Back on MILDRED and MARIANA, they immediately turn away. They are watching each other.
MILDRED
He must not see us here! Go find André!
Take him away from here! Remus must
continue on believing that he is dead.
MARIANA
What about you?
MILDRED pulls MARIANA and they lean on the glass wall.
MILDRED
I must hide my son.
MARIANA
But what is Remus doing here? Oh, my God!
I think he is here for that unfortunate girl
named Gwyn. He will see the street kids.
I must warn the kids.
MILDRED looks at MARIANA questioningly.
MILDRED
Gwyn… Did you say Gwyn? Why? What happened to Gwyn?
MARIANA
She was overdosed. She is dead.
MILDRED is suddenly stunned. Then she bursts in tears.
MILDRED
No! She’s a very sweet kid. What about Liza?
Is she safe? Oh, God! I must hide my son!
He can be the next target.
Or maybe my son and André…!
CUT TO: MARIANA and MILDRED run towards the elevator.
CUT TO: MILDRED is pushing the button of the elevator on and on. MARIANA is watching behind.
CUT TO: MARIANA and MILDRED run downstairs.
CUT TO: MILDRED opens the door on the right below the staircase while MARIANA runs to the corridor on the left direction.
INTERIOR. HOSPITAL. INTENSIVE CARE UNIT. NIGHT.
ANDRÉ enters from the door. Sadness and joy is seen in his face.
POV ANDRÉ. OSCAR is wired with many apparatuses. He has an oxygen mask on his mouth and nostrils. Dextrose is attached on his arm. Green curved lines are running on the TV monitors.
Back on ANDRÉ, he embraces OSCAR tightly, joyfully, and in tears.
ANDRÉ
Oscar!
SOUND OVER: Barking of a dog.
POV ANDRÉ. A LABRADOR is barking at the door. Then the dog runs towards ANDRÉ.
Back on ANDRÉ, he is terrified. But the dog stands at the bedside. It scratches its paw on OSCAR’S chest. Then the dog licks OSCAR’S cheek. OSCAR moans and he slowly opens his eyes.
POV OSCAR. ANDRÉ, in tears, is smiling. Beside him is the LABRADOR.
Back on OSCAR, he takes away the mask.
OSCAR
André…!
OSCAR embraces ANDRÉ.
OSCAR
What is this place? What am I doing here? Oh, Annwyn!
You’re here.
You’re here.
ANDRÉ
Is this your dog?
OSCAR is hugging the dog. While the dog continues on licking him.
OSCAR
I found him in the woods near the orphanage.
He had this dog tag with the name Annwyn.
So I called him Annwyn.
ANDRÉ is taking away the wires tapped on OSCAR’S body.
MILDRED enters the door. She is surprised. She runs towards OSCAR, on the other side of the bed, and hugs him.
MILDRED
Oscar, my son! You are awake! Thank God for this miracle!
OSCAR
Hey! Don’t touch me! What are you doing Miss Mildred?
Are you crazy? I’m not your son! Get off!
OSCAR pushes MILDRED away. He takes off the rest of the tapped wires on his head and body. He goes down from the bed, groggily. ANDRÉ assists OSCAR.
ANDRÉ
Where are we going?
OSCAR
Anywhere away from here! We must escape before they kill us!
OSCAR and ANDRÉ run towards the door. MILDRED runs after them but the LABRADOR stops, faces MILDRED, and barks hard. MILDRED stops and cries-out loud –
MILDRED
Oscar! I am your mother! Oh, God! Please, protect my son!
SHOT. INTERIOR. HOSPITAL. CORRIDOR. NIGHT.
REMUS walks fast towards the Emergency Room.
CUT TO: INTERIOR. HOSPITAL. EMERGENCY ROOM’S DOORWAY. NIGHT.
REMUS turns the doorknob and opens the door.
POV REMUS. There is no one inside the Emergency Room except DOCTOR #3. DOCTOR #3 approaches him.
DOCTOR #3
Anything I can do for you, Sir?
REMUS
I am looking for the teen-age Gwyn.
She is a run-away orphan from our orphanage.
She stowed away about three months ago.
Somebody called to inform me that she had
been found and that she was here.
DOCTOR #3 goes out from the Emergency Room. He closes the door.
DOCTOR #3
I’m sorry Sir. But you’re late. The kid was dead.
She had been taken into the morgue.
CUT TO: REMUS walks away. Behind, the door slowly opens. MARIANA’S head comes out from the door, followed by SISTER BIANCA’S, then of the STREET KIDS’S. The door suddenly opens wide and the STREET KIDS fall on the floor.
SISTER BIANCA
What are you doing? Stand up!
MARIANA
We must hurry! He must not see us here! C’mon!
We must find André!
We must find André!
MARIANA, SISTER BIANCA, and the STREET KIDS run to the opposite direction.
INTERIOR. HOSPITAL. MORGUE. NIGHT.
REMUS stands beside the DOCTOR #2. DOCTOR #2 opens the corpse’s chamber. GWYN’S CORPSE is there.
EXTERIOR. HOSPITAL. PARKING AREA. NIGHT.
REMUS is about to enter his car. SOUND OVER: Barking of a dog.
POV REMUS. ANDRÉ and OSCAR, running, followed by the LABRADOR get out from the hospital. OSCAR, assisted by ANDRÉ, is in pain. OSCAR stops running and looks up.
POV OSCAR. REMUS is very surprised. He gets his gun.
Back on OSCAR, he is very afraid.
OSCAR
André…! Look over there!
ANDRÉ
Oh, no! We must hurry! He will kill us both!
OSCAR and ANDRÉ are about to run back inside the hospital when REMUS shouts and calls –
REMUS
Stop! Or your dead meat!
OSCAR and ANDRÉ face REMUS back. But this time, ANDRÉ is holding a gun. ANDRÉ shoots REMUS. REMUS’S gun is hit that it is hurled away on the alarm’s switch, on the post nearby, causing to activate the alarm. SOUND OVER: Loud rings of the alarm. ANDRÉ immediately hides his gun. SECURITY GUARDS come out from the hospital running. REMUS enters his car fastly, closes the door, and drives away. SECURITY GUARDS fire a number of salvos. ANDRÉ hugs OSCAR tightly; fear can be seen in both of them.
EXTERIOR. BILLIONAIRE’S HOME. BACKYARD GARDEN. NIGHT.
A frenzy of lights flicker. Gunshots and running footfalls can be heard. BLACK NINJAS, with their swords, are fighting with the DEA AGENTS. Some DEA AGENTS, with their guns, fire at the BLACK NINJAS but the latter are very swift in jumping. And while they are in the air, the BLACK NINJAS fire deadly asterisks on some DEA AGENTS. JACK is running towards the swimming pool when BLACK NINJA #1 hurls an asterisk at DEA AGENT #1. DEA AGENT #1 evades from the flying asterisk and instead it hits JACK on his butt. JACK cries out loud. JACK is jumping and jumping towards the teahouse with the asterisk pinned between his butts.
CUT TO: INTERIOR. TEAHOUSE. NIGHT.
JACK is crying like a growling lion while pulling the asterisk from his butts. SOUND OVER: Whirling of the helicopter’s propellers. JACK looks up.
POV JACK. The JAPANESE BICHEIRO’S HELICOPTER is flying away with the FULL MOON on the background. The JAPANESE BICHEIRO can be seen inside the helicopter.
Back on JACK, he goes hurriedly towards the door.
CUT TO: EXTERIOR. TEAHOUSE. NIGHT.
JACK comes out from the door. He is looking at the helicopter.
JACK
Hey, wait! Don’t leave me here! Help!
CUT TO: INTERIOR. HELICOPTER. NIGHT.
The JAPANESE BICHEIRO is looking down at JACK. Then he looks at the ARMED MEN and shouts –
JAPANESE BICHEIRO
Throw down the rope ladder!
The ARMED MEN immediately throw down the rope ladder. They signal JACK to grab the rope ladder.
CUT TO: EXTERIOR. HELICOPTER. NIGHT.
JACK hangs on the bottom edge of the rope ladder. He looks down.
POV JACK. The aerial view of the billionaire’s home.
Back on JACK, he is screaming. The ARMED MEN signal JACK to climb up but instead he hugs the ropes tightly.
INTERCUT: REMUS, on his celfone, while on the driver’s seat of his car is driving the wheel with one hand. Inside the helicopter the JAPANESE BICHEIRO, on his cellular phone, is shouting –
JAPANESE BICHEIRO
I don’t know! Somebody has blown out our plans!
I would kill that traitor if I know who he is! What?
Yes! He is hanging on the ropes right now.
REMUS
Kill him! He is the Rooster! He is the cocking traitor!
CUT TO: EXTERIOR. HELICOPTER. NIGHT.
The ARMED MEN, on the doorway, are shooting at JACK, who is still holding the bottom edge of the rope ladder, with their guns. JACK is swaying the ropes to avoid the raging bullets. The JAPANESE BICHEIRO looks down at JACK angrily and shouts at the ARMED MEN –
JAPANESE BICHEIRO
Cut the ropes!
ARMED MAN #2 is holding an axe and is about to axe the ropes. He is smiling devilishly. JACK panickly shouts –
JACK
No! Somebody help me here!
JACK screams.
INTERIOR. MANSION. DINING ROOM. NIGHT.
The lights are off. Only the dim light of the FULL MOON coming from the windows lights the room. LIZA is sitting, hiding under the dining table, and covering her ears. EVANDRO is shooting at the BLACK NINJAS hiding behind the white curtains. Blood gushes from the curtain every time EVANDRO hits a BLACK NINJA who falls after the shot. CHRISTOPHER is fighting some of the BLACK NINJAS using his skills in martial arts. When all the BLACK NINJAS are down, CHRISTOPHER grabs the hand of LIZA. LIZA screams loudly.
CHRISTOPHER
Do not be afraid! We are here to rescue you.
LIZA hugs CHRISTOPHER and bursts into sobs. EVANDRO turns the doorknob of the door near the dining room. It is locked. EVANDRO kicks the door hardly and forcefully. The door opens wide. SOUND OVER: Screaming of children.
POV EVANDRO. Little, frail, and pale ORPHANS are embracing each other inside that small room. A lot of cocaine in small plastic packs are scattered on the floor.
Back on EVANDRO, holding his gun, he is surprised with sudden sadness.
EVANDRO
Oh, God! What have they done to these little children?
They have turned them into drug mules. I couldn’t believe
such pure evil exist in our world.
CHRISTOPHER
Liza and these little kids are only part of the rapidly growing
herd of defenseless kids being manipulated and used by
the multi-billion dollar drug and sex industry. These greedy
men in their $10,000 designer suits use these kids for some
unforgivable reasons. Because these kids are trustworthy
and innocent looking they can be the perfect front men
for the crime and the best insurance that the deal will be
completed.
herd of defenseless kids being manipulated and used by
the multi-billion dollar drug and sex industry. These greedy
men in their $10,000 designer suits use these kids for some
unforgivable reasons. Because these kids are trustworthy
and innocent looking they can be the perfect front men
for the crime and the best insurance that the deal will be
completed.
EXTERIOR. BILLIONAIRE’S HOME. BY THE SWIMMING POOL. NIGHT.
Pool of waving lights coming from the swimming pool which are reflections of the beams of the FULL MOON are lighting CHRISTOPHER, EVANDRO, LIZA, and the little ORPHANS who are all standing at the edge of the swimming pool. Too much sadness can be seen in EVANDRO’S face.
EVANDRO
Absolutely. These kids are the perfect puppets.
They do not raise a lot of suspicion. They are
so young, so scared, and do exactly what they are told.
CHRISTOPHER
Street children are also the targets of drug gangs because
Brazil’s Protective Child Statuteholds that children under
18 years of age may not be arrested unless caught in the
act of committing a crime, to the drug gangs the youths'
impunity makes them ideal couriers. But they are often
killed because they know too much, steal too much,
or get caught in the crossfire.
JACK
(Voice-over)
Help…!
CHRISTOPHER, EVANDRO, LIZA, and the little ORPHANS all look up in surprise.
CUT TO: EXTERIOR. HELICOPTER. NIGHT.
The top end of the rope ladder is cut. The door closes. JACK is holding the bottom end of the rope ladder, which other end is winded at the landing skids. The helicopter hovers and rotates in the air. JACK is swaying. He is trying to reach the landing skids. The helicopter flies backward.
POV JACK. The swimming pool below.
Back on JACK, he gets his gun. He shoots a round of shots at the tail rotors. The tail rotors are in smoke.
POV JACK. The fuel tank between the tail boom and the landing skid.
Back on JACK, he shoots the fuel tank.
CUT TO: The helicopter explodes. JACK jumps down.
CUT TO: JACK falls straight downward to the bottom of the swimming pool.
SHOT: EXTERIOR. SWIMMING POOL. NIGHT.
The waters are mixed with blood and some of the debris of the helicopter. JACK lies underwater, seemingly dead.
EXTERIOR. HOSPITAL. BACKDOOR. DAYBREAK.
Pigeons, song thrushes, goldcrests, and finches are very conspicuous everywhere in the garden of blooming yellow wood-sorrels. A ROOSTING LONG-EARED OWL is hiding behind the leaves of a willow oak tree at a distance. A number of Acrocephalus warblers are twirping on the branches of evergreen pomegranate tree nearby. ANDRÉ is taking a shower from a drinking fountain, which is situated at the foot of the stairs of the corridor, instead of drinking the waters. While OSCAR, in the corridor, is watching ANDRÉ. OSCAR whispers --
OSCAR
André, what are you doing? Somebody might see you.
ANDRÉ
I must clean myself. I must look good. People always scorn,
despise, and brand dirty kids as ragamuffins, scamps, or
rascals. I must clean myself to wash the parafein in my hands
and body. Don’t you get it, Oscar? I don’t want to go to jail
or a rehab.I don’t want to be branded as a marginal kid like
the others!
ANDRÉ bursts into sobs. OSCAR put his hand on ANDRÉ’S shoulder.
OSCAR
I’m sorry! I don’t have an intention to hurt
your feelings. I’m just scared like you.
ANDRÉ hugs OSCAR tightly and cries –
ANDRÉ
Is this an eternity for us, Oscar? When will this vicious cycle
end up? I wish this were like an ordinary computer game
like Vice City where we can fight and kill our enemies.
end up? I wish this were like an ordinary computer game
like Vice City where we can fight and kill our enemies.
SOUND OVER: Barking of a dog.
POV OSCAR. MILDRED, MARIANA, SISTER BIANCA, the STREET KIDS, and the LABRADOR are in the corridor near the stairs.
MILDRED
We have no time for crying, André, Oscar. We have to go.
The police and the security guards are searching for you.
You were caught in a surveillance camera. Soon the media
people will come to cover and sensationalize this event and
then the Triad will find it out. And we will be dead meat.
We have no other choice but to escape to the woods.
Come! Follow me! Hurry!
Led by MILDRED, the LABRADOR, OSCAR, ANDRÉ, and SISTER BIANCA, MARIANA, and the STREET KIDS all run towards the woods.
EXTERIOR. WOODS. DAY.
Fogs envelop the willow oak trees that are thickly growing at both edges of a river. MILDRED, the LABRADOR, OSCAR, ANDRÉ, and SISTER BIANCA, MARIANA, and the STREET KIDS all run at the edge of the river. SOUND OVER: Running footfalls and splashing of waters.
Startled, the ROOSTING LONG-EARED OWL, from the branch of a willow oak tree, flies over the heads of the STREET KIDS who are frightened. SOUND OVER: Howling of wolves.
SISTER BIANCA
Where are we going?
CUT TO: POLICE with a number of rottweiler-German shepherds cross are following the trail at the edge of the river. Helicopter is flying over the woods using all its lights against the thickening fogs. SOUND OVER: Whirping of the helicopter rotors.
EXTERIOR. BILLIONAIRE’S HOME. MINI-AIRPORT. MORNING.
A military helicopter alights. MEDICS with a stretcher, on which lay the unconscious JACK, are running towards the helicopter. Ambulance is also in the area. NURSING AIDES, assisted by EVANDRO and CHRISTOPHER, open the back doors of the ambulance. The little ORPHANS and LIZA step up into the ambulance, crying.
ORPHAN #1
Where are you taking us, Sir? Are you taking us to FEBEM?
Please don’t turn us to FEBEM Sir? They killed children there.
They took their organs and sold it to some hospitals. That’s
the reason why they built the FEBEM School so close to the
cemetery of Bom Jesus! I had been there. The children were
caged up like animals. We were kept locked up 24 hours
a day in cells without ventilation or bathrooms. We were all
locked up naked. The life of a young marginal there is short...
It's like this: for a street kid or an orphan to reach 30 years of
age, it's a miracle!
EVANDRO
Do not worry we are here to protect all of you and your rights.
The government had already done reforms on the FEBEM.
If you really do not like in there we can send you to
some orphanages more convenient to you.
Will that be okay for you?
ORPHAN #1 nods.
CHRISTOPHER
I know a certain place safer and convenient for the kids.
EVANDRO
Where is that?
CHRISTOPHER looks at EVANDRO with confidence.
CHRISTOPHER
They can stay at the convent of the nuns who had rescued me
from drowning. They adopt children. They do really care
for them.
for them.
INTERIOR. MILITARY HELICOPTER. MORNING.
Clouds and flock of migratory birds can be seen against the background. JACK is still unconscious. He has bondages all over his body. And there is an oxygen mask that is put on his nostrils. SOUND OVER: Whirping of helicopter rotors.
FLASHBACK CUT: INTERIOR. CASINO. DAY.
JACK is seated and playing with other POKER PLAYERS. He is wearing an expensive tuxedo. He wears a lot of jewelry like gold necklace with a very thick chain, gold and silver rings with big gems like diamonds and jades, and a diamond Rolex wristwatch. An Amazing Smart Celfone is put beside his “secreted” poker playing cards on the table. SOUND OVER: Personalized ringtone of a celfone. JACK picks up the celfone and answers –
FATHER
(Voice-over)
You must lose the game for the player in front of you.
POV JACK. The four aces of cards he is holding. REMUS, in white executive designer suit, smiles at him. REMUS closes his cards and put them on the table, tapping them three times.
Back on JACK, on the phone, he nervously answers –
JACK
But this is the championship round. I cannot lose this game.
I will lose all my sponsors if I will do it. They will all ask me
to pay all my mortgages and debts.
FATHER
(Voice-over)
Win the game and you will lose your life and your family.
The other line hangs. JACK puts down the celfone on the table. He is perspiring. He takes his kerchief from his tuxedo and wipes the sweats on his forehead. The other two POKER PLAYERS lay down their cards on the table. JACK puts down a trio Jack-of-cards. REMUS puts down a trio Queen-of-cards with a mocking smile. Then the two POKER PLAYERS lay down their individual “full house”. REMUS puts down a “full house” of three King-of-cards and two 10-of-cards. JACK lays down his quartet of Ace-of-cards. REMUS gives a stern look at JACK. Secretly under the table, REMUS takes another card from the secret pocket of the sole of his right shoe and replaces one of his cards. The other two POKER PLAYERS put down the rest of their respective cards on the table and walk away. REMUS lay down a “royal flashes” of diamonds from 6 to 10-of-cards.
REMUS
I win.
JACK lies down a “royal flashes” of hearts from 10 to King-of-cards on the table.
JACK
You lose.
REMUS hardly thumps his hands on the table and stands up.
REMUS
You are a fool.
SOUND OVER: Whirping of helicopter rotors. JACK and everybody in the casino look at the glass shield, which serves as a wall.
POV JACK. Behind the glass shield, a helicopter hovers in the air. ON FOCUS: JACK’S WIFE who is holding a BABY is standing on the edge of passenger’s door at a gunpoint by ARMED MEN.
Back on JACK, he is very terrified. He shouts –
JACK
No! Not my wife and my son! No!
One of the ARMED MEN pushes JACK’S WIFE. JACK’S WIFE, with the BABY, falls down in the air. JACK screams loudly and bursts into tears.
CUT TO: INTERIOR. CONDOMINIUM. BEDROOM. NIGHT.
JACK zips close the bag containing paper money bills in bucks or bundles. Then hurriedly, he lays down open a suitcase in his bed. He opens the closet, takes all the hanged clothes and put them in the suitcase. SOUND OVER: Banging of the door.
POV JACK. The door slams open. ARMED MEN in bonnets and REMUS enter.
REMUS
Where do you think you are going, Jack?
JACK
What else do you want from me? Is it the money?
You can take the money. But please! Do not take
me to the Father. I want to quit from the Triad and
live a new life! Please, I want my freedom!
One of the ARMED MEN takes the bag of money. The other two ARMED MEN seize JACK.
JACK
What will you do to me?
REMUS
We will give you your freedom.
JACK looks at the gunpoints of the ARMED MEN frantically.
JACK
What do you mean?
REMUS
We will give you your death so that you can rest in peace.
But we cannot kill you here with the bullets. So we have
prepared another way of your death.
REMUS signals the other ARMED MEN to start something. The other ARMED MEN take a big pack of cocaine.
JACK
What are you doing?
The ARMED MEN forcibly open the mouth of JACK, who tries to free himself but cannot, and force him to eat all the cocaine in a pack. JACK is coughing but still the ARMED MEN continue to pour the cocaine until the pack is empty. JACK collapses.
CUT TO: EXTERIOR. ON A BRIDGE OVER RIO DE JANEIRO. NIGHT.
REMUS’S CAR pulls over. The back doors of the car are opened. The ARMED MEN come out. They open the compartment of the car and get the unconscious JACK. They throw him down into the river. The fall of JACK creates a big splash of waters. Then the car in a loud screech runs away fastly.
CUT TO: EXTERIOR. AT A WOODY RIVER. NIGHT.
The FULL MOON is rising over the oak trees lighting the rose tree. At the foot of the rose tree stand MARIANA and CHRISTOPHER in fairy-like attires. MARIANA is wearing a garland of roses and the “necklace of harmony”. She is holding a wand made of oak branch. CHRISTOPHER is half naked. He is only wearing oak leaves on his privy. And he is wearing a crown of rose leaves. And he is holding a silver dagger. They are in the middle of a circle of white powder and gases. In the middle of the circle there is a boiling cauldron, which is set on a stove. Outside the circle, the DRUIDS led by MILDRED are dancing. MARIANA, holding a candle, casts the circle.
MARIANA
Beltane! I dance with delight on Beltane's night.
All senses freeing, I dance for being the flower
and the flame of love's own rite shall blossom.
Sun embrace Earth, bright.
All senses freeing, I dance for being the flower
and the flame of love's own rite shall blossom.
Sun embrace Earth, bright.
MARIANA lights the candle and says –
MARIANA
I light this candle to the Sun.
MARIANA takes up a dish of earth and lays her hands upon it.
MARIANA
I bless, consecrate, and set apart this earth, in the name
of the Triple Goddess. May this be sacred earth, set apart
for magick! For earth is of the Goddess, being her sacred
body. Remember that the Goddess is not only of the Moon,
but also of the Earth and of the farthest stars. She is the
Triple Goddess of the Circle of Rebirth, the Mother of All Life.
MARIANA decorates the dish of earth with flowers. Then she oils the wand with vegetable oil.
MARIANA
I bless this in the name of the Lord of the Day, the youthful,
ardent one, the Lord of Life, the God of the greenwood.
MARIANA passes the wand swiftly through the candle flame. When the wand is lighted, MARIANA then lights the white powder and gas with her wand. The fire is traveling around fast and is forming a circle of fire. She places the wand upon the dish of earth, saying –
MARIANA
As the wand is to the earth, so the male is to the
female and the Sun to our blossoming world.
Joined, they bring happiness. May the God of Life
give peace and harmony on Earth! May the
Goddess bring it forth!
MARIANA puts the wand on the altar. She walks three times around the circle, then spiral into the center. She goes evenly, with grace, meditatively.
POV MARIANA. The rosebud blooms on the branches of the rose tree.
Back on MARIANA, she is standing at the foot of the rose tree and then she turns around in circle against the breeze.
MARIANA
I am woman, strong to conceive and to create, to give birth
and to tend. As I am daughter of the Goddess, and blessed
by the God, may I, Mariana, bring healing to others!
and to tend. As I am daughter of the Goddess, and blessed
by the God, may I, Mariana, bring healing to others!
POV CHRISTOPHER. The bright flames that encircle them. The garden of blossoming flowers. The rose tree in front of him.
CHRISTOPHER
I am man, and in my passion is beauty, in my warmth is life.
As I am son of the Goddess, and blessed by the God, I
offer my strength and vitality to protect
the defenseless children.
the defenseless children.
MARIANA and CHRISTOPHER then embrace each other and begin the Beltane dance and they are touching each other’s bodies in a very seductive way. The drums beat. The guitars and harps strum. The DRUIDS are dancing wildly. But MILDRED suddenly stops.
POV MILDRED. The water-curent takes the unconscious JACK onto the edge of the river.
Back on MILDRED, she runs towards the river where JACK lies. She shouts –
MILDRED
There is a drowning man in the river!
The drum beating, guitar- and harp-plucking, and the dancing suddenly stop. MILDRED and the DRUIDS carry JACK to the riverbank.
CUT TO: EXTERIOR. PARK. NIGHT.
There are too many bright park lights all around which lights create twinkling reflections on the waters of the reservoir nearby. STREET KIDS are playing around the fountain and the gardens. JACK, in scavenger attire, is sleeping on a bench. SOUND OVER: Chuckling of children. JACK slowly opens his eyes.
POV JACK. The dirty but beautiful STREET KIDS are all around him laughing and chuckling. The YOUNG BOY OSCAR is tickling a feather on JACK’S EAR.
JACK
Hey, Oscar! What are you doing? Stop it, please!
JACK is chuckling but still lying on the bench.
CUT TO: EXTERIOR. DUMP SITE. AFTERNOON.
A lot of street kids are scavenging with their sacks and cart. JACK, very dirty, is eating a leftover in the garbage. SOUND OVER: Crying of a baby.
POV JACK. A beautiful and clean BABY wrapped in swaddling clothes lies down at the foot of the mounds of garbage. The BABY is smiling and chuckling on seeing JACK.
Back on JACK, he takes the BABY with a smile.
CUT TO: EXTERIOR. VICTORIAN MANSION. PORCH. AFTERNOON.
The sky is thundering. Dark clouds are thickening. Lightning flashes. JACK puts down a basket at the doorway.
POV JACK. The beautiful BABY with innocent look is inside the basket.
Back on JACK, he gets an Ace-of-card from his pocket. He puts it down beside the BABY. Rain begins to pour. JACK leaves the BABY and runs toward the gate.
CUT TO: The door opens. MARIANA comes out. She is looking outside as if searching for somebody. SOUND OVER: Crying of a baby.
POV MARIANA. A crying BABY is in the basket.
Back on MARIANA, she holds the BABY in the air. Then she embraces the BABY and kisses it.
MARIANA
An angel is born to me from heaven. Oh, thank God!
From now on you will be my son. Nobody will know
that I am frigid. I will rare you like my very own child.
Nobody will know that you are not my real son, not
even my father… not even Joy… and not even Remus.
It’s almost a year now since he left for New York.
It’s almost a year now that I had been faking that I
was preggy. This is the only thing that holds him from
killing me for not loving him until now. You will be my
Ace-of-card. From now on I will call you André.
ON FOCUS: JACK, wet by the rain, is hiding behind the gatepost.
RETURN CUT: INTERIOR. HOSPITAL. INTENSIVE CARE UNIT. DAY.
CHRISTOPHER and EVANDRO are standing beside the bed where the unconscious JACK lies, while DOCTOR #4 and NURSES are doing something in the background. JACK slowly opens his eyes.
JACK
Where am I? Am I dead? Is this heaven? Oh, my God!
If this is heaven, I do not like to live in here with these
wires of electrodes.
EVANDRO
You are alive, Jack. It’s a miracle that you live after
that fall. You’re like a cat with nine lives.
JACK looks at the calendar on the corner table.
JACK
Oh, my God! Had I slept for five days? Oh, no!
I must go back to São Paolo! My son Oscar
needs me there!
JACK attempts to stand up but EVANDRO and CHRISTOPHER stop and hold him. The DOCTOR #4, with a syringe, injects JACK some medicine liquid.
DOCTOR #4
It’s for him to calm down. At any minute from now
he will fall to sleep. We have to attend to other patients.
Just call us when you need something.
The DOCTOR #4 and the NURSES leave the room. JACK is crying.
JACK
I must go to my son! Please, take me to him! He needs me!
CHRISTOPHER
Oscar is alright now. Mildred had called us that he had
already awakened from coma. Just relax and take it easy.
Rest and sleep.
JACK goes back to sleep.
CUT TO: INTERIOR. HOSPITAL. CORRIDOR. INTENSIVE CARE UNIT’S DOORWAY.
Two SECURITY GUARDS are sitting on two different chairs at the two different corners of the door. The door opens. EVANDRO and CHRISTOPHER come out. The SECURITY GUARDS quickly rise up and salute. EVANDRO gives a carry-on salute.
EVANDRO
Guard the patient well.
CUT TO: EVANDRO and CHRISTOPHER are walking along the corridor away from the Intensive Care Unit.
CHRISTOPHER
When shall we tell Jack that Oscar is still out there in the woods
with André and the Police are still searching for them?
EVANDRO
He must not know it until he recovers his strength.
There’s nothing to much worry about.
Mildred is with them. She knows the woods
better than the Police.
REMUS, in full green medical personnel’s attire with mask and cap, is pushing a medical cart covered by green cloth. There is lot of medical apparatuses on the cart. The two SECURITY GUARDS open the double door.
INTERIOR. HOSPITAL. INTENSIVE CARE UNIT. DAY.
REMUS enters, pushing the cart nearer to the bed where JACK lays sleeping. The door closes. REMUS takes all the apparatuses onto the table. He takes out the cloth that covered the cart. There is another deck below where ropes, pillows, white blankets, and hard tapes are put. He ties the feet and hands of JACK. He pulls the wires and other things attached to JACK. Then he puts a hard tape on JACK’S mouth. He carries JACK and puts him down on the lower deck of the cart. After he has positioned JACK appropriately to fit on the lower deck, REMUS covers the cart back with the cloth. He puts the pillows in bed, arranging these to appear like a sleeping person, and covers these with the white blankets. Then he puts all the apparatuses that are stained with blood on the cart. He pushes the cart towards the door.
CUT TO: INTERIOR. HOSPITAL. CORRIDOR. INTENSIVE CARE UNIT’S DOORWAY.
The two SECURITY GUARDS open the double door. REMUS, pushing the cart, comes out.
CUT TO: INTERIOR. HOSPITAL. ELEVATIOR.
REMUS, with the cart, is inside the elevator. The elevator’s doors close.
CUT TO: INTERIOR. HOSPITAL. INTENSIVE CARE UNIT.
EVANDRO, CHRISTOPHER, and the SECURITY GUARDS hurriedly enter from the door. EVANDRO pulls off the blankets.
POV EVANDRO. The pillows.
Back on EVANDRO, he is very angry. He yells –
EVANDRO
Bullshit! We must find that man! Jack is in danger!
EVANDRO, CHRISTOPHER, and the two SECURITY GUARDS run to the door, push it open.
INTERIOR. HOSPITAL. CORRIDOR. INTENSIVE CARE UNIT’S DOORWAY.
EVANDRO, CHRISTOPHER, and the SECURITY GUARDS come out from the door. They all run towards the elevator.
CUT TO: INTERIOR. HOSPITAL. CORRIDOR. ELEVATOR’S DOORWAY.
The arrows of lights are pointing downward. EVANDRO, CHRISTOPHER, and the SECURITY GUARDS run towards the stairs.
CUT TO: EVANDRO, CHRISTOPHER, and the SECURITY GUARDS are running downstairs.
CUT TO: EVANDRO, CHRISTOPHER, and the SECURITY GUARDS run towards the elevetor on the ground floor.
CUT TO: INTERIOR. HOSPITAL. CORRIDOR. ELEVATOR’S DOORWAY. DAY.
The doors open. REMUS, disguising as a blonde fat woman with dark glasses, is pushing a wheel chair on which the unconscious JACK, in woman’s clothes, wig, and heavy make-up, is seated. A MEDICAL ATTENDANT, in full green medical attire with mask and cap, and holding a cart covered with green cloth, is standing behind REMUS. When REMUS who is pushing the wheelchair away from the elevator, the SECURITY GUARDS seize the MEDICAL ATTENDANT. EVANDRO pulls off the cloth that covers the cart but cannot find JACK in it.
EVANDRO
Bullshit! Where are they?
CHRISTOPHER
He has not gone far. Wait. That fat woman can be the one!
EVANDRO and CHRISTOPHER run towards the doorway.
CUT TO: ENTERIOR. HOSPITAL. GROUND FLOOR. DOORWAY. DAY.
The door opens. EVANDRO and CHRISTOPHER come out. They are looking at the surroundings.
POV CHRISTOPHER. REMUS, still in disguise, pushes the wheel chair towards the parking area.
Back on CHRISTOPHER, he shouts –
CHRISTOPHER
There they are!
EXTERIOR. HOSPITAL. PARKING AREA. DAY.
EVANDRO and CHRISTOPHER run towards REMUS and the unconscious JACK. A fast running van suddenly pulls over in front of REMUS. The van’s door opens. ARMED MEN, in bonnets, come out and shoot at EVANDRO and CHRISTOPHER. EVANDRO and CHRISTOPHER hide behind the parked cars and fire back. Other ARMED MEN, also in bonnets, help REMUS in taking JACK inside the van.
CUT TO: INTERIOR. VAN. DAY.
The ARMED MEN close the door. REMUS takes off his disguise.
REMUS
Drive! Hurry!
EXTERIOR. HOSPITAL. PARKING AREA. DAY.
The van drives away. EVANDRO and CHRISTOPHER run towards a red sports’ car. They ride into it and drive, chasing the van.
CUT TO: EXTERIOR. COASTAL HIGHWAY. DAY.
The RED SPORTS’ CAR is chasing REMUS’S VAN. ON FOCUS: CHRISTOPHER is driving the sports’ car while EVANDRO is on the radio.
EVANDRO
This is Agent Evandro Rodrigues, over!
Send for back up!
Send for back up!
The ARMED MEN using armalites shoot at EVANDRO and CHRISTOPHER. CHRISTOPHER turns the steering wheel to escape from the shoot-out. EVANDRO fires back at the ARMED MEN.
CUT TO: EXTERIOR. RIO DE JANEIRO. RIVERBANK. DAY.
Some of the ARMED MEN, running, carry JACK towards a white and red CIGARETTE BOAT near a DRUG SUPERSHIP. REMUS in a scuba-diving outfit is running after them. The ARMED MEN put JACK into the CIGARETTE BOAT. JACK is now conscious but he is tied up and down and his mouth is taped. REMUS gets into the driver’s seat of the CIGARETTE BOAT.
REMUS
Block them!
CUT TO: The white and red CIGARETTE BOAT races under the Rio-Niteroi Bridge.
ESTABLISHING SHOT: A VIEW OF THE DRUG SUPERSHIP FROM THE BRIDGE.
The vessel is outfitted with an icebreaker bow. It has a back deck the size of a tennis court where a number of ARMED MEN, holding armalites and bazookas stand. It has a bridge loaded with the latest sophisticated electronics and two state-of-the-art radar systems like covert antennas on masts. At the outer wall of the vessel there is a picture of an alligator and beside it is a label: “ALLIGATOR”. And right below it is a writing that says: “The border is open when you have no one watching. People who smuggle art smuggle drugs. People who smuggle drugs smuggle guns. Smugglers smuggle. People who smuggle guns/ drugs/ art support are terrorists.”
EXTERIOR. RIO DE JANEIRO. RIVERBANK. DAY.
The RED SPORTS CAR is approaching nearer to the DRUG SUPERSHIP. The ARMED MEN at the back deck of the DRUG SUPERSHIP fire at the RED SPORTS CAR. EVANDRO and CHRISTOPHER hurriedly get out and run away from the car. One of the ARMED MEN fires his bazooka at the RED SPORTS CAR. The RED SPORTS CAR is hit and explodes. EVANDRO and CHRISTOPHER hide behind a rock.
CHRISTOPHER
What shall we do now? We have no match for them.
EVANDRO calls on his portable VHF radio.
EVANDRO
Send the biggest ship you’ve got!
EVANDRO switches off the radio.
CHRISTOPHER
Who was that?
EVANDRO
The Coast Guard.
POV EVANDRO. The DRUG SUPERSHIP is sailing away under the Rio-Niteroi Bridge.
Back on EVANDRO, he is very angry.
EVANDRO
Bullshit! Where is the back up?
SOUND OVER: Roaring of plane engine. EVANDRO glances up.
POV EVANDRO. An orange, blue and white C130 COAST GUARD SURVEILLANCE AIRCRAFT flies over and then it is circling around the DRUG SUPERSHIP. A 3250-tonne COAST GUARD CUTTER appears over the horizon.
Back on EVANDRO, he runs towards the COAST GUARD CUTTER. CHRISTOPHER is following him.
CUT TO: EVANDRO and CHRISTOPHER are already on board the COAST GUARD CUTTER.
POV CHRISTOPHER. The 115-meter COAST GUARD CUTTER is armed with two 25-mm. Machine guns and a 20-mm. Phalanx weapons system for firing shells and tracers. On its bow is a 76-mm. Gun used primarily as an anti-aircraft weapon.
Back on CHRISTOPHER, he is manning one of the machine guns. EVANDRO is also manning the other machine gun.
CUT TO: The COAST GUARD CUTTER is closing in at the DRUG SUPERSHIP.
COAST GUARD CUTTER SKIPPER
(Voice-over)
Stop! And prepare for boarding!
The COAST GUARD CUTTER is alongside the SUPER DRUG SHIP, which is sailing faster instead of slowing.
CUT TO: EVANDRO is on the radio.
EVANDRO
Permission to fire cannon over her bow.
MAN’S VOICE
(On the radio)
Permission granted.
CUT TO: A large explosion shakes the SUPER DRUGSHIP. The SUPER DRUGSHIP, still determined, holds its course. The COAST GUARD CUTTER is inching closer. Another shot tumps past the SUPER DRUGSHIP’S bow. Still, the SUPER DRUGSHIP keeps going.
COAST GUARD CUTTER SKIPPER
(Voice-over)
Get your personnel out of the engine room.
We are going to disable the ship.
CUT TO: Round after round of armour-piercing shells punches holes in the SUPER DRUGSHIP’S port side and ricochets inside the engine room.
CUT TO: INTERIOR. SUPER DRUGSHIP. CAPTAIN’S SEAT. DAY.
A BRITISH CAPTAIN is seated. He has a mop of light-coloured hair and an athletic body. On his right hand, he is wearing a large jade ring in gold setting. He is on the phone and in his British accent, he shouts –
BRITISH CAPTAIN
Elephant, this is Alligator! They are shooting
the life out of us! At any minute, they are
going to hit the engines!
the life out of us! At any minute, they are
going to hit the engines!
SOUND OVER: Earsplitting gunfires.
CUT TO: EVANDRO and CHRISTOPHER, on the machine guns, are firing the ARMED MEN at the SUPER DRUGSHIP. The COAST GUARDS are firing 70 rounds at the SUPER DRUGSHIP’S engine room and bridge.
CUT TO: The BRITISH CAPTAIN and his ARMED MEN surrender to the COAST GUARDS. EVANDRO and CHRISTOPHER stand on top of the thousand bales wrapped in blue waterproof nylon bags, each carries a stamp of a blue eagle above a line of bold red type: PASSED INSPECTION. The COAST GUARDS are inspecting some of the bales of prime-grade marijuana and some of the bales of cocaine. The COAST GUARD CAPTAIN enters from the captain’s seat of the super drugship with a bag of money. The COAST GUARD CAPTAIN shouts at EVANDRO –
COAST GUARD CAPTAIN
I have found this one-million-dollar cold cash stashed
inside the pedestal of that British Captain’s seat!
POV CHRISTOPHER. There is a white and blue CIGARETTE BOAT, with a picture of a butterfly, left of the bold blue type: BUTTERFLY, on its outer wall, at the edge of the back deck.
CUT TO: The white and blue CIGARETTE BOAT races far behind the white and red CIGARETTE BOAT. On the driver’s seat of the white and blue CIGARETTE BOAT is CHRISTOPHER and beside him is EVANDRO.
EVANDRO
I never know that you also know how to run
a cigarette boat.
a cigarette boat.
CHRISTOPHER
I am the owner of this boat. I am whom they called
as the Butterfly. Promise me one thing, Evandro.
You must not kill Remus. Yes, I hate him. But he is
my cousin. He brought me here from the U.S.after
he became rich in fulfillment of his promise to me.
as the Butterfly. Promise me one thing, Evandro.
You must not kill Remus. Yes, I hate him. But he is
my cousin. He brought me here from the U.S.after
he became rich in fulfillment of his promise to me.
EVANDRO is surprised to hear it.
EVANDRO
If he surrenders he will live but if he doesn’t
I cannot promise you that.
I cannot promise you that.
CHRISTOPHER
But are you willing to sacrifice the life of Jack too?
I know he is your blood brother.
EVANDRO is perplexed.
POV CHRISTOPHER. The C130 COAST GUARD SURVEILLANCE AIRCRAFT is shooting at the white and red CIGARETTE BOAT.
Back on CHRISTOPHER, he speeds up the white and blue CIGARETTE BOAT. He shouts –
CHRISTOPHER
No…!
EVANDRO gets his VHF radio and shouts at it –
EVANDRO
Stop firing! The hostage might be hurt! Jack is in there!
CUT TO: The white and red CIGARETTE BOAT explodes. EVANDRO and CHRISTOPHER are stunned at the sight.
CUT TO: UNDERWATER. REMUS ties JACK, in scuba, around his body. REMUS, in scuba, is driving a "ROCKET SLED", which is usually used to remotely survey underwater sites to prospect for camera angles and shooting locations. The “ROCKET SLED” speeds up southward towards the shore near the Aparecida.
EXTERIOR. WOODS. AFTERNOON.
MILDRED, the LABRADOR, OSCAR, ANDRÉ, and SISTER BIANCA, MARIANA, and the STREET KIDS are running towards the wood’s exit passage. A CROW alights on a branch of one of the trees on the wood’s exit passage.
EXTERIOR. WOOD’S EXIT. AFTERNOON.
Wild ducks fly away from the exit passage. MILDRED, the LABRADOR, OSCAR, ANDRÉ, and SISTER BIANCA, MARIANA, and the STREET KIDS all come out from the exit passage.
MILDRED
Go straight in that direction.
It will lead you to the Convent.
It will lead you to the Convent.
MARIANA
Why? Are you not going with us?
MILDRED holds MARIANA’S hands.
MILDRED
I must go back to the orphanage. I must protect
the orphans. Do not worry about me. I can take
care of my self. Our brothers will help me. Do not
worry about your father. He is in the safe house.
Go! Hurry!
the orphans. Do not worry about me. I can take
care of my self. Our brothers will help me. Do not
worry about your father. He is in the safe house.
Go! Hurry!
MILDRED enters back into the woods while OSCAR, ANDRÉ, and SISTER BIANCA, MARIANA, and the STREET KIDS, and the LABRADOR all run towards the CONVENT.
CUT TO: EXTERIOR. CONVENT. GATEWAY. AFTERNOON.
A YELLOW BUS stops in front of the gate of the CONVENT. LIZA, the little ORPHANS, and one DEA AGENT step down from the YELLOW BUS. The little ORPHANS are looking frantically at the CONVENT.
ORPHAN #2
Is that what they called the FEBEM, Sir?
DEA AGENT
No, child. That is a convent. That is a house of God.
You will be safe there. C’mon, let’s go inside.
Don’t be afraid.
Don’t be afraid.
INTERIOR. CONVENT. DINING ROOM. AFTERNOON.
OSCAR, ANDRÉ, and SISTER BIANCA, MARIANA, and the STREET KIDS are eating hungrily. The LABRADOR, which is at the open doorway, is barking.
POV OSCAR. LIZA, the little ORPHANS, and the DEA AGENT enter the doorway.
Back on OSCAR, he is smiling excitedly and shouts –
OSCAR
Liza…!
LIZA is surprised to see OSCAR.
LIZA
Oscar…? Oscar…!
LIZA runs towards OSCAR and embraces him.
LIZA
Oscar? You are alive! I thought you were dead!
They all told me you were dead! Thank God
you are alive.
you are alive.
LIZA and OSCAR are crying in tears. OSCAR is looking at the doorway.
OSCAR
Where is my father? Isn’t he with you?
DEA AGENT
Your father is okay. He is in a safe place.
He has to rest after a big fight.
He has to rest after a big fight.
OSCAR smiles.
OSCAR
Yeah. My father is a good fighter!
But he is a good runner too
when he is afraid with the enemies.
ANDRÉ and the STREET KIDS laugh. The DEA AGENT handles a letter to SISTER BIANCA. SISTER BIANCA reads the letter.
DEA AGENT
Christopher wrote that letter, Sister.
The kids didn’t want to go to the
FEBEM. Christopher suggested
us to take them here for a while.
He said that you adopt orphans
and street kids. But don’t worry,
Sister. The government will take
care of them when they are ready.
The kids didn’t want to go to the
FEBEM. Christopher suggested
us to take them here for a while.
He said that you adopt orphans
and street kids. But don’t worry,
Sister. The government will take
care of them when they are ready.
SISTER BIANCA
We are happy to accept them all here.
C’mon, let’s all eat! I know you are
all hungry like us.
INTERIOR. CONVENT. LIVING ROOM. NIGHT.
Only few lights are on. The DEA AGENT is watching TV. The LABRADOR begins barking at the door. The DEA AGENT stands up and walks towards the door. SISTER BIANCA is going downstairs. Suddenly, the door blags and opens with a loud bang. Six ARMED MEN, all in black and wearing balaclavas and gloves, burst in. ARMED MAN #1 shoots the DEA AGENT who falls dead on the floor. SISTER BIANCA screams. ARMED MAN #1 points a gun at SISTER BIANCA. The LABRADOR runs upstairs.
SISTER BIANCA
Please, for God’s sake, don’t kill me!
What do you want? Please take all
the things that you want just don’t kill me!
SISTER BIANCA is crying. ARMED MAN #1 yells –
ARMED MAN #1
Where are the kids?
ARMED MAN #1 makes SISTER BIANCA kneels on the floor, hands manacled behind her back.
ARMED MAN #2
Don’t move. Don’t look at us.
Look at the floor. If you move you’ll be shot.
ARMED MAN #1
Where are the kids? Where are the kids?
We will shoot you if you don’t tell us.
SISTER BIANCA cries out. ARMED MAN #1 shoots a salvo. SISTER BIANCA is panicky.
SISTER BIANCA
They are upstairs? Why?
What do you want from the kids?
Please do not kill them!
ARMED MAN #1
Give me the keys!
SISTER BIANCA hands the keys to ARMED MAN #1. The ARMED MEN handcuff, gag, and blindfold SISTER BIANCA and then manacles her to the banister.
ARMED MAN #1
You’ll never look the same after tonight.
The ARMED MEN go upstairs fastly.
INTERIOR. CONVENT. BEDROOM. NIGHT.
The room is dark. It is only dimly lighted with the moonbeams coming from the small window. There are too many double-decked beds. The STREET KIDS, the LITTLE ORPHANS, OSCAR, the LABRADOR, and ANDRÉ are all behind MARIANA who is holding a gun.
MARIANA
I said, hide in the closet!
OSCAR
But Sister…
MARIANA looks at OSCAR with a stern look.
MARIANA
There’s no time to argue, Oscar. Get all
the kids inside the closet or we all die here.
OSCAR, ANDRÉ, LIZA, the little ORPHANS, and the STREET KIDS enter into the closet. The LABRADOR follows OSCAR and enters the closet too.
INTERIOR. CLOSET. NIGHT.
It has only dim light. The STREET KIDS, the little ORPHANS, LIZA, OSCAR and ANDRÉ are sitting under the hanged clothes looking at the small horizontal holes of the closet’s door. The LABRADOR is sobbing and licking OSCAR’S face. OSCAR whispers to the LABRADOR –
OSCAR
Stop it, Annwyn! Sit! Don’t make a sound
or you’ll be a caldereta.
or you’ll be a caldereta.
The LABRADOR sits down and keeps silent.
INTERIOR. CONVENT. CORRIDOR. BEDROOM’S DOORWAY. NIGHT.
ARMED MAN #1 squeezes the doorknob while the other ARMED MEN open with the keys all the doors along the corridor. The doorknob is locked. ARMED MAN #1 gets the keys and tries to open the doorknob. No keys fit. ARMED MAN #1 shoots the doorknob a number of shots. The door opens.
INTERIOR. CONVENT. BEDROOM. NIGHT.
The ARMED MEN all enter. They look all around. There is long wringed blanket tied to the steel bar of the small window which other end hangs outside. ARMED MAN #1 signals the other ARMED MEN to go downstairs. ARMED MAN #1 is about to leave the room. SOUND OVER: Sneezing of a child. ARMED MAN #1 looks at the closet.
CUT TO: ARMED MAN #1 opens the closet.
POV ARMED MAN #1. The STREET KIDS, the little ORPHANS, ANDRÉ, OSCAR, and LIZA are screaming inside the closet. The LABRADOR is barking.
Back on ARMED MAN #1, the screaming startles him.
The STREET KIDS, the little ORPHANS, ANDRÉ, OSCAR, and LIZA batter the ARMED MAN #1 with baseball bats. ARMED MAN #1 falls unconscious on the floor. The STREET KIDS tie the feet and hands of ARMED MAN #1 and gag him. Then ANDRÉ, OSCAR, and LIZA carry the ARMED MAN #1 into the closet and close it.
CUT TO: MARIANA, with the gun, enters the room.
MARIANA
Come! Follow me.
INTERIOR. CONVENT. CORRIDOR. NIGHT.
MARIANA walks slowly towards an open door of one of the next rooms. LIZA, the little ORPHANS, the STREET KIDS, ANDRÉ, and OSCAR are following MARIANA in catwalks. The LABRADOR runs towards the room.
CUT TO: INTERIOR. CONVENT. CHAPEL. NIGHT.
MARIANA opens a closet. There are hanged clothes of the “saints”. She pushes the hanged clothes at the sides. There is a staircase. MARIANA switches on the lights of the staircase.
MARIANA
Children go upstairs. Stay there in the attic.
Do not make any noise.
Do not make any noise.
LIZA, the little ORPHANS, and the STREET KIDS go upstairs. MARIANA pulls back the hanged clothes and closes back the closet’s doors.
MARIANA
André, Oscar, help me get that painting.
ANDRÉ and OSCAR pull off the painting of Saint Michael the Archangel that is hanged near the altar, which has red curtains wrap around it. They hang it at the closet’s door.
CUT TO: Some of the ARMED MEN enter. MARIANA is dressed and posed as the “Virgin of Aparecida” while ANDRÉ and OSCAR are dressed and posed as “angels”. The LABRADOR also poses like a statue. The ARMED MEN are searching everywhere inside the room. They are about to leave the room when ANDRÉ sneezes. But when the ARMED MEN look back, they only see MARIANA, ANDRÉ, and OSCAR together with the statues. But the ARMED MEN are a little confused with the changes of the poses of MARIANA, ANDRÉ, OSCAR, and the LABRADOR
ARMED MAN #2
Let’s go! They are not here.
They must be somewhere downstairs.
They must be somewhere downstairs.
The ARMED MEN go outside the room rapidly.
INTERIOR. CONVENT. CHAPEL’S DOORWAY.
Suddenly ARMED MAN #2 halts. The other ARMED MEN also halt. ARMED MAN #2 looks at the others as if asking them something.
ARMED MAN #2
Wait… Didn’t you notice something about those statues?
The ARMED MEN enter back into the chapel.
INTERIOR. CONVENT. CHAPEL.
The ARMED MEN enter the door and look around.
POV ARMED MAN #2. Life-sized statues of the Virgin of Aparecida and two angels stand before the altar. The other ARMED MEN check them out.
Back on ARMED MAN #2, he touches the ivory statues.
ARMED MAN #2
Perhaps, I’m imagining things. C’mon, let’s go!
They must have not gone too far from here.
Perhaps, Leon is chasing them by now.
The ARMED MEN rapidly go outside. MARIANA, OSCAR, and ANDRÉ come out under the red altar curtains.
OSCAR
It was so close.
The LABRADOR comes out from the garments of the life-sized statue of the Virgin of Aparecida. The LABRADOR barks and runs outside.
OSCAR
Annwyn! Annwyn…!
OSCAR runs after the LABRADOR.
MARIANA
Oscar…! Come back here! Oscar!
ANDRÉ
Oscar…! Wait for me!
ANDRÉ runs after OSCAR.
MARIANA
André…! Oh, God!
EXTERIOR. CONVENT. PARKING AREA. NIGHT.
There is a black and tinted Rolls Royce car. A number of ARMED MEN are guarding the car. ARMED MAN #2 is standing by the car’s backseat window and is talking to a silhouette of the “FATHER” behind the tinted curtains that hides him at the backseat.
FATHER
(Voice-over)
Do not return to the villa without those kids.
But I want them alive!
But I want them alive!
ARMED MAN #2
Yes, Father. We will catch them alive.
The car’s backseat window closes automatically. The car drives away.
INTERIOR. CONVENT. STAIRCASE. NIGHT.
The LABRADOR is running downstairs. OSCAR and ANDRÉ chase the LABRADOR downstairs. The LABRADOR halts beside SISTER BIANCA. OSCAR and ANDRÉ untie SISTER BIANCA and take off the gag and blindfold. SISTER BIANCA is crying and trembling.
SISTER BIANCA
Oscar, André…! Thank God! I thought you were all dead.
How about the other kids and Sister Lara?
OSCAR
They are all safe, Sister. They are in the attic.
MARIANA goes downstairs. She assists SISTER BIANCA to stand up.
MARIANA
Come! Let’s go back upstairs. We must hide.
It’s not safe to stay here.
The LABRADOR runs to the kitchen.
MARIANA
Let go of the Labrador, Oscar.
We must all go back upstairs.
We must all go back upstairs.
OSCAR
Do not worry about us, Sister Lara.
We can take care of ourselves.
You better take Sister Bianca with you.
and take care of the other kids. We will
be back soon. C’mon, André!
INTERIOR. CONVENT. KITCHEN. NIGHT.
The LABRADOR pushes the aluminum door, with screen window, and runs outdoors. OSCAR and ANDRÉ run after the LABRADOR.
EXTERIOR. CONVENT. KITCHEN’S DOORWAY.
The LABRADOR is licking the face of JACK, who is wet and is lying on the ground. JACK looks very tired. OSCAR and ANDRÉ come out from the door and they are very happy and excited to see JACK. JACK is likewise very excited to see OSCAR. OSCAR hugs JACK tightly while ANDRÉ is massages the head of the LABRADOR.
OSCAR
Papa Jack! Papa Jack…!
JACK
Oscar, my son! You are already awake?
OSCAR and JACK are in tears, full of joy.
OSCAR
What happened to you?
JACK
Help me get up! We must hide inside.
All the gangsters are here… the wild
beasts of this safari… and we…
All the gangsters are here… the wild
beasts of this safari… and we…
we are the endangered species ready
for extinction.
for extinction.
INTERIOR. CONVENT. KITCHEN.
JACK is seated on a chair beside the dining table. JACK is coughing and is very pale. OSCAR, who is seated beside JACK, massages JACK’S chest. ANDRÉ looks very worried.
ANDRÉ
Are you alright, Jack?
OSCAR
Papa Jack! What happened to you?
The LABRADOR begins head-butting JACK behind his knees. Then the LABRADOR grabs hold of JACK’S arm and pull him to the floor.
OSCAR
Annwyn, what are you doing?
JACK
Annwyn is helping me. Help me lay on the floor.
OSCAR and ANDRÉ lay JACK on the floor. The LABRADOR is licking JACK’S face.
JACK
I cannot breath. Get me a glass of water.
I have my asthma attack.
I have my asthma attack.
ANDRÉ
Stay with him, Oscar. I’ll go get a glass of water.
ANDRÉ gets water from the faucet. OSCAR is hugging JACK. OSCAR is crying.
OSCAR
Papa Jack! Please don’t die! Who else will feed us
if you die? Who else will teach us how to steal in
order to live?
if you die? Who else will teach us how to steal in
order to live?
JACK
Sssshhhh! Be quiet! The neighbors might overhear
you.They might all put the blame on me the loss
you.They might all put the blame on me the loss
of their things. I might not die because of the lack
of oxygen but with the beatings of the neighbors.
of oxygen but with the beatings of the neighbors.
CUT TO: JACK is drinking water.
OSCAR
Papa Jack, it can be better for you to smoke
that cocaine. I heard somebody said it is a
drug for allergy and asthma.
that cocaine. I heard somebody said it is a
drug for allergy and asthma.
JACK
What? Yes, it is a drug. It can even cure arthritis,
for you will feel nothing like a leper after taking it.
It is like being injected with anesthesia. Do you
want me to speed up my death?
for you will feel nothing like a leper after taking it.
It is like being injected with anesthesia. Do you
want me to speed up my death?
INTERIOR. CONVENT. ATTIC. NIGHT.
The STREET KIDS are resting by the wall but awake. The little ORPHANS are sleeping. SISTER BIANCA is yawning beside the little ORPHANS. LIZA is crying on MARIANA’S shoulder.
LIZA
They killed the orphans one by one, Sister Lara.
They killed Gwyn! They are after me and the
other orphans who have escaped from them.
They killed Gwyn! They are after me and the
other orphans who have escaped from them.
They will kill me, Sister!
MARIANA
Nobody will kill you, Liza. We are safe here. Calm down.
LIZA is hysterical.
LIZA
You do not know them, Sister! You do not know them!
They are cold-blooded murderers! They are demons
from hell! They kill everyone on their way!
from hell! They kill everyone on their way!
The door suddenly opens. LIZA, MARIANA, SISTER BIANCA, the STREET KIDS, and the little ORPHANS are all surprised and afraid. JACK, OSCAR, ANDRÉ, and the LABRADOR enter.
MARIANA
Jack!
JACK
Mariana…! We must all get away
from here. Soon the hoarde of the
Triad will surround this convent.
from here. Soon the hoarde of the
Triad will surround this convent.
We must escape while there is still
a little chance of escaping.
a little chance of escaping.
SISTER BIANCA is startled. ANDRÉ is surprised.
SISTER BIANCA
Why did he call you by the name Mariana?
Are you not Sister Lara?
Are you not Sister Lara?
MARIANA
I’m sorry, Sister Bianca. But the real Sister Lara
was dead. She was supposed to be the governess
of my father’s orphanage. But she had found out
the cocaine laboratory in the basement of the
orphanage… so the Triad killed her. The DEA
took me here as Sister Lara to hide me from
was dead. She was supposed to be the governess
of my father’s orphanage. But she had found out
the cocaine laboratory in the basement of the
orphanage… so the Triad killed her. The DEA
took me here as Sister Lara to hide me from
the Triad and made it appear that I was really dead.
ANDRÉ bursts into tears, runs toward MARIANA, and hugs her.
ANDRÉ
You are the one they called Mariana?
Mother, I am your son! I am looking
for you all my life! I’ve been waiting
for you to come and get me from that
orphanage. I had heard Jack telling
Joy that he took your son to that
orphanage and put an Ace-of-card
beside him. I was that boy.
Mother, I am your son! I am looking
for you all my life! I’ve been waiting
for you to come and get me from that
orphanage. I had heard Jack telling
Joy that he took your son to that
orphanage and put an Ace-of-card
beside him. I was that boy.
ANDRÉ takes the Ace-of-card from his pocket and shows it to MARIANA.
ANDRÉ
Look! I always have this in my pocket.
Read the writing on this card.“Alexander
the Great who conquered the world was
killed only by a tiny mosquito.” But
instead of Alexander I was christened as
André.
Read the writing on this card.“Alexander
the Great who conquered the world was
killed only by a tiny mosquito.” But
instead of Alexander I was christened as
André.
JACK
I wrote that phrase. That is one of my
playing cards that always brought me
victory in poker. But André, I must
confess you the truth. Yes, she is
Mariana. She raised you as her son
playing cards that always brought me
victory in poker. But André, I must
confess you the truth. Yes, she is
Mariana. She raised you as her son
for days. But she is not your real mother.
Your real mother is Mildred. But she
asked me to take you to Mariana.
So that you could be raised as her son.
In that way you could feel the love
of your father. By that, Mariana could
be saved from the wrath of your father.
You are the son of Remus.
Your real mother is Mildred. But she
asked me to take you to Mariana.
So that you could be raised as her son.
In that way you could feel the love
of your father. By that, Mariana could
be saved from the wrath of your father.
You are the son of Remus.
ANDRÉ is shocked. MARIANA is startled.
ANDRÉ
No! It cannot be! I don’t want him as a father!
I hate him! He is Satan! I despise him!
I hate him! He is Satan! I despise him!
JACK
It is not your fault that he is your father.
But that is the truth.
But that is the truth.
ANDRÉ cries out loud –
ANDRÉ
No!
ANDRÉ runs away, going downstairs.
OSCAR
André! Papa Jack, I must go after him! He is down.
I am the only one he trusted most.
JACK
Yes, but be careful. I trust you my son. I have faith in you.
MARIANA, in tears, looks at JACK askingly.
MARIANA
Why did you tell him that I am not his mother?
You break his heart. You break my heart too.
You break his heart. You break my heart too.
JACK
I’m sorry! But I have to, Mariana.
We are in the middle of the crises.
We do not know if we can still
survive in the end. If we would not,
who else could have told him the truth?
We are in the middle of the crises.
We do not know if we can still
survive in the end. If we would not,
who else could have told him the truth?
INTERIOR. CONVENT. HALL. NIGHT.
ANDRÉ is running. OSCAR holds OSCAR and embraces him from the back.
ANDRÉ
Let me go! Let me go! I want to die! I want to die!
OSCAR
Never will I let you go out there just to die.
I love you as my little brother. It will never
change just because you are the son of
that evil man. I am your friend André…
your true friend…!
I love you as my little brother. It will never
change just because you are the son of
that evil man. I am your friend André…
your true friend…!
INTERIOR. CONVENT. CHAPEL. NIGHT.
The LABRADOR comes out from the “closet”. JACK is following the LABRADOR. The LABRADOR halts and barks.
POV JACK. REMUS enters the door with the ARMED MEN.
Back on JACK, he is stunned and terrified.
REMUS
How are you Jack? What a small world! You are a fool.
I really intentionally let you escaped from me at the
riverbank so that I could follow you and know where
you are hiding the kids. Now, tell me where are Oscar
and André? ... and the other kids?
riverbank so that I could follow you and know where
you are hiding the kids. Now, tell me where are Oscar
and André? ... and the other kids?
JACK
I don’t know. I really do not know.
REMUS signals the ARMED MEN to seize JACK. Two of the ARMED MEN seize JACK. The other ARMED MEN go upstairs by the “closet”. REMUS puts the nozzle of his gun into JACK’S nostril.
REMUS
You better tell me where are they or I will blow your nose.
We will see if not all of your nose waxes will explode out.
JACK
No, don’t. I will lose something to stir in my nostrils.
A feeling of ecstasy is there. Do you want to taste it?
REMUS is very angry.
REMUS
How about tasting the bullets?
JACK comically impersonates effeminate gestures and voice.
JACK
I will. But not that metal for I can be infected
with tetanus. I want that ice cream bar for it is
thick, hard, big, and fleshy… it’s sticky.
with tetanus. I want that ice cream bar for it is
thick, hard, big, and fleshy… it’s sticky.
REMUS
Do you want me to blow your head?
JACK acts more effeminately.
JACK
Oh, God! Please don’t! Just sprinkle me with your juice.
REMUS hits JACK hardly on the head with the gun.
REMUS
The file of your debts with the Triad and me
is already too high and too heavy.
is already too high and too heavy.
OSCAR enters the door. Too much rage can be seen in his angry eyes and trembling lips.
OSCAR
But which is heavier than using innocent children
in drug trafficking?
in drug trafficking?
REMUS aims his gun at OSCAR. JACK shouts –
JACK
No, not my son!
JACK forcibly frees himself by using some judo. He runs towards OSCAR and hugs him tightly. JACK is in tears.
JACK
You can kill me. But please, not my son!
REMUS
How touching! The Prodigal Son and his
Merciful Father! What a scene for an
award-winning picture!
Merciful Father! What a scene for an
award-winning picture!
CUT TO: The other ARMED MEN go downstairs with MARIANA, SISTER BIANCA, LIZA, the little ORPHANS, and the STREET KIDS. REMUS is surprised to see MARIANA.
REMUS
You are alive? You are all full of surprises.
You are all like Egyptian cats with nine lives.
OSCAR
You are like the big elephant
that is afraid of a little mouse.
that is afraid of a little mouse.
REMUS angrily presses the mouth of OSCAR, whose hands are handcuffed behind. But OSCAR bites REMUS’S hand. REMUS screams in pain. Then with rage, REMUS spanks OSCAR with the gun. Blood spills from OSCAR’S mouth. MARIANA yells –
MARIANA
Stop it, Remus! He has no match to you!
Don’t be a coward to fight a defenseless kid!
EXTERIOR. CONVENT. PARKING AREA. NIGHT.
ANDRÉ is hiding behind a wall not very far from a parked gray Sprinter cargo van and a black Porche Boxster. The LABRADOR is standing beside ANDRÉ.
POV ANDRÉ. The ARMED MEN forcibly push the all handcuffed and gagged JACK, OSCAR, MARIANA, SISTER BIANCA, LIZA, the little ORPHANS, and the STREET KIDS into a gray Sprinter cargo van and ARMED MAN #2 closes the door after everybody gets in. REMUS opens the door of the Porche Boxter’s driver’s seat and steps into the car and closes the door. The van and the Porche Boxter drive away towards the gate.
Back on ANDRÉ, with a gun on his hand, he stands up. The LABRADOR suddenly runs after the cars.
ANDRÉ
Annwyn, come back here!
EXTERIOR. CONVENT. GARDEN. MORNING.
ANDRÉ is crying at the foot of the gigantic marble statue of the Virgin of Aparecida. A silver Victoria detective car pulls over near the garden.
POV ANDRÉ. CHRISTOPHER and EVANDRO step down from the silver Victoria detective car.
Back on ANDRÉ, he quickly hides his gun beneath the plants in the garden.
CHRISTOPHER
André… why are you crying? Can you tell us your problem?
Maybe we can help you.
ANDRÉ
They are taken Sir. Sir Remus and his men had kidnapped them.
EVANDRO and CHRISTOPHER are surprised.
CHRISTOPHER
Are you sure Remus is alive?
EVANDRO
How about Jack? Is he alive too?
HIGHWAY. DAY.
On Victoria detective car driving along the seashore.
CUT TO: The LABRADOR runs along the boulevard.
INTERIOR. VICTORIA DETECTIVE CAR. DAY.
EVANDRO is on the driver’s seat. CHRISTOPHER sits beside EVANDRO. ANDRÉ, on the backseat, points the LABRADOR.
ANDRÉ
Sir, it is Annwyn. He is Oscar’s dog.
EVANDRO
Do not call him. We will follow that dog.
INTERIOR. BRAZILIAN CENTRAL COMMAND. WAR ROOM. NIGHT.
The MILITARY STAFF are seated around the circular arrangement of executive tables facing two projection screens showing a military coordinate map and a Spanish villa. Right center below the projection screens stand EVANDRO, briefing the MILITARY STAFF. ANDRÉ, with the LABRADOR, is seated quietly beside CHRISTOPHER.
EVANDRO
This is not the last battle of this war against illegal drugs,
crime, and corruption.But as long as they are here, we
will stop them. If they want to escape somewhere else,
we will chase them until we capture them dead or alive.
But we must be sure and careful enough to protect the
hostages and all those young and defenseless kids
crime, and corruption.But as long as they are here, we
will stop them. If they want to escape somewhere else,
we will chase them until we capture them dead or alive.
But we must be sure and careful enough to protect the
hostages and all those young and defenseless kids
who have been used by the drug-syndicate as fronts.
We will fight them in full battle gears.
We will fight them in full battle gears.
ESTABLISHING SHOT: EXTERIOR. SPANISH VILLA. NIGHT.
There is a high firewall with tall remote-controlled gate, which is well guarded by ARMED MEN. Far inside the gate majestically stands a two-storey Andalucian golden palace, which is well lighted. It has another smaller two-storey tower shaped like a kiosk at the top in the middle of the palace. The palace has many arches. There is a lighted fountain in the front yard. Right beside the fountain stand a life-size marble statue of the Afro-brazilian god Exu -- who is naked with a large erect penis, horned, bat-winged, and is holding a chalice on the left hand and a trident on the right hand. Left beside the fountain stand a life-size marble statue of the Afro-brazilian goddess Iemanjá – who is a naked mermaid with large breasts, wearing a string of pearls, a tiara, and a long white veil with gold stars; and holding a richly decorated emerald conch-shaped fan on her right, with both hands raised upward as if praising the FULL MOON that is rising over the palace.
CUT TO: EVANDRO, CHRISTOPHER, and the MILITARY STAFF are running like jaguars from the woods towards the high firewall. They all have a Kevlar helmet, mounting bracket and night-vision goggles, radio intercom headset, antenna, cord for second radio handset, two ammo pouches of six magazines with 30 rounds each, M4 carbine with grenade launcher and laser designator, bandage pouch, gas-mask pouch, side arms and holsters on both legs, knee pads, and insulated leather boots. They lean on the firewall. EVANDRO whispers --
EVANDRO
Are all of you wearing a bulletproof vest?
INTERIOR. ANDALUCIAN PALACE’S KIOSK-LIKE TOWER. HALL. NIGHT.
The all handcuffed and gagged JACK, OSCAR, MARIANA, SISTER BIANCA, LIZA, the little ORPHANS, and the STREET KIDS are seated near the open windows, where the FULL MOON can be seen. ARMED MEN are on the guard. The door opens. The other ORPHANS enter followed by other ARMED MEN. REMUS enters. Other two ARMED MEN enter pulling MILDRED inside. MILDRED is screaming –
MILDRED
Let me go! Let me go! Let me go!
The two ARMED MEN push MILDRED to the floor.
MILDRED
Why are you doing this to me, Remus?
REMUS
I have known your cover. You betrayed us.
All along you are fooling us. You are a good
actress but a lousy DEA undercover agent like Jack.
All along you are fooling us. You are a good
actress but a lousy DEA undercover agent like Jack.
Do you see them? Soon all of them will die in my hands.
MILDRED cries –
MILDRED
When will you stop selling your soul to the Devil?
Don’t you have a heart for these innocent souls?
They have done nothing wrong to you?
Don’t you have a heart for these innocent souls?
They have done nothing wrong to you?
REMUS sarcastically laughs.
REMUS
I am the Devil in flesh, Mildred. I have no heart.
I have no plans to change my life for I am enjoying it now.
I have no plans to change my life for I am enjoying it now.
SOUND OVER: A series of Carbine shots and explosion of grenade. REMUS is surprised. He runs to the window.
POV REMUS. The gate is opened. The ARMED MEN, who are guarding the gate, are all dead and lie on the ground. The MILITARY STAFF led by EVANDRO and CHRISTOPHER are running towards the front yard.
Back on REMUS, he yells –
REMUS
Bullshit! Go and guard the master’s chamber!
Protect the Father! C’mon, hurry! Move!
Protect the Father! C’mon, hurry! Move!
The ARMED MEN quickly aim their armalites at the ORPHANS, STREET KIDS, LIZA, JACK, OSCAR, and MILDRED.
EXTERIOR. ANDALUCIAN PALACE. FRONT YARD. NIGHT.
There are exchanges of firings between the MILITARY STAFF and the ARMED MEN. REMUS comes out from the open door and fires at CHRISTOPHER who quickly hides behind the statue of Iemanjá. CHRISTOPHER shouts –
CHRISTOPHER
You must better surrender, Remus, before it’s too late!
You still have time to repent.
REMUS
Why will I repent? What have I done wrong? I only do
what I think is good for humanity. I killed those kids to
save them from the cruelty and injustice of this world!
I didn’t want them to experience the pains I have.
I didn’t want them to be mistreated like me.
what I think is good for humanity. I killed those kids to
save them from the cruelty and injustice of this world!
I didn’t want them to experience the pains I have.
I didn’t want them to be mistreated like me.
Murder is neither weak nor slow-witted.
Murder is gutsy and daring.But I am not a murderer.
I’m only a killer. The real murderer is moral poverty.
Murder is gutsy and daring.But I am not a murderer.
I’m only a killer. The real murderer is moral poverty.
REMUS keeps on firing at CHRISTOPHER.
REMUS
Look at you! I love you and you know that.
But what are you doing to me?I kept my promise
in taking you here with me. But what prize did I get?
But what are you doing to me?I kept my promise
in taking you here with me. But what prize did I get?
You took all the people I loved. You stole every
treasure I had. Worst of all, you left me. Yes, you have
returned perhaps. But not by my side. You’re not
only killing me. You’re murdering me.
treasure I had. Worst of all, you left me. Yes, you have
returned perhaps. But not by my side. You’re not
only killing me. You’re murdering me.
CHRISTOPHER
You are wrong. You are mistaken. You are only
deceived and deluded with your cravings for
revenge and vengeance against your misery.
deceived and deluded with your cravings for
revenge and vengeance against your misery.
I’m doing this because I want you to live with
a peaceful life and out of danger.I love you
as my only cousin and as my only friend.
But it didn't pay? You stole the only woman
I loved. You killed her and our only child!
a peaceful life and out of danger.I love you
as my only cousin and as my only friend.
But it didn't pay? You stole the only woman
I loved. You killed her and our only child!
REMUS, in tears, yells –
REMUS
But I loved you more than a cousin!
Can’t you see that? Hadn’t you realized that?
Can’t you see that? Hadn’t you realized that?
Besides, I didn’t kill your child! They are
fooling you! Mariana is not dead. She is alive.
She is one of the hostages.
fooling you! Mariana is not dead. She is alive.
She is one of the hostages.
CHRISTOPHER is puzzled. SOUND OVER: Raging rounds of magazines and shouting of men. REMUS suddenly looks at the other direction.
POV REMUS. One of the MILITARY STAFF throws a grenade at some ARMED MEN. There is a big blast from the grenade explosion. Some of the ARMED MEN are thrown away dead and some instantly fall dead decapitated.
Back on REMUS, he is very shocked and trembling.
FLASHBACK CUT: INTERIOR. COMMON BRAZILIAN HOUSE. KITCHEN. NIGHT.
REMUS’S FATHER is sitting by the dining table. There are cocaine and cocaine paraphernalia, marijuana, and wine on the table. REMUS’S FATHER is sniffing cocaine, then is smoking marijuana, and then is drinking wine. He stands up and opens one of the kitchen cabinets over the lavatory.
POV REMUS’S FATHER. The cabinet is empty.
Back on REMUS’S FATHER, angrily slamming the cabinet doors, he shouts –
FATHER
Remus! Remus! Remus…!
The TEEN-AGE REMUS enters running.
TEEN-AGE REMUS
What is it, Father?
REMUS’S FATHER immediately hits and spanks the TEEN-AGE REMUS.
FATHER
Where is the Rohypnol? You had drunk that, did you?
I need that!
I need that!
TEEN-AGE REMUS
No, I haven’t. Why will I drink it? I know it will do no
good to my body.
good to my body.
REMUS’S FATHER kicks the TEEN-AGE REMUS on the stomach on and on. The TEEN-AGE REMUS cries out loud –
TEEN-AGE REMUS
Please, stop it! Stop it, Father! I’m hurt!
REMUS’S FATHER stops. But he strips off the shirt of the TEEN-AGE REMUS, tearing it. Then he pulls forcibly the short pants of the TEEN-AGE REMUS.
TEEN-AGE REMUS
What are you doing, Father? Stop! Please stop!
FATHER
Have sex with me. I’ll pay you.
I need it now. I’ll give you a lot
of cocaine,marijuana, and Rohypnol.
I will not spank you if you will give me
what I want.
I need it now. I’ll give you a lot
of cocaine,marijuana, and Rohypnol.
I will not spank you if you will give me
what I want.
The TEEN-AGE REMUS bursts into tears trying to free from his FATHER.
TEEN-AGE REMUS
No, please! No!
CUT TO: EXTERIOR. NIGHT CLUB. DOORWAY. NIGHT.
A black Mercedes-Benz pulls over. REMUS’S FATHER comes out from the nightclub’s door forcibly pulling the crying TEEN-AGE REMUS.
FATHER
Hurry up, you lousy and clumsy bastard!
TEEN-AGE REMUS
No! I don’t want this job! Stop selling me
from these sex maniacs like you!
from these sex maniacs like you!
REMUS’S FATHER squeezes the mouth of the TEEN-AGE REMUS. The window at the backseat opens. A blonde man, a SENATOR, is seen at the backseat.
FATHER
Take him, Senator. You will like him.
His name is Remus. He is only twelve years old.
His name is Remus. He is only twelve years old.
SENATOR
Is he clean? You know that I’m afraid of HIV
and other sexually transmitted diseases. Most
of all, does he have a sealed lips? I don’t want
to ruin my political career. Everybody knows that
and other sexually transmitted diseases. Most
of all, does he have a sealed lips? I don’t want
to ruin my political career. Everybody knows that
I am a pious man who has passed too many laws
against prostitution and homosexuality.
against prostitution and homosexuality.
CUT TO: EXTERIOR. GROUNDS OF THE CANDELARIA CATHEDRAL. DAY.
The TEEN-AGE REMUS is sitting among the HOMELESS KIDS. A police patrol car suddenly pulls over. Two POLICEMEN step down from the car, seize the TEEN-AGE REMUS, and handcuff him.
TEEN-AGE REMUS
What have I done wrong? I never did anything wrong!
I only stowed away from my father for he was abusing me.
Please, Sir, do not take me to the prison. I don’t want to die!
POLICEMAN #1
You are under arrest for using drugs.
Tears are beginning to flow from the eyes of the TEEN-AGE REMUS.
TEEN-AGE REMUS
No! You are mistaken, Sir. I am not using drugs.
The two POLICEMEN push the TEEN-AGE REMUS into the patrol car. The TEEN-AGE REMUS screams –
TEEN-AGE REMUS
Help me! Somebody help me! Help…!
The HOMELESS KIDS pick up stones and throw them at the police car, breaking the glass shields and damaging the car.
CUT TO: INTERIOR. POLICE HEADQUARTERS. JAIL. DAY.
The head of the TEEN-AGE REMUS is pushing thru and fro a barrel full with water by the POLICEMEN. Then POLICEMAN #2 forcibly take off the short pants of the wet TEEN-AGE REMUS. Then the POLICEMEN are sodomizing the screaming and crying TEEN-AGE REMUS who cannot defend himself for many POLICEMEN are holding him.
TEEN-AGE REMUS
No! Please stop! Enough! Stop it!
CUT TO: EXTERIOR. GROUNDS OF THE CANDELARIA CATHEDRAL. MIDNIGHT.
Fifty HOMELESS KIDS are sleeping on the cardboards. The TEEN-AGE REMUS, in tears, is sitting beside these HOMELESS KIDS. He is shuffling a set of playing cards. He is talking to himself –
TEEN-AGE REMUS
One, two, three, four, five… fifty…! There are fifty of them
who are homeless here. Me? I am the fifty-first. If Christopher
were here with me, he might be the fifty-second homeless kid.
We are like these playing cards which are composed of fifty-two.
I wish I am just one of these playing cards so I couldn’t feel this
kind of misery.
The TEEN-AGE REMUS looks at the FULL MOON. He sees the face of his smiling MOTHER on the FULL MOON.
TEEN-AGE REMUS
Mother… Take me with you…!
Suddenly, a rushing black Mercedes-Benz drives up. The windows open. A number of armed MILITARY POLICE is seen inside the car. The MILITARY POLICE is beginning to shoot out the sleeping HOMELESS KIDS. REMUS is terrified. SOUND OVER: Series of gunshots.
POV TEEN-AGE REMUS. Four HOMELESS KIDS instantly die. One HOMELESS KID runs but he is shot too and falls dead. Another nine HOMELESS KIDS are shot but they are still breathing and covered with gushing blood. Then the Mercedes-Benz pulls over. The MILITARY POLICE step down and forcibly pull two other HOMELESS KIDS into the car.
Back on the TEEN-AGE REMUS, he is trembling and covering his ears. His shirt is with tinted with blood gushing from the dying HOMELESS KID beside him.
CUT TO: The black Mercedes-Benz drives away. The TEEN-AGE REMUS is running after the car. He is shouting –
TEEN-AGE REMUS
No! Not my friends! They are innocents!
Please, they didn’t throw stones at your
patrol car this morning!
Please, they didn’t throw stones at your
patrol car this morning!
CUT TO: EXTERIOR. GARDENS OF MUSEUM OF MODERN ART. EARLY DAWN.
The TEEN-AGE REMUS hides behind a tree as he watches the MILITARY POLICE beating the other two HOMELESS KIDS. The Mercedes-Benz is parked just a little distance from the tree. SOUND OVER: Gunshots.
POV TEEN-AGE REMUS. The two HOMELESS KIDS are shot to death by the MILITARY POLICE. Then the MILITARY POLICE dump the HOMELESS KIDS in the gardens.
Back on the TEEN-AGE REMUS, he screams in anger and pain.
RETURN CUT: EXTERIOR. ANDALUCIAN PALACE. ARCHWAY. NIGHT.
REMUS, on machine gun, is screaming as he shoots the approaching MILITARY STAFF. Some other MILITARY shoot back at REMUS who is hit on the left arm. CHRISTOPHER shouts –
CHRISTOPHER
No…! Do not kill him!
REMUS runs back into the palace.
INTERIOR. ANDALUCIAN PALACE. MASTER’S CHAMBER. NIGHT.
The FATHER is sitting on a movable throne on a high circular platform in front of gigantic screens and a large number of computers. Only his back is shown. He is wearing a black French coat with red cape. He is drinking wine from a chalice. Fifteen healthy TEEN-AGE GIRLS in brilliant white skirts and loose shirts and fifteen TEEN-AGE BOYS in brilliant white loose shirts and pants are dancing gracefully around the high platform, twirling in a counterclockwise to an increasingly sensual rhythm, singing hymns in a mixture of Portuguese and Yoruban. The double doors open. REMUS enters.
REMUS
Father!
The TEEN-AGE GIRLS and the TEEN-AGE BOYS stop dancing. The FATHER angrily replies in a loud voice mixed with heavy echo –
FATHER
Why did you come here and endanger our realm?
REMUS
I have no choice. All our secret hideouts and safe houses
have been tracked by the DEA. This is the only place left.
The FATHER, still on his back, yells –
FATHER
Whose doing is this? Is it yours?
REMUS
No, Father. It is of the Butterfly, the Tiger, and the Rooster
with the help of the children.
The FATHER turns the throne and faces REMUS. REMUS is very shocked and surprised.
FATHER
Bring the children here! And all the hostages!
REMUS
You? All along it was you?
The FATHER laughs sarcastically.
REMUS
Why are you doing this to me? I suffered too much pain
because of you! I became evil because of you! I stowed
away to escape from you. But I could not believe that it
is happening to me. That I came to sell my soul to the
Devil whom I had evaded from and whom I hated so
much.You must die!
because of you! I became evil because of you! I stowed
away to escape from you. But I could not believe that it
is happening to me. That I came to sell my soul to the
Devil whom I had evaded from and whom I hated so
much.You must die!
REMUS fires successively but the FATHER pushes one of the buttons on the right arm of the throne. A bulletproof glass shield rises in front of the throne shielding it like a cylinder. The TEEN-AGE GIRLS and the TEEN-AGE BOYS are screaming while running away in different directions towards the other two doors in the right and left sides of the chamber. The FATHER sarcastically laughs. The high circular platform and the circular manhole of the ceilings open and the throne with the FATHER elevates upward.
REMUS yells angrily –
REMUS
Shit! Bullshit! Damn you, Devil!
REMUS wallops the glass shield shouting –
REMUS
Open up! Open up!
REMUS runs towards the double doors.
INTERIOR. ANDALUCIAN PALACE. MASTER’S CHAMBER’S DOORWAY. NIGHT
REMUS comes out from the door rapidly. He runs towards the staircase leading to the kiosk-like tower.
CUT TO: REMUS is running upstairs to the kiosk-like tower.
INTERIOR. ANDALUCIAN PALACE. KIOS-LIKE TOWER. NIGHT
MARIANA, MILDRED and JACK are no longer gagged but still they are handcuffed and feet-tied. The FATHER is walking thru and fro. He stops and looks at MILDRED and JACK.
FATHER
So you two had betrayed me. I had worked hard
and sacrificed a lot just to build an empire. But what
have you done? You are ruining it and crumpling it to
the ground.
and sacrificed a lot just to build an empire. But what
have you done? You are ruining it and crumpling it to
the ground.
MILDRED
But what is good in living in a palace where not a single
human being is living in it? Instead you can only find a
single owl, calling for everybody’s death?
human being is living in it? Instead you can only find a
single owl, calling for everybody’s death?
The FATHER hits MILDRED’S face hard.
FATHER
How dare you call me an owl? Who give you the right
for that blasphemy against your Father? Do you think
your claws are sharp enough to attack me my little kitten?
for that blasphemy against your Father? Do you think
your claws are sharp enough to attack me my little kitten?
MILDRED
You are not my father! Do not play god on me! I am not
afraid of you! I am ready to die to save these little children!
afraid of you! I am ready to die to save these little children!
The FATHER looks at the ARMED MEN.
FATHER
Kill her!
JACK
No!
MARIANA cries –
MARIANA
No, please, Sir! Have mercy on her! She is only a woman,
weak compared to your strength. Don’t you have a sister?
Your mother too is a woman. Please, I beg you! Spare her
your mercy! Spare her life!
FATHER
Do not listen to that woman. Kill the Tiger!
MARIANA hysterically screams –
MARIANA
No! Don’t kill my sister! I beg you, please!
JACK
You are sisters?
The ARMED MEN point their guns at MILDRED and cock them. REMUS, with guns on both hands, enters shooting the ARMED MEN dead. Startled, the FATHER grabs OSCAR as hostage pointing a gun on his head.
FATHER
Let me go, Remus! Or I will make a hole on this boy’s head!
REMUS
Go on! Kill him! I don’t care about him. All I care now
is to kill you!
is to kill you!
OSCAR is very frightened. JACK and MILDRED are very frightened too.
JACK
No! Do not kill Oscar!
MILDRED
Remus, please stop him! Oscar is our son! I swear it to God!
Save our son!
Save our son!
POV REMUS. OSCAR is crying. The FATHER gives a diabolical smile.
Back on REMUS, he yells –
REMUS
Release that kid and be a man to face me!
FATHER
One move closer and I will kill your son.
OSCAR, crying, yells –
OSCAR
He is not my father! I am not his son! My father is Jack!
REMUS
Haven’t you heard what the kid says? He is not my son.
Or better said, he is not a grandson of the Afro-Brazilian
Devil! If you want to kill him, go on!
Devil! If you want to kill him, go on!
The FATHER angrily throws OSCAR to the floor and begins shooting REMUS, who jumps down and hides behind a pillar. The FATHER runs towards the window. SOUND OVER: Whirping of the helicopter rotors.
POV the FATHER. A helicopter is hovering outside the window.
Back on the FATHER, standing on the window jamb, he is holding on the landing skid of the helicopter. Two of the ARMED MEN in the helicopter are helping the FATHER to climb up into the helicopter.
REMUS
You cannot get away alive!
ANDRÉ
(Voice-over)
Help! Help me!
REMUS looks up.
POV REMUS. ANDRÉ, held by ARMED MEN, is in the helicopter’s doorway. ANDRÉ’S feet are in the air for the ARMED MEN are on position to throw him down.
ARMED MAN #2
One more false move, Remus, and you will never
see your son again.
see your son again.
REMUS
He is not my son! He is just an ordinary orphan in
the orphanage!
the orphanage!
MILDRED cries –
MILDRED
No! Do not kill André! Remus, he is your son!
He is Oscar’s younger brother whom Jack had
left at your door. Mariana adopted her. I did it
to save my sister Mariana from your death
threats and to save our other son from the
Triad’s exploitation of the innocent children.
He is Oscar’s younger brother whom Jack had
left at your door. Mariana adopted her. I did it
to save my sister Mariana from your death
threats and to save our other son from the
Triad’s exploitation of the innocent children.
OSCAR
Please, Sir! Please, save André!
REMUS, running toward the window, shoots a series of shots at the FATHER who falls down to the ground dead at the foot of the statue of Exu. The ARMED MEN drops ANDRÉ. REMUS, holding a rope, jumps outside the window and catches ANDRÉ. EVANDRO and CHRISTOPHER enter the door. EVANDRO, with his M4 Carbine with grenade launcher, shoots the ARMED MEN in the helicopter who fall dead. Then EVANDRO throws a grenade at the helicopter that is flying away.
POV REMUS. Explosion of the helicopter.
Back on REMUS, on the rope, he helps ANDRÉ hold the rope and climb up.
POV REMUS. MILDRED, JACK, MARIANA, and CHRISTOPHER are holding the other end of the rope. OSCAR is pulling ANDRÉ upward to the kiosk-like tower. ANDRÉ looks down at him, smiling.
POV ANDRÉ. There is a big smile in REMUS’S face. Then suddenly, REMUS lets go of the rope. REMUS is falling.
Back on ANDRÉ, he shouts –
ANDRÉ
No…!
ANDRÉ drops the set of playing cards he is holding on his right hand. The playing cards fall twirling behind REMUS. ALL are shouting and screaming –
CHRISTOPHER
Remus…!
MILDRED, MARIANA, & OSCAR
No…!
REMUS drops dead at the foot of the statue of Iemanjá with the playing cards scattered all over and all around him.
EXTERIOR. AT A WOODY RIVER. NIGHT.
The FULL MOON is rising over the oak trees lighting the rose tree. At the foot of the rose tree stand MILDRED and JACK in fairy-like attires. MILDRED is wearing a garland of roses around her head and is wearing the “necklace of harmony” around her neck. She is holding a wand made of oak branch. JACK is half naked. He is only wearing oak leaves on his privy. And he is wearing a crown of rose leaves. And he is holding a silver dagger. They are in the middle of a circle of white powder and gases. In the middle of the circle there is a boiling cauldron, which is set on a stove. Outside the circle, the ORPHANS led by ANDRÉ, the STREET KIDS led by OSCAR, and the DRUIDS are dancing gracefully around the fire, twirling in a counterclockwise to an increasingly sensual rhythm, singing hymns in a mixture of Portuguese and Yoruban. All of them are in white. The LABRADOR is barking at them. MILDRED, holding a candle, casts the circle. MILDRED and JACK embrace each other and begin the Beltane dance and they are touching each other’s bodies in a very seductive way. The drums beat. The guitars and harps strum.
INTERIOR. OLD BASILICA. DAY.
MARIANA and CHRISTOPHER are wed. They are standing in front of the altar.
CATHOLIC PRIEST
Now I pronounce you, husband and wife.
You may now kiss the bride.
You may now kiss the bride.
CHRISTOPHER kisses the lips of MARIANA. DON MIGUEL, JOY, MILDRED, JACK, EVANDRO, LIZA, OSCAR, ANDRÉ, SISTER BIANCA, the ORPHANS, and the STREET KIDS all give a round of applause. SOUND OVER: Clanging of church’s bells.
INTERIOR. ORPHANAGE. LIVING ROOM. DAY.
MARIANA opens the curtains. Lights come in. SOUND OVER: Ringing of bells. The ORPHANS are all running downstairs. DON MIGUEL, ANDRÉ, and CHRISTOPHER follow downstairs.
DON MIGUEL
Good morning my lovely daughter!
MARIANA
Good morning, Father.
DON MIGUEL holds MARIANA’S cheeks and kisses her forehead.
DON MIGUEL
How are you today?
MARIANA
I am very happy, Father.
JOY enters from the open door. She is holding a basket with a little BABY inside it.
JOY
Ma’am Mariana, I found this little baby outside. Look!
I found this playing card too with the baby. A Joker-card.
Let me read the quotation written on it… Lament of a fool…
Would that I were a fool that I'd not see the things that make
men wise, as wisdom makes cowardice of foolish bravery?
men wise, as wisdom makes cowardice of foolish bravery?
MARIANA takes the Joker-card and the BABY. She embraces it tenderly. MARIANA raises the BABY upward. She dances around. Then she sits on the couch looking at the BABY. ALL surround the smiling MARIANA who is embracing the BABY.
MARIANA
This child is another fallen card who needs
our tender loving care.
our tender loving care.
E N D
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