COSAS QUE TE DIRÍA SI ESTUVIERAS DELANTE

WikiRebels: EL documental de Wikileaks

noreply@blogger.com (Sugestionando86) — Thu, 23 Dec 2010 15:03:00 +0100

Para saber un poco más sobre Wikileaks y su creador:

Investigación: Päivi Suhonen , Johannes Wahlström, Armin Turkanovic
Productores: Bosse Lindquist, Huor Jesper
Fotografía: Lars Granstrand, Sven Lindahl
Montaje: Michael Hallberg
Jefe de proyecto: Johan BranstadProducción: SVTPaís de producción: Suecia
Año: 2010Duración: 57 min.

ERIK SATIE: PIANO WORKS

noreply@blogger.com (Sugestionando86) — Thu, 23 Dec 2010 10:20:00 +0100

Para aquellos momentos en los que el eterno gris y la rapidez extrema estén acabando con tu sistema inmunológico y la armonía de tus chakras, o para cuando simplemente desees un baño de espuma y música tranquila, lo mejor es Erik Satie, compositor y pianista francés de carácter transgresor y minimalista, que probablemente habrás escuchado en la película "El velo pintado".

Disfrútalo:
HOTFILE: http://hotfile.com/dl/46975540/4135921/Erik_Satie_-_Piano_Works.rar.html

RAPIDSHARE:
http://rapidshare.com/#!download|722tl|255051496|ErSatMP1.rar|86233
http://rapidshare.com/#!download|37dt|255057757|ErSatMP2.rar|88165
http://rapidshare.com/#!download|469l3|255063842|ErSatMP3.rar|91758
http://rapidshare.com/#!download|254l35|255070342|ErSatMP4.rar|94069
http://rapidshare.com/#!download|759l3|255075641|ErSatMP5.rar|76496

BLACK SWAN: FULL MOVIE

noreply@blogger.com (Sugestionando86) — Mon, 20 Dec 2010 10:20:00 +0100

Aquí os traigo la película completa.
Inglés sin subtitulos

SIMPLEMENTE RELAX

noreply@blogger.com (Sugestionando86) — Tue, 14 Dec 2010 14:07:00 +0100

BLACK SWAN. Lo nuevo de Aronofsky

noreply@blogger.com (Sugestionando86) — Fri, 10 Dec 2010 10:42:00 +0100

BLACK SWAN sigue la historia de Nina (Portman), una bailarina en una compañía de ballet de la ciudad de Nueva York cuya vida, como todos los de su profesión, se consume totalmente con la danza.

Cuando el director artístico Thomas Leroy (Vincent Cassel) decide sustituir a la prima bailarina Beth MacIntyre (Winona Ryder) para la producción inicial de su nueva temporada, El Lago del Cisne, Nina es su primera opción.

Pero Nina tiene competencia: una nueva bailarina, Lily (Kunis), quién también impresiona a Leroy .

El Lago del Cisne requiere de una bailarina que pueda encarnar tanto el Cisne Blanco, la pura imagen de la inocencia y la gracia,como el Cisne Negro, todo astucia y sensualidad.
Nina encaja perfectamente en el papel del Cisne Blanco mientras que Lily es la verdadera personificación del Cisne Negro. Tras un período de idas y venidas entre la rivalidad y la amistad, Nina descubre que en su interior también hay un lado oscuro.

El Cisne Negro tiene previsto su estreno en España para el 28 de Enero del 2011.
Director: Darren Aronofsky

Writers:

Mark Heyman, Andres Heinz,John J. McLaughlin

Stars: Natalie Portman, Mila Kunis and Vincent Cassel

TRAILER:

Lo nuevo de los COHEN inaugurará la 61ª Berlinale

noreply@blogger.com (Sugestionando86) — Fri, 10 Dec 2010 00:44:00 +0100

El 61ª Festival Internacional de Cine de Berlín se inaugurará con la película Valor de ley, de los oscarizados Joel y Ethan Coen, en el Berlinale Palast el 10 de febrero de 2011.

Después de Sangre fácil (1984), su sensacional debut cinematográfico, los hermanos Coen han tenido muchos grandes éxitos tanto de público como de crítica. Entre ellos, Fargo (1996, Óscar al mejor guión original), No es país para viejos (2007, tres Óscars, en las categorías de mejor guión adaptado, mejor película y mejor director), Quemar después de leer (2008) y, más recientemente, Un tipo serio (2009).

Con Jeff Bridges, la famosa pareja de directores presentó su brillante comedia El gran Lebowski a competición en la Berlinale de 1998. Ahora los tres regresan a Berlín con un western dramático. Valor de ley está protagonizada por los oscarizados Jeff Bridges (Corazón rebelde) y Matt Damon (El ultimátum de Bourne), la estrella de Hollywood Josh Brolin (Wall Street) y la joven promesa norteamericana Hailee Steinfeld.

Esta reinterpretación del clásico del western de 1969 Valor de ley (con John Wayne) narra la historia de Mattie (Hailee Steinfeld), una chica de 14 años que parte en busca del hombre que asesinó a su padre. Como las autoridades no le ayudan, ella contrata al duro jefe de policía “Rooster” Cogburn (Jeff Bridges), quien, junto a ella y el ranger de Texas LaBoeuf (Matt Damon), le siguen la pista al asesino (Josh Brolin).

Valor de ley se proyectará en exclusiva mundial fuera de concurso en el 61º Festival Internacional de Cine de Berlín.

Paramount, distribuidores de la película, estrenará Valor de ley en los cines Españoles el 11 de Febrero de 2011

TRAILER:

FULL METAL VILLAGE

noreply@blogger.com (Sugestionando86) — Thu, 9 Dec 2010 23:35:00 +0100

A mal tiempo buen entretenimiento ¿Y qué hay mejor que descubrir otro dato interesante sobre este mundo tan extraño en el que habitamos? Es por esta razón por la que recomiendo FULL METAL VILLAGE.

A través de la mirada de la coreana Sung Hyung Cho, nos introducimos en la Alemania más profunda, más religiosa y más costumbrista. Una Alemania que cada verano tiene que enfrentarse cara a cara con uno de los festivales de Heavy Metal más famosos del mundo. Pastores y supuestos adoradores de Satán comparten por cuatro días, no solo espacio vital, sino una misma misión: sobrevivir una vez más una de las fiestas más descabelladas de la Alemania rural.

Para poder comprobarlo por tu mismo, pulsa AQUI.
Saludos marcianos!!

YOU WILL MEET A TALL DARK STRANGER

noreply@blogger.com (Sugestionando86) — Thu, 9 Dec 2010 23:11:00 +0100

Follows a pair of married couples, Alfie (Hopkins) and Helena (Jones), and their daughter Sally (Watts) and husband Roy (Brolin), as their passions, ambitions, and anxieties lead them into trouble and out of their minds. After Alfie leaves Helena to pursue his lost youth and a free-spirited call girl named Charmaine (Punch), Helena abandons rationality and surrenders her life to the loopy advice of a charlatan fortune teller. Unhappy in her marriage, Sally develops a crush on her handsome art gallery owner boss, Greg (Banderas), while Roy, a novelist nervously awaiting the response to his latest manuscript, becomes moonstruck over Dia (Pinto), a mystery woman who catches his gaze through a nearby windo

Escrito y dirigido: Woody Allen

Reparto:Anthony Hopkins, Naomi Watts and Josh Brolin
Idioma: Inglés

HISTORIAS DE MADRID IV

noreply@blogger.com (Sugestionando86) — Thu, 9 Dec 2010 23:05:00 +0100

Erase una vez algo en algún lugar. No en este, donde la nada y el hacer nada están a la orden del día.

Todos los días buscaba razones para no cortarse las venas o ingerir arsénico con coca cola. Incluso, el descubrir que unas bacterias en otro planeta gélido se abastecían de ese ordinario veneno era toda una ironía a la que ya no podía encontrar la gracia. Las fantasías se habían reducido y los horarios se habían vuelto más estables. Su sentido del humor se había vuelto vulgar y ya no le quedaba cabello en la frente que quemar.

“Necesito dar un paseo” El tercero de hoy. La nieve penetraba por los surcos de sus zapatillas deportivas congelando así sus pies. No sentía tres de sus dedos “En fin, si me los tienen que amputar, al menos habré hecho algo emocionante hoy”

La noche anterior había bebido demasiado. Ya no aguantaba el vino como antes. Aunque más vale una increíble resaca que aguantar una velada de conversaciones estúpidas en pleno estado de sobriedad.

Caminaba con prisa, como si eso le ayudase a recuperar el tiempo perdido en su cama de 40x145.

Lo único que veía era el abandono de las calles por su pueblo amuermado mientras la nieve se asentaba en esquinas y hojas caducas.

Imágenes de un pasado borroso surgían tal cual flashes desde su subconsciente menos dañado por el alcohol y el imbecilismo. Inspiración. A su busca estoy, se decía. Entonces se cayó. La nieve poluta penetró por sus orificios y poros mientras el resto de su cuerpo amuermado por un exceso de adrenalina fugaz rebotaba contra el asfalto. Al menos, podrá volver hoy a casa con una historia que contar.

Pensamientos distantes

noreply@blogger.com (Sugestionando86) — Thu, 9 Dec 2010 22:57:00 +0100

Las cosas que suceden lo hacen por una razón. Aún la estoy esperando. Al menos que sea dentro de esta existencia. Pues aún me reencarne en un Mohamed IV, hijo de Mohamed III y nieto de Mohamed II, consideraría el retraso de gran inconveniencia y poco uso apropiado.

La nieve cae bajo la influencia de un viento de -7º y los chavales me atosigan con sus pensamientos cotidianos. Tras varios estudios he comprobado una desintegración parcial del tímpano en ambos pabellones auriculares lo que impide a estos individuos escuchar frecuencias por encima de la suya propia. Parecerá extraño, mas es más común de lo que uno imaginaba.

La una y media. La dos. Las cinco...

Me molestan las necesidades fisiológicas, así que sueño con algún día poder funcionar a base de gasóleo 95 sin pérdidas del sistema hidráulico.

RABBIT HOLE. Lo nuevo de Nicole Kidman

noreply@blogger.com (Sugestionando86) — Thu, 9 Dec 2010 22:51:00 +0100

Life for a happy couple is turned upside down after their young son dies in an accident. Based on a play by David Lindsay-Abaire.

Director: John Cameron Mitchell

Writers: David Lindsay-Abaire (play), David Lindsay-Abaire (screenplay)

Stars: Nicole Kidman, Aaron Eckhart and Dianne Wiest

IDIOMA: INGLÉS

LITTLE CHILDREN

noreply@blogger.com (Sugestionando86) — Thu, 29 Apr 2010 22:37:00 +0200

Tras tanto 3D decepcionante, como Alicia en el Pais de las maraviilas o el penosísimo remake de Furia de Titanes, volver la mirada al cine más naturista es en mi opinión la mejor opción, y no cabe la menor duda de que Little children (Juegos secretos), es la mejor de todas.

Dirigida por Todd Field y protagonizada por la maravillosa Kate Winslet junto a Jennifer Connelly y Patrick Willson , Little Children, sabe plasmar las inseguridades y las obsesiones de una sociedad cansada y aburrida que busca superar sus limites de las maneras mas insospechadas: desde el acoso a un pederasta local hasta el tener una aventura con tu vecina de al lado. Toda una critica a la hipocresía más burda sin pecar, por ello, de típico o aburrido. Cada personaje, sin importar si es principal o secundario, está lleno de un trasfondo de inseguridades, de frustraciones, de culpar a los demás de sus desgracias y de alegrarse de las ajenas y de ansiar encajar en una sociedad moribunda y puritana, dotándolo todo y a todos de un realismo puro y arrollador.
Otra de esas creaciones que muestran que la vida puede ser más sorprendente que la ficción.

¡Que disfrutes!

LYKKE LI-YOUTH NOVELS

noreply@blogger.com (Sugestionando86) — Thu, 29 Apr 2010 12:54:00 +0200

Para aquellos momentos en los que más es menos, en que las alianzas son tan temporales como la tecnología Apple, en que los besos son variados y las sonrisas escasas, donde hay un sol de agosto en pleno abril o cuando los proyectos no salen como uno esperaba y las personas son más simples que lo que uno pensaba. Cuando te explotan, cuando te gritan, cuando te dicen que estas más gordo o más delgado, más astuto o más ingenuo, mas callado o más pirado. Cuando las conversaciones se atascan o los jefes te hablan. Cuando los documentos fagocitan tareas nuevas, los ordenadores se bloquean y las descargas duran tres horas y media. Cuando te miras en el espejo y piensas: “¿Qué es esto?” Para cualquier dia del año...aquí os dejo a Lykke li

Track Listing

Melodies & Desires

Dance, Dance, Dance

Im Good, Im Gone

Let It Fall

My Love

Tonight

Little Bit

Hanging High

This Trumpet In My Head

Complaint Department

Breaking It Up
Everybody But Me

Time Flies

Window Blues

LOU RHODES-BELOVED ONE

noreply@blogger.com (Sugestionando86) — Sun, 25 Apr 2010 15:40:00 +0200

Para esos momentos de nostalgia inexplicable y besos suaves, para desconectar del mundo en pleno vagón del metro, para aliviar el estrés después de un corto de facultad o simplemente para tomar un café en buena compañía, AQUÍ os dejo a Lou Rhodes, uno de los mejores descubrimientos musicales en hacía ya bastante tiempo.

TEMAS Y LETRAS

OREN LAVIE: HER MORNING ELEGANCE

noreply@blogger.com (Sugestionando86) — Fri, 23 Apr 2010 22:04:00 +0200

BSO HIERRO 3 = NATASHA ATLAS : GAFSA

noreply@blogger.com (Sugestionando86) — Fri, 23 Apr 2010 12:51:00 +0200

Una película coreana altamente recomendable con una Banda Sonora de impacto.

MUSIKEANDO: REGINA SPEKTOR-HERO

noreply@blogger.com (Sugestionando86) — Fri, 23 Apr 2010 12:26:00 +0200

LA VIDA ES SUGESTIÓN: GUIÓN

noreply@blogger.com (Sugestionando86) — Wed, 14 Apr 2010 16:42:00 +0200

INT. HABITACIÓN. DIA
El despertador marca las 6:30 y empieza a sonar. Elena abre los ojos. Elena se estira y desconecta el aparato.

NARRADOR (V.O.)

Nacida en Madrid el 22 de noviembre de 1976, Escorpio, color favorito azul, sin titulo universitario, sin novio, y sin perspectivas profesionales, Elena Rodríguez Sáez tiene que ir a trabajar.

ELENA

Mierda

Elena se vuelve a acomodar en la cama

NARRADOR (V.O)

O no

El despertador suena otra vez
ENCADENADO A:

INT. BAÑO. DÍA
ELENA tira de la cadena. Se lava la cara.

NARRADOR (V.O.)

Con solo 56 min. y 32 segundos para llegar a su trabajo ordinario con gente ordinaria en una clínica ordinaria de barrio ordinario observando su rostro en el espejo con el agua fría delirándose por su manos y cara, Elena se preguntaba:

ELENA

¿Y tú que miras?

CORTE A:
INT. COCINA-SALON. DÍA
ELENA saca de la nevera un donut y sale por la puerta principal desarreglada.

NARRADOR (V.O.)

Tras un buen desayuno de 140 cal y 0% en fibra, Elena Rodríguez Sáez está finalmente preparada para un

nuevo día de trabajo ordinario en la clínica ordinaria de un barrio ordinario.

ELENA cierra la puerta varias veces con diferentes atuendos, siempre desarreglada y con un donut en la boca.

CORTE A:
EXT. CALLE CASA DE ELENA. PARADA DE AUTOBUS. DIA
ELENA sale del edificio y comienza a caminar hacia la parada de autobús. ELENA observa a la gente que está esperando en la parada. Todos sacan sus ipods y iphones a la vez. Elena le da al play de su reproductor de CDs disimuladamente.

NARRADOR (V.O.)

Todas las mañanas de Lunes a viernes excepto feriados, Elena Rodríguez Sáez tiene que coger el autobús nº58.

En sus 8 minutos y 32 segundos de espera, Elena Rodríguez Sáez aspira algún tipo de contacto con algún tipo de ser humano

El autobús se detiene. Todos entran a paso militar apartándola con brusquedad hacia un lado.

NARRADOR (V.O.) (CONT'D)

Incluso, a veces, el contacto por impacto.

INT. VESTUARIO. DÍA
ELENA se abrocha el uniforme. Se puede leer ELENA en la chaqueta del uniforme.
INT. PASILLOS HOSPITAL. DIA
ELENA está limpiando los pasillos. Un paciente vomita en el suelo. Las enfermeras introducen al paciente en la habitación y le hacen señas a Elena para que se encargue de limpiar el estropicio.

NARRADOR (V.O.)

Pocos conocen la verdadera satisfacción de un buen trabajo ordinario en una clínica ordinaria de barrio ordinario.

Un ANCIANO le toca el culo a ELENA y le guiña un ojo.

NARRADOR (V.O.) (CONTINUACIÓN)

Satisfacción que muy bien conoce Elena Rodríguez Sáez.

EXT. ENTRADA HOSPITAL-PARADA AUTOBUS.NOCHE
ELENA enciende un cigarrillo y suspira.

NARRADOR (V.O.)

Con 3 segundos de vida menos con cada calada aspirada, Elena Rodríguez Sáez observaba el cielo en busca de respuestas.

VAGABUNDO (V.O.)

! ARDEREIS EN EL INFIERNO!

ELENA observa como un vagabundo le grita a todo transeúnte al mirar lo que no le echan nada en el platillo.

VAGABUNDO (V.O.) (CONT'D)

! ARDEREIS EN EL INFIERNO, tacaños!

INT. SUPERMERCADO. NOCHE
ELENA se pasea por la tienda con un cesto.

NARRADOR (V.O.)

Como todos los días, Elena Rodríguez Sáez realizaba la compra imprescindible de pan, cuatro latas de atún y un bote de café instantáneo. Y un bizcocho de chocolate. Por ser hoy.

Los artículos son mencionados a la vez que son escaneados por el dependiente.

DEPENDIENTE

¿Algo más?

ELENA se fija en la sección de licorería.
INT. SALON-COCINA. NOCHE
Una botella de vino.
ELENA está sentada ante un mini bizcocho de chocolate y medio sándwich de atún. En un vaso hay dos velas grandes, una roja y la otra blanca. ELENA llena un vaso de vino.

NARRADOR (V.O.)

Tan solo tres minutos y dos segundos para su oficial trigésimo tercer cumpleaños, Elena Rodríguez Sáez, se sentía…

ELENA

Jodidamente sola

ELENA sopla las velas.

FADE A NEGRO.
INT. HABITACIÒN. DIA
El despertador marca las 7:10 de la mañana. ELENA está roncando con todas sus fuerzas. Hay un vaso junto a una botella de vino vacía y restos de vino sobre la cama. ELENA de repente se despierta. ELENA se estira y se levanta lentamente.

NARRADOR (V.O.)

Solo una botella entera de un buen castilla del 2009 haría que Elena Rodríguez Sáez, por primera vez en tres años, se olvidase de conectar su despertador acerus made in Zhangzhou por las manos de cuatro chinos renegados de la provincia de Qiandongnan Mia Ozu Dongzu.

Imagen de los cuatro chinos.
ELENA se da cuenta de la hora que es y sale de la cama de un salto

ELENA

Joder, mierda, joder, joder.

ELENA se viste con la ropa que está tirada por el suelo y sale corriendo.
EXT. CALLE. CASA DE ELENA. PARADA DE AUTOBUS
ELENA sale del edificio y ve al autobús llegar. ELENA se pone a correr como loca.

NARRADOR (V.O.)

La fría brisa golpea la cara de Elena Rodríguez Sáez con inusitada fuerza, ofreciendo una resistencia de o,1 de coeficiente a una temperatura de 12ºC y a una velocidad de 25 km/h, mientras que el autobús nº58 avanza a una velocidad de 45km/h y una resistencia del 0,45 con un conductor bastante mal humorado por tener que madrugar un martes después de un 0-0 Madrid Osasuna de la noche anterior.

Se muestran los datos y las fórmulas físicas sobre le plano.
ELENA está muy próxima a la parada pero el autobús, no habiendo nadie más en la parada, no se detiene.

NARRADOR (V.O.) (CONT'D)

Como siempre, la maquina y el mal humor de un conductor de la EMT acaban venciendo al hombre medio y Elena Rodríguez Sáez llega tarde al trabajo.

Elena claramente esta irritada y pronuncia la palabra "hijo de puta" pero sólo oímos un pitido agudo.

ELENA está esperando en la parada, chuequeando la hora todo el tiempo.
Otro autobús entra en escena. El autobús se detiene y se abren las puertas. ELENA se sube y mira al suelo. En un escalón hay una foto tamaño DNI.

CONDUCTOR

¿Subes o no?

ELENA observa la foto con atención. Se trata de un chico joven bastante atractivo y con mirada penetrante. La puertas del autobús se cierran.
INT. VESTUARIO. DÍA
ELENA se esta cambiando. ELENA saca la foto del bolsillo de su chaqueta y se queda unos segundos observándola.

NARRADOR (V.O.)

El corazón de Elena Rodríguez Sáez dio un brinco al contemplar el rostro de aquel desconocido misterioso de 32x26 Mm. de tamaño.

Imagen del corazón dando un brinco

NARRADOR (V.O.)

...desconocido que por cierto, es bastante atractivo, de bonitos ojos y con unos labios que...En fin, toca trabajar.

Planos detalle del desconocido de la foto: los ojos, la boca...
ELENA guarda la foto en el bolsillo.
INT. PASILLOS HOSPITAL. DIA
ELENA está fregando los pasillos. Su COMPAÑERA está cantando a pleno pulmón. ELENA saca la foto del bolsillo del pantalón.

NARRADOR (V.O.)

AL ritmo de la nueva balada rumana del momento, Elena Rodríguez Sáez comenzaba a sentirse curiosamente vinculada a ese desconocido atractivo de 32x26mm

ENCADENADO A:

INT. SALON-COCINA. NOCHE
La foto del chico desconocido está sobre la mesa. ELENA está cenando con la foto delante.

NARRADOR (V.O.)

Una vinculación que con el tiempo empezó a se más...

ENCADENADO A:
INT. HABITACIÓN. NOCHE
ELENA coloca la foto en la mesita de noche. Se apaga la luz. La vuelve a encender. La apaga.

NARRADOR (V.O.)

Más Y más evidente

ELENA

Buenas noches

CORTE A NEGRO:
INT. HABITACIÓN. DIA
ELENA se esta vistiendo con lo primero que se encuentra en un armario increíblemente desordenado. ELENA mira a la foto. La cara del chico ha cambiado. Tiene expresión de desaprobación.
ELENA sacude la cabeza y sale por la puerta.

NARRADOR (V.O.)

Las señales aunque obvias son rápidamente ignoradas por Elena Rodríguez Sáez.

Al segundo regresa por la foto.
NARRADOR(V.O)
Aunque no por mucho tiempo.
INT. PASILLOS HOSPITAL. DIA
ELENA está limpiando los pasillos. EL joven médico la espía por la puerta.

NARRADOR(V.O)

Mientras el interior de Elena Rodríguez Sáez se preparaba para un cambio drástico en su vida de siempre como limpiadora ordinaria de clínica ordinaria de barrio ordinario, el interior de Javier Sánchez Roer, médico en prácticas de la sección de próstatas irritables, ordinarias comenzaba a notar cierta... curiosa...curiosidad.

ELENA saca la foto y la observa durante un rato.

INT. HABITACIÓN. NOCHE
ELENA está en la cama con la foto sobre la almohada.
INT. BAÑO. DIA
Se esta lavando la cara. La foto la esta mirando.

NARRADOR (V.O.)

Elena Rodríguez Sáez se sentía por primera vez en mucho, mucho, mucho tiempo realmente completa. No importa lo que el mundo exterior piense.

ELENA se sienta sobre el bidé. Pone la foto de espaldas. Se lava las manos. El chico de la foto la esta mirando.

NARRADOR(V.O)

Elena Rodríguez Sáez se encontraba en medio de una relación.

ELENA empieza a maquillarse y se peina.
INT. COCINA. DÍA
ELENA abre la nevera, la cual está prácticamente vacía, solo se pueden ver un paquete de donuts y latas de cafe helado. ELENA tiene el donut en la boca cuando observa la cara de desaprobación del desconocido de la foto.
INT. SUPERMERCADO. NOCHE
ELENA empuja un carrito de la compra. ELENA está en la caja. La dependienta pasa por el escáner espaguetis, fruta, vegetales, leche, cereales, champú, acondicionador y un juego de maquillaje.
INT. SALON-COCINA. NOCHE
EL desconocido de la foto sonríe. ELENA está cenando una gran ensalada variada y un buen filete de pavo con un copa de vino decente al lado.
INT. HABITACIÓN. DIA
ELENA se está arreglando. Se coloca las medias finas. El primer par es desgarrado de forma salvaje. Después de varios intentos consigue ponérselas bien. Elena acaba vistiéndose con una falda y una blusa bastante elegante.
EXT. CALLE. EXTERIOR CASA DE ELENA. DIA
ELENA llega a la parada. Con toda la seguridad del mundo, se adelanta a la manada de robots deshumanizados y se sube al autobús, siendo observada con asombro por todos los presentes.
INT. PASILLO-HOSPITAL. DIA
ELENA está limpiando los pasillos mientras JAVIER se queda observándola. El corazón de JAVIER late con fuerza.

NARRADOR (V.O.)

Saliendo de una nueva prueba de próstata irritable ordinaria no bastante agradable, el corazón de Javier Sánchez Roer se dio cuenta de algo que pasó desapercibido por el propio médico en prácticas.

Elena desparece de escena y el corazón de Javier se ralentiza. Cuando aparece, late con más fuerza.
Javier desaparece de escena.

EXT. PUERTA PRINCIPAL DEL HOSPITAL. NOCHE
ELENA sale de trabajar. JAVIER la está esperando. JAVIER saluda a Elena con la mano. Ella le devuelve el saludo y comienza a caminar hacia la parada. JAVIER se queda sorprendido y comienza a seguir a Elena en una trayectoria paralela a la suya. ELENA llega a la parada de autobús. JAVIER se detiene también. Ambos se miran.

NARRADOR (V.O.)

Después de tantas noches de insomnio y comidas ausentes, con el corazón en un puño, Javier Sánchez Roer finalmente sabía lo que tenía que decir con las palabras más apropiadas en el momento más apropiado:

JAVIER

¡Qué frió! ¿Verdad?

NARRADOR (V.O.)

Y Elena con sincera emoción contestó con la misma propiedad:

ELENA

aha

Silencio. El autobús llega y Elena se sube.

CONDUCTOR

¿Subes o no?

Javier se queda dubitativo.
CORTE A:

Javier da vueltas por la parada con diferentes atuendos.
CORTE A:
El autobús se para una vez más ante la cámara.

CONDUCTOR (CONT'D)

¿Subes o te vas a quedar ahi parado otra vez?

Javier se sube.

CONDUCTOR (CONT'D)

Será maricón.

EXT. CALLE. CASA DE ELENA. NOCHE
ELENA Y JAVIER se bajan del autobús. ELENA se pone a andar. JAVIER se queda inmóvil. ELENA le hace una señal para que se una a ella.
ELENA Y JAVIER caminan hasta la entrada. Silencio.

NARRADOR (V.O.)

Mientras los minutos se alargaban agobiantes, Javier Sánchez Roer, juntaba el valor suficiente para articular, una vez más y de la forma más apropiada... las palabras más adecuadas

JAVIER

Eh...pues...

ELENA

¿Quieres subir?

JAVIER

Ahhh…Si

INT. SALON-COCINA. NOCHE
JAVIER está sentado en el sofá. ELENA entra en escena con dos copas y las deja sobre la mesa. ELENA desaparece de escena
INT. BAÑO. NOCHE
ELENA suspira una vez dentro del baño. La foto esta observándola desde el lavamanos. ELENA la pone bocabajo. ELENA comprueba que sus piernas están bien depiladas y el tipo de ropa interior que lleva encima. Se arregla un poco delante del espejo.
INT. SALON-COCINA. NOCHE
JAVIER continúa sentado en el sofá. Javier da unos saltitos.

JAVIER

Pues es cómodo

ELENA se sienta a su lado.
JAVIER
Muy cómodo
Se oye un latido. El corazón de Javier está latiendo con fuerza. ELENA le mira sorprendida. Su corazón late con fuerza también. Se besan.
INT. HABITACIÓN. DIA
El despertador suena, son las 6:30. ELENA abre los ojos. Javier apaga el despertador.

JAVIER

Cinco minutos más, por favor.

Elena se abraza a él y se besan.
EXT. CALLE. CASA DE ELENA. PARADA DE AUTOBUS. DIA
JAVIER y ELENA se están besando. EL autobús se detiene en la parada. ELENA deja la foto sobre las escaleras de la salida. Un chico se tropieza con ella.

DESCONOCIDO

Perdona

ELENA reconoce al desconocido de la foto. El corazón de ELENA empieza a latir con fuerza.

NARRADOR (V.O.)

El reconocimiento del Desconocido atractivo por Elena Rodríguez Sáez fue inmediato. Un descubrimiento que solo se puede describir con la palabra más adecuada en el momento más apropiado.

ELENA

Mierda

FADE TO BLACK
THE END

Historias minimas de Madrid IV

noreply@blogger.com (Sugestionando86) — Mon, 8 Mar 2010 23:09:00 +0100

La gente no cambia. Este es un hecho si no demostrable, al menos perceptible. No se llora, es tarde ya y no tiene sentido. Supuestos amigos que se desvanecen cuando hay problemas o compañeros de borrachera que se reúnen a tus espaldas con tus enemigos más cercanos. Los pequeños factores como estos acechan en cada esquina, en cada cóncavo y convexo, en cada sombra de una ciudad de invierno sin acceso a minusválidos morales. Hay gente que publican blogs de escritura confusa y palabras vacías mal empleadas, y otros que prefieren susurrar secretos negros en oscuros corredores. Cada cual con lo suyo. Mas dejo bien claro lo siguiente: que todo lo sé y aunque me hago la ignorante, con gran memoria recaudo vuestras futuros mares en pena.

MARY Y MAX

noreply@blogger.com (Sugestionando86) — Sun, 28 Feb 2010 22:00:00 +0100

Ayer por la tarde, mientras Madrid era devorada por un viento huracanado de lluvias esporádicas pero fastidiosas, me dio por ver lo que considero una de las películas más recomendables del panorama cinematográfico actual. Rodada con la técnica de animación artesanal STOP MOTION, Adam Elliot consigue en Mary and Max crear una historia de lo más conmovedora y que te tendrá enganchado hasta el final de los créditos.

La historia gira en torno la amistad entre dos personajes increíblemente dispares ( con 20 años y dos continentes de diferencia aunque con la misma pasión por el chocolate) a través de una correspondencia constante desde 1976 hasta 1994.

Mary es una niña australiana de ojos color lodo y una mancha de nacimiento de color caca que tiene una increíble curiosidad por el mundo exterior. Sin amigos y única hija de una adicta al jerez de cocina y a la cleptomanía y un padre que se desentiende por completo de una familia de chiste, decide preguntarle al primer desconocido de nombre extraño que encuentre en una lista telefónica de los Estados Unidos una de las cuestiones más vitales para el ser humano: Si en Australia los bebes surgen del fondo de las jarras de cerveza ¿Será que en Ámerica salen de latas de coca-cola?

Quién iría a imaginar que lo que en principio era una simple carta inocente de una niña de ocho años australiana acabaría por convertirse en el detonador que cambiará la vida de Max Horovitz para siempre.

Max es un judío solitario de 44 años, con síndrome de Asperger y de proporciones desmesuradas, que no logra entender porque él es el bicho raro de un mundo donde la contaminación esta a la orden del día, donde se usan lenguajes enrevesados con dobles sentidos y se escucha música estúpida.
Para alguien incapaz de reconocer los gestos faciales y cuyo único amigo es un ser imaginario llamado Mr Ravioli que se pasa el día leyendo libros de autoayuda, la carta de Mary es un salvavidas arrojado en medio de un mar de desesperación, frustración y reuniones con el grupo de comilones anónimos.

Mary y Max es una película sin defectos, directa y con una atención a los detalles más mínimos increíble: desde el empleo del contraste entre el blanco y negro y el color como método de diferenciación entre los mundos de estos dos protagonistas tan dispares, hasta las expresiones faciales de unos personajes de pasta altamente expresivos, cómicos, oscuros y con unos diálogos vivos llenos de múltiples matices.

Toda una mezcla de humor negro y sentimientos que crea un lazo irrompible entre el espectador y sus personajes, a quienes les ponen voz artistas famosos como Philip Seymour, Toni Collette, Eric Bana y Renée Geyer.

PARA VERLA: pincha aquí

PENSAMIENTOS DE UNA MAÑANA EN PARÍS

noreply@blogger.com (Sugestionando86) — Sun, 28 Feb 2010 17:57:00 +0100

Martes 24 de agosto de 1950

Amanece. Las maletas están en la puerta y hoy no me apetece tomar café.

Es curioso como las pequeñas cosas son las que mejor se graban en la memoria. De la infancia pocos recuerdos me quedan ya. Unos zapatos rojos de charol y el olor de los lapices nuevos y de los columpios oxidado tras la lluvia resumen 23 años de existencia sobre este planeta.

Con toda certeza sé que las tostadas con mantequilla y mermelada de arándanos de la señora Beadeux con una gran taza de café con leche me seguirán para siempre.

A las 10:30 tengo que dejar este lugar. Está decidido.

No he podido dormir nada. Las gotas ya no me ayudan. Solo me queda esperar y recordar. La época de los columpios murió. Al menos ya lo he aceptado.

Recuerdo. Recuerdo una conversación susurrada. Recuerdo una lágrima en silencio. Recuerdo un beso en una plaza, un abrazo a escondidas y una adiós oculto por el viento. Las palabras no son válidas, tal vez distorsionadas y llenas de dobles sentidos. Nunca se me dieron bien las palabras. Simples armas de un homo sapiens básicamente entrenado. No. No recuerdo palabras. Sólo las miradas de una tarde de julio cuando alguien me agarró de la mano y yo me vi invadida por miles de pequeñas sensaciones inconclusas. ¿Realmente amé? ¿realmente fui amada? No lo sé. ¿Acaso importa? ¿el amor va a cambiar el olor de la calle, la luz de julio y las miradas curiosas? Otra de las pequeñas cosas de una vida demasiado corta y demasiado intensa. Otro lugar que me ha sobrepasado y me ha vuelto a unir a otra rutina circulante.

Observo a los trabajadores marchar a sus trabajos como otro día normal. Pequeños entes de aspiraciones acostumbradas. Sé que también fueron dueños de besos en plazas y luces de julio. Sé que alguna vez pensaron en el amor y en los columpios oxidados, mas ahora tienen que ir a la fábrica a pegar zapatos de 9:00 hasta 9:00 con hora y media de almuerzo. Os amo, obreros,no me malinterpretéis. Os respeto, pero tenéis que entenderlo. París se ha dormido. París ha concluido con tan sólo diez páginas de un diario mal escrito.

La hora a llegado. Me esperan el mar y una nueva página escrita con el aire contemporáneo de la ciudad de Nueva York. Au Revoir et bonne chance.

Escrito inspirado en la fotografía “El beso del Hôtel de Ville”

MAGAZINE CIENCIA:LA METEDURA DE PATA

noreply@blogger.com (Sugestionando86) — Fri, 26 Feb 2010 21:03:00 +0100

La metedura de pata es un elemento intrínseco en la vida de un homo sapiens sapiens. Forma parte de nuestras vidas desde los primeros intentos de comunicación coherente y demás bababubus. No es de extrañar que todo sapiens medio haya sufrido en algún momento de su existencia las influencias del "metedurismo de pata" hasta llegar a la siguiente brillante conclusión: la imposibilidad de aniquilación de este enemigo invisible y cabrón que siempre ataca en los grandes momentos de debilidad y así hacerte quedar como un estúpido ralentizado delante de los demás sapiens sapiens (o en ocasiones especiales, como un friki rarillo).

Muchos científicos han empleado numerosos años de su vida en intentar descubrir el origen de "El metedurismo de pata". Según los estudiantes de genética y embriología de la Universidad de perdemusustempus (Connecticut) , el origen del comúnmente denominado "metedurismo de pata" tiene su origen en el cromosoma 319, 324 EY, un cromosoma híbrido de procedencia paterna esporádica. Los intentos de sustracción del cromosoma 319, 324 EY han sido numerosos aunque fallidos. Esto se debe a la unión del 319, 324 EY al cromosoma 314 o también llamado cromosoma de la humanidad o del corazón. Cualquier intento de extracción del cromosoma "metemous la pata" supone la total "robotocapitalización" del individuo, transformándolo en un ente de fabricación en masa y consumismo extremo.

Los debates morales, as always, han sido insufribles y de versión extendida sin llegar a ninguna conclusión definitiva. Esto es algo también intrínseco en la vida de los sapiens sapiens (solo hay que estudiar la vida de TVE y su "objetividad informativa")

¿Qué es lo más preferible: una sociedad eficientemente deshumanizada o un español medio? ¿Más vale malo conocido que malo por conocer? ¿Qué serán de las generaciones futuras? ¿Agravará el calentamiento global? Y ante todo....¿Qué coño pasa con Lost?

La búsqueda de la verdad puede ser peligrosa, así que bebamos otra caña y que mañana curre otro

!Qué viva la metedura de pata!

LIFE:AN ORDINARY STORY

noreply@blogger.com (Sugestionando86) — Mon, 22 Feb 2010 21:09:00 +0100

INT. DARK ROOM. 1920'S. NIGHT

FADE IN

We can see the face of a boy. The boy is crying while is
holding someone with his arms, but we cannot see who. We
see everything from the perspective of the other person. We
can hear a girl breathing hard. Then we hear a voice, a
very sweet woman's voice as she is watching the boy, her
clothes over the floor, the blood. The image vanishes and
appears once and over again, till she closes her eyes
forever.

GIRL (V.O)
Dark. Everything is getting
darker. I think it doesn't matter
now. You are holding me, I ´m not
sure. I cannot feel. I cannot
feel the pain. It was hard, now
is gone. I cannot feel your arms.
I spent so many hours between
them. No regret. I just didn´t
listen, now is too late. Don´t
cry, my love. Don´t cry. Am I
speaking aloud? I don't feel my
lips.

GIRL (CONT'D)
Don´t cry, my love

The boy cannot stop crying

GIRL (CONT'D)
It´s not the end, never was. I´ll
find you, I promise.

BOY
I love you

Everything gets dark.

GIRL (V.O)
I love you. I love you. I love
you

FADE OUT:

BLACK SCREEN

Appears on the screen the following:

ADIOS, GOODBYE
4.

INT. LAURA´S APARTMENT. MADRID. SPAIN. DAY. PRESENT DAY

We can see Laura´s eyes. She is sleeping deeply. She opens
her eyes and suddenly she gets up.

LAURA
¡Joder!
(Fuck!)

The clock shows 7:30 in the morning

LAURA (CONT'D)
¡JODER! ¡JODER! ¡JODER! ¡Me he
quedado dormida! El avión.
(Fuck! Fuck! Fuck!. I overslept!
The plane!)

SUBTITLED

She dials in her cell phone a number

LAURA (CONT'D)
Si. ¿Hola? Si. Por favor, envíen
me un taxi a la calle Concha
Espina 84, lo antes posible. Es
urgente
(Yes, Hello? Yes, please, send me
a taxi to Concha Espina st 84, as
soon as possible, It is really
urgent)

TAXI COMPANY (V.O)
Lo siento, señora. Ninguno de
nuestros taxis pueden acceder a
su zona de residencia. Las calles
están cortadas a causa del
partido
(I'm sorry, ma'am. But today our
taxis cannot have Access to your
area. The streets are closed for
the match)

LAURA
¿QUÉ? ¿QUÉ PARTIDO? POR FAVOR, ES
URGENTE
(what? What match? Please, it is
really urgent!)

T C(V.O)
EL REAL MADRID CONTRA EL OSASUNA.
Lo siento, señora
5.

(Real Madrid vs Osasuna. I'm
sorry, ma'am)

Laura hungs up the phone

LAURA
Mierda, joder
(Fuck)

She gets inside the first baggy jeans and the first t-shirt
she sees over the floor. They need ironing. The room is a
completely mess, is full with drawings, notebooks and
clothes all over the floor. She looks at herself in the
mirror. Her hair is a mess, all her cloths smells tobacco
and alcohol.

LAURA (CONT'D)
Soy un puto desastre.
(I'm a fucking mess)

Laura begins to search something

LAURA (CONT'D)
Las maletas. coño
(The suitcases. fuck)

She is looking for the suitcases. She cannot find them.

LAURA (CONT'D)
¡¡¡Mamáaaaaa!!! ¡¡¡Mamáaaaa!!!

She screams as she runs all over the place

MOTHER
¿Qué? ¿Qué ha pasado?
(what? What happen?)

LAURA
Mamá, que pierdo el avión, y las
maletas y el taxi y …
(Mom, I'm gonna miss the
plane, and the
suitcases... and the
plane...)

MOTHER
ey, ey, respira. Dios, esto te
pasa por dejar las cosas a última
hora. Eres un puto desastre
(ey, ey, breath. God!
This happens because
you leave everything
for the last moment.
6.

You are a fucking a
mess!)

LAURA
Ya lo sé, gracias. Ahora, por
favor, dime algo constrictivo.
(I already know that.
Thank you. Now, please,
tell me something
useful)

MOTHER
Ay, pero que imbécil eres. Que ya
te he preparado las maletas,
tonta, y te he planchado la ropa
para que la lleves puesta, está
sobre la mesa. Así que cámbiate,
bébete el zumo que está en la
cocina y ahora vamos corriendo al
metro
(you are such a jackass.
I've already prepared
the suitcases, stupid.
You clothes are ironed
and hung on the door.
Go change and drink the
orange juice that is on
the kitchen's table.
Then we go to the
subway)

Laura can see the suitcases ready at the door. She laughs
and kisses her mother.

Laura drinks the juice. Her mother had prepared very sexy
but elegant clothes for the trip, with some high heel
shoes. Laura smiles.

She is waiting for the elevator.

LAURA
No hace falta que me acompañes
(You don't have to come
with me)

MOTHER
No seas estúpida. Te acompaño
hasta la estación
(Don't be stupid. I go
with you till the metro
station )

EXT. CONCHE ESPINA'S STREET. MADRID. SPAIN. DAY.

They run till the subway station with the suitcases. We can
see the city.
7.

The Santiago bernabeu, the street invaded with the little
shops selling souvenirs of the real Madrid. The people
walking.

LAURA
Bye, bye MADRID!

INT. SUBWAY. BARAJAS AIRPORT EXIT, TERMINAL 4.DAY.

Some scenes inside the subway. Laura with the music.
Climbing the stairs.

MATCH CUT TO:

They are finally at the exit of the subway, directly
connected with the Barajas airport. Laura is eally
sensitive by the fact of leaving her mother. She doesn't
want to cry so she is trying to hide it and get rid of her
mother as soon as possible.

LAURA
Bueno, mama…
(Well, mom...)

MOTHER
¿Pero por que te paras? Vamos
(Why are you stopping?
Let's go)

Laura breathes in.

INT. INSIDE TERMINAL 4. BARAJAS. DAY

Laura is walking ahead of her mother. As they climb the
stairs, Laura is losing control over her feelings and the
tears cover all her face.

Laura and Mother are on the passport control They have to
say goodbye.

LAURA
Bueno, ya sí que estamos aquí y…
(well, mom, here we are,
so...)

She starts to cry without control

MOTHER
No llores, que vas hacer que yo
también llore y me había
preparado para no hacerlo
(Don't cry, you are
going to make me cry as
well and I've been
preparing myself not
to.)
8.

LAURA
Pero..es que..mama
(But... is just... mama)

MOTHER
Ya lo sé cariño. Te quiero y te
voy a echar mucho de menos. ¿Con
quién voy a ir al cine ahora, eh?
(I know, hun. I love you
and I'm going to miss
you too. With whom am I
going to the cinema
now?)

LAURA (CRYING EVEN HARDER)
No..me digas eso..que
(No...don't say
that...I)

MOTHER
Laura, nena… que nos vamos a
volver a ver
(Laura, babe, that we
are going to see each
other again)

LAURA
Ya lo sé, pero… no puedo
evitarlo. Te quiero
(I know, but...I can't
help it. I love you)

MOTHER
Nena… Ahora estoy llorando yo
también. Las putas flores de bach
no sirven para nada
(baby...Now i'm crying
too. Fucking bach
flowers, they are
completely useless)

LAURA
Bueno, me tengo que ir ya…
(well, I gotta to go..)

MOTHER
Si…Llámame en cuanto llegues,
júramelo
(Yeah. Call me as soon
as you arrive there.
Swear it)

LAURA
Claro que te llamo. Te quiero
(Of course I'm going to
call you)
9.

MOTHER
Te quiero, nena
(I love you, babe)

Laura walks through immigration and she turns one last time
just to see her mother. Laura observes her ticket to know
which one is the departure gate.

INT. CHRISTIAN'S ROOM. OUTSIDE LITTLE ROCK. ARKANSAS. NIGHT

There is a bus ticket on the wall from little rock to New
York city. We can see his room. Over the floor there is a
backpack, and some sport bags. Everything is inside some
cartoon boxes: his books, etc… .There are lots of posters
in the wall of famous actors and theatre plays, like hamlet
or uncle Vania and musical groups like radiohead and broken
social scene. Along with the posters there are pictures of
him in different plays. Over the floor are pieces of
pictures. We can see the same girl in all of them

CHRISTIAN (V.0)
Hi. It's me. Don't worry, nothing
serious. I just call. I just call
to say THANK YOU. Everything is
ready, almost, and I've been
thinking, and that and I realize
that, well, I wouldn't be able
without you. Really, I wouldn't
be able without your coldness,
your selfishness but, I think
mostly for the fact you've been
fucking everyone, well,
everything with a penis in this
town. So, thank you. Really, I
appreciate it and this is a
goodbye, your goodbye. The final
one. Yes. I won't see you anymore
and I don't care at all. I do. I
mean, I don't, I really don't.
So, goodbye. And, well, I even
think I've matured at last, as
you always wanted. I'm a grown up
person now who accepts the things
of life with wisdom, a grown up
person who won't call you bitch,
That you are, a bitch, but I
won't say that because, I am a
mature person and ,actually, the
fact that you are a fucking bitch
doesn't bother me at all, which
is good. Really. SO, wish you the
best and goodbye. Goodbye, bitch.

CHRISTIAN (CONT'D)
That was good
10.

Christian hangs the phone. He collects his backpack,
switches off the lights and closes the door.

EXT. VILLAGE STREET. OUTSIDE LITTLE ROCK. ARKANSAS. NIGHT

Christian is walking in the town he spend his all life. He
walks fast with his backpack and his two bags on each side.

EXT. BUS TERMINAL. LITTLE ROCK, ARKANSAS, NIGHT

Christian arrives at the bus terminal. He looks at the sign
and breaths in

INT. BUS TERMINAL. LITTLE ROCK. ARKANSAS. NIGHT

Christian is inside a very old and creepy bus terminal.
There are some homeless sleeping on the benches. Some poor
people are waiting standing up for their respective buses,
but it is mostly empty, dirty and obscure. Christian goes
to the ticker office of GreyHound buses, inside which there
is an old man with a very sad face.

CHRISTIAN
Excuse me, sir, can you tell me
from which lane my bus is
leaving?

He handles the ticket to the officer.

TICKET OFFICER
New York, 11:20, from lane two

CHRISTIAN
Thank you

TICKET OFFICER
But, this ticket was for
yesterday's bus

CHRISTIAN
Sorry?

TICKET OFFICER
This ticket is not valid for
today

CHRISTIAN
What? No, I ordered two weeks ago
especially for today. There must
be a mistake
11.

TICKET OFFICER
Yes, there is, that you missed
yesterday's bus, that's the
mistake

CHRISTIAN
Well, can't you change it for
today's date?

T.O
Sorry, no changes not refunds

CHRISTIAN
What? but it was your mistake

T.O (CONT'D)
Maybe, but it is your obligation
to check the time and the
destination before you pay the
ticket. Now, goodnight and
goodbye

CHRISTIAN
WAIT! I have to go to New York,
today

T.O
Well, you can buy another ticket
CHRISTIAN
And how much would that be?

T.O (CONT'D)
187 DOLLARS

CHRISTIAN
What? Shit! Sorry, but I paid 120
dollars for the previous ticket

T.O
This is the price, son, you take
it or you just move your ass from
my window.

We can see CHRISTIAN'S face

CHRISTIAN
OK

EXT. HIGHWAY. OUTSIDE BUS TERMINAL. NIGHT

Christian is doing auto stop. No car stops.

CHRISTIAN
Fuck, shit, mother f…
12.

CHRISTIAN watches how the people are getting inside his
bus. Everybody looks so happy…The bus driver, a man in his
fifties is helping a young lady to put her bag in the
baggage compartment and its flirting with her. Christian
sees his shot. He gets inside the bus quickly, goes to the
back and hides. The bus driver starts the engine and the
bus starts to move. Christian smiles.

INT. TERMINAL 4. BARAJAS AIRPORT. DAY

We can see a sign indicating that takes 10 min to go to
gate G.

Laura checks the time.

LAURA
Joder
(FUCK!)

LAURA starts to run through the airport.

LAURA (CONT'D)
Por favor, Por favor, Dios. Haré
lo que sea. Me haré misionera, no
me tiraré a cualquiera que se me
cruce por delante, lo que
quieras, pero que no pierda el
avión, por favor.
(PLEASE. Please, God. I
will do everything. I
can be missionary, I
won't sleep with
everybody that walks in
front of me, whatever,I
swear,I promise but
don't let me miss the
plane)

Something vibrates in her pocket: The cell phone. She is
receiving a phone call.

LAURA (CONT'D)
JODER ¿Sí?
(fuck. Yes?)

PEDRO(V.O)
¿Amor?
(love?)

LAURA (WITH DISGUST)
¡Pedro! Oye, que no me pillas en
buen momento. Adiós, Pedro
(Pedro! Look, this is
certainly not a very
good moment. Bye,
Pedro)
13.

PEDRO (V.O)
Espera, peque, por favor. Que
simplemente era para despedirme
por última vez y desearte un buen
vuelo, YA QUE NO ME DEJASTE
ACOMPAÑARTE HASTA EL AEROPUERTO.
Cari, que no te voy a volver a
ver en un tiempo y…
(Wait, sweety, please. I
just want to say
goodbye for the last
time and wish you a
very good flight as you
didn't let me go with
you till the airport.
Sweetheart,love...I'm
not going to see you
again for a while
and...)

LAURA
Pedro, Pedro no me llores. Por el
amor de Dios, Pedro, no me hagas
esto ahora, que no es el momento,
en serio
(Pedro. Pedro, don't
cry, for God's sake.
Pedro, don't do this to
me now. This is not the
moment, seriously)

PEDRO
Es que, cari, te quiero mucho. No
soy como tú, que no suelta ni una
lágrima nunca, es que…¿no vas a
echar de menos a tu osito? ¿Qué
te de mimitos?¿nuestras noches
juntos?
(It's just...honey, I
love you so much. I'm
not like you,who never
shreds a tear, it's
just... aren't you
going to miss your
teddy bear, my kisses
and hugs, our nights
together? )

LAURA
Mira, que pierdo el avión, y a lo
mejor me quedo y todo. Así que,
bueno, pues eso, te deseo lo
mejor y ya nos veremos.
(Look, I'm going to miss
the plane and maybe I'm
staying after all..So,
that, I wish you the
best and take care)
14.

PEDRO
Espera, cari
(wait, love)

LAURA
¿Qué?
(what?)

PEDRO
¿Quieres que te envíe un
abracito? ¿un abracito de oso?
(do you want me to send
you a hug, a teddy bear
hug?)

She is near the boarding gate.

LAURA
Adiós, Pedro
(Goodbye, Pedro)

She hangs the phone

CUT TO:

She arrives at time. Laura is breathing hard.

LAURA (CONT'D)
Joder, Dios,coño. Hola.

Laura handles the boarding pass to the GROUND STAFF GIRL.

GROUND STAFF GIRL
Que tengas un buen vuelo
(Have a good flight)

LAURA
Gracias. BYE, BYE, MADRID!

LAURA steps into the airbridge.

INT. BUS. NIGHT

Christian is peeing himself. It is 23:25 and the bus stops
to collect more passengers IN AN PETROL STATION with a
restaurant and a social area situated on one side of a
empty highway. Christian decides to get off just for a
couple of minutes.

INT. PETROL STATION'S BATHROOM. NIGHT

He is in the bathroom. He finished quickly and he exits
the bathroom. While he is leaving a kid is looking at him
very serious because he hasn't washed his hands. He goes to
the sink and washes his hands.
15.

EXT. OUTSIDE PETROL STATION. NIGHT

When he exits the place, the bus is leaving.

CHRISTIAN
NO, NO, NO, NOOO! WAIT! Fuck! Son
of a…

OLD MAN
That is really fucked up

CHRISTIAN turns to look at the old man.

OLD MAN (CONT'D)
Oh, don´t you worry son, another
bus is coming. Just wait a little
bit.

CUT TO:

Christian is sitting on his baggage. By his face we can
tell he had been waiting for hours. He decides to put some
music on and lay on the floor. He starts to listen "House
of cards" of Radiohead. As the music is playing, Christian
is looking at the sky and another bus of the greyhound
arrives. The people are getting inside and finally the bus
passes in front of him. Once he had spotted the bus, he
stands up and starts to run leaving the baggage behind.

CHRISTIAN
Wait! Wait! Please!
MOTHERFUCKERRRR!!!!

The bus stops and CHRISTIAN laughing runs in his direction.

CHRISTIAN (CONT'D)
Oh, thank God!

BUS DRIVER
The ticket, please

Christian is serious again

CHRISTIAN
How much?

BUS DRIVER
120 DOLLARS

We can see Christian's face.

FADE TO BLACK.
16.

APPEARS ON THE SCREEN:

NEW YORK: FIRST IMPRESSIONS

INT. JFK INTERNATIONAL AIRPORT. AIRPLANE'S BRIDGE. DAY

Laura is at the door of the plane.

LAURA
Bueno, bueno. Hello, New York!

She breaths in and with her right foot starts her adventure
in the United States of America.

MATCH TO:

INT. JFK INTERNATIONAL AIRPORT. DAY

From the foot going up to the head, and under an American
flag, Laura observes the amazingly long queue for the
passport control. She takes her iPod out and she starts to
listen "House of cards" of Radiohead while she observes the
people of the airport. She takes out a notebook. She writes
the following:

INT. JFK INTERNATIONAL AIRPORT.

She is absorbed by the music and the writing. Someone takes
her headsets off and the music stops.

ARABIC WOMAN
(She says something in
arabic)
Yalah, girl Yalah. I don't have
all day

LAURA (REALLY EXCITED)
HELLO

She handles the papers to the immigration officer.

I.O
Go back

LAURA
Excuse me?

I.O
I SAID GO BACK. You didn´t fill
it up correctly. Just grab some
papers over there and come back.
17.

LAURA
OK

There is a security guy with an Alsatian at his feet. The
dog is barking. Laura goes directly to the immigration
officer.

SECURITY MAN
EXCUSE ME, EXCUSE ME. WHAT ARE
YOU DOING?

LAURA
He told me to go back as soon as
I filled this up

SECURITY MAN
So, WHAT DO YOU THINK YOU'RE
DOING? Wait for your turn

LAURA
Again? joder

SECURITY MAN
Fucking Mexicans

He says this as he walks away.

Laura is astonished. The queue is incredibly long.

INT. NEW YORK'S SUBWAY. DAY. NEW YORK

Laura is on the subway. It is very old, stinks and she is
scared of the people surrounds her.

LAURA
Excuse me, hi,sorry, can you tell
me how can I go to 101 st?

GIRL 1
Yeah. You have to climb those
stairs and take the line number
one downtown.

LAURA
Stairs?

MATCH CUT TO:

Laura is pushing the heavy suitcases through the stairs.
Nobody helps her. Accidently she drops one of the
suitcases.
18.

WOMAN 1
Ey, you asshole, WATCH OUT, will
ya?

LAURA
Joder

Laura looks to the camera

INT. BUS. NEY YORK CITTY. DAY

Christian is sleeping over the bus sit. The bus driver is
looking at the camera.

BUS DRIVER (V.O)
EY, SONNY, EY

CHRISTIAN opens his eyes; he faces the ugly bus driver.

BUS DRIVER (CONT'D)
Come on, son. You wanna stay here
forever?

CHRISTIAN stands up and walks through the aisle. The bus is
empty. He is very sleepy.

EXT. BUS STATION. BRONX. NEW YORK CITY.DAY

Christian finds himself in the most horrible street of New
York, very dark. The driver throws his bags to the floor
and gets inside the bus again. Christian takes his cell
phone out.

GEORGE (V.O)
YES?

CHRISTIAN
Ey, George, man, it's me,
Christian. I'm here.

GEORGE (V.O)
Ey, Chrisy! How are you doing? I
was waiting for you. We've been
calling you for hours

CHRISTIAN
Yeah, there was a delay. Ey,
George, aren't …
19.

GEORGE (V.O)
Listen, babe, I cannot pick you
up, but, I know you can manage,
it's not so difficult. Just stay
away from, well, from everyone.
Don't talk, don't look and don't
touch. Ah, and don't take out the
following items: cell phones,
notes bigger than 1 dollar, all
kinds of jewelry, including
earrings and rings, mp3 players
or ipods. Just in case. Ah, my
baby, finally in New York. Oh, I
almost forgot, I'm going to be at
work but Philip will be there,
ok?

CHRISTIAN
OK

GEORGE (V.O)
You have the address?

He searches in his backpack and takes out a long piece of
paper.

MATCH TO:

INT. 101ST BUILDING. LAURA'S FIRST ROOM.NIGHT. new York
city

What we can see is a perfect room, well illuminated and in
perfect conditions. The picture from the ad disappears and
we can see now the real room. Laura is holding a piece of
paper. She is in a stinky old room with a small bed and a
leaking sink. It is a very dark environment. We are able to
hear the screaming from other apartments. She turns the
light on. The floor is full with cockroaches. She stars to
scream and closes the door.

She checks the bill. "no refunds"

The phone rings. It's her mother. Laura sits on the aisle.

LAURA
ALLÓ?

MOTHER
Bueno, ¿unas horas en NY y ya me
hablas en inglés? ¿Qué tal todo?
(well, well..just a few
hours in NY and you
speak to me in english?
How is everything?)
20.

LAURA
Genial, de …de putísima madre
(Great... incredible)

LAURA is very sensitive and she is trying to hold on her
tears, but as the conversation goes on, she is losing
control over her feelings, so at the end she just cut the
conversation with her mother in tears.

MOTHER
¿Y el cuarto?
(and the apartment?)

LAURA
Increíble, una cosa… Muy…muy
neoyorquino. Casi como en las
pelis.
(Incredible...
something... really
really new yorker. Like
in the movies..almost)

MOTHER
Ay, yo aquí sola y mi niña en
Nueva York.
(ay, here I am by myself
and my child in NY)

LAURA
Ya ves, oye que te llamo ma…
(Yeah, well, mom, I'll
call you...)

MOTHER
Mi nena, Ya te echo de menos. No
sé que voy a hacer sin mi niña.
Como no me llames a menudo te
mato, ¿entiendes?
(My baby! I' missing you
already. I don't know
what I'm going to do
without my baby. If you
don't call quite often
I'll kill you, got it?
)

LAURA
Claro que sí, mama. Bueno, que te
de…
(Of course, mom. Well, I
have to go...)

MOTHER
Oye, come me bien, ¿eh?. Nada de
esas cosas americanas. Y tómate
un zumo de naranja todos los
días, que es muy bueno.
21.

No me seas vaga, que exprimir una
naranja no cuesta nada y la
vitamina C es fundamental. Ah, y
no dejes las cosas tiradas por …
(Listen, eat well, eh?
Nothing of those
American things, and
drink orange juice
every morning. It is
very healthy. Don't be
lazy, squeezing an
orange is not that
difficult and vitamine
C is fundamental. AH,
don't let your things
laying around on the
floor...)

LAURA (TEARS OVER HE EYES)
Mama, oye, que te tengo que
dejar, que Mañana te llamo,
¿vale?
(Mom, listen, I have to
go. Call you tomorrow,
ok?)

MADRE
MUY BIEN, TE QUI
(All right, I lo...)

LAURA switched off the phone. She stars crying like a
little child.

INT. GEORGE'S APARTMENT. NEW YORK CITY. DAY

Philip is crying like a baby, he is hugging Christian.
Christian is feeling uncomfortable.

PHILIP
OH. Jesus. I'm sorry, but I'm so
glad you are here. We haven't see
you in ages, since we left that
horrible city. And I'm so happy

He starts to cry again and hugs CHRISTIAN once more.

PHILIP (CONT'D)
Well, enough crying, you must be
exhausted

CHRISTIAN
Well, actually, I'm starving. I
can kill for a sandwich.

PHILIP
Oh, what a barbarian I am! Come.
22.

They go to the kitchen. Philip makes a sandwich for
Christian

PHILIP (CONT'D)
So, how was the journey?

CHRISTIAN
Interesting

PHILIP
OH, I forgot! I don't think G
told you, but, well, it's better
if I show you.

PHILIP & CHRISTIAN go to the new room of Christian. PHILIP
opens the door. There is a blond naked guy CHRISTIAN
doesn´t know. He is painting.

PHILIP (CONT'D)
Well, this is Dave. DAVE this is
Christian, your new room mate

DAVE
Really nice to meet you,
Christian

CHRISTIAN astonished shakes hands with Dave

INT. 101ST BUILDING APARTMENT 216 AISLE. DAY. NEW YORK CITY

LAURA is sleeping in the aisle with her head on the
suitcase. She wakes up. Her back and her neck are sore. She
gets up and collects all her baggage (two big suitcases and
the backpack). She looks for the travel guide on her
suitcase and some toiletries. She puts the luggage inside
the apartment and closes the door.

LAURA
Bueno, bueno, New York here we
go. Pero primero.
(but first...)

EXT. DRUGSTORE. NEW YORK CITY. DAY

LAURA
Insecticide, please

INT. 101 ST BUILDING. APARTMENT 216.DAY

We can see how Laura from the outside gasifies the
apartment.

LAURA
Ahora si: New York here I go
23.

EXT. 101 ST NEW YORK CITY.DAY

LAURA is on the street. She is wearing the same clothes of
the previous day with her high heel shoes. She is looking
at the map.

LAURA (CONT'D)
Central park. Oh, aqui. Uy,que
cerquita. Y desde aquí me voy a
la quinta y TIMES SQUARE!
(Central park. Uy, here.
So close! And from
here... 5th ave and
TIMES SQUARE!!)

It starts to rain.

LAURA (CONT'D)
Joder

She opens the umbrella she has in the backpack. Then she
switches on the Ipod and starts to hear I LOVE NEW YORK of
Madonna while she is walking.

EXT. URBAN STREET. NEW YORK. RAININIG. DAY

LAURA keeps walking with this song as we observe New York,
a very depressing side of New York: Rude people that pushes
her out of the way. Some cars that stops making her
propositions.

GUY IN CAR Nº1
Hey, I always wanna try Mexican
whore

LAURA runs like a scary little girl.

GUY IN CAR Nº2
wanna have fun, beautiful? with
that ass we can have a lot of fun

GUY IN CAR Nº3
I want to stick it up on your...

After the 7th propostion:

GUY IN CAR Nº7
HEY, señorita, wanna have fun?I
give you 50 bucks, come on

LAURA
Why don´t you fuck your mother,
your pervert?
24.

You´re old to be my grandfather,
motherfucker, bastard,
cocksuckerr. Go. Go and try to
find god.

Laura starts to run.

EXT. FIFTH AVENUE. DAY.

Laura is walking, obviously tired. It is not raining
anymore and the night is coming. The song is being
deformed, Madonna is singing slowly. When Laura stops the
music stops. LAURA sits on a bench and takes her shoes off.
As the people stares at her she massages her feet.

She walks without shoes till a shoe store.

INT. SHOE STORE FITH AVEUE. NIGHT

LAURA
120 Dolars!

INT. RESTAURANT IN THE FIFTH AVENUE. NEW YORK CITY. NIGHT

Christian is having some dinner with George, Philip and
Dave in a very fancy restaurant in celebration of
Christian's arrival.

CHRISTIAN
70 dolars! SHIT! Well, it was a
good chicken, small,tiny, but
delicious

Christian is in front the window but facing forward. While
they are talking, on the bench of the street, just in front
of them, Laura takes off her shoes.

GEORGE
I told you. The food here is
incredible. It is really worth it

PHILIP
I feel like dancing. I ate like a
pig

GEORGE
You are a pig

PHILIP
Bitch

DAVE
Let's go to Mr black
25.

GEORGE
My God, no. They nearly rape you
there

PHILIP
Seriously? I wanna go

GEORGE
Of course you want, you dirty
whore. What do you think
Christian?

Christian was not paying attention.

CHRISTIAN
Ok

INT. MR BLACKS ENTRANCE.NIGTH

The door of the club is being opened by someone we cannot
see.

INT. 101 ST BUILDING 216 APARTMENT. NIGHT

The door of the apartment, that was already opened, is
pushed by someone in the exterior of the apartment

INT. MR BLACKS ENTRANCE. NIGTH

The door of the club is completely opened.We can hear the
music. CHRISTIAN faces indicates that he didn't know where
he was getting into.

INT. 101 ST BUILDING 216 APARTMENT. NIGHT

The door is completely open and we can see Laura's
astonished face

INT. MR BLACKS ENTRANCE.NIGTH

The image starts on the floor and the camera goes up. We
can see what it is obviously a gay bar. There are plenty of
men, some of them without T-shirts. Men kissing, dancing.
Some of the men as they walk through the club look at
CHRISTIAN and make gestures.

GEORGE
WELCOME TO NEW YORK, DARLING!

INT. 101 ST BUILDING 216 APARTMENT. NIGHT

We can see the floor of the apartment with the dead
cockroaches and no suitcases.
26.

LAURA
NO, NO, NO. POR FAVOR, DIOS, NO
me hagas esto.
(NO. NO. NO. Please,
God, don't do this to
me)

SHE starts to cry. She grabs the backpack and checks its
contents. The passport is there like some money and credit
cars. The cell phone starts to ring. Laura's mother. Laura
breathes deeply. Before her mother says something she
speaks very fast trying to hold on her tears.

LAURA (CONT'D)
EY, mama, todo va genial, el piso
esta genial, estoy tomando cosas
sanas, zumos de naranjas, new
york es genial, la vida es
maravillosa y eso, te quiero.
(Ey, mom, everything is
great, the apartment is
awesome, I'm taking
healthy stuff, even
orange juice. New york
is awesome and all
that. Love you)

She switches off the phone

LAURA (CONT'D)
¿Y ahora que?
(and now what?)

She observes the travel guide lying on the floor. In its
cover appears a picture of the empire state.

EXT. FIFTH AVENUE. EMPIRE STATE. DAY

Image of the empire state. Laura goes to the entrance. .
The queue is kilometric. But she waits with illusion.

INT. EMPIRE STATE. DAY

Laura is very excited. She is getting near and near. She is
biting her nails and making strange sounds. A lady in front
of her turns to see her.

LAURA
Sorry, it´s my first time, Here,
in the empire state.

LAURA finally reaches the top. She opens her eyes. We can
only see her face of total astonishment. There's no
visibility at all. She is in the center of a cloud. She
gets closer, but nothing; there is no view, nothing. She
laughs. Suddenly she cries. Finally she screams
27.

LAURA (CONT'D)
FUCK YOU. FUCK YOU. FUCK THIS
FUCKING COUNTRY. I lost
everything, the only thing I
wanted, the only thing I needed.
20 bucks, 2 hours in the fucking
queue and I AM IN THE CENTER OF A
FUCKING CLOUD!!!! Fuck you,
mother fuckers,

She spits several times

LAURA (CONT'D)
to the hell with you!!DON´T TOUCH
ME. FUCK YOU.

The security man of the building is grabbing her.

LAURA (CONT'D)
Fuck you. Let me go, hijos de
puta. Cabrones. Hijos de la gran
puta.

LAURA is being taken downstairs by force.

EXT. EMPIRE STATE ENTRANCE. DAY

CHRISTIAN is waiting in the queue.

EMPIRE STATE'S WORKER
Ladies and gentlemen, your
attention, please. I'm sorry to
inform you but because of today's
weather conditions we have to
close the empire state's tour.
Sorry for the inconvenience.
Thank you

Security throws LAURA OUT OF THE BUILDING AS CHRISTIANS
STARTS TO WALK AWAY. We can see how Laura is screaming at
the security of the building.

INT. IRISH TAVERN. DAY

LAURA is sitting on a chair of an empty bar. Apart from the
corpulent bartender there are only some middle age men
spread on different tables across this exotic place. She is
depressed and she is drinking.

LAURA
Ey, gordito, give me another
28.

A girl sits beside her. SARAH. An Australian. She has fair
long hair, green eyes, skinny condition, but very
beautiful.

SARAH
Wow, Another depressed alcoholic.
What is wrong with the world
nowadays, uh?

LAURA
You talking to me?

SARAH
I think so. You are the only
person here, except for the
fatty.

LAURA
Touché. Fatty, drink drink drink

SARAH
So, tell me, which one is your
misery?

LAURA
puff

SARAH
Yes?

LAURA
I think I´m a bit drunk

SARAH
I didn´t notice that. Come on,
If you tell me, I´ll tell you
mine and we get pissed together.

LAURA
Sounds nice

SARAH
So, tell me, what makes you get
drunk at eleven in the morning?

LAURA
Oh, it's my regularly breakfast,
so, tell me, what the fuck are
you doing here anyway?

SARAH
What a mouth you have, hun!

LAURA
Well, I learnt English in the
best schools, darling
29.

SARAH
Oh, and how is that?

LAURA
The school of Hollywood

SARAH
Oh, I see.

LAURA
It´s just…that…this is shit,shit,
shit, real shit, shit, you know?
Shit?

SARAH
Oh, really?

LAURA
Well, it took me 15 hours flying
and 2000 euros to realize it, je
suis très desolé.

SARAH
Well, better sooner than later

LAURA
NEW YORK! WOW!I could have gone
to London or Paris, it was
nearer, it was cheaper, or even
Tokio, o I don´t fucking know,
but no… Time square, central
park, the metro..me…the met
thing. Oh, I'm walking on the
fifth avenue uhhhhh!!!Now I go to
Tiffany's and then to Broadway!
uhuhuhu! shit, shit, SHIT! I
nearly get rape in central park,
they stole my things, The subway,
THE SUBWAY doesn't have fucking
mechanical stairs! What the fuck
you do with the fucking suitcases
if the fucking underground
doesn't have fucking mechanical
stairs? Eh? Tell me! WHO WAS THE
FUCKING GENIUS? And I went to the
fucking empire state, fucking
gorgeous empire state, just to
see a fucking
cloud!!SHIT!SHIT!SHIT!FUCK! But,
you know? New York is shit.
Madrid is shit, London, Paris,
Tokio everything is shit.
everything is shit, everyone,
everything, shit shit. People are
superficial, fake. Shit. I think
that makes me a bit emotional.
I'm a writer, you know? Yeah, not
a very good one but…Shit.
30.

I thought…Actually, I don´t know
what the fuck I was thinking.

SARAH
Wow. Sounds very deep and very
original

LAURA
Thanks, a little bit of sarcasm
is always welcome

SARAH
Well. This is getting boring.
Let´s get pissed, shall we?
LAURA laughs.

LAURA
Yes, yeah. YEAH! I have to pee

SARAH
Nice to meet you, I have to pee.
I'm Sarah

LAURA
Nice to meet you, Sarah. I'm
Laura.

CUT TO:

BLACK SCREEN

New York lifestyle

INT. DANCE CLUB. PRIVATE PARTY. NIGHT

Laura and Sarah are dancing extremely drunk in a party.
They are laughing and drinking lots of tequila shots. They
talk with all sorts of men, and dances with them very
close. Sarah is trying to seduce every man of the party.
Everybody is kissing with everybody. SARAH kisses LAURA.
They take pictures of each other kissing. Everything is
getting more and more confuse. Everything is moving in
circles. The laughter and the voices are more and more
distant. Laura finally falls into a very deep sleep.

ATTACHED TO:

INT. LOFT PARTY. NIGHT

Christian is in a private party. Everybody is taking
quetamine, cocaine etc… and kissing each other(boys with
boys, boys with girls, girls with girls) A boy without a T
Shirt and the left arm covered with tattoos comes to talk
with Christian.
31.

BOY 1
Hello

CHRISTIAN
Hi

Silence. The boy is dancing in front of him.

BOY 1
I feel like fucking, and you?

CHRISTIAN
No

BOY 1
I have popper

CHRISTIAN
No, thanks

BOY 1
Is it because my anus is outside?
Some like that

CHRISTIAN
No, it's not that, Seriously.

BOY 1
Well, you've missed it, boy

We can see a girl who grabs a drink from the bar and walks
through the bar till she reaches Christian who is standing
in one corner alone drinking a corona.

GIRL 2
Hi

CHRISTIAN
HI

GIRL 2
You wanna fuck?

CHRISTIAN
OK

INT. SEX SCENE. NIGHT

We can see the body of a woman how it is touched by the
hands of Laura and then by the hands of Christian. We don't
see their faces just parts of their bodies, the back of the
heads, hands, legs… The other girl is moaning.
32.

FADE INTO:

INT. SOMEONE'S APARTMENT. NIGHT.

Laura wakes up, slowly. She has a cat on top of her
meowing. She is amazed. She realizes that she is naked.
Somebody is sleeping next to her. She cannot she the face
of the other person, only the cat on top of her. She moves
slowly and she touches the person next to her. It's a
woman. Laura stands up in a second and she walks in circles
around the bedroom.

LAURA
Oh, my god, oh, my god, oh my god

CONTINUED

INT. LOFT PARTY. DAY.

Christian wakes up on a sofa with a girl on top of him. He
tries to stand up but it is impossible to move the girl
from her position. Christian shakes her, softly at first,
then with more insistence but the girl is totally gone. He
moves and tries to liberate his legs first. The girl moves
her head and Christian can see his shirt soaked in her
saliva

CHRISTIAN
FUCK!

INT. SOMEONE'S APARTMENT. NIGHT

LAURA
Fuck¡Please, lord, tell me I came
here with the clothes on.

Laura is standing biting her nails and she starts to look
for her cloths

LAURA (CONT'D)
Ropa, ropa, ropa, ah, gracias,
gracias.

Laura is staring at the girl with her underwear on her
hands.

LAURA (CONT'D)
NOOOOOO I fuck with SARAH!?
NOOOOOOOOOOO!! me van las tias?
since when?

Laura gets dressed. The girl wakes up
33.

GIRL 1
Good morning

Laura stares at her. She is not SARAH. LAURA's astonished
expression tells everything.

LAURA
Ey, good morning,
desconocida!(good morning,
stranger)

GIRL 1
Come to the bed, is confy.

LAURA
OH, Yeah, but...I'm sorry...I..I
have to go, I have…a...an…thing

GIRL 1
OK

LAURA
I'll call you

Laura goes to the door but is locked. She goes back.

LAURA (CONT'D)
Sorry, the keys

GIRL 1
Oh, sorry.

The girl follows her to the door and opens the door

GIRL 1 (CONT'D)
I had a good time last night

Laura just smiles. The girl kisses her.

LAURA
OK, EH, YEAH, me too...creo...
GOOD BYE, BYE.

INT. LOFT. DAY

Christian is trying to scape- He shakes the girl

CHRISTIAN
EY, EY, Wake up! Yeah, darling,
wake up!

Girl moans

GIRL 2
Just a bit more
34.

CHRISTIAN
I wish that too, but I'm worried
for my arms. They're blue in
color now.

The girls is sleep

Christian shakes her up a little bit

GIRL 2
Ok. Fuck!

CHRISTIAN
Thank you, sweet girl! Sorry, can
you open the door for me?

GIRL 2
It's open

CHRISTIAN
Ok.

He opens the door.

MATCH CUT TO:

EXT. URBAN STREET. BROOKLYN. DAY

Laura closes the front door. Laura is on the street. She
checks her cell phone. Twenty missed calls and a message.
She has a message, from Sarah

"I just got home now. Bye, police. Fun. I hope you had fun"

LAURA
What the …?

She had send a message to Sarah before

"I just call 2 said you're a bitch and fuck off. I hate
this f…country and I hate you. Fuck everyone"

LAURA (CONT'D)
WHAT THE FUCK?

She checks the cell phone again. Lots of unknown numbers
are recorded with silly names or just repetitive letters
(like pnafle, asshole, nnolgo, FATTY)

LAURA takes out the notebook from her purse and she starts
to write.

Some letters appears on the screen.
35.

4 unsolved mysteries:

Nº1: who the fuck was that one?

Nº2: which ones are the fucking whereabouts of Sarah and
the reason of such a strange correspondence?

Nº3: who the fuck are all this numbers in my cell phone?

Nº4 and The most important: how come I write in perfect
English when I'm fucking wasted?

TO BE CONTINUED

She checks her voice mail. There is a recorded message from
Sarah.

SARAH (V.O)
"hey, hun. Well, you. i´m
in..well this morons had brought
me to the … where are we? Oh, of
yeah, IN THE STATION in front a
mcd's, in the 35th .can you pick
me up?please…I'm…"

EXT. ENTRANCE OF POLICE STATION. DAY

Laura is in front of a police station.

LAURA
Joder

INT. INSIDE POLICE STATION. RECEPTION. DAY

Laura is in the entrance. She goes to speak with this
handsome boy at the reception with the police uniform.

LAURA
Good morning, I´m here for Sarah

POLICE OFFICER
Last name?

LAURA
Pues, I don´t know. She call me,
apparently you arrested her this
morning around 8 -8:30.

POLICE OFFICER
Oh, the one who refused to pay
the taxi driver and called my
friends big slums and fucking
faggots?

LAURA
Yeah, I believed is that one
36.

POLICE OFFICER
IT´S 200 DOLARS AND YOU CAN TAKE
HER HOME

LAURA
Puff..200?…CAN...CAN I TALK TO
HER FIRST?

INT. INSIDE POLICE STATION. CELLS. DAY

Sarah is inside a big cell. With her there are some
prostitutes.

SARAH
You just have to let me 200, I'll
pay you

LAURA
But I only have 170 and I don't
even know you

SARAH
Come on, I know everything about
you and you know me. People can
be more honest in one party that
in a whole relationship.

LAURA
MIERDA
(shit!)

EXT. 35TH STREET. POLICE STATION ENTRANCE. DAY

LAURA
So now what?

SARAH
I'm kind of hungry, aren't you?

INT. TV SET. DAY

Christian is in the shooting of a commercial for fiber
cereal.

CHRISTIAN
Because with more fiber, you feel
it

DIRECTOR(V.O)
CUT. Great job.

MATCH CUT TO:
37.

INT. LAURA'S ROOM.DAY

LAURA is sitting on her desk trying to write on her
notebook: SEC 1. INT. JFK INTERNATIONAL AIRPORT. DAY. SEC
3.

Someone is calling to her cell phone. Laura checks who is
calling: unknown number. The number changes but she never
answers.

SHE is writing and then she throws the paper away. We can
hear Sarah moaning from the other room. Sarah reaches her
climax and the cell phone starts to ring again. Laura opens
a bottle of wine.

MATCH CUT TO:

INT. TV SET. DAY

Christian in the same set does different commercials: Sun
lotion, yogurt, condoms....

DIRECTOR (V.O.)
CUT! CUT! CUT!

MATCH CUT TO:

INT. LAURA'S ROOM.DAY

LAURA is writing in different papers and trowing them away.
We can always hear Sarah moaning in different ways. She
starts to drink. One cup. Another. red wine. White wine.
She gets drunker and she writes stupid things on her
nothebook: two people who likes to spend the summers on
pulgatory and the winters on hell.

Laura looks herself at the mirror.

Laura writes then drinks again.

Laura burns locks of her own hair with her lighter

She throws the papers away.

MATCH CUT TO:

INT. PHOTO STUDIO. DAY

Christian has several pictures done.
38.

PHOTOGRAPER
WELL, 450 DOLLARS. We accept visa
and master card

CHRISTIAN
Fuck!

MATCH CUT TO:

INT. HAIRDRESSER. DAY

HAIRDRESSER
FUCK!!What happen with your
hair!?

The hairdresser starts to cut.

INT. LAURA'S ROOM.DAY

Laura is trying to write.

SARAH(V.O)
FUCK! LAURA!Move, your asshole!
Laura! We're late for work!
LAURA, can you hear me?

LAURA breaths in. She has a very short hair now.

INT. MCDONALD'S RESTAURANT.DAY

LAURA is on the cashier of the McDonald's restaurant. SHe
has a man's uniform extra large size that hides her
beautiful figure. She has to bare the stupid customers

CUSTOMER 1
I want a Big mac, no prickles, no
onion, with bacon..

INT. TV SET. DAY

DIRECTOR 2
Try to be more dramatic. Is the
yogurt you've been waiting your
whole life to eat.

INT. MCDOANLD'S RESTAURANT.DAY

CUSTOMER 2 (GROUP OF GERMANS)
4 super Big Mac, one with cheese,
two with bacon,one MC chICKEN,
one sprite, 2 beers....
39.

LAURA
Sorry, can you speak more slowly,
please?

CUSTOMER 2 (SPEAKING SLOWLY AS IF
LAURA WERE RETARDED)
4 super big Mac. One with...

INT. TV SET. DAY

DIRECTOR
More passionate. No. NO! WHAT ARE
YOU DOING?

INT. MCDONALD'S RESTAURANT.DAY

CUSTOMER 3 OLD GUY
At what time are you finishing,
morena?

INT. TV SET. DAY

DIRECTOR
YES, YES!! NOW!! MORE!! One more
take!

INT. MCDONLAD'D RESTAURANT.DAY

CUSTOMER 4
I TOLD YOU WITHOUT PRICKLES. It
is that damn complicated? Are you
retarded? I want to speak with
you manager

INT.TV SET. DAY

DIRECTOR
Great! Fucking great! Man.
Amazing. Now get the fuck out of
here.

EXT. URBAN STREET. DAY

LAURA hurries along a street.. She is really sad. Her phone
rings.

EXT. URBAN STREET. DAY

CHRISTIAN is in the same street with the same sad
expression. HIS PHONES RINGS
40.

INT. BEDROOM. DAY

Sarah just woke up. Her hair is a mess and she still has
her make up on.

SARAH
EY, Bitch

INT. OFFICE.DAY

George, who is sitting in his desk, is elegantly dressed up
with a dolce&Gabanna suit checking facebook and gaydar on
his computer.

GEORGE
EY, BITCH, How did it go?

EXT. STREET.DAY

LAURA
Awful, this is really shit.

INT. BEDROOM. DAY

SARAH stands up and looks for her clothes

SARAH
Come on, it cannot be that bad!

EXT. STREET.DAY

CHRISTIAN
NO, It can. But, fuck it, who
cares. I won't let this morons to
tell me what I can or I cannot do

INT. OFFICE. DAY

GEORGE
Don't think about it, love, and
anyway, there's a party today

EXT. URBAN STREET. DAY

LAURA
I'm not sure darling. I think I'm
over parties

INT. BEDROOM. DAY

SARAH is checking what kind of panties she is going to wea
41.

SARAH
nonsense, come on, this one is
different, babe, you cannot miss
this chance

EXT. URBAN STREET. DAY

Christian and Laura cross their paths without paying
attention of the other.

CHRISTIAN
You say that to every party! I
don't know, man.

INT. OFFICE.DAY

GEORGE
Come on, babe, Come to the party,
I promise you it's going to be
great

EXT. URBAN STREET. DAY

LAURA
I think about it, ok?

INT. BEDROOM. DAY

SARAH
OK, But don't think about it too
much. 8 p.m. Downstairs. Love ya.

INT. OFFICE.DAY

GEORGE
Love you

EXT. URBAN STREET. DAY

CHRISTIAN
Yeah

LAURA
Good bye, love

The four of them switch off their cell phone.

LAURA (CONT'D)
Damn!
42.

EXT. URBAN STREET. DAY

Music "Enamorado de la moda juvenil".

We can see people on the streets drinking, vomiting on the
streets, boys or girls fighting with each other. People
fucking in dark corners. Laura and Sarah heading to a
party. Christian heading to another party with George.

MATCH CUT TO:

INT. BAR. NIGHT

We can hear the same music. Laura and Sarah are drinking,
kissing, dancing.

Christian drinks. Boys are kissing among themselves and
using the popper.

INT. OFFICE. INTERVIEWS.DAY

Laura goes to different job interviews for stupid jobs.

We can see Laura dressed up with different uniforms: as
waitress, security,

INT. AUDITION. TV STUDIO. DAY

Same music

CHRISTIAN is on the being focus by a camera. He is changes
his clothes and hair style as the assistant says to the
camera which casting it is . He is always rejected.

CASTING ASSISTANT (SHOWING TO THE
CAMERA A DIFFERENT CLAPBOARD EACH
TIME)
One day in our lives Audition 12.
Take one
The brave one take 3
Audition 34
Take 7
Take 10

DIRECTOR
Thank you

CHRISTIAN leaves the place with a sad face
43.

INT. OFFICE. TELEPHONIST.DAY

Laura works for a hot line. She is sitting in front of a
computer with some headsets over her head while she is
drinking coke and writing on her notebook.

MAN 1(V.O.)
What are you wearing?

MAN 2 (V.O.) OLD MAN
You are 18? I'm 22

GIRL 3
Oh, we only want to hear you
while we are fucking. Just keep
talking

MAN 3 (V.O)
This turns you on, eh bitch? Once
I was on the bathroom and this
guy begged me to fuck him. I did
it and then he sucked my

LAURA hangs the phone. Laura takes a deep breath in and
lets the air go slowly.

FADE TO BLACK.

EVERYTHING BREAKS ONE DAY

INT. LAURA'S APARTMENT. DUSK

Laura is in her IKEA Apartment getting ready for tonight's
stupid party.

She has a shower and shaves her legs cutting herself in
several places. She tries all the clothes in her wardrobe,
throwing everything over the floor. Laura puts the make up
on etc...

INT. CHRISTIAN'S ROOM. DUSK

Christian is on his room. He dresses up with a white shirt,
black trousers and black tie.

INT. PLASTIK BAR. DUSK

LAURA and SARAH arrive at plastik. Laura is amazed. Plastik
is a club outdoors situated on the top floor of a huge
building. It has a swimming pool and an enormous bar in the
middle of the area.
44.

Around it there are several tables with a jacuzzi and a
bed each where everybody is in bikini jumping and drinking
while the Dj is playing the newest electro music. The girls
are dressed up in very expensive bikinis. In the bathroom
all the girls are putting their makeup on with extreme
precision. There are several rich arabic guys with two
blonds each.

CUT TO:

Christian arrives at plastik by the back door. He takes a
big tray with drinks and walks around the place. People
just take the drinks without looking at him.

Some of the guys are giving the girls a shower with a
bottle of Moët chardon of 5 liters.

One arabic guys grabs Laura by the waist.

ARABIC GUY
Come, habibti, let's get inside
the jacuzzi. Take the clothes
off.

Laura turns looking for Sarah. Sarah has already take her
clothes off and is inside one jacuzzi drinking champagne.

LAURA
You go first, habibi! I go for a
drink. Yalah!yalah!

CUT TO:

Laura is sitting in one chair facing the show. CHRISTIAN
offers her a drink. Laura just takes the drink without
looking at him. An arabic guy gives her a shower with
champagne. Sarah is totally drunk. Laura gets inside the
jacuzzi to take Sarah out of there.

SARAH
Refill! refill! (to one arabic
guy) You know, I have my period
and I want to fuck you! I miss
sex so much!!

CUT TO:

CHRISTIAN is standing in one corner with the tray. People
just pick a dink and leave without paying attention to
Christian. One girl, totally drunk, starts to dance dirty
with him. CHRISTIAN is uncomfortable but doesn't move.
People keeps taking drinks from the tray

CUT TO:

LAURA is inside the jacuzzi. One tall guy puts his hand
around Laura's waist. Laura tries to move away but the
jacuzzi is too crowded.
45.

The guys are giving to the girls drinks full with vodka.
One girl is jumping like crazy in one of the beds near the
edge. She is going to fall. Laura goes near her and pulls
her out of the bed. Guys touching the girls asses, making
them kiss between one another. Laura finds herself in the
middle of those people. She looks for Sarah again.

Sarah is gone. Laura gets worried. She looks for her
everywhere. Old man with young girls... Laura goes inside
the bathroom.

LAURA
SARAH! Sarah, are you here?
A beautiful girl all dressed up in fancy red dress has a
nose bleed. She is crying and shaking. Somebody broke her
nose. Her friend is next to her.

LAURA (CONT'D)
What happen? who did this?
The girl is not able to answer, she is too frightened.
Laura is really angry.

LAURA (CONT'D)
Who the fuck did this?I'm going
to fucking kill him. QUien sea el
hijo puta se va a cagar
Laura steps outside the bathroom. The arabic guys are
outside.

LAURA (CONT'D)
Who the fuck hit her? Who was it?

One man dressed with a black t-shirt and some jeans, from
you can tell works out in the gym a lot, raises his hand.

LAURA (CONT'D)
It was you, your motherfucker,
Maricon. How dare you? Who the
fuck you think you are?

ARABIC GUY 1
Laura, relax

LAURA
I'm going to fucking kill you,
your faggot, hijo de puta,
maricón.

SECURITY GUY
It wasn't ...

ARABIC GUY 2
Laura, Roudy found the girl. We
don't know who did it
46.

LAURA
Oh, fuck!
Where is Sarah?

PAKISTANI GUY 1
She was throwing up in the pool,
I don't know where she is now

LAURA goes inside the bathroom. The girl with the broken
nose is with a nurse.

Suddenly SARAH steps inside the bathroom.

SARAH
Laura, I've throw up

LAURA
I know

LAURA just grabs her by the arm and pulls her to the
outside.

EXT. URBAN STREET. OUTSIDE PLASTIK. NIGHT

LAURA is waiting for a cab with Sarah. She check how much
money she has on the purse. 5 dollars. She has not enough
money. A man puts his arm around Laura's waist and speaks
into her ear.

ARABIC 1
Let me take you home

Laura turns. He faces the two man from the party upstairs.

PAKISTANI 1
Yes, let's go to my place

LAURA
No,No. We are going home, But it
was fun, thank you. It was nice
meeting you.

ARABIC 1
This is too far from your home.
You don't have money.

LAURA
No, I can manage. Thank you

SARAH
NO, let's go. I want to go. It's
too soon. After party!

ARABIC 1
Yeah, after party!
47.

LAURA
No. We are going home. We have to
work tomorrow. Sarah, come here.

PAKISTANI speaks to Laura's ear

PAKISTANI 1
Darling, beautiful, Don't be
rude, please. We invited you to
our party, you had drinks for
free and now you are just
leaving(the guy puts his arm
around Laura's waist) Come on,
just one drink, I promise.

LAURA is really intimidated.

CHRISTIAN is also leaving the place. He is waiting for a
cab, he looks tired and he is wearing the uniform. Laura
looks at him.

LAURA
OK. But first we drop my friend
at home. She is not fine.

Sarah is kissing the arabic guy.

PAKISTANI 1
I think she is doing great. I'm
going for the car.

Christian has stopped one taxi.

LAURA
OK. We'll wait for you here.
Sarah, here, now.

Sarah does as she is told like a little girl.

ARABIC GUY
Habibi, we will here in 5
seconds.

The two guys disappear. Laura takes Sarah by the hand and
she steps inside Christian's taxi.

INT. INSIDE THE CAB. NIGHT

LAURA
Hi.

Laura closes the door. Sarah lays over Laura's legs.

CHRISTIAN
EH, HI?
48.

LAURA
Where are we going?

CHRISTIAN
Brooklyn

LAURA
Brooklyn?! do you mind to go to
113 st manhattan? perfect. Taxi,
drive, 113 st upper west side.

The taxi starts to move.

CHRISTIAN
I'm sorry but...maybe you should
get another taxi... I don't want
to be rude, but I don't have
money and well, I'm not
interested. So

LAURA
No, negative, not possible. I
cannot.

CHRISTIAN
You cannot?

SARAH vomits over laura's lap.

LAURA
You see? taxi, 113st upper west
side

CHRISTIAN
But...

LAURA
I'll pay, man, don't you worry.
(To Sarah) There you go, all out.
Better out than in, beautiful.
(She kisses Sarah on the back of
he head)

Christian tries to look somewhere else.

SARAH keeps vomiting over Laura. Laura touches it with the
hand by mistake.

LAURA (CONT'D)
OH, FUCK! Sarah! Not on my hand!
It is enough on the dress.

She throws some of the vomit on christian's shirt and
cleans her hand on the sit

LAURA (CONT'D)
Oh, I'm so sorry
49.

CHRISTIAN
It's ok. I should get off

LAURA
No, please! I don't have money
and

CHRISTIAN
You said you were going to pay

LAURA
not today, but I will I swear.

CHRISTIAN
I'm sorry, but, I told you I'm
not interested

LAURA
Interested?

CHRISTIAN
You know what I mean

LAURA
No, I don't

CHRISTIAN
I don't need a...I'm sorry I'm
leaving.

LAURA
Please, I need you. Those guys
wanted to rape us, my hormonal
excited friend is totally pissed
and I don't have money. Please,
just this once.

CHRISTIAN
SHIT

LAURA
Thanks!

Laura kisses him on the check.

Silence

LAURA (CONT'D)
So, where are you from, anyway?

CHRISTIAN
Everywhere

LAURA
How funny? Me too. No, I'm from
Spain, from Madrid. You know?
Where Penelope Cruz comes from.
You know?
50.

CHRISTIAN
Yeah, I know.

LAURA
You know? Ah. I saw her once.
When I was a little girl. I was
walking with my mother near
Retiro and she passed by our
side. I didn't pay attention to
her first, She was only famous in
Spain and I didn't know who the
fuck was her, of course, but my
mother said:'look! She is
Penelope Cruz, the actress' And I
looked up. My gosh, she was
incredible. She was wearing a
long white coat, with sun glasses
covering half of her face,
walking with this... you know?
This white hairy cat on her arms.
She looked like a goddess. I
think she inspired me

CHRISTIAN
You want to be an actress?

LAURA
NO, my Gosh

CHRISTIAN
Why not my Gosh?

LAURA
I cannot act, even if it was to
save my life. I want to be a
writer. Write stories with
incredible women and incredible
plots. But, instead of that, I'm
here with all this temporal
bearable shit trying to find out
what the fuck I want.

CHRISTIAN
Bearable shit...Well, I'm an
actor. Or trying to be one.

LAURA
Really?

CHRISTIAN
Yes. I know it is hard to believe
with this shirt covered with some
stranger's vomit

LAURA
Yeah, it is hard
51.

CHRISTIAN
Thank you

LAURA
You are welcome.

Christian smiles. Laura looks at him.

CHRISTIAN
I'm from Arkansas. Christian

LAURA
Laura, still from Madrid. Nice to
meet you

EXT. URBAN STREET. OUTSIDE LAURA'S APARTMENT. NIGHT

The taxi arrives at 113st. Christian has to step out first.
Then Laura. They both try to pull Sarah out who is half
conscious.

LAURA
Come on, gorgeous, we're home!
Shit!

CHRISTIAN
Just...OK, let me. Sarah? Sarah,
hold on my neck.

SARAH
Wow, who are you? (She steps out
of the taxi clumsily)you smell
good. You know? I have my

LAURA
Yeah, yeah, yalah, baby, a la
camita.

The three of them reach the door.

LAURA (CONT'D)
Well, this is it. Just let me
take her upstairs and I look for
my atm card

CHRISTIAN
It's ok. really. Actually, It was
fun.

LAURA
No, come on, I insist

CHRISTIAN
The subway is opening in one hour
or so, I'll just take a walk till
then
52.

LAURA
Well, come upstairs and wait
there. AT least that. Just a cup
of coffee.

CHRISTIAN
Ok.

LAURA
OK. Bella, no, no sleeping in
here. Let's go upstairs.

CHRISTIAN
Let me help you.

LAURA
It's OK. No. Just hold the door
for me. Yeah, that's good.

MATCH CUT TO:

INT. LAURA'S APARTMENT. NIGHT

Christian is holding Laura's apartment door as Laura and
Sarah step inside the house.

LAURA
Just sit on the sofa. I'll be
back in 15 min. You can have
whatever you want

CHRISTIAN
OK

Laura undresses Sarah and then she takes her own clothes
off and puts everything inside the washing machine.

CUT TO:

Christian is sitting on the couch, looking around but
without daring to move.

CUT TO:

LAURA and SARAH are having a shower together. Laura is
washing Sarah's hair as she was Sarah's mother. Sarah is
complaining with moans. Then Laura dries Sarah with the
towel. Laura puts Sarah on the bed and covers her with a
blanket.

CUT TO:

Christian is in the same position as before as Laura steps
into the living room.
53.

LAURA
Do you want some ice cream? I
have some pistachio ice cream.

CHRISTIAN
OK

LAURA gets the ice cream from the fridge, after serving in
two jags she sits on the sofa next to Christian. They are
just eating ice cream no speaking to one another

CHRISTIAN (CONT'D)
It's good

LAURA
Yeah. It is. (Pause) I like this
one and mint chocolate ice
cream,Specially when they have
big pieces of black chocolate
inside

CHRISTIAN
Oh, wow,yeah, mint chocolate is
very good too.

Christian and Laura don't know what to say.

SILENCE

LAURA
Yeah. That is awesome. I love ice
cream, specially when I've been
drinking.

CHRISTIAN
Wow.I like fries.when I'm drunk.
French fries.

LAURA
Really? Sometimes I buy some at
McD's. Fries with mayonnaise at 5
am is the best thing in life.

Silence.

LAURA (CONT'D)
Yeah. That's awesome too.

They both keep eating the ice cream silently.

CHRISTIAN
Good place

LAURA
Yeah, it is. And the rent is not
that bad though.
54.

CHRISTIAN
Wow, That's good

LAURA
Yeah. It's even more expensive a
smaller flat in Madrid.

CHRISTIAN
Wow

LAURA
Yeah

Silence

LAURA (CONT'D)
You know? I'm kind of sleepy

CHRISTIAN
OH, OK, Well...

LAURA
No, you can sleep here. Just let
me get some blankets.

She just gets up. Laura appears with some blankets and some
of her own T-shirts

LAURA (CONT'D)
Just put this on.

Christian takes his shirt off and he puts a pink extra
large shirt on instead.

LAURA (CONT'D)
Oh, Shit, I forgot. You also have
vomit on you shirt. I put it on
the washing machine,if it's that
ok.

CHRISTIAN
OK

LAURA
Well, good night

CHRISTIAN
Good night

Laura closes the door behind her. We see Christian on the
couch wearing the pink T-Shirt. We can hear how Laura gets
inside the bed. Christian stands up slowly. He gets his
Shirt from the washing machine and leaves the apartment
silently.

MATCH CUT TO:
55.

Laura from her bedroom can hear how the door is closed and
she closes her eyes.

INT. LAURA'S APARTMENT. DAY

Sarah is watching some documentary on tv about Los Angeles:
life and style in L.A. Suddenly She observes the time on
her watch.

Laura is on her bed.

SARAH (V.O.)
Laura!? Laura!! LAURAAAAAAA!!!

Laura checks the time. Is 10 in the morning. Sarah steps
into the room.

SARAH (CONT'D)
Laura! Are you alive?

LAURA
Maybe. What the hell do you want?

SARAH
We have to go to the hell of the
job

LAURA
Shit!

LAURA gets up in a second.

EXT. URBAN STREET. NEAR INTERMEDIATE TELECOMMUNICATIONS
SERVICE. DAY

LAURA and SARAH are running like mad on the street. They
finally get at work. They call at work using the
interphone.

BOSS (V.O.)
Who is it?

SARAH
IT's us. Laura and Sarah. Sorry
we are late.

BOSS (V.O.)
I'm sorry too. You are fired.

SARAH
What? That's not possible

BOSS (V.O.)
Oh, yeah, it is. What did you
think? That this is high school,
that you can show up at any time?
56.

This is real life, hun and in
real life one has to take things
seriously. You cannot be the prom
queen for the rest of your life,
hun.

LAURA
Sorry, hun, if I don't take very
seriously working for a hot line!

SARAH
No, no, no, shut up (whispering)

LAURA
Maybe it is a serious job for you
stealing from those bastards 3$
the minute pretending you are a
hot 18 year old slut.

BOSS (V.O.)
At least I don't fuck the
bastards for real, as you two
whores do every night

LAURA
Fuck you. You know? Fuck you,
Bicth! AT least some wants to
fuck us. Say that about your
husband, puta.

Laura starts to walk away. Sarah follows her.

LAURA (CONT'D)
Don't you talk to me!

SARAH
We will get another job, we
always do.

LAURA
What? Another shitty job? Are
there even more shitty jobs left
for us out there? That is what
you want to do. From shitty job
to shitty job. That is what you
want to do.

SARAH
Are you pissed off because that
guy left without saying anything
at all?

LAURA
What? Like: thanks for make me
pay 65 $ for nothing and the
extra free throw up of my shirt.
How can he resist those lovely
charms?
57.

SARAH
You are pissed off!

LAURA
No.NO.No. I am. I am pissed off,
yeah, I'm pissed off with
everything. I'm pissed off with
life...

SARAH
Pissed off with life? (she
laughs) can you be more dramatic,
please?

LAURA
Fuck you. Yeah, fuck you. I'm
pissed off with you. I'm pissed
off with me. I don't know why I'm
still with you.
I'm fucking pissed off, yeah. And
you know what?

SARAH just stares at her ironically. Laura gets closer to
Sarah.

LAURA (CONT'D) WHISPERING
I'm fucking leaving. There is
your what.

Laura walks away

SARAH
SO? Let's leave, drama queen.

LAURA
Are you coming to Spain with me
now?

SARAH
No, stupid. Let's go to L.A

Silence

LAURA
What?!

INT. GEORGE APARTMENT.DAY

CHRISTIAN
L.A

GEORGE
L.A

CHRISTIAN
L.A. Yes
58.

GEORGE
L.A. Darling. You think that is
realistic?

CHRISTIAN
No

GEORGE
You don't know anyone in L.A

CHRISTIAN
Here I know people and I'm not
doing nothing, so,Who cares?

GEORGE
Just be a bit patient, maybe you
can...

CHRISTIAN
To be a waiter in creepy parties?

GEORGE
And when are you leaving?

CHRISTIAN
Tomorrow

GEORGE
Wow

CHRISTIAN
Yeah

GEORGE
Well...

CHRISTIAN
Yeah

GEORGE
Wow

CHRISTIAN
I know

GEORGE
well, Write me on facebook.

CHRISTIAN
I will. Wait, I don't have you
added

GEORGE
George Boudoir. You will
recognize me in the picture
59.

CHRISTIAN
OK. Well, we keep in touch.

GEORGE
Yeah. Wow. (Pause) You don't know
of someone who wants to rent a
room in New York, do you?

CUT TO:

Hola, Los angeles, HI, l.a

EXT. OUTSIDE LOS ANGELES INTERNATIONAL AIRPORT.DAY

Laura and Sarah are waiting in the LAX Shuttle & Airline
Connections for a free shuttle to the METRO GREEN LINE.
They have lots of suitcases. The shuttle arrives and they
get inside.

EXT. OUTSIDE LOS ANGELES INTERNATIONAL AIRPORT. NIGHT

Christian is waiting the same bus and he gets inside

INT. AIRPORT SHUTTLE BUS. DAY

Laura starts to listen to "another lonly Day" of Ben Harper
as she is looking the landscape from the window

INT. AIRPORT SHUTTLE BUS. NIGHT

Christian is doing the same with the same music.

INT. APARTMENT.DUSK

Laura and Sarah arrive at their new apartment. They are
exhausted.

SARAH
Well

LAURA
Yeah

SARAH
Let's go get pissed

Laura looks at her for a couple of seconds. She checks the
time on her wrist watch.

LAURA
Ok

FADE TO BLACK.
60.

INT. NIGHT CLUB NIGHT

We can see a very empty bar. All the people are situated in
the bar, waiting for their drinks.

Laura and Sarah are in a club. They both go to the bar to
order a drink. They danced. Laura is very bored and
checking her watch all the time. Suddenly Laura spots
Christian. She can see how Christian goes to the bar to
order a drink. Laura observes his movements ad hides from
him.

Christian is talking with an another girl. Laura starts to
dance with an unknown boy. At first the dance is something
innocent but it turns into something more passionate as the
conversation between Christian and the girl gets more
intense.

Christian goes to the bathroom. Laura looks for Sarah but
this one is missing. Finally, Christian and Laura bump into
each other.

LAURA
Hola

Christian is surprise

CHRISTIAN
Hi, wow...what ...

LAURA
What am I doing here? What are
you doing here, Wow?

CHRISTIAN
Wow. Well...I just wanted to
come.

LAURA
Wow. I love having conversation
with you. so deep. So full with
contents, so full of wow.

CHRISTIAN
I don't know what else to say

LAURA
I think that's pretty obvious at
the moment

CHRISTIAN
Like you are unable to shut up?

LAURA
Ohh!!easy With the compliments
there
61.

CHRISTIAN
Well...It's true.

LAURA
Wow. Ok. Nice seeing you.

Laura walks away. Christian is quite. Christian stands up
and follows her. Christian takes Laura by the arm. They
stay quite for a while. Laura looks at him waiting for
something. Christian just looks at her. Then he lets her
arm go. Laura leaves the place. Christian puts his hands on
his head and then follows to the exit.

EXT. OUTSIDE NIGHT CLUB. NIGHT

Laura is leaving as fast as she cans. Christians takes her
arm making her turn.

LAURA
What the fuck you want?

Christian kisses Laura.

LAURA (CONT'D)
Taxi!

INT. LAURA'S L.A. APARTMENT. NIGHT

Laura and Christian arrive at Laura's apartment. Laura
switches on the light.

LAURA
Well, my new home.

CHRISTIAN
Yeah.

They go inside the living room

LAURA
You want something?

CHRISTIAN
No. It's ok

LAURA
Ok.

Laura kisses him. They kiss in a more passionate way.

LAURA (CONT'D)
Sorry, I..I have to go to the
bathroom. Just...ok
62.

Laura gets inside her bedroom. She hides some stuff under
the bed. She checks her underwear. She urinates in the
bathroom.

CUT TO:

Christian looks around.

CUT TO:

Laura puts perfume is her private parts and she checks if
her legs are properly shaved.

Laura goes back in the living room. They start to kiss
again. They go to Laura's bedroom.

LAURA (CONT'D)
Oh, the... the shoes. Yeah.

CHRISTIAN
Ok

They both take off their shoes. They start to kiss again.
They both lay on the bed. The keep kissing.

LAURA
You want to keep the lights on or
should I switch them off?

CHRISTIAN
I don't care. It's fine like
this

LAURA
Ok

They kiss again. Laura takes her shirt off. Christian does
the same. More kissing. Very realistic sex scene.

MATCH CUT TO:

Once they are finished they both go to sleep. Christian is
going to hug Laura but she sleeps facing the roof.

CHRISTIAN
You always sleep like this?

LAURA
Yeah. Back problem.

CHRISTIAN
Oh, ok. Goodnight.

LAURA
Buenas noches
63.

They kiss and Christian faces the other side of the room.

MATCH CUT TO:

INT. LAURA'S APARTMENT. DAY

Laura wakes up. They are sleeping in the same position.
Laura checks on Christian raising the head a little bit.
Christian is still sleeping. Laura checks the time, it is
9:27. Laura tries to go back to sleep.

EXT. URBAN STREET. DAY

Sarah exits one building with a different T-shirt and with
the high heel shoes on her hand. SHe looks at the signs.
SHe is lost. She keeps walking on an empty street.

SARAH
Fuck!

She tries to make a phone. No battery.

INT. LAURA'S APARTMENT. DAY

Laura checks the time again. 09:53. Christian is still
sleep. 10:10, 10:13... Laura gets up and walks towards the
bathroom facing Christian and covering her breasts.

Laura brushes her teeth. She has the make up on. She washes
her face and puts some eye liner on.

Christian is still sleep. Laura stays standing on her
feet for some seconds watching him and figuring what to do.

Laura looks for her underwear. Christian wakes up. Laura
is putting her underwear on.

CHRISTIAN
Where are you going?

LAURA
Nowhere. I just normally wake up
early.

Christian moans and stretches on the bed.

LAURA (CONT'D)
You want some breakfast?

CHRISTIAN
Ok.

Laura goes to the kitchen-living room. Christian puts some
clothes on. Laura prepares cereals from different packages
with milk. They both eat in silence.
64.

LAURA
What are you doing today?

CHRISTIAN
I have an audition

LAURA
WOW. What is it for?

CHRISTIAN
Ah...well, it's for a movie.

LAURA
Wow. Amazing. An audition for A
movie.

Laura laughs but she laughs alone so she shuts up at the
end. She looks at Christian.

CHRISTIAN
Well, I should be going.

LAURA
Ok.

CHRISTIAN
But...ah, give me you number.

LAURA
Oh, yes, haha just wait. One
second. I didn't memorize my
number.

Laura looks for her cell phone, she finds it. She looks for
her number but she cannot find it.

LAURA (CONT'D)
Ahh!!stupid Phone. Just give me
yours and I give you a miss call.

CHRISTIAN
Ok. Is the 5674867

Laura calls him. We can hear his ring tone, a funny ring
tone, like austin powers film intro. They keep silence for
a moment. Christian switches off the cell phone with a
quick and embarrassed movement. Laura follows him till the
door.

CHRISTIAN (CONT'D)
Well, see you

LAURA
Yeah. Good luck with the audition
for a movie.
65.

Christian just nods. Laura closes the door and sights.
Laura goes to the kitchen to wash the dishes when Sarah
walks in and she bangs the door behind her.

LAURA (CONT'D)
What the fuck?

Sarah locks herself in her room. Laura knocks on her door.

LAURA (CONT'D)
What the fuck, Sarah? What
happen?

There is no response from the room.

LAURA (CONT'D)
Sarah. Talk to me. Sa...fuck it

Laura sits in front of her laptop and enters on facebook.
Sarah is online. Laura opens a chat with her.

Laura: 'what the fuck, Sarah?' 'Sarah?' 'Come to the living
room and talk to me. I hate this fucked up thing'

After some seconds of no response.

Sarah: 'you left me alone'

Laura: 'what?' 'what the fuck r u talking about?'

Sarah: 'last night, ur idiot. You left without me. Just
leave me alone, ok'

Laura: 'well, aren't you a grown up now?

Sarah: 'wats that suppose to mean?'

Laura: 'Sorry, hun but I can't babysit you for the rest of
my life'

Sarah: 'fuck you, bitch. Who d fuck u think u r? I don't
need you. I don't even stand you anymore. Just leave me
alone'

Laura: 'Sorry, hun, but I think you don't stand yourself'

Sarah: 'u don't stand urself. And at least I'm not chasing
a guy who doesn't want to C me '

Laura: 'No, you just fuck them all and then you cannot c
them. At least Be a person and talk to my face.'

Sarah: 'Fuck you. There is nothin left 2 say. I don't want
2 c u ever again. I don't want 2 hear from u.

Laura: 'Fuck you'

Sarah: 'fuck u'
66.

laura: 'Come to the fucking living room, Sarah'

There is no reply. Laura is sited on the couch. A couple of
minutes later Sarah steps out of the room.

LAURA (CONT'D)
Hello

SARAH
Hi

Sarah is serious, trying to prove she is control. Sarah is
going to sit on the other side of the couch and for that
she has to walk between the table and Laura sited on the
couch. As Sarah is reaching the other side of the sofa,
Laura takes Sarah's hand. The reaction is instantaneous,
Sarah starts to cry like a child so does Laura at the end.
Both of them hug and cry like idiots.

SARAH (CONT'D)
I'm sorry...

LAURA
You can't say that. You can't say
you don't want to hear from me.
No before I say it, bitch

Sarah laughs and cries.

SARAH
How can I say that? I need you. I
love you. You are my best friend.
I love you, bitch.

LAURA
I love you too. we are just two
good pair of sluts.

They kiss on the lips like sisters and they hug.

LAURA (CONT'D)
Oh. My god. Too much drama for a
Saturday morning.

SARAH
Yeah.

LAURA
Let's have some breakfast.

INT. AUDITION. TV STUDIO. DAY

Christian situates himself in front of the camera and
recites his sentences
67.

CHRISTIAN
I know it can be confusing, even
hard,but not always things are as
we have expected, nothing is how
they had explained to us. They
brought us into this world and
then they let us alone in the
dark. Joana, what I'm trying to
say, what... you are dead, Joana,
you are and now it is time for
you to go.

CASTING DIRECTOR
No, no, no. You are the dead.

CHRISTIAN
Excuse me?

CASTING DIRECTOR
On the scene. You are an angel
trying to explain your best
friend that you have became an
angel

CHRISTIAN
Oh, but by the instructions I
understood I was telling my
friend he was dead

CASTING DIRECTOR
No, you are the dead. It is clear
in the instructions

CASTING DIRECTOR AUXILIAR
Actually, I thought it was the
other way around as he is saying

CASTING DIRECTOR
Try again (ignoring)

CHRISTIAN
Well...uh.... (coughs) Joana,
I'm...sorry, I don't know what to
say now I haven't prepared it.

CASTING DIRECTOR
Come on, try again. Remember, you
are the angel

CHRISTIAN
But...Ok...well... Joana, don't
be afraid... It is me. John.
Everything is clear now.
Everything is...how it was
suppose to be.
68.

CASTING DIRECTOR
Ok.ok. Thank you

Christian is leaving

CASTING DIRECTOR (CONT'D)
Can you sing?

CHRISTIAN
The angel sings?

EXT. OUTSIDE MOVIE STUDIO. DAY

Christian is walking. He makes starts to write a messsage
on his cell phone. 'Hi, I just get out...'

INT. LAURA'S APARTMENT. DAY

Laura is sited on her desk trying to write when she
receives a message from Christian

' Hi. I just get out:) I want 2 C u 2nite. wat d u reckon?
some movie and good wine? My place or urs?'

EXT. OUTSIDE MOVIE STUDIO. DAY

Christian is walking when he receives a message.

'uhhh...who are you?'

CHRISTIAN
(to himself)who are you?

He starts to write

INT. LAURA'S APARTMENT. DAY

Laura receives a message. She laughs. 'I'm Christian'

EXT. OUTSIDE MOVIE STUDIO. DAY

Christian receives a message.

'cristian???'

INT. LAURA'S APARTMENT. DAY

'cHristian from dis mornin, remember?'
69.

EXT. OUTSIDE MOVIE STUDIO. DAY

'cristian?wat cristian?'

INT. LAURA'S APARTMENT. DAY

Laura cannot stop laughing
'CHRISTIAN the actor who had been
at your place this morning.
CHRISTIAN from arkansas.
Christian from New york!dat
christian'

EXT. OUTSIDE MOVIE STUDIO.DAY

Christian is waiting for the answer what this one is not
coming. He walks and walks and checks the cell phone.
Finally he receives a message and he smiles at reading it.
'I cannot believe you r still
following this fish conversation.
Would you be a man and call me,
cHristian from arkansas?'

INT. LAURA'S APARTMENT. DAY

Laura's cell phone vibrates. Christian is calling. She
smiles, clears her throat and picks up the phone

LAURA
(sexy voice) ¿Si?

EXT. OUTSIDE MOVIE STUDIO. DAY

CHRISTIAN
Hola

INT. LAURA'S APARTMENT. DAY

LAURA
Hola, Christian the actor. It is
good to hear your voice.

EXT. OUTSIDE MOVIE STUDIO.DAY

CHRISTIAN
So, can we meet tonight?
70.

INT. CHRISTIAN'S APARTMENT. DUSK

LAURA
Ummm. Let me see. Maybe

CHRISTIAN (V.O.)
Maybe?

MATCH CUT TO:

Laura and Christian are kissing laying naked over the bed.

LAURA
Tell me a place you always wanted
to be

CHRISTIAN
Ehh, I don´t know. Maybe, Paris

LAURA
Paris. Wow.

CHRISTIAN
What? What's wrong with Paris?

LAURA
No, nothing. It just, it sounds
so...

CHRISTIAN
SO what?

LAURA
So..how do you...cursi...corny

CHRISTIAN
Corny?

LAURA
So typical. But, you know, maybe
one day...

CHRISTIAN
And New york wasn't typical

LAURA
No no. No like Paris. Paris is
typical and corny.

CHRISTIAN
Shut up

LAURA
Make me.
71.

CHRISTIAN
I will

He kisses Laura on the forehead, on the nose, on the cheek

CHRISTIAN (CONT'D)
You will shut up now?

LAURA
I said Make me.

Christian goes to kiss in a lower place.

Christian and Laura start dating more often. They have sex
every night, they watch movies on a laptop, They kiss, they
have showers together, they cook. They argue about stupid
things

MATCH CUT TO:
Once they have a discussion. It is dusk. Laura leaves
banging the entrance door. Christian goes after her.

CHRISTIAN
Laura!! come here!

Laura is running and she is far away now.

LAURA
(crying) Fuck you!!

Laura runs and gets inside of an alley. Christian gets
inside the car that is parked outside and chases her.

Laura enters in an construction site. She passes the wooden
barrier. It is a new chalet. Nobody is inside. She goes til
the top where is a swimming pool. She can see how
Christian's car passes by. She lays on the floor.

Chris look for her everywhere.

INT.LAURA'S APARTMENT. DUSK

Laura arrives home. Sarah is unconscious over the couch
with the saliva falling from her chin, still dressed up
with party clothes. One unknown guy is laying on the floor
of the communal bathroom. He is sleeping. Laura goes to her
room and starts packing her suitcase.

EXT. STREET.NIGHT

Christian is looking for Laura.
72.

EXT. HIGHWAY. NIGHT

Christian finds Laura asking for a lift on an exit highway.

CHRISTIAN
Laura, what the fuck are you
doing?

LAURA
What the fuck am I doing? I´m
leaving, but the fuck you think
I'm doing. I´m tired of this
country, is the same shit all
over again. I'm tired of this
people, I´m tired of you

CHRISTIAN
That´s not truth, come here,
Laura, let´s talk

LAURA
I don't wanna talk. There's
nothing to talk about.

CHRISTIAN
Laura, will you please come here?

LAURA
It´s LAURA. My name is LAURA.
NOT LORA, Lura, o that English
shit. LAURA. No. Don't touch me.
Fuck you.

She starts to run

CHRISTIAN
you, fuck, you're arrogant prick,
come here, I SAID

LAURA
No

CHRISTIAN
Shit, let's talk, Laura, come on.
Don´t be a child

LAURA
You are the fucking child, your
asshole. I´m tired of you. Has
been a hell of three weeks. Just
leave me alone, ok?
73.

CHRISTIAN
Are you tired of me? I don´t
think so, baby. I know what your
problem is, you just don´t know
what the fuck you want, Laura,
just face it.

LAURA
OH thank you very much for the
free psychoanalysis, doctor, you
save me the 100 bucks. I suppose
you know what you want, don´t
you?

CHRISTIAN
YES, in fact I do, your arrogant
prick

LAURA
So what the fuck do you want, eh?
Tell me

CHRISTIAN
I just want

LAURA
You just want to fuck me

CHRISTIAN
Of course I want to fuck you! And
I want to make love to you. I
want to have showers with you and
breakfast. I want to don't have
to talk about anything and I want
to talk about everything. I want
to watch stupid movies on your
tiny old laptop and fall sleep on
your couch. I even want to hear
you snore. Laura, I'm sorry but I
want to keep seeing you and you
have to suck that up, darling.

Laura has her mouth open.

LAURA
Shit! man!

CHRISTIAN
What?

LAURA
Well
74.

CHRISTIAN
Well, what?

LAURA
Well, I suppose I have to stay it
this fucked up country now, don´t
I?

CHRISTIAN
why?

LAURA
Because I also want to hear you
snore and keep fucking you,what
else?

INT. CHRISTIAN'S APARTMENT. DAY

Laura and Christian are making love.

GIRL (V.O)
I love you. I love you. I love
you

FADE OUT

INT. OFFICE.DAY

Christian has unsuccessful audition.

EXT. URBAN STREET. DAY

Christian is out from the audition. He takes his cell phone
out of his pocket. He looks to one side and the other of
the street. He writes a message to Laura. He is crossing
the street as he is writing the message 'I need to c u. I
mi ....A car hits him and he flies away. It is a blue BMW
Individual Serie 6 Coupé

INT.LAURA'S APARTMENT. DAY

Laura is writing on her laptop a new script. She checks her
cell phone, it is 15:30 and no messages. She tries to keep
writing but she cannot. Laura goes to the kitchen. She
turns on the kettle. She prepares some instant noodles.
Laura checks the cell phone again. No message. She can't
eat the noodles.

EXT. URBAN STREET. DAY

Laura goes for a walk. She checks the cell phone again. No
messages. She goes back home.
75.

INT.LAURA'S APARTMENT. DAY

Laura is sited on her desk again. She switches off the cell
phone. She lights a slim cigarette. She starts to write.

'INT. Laura´s apartment. MADRID. SPAIN. DAY. PRESENT DAY'

We can see Laura´s eyes. She is sleeping deeply. She opens
her eyes and suddenly she gets up.

LAURA
¡Joder!
(Fuck!)

The clock shows 7:30 in the morning

LAURA (CONT'D)
¡JODER! ¡JODER! ¡JODER! ¡Me he
quedado dormida! El avión.
(Fuck! Fuck! Fuck!. I overslept!
The plane!)

SUBTITLED

She dials in her cell phone a number

LAURA (CONT'D)
Si. ¿Hola? Si. Por favor, envíen
me un taxi a la calle Concha
Espina 84, lo antes posible. Es
urgente
(Yes, Hello? Yes, please, send me
a taxi to Concha Espina st 84, as
soon as possible, It is really
urgent)

TAXI COMPANY (V.O)
Lo siento, señora. Ninguno de
nuestros taxis pueden acceder a
su zona de residencia. Las calles
están cortadas a causa del
partido
(I'm sorry, ma'am. But today our
taxis cannot have Access to your
area. The streets are closed for
the match)
......

Laura writes, erases, she starts all over again....

INT. EMPIRE STATE. DAY , IT. PLASTIK BAR.DUSK...
76.

LAURA is writing like mad when SARAH enters.

SARAH
Hey, bitch!

Laura is hearing music she cannot hear her. Sarah pulls
from the headset cord.

LAURA
What the fuck?

SARAH
I said: ey, bitch!

LAURA
Ey!

Laura tries to keep writing but she cannot anymore.

LAURA (CONT'D)
Mierda!

SARAH
I'm starving! Let's make some
delivery. This time I pay, I
swear.

LAURA
Ok. Whatever.

SARAH
Did I miss something?

LAURA
Yes. Christian hasn't call

SARAH
Oh, shit!

LAURA
I don't know. Maybe he is busy o
maybe he got bored. quien sabe.

SARAH
He must be busy

LAURA
Yeah, but he could send a message
or something, no? You can be busy
but you can always have two
seconds to send a stupid message

SARAH
Maybe he got bored then

LAURA
How can you say something like
that?
77.

SARAH
Ahh, you can be so annoying
sometimes. Come on,Laura if he
hasn't written yet he must have a
very good reason.

LAURA
Yeah, he must. I don't know what
I'm so concern about it, we've
been only dating for 4 weeks.
It's So ridiculous.

SARAH
Hun. Seriously, What you need is
to

LAURA
go out and clear my mind?

SARAH
Am I so obvious? fuck it, laura,
let's get dress.

LAURA
No, I don't feel like it.

SARAH
Don't be stupid! Come on. Laura
get you ass out of that couch
now.

LAURA
No, I'm not going

SARAH
Yes, you are right, it is better
to be here, sited on a dirty
couch eating some noodles and
pitying myself for hours.

INT. NIGHT CLUB NIGHT

Laura and Sarah are on the same night club with the same
people (like zinc of Dubai's crown plaza hotel). They order
first a vodka cranberry, the blue frog, finally tequila
shots. Both of them are really drunk. They dance, they kiss
people they don't know. Laura is dancing and she suddenly
realizes that she is alone. Laura starts to look for Sarah.
She looks for her on the dance floor, on the bar. She
falls. Some people help her to stand up, some girls laugh
at her.

LAURA
I'm fine. I'm fine. Leave. Take
the hands off me, joder.
78.

Laura looks for Sarah on the bathroom.

LAURA (CONT'D)
Sarah? Are you here, bitch?

EXT. OUTSIDE NIGHT CLUB. NIGHT

Laura is leaving the bar. Suddenly she sees Sarah. Some
guys are trying to make her get inside of their blue BMW.

SARAH
No. I have to find my friend. I'm
not feeling well. No. I have to.
Seriously, guys. I have to find
spain.

GUY 1
Come on, babe, we only want to
take you home.

LAURA
Ey, are you deaf, gilipollas? She
is with me. Sarah, come here

Sarah tries to do what she is told but one of the guys
grabs her by the arm.

GUY 2
We are only trying to help. You
can come if you want.

The other two guys laugh.

LAURA
Just let her go, your prick.

GUY 1
Ohhhh!! Tough, uh? I think I like
this bitch more.

And he pulls Laura by the arm and tries to get her inside
the car as his other two friends are introducing Sarah by
force inside the car.

LAURA
LET GO, Cabrón!

LAURA hits the guy on the nose. A guy from the car behind
the blue BMW steps outside the vehicle and interferes in
the discussion.

GUY 4
What the fuck is happening here?

Behind him appear two more guys.
79.

GUY 2
Nothing, man. We were just
leaving.

The other two guys from the blue BMW let Sarah join her
friend. Then the three of them get inside the vehicle and
leave.

GUY 4
Are you all right?

LAURA
Yes, thank you very much. My God!

GUY 5
You have to be careful, girls.
You cannot be on the streets so
late by yourselves and specially
if you have been drinking.

LAURA
Yeah, we know. I will never go
out in my life. (she laughs)WELL,
THANK YOU VERY MUCH. God bless
you.

GUY 4
Ey, wait. Where do you live?

LAURA
Oh, just a couple of blocks from
here.

GUY 4
Come on, we'll drop you there

LAURA
No, it's ok. We can go on foot,
but thanks

GUY 4
On foot? No, seriously, we have
to drop you home. I will feel
responsible if something happens
to you after this

GUY 5
And those guys can be waiting for
you.

GUY 4
Please, just let us take you
home.

SARAH
Let's go, Laura.
80.

LAURA
Ok. Thank you.

The guy smiles. Guy 5 opens the back door.

GUY 5
Ladies first

Sarah and Laura get inside the car.

INT. CAR. NIGHT

Laura had fallen sleep inside the car and she now wakes up
with an unconscious Sarah by her side and the guys singing
and drinking. She doesn't know where she is. She cannot see
any buildings outside. They are in a highway.

LAURA
Where are we going?

GUY 4
Ey, you are awake!!

They guy laugh.

GUY 4 (CONT'D)
Oh, don't you worry, girl! A
friend call me while you were
sleeping. We are just going to
his place to pick some stuff but
later we will drop you home, ok?
You were sleeping like an angel I
couldn't wake you up.

LAURA
I'm sorry, you've been very kind,
really, but I prefer to go home
now. Please.

GUY 4
But we are almost there. Don't
you worry. It's not going to take
long.

Laura remains in silence but she is beginning to be
nervous.

After some time the car stops.

GUY 4 (CONT'D)
Well, here we are.

Laura looks outside the window. She can only see dessert
and a blue BMW park in front of them. The guys step out of
the vehicle.
81.

EXT. DESSERT. NIGHT

One guy opens the back door of the vehicle and pulls Laura
to the outside. She can see how Guy 4 is shaking hands with
the guys of the blue BMW.

GUY 1
Why took you so long?

Then Sarah is by her side with the hands of guy 5 over her
shoulders.

SARAH
Where the fuck are we?

Laura cannot answer. She is too scared and amazed to
answer.

The 5 men avance in their direction.

GUY 1
Well, it is so nice to see you
again.

SARAH
Laura, what's wrong? I'm too
pissed. I don't feeling well.

Laura remains in silence. The guys laugh.

GUY 1
Oh, don't you worry, honey. I'm
just going to give you exactly what
you need. Come here.

They guy opens his slipper and forces Sarah to get on her
knees.

GUY 1 (CONT'D)
Come on, girl. I know you like it.

LAURA
Please, no. Don't do that to her.

GUY 1
Don't you worry, darling, you're
next. Come on, bitch!

SARAH
I'm not feeling well

SARAH throws up on the guys trousers.

GUY 1
Fuck!! Your bitch!

He starts to kick Sarah.
82.

LAURA
No!! Stop!! Stop it!! Stop it your
bastard!!

Laura tries to step in between but she is firmly hold by two
guys.

GUY 1
You know how expensive these
trousers are, your alcoholic
whore!? bitch

GUY 3
Stop, Joe. You are going to kill
the whore before we fuck her

GUY 1
Shut the fuck up, will ya? I loved
this trousers. Fucking bitch.

LAURA
Stop, please, I beg you. Stop it! I
would do anything, I swear!

He stops kicking her. Sarah does not move.

GUY 2
Perfect, you've killed the bitch,
Joe! Now what? Uh! Your fucking
genius.

The guy is holding Sarah's head and then he lets it go.

GUY 4
Fuck, man!

Laura cannot believe what she is hearing. She has not
perception of herself. Tears are falling from her eyes but
she cannot emit any sound.

GUY 1
She ruined my trousers.

GUY 3
Fuck you, Joe. Fuck you and your
horrible trousers.

GUY 1
What the fuck you said? your
faggot. Those trousers are 540$

GUY 5
Well, will you two shut the fuck
up. Jesus!

GUY 6
We should get the fuck out of here!
83.

GUY 1
What? Are you stupid?

GUY 6
You killed the fucking bitch, man.
It's not the same as dying in the
fucking dessert, stupid. You bit
her up. If we leave our DNA'S on
them, we will be fucked.

GUY 2
What the fuck are you saying?

GUY 6
It's true, man.

GUY 1
Don't be stupid!

Guy 1 pulls Laura by the hair and throws her against the
ground. She hits the knees against the gorund.

GUY 1 (CONT'D)
Well, let's finish what we started,
shall we?

The guy pushes Laura to the ground with his feet.

Laura is falling slowly to the ground breathing hard. She
touches the ground with her head and she closes her eyes.

FADE TO BLACK.

GIRL (FROM THE 1ST SCENE)
I love you. I love you. I love you

EXT. CHAMPS ELYSËES AVENUE. DAY

We can see a blond british woman running through Les champs
elysées. The avenue is crowded by turist and shoppers.

WOMAN
Sofia, sofia! Come here
immediately! Sofia!

Suddenly the mother stops.

A little blond girl is touching a Korean boy's face. The
parents of the boy are amused by the little girl. The boy
touches Sofia's hair. They are both smiling. The mother takes
sofia's hand.

WOMAN (CONT'D)
There you are! Sofia, you cannot do
this to mummy.
84.

You cannot disappear like that. (to
the parents)I'm so sorry! Come
along, darling. Come on, sofia.

The woman pulls Sofia away from the boy and they start their
descending through le avenue. Sofia cannot stop looking back.

The korean boy goes after Sofia. The mother stops. The little
boys looks at her and kisses her on the cheek. The he runs
away. Sofia smiles.

The mother is amazed.

WOMAN (CONT'D)
Come along, darling. Daddy is
waiting for us.

They continue their descending as the korean family goes in
the opposite direction, to l'arc du triumph.

FADE OUT

Credits: Laura dances with Christian and Sarah in different
landscapes of New York, L.A and Madrid the song "A mi manera"

of the Gipsy Kings.
THE END

THE END

It just happen: script

noreply@blogger.com (Sugestionando86) — Mon, 22 Feb 2010 21:05:00 +0100

IT JUST HAPPEN

J+S= Love

J+P= Love

J+S+P=?

SEC 1. INT. SMALL TV SET. INTERIOR LIGHT

We can see a small tv set with the lights off.

It is very simple. In the center there is a desk. On the

desk there are a small piano and a laptop. We can see a

girl dressed up with white trousers and a black blouse. She

is setting a small digital camera in its place. The camera

falls. Black.

Shit!

J is setting the camera property. She tries the balance and

the zoom.

She switches the lights on. J presses a button on the piano

and a melody starts to play. She is showing some cards with

the credits on in it.

(Coughs) tuntururum tuntururum.

We can see how J takes her seat.

Ok. Welcome once more to another

session of "How to create your

own comic romance sometimes

tragic but with a very good

ending blockbuster movie"

We can hear people clapping

With a few steps I will show you

how to transform those little

stories of your minds into a

successful romantic movie. Yeah…

but no. Ok. If you are ready. Are

you ready?(CONT’D)

we can hear people screaming

AUDIENCE (VO)

yes!!

YEAH! OK. Step number one: the

title. Not be very complicated

but always linked with the story.

SEC 2. EXT. CITY LANDSCAPE. DAY

J NARRATOR (OVER)

Yes.

A title like : It just happen

SEC 1. INT. SMALL TV SET. INTERIOR LIGHT

J NARRATOR

All pure imagination.

Ok, then. It's time for the next

important step. Step number 2:

J raises a piece of carton saying: step 2: create your own

hero and with some drawings in it.

J NARRATOR

All movies have their perfect

heroes. That is essential. It

must be somebody with an internal

fight and lots of personality.

(MORE)

SEC 2. EXT. CITY LANSCAPE.DAY

J NARRATOR (OVER)

For this occasion I have

chosen... Here it is, a girl,

very common girl, not an

extraordinary beauty. With sexy

clothes. No. Sport, maybe. No, I

think, kind of modern but with

style. With very short hair. Yes.

Tattoo. No, not that much. Yeah,

rebel but. Yes. I think… Yes,

Perfect. Perfect. And then… Let

them introduce themselves

We can see how the female character changes with the

narrator's comments.

(CONT’D)

SEC 1. INT. SMALL TV SET. INTERIOR LIGHT

It is always easier and cheaper.

SEC 2. EXT. CITY LANSCAPE.DAY

J CHARACTER

Hi, my name is (CONT’D)

SEC 1. INT. SMALL TV SET. INTERIOR LIGHT

(CONT'D)

SEC 2. EXT. CITY LANSCAPE. URBAN STREET DAY

J is walking.

J (CONT’D)

Hi my name is J and well, you

just caught me spending my time

as I usually do.

SEC 3. EXT. URBAN STREET. MUSIC

It sounds the music: how do you know me, fingertips. The

music continue still the scene 13

J is walking the streets with different outfits (wigs and

mini skirts)

SEC 4. INT. J’S APARTMENT. NIGHT

J is sitting over her bed in front of a tv. She is eating

icecream and learning different accents from movies.

(Italian accent)

I can understand perfectly, bello

(Spanish accent) Since I met you

my heart is bumping strongly

(Russian accent) Nice to meet you

SEC 4. INT. DIFFERENT BARS. NIGHT

J is talking with different men with different accents

given different names while the men are drinking like mad

I´m Danielle, from Brazil

I´m Marina, from Italia

Rosa, de Mexico

SEC 5. INT. SUBWAY ENTRANCE. DAY

J is dressing like a boy. One woman looks at her. J has sex

with the girl in a photo machine. J is washing her hands

outside the photo machine after the meeting with woman 1.

Woman 2 looks at her. J sighs and follows her. S (the other

character) watches the scene.

SEC 6. INT. SUBWAY VAGON. DAY

J is seducing a boy in the subway that is listening music

with his Iphone. We can see there are having a

conversation. J flirts with the boy. The boy gets off the

train saying good bye. The doors closes and she is

listening music with the new Iphone. S is sitting in that

same vagon.

SEC 7. INT. BARS. NIGHT

J (OVER)

And my favorite, my principal

source of benefits.

J is seducing a man seating alone in a bar. J and Man take

some drinks in the bar and laughing. J doesn´t drink and

observes how Man drinks.

MATCH CUT TO:

SEC 8. INT. HOTEL ROOM. NIGHT

J and the Man are in a hotel room. Man is really drunk J

sprays something in her underwear. Man is kissing her. Man

falls unconscious. J picks his wallet, J sees a picture of

man with wife, puts the money and credit cards inside her

hand bag. J takes a picture of man. J takes pictures of

different men. J leaves the place closing the door with

different outfits and wings.

CUT TO:

SEC 2. EXT. CITY LANDSCAPE. DAY

We are back at the principal street when J made her first

apparition.

Some will say it all comes from a

traumatic childhood (CONT’D)

SEC 9. INT. SCHOOL GYM. DAY. 1994 (FLASHBACK)

We can see J as child in gym class being hit by lots of

basket balls

J(v.o)

(CONT’D)

Others that is because of the

influence of drugs(MORE CONT’D)

SEC 10. INT. LIVING ROOM PARTY. NIGHT 2001(FLASHBACK)

We can see j smoking a pot and feeling nothing as a girl is

totally stone

MATCH CUT TO:

We can see J about to try cocaine when a girl has a

overdose. She leaves the straw with the cocaine untouched

SEC 11. IMAGES OF MOVIES

J(v.o)

(MORE)

Others that it was the powerful

influence of the fashion system o

Hollywood movies

SEC 2. EXT. CITY LANSCAPE.DAY CONTINUED

J (CONT’D)

To tell you the truth, it was

something simpler than that.

SEC 12. INT. BARS. NIGHT

J is in a bar dancing and drinking with some other girls.

J is dancing with a boy.

SEC 13. INT. MOTEL ROOM. NIGHT

J is going into a room with that drunk guy. The Drunk guy

falls on the floor. J sees the wallet.

SEC 14. INT. INSIDE THE TAXI. NIGHT

J takes a cab and counts the money. Smiles.

SEC 15. INT. GROCERY SHOP. DAY

The door closes. J is listening music, eating candy and

drinking some coke. She is in the supermarket. She is

watching the shop assistant moving his lips angrily. The

music suddenly stops.

Sorry?

Pakistani Shop assistant

Your credit card have be rejected

(CONT’D)

(MORE)

STEP 3: THE BEGINNING OF THE

PLOT. J+? ….

Oh..shit..ah..ok, just let me

see…fuck..I don't have any cash.

Can you try again?

P SA

I've try three times. No accepted

Ok, well, I think I have to leave

it and…

P SA

No no no, and things you eaten?

you eat things, you pay

Eh, yeah, As I was saying, I´m

going to leave this things and

then I´m going to my apartment,

get some cash and pay you for the

chips and the coke. You see, I

live in that building.

P SA

NO NO NO you pay

sorry, but I don´t have anything

apart from that credit card but

P SA

No no, you pay you pay

I'm telling you, I don´t have

anything but I can go to my

apart..

P SA

No pay, police, I call police

10.

(CONT’D)

(MORE)

BOBOBOOO, Chissss, easy there…Ok.

J pulls discreetly her t-shirt down so her breast can be

more visible.

J (CONT’D)

Look, ehh How is your name?…

Kasheen. Kasheen that's a lovely

name. I'm J by the way. Nice to

meet you. Look, kash, I will

explain you something, ok? Can

you see that building? Well, that

is where I live. Close, eh? Well,

this is the thing. I will leave

all this things here because, you

know what? I don´t need them that

much. So, after that, I will

cross this street and I will

reach the door, I will climb the

stairs, open the door of my

apartment, open the drawer of my

room, get some cash, climb down,

cross the street again and pay

you the 2 pounds I owe you. What

do you think? Good deal, eh?

P SA

NO YOU PAY!

I´m telling you. I just have to

cross that street, go to my

apartment, get the money and come

back. It´s not that complicated.

I can leave you my ID. Is that

OK?

P SA

YOU EAT THINGS AND YOU NO PAY

I´m telling you, your stupid

paki,

SHOPPER N1

Shit, Just fucking pay him

11.

(CONT’D)

(MORE)

Will you shut up,fat man and mind

your fucking business?

The people is beginning to yell at her

P SA

You pay

You shut up! And you, fucking

paki, What the fuck you want?

P sa

I call police

Shit!!! your motherfucker!! You

want me to give it back to you,

is that it? You want me to give

it back. Here you are

Just let me, I´ll pay

Ey,I told you to mind your own

f…(CONT’D)

On the screen appers handwriting letters saying

STEP 3: J+S=SOMETHING

J(CONT’D)

Eh…I told you that I can deal

with this perfectly, thank you

for your concern

Yeah, that is obvious. Just add

these things too. (lots of noodle

packages)

No, really you don´t

12.

(CONT’D)

(MORE)

Is my pleasure

Here you are

S leaves the shop before J.

SEC 16. EXT. URBAN STREET.DAY

J follows S.

Ey, wait! Shit. I don´t know what

to say

Nothing. I didn´t want to see you

throwing up, that´s all. My

stomach is delicate

Shit, that fucking paki. I´m

sorry. How can I

Well, here are you things, see

ya.

Ey, wait. I cannot leave it like

this. I have to thank you for

helping me.

No need, really. Well, nice to

meet you. Take care

J laughs

What?

13.

(CONT’D)

(MORE)

I think you have no choice.

Apparently, we are closer that I

thought

Sorry?

Yeah, I think we are in a middle

of a relationship already

Excuse me?

Yeah, you know, neighbor

relationship

You´re kidding

No, I just moved in. You cannot

say no now, I know where you

live, and I can be really

annoying. Come on, We leave our

things and we meet here in… ten

minutes, is that ok?

Ah…

Come on. Just a drink

At 11 in the morning?

Well, a coffee. Whatever. Please?

Continues the conversation as they enter in the building

SEC 17. INT. PRINCIPAL HALL. ELEVATORS.DAY

14.

(CONT’D)

(MORE)

Ok. Ten minutes

Ten minutes.

Well, I climb the stairs.

J goes inside the elevator. S climbs the stairs. She hides.

The elevator is broken so J has to climb the stairs

Shit

S has to climb faster and quietly so J cannot catch her

SEC 18. INT. J'S APARTMENT. DAY(CONTINUED)

J reaches her floor. J dances. J opens the door, changes

her clothes. J perfumes. J checks the time.

SEC 19. INT. S'S APARTMENT.DAY (CONTINUED)

S is watching the time. S looks at her in the mirror. S

sights.

Ahhhh…puffff. brrrrr

S IS LOOKING AT THE WIDOW. SHE DECIDES TO TAKE HER CLOTHES

OFF, PUT A ROBE on AND MAKE SOME noodles.

SEC 20. EXT. URBAN STREET.DAY(CONTINUED)

J checks the time, she IS WAITING DOWNSTAIRS. S NEVER GETS

DOWN.

15.

(CONT’D)

(MORE)

Fuck it, fuck it, fuck it

J continues to walk on the street

FADE TO:

SEC 21.INT. S'S APARTMENT. DAY

S is watching a movie on tv while she is eating her

noodles.

SEC 22. EXT. URBAN STRRET. DAY (CONTINUED)

J is wondering the street. She is stealing from different

people and taking beautiful pictures.

SEC 21. INT. S's apartment. DAY(CONTINUED)

S is in front the computer. She opens facebook. No messages

on the wall no new friends. She has 5 new private messages.

"MOM". S sights. "where are you? what are you doing? hope

everything is ok. Call me"

SEC 23. INT. AMBIENT BAR. NIGHT

J is in a bar and she is watching the people. There are

only young people, group of girls dancing alone, and the

silly boys drinking and watching them. J is bored and she

drinks.

CONTINUED

SEC 21. INT. S'S APARTMENT. NIGHT

S checks the hour in the cell phone. S opens the wardrobe.

No more noodles. She dresses up.

SEC 23. INT. AMBIENT BAR. NIGHT

J is in other bar drinking. There are only couples and

groups. No victims. She drinks.

CONTINUED

16.

(CONT’D)

SEC 24. INT. SMALL CONVENIENCE STORE. NIGHT

S is on the supermarket. She buys her noodles and exits the

place.

SEC 23. INT. AMBIENT BAR. NIGHT (CONTINUED)

J is drunk and she decides to go home.

SEC 25. EXT. URBAN STREET. NIGHT

J IS ON THE STREET. J sees S from the distance carrying

plastic bags.

EY, YOU!

Shit

Ey, YOU!I know you! yeah, you are

the one who let me down, the

noodle eater, yeah

I don't know what you are talking

about

Yes, you do, noodle eater. You

know? For the future, if you are

not going to do something, just

say no, ok?

I don't even know you

Yes, you do. I'm the best friend

you can ever have, because I'm

already better than you think

17.

(MORE)

You're pissed

Yes, sir, I am

Some boys are on the other side of the street. One of them

yell at them

Boy nº1

Ey, hottie, wanna have fun?

Friends laugh

Why don't you fuck yourself,

wanker?

The friends laugh even harder

Boy nº1

Wow, This bitch needs a lesson.

Oh, yeah, Here I am, you fucker.

I will break your fucking face,

faggot.

Fuck

Come here, let's go home

I'm not going with you anywhere

Boy nº1

Come on, bitch, let me teach you

what a real man is

J laughs

Boy nº2

Come on, Joe. Let's go, Lucy and

the others are waiting

18.

(CONT’D)

(MORE)

Come now

I said I'm not going with you

Oh, yes, you are, unless you want

to be raped by these drunkers

So what? They have needs too.

Everybody needs love. Love and

that shit. Even you, lonely

creepy girl, noodle eater.

Boy nº1

Leave me.

Boy nº3

Come on, after 2 we have to pay,

let's go

Boy nº1

Ok, this bitch is not worth it

What have you said, your wanker?

Fuck, Just come with me

Why?

Because, today I'm your best

friend, ok.

Fuck. Good answer

The boys are leaving holding boy nº1 on the other side of

the street.

19.

(CONT’D)

S grabs J and takes her in the other direction

J shows her middle finger to the boy while they are walking

SEC 26. INT. BUILDING HALL. NIGHT

J and S are standing in front the elevators. J is relaying

all the with of her body over S's shoulder.

Fuck, the elevator is still

broken. Doesn't anyone repair

something over here? Ah, let's

go.

SEC 27. INT. STAIRCASE. NIGHT

S is carrying J over the stairs. J is singing "I kissed a

girl" Katy perry

MATCH TO:

SEC 28. INT. J'S APARTMENT. NIGHT

They reach the door of J's apartment.

Give me the key

What? You don't have the key?

I thought you have it

How was I going to have your

apartment's key?

You tell me

20.

(MORE)

Shit. Come on, let's get down.

S and J start their descense.

SEC 29. INT. S'S APARTMENT. NIGHT

J sleeps at S's. S has to undress her.

SEC 30. INT. S'S APARTEMENT. DAY (CONTINUED)

J wakes up in a strange room.

She walks through the apartment. S is sleeping in the sofa.

J touches s

Ey, good morning. How are you

feeling?

Fucked, but I'll survive

Really?

Really. Sorry to wake you up, but

I just want to say I'm leaving

and have a nice day

No, what?

21.

(CONT’D)

(MORE)

You don't have to leave so soon

It's ok, I have bothered you

enough

No, you have to have breakfast

with me. Come on

Well, as you wish, but I cannot

have noodles for breakfast, ruins

my system.

I don't only have noodles

It was a joke. Come, I make some

toast

Let me do it

J grabs her by the arm and waist and pulls her towards her

and away from the cooker

No, let me

I'm not lesbian

I just want it to

Make it clear. Got it. I just

remember I have to go

22.

(CONT’D)

(MORE)

You don't have to go

No, I have to. Well, thank you

S is standing with the bread in the hands

SEC 31. INT. S'S OFFICE. DAY

She is in the office. She is bored. The people of the

office walk really fast but she is in normal motion.

SEC 32. EXT. URBAN STREET. DAY

J is walking the streets. She is walking with different

outfits.

She steals from different men.

SEC 33. INT. BAR. NIGHT

J is at the bar at night, talking with different man. J is

bored.

SEC 34. INT. S's APARTMENT. NIGHT

S arrives at home. She is going to cook some noodles. She

stops.

SEC 35. INT. J'S APARTMENT. NIGHT

S is at J's door. She is going to knock, but she rejects

the idea. She goes back again and finally knocks the door.

The door is open

Hi, I wonder if you want to watch

a movie…with me

J(she is underwear)

Ahhh…

23.

(CONT’D)

(MORE)

OK, sorry for bothering you

No, wait. I mean. It's soon for a

movie.

It's 7:30 of the afternoon

Really? Shit. Ok. just leave me

get dress

You can wait inside

Ok. Thank you

You're welcome

Just sit there. If you wanna

drink or eat something, help

yourself. But, no noodles, sorry

I don't only eat noodles

Whatever

S opens the fridge. There are only bottles of white wine,

juices, cans of minerals and some fruits.

So, what kind of movie you wanna

see? I've seen one really good in

the mall

24.

(CONT’D)

(MORE)

Mall? No

Well, we can go to the center

I don't like cinemas

You don't like cinemas?

So, how we are suppose to watch a

movie if you don't like cinemas?

At home. Something call DVD?

The movie is finish. J was half sleep.

Wow. It was good. It's good to

know what is happening to the

Kurdish people nowadays.

Absolutely, heartbreaking. Shit,

is eleven thirty.

I told you it was long. Well, I

got to bed.

Oh, come on, let's have dinner

outside. I'm starving.

It's too late

25.

(CONT’D)

(MORE)

It's Saturday.

It's too late

Ok, well, I have to work anyways.

Goodnight

Yeah

SEC 36. INT. S'S APARTMENT. NIGHT

S arrives at home and she stops at the door

CONTINUED

SEC 37. INT. J'S APARTMENT. NIGHT

J is preparing herself for another night of work.

SEC 38. INT. ELEVATOR DOOR. NIGHT

J press the calling the elevator but it's still broken.

Fuck¡

SEC 36. INT. S'S APARTMENT. NIGHT

CONTINUED

S is making herself some dinner with noodles and she hears

a noise on the stairs, somebody is cursing. She goes to the

door and observes through the keyhole.

26.

(CONT’D)

IT is J, she just fell from the stairs. She is wearing a

wig, a mini skirt, a very sexy top and high heels. J puts

herself together and she continues her descence.

S is surprise and curious. She looks at the window. J is

walking.

CUT TO:

AT night, S is on the bed. She is awake for the noise of

some high heels on the upper floor. She checks the time is

5 in the morning. S goes back to sleep.

MATCH TO:

SEC 39. INT. J'S APARTMENT.DAY

J is sleeping. Someone is knocking at the door. J finally

wakes up. She walks slowly to the door. J OPENS THE DOOR. S

IS AT THE DOORSTEP.

Woman, you are going to kill me.

Sorry, I didn't …

No, just tell me it's not another

of those kurdu movies.

Ok. Come. No, wait

Sorry

It's my turn

27.

(MORE)

I don't want to go out

Ok. But today I choose the movie

and you are going have dinner

with me. Not arguments.

All right

J is looking at s during the movie. She is laughing.

SEC 40. INT. STAIR CASE AND S'S APARTMENT. NIGHT

S climbs the stairs and reaches her floor; she locks the

door behind her.

SUCESSION OF IMAGES

J climbs down the stairs with different outfits.

We can see how every time S is spying at the door.

COMBINE WITH:

SEC41. INT. J’S APARTMENT. DAY

S and J are watching movies, playing inside the apartment,

cooking together, tacking pictures of each other…

SEC 42. INT. J'S APARTMENT. NIGHT

J and S are sitting on the couch while they are watching

the ending of a movie.

28.

(CONT’D)

(MORE)

It was good.

Yeah, I told you.

Well, I have to go home.

Yeah, well, let me follow you to

the door. (CONT’D)

She kisses her on the check very close to the lips.

J(CONT’D)

Hope to see you soon

Yes, good bye

SEC 43. INT. S'S APARTMENT. NIGHT (CONTINUED)

S gets inside her apartment and she waits. She checks the

time.

MATCH TO:

SEC 44. INT. STAIRCASE. NIGHT

J checks the time. She runs through the stairs.

MATCH TO:

SEC 43. INT. S'S APARTMENT. NIGHT (CONTINUED)

Suddenly s hears someone going down. S opens the door. J is

surprised

Are you a whore o something like

that?

29.

(CONT’D)

(MORE)

No, I'm not a whore or something

like that

Show me

Ok, but you have to go out and

not like that

SEC 45. INT. J'S APARTMENT. NIGHT

J and S are in J's bathroom. J takes S's cloths off. S

doesn't move. J gives S a dress and she helps her to close

it at the back. J puts some make up on S

SEC 46. INT. NIGHT CLUB. NIGHT

J and S enter in a bar. Is and old fashioned bar, more like

a exclusive club with a tiny dance floor in the middle of

the room and with lonely people spread across the room.

They both go to a corner. J grabs her and they begin to

dnace. They are cheek with cheek

First, watch

S looks around the bar. They are mostly men around forties.

They are from different social status. One can tell from

the clothes, but mostly of them are from the middle upper

class.

Then, Choose.

J points one man with her eyes. S is beginning to

understand. The man has 4 empty glasses on the table and he

just ordered another double chivas regal.

30.

(CONT’D)

(MORE)

And then, attack. Let me do the

talking.

J (eater European accent. All the

conversation with the same

accent)

Hello

MAN

Hello

Do you mind if we sit here?

Everything is full

MAN

Yes, of course, please. It's an

big table and I love sharing.

Especially with two angels like

you

J LAUGHS. S IS SERIOUS

Thank you

MAN

You're welcome.

WAITRESS

What are you gonna have?

Water, please

MAN

Water? You must be jocking! Bring

them two good chevas, darling,

double

No, please

MAN

My pleasure.

31.

(CONT’D)

(MORE)

Not really

MAN

I do it for myself. It's much

better to drink in good company

Well, if you insist

MAN

Perfect. Two chevas for these

angels from…

Serbia

MAN

From Serbia! Lovely place

Have you been there?

MAN

No, but now I want to

J laughs again. S is quite

MAN

And you girl? Are you from Serbia

as well?

Yes, she best friends, but she

speaks no English. Poor thing

MAN

Well, WELCOME TO THE STATES!

The waitress brings the drinks.

Cheers

32.

(CONT’D)

(MORE)

MAN

Cheers

S hasn´t touched the drink

MAN

What's the problem with you,

girl?

She is Muslim, she cannot drink.

MAN

Come on, girl, Ali is no watching

ALÁ

MAN

Ali, ala, whatever. Come, drink

J gives S a sign with the head. S drinks the shot

MAN

Ah! good girl. Other round

CONTINUED

We can see the man drinks several drinks. S and J look at

each other. The man is touching J's tight all the time.

CONTINUED

MAN

You're friend is really quite

Oh! She is WORRY.

33.

(CONT’D)

(MORE)

In our country is not good for

girl be with man alone. bad

reputation

MAN

Really. Oh! So, She is shy, uh?

J gives a cynical laugh

She doesn't need words

MAN touches her tight harder

I'm thristy

MAN

Another round

S leaves the table

Excuse me

J grabs her arm

Wait

For what? To show me you are not

a whore? So what is that? Just

making friends, I presume?

I didn't finish, is not gonna

take long, he is already drunk,

and very

What?

34.

(CONT’D)

(MORE)

It won't take long. At least give

me the chance to show you, then

you judge

The man is laughing and holding J's tight again. He is

drinking. J looks at S. S looks at the Man.

Well, is time to go.

MAN

What?

Is too late. And the underground

in going to close

MAN

Ah! don't you worry girl, I pay

you a taxi later, come on.

Another drink

Well, if you can take us home. We

scare of night and my friend

tired

MAN

Better, better, I cannot leave

two angels like you alone in this

bad city. Come

The man grabs their asses. S moves forward and is going to

face the man. J grabs her by the arm and takes her by her

side.

MAN

You need your mama, uh?

J laughs politely

35.

(CONT’D)

MAN

Why don't you give mama a kiss?

Come on

S looks at J. AT the end, she gives a kiss on her cheek

MAN

What is that? That's not a kiss.

Come on, let mama teach you

J looks at S. She takes her head and she kisses her on the

lips

MATCH TO:

SEC 45. INT. HOTEL'S ROOM. NIGHT

J and S stops kissing. They are in a TWO STARS Hotel room

with the drunk man. The man is opening a bottle of vodka.

The man falls unconscious over the floor. S and J turn

their heads to watch the unconscious man lying on the

floor.

Well, it's time to go home

SEC 47. INT. TAXI'S INTERIOR. NIGHT

J and S are sitting inside the taxi in complete silence.

SEC 48. INT.S'S APARTMENT. NIGHT

S lets herself fall onto the bed. She is touching her lips

36.

SEC 49. INT. J'S APARTMENT. NIGHT

J is on her bed and is touching her lips. J starts to cover

her face with a pillow and kick her legs and arms.

FADE OUT

SEC 50. INT. OFFICE. S'S WORK PLACE.DAY

S is sitting in her desk with an absent face. She begins to

watch in youtube videos about lesbian movies.

OFFICE BOY

Ey, S, what's up? Is there

something wrong?

NO, NOTHING

S shuts the computer down

OK. Keep staring at a dead plan

for a couple of hours more.

That's fine.

Ok, it's just. Jesus. I met

someone

Oh, HALLELUYA! THANK GOD, ALL

MIGHTY! That's good, isn't it?

Yeah, but it's not what I

expected

37.

(MORE)

Well, what did you expect?

Well, is not the same sex I

expected, in the first place?

EXCUSE ME?

Is a woman

Fuck, you're lesbian!

Sushhhhh!!I'm not lesbian.

Ok, I'm sorry for the

misunderstanding, but YOU FEEL

ATRACTED TO A WOMAN, HELLO! If

that's not lesbianism, I'm Brad

Pitt, darling, and I really wish

to be Brad Pit or at least be

with him, so tell me?

Is… is just, you never felt

connected to someone when it

doesn't matter the status,

credentials, or, or even the sex?

It is the person itself, you

know?

Yes, darling, all the time, I

love people.

I don't know what to do. It's…

it's not normal

Darling, nowadays, what is

normal?

38.

(CONT’D)

SEC 51. INT. S'S APARTMENT. DAY

Someone is knocking at the door. S opens, is J.

Well, does the jury have a

decision?

You're not a whore, but you are a

thief

Aren't you going to let me in?

I don't know what to do

Well, first, I'm not a thief.

That people is cheating their

wives, their children. They are

just some pigs, spending their

family money in drinking and

hanging out with whores. I'm just

teaching them a lesson

And getting a profit

Well, I'm not perfect

No, you're not

Neither you are

I'm not sure about that.

J smiles

39.

So, what the hell are we going to

do?

SEC 52. EXT. PARK. PLAYGROUND. DAY

J and S are on the swings. J has a camera and a cigarette

in her mouth. She is talking pictures as she is getting

higher. She takes pictures of S in movement, of the people

of the park, the animals etc. S Is looking at J. There is

a mother with two little kids playing on the teeter-totter

MATCH TO:

J is smoking and walking through the teeter-totter. S is

sitting in one of the chairs of the teeter-totter chewing a

candy. J sits on the other chair and takes a picture of S.

Tell me something about you

What do you do with the money?

Any brothers or sister? Bad step

father?

J starts pushing her feet against the ground to lift her

end into the air. They start to move.

What do you do with the money?

J Laughs and she push harder.

Ok, if you want to know, I just

want to open my business, and, I

know is hard to believe, but for

that you need money

40.

(MORE)

Yeah, but you can earn it in

different and legal ways

Oh, thank you. You just

illuminate my path, Deepak

Chopra. But, just one thing, how

am I supposed to do that? I don't

have studies. The only jobs I can

get are to be a cleaner or a

whore and wait till I'm old, fat

and cover with cellulitis and

wrinkles to maybe finally

establish my studio. Sorry, but

no, thank you.

I'm just saying that

Wait

Wha…

J slides trough the teeter-totter getting closer to S.

Wait, wait …ah there

S had something near the eye and J removes it.

I'm kind of hungry.

SEC 53. INT. ELEVATOR. NIGHT

J and S take the Elevator. An old woman is inside. They

reach S's floor.

Well…This is it.

41.

(CONT’D)

(MORE)

Yeah

Silence

Well...See you around

Yeah

Ahh..tomorrow I´m going to the

outlet if you wanna come

Oh, I can´t, I have a meeting

tomorrow

Oh, well, ok…

But eh… I´m going the Wednesday,

so we can go together if you want

OH, YEAH, YEAH, that would be

wonderful. Well, see you then.

(KISS IN THE CHICK) See ya.

(Another Kiss) Well, have a nice

day tomorrow, not too boring.

Yeah, I hope so. You too. Have a

nice day.

Yeah, I suppose I´m going for a

walk and I don´t know…take some

pictures

Ah, awesome. yeah… You have to

show me your pictures.

42.

(CONT’D)

(MORE)

Well, they´re in my place, so

whenever you want, just ..

Yeah, I will. Well. See you

(another kiss)

Yeah, see you (kiss)Goodnight

OLD WOMAN

For Christ sake, just get off and

you, girl, just let her fuck

you!!Holy Jesus! Go, go, get out

Closes the door

OLD WOMAN

Fuck, this dicks!

Shit, man

Whatever

Yeah, whatever

They kiss

SEC 54. INT. S'S APARTMENT. NIGHT

J and S are in S's apartment. They make love.

FADES IN BLACK

Appears again handwriting:

J+S=LOVE

43.

(CONT’D)

SEC 55. INT. S'S APARTMENT. DAY

J and S are on the bed. J wakes up. She stares at S. S is

sleeping. J tries to get up without waking her up. She

looks for her clothes in the dark. J goes to the bathroom

wash her teeth, her face and combs her hair with S´s

things. J looks at S once more and she leaves.

MATCH TO:

SEC 56. INT. J'S APARTMENT. DAY/NIGHT

We can see how J and S are together for some time. We can

see them cooking real noodles, painting the walls, kissing,

dancing, everything in the living room.

And we can see every night J is going on with her work at

night with different men. She is with different clothes.

FADE TO BLACK.

SEC 57. INT. NIGHT BAR. NIGHT

HAND WRITING:

STEP 4: J + P=...

J enters into a bar.

She is dancing. P is in the other corner of the room. J

orders a drink, and she walks around. She sits in a table

opposite P. P is ordering another drink. He is writing in a

note book. He pays the check with big notes. Some boys try

to speak with J, but she sends them off. J is dancing. They

look each other. J goes back to her table. She looks at p.

Hey.

44.

We can see how she opens he mouth but one cannot really

know what she is saying. P does a sign that he doesn´t

hear.

J begins to talk again. Nothing.

J sits on a chair next to p.

J (Eastern European accent)

Hi.

Silence

What is it that you were saying?

I was asking if you are so bored

like me.

Ah…no, I was just, well yeah

Yeah, pretty dead, isn´t it? Not

what I expected

What did you expect?

American bar. Like in the movies,

you know, full with people having

fun, all beautiful

Oh, thanks

NO, you know, maybe some fights.

American bar.

45.

(MORE)

Well, welcome to an American bar.

Thank you. You know? Let´s get

more drinks.

J AND P are drinking. We can see

the rest of the people of the

bar.

So where are you from?

Serbia. You know?

Is that like Russia?

Oh, near. I´m student.

Oh, what do you study?

I´m student

Ok.

P shows his glass to the waitress for refilling.

continued

P drinks another one. The waitress lets something drop over

the floor. A girl is dancing in front of one man in the

other corner of the bar. She is much younger than him and

she is really drank. Somebody is laughing.

Yep.

46.

(CONT’D)

(MORE)

You are curious.

She laughs. Silence…

J looks at the notebook he has on the table.

What are you writing?

The usual things: Dreams,

nightmares, aspirations. Crap.

Oh, good crap?

He laughs

YEAH, gorgeous crap. Waitress,

another round.

continued

More drinking. Some looks between them. The old man is

grabbing the young girl by the arm, pulling her to the

exit.

You wanna go home?

Best thing. I don´t have more

money

P laughs

47.

(CONT’D)

SEC 58. EXT. URBAN STREET. OUTSIDE THE CLUB. NIGHT

J and P are on the street. P is totally drunk and he falls.

He does not get up.

Maybe we should get a cab

Yeah, maybe, you have money?

Never mind. ATM ATM THERE

P inserts the card. J looks at the code. He is taking 100,

but J press another 0 pretending it was by mistake.P

doesn’t realize anything.

SEC 59. INT. P'S APARTMENT. NIGHT

J and P are in P´s apartment. The apartment is nearly

empty. On the living room we can only see a small couch and

a tv screen. Some cups over the floor. Not too much mess.

There are lots of bottle of spirits. J comes closer slowly

and kisses P. P stops.

Maybe we should get another

drink.

Yeah. Good. Brilliant idea.

P tries to open a bottle of vodka. J helps P. They look

each other at the eyes. J comes closer. J kisses P. They

began to kiss harder.

WOW. You are quick… Russian girl…

Serbia

YEAH, Serbia. YEAH.

48.

J looks at him. P SMILES

I´m P from here

I´m nikki

Nice to meet you nikki from

Serbia.

P grabs her hand and they shake hands.

Ehh. Nice to meet you too

P (smiling)

Can I ask you something?

I Suppose

I suppose. That is good. Not a

promise but not a negative

either.

Can we drink something?

OH,ok

P turns and he nearly falls over the floor. He begins to

look for glasses.

Don´t worry, hun. I´ll do it

J prepares the drinks. Too much alcohol in P´s drink, none

in hers.

49.

Thanks. Ufff. You like vodka, eh?

Russian girl?

I like you

P laughs again.

Can I ask you something?

I have to pee

P stands up really slowly and he walks making s towards the

room

I´ll wait for you

YEAH

J checks the time. Is 3 am.

Fuck!

She opens her purse and looks for something. P is trying to

pee in the bathroom. Has some pills on the hand and she

begins to open them. P is washing his hands and doing

stupid things in front the mirror. We can see the water

going down in the sink.

50.

We can see the drink has been stirred inside the glass. P

is walking towards the living room. J is putting all the

things back.

P starts to laugh.

You know? I just had a feeling

A feeling?

Yeah. This is strange

What? What is strange?

THIS. I´ll never have unknown

women in my living room.

OH. Neither do I.

Women?

Men. No allow in my country.

REALLY? You don't have sex?

Ahh..

I don´t. I USED TO. A lot. An

Jacking off. A lot. All day. I

don't masturbate. Do you

masturbate?

51.

J stares at him

Yeah, I shouldn´t ask. Is rude.

ruuuudeeeeee

P drinks again. J checks the time. 4 am.

Would you just fuck me because

you don't know me o just because

we are bored?

What?

Sorry (screaming) WOULD YOU FUCK

ME BECAUSE YOU DON´T…

I´ve heard it. And I will not

fuck you at all.

Why?

P falls over the floor.

Because I don't mix sex with work

J checks his state of consciousness. She stares at him for

a while. She looks for the bag, begins to search inside it.

While she is doing that, P grabs her ankle. She screams.

The wig goes off. He looks at her and falls sleep.

J leaves running and banging the door.

SEC 60. EXT. URBAN STRRET.OUTSIDE P'S APRTMENT. NIGHT

J takes a taxi.

52.

SEC 61. INT. INSIDE TAXI. NIGHT

Inside the taxi J is breathing hard.

SEC 62. INT. J'S APARTMENT. NIGHT

J arrives at home. She checks on S. S is sleeping still. J

goes to the living room and she sits on the sofa. She

checks the contents of the bag: One notebook, one camera,

some pamphlets about exciting things to do and the wallet.

She opens the wallet. We can only see J´s face.

FUCK!

We can see again the ID and the face of J. P is a cop

NO, NO, NOOOOOOOO

J stands up and she begins to walk around the living room.

Fuck. No.I CANNOT...I cannot

believe it. Fucking stupid bitch.

Now what? WHAT AM I GOING TO DO?

I´m fucked. I´m fucked. No no no.

J walks around with her hands over her head.

J looks to her own person on the mirror.

J OF THE MIRROR

Ok. Relax. Just think.

I´m fucked. NO NO NO.

He saw me. That´s it. I´m fucked.

J IN THE MIRROR

No. I have his address.

53.

(MORE)

Tomorrow I´m going there and I

leave the wallet in the mail box

and it never happen. Yeah.

That´s it. I'm not fucked. I´m

not fucked. Not yet. Ok.OK.OK.

SEC 63. INT. J'S BEDROOM. NIGHT

J is moving all the time in her bed. She cannot sleep.

OHHH, J. IS THERE SOMETHING

WRONG?

NO, sorry, I just took too much

redbull and I cannot sleep now.

Just go back to sleep.

MATCH TO:

Following day.

J is really nervous. She prepares herself with the most

casual clothes. Totally opposite of what she was wearing

the other night. S is still sleeping on the bed. She goes

for the wallet. J opens the wallet one more time. There is

a lot of money inside.

She takes the money out and she stares at it for a while,

counting, thinking. She sights.

Fuck!

She closes the wallet and puts it inside her pocket. She

walks to the door. She stops.

What the fuck!

54.

(CONT’D)

She takes the wallet out and she hides some notes on a

drawer.

J leaves the house.

SEC 64. EXT. URBAN STREET. OUTSIDE P'S APRTMENT. DAY

J is looking to the address in the wallet and the map. She

is in front of the building.

OKI OKI. Here we go here we go.

I'M NOT FUCKED. I'M NOT FUCKED.

I'M NOT FUCKED

J is in front of the mail boxes. She is searching for the

number of P´S apartment. She finds it and she introduce the

wallet. P is descending the stairs. The look at each other

HEy!

Shit

J runs as fast as she can. P is following behind.

SEC 61. EXT. FRANKLIN STREET. DAY

They are in the main street now.

HEY!

J finally gets inside a taxi.

Drive. Kellingston street

55.

P arrives late. He cannot she her.

J is checking his movement from inside the car. She is

breathing hard. She closes her eyes and lay down.

SEC 65. EXT. URBAN STREET. OUSIDE P'S BUILDING. DAY

P is back in his building. He checks his mail box. His

wallet is inside with a note. "My mistake, sorry. No bad

feelings, please " P smiles.

SEC 66. INT. J'S APARTMENT. DAY

J is watching breakfast at Tiffanys, the scene of the

library, when He confess his love for her. S arrives with

some shopping bags. Everything is a mess. The sexy clothes

are on the floor.

I really think you should get a

job

I have a job, sort of

That's not a job, you know it?

And I don´t like it

You don´t like what, exactly?

You, at night, walking the

streets

walking the streets? I´m not a

whore, s.

I didn't mean that, I mean, you

know what I mean. It's not

56.

(MORE)

It´s not, what?

It's not right

Is the only way I know to get

what I want

I'm just telling you to get a

decent job

If you don't like it, maybe we

shouldn't be together

I'm just saying it's the "job" I

don't like. I don't understand

why you acting like this

Maybe it's just an excuse

An excuse?

You are tired and you just

looking for excuse for going

away, s. It's very common

Maybe it's you who wants an

excuse

Yeah, maybe it's me. Look, I'm

tired, I don't want to go on with

this

57.

(CONT’D)

(MORE)

Perfect

S looks herself at the bedroom

S, what are you doing?

What? I cannot locked myself in

my room

Yes, but is not your room

Fuck

S opens the door. S doesn't look at J and tries to leave

with the dignity she has left.

I'm sorry. I just didn't sleep

well. I will look for a job, ok?

Come here

SEC 67. INT. OFFICE. DAY

J has several interviews but nobody hires her.

Interviewer 1

Knowledge of excel?

Interviewer 2

How is your level of Spanish?

Interviewer 3

58.

(CONT’D)

(MORE)

Previous experience?

Interviewer 4

What do you think about the

Kurdish situation?

INTERVIEWER 5

Degree? Masters?

Interviewer 6 (fat old man)

How do you do with skates?

Sorry?

Interviewer 6 (fat old man)

Skates? You know? Those shoes

with wheels?

I know what skates are; I just

don't know the relevance of the

question

Interviewer 6 (fat old man)

Well

He points at one of the waitress. The girl is wearing a

mini skirt and the skates. She is carrying a big tray

filled with burgers and drinks. An old man touches her ass.

We can see J's face

SEC 68. EXT. URBAN STRRET. DAY

J is walking on the street sadly.

J SEES a guy well dressed up talking with his new iphone.

She goes straight to him. J kisses this man. And begins to

hug him

I missed you so much, baby. I´m

so sorry for everything. Oh, it

feels so good. Hold me. Hold me.

59.

(CONT’D)

She looks at him. The guy is very pleased with himself but

without knowing what to say,

Who the fuck are you, your pervert? How dare you taking

advantage of a sweet girl just like that? Move. Move your

pervert your disgrace, before I call the police.

The guy runs. J smiles and she starts listening music with

her new iphone.

CUT TO:

J is chasing her new victim when she sees P.

Hey!

J begins to run. P follows her. J looks behind her

shoulder. P is far away.

When she looks ahead there was a hole on the ground, she

steps bad on it falls over her right foot, twisting her

ankle and hitting her face against the floor. P stops next

to her and helps her to stand up. J´s lip is bleeding and

she cannot walk.

Game over, fox

He is saying this as he is closing the handcuffs around her

wrists.

Shit! It hurts! Bastard, Somebody

help me, he is hurting me!

60.

(MORE)

please!

Shut up. Don´t you worry, I'm a

police officer. And you shut the

fuck up.

WHAT A WONDERFUL POLICE OFFICER,

TAKING ADVANTAGE OF A VICTIM! AN

injured person! I cannot walk,

man! Let me go!

P grabs her by the arm and drags her with him.

Asshole! Stupid alcoholic!

Looser!

They are walking through a narrow street towards a public

park now empty.

Let me go! Let me go, bastard!

Shit! Ok,ok,I'm sorry! But I give

it back, didn´t I? Come on! Ok.

what do you want? Shit, it hurts.

Slowly, man. I'm feeling dizzy!

J pretends to faint. P grabs her and keeps walking.

Shit, ok, You want me to pay you?

I'll pay you well, Is that what

you want?

She is caressing his face

P sits her on a bench and attaches the handcuffs to it

Shut up and don´t move.

He disappears. J is trying to take the handcuffs off but

nothing. She sights and she lay over the bench.

61.

(CONT’D)

She is looking at the sky and the leaves of the trees.

Suddendly, a face appears in front of her eyes. P had come

back with a plastic bag.

Sit upright and extend your leg.

J does what she is told. P had brought some ice and

bandages. He is examining her leg. J is looking at him.

It's a bit swollen. Can you move

it?

Ahh. No, it hurts!

I put some ice on it.

J is looking at him. P is really concentrated. He is

passing his hand around ankle as he puts the ice on it.

Then He puts the bandages on. He looks at her.

Let me see that lip

He is cleaning the cut and puts a plaster on it

You have to elevate your leg once

you are at home.

P stands up. He takes the handcuffs back and leaves. J is

astonished.

62.

SEC 69. INT. J'S APARTMENT. NIGHT

J is on the bed. She has her eyes open. He looks at the

clock. Is 1 am. She tries to think is something else.

Movies, tomorrow´s plans, but all the time it appears the

previous scene. She looks at the clock. 2:30 am.

She enters on facebook. Nobody wrote a message. Hotmail.

Nothing. A message appears on the screen

Message: nobody wants to added you, whore

J STANDS UP.

SEC 70. INT. P'S APARTMENT. NIGHT

We hear a knock on the door. The noise is getting louder

and stronger. P opens the door. J is at the doorstep. They

look at each other without saying anything. J gets closer.

They start to kiss. P looks at her surprised. They are both

breathing hard. They kissed again, this time harder. They

begin to take their clothes off. They make love. j stands

up. She dressed up and she leaves. P is freaking out.

FADE TO BLACK:

STEP 5: J+P=

LOVE… AFFAIR

SEC 71. INT. J'S APARTMENT. NIGHT

J arrives at home. S is still sleeping. She gets inside the

bed. She closes her eyes.

SEC 72. INT. HUNGRY JOE'S OFFICE. NIGHT

J opens her eyes. J is signing a contract.

Old man

Let's see how this beauty suits

you

MATCH TO:

63.

SEC 73. INT. HUNGRY JOE RESTAURANT. DAY

We can see the legs of a woman. J is wearing skates anD

mini skirt.

MALE COSTUMER 1

2 homburgues, one well done,

extra pickles, extra bacon,

FEMALE COSTUMER 1

other rare, extra cheese, extra

bacon, cocke no ice, ginger ale,

ice…..

KID 1

two super Burguers, with…

The kid looks at her mother

MOTHER O

Cheese

KID 1

With cheese, and two of

MOTHER

Onion rings

J is stressed.

FAT BOY

I want a super big Brooklyn bacon

burger with extra pickles, extra

onion, extra cheese I want it

well done, super coke no ice, a

turkey sandwich,a super bacon

cheese burguer with extra bacon,

extra cheese, two apple pies,one

cockie, four corns, two of onion

rings and some twister wings

J (writing in a notebook)

Ah..ok… two greek salad and an

ice tea

64.

(MORE)

FAT BOY

NO, I WANT A super big Brooklyn

bacon burger with extra pickles,

extra onion, extra cheese I want

it well done, super coke no ice,

a turkey sandwich,a super bacon

cheese burger with extra bacon,

extra cheese, two apple pies,one

cookie, four corns, two of onion

rings and some twister wings

YEAH, GREEK SALAD.

FAT BOY

I haven't said that!

Yes, Your conscience has (she

gets near the boy) Trust me,

fatty. Two greek salads. ON THE

WAY

SEC 74. EXT. OUTSIDE HUNGRY JOE'S RESTAURANT. DAY

Handwriting letters appears on the scren once more

STEP 6: DILEMA

J gets out of job late.

From the distance she can see S coming out of the subway. P

is waiting for her in a car.

OH, FUCK¡

J LEAVES BY THE BACK DOOR.

SEC 75. INT. J'S APARTMENT. NIGHT

J is watching tv. S arrives home with shopping bags.

65.

(CONT’D)

(MORE)

Ey! What happen today? I've

waited for you outside the

restaurant

I got out earlier

You should have call me

OK. But I didn't know you were

going to pick me up. Next time,

warn me about it, ok?

I wanted to give you a surprise

Well, I don't like surprises

Ok, now I know

Good

Fine

S is going towards the door. J hears the bang. She goes

outside. J is in underwear

Ey, where are you going?

I'm going home

You're fucking kidding me. S,

come back here

66.

(CONT’D)

(MORE)

You know, J? I don't know what's

wrong with you lately. Maybe you

worried about something, I don't

know, but I'm tired, really

tired.

What? What the fuck are you

talking about?

Look, if you want to break up,

just tell me, OK. I'm a grown up,

I don't need more bullshit, I can

perfec…

Shut the fuck up

Excuse me?

I've said "shut the fuck up"

OK. Goodbye. And Fuck you

J grabs S by the arm.

LET ME GO! you stupid moron.

She hits J.

Ah, fuck, (CONT’D)

J covers s mouth with her hand. J has immobilized S against

the wall

J (cont’d)

Much better now. Look at me.

Fuck, Look at me, S, will you?

Look at me. Look at me, s.

67.

(CONT’D)

She puts her forehead on s forehead.

Please, look at me. Ok, fine. I

don't want to break with you,

fucking stubborn girl. Don't you

know yet? If I break with you,

I'll die.

S looks at her

I fucking love you, S.

silence

Mmmmm

What?

I said: Damn

Why?

I cannot be angry with you

Can't you?

I'm fucking love you too

They kiss

let's get inside

68.

J'S CELL PHONE STARTS TO RING

Nooooooo!!

J checks the number, is P

SHIT

WHAT?

Is my boss

Why is he calling you?

Well, let´s find out. Just wait

inside, It won't take long.

Alló ?

Hey, where were you? I wait for

you after work, you never came

out

J sights

Yeah, I got out earlier. It's my

boss birthday so he closed before

today.

69.

(MORE)

That's good. I wish my boss could

do that, everyday

Yeah, it was really cool

I miss you. Can you come over?

Ummm. I can't

Why not? You had the whole

afternoon free. Come on, we watch

a movie and I'll make dinner,

spaghetti al frutti del mare.

What do you think?

No, really, I can't. It's my

friend's birthday, and I promise

her I will go

Wow, another birthday?

Yeah, curious, isn't it? It must

be a great month for hospitals!

I can go with you, I want to see

you

It's only for girls. I'm sorry.

But, tomorrow, what do you think?

The whole day, just you and me,

lots of free hours.

Ok. Tomorrow then. Have fun

tonight and don't drink too much

70.

(CONT’D)

(MORE)

ME? Nonsense

Love you. See you tomorrow

Yeah. See you tomorrow.

So, what did he want?

He was pissed. He is wishing

happy birthday to everyone, the

old fool

That's nice; I want to be that

happy when I'm older

Yeah, me too

Come here

They are kissing

I love you, you know that?

Yes, I know. I love you, you know

that?

Yeah, I think I do

Ah, I have to pee

SEC 76. INT. J'S BATHROOM. NIGHT

71.

(CONT’D)

J is in front of the mirror.

Shit, you have to tell her.

Ok. S, there is something I need

to tell you.

SEC 77. INT. J'S APARTMENT. NIGHT (CONTINUED)

Look, S, There's something I need

to tell you

The image freezes

J NARRATOR (V.O)

'Confession time'. In every

romantic movie there is always a

moment in which the leading role

feels the inexplicably necessity

of telling the truth. But not

always is that easy to

accomplish… Maybe an unexpected

phone call

We go back to the normal motion

S, there's something

A phone rings with an incredibly high tone

CUT TO:

J NARRATOR (V.O)

The pizza guy

72.

(MORE)

S, there is something I have…

The door opens and a guy with a red uniform and a pizza box

steps inside the apartment

PIZZA BOY

Two pizzas fruit del mare, 45

dollards

CUT TO:

J NARRATOR (V.O)

The roof mysteriously falls over

their heads

S, There is something I

The roof falls apart and nearly hit them. We can hear a

lightning and it starts to rain.

CUT TO:

J NARRATOR (V.O)

Or a hurricane invades the city

We can see that the room is invaded by a strong wind.

Everything is flying all over the place. S and J as they

try not to fly away grabbing all sort of objects

S. THERE IS SOMETHING I REALLY

NEED TO…!!

CUT TO:

It doesn't matter, I'll tell you

later

73.

(CONT’D)

(MORE)

SEC 78. EXT. URBAN STREET. NIGHT

J is going home after work. She has the skates over her

shoulders and she is listening music. Suddenly a man calls

her.

JOE

J starts to walk faster

JOE

Ey, I know you

No, I don't think so, man

JOE

Yes I do, but OH, Oh, God

Almighty! Now I remember! Look

what we got here. It is you, the

Brazilian girl of the bar. Wait,

eh, oh yes, Daniella, Daniella,

the poor little girl from that

little poor town. Yes, Daniella,

the whore who stole all my money

and sent that picture to my wife.

Shit

CONTINUED 65

SEC 79. INT. BAR. NIGHT (FLASHBACK)

We can see images of what happened

J ENTERS IN A BAR. Joe is sitting in one corner. He has

several glasses around him and he orders another drink. J

goes by his side.

74.

(CONT’D)

SEC 80. INT. MOTEL ROOM. NIGTH CONTINUES (FLASHBACK)

J is some motel room. JOE falls unconscious over the bed.

J take everything from the wallet. She takes some pictures,

she is on the top of joe. She writes an address in a

envelope. J leaves the room.

SEC 79. EXT. URBAN STREET. NIGHT (CONTINUED)

BACK TO THE PRINCIPAL SCENE

Seriously, I don't know what you

talking about

JOE

I LOVE YOUR REAL ACCENT, IS MUCH

BETTER. And I suppose your name

is not Daniella. This is funny.

One day, one ordinary day, you

find yourself in front of the

stranger who steals from you 2000

dolars, ends a 18 year marriage

and makes you lose your

apartment, and then, here we are

again. The same stranger appears

once more in front of your eyes.

And now it is when I wonder: But

is going to happen next.

J NARRATOR (VO)

And that is exactly what I'm

wondering. In real life this guy

could do certain things.

1: take me to the police station

and let me lock there for a

couple of years.

CONTINUED 79

75.

SEC 81. INT. POLICE STATION. NIGHT

JOE throws J againts the police officer's reception desk.

The police officers stamps a large pile of documents saying

"life imprisonment"

Some officers throw J into a tiny cell and lock the door.

J (OVER)

2. Ask me to give him back the

money and hit me

SEC 79. EXT. URBAN STREET. NIGHT (CONTINUED)

JOE is beating J badly. J is on the floor, trying to escape

or trying to defend herself from JOE.

JOE

Where is my money, bitch?! Where

is my money?!

Ok, maybe my fried will lose your

tongue

JOE shows to the camera a pocket knife.

J NARRATOR (OVER)

3: Hit me and rape me in

repayment

CUT TO:

JOE is trying to rape J as this one is trying to defend

herself from the attacker. A little boy who was chasing his

soccer ball is watching the scene. JOE stops and runs away.

J remains on the floor shaking.

CUT TO:

76.

J NARRATOR (OVER)

BUT in movies…

CONTINUED BACK

TO THE

PRINCIPAL

SCENE

JOE

Shit. I just want to say: Thank

you

What?

JOE

Thank you. Thank you, thank you,

and thank you.

JOE kisses J

JOE

Thanks to you I was finally able

to get the divorce from that

bitch and quit that stupid job.

I'm painting now, just as I

wanted it all my stupid and

insignificant life, and … I even

met the love of my life. For the

first time I'm certainly, truly,

incredibly happy. And, Fuck, I so

happy to see you, how are you

doing?

Oh! mmmm…

JOE

Come, let's have a drink

77.

SEC 82. INT. IRISH TAVERN. NIGHT

JOE

So, how is your life? Still

stealing from nasty man

Actually, no, I don't, not that

much.

JOE

Ahhh, naughty girl

No, seriously, I'm with someone

JOE

OH, That's good, isn't it?

No, if you are with two

'someones'

JOE

Oh, I see.

Shit, I love s

JOE

Wait, is a girl? Shit, are you

fucking lesbian?

No, I love P too, I think, yes I

do. Shit, I'm fucked

JOE

Yes, you're fucked

Shit, I don't know what to do

JOE

78.

(MORE)

Well, I'm not an expert but there

is only one thing you can do.

What?

JOE

Tell them the truth.

You reckon?

JOE

Yes, it's better You'll be the

first one. This shit always comes

out. If they love you, they will

accept it or

Or what?

JOE

Or tell you to go fuck yourself

That's encouraging

JOE

Ey, come on, look at the

Brightside

Is there one?

JOE

If you don't release your sins,

you'll be never at peace

What? Are you a priest now? Shit,

I'm suppose you are right. But

I'll tried

JOE

79.

(CONT’D)

(MORE)

If you had tried, they'd already

know, and they don't, so my

suggestion is: try harder. Come

on, let's get pissed. For being

screw. cheers

Cheers

SEC 83. EXT. URBAN STREET. SUBWAY ENTRANCE. NIGHT

J is too drunk. She cannot see properly. She is going

towards the subway. She is at the stairs and she falls. She

is unconscious.

SEC 84. INT. HOSPITAL. URGENCIES QUIROPHANY. NIGHT

We can see several images of a medical intervention over

the unconscious body of J

The hands changes into S hands. We can see she is the one

that now is carrying on with the operation.

S changes into P. This changes between the doctors, S and P

appear constantly.

SEC 85. INT. HOSPITAL PATIENT'S ROOM. DAY (CONTINUED 1)

J opens her eyes. S and P are standing in front of her.

They look at her seriously.

FADE OUT

HANDWRITNG APPEARS ON THE SCREEN

WHAT HAPPEN AS J WAS UNCONSCIOUS

80.

(CONT’D)

SEC 83. EXT. SUBWAY ENTRANCE STAIRS. NIGHT (CONTINUED 2)

We can see J on the stairs bleeding. A young group passes

by without looking at her, they are laughing. In J's watch

appears it is 10:30 pm.

MATCH TO:

SEC 86. INT. P'S APARTMENT. NIGHT (CONTINUED 3)

It is 10:30 in the P's watch and he is preparing the house

for a dinner party. We can see his hands cutting the

ingredients and pouring water inside the pot.

MATCH TO:

SEC 87. INT. S'S APARTMENT. BATHROOM. NIGHT (CONTINUED 4)

We can see the water falling down. S is having a shower,

she is happy and she is singing. We cannot see her face.

RADIO (V.O)

It's 10:30 and it's time for a

new top 40 of KFM. "in da club"

50 cent

MATCH TO:

SEC 83. INT. SUBWAY ENTRANCE STAIRS. NIGHT (CONTINUED 2)

Is 11:30 in the mp3 player of the security man of the

metropolitan underground transportation. He is going down

the stairs listing to "in the club" of 50 cents with his

mp3 player carrying a paper bag from McDonald's. Suddenly

he stops.

WORKER

81.

(MORE)

Shit!

SEC 86. INT. P'S APARTMENT. NIGHT (CONTINUED 3)

An alarm sounds. 11:30. P's hands checks the contents of

the pot. Then he prepares the table with the dishes and

finally some candles

SEC 87. INT. S'S APARTMENT. NIGHT (CONTINUED 4)

We can see how the legs of S steps out of the shower and

walks to the bedroom. It is 11:30 in S's cell phone. Her

hand grabs the cell phone. She dials a number. S opens the

wardrobe and we can see the different dresses she has. She

picks up one red beautiful dress.

SEC 88. INT. WATCHES. NIGHT

We can see how in the different watches the hour is

changing till 1:30.

SEC 83. INT. SUBWAY STATION. NIGHT

The security guy is eating a cold burger.

SEC 86. INT. P'S APARTMENT. NIGHT (CONTINUED 3)

P is sitting in front of his marvelous dinner presentation.

The phone rings

MATCH TO:

82.

(CONT’D)

SEC 87. INT. S'S APARTMENT. NIGHT (CONTINUED 4)

The phone rings. S is sitting on her bed waiting all

dressed up she stands up.

SEC 89. INT. HOSPITAL RECEPTION. NIGHT

S arrives at the hospital.

P arrives at the hospital.

S asks in reception and she takes the first elevator.

P arrives at the reception.

SEC 90. INT. HOSPITAL WAITING ROOM. NIGHT

S and P are waiting in the same room in silence without

paying attention of the other. The nurse steps into the

room

NURSE

She is still sleeping but

everything is ok. You just have

to wait a bit longer but

everything is alright. Can you

tell me which one is your

relation with her?

S/P

I'm the girlfriend/boyfriend

83.

SEC 85. INT. HOSPITAL PATIENT'S ROOM. DAY (CONTINUED 1)

S and P are staring at J

What happen?

They both are silent

Appears on the screen: J+S+P= MESS

I don't know what to say

You don't have to say anything

Yes, I think I do. I have to

explain

There's nothing to explain

Yes, maybe not. But it doesn't

change anything.

It doesn't change? Why are you

laughing of me?

I'm not. I love you. That does

not change

You are fucking him

84.

(MORE)

I do, that's not the point

That's not the point? I don't

even know why I'm following this

conversation

Because you love me and I love

you. That doesn't change. Why is

so difficult?

Doctor

I'm glad to see you awake. You

had a good one, eh? You have to

be careful, lady

Yeah, yeah, I know. DO you mind?

We are in the middle of a

conversation here. Thank you

Doctor

I will be brief. You broke two

ribs, those are fixable. You just

need some rest. But you are

responsible of the health of that

baby. That is not fixable. Don't

you worry, everything is ok. But

you have to quit drinking and

smoking

Wha, I'm, I'm... pregnant?

Doctor

Yes, twelve weeks.

S leaves the room.

Doctor

Well, I leave you now. We talk

later

J is astonished. She is in silence. P is still there, he

was silence all the time. No one dares to speak.

85.

(CONT’D)

Suddenly P's cell phone rings.

I have to go

He is leaving. He stops at the door.

You were having an affair with a

woman?

No?

I was having the affair with you

P doesn't answer, he just walks towards the door. He stops

again

Do you love her?

Yes

Do you love me?

I'm not keeping it. I don't want

it.

What the fuck are you saying?

I don’t want it! It’s all your

fucking fault! Get out! I don’t

want to see you! Get out!

P finally leaves the room. J starts to cry

86.

SEC 91. INT. SMALL TV SET. INTERIOR LIGHT

We are back in the TV set of the beginning of the film. The

camera moves towards J as we are hearing the audience

clapping. J is sitting on her desk. Behind her there are

three big pictures of the 3 principal characters on their

actual situation

J NARRATOR

Ok. Welcome once more to 'how to

create your own romantic movie?'

Well, well, well. This is the

part we all have been waiting

for.

AUDIENCE(VO)

Yes!!

J NARRATOR

This is the moment, ladies and

gentlemen. Now our characters

that are really screwed in this

moment of their romantic lives

are going to be connected. Yes,

ladies and gentlemen. They are

going to be connected by a very

depressing but very romantic top

hit blockbuster song. And for

this moment I chose:

SEC 85. INT. HOSPITAL PATIENT'S ROOM. INTERIOR LIGHT (VIDEO

CLIP MOMENT)

J is in the hospital lying on the bed with a perfect hair

and makeup but keeping the bruises and the wounds.

The idea is that the singer of the songs appears singing

the song following the characters as in a MTV video clip.

AT the end of the video clip is going to appear the title

of the song, name of the artist and name of the album and

fade in-

87.

The song is "I believe I can fly"

The singer appears in the room singing. J stands up

SEC 92. INT. S's APARTMENT. DAY. Videoclip moment

J is in front of the main door of S's apartment. She has

her things on a box.

S is inside the room. She is eating some noodles. She looks

at the window with tears in her eyes. It is raining

outside.

SEC 93. INT. P'S APARTMENT. NIGHT. VIDEO CLIP MOMENT

P is on his apartment drinking beer.

SEC 94. EXT. OUTSIDE P’S APARTMENT. INTERIOR LIGHT.

VIDEOCLIP MOMENT

J is outside, she doesn´t dares to knock.

SEC 95. EXT.URBAN STREET. DAY. VIDEOCLIP MOMENT

J is walking on the street and she can see S and P

everywhere.

SEC 96. INT. HUNGRY JOE'S RESTAURANT. DAY. VIDEOCLIP

MOMENT.

J is in the kitchen. She has the new order of food

prepared.

88.

The restaurant is full with couples, straight and gay,

mothers with infants, everybody I happy and they start to

sing the song. J runs towards the exit.

S, p and J are walking on the street followed by this happy

crowd singing the song.

Dancing moment:The extras are dancing and singing.

SEC 97. INT. P’S APARTMENT. NIGHT

P is sitting on the floor drinking beer.

SEC 98. INT. S’S APARTMENT. NIGHT

S is sitting on the floor crying while she is eating

instant noodles

SEC 99. INT. J’S APARTMENT. NIGHT

J is sitting over the floor with a rubber tube on her hand

crying

SEC 100. INT . HOSPITAL. PATIENTS ROOM. DAY

J is laying on the bed crying. The song has ended. We can

see name of the song, artist and album.

FADE TO:

SEC 101. INT. J's APARTMENT. INTERIOR LIGHT

J dials S's number on the phone. We can hear how it rings

89.

SEC 102. EXT. EXTERIOR OF THE BUILDING. DAY

We can see S in on apartment and J in the apartment on top.

J is calling. S is not picking it up. S walks around the

flat. S puts loud music. We can only see these apartments

at the beginning.

Hello? S? Are you there? Please,

pick up the phone, I need to talk

to you

Please, pick it up, pick it up,s,

pick it up

I know I fucked it up, S, please

pick it up. I can hear you!

With the time we can see the rest of the apartments and how

everybody is living their own lives; watching Tv, on the

laptop, dancing, trying costumes, making love …

S decides to go out. We can see how S exits the building as

J is still with the phone

SEC 103.EXT. URBAN STREET. DAY

S is walking as she is crying. She searches something in

her pocket, her cell phone. She makes a call

Mr. Pelton? iT's … oh, ok. Sorry,

to call…all right. I just call to

say that … I've change my mind

90.

SEC 104. EXT. P'S APARTMENT. OUTSIDE. NIGHT

J is near P's apartment. She is going to talk to him, but

she doesn't dare. We can see she is going to knock and then

she rejects the idea and starts to walk through the aisle.

SEC 105. EXT. URBAN STREET. DAY

J is in her way to the clinic. While she is walking we can

see happy mothers with their infants, beautiful children

playing around. She arrives at the clinic main door

SEC 106. INT. ABORTION CLINIC. DAY

J is decides to do the abortion. She enters in the clinic.

She sits in the waiting room. In the clinic, all the women

are depressed: Tearful teenagers, bitter woman yelling..

NURSE

Biddle!

A blond sixteen year old girl is crying in agony while she

is moving across the room. The girl faints.

J decides to get out of the clinic with the documents

unfilled

SEC 107. INT. J'S APARTMENT.NIGHT

J is on the bed. On one side she can see her life with P

and the baby.

91.

On the other side can see her life with S. She doesn't

know what to choose.

Why everything is so wrong?

SEC 108. INT. HUNGRY JOE'S BOSS OFFICE. DAY

OLD FAT BOSS

Well, baby, you're out

What?

OLD FAT BOSS

Babe, you already knew it. Look,

the business is really bad. Even

with the new miniskirts

J turns her head

We can she a girl wearing a mini skirt incredible short and

open on both sides and all the men looking at her ass. The

same old man touches her butt.

We can see J's face again

OLD FAT BOSS

I cannot afford a maternity

leave. A man has to do what I man

has to do

But… And my contract?

OLD FAT BOSS

Baby, come on, we all know the

contracts are circumstantial.

92.

(MORE)

Sorry, hun but get the fuck out

of here.

SEC 109. INT. URBAN STREET.DAY

J is walking. On the street everybody is happy, happy

couples, mothers and kids.

Please, somebody shoot me

J grabs the phone

I need help

SEC 110. INT. IRISH TABERN.DAY

J is in a bar. JOE ARRIVES WITH SOME DRINKS

JOE

Double bourbon with coke and

cranberry juice for the lady

Joe, I'm fucked

JOE

Again?

This is serious

JOE

Come on, Hun, not everything is

so bad

93.

(CONT’D)

(MORE)

Well, I'm pregnant, my girlfriend

left me because I was fucking my

boyfriend, my boyfriend left me

because I was fucking my

girlfriend, I'm just being fire

from the worst job of my life and

I cannot work in any other place

because I'M PREGNANT!

JOE

Yeah, you are fucked, again.

Thank you

JOE

Come on, J. Look, you have to do

something, you cannot be here,

sitting down and always

regretting everything

I don't know which one I have to

choose. That's the thing

JOE

But, Do you have to choose? Why?

Look, everyone, you, me, the fat

guy of the corner, the mother of

the park with 5 horrendous kids

and the marvelous husband in the

office…we are all living in this

establish system of perfect happy

families and we don't even know

where the fuck had come from and

It never worked, really. so, why

don't you try your own system ?

I just, I don't know what to do.

I cannot choose

JOE

Then don't choose

Don't choose? Even choosing both

of them is a choice in itself

94.

(CONT’D)

(MORE)

JOE

Ah, yes. Look, I don't know what

the fuck we have to be so

analytic? Just go and tell them

you need them or you are going to

kill yourself one of these days

and I really cannot afford a suit

for the funeral.

mate

Joes

What?

First coherent thing you'd said

JOE

Go, fuck off. And good luck.

Thank you.

She steps outside. Her head appears on the door.

I love you

JOE

I love you too, babe

J finally leaves.

SEC 111. EXT. URBAN STREET. S'S OFFICE OUTSIDE.DAY

J is running on the street. She arrives at S'S building. J

goes inside

95.

(CONT’D)

SEC 112. INT. S'S OFFICE.DAY

J runs to the elevator.

Come on, your fucking idiot!

The people of the elevator stare at her

J finally reaches the floor in which S's office is

situated.

She cannot she S anywhere. Everybody is busy. OFFICE BOY is

on the copy machine. J goes to talk to him

I come to see S

OFFICE BOY

She is not working here anymore

What? why?

OFFICE BOY

She is going to London, she got

the promotion

Do you know when she is leaving?

OFFICE BOY

Apparently, and look how original

it is, today. She must be on the

way to the airport

What? fuck!damn!

96.

She starts to run. She turns to the boy

WHICH TERMINAL?

J starts to run again. She turns to the boy

Thanks!

Pleasure

SEC 113. INT. URBAN STREET.DAY

J is on the street.

TAXI!!

ShE GETS IN A TAXI

Thank you, to the airport

Taxi driver

97.

(MORE)

Stop! No!

Taxi driver

No?

Wait, how much is from here to

the airport?

50 dollars

OH, OK, Thank you

The taxi driver starts the car. J

Opens the door and she is on the

street again and starts to run.

TAXI DRIVER

LEY! Lunatic!

J starts to jump.

Fuck!fuck!fuck!

People are staring at her

She starts to walk without knowing what to do. She checks

the time

SEC 114. EXT. URBAN STREET IN FRONT S RESIDENCE.DAY

S checks the time. A taxi had just arrived. S gets inside

To the airport, terminal 1,

please

SEC 113. EXT. URBAN STREET.DAY CONTINUED

98.

(CONT’D)

J is on the same street. She calls Joe.

Come on, pick it up, pick it up,

pick it up

Joe, it's me. I'm fucked, again

Joe

When not?

This is serious. She is leaving,

today.

Joe

So? Go

Yeah, that's the plan. But I

don't have money and I don't have

time to go to my place. Please,

tell me you have a car

JOE

No, my love

Do you know someone with a car?

JOE

My boyfriend, but he is out of

town

SHIT! WAIT, YOUR BOYFRIEND!? You

have a boyfriend? You, gay?

JOE

Yeah, I thought I told you. He

works in a gallery. I think I'm

in love

99.

(MORE)

Wow, how long?

JOE

6 months

Wow, man, congratulations. I'm

very happy for you, really

JOE

THANK YOU

How is his name?

JOE

Don't you have to go to the

airport?

FUCK!

J hangs the phone

JOE SMILES

J is walking but suddenly she stops. We can see her cell

phone and she searches one name: P

SEC 115. EXT. OUTSIDE TERMINAL 1 DEPARTURES ENTRANCE.DAY

We can see s arriving at the airport terminal 1. S closes

the door of the cab. The taxi driver is taking the suitcase

out. It is 4:30 pm IN HER WATCH.

SEC 116. INT. P'S CAR. DAY

100.

(CONT’D)

It is 4:30 on the car's radio. The door of the car is open.

We can see J on the street

Hello

J gets inside the car

P starts the car. They remain silence

Thank you

Don't

I don't know what else to say

SILENCE

CONTINUED

SEC 117. INT. TERMINAL 1 CHECK IN DESK. DAY

S is doing the check in

SEC 116. INT.P'S CAR. DAY CONTINUED

CONTINUED

101.

J puts some music on the radio

You never call me

I'd tried

No messages, nothing

I couldn't

Why?

Because… I don't know

Because, what?

Well, you came, it doesn't matter

Tell me

Because I was afraid you would

send me away

Why I was going to do that?

Why? You ask me why? Maybe the

fact I'm in love with another

woman is not a convincing reason

Are you?

102.

(MORE)

Yes, and..

And, what?

And I love you, fuck, I'm in love

with you and I having your baby,

I couldn't, and, I don't know

what to do and I love her, it's

too much, I feel bad, I feel…I

feel I'm not fucking sure

anymore… and, I'm pregnant, and

I'm going to kill it, he or she,

because I'm going to be a

horrible mother and

P stops the car

What the fuck?

CONTINUED

SEC 118. INT. TERMINAL 1 PASSPORT CONTROLS. DAY

S is passing the control. She has to take out this huge

boots.

SEC 116. INT. P'S CAR.DAY

CONTINUED

You want me to get off?

Look. I'm tired

103.

(CONT’D)

(MORE)

Can you stop for a minute? Fuck!

Look, I'm not sure of many things

but I know this. You are clever,

funny, extremely sweet, clearly

open minded, (J laughs) You don't

judge or critic others, of

course, you can be a pain in the

ass that snores horribly at night

What?

You do. And you don't think

before you act, I know, but I

cannot imagine other person more

suitable for being the mother of

my child. I love you and love you

means I want you to be happy, so,

let's go to the fucking airport

before you suffer a collapse

P starts the car and accelerates too much.

SEC 119. INT. CAFETERIA INSIDE AIRPORT TERMINAL. DAY

S is waiting sitting in front of the window watching the

planes, she see happy couples. On the screen appears the

announcement: BA678 LONDON GO TO GATE A6. S STANDS UP

SEC 120. EXT. OUTSIDE AIRPORT TERMINAL1 .DAY

J and P arrive at the terminal.

SEC 121. INT. INSIDE AIRPORT TERMINAL1. CHECK IN DESKS. DAY

They check the screen: BA678 BOARDING GATE A6.

104.

(CONT’D)

P shows his ID to the officer and they run through the

airport.

S is waiting a queue to precede the embarkation. J arrives,

P behind her.

Don't go

Sorry?

I said don't go

I heard you, but I don't

understand why I shouldn't

Good point. Why shouldn`t you?

Maybe you are right. I don't have

studies, I don't like noodles, I

don't have a job and I'm pregnant

because of him. I just love you.

Maybe is not enough, but that is

it. I love you. I love how I feel

when I'm with you and fuck, I

don't know, I can tell you all

that sweet bullshit from all the

movies I've seen, including

Kurdish ones, but, the thing is,

I just cannot stand the idea of

you away from my life. I need you

in my life. I need you both.

S is staring. The people is staring at the two of them.

You hurt me

I know

105.

No. You don’t

You hurt me bad, and I'm not sure

I'm going to overcome it. No, I

cannot trust you I cannot be

sure. I'm sorry, but I really

have to go. Sorry

S faces the embarkation gate and stars to walk. She is

facing the camera and we can see the tears falling from her

eyes covering all her face. A hand touches her shoulder and

she turns

CUT TO:

SEC 122. END CREDITS

J NARRATOR (V.O)

Well, this is it. Thank you for

watching. Tomorrow we'll be here

in another "how to create your

own romantic movie" Goodnight

SEC 123. INT. INSIDE SMALL TV SET.DAY

We are back in the tv set. There is a curtain behind J

Come on, I cannot do that

Well, we are basically at the

end. The question is: what is

going to happen?

a) S forgives J basically

b) S is still mad at J, she

flies to London and J wanders in

a life of self-destruction alone

and penniless filled with regret

and auto-compassion

106.

(MORE)

c) The country is taken by the

people from Matrix and a new

regime is settle down that avoids

human contact and personal

relationships

CUT TO

Appears an image and a voice IN OVER.

Voice OVER (V.O)

Now is the time. Please, send a

sms to 56783 with the answer a, b

or c followed by ending.

BACK TO THE TV STUDIO

And the answer is.

J opens the curtain slowly

There is a tv. On the tv there is a baby

SEC 124. INT. J'S APARTMENT.DAY

We can see the ceiling. J's face appears on the screen

We can see the baby again

Ummm

S face appears in the screen next to J

What are you doing?

Analyzing?

What?

107.

(CONT’D)

(MORE)

This thing is loaded

We can see the baby laughing on his bassinet

Please

Seriously, this thing is

dangerous, any precaution is

mandatory

J has nappies on her hand.P's face appears on the screen

next to J and S

Move, I can handle this

He removes the diaper from the baby, is all filthy

P (OFF)

ARGG,jesus!

P has the dirty diapers in his hand

Well. It wasn't that difficult.

Maybe you can try it some time

P drops the dirty nappy over his feet

Fuck!!Shit, sorry! AH, MAN!

J and S are laughing

Your idiot!!

108.

(CONT’D)

(MORE)

Shut up. Give me that.

The three of them are laughing. Suddenly, the baby urinates

shooting its liquid at them and they scream. The image

freezes

FADE OUT

APPEARS ON THE SCREEN:

J+S+P= LOVE

THE END

109.

(CONT'D)

ANTE EL ROBO ¿BUENA CARA?

noreply@blogger.com (Sugestionando86) — Sun, 21 Feb 2010 10:28:00 +0100

Eso me pasa por es el pensamiento más común entre la gente que acaba de perderlo todo en cuatro microsegundos de parpadeo y medio. Mas eso no es todo. A continuación os voy a relatar la serie de cambios físicos y químicos que experimenta un sujeto tras el descubrimiento más típico de la corrompida ciudad de Madrid: "Me c...en to lo c..., que me han robao"

1) Cambios Psicomotores rápidos:

Fuerte acción ventriculoauricular que proyecta una mayor cantidad de sangre pasmada a toda la zona facial sin proporcionar más oxígeno al cerebro. Los pulmones comienzan a demandar grandes cantidades de aire provocando así la sofocación exagerada del individuo.

2) Cambios motores de fe:

Cambio bastante común que se percibe en todos los sujetos estudiados. Consiste en una mayor actividad de las extremidades que hacen al sujeto buscar sus pertenencias en los sitios más extraños. Desde debajo de la mesa hasta el interior de la caja registradora. Este cambio es peligroso ya que suele ser contagioso. No es extraño el ver a los conocidos más inocentes y con cara de asombro buscando debajo de manteles o plantas de decoración.

3) Cambios psicomotores lentos o dramáticos:

A este cambio también se le suele denominar como LLegada del clímax.

Mientras tu corazón late con fuerza, tus oídos se taponan y el slow motion empieza a hacer presión. Este efecto es muy importante. En esta fase el sujeto permanece en estado de completo amuermamiento petrificado de cara deformada hasta que un manto de lágrimas cubre su rostro. Tu cerebro amuermado sólo puede discernir dos sonidos: un pitidito muy agudo y penetrante y los comentarios del consejo de sabios que se ha creado a tu alrededor. Oirás comentarios tales como: "uy ¿te han robado el bolso? no te preocupes, te pagaremos las copas" o "uyyy... que putada. Bueno, lo material no importa" Es en estos momentos en los que el amuermamiento con su primera fase de negación dan lugar al griterío y al me ca...bueno seamos finos Defeco sobre todo el mundo. No, no me relaja. ME CAGO EN TODO EL MUNDO. Uy , así.

"¿Qué lo material no importa? Dímelo cuando te roben hasta las llaves de tu casa y no puedas entrar. Dímelo cuando te roben todo el dinero y el móvil, IMBÉCIL" El individuo está fuera de control y comienza a meterse con todo representante de la autoridad del local así como con los representantes mas altos del consejo de sabios. Te mandan callar y el ofrecimiento de copas gratis se hace más persistente.

Los representantes de la autoridad local te ayudan de manera sobrecogedora al invitarte a una ronda de copas gratis. Todo el mundo está etílicamente contento mientras tu alma desde el infierno grita a todo pulmón. La sangre dejó de fluir en el cerebro y uno no sabe que hacer. "Ya no se puede hacer nada" y todos beben sus copas. El amuermamiento se intensifica. EL sujeto todavía no se apercibe del increíble material del que están hechos los miembros del consejo de sabios. Otra lucha sin sentido más contra una administración inamovible que provoca el desembocamiento en el siguiente y último cambio:

4) Metamorfosis y terrorismo facebukinao:

Esta fase se caracteriza por la persistencia del amuermamiento cerebraL y la hinchazón de los ojos llorosos.

El sujeto llega sin acompañamiento al hogar además de sin llaves, sin móvil y sin lo más vital en su existencia ateísta, su ipod 30gbs con 4.000 canciones de emergencia.

La luz de las diez de la mañana penetra con fuerza a través de las ventanas iluminando con un aura cegadora el portátil que está sobre la mesa dándole una idea brutal al sujeto. Las consecuencias pueden ser DEVASTADORAS.

CONCLUSIONES BÁSICAS:
1)OS ACONSEJO: NO VAYAIS AL RESTAURANTE KIYO EN LA VIDA. El robo es una constante en ese lugar.
2)OS DESEO: BUENA SUERTE EN LA VIDA Y QUE NUNCA OS ROBEN!!!

SALUDOS CIBERNÉTICOS