MARY Y MAX

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

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

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

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