricks, plies some magical cure, and presto! JACK in a red, orange, and brown costume of a harlequin-like king comes out from the wicker-like man-shaped sheaves of corn to the cheers of the crowd. JACK begins to dance with MILDRED. The effigy is burned, amidst much rejoicing. The crow, which is on a branch of the willow tree, flies towards the priestess and alights on her shoulder. SOUND OVER: Sound of baying hounds. Lines of geese cut silhouettes across a harvest moon.
JACK
The hounds of Annwn!
MILDRED
Someone who is not with us is here. Let him come to me.
The DRUIDS seize CHRISTOPHER. They bring him to MILDRED. Both of them are surprised to see each other.
MILDRED
Christopher? What brings you here in our realm?
CHRISTOPHER
I am here for revenge! for vengeance!... I want to avenge
the death of my son! My dearest son whom you and Remus,
and the Triad killed!
MILDRED signals JACK and the DRUIDS to leave. And they leave at once.
MILDRED
You don’t know what you are saying, Christopher.
I never killed your son!
CHRISTOPHER
Don’t you ever lie to me! You are all cold-blooded murderers!
MILDRED slaps CHRISTOPHER on the face.
MILDRED
We never killed anyone!
CHRISTOPHER
So who killed that boy over there then?
CHRISTOPHER points the place near the creek.
CUT TO: MILDRED is crying over the body of the DEAD BOY. JACK and the DRUIDS are standing near her. They are all in tears. CHRISTOPHER is enraged but in tears.
CHRISTOPHER
You all murdered that boy like what you did to my son!
You sacrificed him to your pagan gods! Murderers!
MILDRED
That’s a lie! We never murdered anyone!
We live by the principles of love!
We live by the principles of love!
How can we kill this innocent child?
He is one of the orphans in our orphanage!
He is one of the orphans in our orphanage!
I loved him as my son! Oh, God!
Who did this to him?
Who did this to him?
CHRISTOPHER looks unbelieving.
CHRISTOPHER
You can be a good dramatic actress. Enough of your acts!
You cannot fool me!
You cannot fool me!
CHRISTOPHER gets his gun, cocks it, and pokes it at MILDRED’S head.
MILDRED
Go on! Kill me!
CHRISTOPHER
Where were you when I needed you most? You left me
to rot in prison! You let Remus killed Mariana and my only son!
You must die!
You planned to be impregnated by him so that you could corner
me to marry you. Even of the fact that you knew that the woman
I really loved was Mariana.
to rot in prison! You let Remus killed Mariana and my only son!
You must die!
JACK attempts to stop CHRISTOPHER but DRUID #1, from behind the DRUIDS, stops him and signals the other DRUIDS to stay away. MILDRED is in tears and breaks into sobs.
MILDRED
It was not my fault if Mariana died! It was not my fault if your son was lost or died! If there is someone who is worthy to be given the right to nemesis, it is no other than me! You only lost a son! Nobody has killed him! But I, I lost a son because of you! You’d left us amidst the fire for that bag of money! And now, he is dying! Our son, Oscar, is dying in the hospital!
CHRISTOPHER
He is not my son! And you know that. He is your son with Remus. You planned to be impregnated by him so that you could corner
me to marry you. Even of the fact that you knew that the woman
I really loved was Mariana.
MILDRED angrily stands up and yells –
MILDRED
Mariana! Mariana! Mariana…! You don’t know anything
except Mariana! She came late in your life!
But all you’d thought was her! I was the first woman
in your life. But why had you left me for her? Far worst,
why had you left our son?
CHRISTOPHER
You are mistaken. I didn’t left Oscar. He ran back to the lab
to find you. I wanted to stop him but the Police
chased me at that time. But who started the fire?
It could be you! You must have ordered the chemists
to burn the lab to eradicate all traces of evidence.
You could have killed your own son!
DRUID #1 comes near to MILDRED.
DRUID #1
Mildred, they are here!
MILDRED wipes the tears on her cheeks, faces the DRUIDS, and in a commanding voice --
MILDRED
We must hide! But don’t forget to turn off the fire! Hurry!
The DRUIDS turn off the candles and pour pales of water on the bonfire.
CUT TO: MILDRED, CHRISTOPHER, JACK, DRUID #1, and the DRUIDS lay down on the bushes. ARMED MEN are approaching. The ORPHANS are carrying wooden boxes. And REMUS is whipping the ORPHANS.
REMUS
Double your march! The cargoes must reach Mexico on time.
CHRISTOPHER, still on hiding, cocks his gun and aims it at REMUS. MILDRED puts her hand on the gun and pushes it downward.
MILDRED
Don’t! Killing will not solve any problem.
It will only put us all in danger.
Worst, the orphans can be killed in the battle.
Let them pass and go! Tomorrow will be a better day.
CHRISTOPHER
He killed the only woman I loved and my only son!
Today, he killed an innocent child! He must be stopped!
He must be punished!
MILDRED stares at him commandingly. CHRISTOPHER puts down the gun.
MILDRED
You must go before they see you here! Jack, lead him the way!
CHRISTOPHER
But…
POV MILDRED. CHRISTOPHER crawls behind JACK, underneath the willows and oaks. Then they run away.
Back on MILDRED, she is in tears. She is holding an athame in the other hand while on the other, the cornucopia. DRUID #1 is beside her.
DRUID #1
Why do you let him go?
EXTERIOR. UNDERNEATH THE WILLOWS NEAR THE ORPHANGE. NIGHT.
JACK and CHRISTOPHER halt on running in the creek underneath the willows lit only by a pale moonlight. They are gasping their breaths under a willow tree, which is almost hidden by thick leaves of bushes. Not far from it they can see the fountain clearly.
CUT TO: IN THE FOUNTAIN. ANDRÉ emerges from the waters of the fountain. He climbs up at the edge of the fountain, sits down, and holds his breath fast. He is holding REMUS’S GUN in his right hand. DON MIGUEL is approaching. ANDRÉ swiftly hides the gun behind.
DON MIGUEL
André, what are you doing here? Were you swimming in there?
Has anybody told you that it is not a swimming pool? My God!
You can be sick in that unsterilized waters! You must get inside.
Take a shower and change your clothes. Hurry!
ANDRÉ
Yes, Sir!
ANDRÉ stands up, walks backward to hide the GUN. Then when he is behind DON MIGUEL, ANDRÉ hides the GUN in front of him and he runs fast towards the orphanage. DON MIGUEL notices the bushes near the willow tree, moving.
CUT TO: UNDERNEATH THE WILLOW TREE. CHRISTOPHER and JACK are still gasping their breaths.
CHRISTOPHER
What is this place, Jack? Where are you leading me?
JACK
We are in the vicinity of the orphanage of Don Miguel.
But towards that direction over there, we can find
a hi-way leading to the city.
Suddenly DON MIGUEL enters through the bushes and angrily shouts –
DON MIGUEL
What are you doing here?
JACK in too much surprise jumps and runs towards the direction leading to the hi-way.
CHRISTOPHER
Hey, Jack! Wait for me!
DON MIGUEL
Christopher? You devil! What are you doing here?
How did you escape from prison? You animal!
DON MIGUEL angrily whips his cane at CHRISTOPHER.
DON MIGUEL
You killed my daughter out of jealousy! Devil! Shameless!
You are too brave to come here after you had done
to my beloved daughter! Get away from here before
I call the Police! Get away!
DON MIGUEL’S face is red with rage. And he is in tears. He is gasping his breath.
CHRISTOPHER
But you are wrong, Don Miguel. I didn’t kill your daughter.
I couldn’t do that to her! I loved her!
DON MIGUEL
Liar! A cold-blooded snake cannot love a loving woman
like my daughter!Go away! Go away!
like my daughter!Go away! Go away!
CHRISTOPHER leaves away. While behind CHRISTOPHER, DON MIGUEL is holding his breath. He is standing on his cane but he is holding his chest that is aching. He is trembling. He falls to the ground. And in a paint voice he calls –
DON MIGUEL
Christopher! Help me!
INTERIOR. ORPHANAGE. MASTER’S BEDROOM. NIGHT.
DON MIGUEL is lying in his bed. At the bedside, ANDRÉ sits down. He is holding a chessboard.
ANDRÉ
Are you sick, Sir? Can’t we play chess tonight?
DON MIGUEL
I am not feeling well, André. By the way, who brought me here?
ANDRÉ puts down the chessboard above the drawers.
ANDRÉ
I do not know him, Sir. I have not seen him here before.
He left after putting you here and after changing your clothes.
He even boiled water and wiped you with a face towel
dripped in a hot water. He taught me how to do a CPR
on you if you fall again.
DON MIGUEL
Why? Where are the other kids? Where are Remus and Mildred?
ANDRÉ is startled. He is thinking of an anwer.
DON MIGUEL
Are you hiding me something? Where are they?
ANDRÉ
No, Sir! They are all asleep. It is almost midnight. Good night, Sir!
ANDRÉ covers DON MIGUEL’S body with the blanket. Then he kisses his forehead. When he is about to go, DON MIGUEL calls –
DON MIGUEL
Come here! Let me kiss you too.
DON MIGUEL embraces ANDRÉ and he kisses his cheeks.
DON MIGUEL
I love you very much, my boy!
ANDRÉ
Why do you kiss me on the cheeks? Why do you love me, Sir?
Are you gay?
DON MIGUEL is surprised.
DON MIGUEL
What?
ANDRÉ is a little bit afraid. DON MIGUEL laughs.
DON MIGUEL
Who told you that? There is nothing wrong in kissing.
There is nothing wrong about loving you. I love you
as my dear lost or dead grandson. Who is that evil man
who corrupts your mind?
ANDRÉ
Sir Remus told us that a man who kisses and loves
another man is gay. You kissed me and you said you loved me.
Are you gay, Sir?
DON MIGUEL laughs louder.
INTERIOR. ORPHANAGE. MASTER’S BEDROOM’S DOORWAY. NIGHT.
ANDRÉ going outside the room closes the door. MILDRED is standing beside the door. ANDRÉ is surprised to see her.
MILDRED
What had you told the old man, André?
ANDRÉ
Nothing, Miss Mildred.
Fear is very visible in ANDRÉ’S face.
MILDRED
Beware of your tongue! Don’t make any foolish move
or you’ll be dead! Go back to your room! Pray that
nothing will happen tomorrow. We will have a new operation.
All of you will go to the city at the dusk of dawn.
ANDRÉ
Then, can I come-by at the hospital, Miss Mildred?
I will be fast in visiting Oscar.
Tears begin to fall from MILDRED’S eyes.
MILDRED
No, you can’t.
ANDRÉ
But why? Is he dead?
MILDRED breaks into sobs. ANDRÉ shouts --
ANDRÉ
No! No! No!
ANDRÉ cries and runs through the hallway.
MILDRED
André! Come back here! André!
EXTERIOR. ORPHANAGE. PORCH. NIGHT.
Thunder rolls. Flashes of lightning cross the sky lighting the porch. The door opens. ANDRÉ comes out sobbing and crying. He runs to the frontyard.
CUT TO: IN THE FRONTYARD. ANDRÉ is running, passing by the fountain. The rains begin to fall, heavier and heavier. ANDRÉ is all wet now. He is running towards the gate. He cries and calls in a broken voice –
ANDRÉ
Oscar! Oscar! Oscar!
ANDRÉ stumbles on a branch of wood. He falls flat on the ground.
ANDRÉ
Oscar! Oscar! God! No! Please don’t take him from me!
I am not gay Lord! But I love him as my brother!
He is the only one who really loves me as a member
of his family. No! Tell me Lord, he is not dead.
He is not dead! I can give him my blood just to make him live.
Oscar! Oscar…! No!
ANDRÉ stands up and pulls the gun from his waist.
ANDRÉ
Sir Remus must pay for Oscar’s death and all the murders of the
other orphans! I will kill him! I will kill that Devil!
ANDRÉ takes the bicycle that is leaned on the gatepost.
INTERCUT: ANDRÉ rides on the bicycle and pedals it as fast as he can through the hi-way. While in the other end of the hi-way there is a fast rushing ten-wheeler truck driven by a DRUNK DRIVER.
EXTERIOR. ORPHANAGE. PORCH. NIGHT.
MILDRED, worriedly, is standing at the porch. She dials the keypads of her cellular phone. Thunder rolls. Lighning flashes. Rains pour heavier. MILDRED on the cellular phone –
MILDRED
Hello! Jack! Jack! This is Mildred! We have a problem here!
André is out there in the hi-way with a bike.
He is broken-hearted. Find him!
INTERCUT: MILDRED is on the cellular phone at the porch while JACK is on a public landline phone inside a telephone booth along the hi-way. Both places are poured with heavy rains.
JACK
Why? What happened? Had you spank him?
MILDRED
I think he misunderstood something. I think he thought that
Oscar is dead. But I couldn’t tell him Oscar’s whereabouts.
He might slip and might tell Remus about it. We must really
make it appear to Remus and to everybody that Oscar is
dead like what we did to Mariana to keep him safe from
Remus and the Triad.
The ten-wheeler truck passes by the telephone booth in a zigzag manner and too fast. JACK looks at it in surprise.
JACK
You only did the right thing, Mildred. Do not worry too much.
I will find him.
MILDRED
I cannot forgive myself if something bad will happen to him!
Find him fast before it’s too late!
EXTERIOR. HIGHWAY. NIGHT.
CHRISTOPHER comes out from the cornfields along the hi-way. Thunder rolls. Lightning flashes. Rains pour even more heavily. Blinding lights envelope CHRISTOPHER that make him covers his eyes with his hand. SOUND OVER: Loud horn of a truck.
POV CHRISTOPHER. The ten–wheeler truck is running fast and is approaching towards his left while ANDRÉ in his right is accelarating fast his bicycle towards the truck. ANDRÉ only notices the truck when he is already very near to it and is blinded by the truck’s lights.
Back on CHRISTOPHER, he jumps and pulls ANDRÉ as fast as he can. The bicycle smashes on the truck, and then it falls on the road, and is crushed by the wheels of the truck. CHRISTHOPHER falls on his back while ANDRÉ is over him.
POV CHRISTOPHER. The truck speeds up away from sight.
Back on CHRISTOPHER, he cools ANDRÉ down who is shocked. He does first aid to relax him.
CHRISTOPHER
It’s alright now! There is nothing to worry about. You are alive.
My God! You scared me to death! Why are you here at this
holy hour? I think I must bring you back to the orphanage.
ANDRÉ
No, please don’t! I don’t want to go back in there! I must
find Oscar! I want to know if he is really dead!
CHRISTOPHER is surprised.
CHRISTOPHER
Oscar who?
ANDRÉ
The son of Jack…
EXTERIOR. CITY SIDEWALK. MIDNIGHT.
Most of the stores are already closed. The place is dim -- with only the street lamps, lights from few passing cars, and a disco lights coming from a nightclub lighting it. A lot of teen-age guys and gals, heavy with make-up and wear sexy and seducing clothes, are standing on the sidewalk near the nightclub. Not far from them some street kids are sleeping on cardboards and newspapers in the sidewalk. JACK passes by them. ANDRÉ and CHRISTOPHER are following JACK. ANDRÉ, who is held by CHRISTOPHER by the hand, is looking at the street kids.
ANDRÉ
Wait!
ANDRÉ inspections the sleeping street kids. CHRISTOPHER follows him. JACK is frantically looking at the surroundings.
CHRISTOPHER
What are you doing?
ANDRÉ
I thought I saw Oscar.
JACK who is at the corner of an alley between the buildings calls –
JACK
Hey! C’mon! We cannot stay long here!
EXTERIOR. ALLEY. MIDNIGHT.
It is very gloomy. It is leading to a warehouse, which is lighted dimly. JACK walks fast to the warehouse. CHRISTOPHER and ANDRÉ are following JACK hurriedly.
CHRISTOPHER
Wait for us!
JACK whistles with his two fingers in his mouth. He is doing it over and over again.
CHRISTOPHER
Hey! What’s up Jack?
JACK
Usually, I only whistled once and then presto!
the kids are here embracing to meet me.
Something must be wrong!
the kids are here embracing to meet me.
Something must be wrong!
CUT TO: WAREHOUSE’S DOORWAY. JACK opens the door.
INTERIOR. WAREHOUSE. MIDNIGHT.
A pale of water is hanged above the door. The door opens. JACK enters. Waters pour on JACK.
STREET KIDS
(Voice-over)
Surprise!
POV JACK. The STREET KIDS are holding lighted candles. And STREET KID #1, who is in the middle, is holding a birthday cake with lighted candles.
STREET KIDS
Happy birthday, Jack!
Back on JACK, he cries. ANDRÉ is looking at JACK. CHRISTOPHER closes the door.
ANDRÉ
Are you crying Jack?
JACK
Hey, little man! Do I look crying to you?
Of course not! I am all wet!
Let’s blow the candle! I am starving!
Of course not! I am all wet!
Let’s blow the candle! I am starving!
JACK blows the candles.
JACK
Let’s eat! Where is the knife?
STREET KID #1
It is very rusty. Let’s just bite this.
But since you are the celebrant,
you must take a bite first.
But since you are the celebrant,
you must take a bite first.
The other STREET KIDS happily shouts –
STREET KIDS
Yes! Take a bite, Jack!
JACK takes a bite. But he is surprised. The cake is only a painted cardboard. All the STREET KIDS are laughing.
JACK
This is not a real cake!
Everybody laughs. JACK is very furious and in an angry voice but funny face –
JACK
You little children of the corn! I am Jack Barleycorn!
The STREET KIDS are running around CHRISTOPHER while JACK is chasing them. But unknown to CHRISTOPHER the STREET KIDS are getting his wristwatch and picking his wallet fastly. The STREET KIDS count the money and laughing behind CHRISTOPHER while JACK signals ANDRÉ not to say anything.
EXTERIOR. WAREHOUSE. DOORWAY. DAWN.
ANDRÉ is sitting on one of the empty wooden tomato boxes. He is looking at the moon while his hairs are softly blown by the wind. Tears are falling down his cheeks. He is holding the gun and is trembling. CHRISTOPHER enters from the open door.
CHRISTOPHER
André… What are you doing here?
ANDRÉ
Is there a God, Sir? What did I do to deserve this?
CHRISTOPHER is surprised. He stops behind ANDRÉ. He looks at the moon.
CHRISTOPHER
Yes! There is a God out there, André.
Look at the moon! Sometimes you can see
a face of a woman at the moon. In the same way
we can find God too in our hearts, and mostly
He’s inside each of the kids like you, waiting
to be manifested. Sometimes, God has a kid’s face.
Don’t you believe in God?
ANDRÉ
Why should I? God never did anything for me.
ANDRÉ looks at CHRISTOPHER with a curious, intent look.
ANDRÉ
I’m an orphan for eight years now.
I lived my life as a nobody. I prayed to Him
to bring me back my parents
but He didn’t care about me.
CHRISTOPHER
You are only angry that’s why you’ve said it.
I also lost a son but I never doubt God’s love.
I never lost hope. Sometimes we commit mistakes
in our lives but that doesn’t mean that God never
loves us. He gives us freedom to decide for ourselves
even it hurts Him for He loves us so much.
Look at the horizon! Soon the sun will shine
and it will spread different colors of hope in the sky.
ANDRÉ breaks into sobs.
ANDRÉ
But why He takes Oscar away? I don’t want him to die!
CHRISTOPHER hugs ANDRÉ hard. ANDRÉ rests his head on CHRISTOPHER’S arm. CHRISTOPHER bites his lower lip as tears begin to fall from his eyes.
POV CHRISTOPHER. A gun on ANDRÉ’S trembling hand.
Back on CHRISTOPHER, he frantically takes the gun.
CHRISTOPHER
Why are you carrying a gun?
ANDRÉ
I have to. It comes with our job. I sell drugs with the other orphans.
EXTERIOR. CITY STREET. DUSK OF DAWN.
Fire trucks are all over the street. FIREMEN are blowing water hardly on the building on fire. Burned, roasted, and toasted bodies of STREET KIDS are lying on the sidewalk. CROWD of onlookers are standing near the fire trucks and outside the yellow lines of the POLICE. ANDRÉ, the STREET KIDS, CHRISTOPHER, and JACK are watching a distance away from the CROWD. CHRISTOPHER is covering his head with the hood of the “Black Shirt”.
JACK
It doesn’t take long to murder children.
Those murderers have no souls. They are demons.
CHRISTOPHER
This is not the first time Jack. It’s already in the Brazilian history.
Death squads are killing street children since 1968 and the worst
was the Candelária Massacre on July 23, 1993 in Rio de Janeiro.
They are not only here in Brazil. They are all over the Latin
America. Guatemala had its La Mano Blanco, Argentina
its Anti-Communist Alliance, the Dominican Republic
its La Banda gang, and in Brazil, Paraguay, Honduras, and
El Salvador simply Esquadrão de Morte or Esquadron de Muerte.
JACK is holding playing cards in his hand. He is looking at the playing cards with rage. He squeezes the playing cards tightly.
JACK
The biggest killer of the street children is the world’s indifference....
JACK throws the playing cards.
CUT TO: The playing cards are taken upward by the hot winds over the fire and smokes.
INTERIOR. ORPHANAGE. LIVING ROOM. DAY.
REMUS angrily slaps the face of MILDRED. REMUS yells –
REMUS
Why did you let him go? He can put us all in jeopardy!
CUT TO: The door opens. LIZA enters, crying. She is hysterical.
LIZA
He is dead! He is dead! Oscar is dead!
MILDRED
No! That is not true! Tell me that is not true!
REMUS is startled. MILDRED wails –
MILDRED
No! Not my son! He can’t be dead!
He is my only son! God! No!
Don’t take him away from me!
REMUS is shocked. His face is focused nearer and nearer until his eyes filled the screen.
FLASHBACK CUT: EXTERIOR. PARK. DAY.
A TEEN-AGE REMUS is walking down the dirt path by the dump. He is wearing a school uniform and is carrying a knapsack on his back. His SCHOOL FRIENDS are approaching to him.
SCHOOL FRIEND #1
Hey, Remus. How are you doing?
SCHOOL FRIEND #2
It’s too bad about your mom.
The TEEN-AGED REMUS is surprised.
TEEN-AGE REMUS
What? What about my mom?
SCHOOL FRIEND #2
She’s dead. Didn’t you know?
The TEEN-AGED REMUS runs away. The little board over the ditch thumps as he runs away.
SHOT: EXTERIOR. TYPICAL AMERICAN HOUSE. DAY.
There is a van that is used for funerals. There is lot of people outside the house.
INTERIOR. TYPICAL AMERICAN HOUSE. LIVING ROOM. DAY.
The TEEN-AGE REMUS runs inside. The room is crowded. His NEIGHBORS, his UNCLE; his AUNT, who is wailing; his younger cousin, the TEEN-AGE CHRISTOPHER; and his FATHER, who is holding a bottle of beer, are there. The TEEN-AGE REMUS pushes his way between the bodies. On the spot where the couch normally stands, his MOTHER lies in a coffin on trestles.
POV TEEN-AGE REMUS. His MOTHER has her eyes closed as if she is sleeping.
Back on the TEEN-AGE REMUS, he hysterically hugs his MOTHER and sobs in great bursts.
TEEN-AGE REMUS
No, no. My God, no. She can’t die!
Mom, wake up! You cannot leave me here!
You are the only person I have in the whole world.
You can’t fly away like this! Who will hug me now
when I’m lonely? How can I feel your fingers run
through my hair again?
The UNCLE holds the AUNT’S shoulders and whispers --
UNCLE
She didn’t want to put up with it anymore.
She pulled the tubes out. What do you expect…?
Five months on an IV and no hope.
The TEEN-AGE REMUS whirls around. The TEEN-AGE CHRISTOPHER calls –
TEEN-AGE CHRISTOPHER
Remus, where are you going?
The TEEN-AGE REMUS runs toward the door.
EXTERIOR. SOCCER FIELD. DAY.
The TEEN-AGE REMUS is sitting on the field, crying. He is wearing a baseball uniform and a cap. And he is putting a file of clothes in his knapsack. The TEEN-AGE CHRISTOPHER is sitting beside him. They are sobbing.
POV TEEN-AGE REMUS. The funeral party has filed toward the cemetery.
Back on the TEEN-AGE REMUS, he is giving his baseball cap and soccer ball to the TEEN-AGE CHRISTOPHER, who is crying.
TEEN-AGE CHRISTOPHER
Are you leaving me here, Remus?
You are the only cousin I have.
You are my only friend!
Please don’t leave me here!
TEEN-AGE REMUS
Don’t cry, Christopher. Someday I’ll be back.
Then I’ll be rich and I’ll come back
and take you out of this place.
SOUND OVER: Thump of the board. The TEEN-AGE REMUS is very terrified to see his FATHER, with a bottle of beer, standing, big and booming –
FATHER
Where do you think you are going,
you happy-go-lucky punk?
Running away again?
TEEN-AGE REMUS
Yes! I will do whatever I want!
Now, you got what you want.
You can smoke cigarettes and cocaine.
Drink beer and wine. Don’t take your
whores in the bushes anymore. You can
have all other members of your peers over.
You can…
The FATHER of the TEEN-AGE REMUS hits him on the head. Then the FATHER pushes him forcefully to the ground. The TEEN-AGE REMUS falls to the ground and splash of dirt from the dump settles on his face. His FATHER rests his arm heavily on the TEEN-AGE REMUS’S chest. Then the FATHER takes the gun on his waist and pokes it on the head of the TEEN-AGE REMUS and yells –
FATHER
I’ll kill you like a dog if you ever run away again.
A bullet is what you got running away. Now beat it,
freeloader! Good-for-nothing punk!
The FATHER vomits on the face of the TEEN-AGE REMUS. But the latter cannot wipe it for he is pinned. He wants to vomit too. And all he can do is cry.
INTERIOR. COURT ROOM. DAY.
The JUDGE is holding his gavel. The COURT CLERK is sitting. The JURY is watching with a scrutinizing look. The LEGAL COUNSEL#2 is sitting beside the TEEN-AGE REMUS, the TEEN-AGE CHRISTOPHER, the AUNT, and the UNCLE. While the LEGAL COUNSEL#1 stands beside a witness’ stand where the FATHER, who is holding a buck of money, is seated.
LEGAL COUNSEL#1
What can you say about your wife’s sister’s statement
that you are not a good father to your son?
That you are a drunkard? That you had left your wife
and your son? That you only came back when your wife
was already dead?
FATHER
It is true. I was a drunkard. I left my family.
I hadn’t been a good father to my only son
for I too came from a family of many brothers
and sisters from different fathers. My own father
too left me when I was only five years old.
The FATHER breaks into tears.
FATHER
I couldn’t understand well, at the time, the real meaning
of fatherly love. But I have changed now like a new leaf
of spring. I worked hard to earn this money to take my
son with me to Brazil. I love him! I want to take him with me!
Nothing happens to our lives here in Florida. So I am taking
him to my grandmother’s homeland with me. I am a citizen
of the United States of America too and I have the right
over my son!
The TEEN-AGE REMUS stands up and shouts –
TEEN-AGE REMUS
But I don’t want to go with you!
I don’t want to go to Brazil!
America is my home!
FATHER
But Brazil is your home too!
The JUDGE hammers his gavel down many times and shouts –
JUDGE
Order! Order! Order in the court!
CUT TO: Everybody in the courtroom is seated and has calmed down. The AUNT is embracing the fear-stricken TEEN-AGE REMUS. The TEEN-AGE CHRISTOPHER is watching sadly. She is caressing his hair. The FATHER is seated beside the LEGAL COUNSEL#1 in the adjacent table.
TEEN-AGE CHRISTOPHER
Are they taking Remus away from us, Mother?
AUNT
I don’t know, Christopher! I don’t know!
The AUNT breaks into sob and bursts in tears. The LEGAL COUNSEL#2 calms her down and whispers –
LEGAL COUNSEL #2
Don’t worry! We will win this case. I strongly believe it.
Remus’ father had admitted on the record that he had
abandoned his son and had beaten him. And legally,
he had essentially waived his parental rights. So he is
unfit to maintain custody over his son.
AUNT
I hope so, Attorney. I hope God has enlightened the Judge
and the Jury.
and the Jury.
The COURT CLERK hands a set of papers to the JUDGE. The JUDGE reads it silently. Then he faces everybody in the court.
JUDGE
While I sympathize with the guardian’s concern,
on the other hand I see that she, being only the
aunt of the kid and sister of the kid’s mother,
has lesser rights compared to that of the
kid’s father who does not denounces his
parental rights and is entitled to parental custody.
The AUNT is anguished. The TEEN-AGE REMUS is very much afraid. He embraces his AUNT tightly. While his FATHER smiles.
JUDGE
By the fact that the kid’s father is naturally a Brazilian
and that he insisted of going back to his native country,
denouncing his American citizenship, and that the kid’s
mother who was a natural-born American is already
dead by virtue of logic and legal reasoning, the kid, who
was actually born in Rio de Janeiro and was only
brought here in America when he was one year old,
now becomes a Brazilian and an alien to this country
by legal definition. By this fact, the immigration laws
prevented the guardian from keeping the kid from being
returned to his father, especially when the man wanted
to take him back to their native country.
The TEEN-AGE REMUS bursts into tears.
TEEN-AGE REMUS
No!
The JUDGE strikes the gavel at the sound block three times. The TEEN-AGE REMUS stands up, crying. He yells –
TEEN-AGE REMUS
What about my rights? Does a bad father have more rights
than a good kid? I know nothing about Brazil! I know nothing
about this man who came back and gave a whole sunshine story
of being a terrible father who turned over a new leaf and saved
his money so that we can go back to a foreign land I never know!
This state has done nothing to protect me! This American
government doesn’t want me anymore! Why?
What have I done wrong?
RETURN CUT: INTERIOR. REMUS’S CAR. DRIVER’S SEAT. NIGHT.
REMUS is driving. Rage and anger can be seen in his face. It is raining. The car’s wipers are wiping the front shield. Thunder rolls. Lightning flashes lighting the face of REMUS.
POV REMUS. The wrecked bicycle on the road.
Back on REMUS, he comes out from the car with his black umbrella and a gun on the other hand. He looks shockingly at the bicycle.
REMUS
No! He can’t be dead too!
INTERIOR. HOSPITAL. MORGUE. NIGHT.
The DOCTOR #2 is opening a corpse chamber. Whitish frozen air evaporates from the corpse and from the chamber. REMUS and MILDRED are standing beside the DOCTOR #2.
DOCTOR #2
This is the last kid that we have here, Sir. Is he the one?
REMUS
No. But where is his body?
MILDRED is looking at REMUS nervously and is in tears. The DOCTOR #2 closes back the chamber.
DOCTOR #2
I am afraid that his body is already cremated or perhaps
it is donated to some medical laboratories. That happens
naturally to corpses that have no claimants or perhaps
there are claimants but can’t afford to pay the hospitalization
bills.
REMUS
If that is the case then it is beyond our control. Thank you, Doctor!
When REMUS and MILDRED are about to leave the DOCTOR #2 calls –
DOCTOR #2
Sir, wait!
REMUS stops and faces DOCTOR #2.
DOCTOR #2
Sir, I forgot to tell you that your family doctor
who happens to be my friend too had asked me
to extend to you his apology.
REMUS
For what?
MILDRED looks puzzled as she listens to the conversation.
DOCTOR #2
He said he had handed you unintentionally a wrong result
of your potency test. He had longed wanted to tell it to you
personally but he had forgotten it for he was very busy
and had gone out of the country. He is now living in
America. He said you are not impotent. He wished that you
would be happy to hear it.
REMUS is very shocked. He is stunned. He wants to speak out but no voice comes out from his mouth. A tear begins to fall from one of his eyes.
ACT IV
EXTERIOR. CITY SIDEWALK. DAY.
JACK is sitting on a round stool in front of a small round table. He is wearing a costume like that of the Celtic Merlin, in blue garment and in blue wizard hat with silver lame stars and crescent moons. He is wearing an artificial long white beard and wig. He lays the Tarot cards on the table. The STREET KIDS are wearing Celtic costumes too. And ANDRÉ is wearing a costume like King Arthur and he is holding a toy sword. They are all standing behind and beside JACK.
ANDRÉ
Why are we wearing costumes like these, Jack?
Are we going to a play?
Are we going to a play?
JACK
Be quiet! Someone is approaching.
JOY approaches. JACK and ANDRÉ look at each other nervously. Quickly, ANDRÉ hides under the table. JACK puts on white contact lens on his eyes. JOY sits on the CLIENT’S stool.
JOY
Are you the one they called the reborned Merlin, the Seer?
JACK is very startled that his voice cracks, saying –
JACK
Yes!
The STREET KIDS chuckle. Then JACK modulates his voice to make it sounds bigger and older.
JACK
Yes. What can I do for you, Joy?
JOY
You know me?
CUT TO: POV ANDRÉ. The white panty between the open legs of JOY under a mini-skirt.
Back on ANDRÉ, he is very nervous.
ANDRÉ
Oops!
CUT TO: JACK is taking the Tarot cards on the table.
JACK
Yes, of course! I know you, my child. I am a seer.
What can I do for you?
JOY
I want to know my future. I want to know if
I will be a lonely old maid or a happy married woman.
I also want to know the whereabouts of the son of
Madam Mariana and the lost orphan André.
Don Miguel is very much worried about that boy
that we have admitted him in a hospital.
JACK secretly smiles.
JACK
But I am blind. Can’t you see my child?
I cannot see beyond the future if you will
not give me first gold and silver coins.
JOY takes coins in her purse and puts it on the table. SOUND OVER: Tinkling of coins.
JACK
Shuffle the cards. Cut them into three decks.
CUT TO: JACK acts as if in a trance holding the deck of cards. Then he put a “queen of hearts” on the table, then a “jack of hearts”, then an “ace of diamonds”.
JACK
You will be married happily my child.
You will be married to a Jack of Hearts.
This Jack is a thief that will steal your heart.
He is rich in diamonds.
JOY
Wow! Thank God! I will be married to a rich man.
At last! I will no longer work as a maid. I will be
the queen of the house.
JACK
Yes, of a royal house!
CUT TO: ANDRÉ chuckles. JACK kicks him.
CUT TO: JACK opens and puts other cards on the table, the “Priest”, the “Sun”, and the “Emperor”. Then three Kings of swords, of clubs, and of hearts; two Queens of clubs and of swords; then an Ace, King, Queen, Jack, and 10 of diamonds; then three 8 of swords, clubs, and diamonds. Then a Jack of club.
JACK
It is a full house, royal flashes, and a trio.
This Jack is a gambler in a casino –
a great poker card player.
JOY
I think I know this Jack! He stole the baby boy of Mariana!
I knew it. He had left too many poker playing cards
at that crime scene. He left all the arcanes and the numbers.
Except the Ace of Spades!
CUT TO: ANDRÉ is stunned and perflexed. He whispers to himself –
ANDRÉ
Mine was an Ace of Spades.
CUT TO: JOY angrily stands up.
JOY
I can’t believe it! I hate that Jack! I don’t want to marry him!
POV JACK. JOY leaves. She crosses the street. She does not notice that a fast-riding car is approaching towards her.
STREET KIDS
Watch out!
Back on JACK, he rushes towards JOY and pulls her. JOY, pulling off JACK’S beard, falls on the ground with JACK on top of her. JACK’S wig and his wizard hat are thrown away by the sudden fall.
POV JOY. The face of JACK but with the eye contact lens.
POV JACK. The startled face of JOY.
Back on JACK, he smacks a big kiss on JOY in the lips.
CUT TO: The TRAFFIC ENFORCER blows his whistle. JACK, pulling ANDRÉ, and the STREET KIDS run away leaving the startled JOY. JOY is talking to herself.
JOY
I knew it. He is Jack. Oh! I think I love you Jack!
Oh, I love that stolen kiss!
INTERIOR. HOSPITAL. SECOND FLOOR. CORRIDOR. DAY.
At the right, there are too many plants put in pots. It is a bright and hot day. But far in the horizon are thundering dark clouds mixed with flashes of lightning. At the left, the glass wall of the upper part of the Intensive Care Unit. MILDRED and JACK are there in the corridor. MILDRED is crying.
POV JACK. Top view of the Intensive Care Unit. Below, through the glass wall, the unconscious OSCAR lies in bed. There are too many apparatuses attached to his head and body.
Back on JACK, he is holding the fence of the corridor. He is looking at the dark clouds.
JACK
Where shall we get that big amount of money
for his operations? You cannot go to Remus
or to Don Miguel. If you do that, they will
know that Oscar is still alive. But if we cannot
get that money, he might die. I don’t want
that to happen. I love him very much. When
shall he be awaken from that coma?
MILDRED
I want to tell Remus that our son is still alive. But I am afraid.
What if he is not convinced that Oscar is our son…
that he believes more that he is the son of Christopher.
But I am very sure that he is the son of Remus for nothing
really happened between me and Christopher. He was very
drunk when we slept together. I just invented that lie that he
touched me. I need someone at that time to stand as the father
of the child in my womb. Remus never wanted to marry me.
He’s only for pleasure. I’d been a fool.
MILDRED breaks into sobs.
JACK
Nobody is perfect. Everybody commits mistakes and stumbles.
The most important is we learn from those mistakes
and we know how to stand from the fall.
MILDRED
You must go to the Druidic College in Niteroi.
They can raise funds for Oscar. Don’t worry
about the kids. I will look for them from a distance.
EXTERIOR. NITEROÍ. DRUIDIC COLLEGE. PLAZA. DAY.
JACK is walking along with some DRUIDS in black tunics. There are too many STUDENTS in the background, some are sitting on the grass studying, talking, and laughing; others are walking to and fro the school building.
DRUID #2
We will do all we can. We will help. We will pray
for his fast recovery. Tell Mildred not to worry
too much for the money. But I know you’re good
in poker and jogo do bicho. I know some bicheiro
at Rio de Janeiro who needs a bookie. You’re good
at it. Why not apply? It means a lot of money.
EXTERIOR. RIO DE JANEIRO. SIDEWALK. DAY.
JACK sits on a folding chair behind a folding table on the sidewalks. He is wearing a Santa-Claus-like suit with a fringe of gray wig encircling his sun-reddened dome but without a beard, with white clogs, red shorts, a shirt open over a matted chest, and a crucifix on a ropelike gold necklace hanging to his gut. Standing beside the brick wall behind JACK are two masked BLACK NINJAS, swords in combat position. Between the BLACK NINJAS is a door but also made of bricks to make it undetected CLIENTS enter and surround JACK.
CLIENT #1
I dreamed of a brown boy riding on an elephant.
He was playing his flute.
JACK
Did you hear him sing?
CLIENT #1 is thinking in the middle of the clamours of the other CLIENTS.
CLIENT #1
Did you mean the boy? I didn’t hear him sing.
He’s only playing the flute.
JACK
No. I mean the elephant. Did you hear the elephant sing out loud?
CLIENT #1 is scratching his head.
JACK
Did you hear him whistle?
CLIENT #1
Did you mean the elephant?
JACK smiles.
JACK
No. The boy.
CLIENT #1
Yes!
JACK laughs.
JACK
Then he is a singer.
CLIENT #1
You mean, the boy?
JACK looks at the CLIENT #1 seriously.
JACK
No. The elephant.
Everybody laughs.
JACK
You must bet on the rooster. But if you really like to be sure,
you must also bet on the elephant. Or you better bet the reverse
of the elephant, which is the dog. How much will you bet?
The lowest bet costs one real.
CLIENT #1
I will bet a hundred for each of the animals.
I mean the rooster, the elephant, and the dog.
CLIENT #1 handles JACK paper money bills. JACK takes a paper betting slips from his wooden box on the folding table and gives it to CLIENT #1. Then CLIENT #1 goes towards the door. The BLACK NINJAS open the door. CLIENT #1 enters.
CUT TO: CLIENTS pull betting slips from the wooden box on JACK’S folding table: laborers with name tags pinned to factory overalls, young men in the Brazilian street-corner uniform of bare torso, shorts and flip-flops, an elderly lady who counts coins with frayed fingers.
CUT TO: A black Mercedes Benz is parked. BLACK NINJA #1 opens the back door. A JAPANESE BICHEIRO in white designer suit steps down and approaches JACK.
JAPANESE BICHEIRO
How is it going, Jack?
JACK
We have a big sale, Boss. I have here $20,000 just a half day.
There are too many clients.
The JAPANESE BICHEIRO lights his cigarette pipe. Then he blows out smokes. And then, he counts the money.
JAPANESE BICHEIRO
Good. But be sure that you don’t give the right dream interpretation
on clients who bet big. Here is your 10% share of the sales. That is
a big money for your sick kid. Just stay loyal to me, and you will
stay in this poor man’s game.
EXTERIOR. TOP OF A HILL DAY.
A helicopter is approaching. SOUND OVER: Whirling of the helicopter’s rotors. A white van is waiting nearby. ARMED MEN surround the said van. The helicopter landed. The JAPANESE BICHEIRO, in white designer suit, steps down. A number of ARMED MEN step down too. LIZA, together with another ORPHANS, a teen-age boy (ENRIQUE) and girl (GWYN), is forced to step down from the helicopter.
CUT TO: REMUS steps out from the front door of the white van. He shakes hand with the JAPANESE BICHEIRO.
REMUS
How is business going on in Rio de Janeiro?
JAPANESE BICHEIRO
It is doing fine. I know a new good bookie.
His name is Jack. He works very well for the
hospitalization of his kid.
REMUS is surprised. The JAPANESE BICHEIRO is startled.
JAPANESE BICHEIRO
Do you know this Jack?
REMUS
I know one with that name. But I think he is not the one.
The one I know is living in the streets in the city of Sao Paolo
and not in Rio.
The JAPANESE BICHEIRO smokes on his cigarette pipe. Then he blows circles of smokes.
JAPANESE BICHEIRO
The “Father” needs the other stuffs as soon as possible.
CUT TO: ARMED MAN #1 opens the back door of the van. LIZA and GWYN step up into the van. But ENRIQUE runs away. REMUS shoots ENRIQUE. ENRIQUE falls dead. LIZA and GWYN scream –
LIZA & GWYN
Enrique!
LIZA and GWYN cry and wail. GWYN is hysterical.
GWYN
Liza, they killed Enrique! They killed Enrique! They killed Enrique!
LIZA
Gwyn… calm down! Stop it before they kill us! Please, calm down!
When GWYN doesn’t stop, LIZA slaps her face. GWYN stops shouting and screaming but she bursts into sobs and hugs LIZA. LIZA looks at REMUS askingly.
REMUS
I did it for mercy! It’s better for him to rest in peace
than to live in a crueler world.
INTERIOR. VAN. BACK SEAT. NIGHT.
There are a lot of opened cardboard boxes containing stuffed cocaine in little plastic bags. REMUS is handling some of them to LIZA and GWYN.
REMUS
Swallow them!
LIZA is trembling. GWYN is forced by an ARMED MAN to swallow the little plastic bags.
GWYN
No! I cannot do it anymore! I can’t do this anymore!
Liza, please help me! I just can’t do this anymore!
LIZA is looking at GWYN. She is sobbing as she is swallowing the little plastic bags.
EXTERIOR. STREET. NIGHT.
The white van is parked in a secluded area of the street in a dark corner. The back door opens. LIZA and GWYN step down. REMUS, on the phone, can be seen inside the van.
REMUS
Hello! Yes, this is the “Elephant”. The drug mules are here ready to be picked up. Okay, we will go and leave them here! Don’t be late!
REMUS looks at LIZA and GWYN.
REMUS
Wait here! Don’t make any foolishness or else you die!
The back door of the van is closed. The van runs. LIZA and GWYN are left. They stand under the light post. GWYN feels dizzy, walks groggy in circle, and then she leans on the firewall.
GWYN
Liza, help me! I am dizzy! I’m sick! Help me!
GWYN is very pale and is sweating hard. LIZA is very frightened.
LIZA
What happens?
GWYN
I can’t breath.
GWYN vomits. LIZA holds GWYN tight as the latter vomits. GWYN collapses on the sidewalk, unconscious.
LIZA
Gwyn… Gwyn!
A black van pulls over. The back door opens. ARMED MEN in detective agent suits step down followed by the JAPANESE BICHEIRO, in designer suit, who is smoking on a cigarette pipe. They pull LIZA into the van. LIZA shouts –
LIZA
Gwyn! Gwyn…!
JAPANESE BICHEIRO
Leave her there!
LIZA in tears burst into sobs. The back door of the van closes.
CUT TO: SISTER BIANCA and MARIANA, still in a nun suit, suddenly halt in the far side of the street.
LIZA
(Voice-over)
Gwyn! Gwyn! Gwyn!
MARIANA
What’s that scream? Don’t you hear that scream?
CUT TO: SISTER BIANCA and MARIANA attend the unconscious GWYN, whose mouth is bubbling.
SISTER BIANCA
I think she is poisoned!
MARIANA
We must take her to the hospital!
POV MARIANA. ANDRÉ and some STREET KIDS are scavenging foods and some things in the garbage cans not very far. They have a wooden cart.
Back on MARIANA, she stands up and calls –
MARIANA
André! André! André!
POV ANDRÉ. The angelic face of MARIANA.
Back on ANDRÉ, he smiles in excitement.
CUT TO: ANDRÉ, some STREET KIDS, MARIANA, and SISTER BIANCA are pushing hardly the wooden cart, where the unconscious GWYN is layed down beside the recyclable garbage materials. They are all in panicky.
ANDRÉ
Push hard! Push hard! We must hurry to the hospital!
Gwyn must not die!
SHOT: EXTERIOR. RIO DE JANEIRO. AERIAL VIEW. DAY.
The helicopter flies over the sky overlooking the magnificent waterfalls, the rivers, the seas, the bridge, and the city.
CUT TO: EXTERIOR. AERIAL VIEW. BILLIONAIRE’S HOME. DAY.
It is like a Larry Ellison’s Home. At the center of a massive 23-acre property stands a majestic mansion, a Japanese imperial-style palace. At the right of it stands a teahouse. At the backyard there is a swimming pool shaped like a needle-like-shaped door of a mosque and a Japanese style gardens. Near the swimming pool stands a dome. And far right is a small airport for the helicopter. SOUND OVER: Whirling of helicopter’s rotors.
CUT TO: EXTERIOR. BILLIONAIRE’S HOME. MINI-AIRPORT. DAY.
A lot of ARMED MEN are all around the place. The helicopter alights. The JAPANESE BICHEIRO steps down. LIZA, assisted by some ARMED MEN, also steps down.
INTERIOR. HELICOPTER. COCKPIT. DAY.
ON FOCUS, CHRISTOPHER is on the cockpit. He is wearing dark shades, a pilot’s headphone, and a pilot’s uniform.
POV CHRISTOPHER. Down on the floor, lie the TWO DEAD MEN, naked and covered with blood. On the co-pilot’s seat, EVANDRO is seated.
FLASHBACK CUT: EXTERIOR. MOUNTAIN TOP. DAY.
The helicopter is still there. The black van is approaching from the trancentral highway. CHRISTOPHER and EVANDRO are running towards the helicopter, behind. They get into the helicopter very fast but very careful.
INTERIOR. HELICOPTER. PASSENGER AREA. DAY.
CHRISTOPHER and EVANDRO enter the door and get inside. SOUND OVER: Rock music.
CUT TO: INTERIOR. HELICOPTER. COCKIT. DAY.
The PILOT and the CO-PILOT are having a pot session. They are sniffing on crack. Then the PILOT stops.
PILOT
Wait.
The PILOT stands up and goes towards the door. He opens the door blinds. He is shocked.
POV PILOT. EVANDRO is poking a gun with a silencer at him.
EVANDRO
Don’t move!
The PILOT kicks out EVANDRO’S GUN. Then the PILOT gives another flying kick on EVANDRO. As EVANDRO is falling, the PILOT takes his gun and cocks it, aiming it at EVANDRO. CHRISTOPHER, with a gun also with a silencer, shoots the PILOT. The CO-PILOT, with his gun, shoots CHRISTOPHER many times. But CHRISTOPHER tumbles and rolls behind the seats and walls. EVANDRO gets his gun and shoots the CO-PILOT.
CUT TO: CHRISTOPHER, on the pilot’s seat, is wearing a pilot’s uniform. EVANDRO in a co-pilot’s uniform is seated beside CHRISTOPHER. While the JAPANESE BICHEIRO, his ARMED MEN, and LIZA are already seated on the passengers’ seats. SOUND OVER: Whirling of helicopter’s rotors.
CUT TO: The helicopter flies from the mountaintop to the air.
RETURN CUT: INTERIOR. HELICOPTER. COCKPIT. DAY.
CHRISTOPHER, half-naked, is wearing a bulletproof vest. EVANDRO, on a bulletproof vest, puts a gun on his chest gun pocket. JACK hurriedly enters with a shout --
JACK
We must hurry!
JACK slips and falls on the floor near the DEAD BODIES. JACK screams. CHRISTOPHER puts a saucer on JACK’S mouth.
CUT TO: EVANDRO is handling JACK a bulletproof vest.
EVANDRO
At any minute now, the people from the
Drug Enforcement Administration will arrive.
JACK looks very worried.
JACK
But this drug dealer is only the one they called the “Tiger”.
Remus is the “Elephant”. But there are other 23 of them.
This drug syndicate is like the animal lottery, “jogo do bicho”,
which is more like of a number game. It has 25 animals…
meaning there are 25 drug kingpins. And there is the one
they called the “Father”. If we make the wrong move,
we can be checked mate.
CHRISTOPHER
Nobody knows who is the “Father”. We never saw his face.
When he talked to us he was always a silhouette behind the
curtains. He was more like of a Chinese Emperor. He is
well protected by the Police and some high-ranking
government officials.
EVANDRO hands a gun to JACK.
EVANDRO
You must stay at the gate, Jack. You must protect your cover.
It will be too risky for us if you will be caught too. We will
be totally paralyzed. Go back in there. That is an order!
JACK
Sir, yes, Sir!
JACK salutes like a neophyte cub scout. Then he makes a pivot turn and marches, going outside.
INTERIOR. MANSION. DINING ROOM. NIGHT.
A lot of fibrous foods are served on the table including fruits and peanuts. A MAID, in a diabolical look, pours syrup on a soup and stirs it with a ladle. The MAID takes the bowl of soup from the food-tray and serves it to LIZA who is eating very fast. The JAPANESE is standing nearby watching her. The room is well guarded by ARMED MEN.
JAPANESE BICHEIRO
Just take it easy. You don’t have to be fast.
Just eat all you can. But you must have a big
appetite for we need that tonight.
ON FOCUS: LIZA suddenly stops eating. She is perspiring. She looks pale and perplexed. She stands up and runs towards the comfort room.
CUT TO: LIZA opens the door of the comfort room.
CUT TO: INSIDE THE COMFORT ROOM. LIZA is moaning in agony, holding her breath, while sitting on the john. Then she breaks into sobs.
INTERIOR. HOSPITAL. EMERGENCY ROOM. NIGHT.
GWYN is lying unconscious. DOCTORS and NURSES in their green lab gowns surround her. MARIANA, in green lab gown too is there. Too many apparatuses are attached to GWYN. Then the DOCTORS and NURSES stop. DOCTOR #3 comes near to MARIANA while the rest leave the room.
DOCTOR #3
She is a hopeless case, Sister. At any minute, she can die.
Too many drugs busted inside her. The poison is all over her.
Only a miracle can now save her. We’re sorry! We had
already done everything we could.
DOCTOR #3 leaves the room.
INTERIOR. HOSPITAL. EMERGENCY ROOM’S DOORWAY. NIGHT.
ANDRÉ, the STREET KIDS, and SISTER BIANCA are standing worriedly on the doorway. The door opens. DOCTOR #3 comes out. ANDRÉ runs toward DOCTOR #3 and grabs his hand.
ANDRÉ
Doctor! How is Gwyn? Is she alright?
DOCTOR #3 shakes his head. Then he leaves. ANDRÉ pushes the door and hurriedly runs inside.
INTERIOR. HOSPITAL. EMERGENCY ROOM. NIGHT.
ANDRÉ enters. He runs towards GWYN. MARIANA is attending beside GWYN. ANDRÉ is shouting –
ANDRÉ
Gwyn! Gwyn! Is she dead, Sister? No! Tell me no!
GWYN slowly opens her eyes. She whispers –
GWYN
André… is that you? Are you alive? Or am I dead?
POV GWYN. MARIANA in the green lab gown is holding her hand. And ANDRÉ who is standing beside MARIANA is crying.
Back on GWYN, she is coughing. She looks a little frightened.
GWYN
Who are you? Are you a new chemist?
Am I in the cocaine laboratory?
Am I in the cocaine laboratory?
MARIANA
Don’t be afraid, my child.
You are not in the cocaine laboratory.
You are here in the hospital. You are safe.
I am your friend. I am Sister Lara.
Tears begin to fall from MARIANA’S eyes.
GWYN
Why are you crying? Am I going to die? Please don’t cry!
I am not afraid. Really I’m not. André, promise me you
will find Liz. She needs help. Sister, can I ask you a favor?
Please hold my hand until I die! I missed my mother a lot.
Even if she didn’t love me even if she had left me in the
streets until the drug syndicate took me.
MARIANA
Perhaps your mother really didn’t leave you.
Perhaps you were lost. No mother is that cruel
to left her child in the streets. Perhaps she is
suffering until now for losing you. And she is
searching for you until now.
GWYN coughs.
ANDRÉ
I wish my mother too were searching for me until now, Sister.
MARIANA
She is. I am very sure of that André.
GWYN moans. She looks very pale now.
GWYN
Sister, does God accept drug addicts in heaven?
Will I find someone to love me in there?
Am I going to heaven?
MARIANA
Yes, you are going to heaven. God’s love and forgiveness
is limitless.When you leave this world you must leave all
your pains and sufferings behind. God is waiting for you
out there to embrace you and give you the unconditional
love your parents failed to give you here.
is limitless.When you leave this world you must leave all
your pains and sufferings behind. God is waiting for you
out there to embrace you and give you the unconditional
love your parents failed to give you here.
GWYN smiles.
GWYN
André… Sister… They are here.
The angels are here to take me to heaven.
They are singing. Don’t you hear them?
Their beautiful voices? They said heaven
is a very wonderful place where I will never
feel loneliness and sadness.
André, I am going with them.
ANDRÉ
No! Don’t leave me here! Tell them I will go with you!
GWYN smiles again. GWYN falls dead. ANDRÉ wails. The STREET KIDS enter from the door. They embrace GWYN and they are all crying. SISTER BIANCA enters too. She hugs MARIANA who breaks into sobs.
INTERIOR. HOSPITAL. EMERGENCY ROOM. DOORWAY. DAY.
MARIANA closes the door and leans on the closed door. She bursts into tears. MILDRED is approaching and is surprised in seeing her.
MILDRED
Mariana?
MARIANA looks at MILDRED in surprise.
MARIANA
No-no… you’re mistaken. I’m not her. I’m Sister Lara.
MILDRED
You don’t have to lie to me, Mariana. I know everything.
I’m with the DEA like Jack. I knew that you were alive
but I didn’t expect that you’d become a Catholic nun.
You’re our High Priestess. You had the original necklace
of Cerridwen for being her representative here on earth.
Mine is only a copy of it. How could you do this to us?
CUT TO: INTERIOR. HOSPITAL. SECOND FLOOR. CORRIDOR. NIGHT.
The FULL MOON is rising in the east. The clouds roll down. Holding on the corridor fences, MARIANA and MILDRED are watching on the FULL MOON.
MARIANA
I am still a Druid by heart. I still believe in that mysticism
that God is everywhere, and that All Gods are One.
God has no religion. For God’s kingdom is not found
anywhere but in our hearts when we let God reign over us.
But I’m sorry Mildred. I cannot live as a practicing Druid
anymore. I have to live my life. Find the pieces of myself
and begin a new life. I have to start it by finding my son.
They said that he was dead. But there is no record of his
death… no burial site… no bones or ashes…
I do really believe that he is still alive.
MILDRED
I know how you feel. I’m a mother too.
I’m suffering right now watching my son dying.
POV MILDRED. OSCAR is still sleeping and still on a coma underneath the crystal-clear glasses of the Intensive Care Unit (ICU) room.
Back on MILDRED, she is crying.
MILDRED
I feel so helpless!
MARIANA
Is he your son with Christopher?
MILDRED is stunned.
MARIANA
Remus told me that one time when we had a quarrel
over Christopher.
over Christopher.
MILDRED
Nothing really happened with Christopher and I.
Oscar is my son with Remus.
MARIANA is surprised. She goes nearer to the glass wall and tries to watch OSCAR more closely.
MARIANA
He looks like the Oscar I know… the son of Jack.
But it can’t be. It’s very impossible! Oscar is dead.
MILDRED
He is alive! My son Oscar and the son of Jack are one
and the same person. Jack adopted him after I had lost
him in the fire, the day you were supposedly died. We
have to lie for him to live. He could be a target of the Triad.
We had to lie even to Liza, André, and the rest of the kids
to make it really more realistic and believable. But I’m
afraid… We don’t have enough money to pay for the
bills and the surgical operations. I could not ask for Remus’s
help and I could not withdraw money from the banks without
Remus’s knowledge. He and the Triad will suspect me
of something.
of something.
MARIANA hugs MILDRED. And they hold hands.
MARIANA
Don’t worry! God will help us! I will do my best to help Oscar.
I can ask help from the different congregations of nuns.
We can raise funds for him. Trust God! Have faith!
POV MILDRED. ANDRÉ is in tears and trembling. He is standing near the glass wall. He is angry.
Back on MILDRED, she is very surprised.
ANDRÉ
You lied to me! You told me he was dead!
Why you hurt me this way, Miss Mildred? Why?
MILDRED cannot utter a word. ANDRÉ turns on the glass wall leaning his hands on it and hysterically calls –
ANDRÉ
Oscar! Oscar! Oscar…!
ANDRÉ runs away. MILDRED calls –
MILDRED
André! André…!
MILDRED sobs. MARIANA taps MILDRED’S shoulders.
CUT TO: MILDRED and MARIANA are watching the hospital front yard below.
POV MILDRED & MARIANA. REMUS’S CAR approaches and parks. REMUS goes out from the car. He looks up.
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