BABEL
Written by
Guillermo Arriaga
(April 9, 2005)
1 EXT. YUSSEF AND AHMED'S HOUSE -- MORNING
Day breaks. Hassan (50) arrives at a solitary house made of
adobe, in the southern deserts of Morocco, carrying a satchel
and a large bundle wrapped in cloth.
He walks past a corral made out of branches, where several
goats bleat, and knocks on the front door.
2 EXT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS
Abdullah (40), opens.
HASSAN
(In Arabic)
Good morning Abdullah... I brought
you this...
He holds up the bundle.
3 INT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER
Abdullah's family is inside the house. There is a room, a
small table and a simple kitchen. Yasira (38) is roasting
some goat meat assisted by Yamil (16) and Zora (17), her
daughters.
Abdullah and his sons, Yussef (13) and Ahmed (14), are sitting
on the floor around the small table, looking at a well-
conserved .270 caliber Winchester 60 rifle.
HASSAN
(To Abdullah)
It's almost new.
He takes out several boxes of cartridges from his satchel.
HASSAN (CONT'D)
Three hundred cartridges...
He opens a box and shows them one of the golden bullets.
HASSAN (CONT'D)
The hunter who gave it to me said
you can hit up to three kilometers
away.
ABDULLAH
How much do you want for everything?
HASSAN
One thousand dirhams.
2.
ABDULLAH
One thousand dirhams? I'll give you
one thousand and a goat.
Abdullah and Hassan exchange a look and Hassan smiles.
4 EXT. YUSSEF AND AHMED'S HOUSE -- DAY
Hassan and Abdullah's family are behind the house. Hassan
stands with the rifle in front of a rock some twenty yards
away and he turns toward Abdullah.
HASSAN
With this rifle, your sons will be
able to kill plenty of jackals.
He aims at the rock and pulls the trigger without holding
the rifle properly. It is clear that he doesn't know how to
fire a weapon, and the shot cracks loudly. The rifle kicks
and hits him roughly in the shoulder. The bullet flies far
wide of the rock. The women laugh nervously.
Rubbing his shoulder, Hassan turns to Abdullah.
HASSAN (CONT'D)
Let one of your sons shoot.
Abdullah looks at his boys and points at the younger one.
ABDULLAH
Let Yussef shoot.
When Hassan is about to hand Yussef the rifle, Ahmed cuts
him off, upset.
AHMED
I want to shoot first.
Father and son exchange an angry glance. Hassan, without
realizing it, turns and gives the rifle to Ahmed. The boy
grabs the gun: it is heavier than he thought.
HASSAN
Look, load it like this.
Hassan opens the chamber, inserts the bullet and then closes
it. Once it is loaded, he points at the safety.
HASSAN (CONT'D)
This is the safety. Push it in when
you're ready.
Ahmed nods. Unsure of himself, he raises the rifle and,
almost without aiming, fires. The shot kicks up dust far
from the rock. His sisters laugh.
3.
HASSAN (CONT'D)
If he doesn't hit the jackals, at
least he'll scare the shit out of
them.
Ahmed lowers the rifle. His father grabs it and gives it to
Yussef enthusiastically.
ABDULLAH
Your turn.
Yussef grabs the rifle and loads it confidently. He lifts
the rifle with ease and takes his time aiming. He seems
innately skilled at the maneuver. He shoots and the bullet
hits just below the rock.
Abdullah celebrates the shot and mockingly turns to Hassan.
ABDULLAH (CONT'D)
Now this kid shoots a hell of a lot
better than you.
5 EXT. GOAT CORRAL -- LATER
Yussef takes one of the goats out, ties and ropes it and
gives it to Hassan. Abdullah supervises. Yasira approaches
and gives Abdullah a bag.
YASIRA
Your lunch.
Abdullah takes it and turns to his sons.
ABDULLAH
You better kill at least three
jackals.
HASSAN
And make sure no one sees you with
the rifle, hide it if you see someone
approach you.
Ahmed nods. Abdullah and Hassan go on their way.
6 EXT. YUSSEF AND AHMED'S HOUSE -- LATER
Yasira and Yamil are far from the house, cleaning some
goatskins stretched out on some branches.
Ahmed, with the rifle in his hands, opens the corral gate
and enters to herd them out. He calls his brother.
AHMED
Yussef, Yussef...
4.
7 EXT. SIDE WALL, YUSSEF AND AHMED'S HOUSE -- CONTINUOUS
Yussef is squatting on the other side of the house, spying
through a crack, breathing excitedly.
8 INT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS
Zora is inside, undressing. She has a long body and her
cinnamon skin is soft and clean. Every now and then she
aims a complicit glance at the crack through which Yussef is
spying.
AHMED (O.S.)
Yussef...
Zora turns around toward where the voice is coming from.
9 EXT. YUSSEF AND AHMED'S HOUSE -- DAY
Yussef is still spying. Ahmed approaches.
AHMED
What are you doing?
Yussef turns around and signals for him to lower his voice.
AHMED (CONT'D)
I told you not to spy on her again.
Yussef pays no attention and keeps spying. Ahmed pulls him
by the shoulder and makes him lose his balance. Yussef falls
on his ass.
AHMED (CONT'D)
I said don't spy on her.
Yussef gets up and dusts himself off.
YUSSEF
What the hell do you care?
AHMED
Come on, let's go.
He turns around and leaves.
10 EXT. DESERT -- DAY
The goats graze. Yussef and Ahmed watch them sitting on the
side of a hill. They look hot and bored. They both throw
stones at a small rusty can. Yussef throws one and misses.
Ahmed throws his and does. He draws a line in the ground.
AHMED
Five to two.
A jackal is stalking the goats. Yussef spots it.
5.
YUSSEF
There's a jackal over there.
Ahmed raises his head but cannot see it. Yussef points at
it, but Ahmed still cannot locate it. Yussef despairs.
YUSSEF (CONT'D)
Over there.
Ahmed finally spots it. He loads the rifle, but when he is
about to aim, the rifle fires. The shot hits amidst the
goats, lifting up a small cloud of dust.
YUSSEF (CONT'D)
What are you doing, you idiot?
The jackal flees, terrified, while the goats scamper in
different directions.
11 EXT. DESERT -- LATER
Both brothers are sitting under a tree, eating bread and
drinking water from a goatskin canteen.
YUSSEF
Zora doesn't mind.
Ahmed keeps eating without turning to look at his brother.
AHMED
She doesn't, but I do.
YUSSEF
This is between her and me.
AHMED
You're both pigs. Next time I'm
going to tell my dad.
YUSSEF
Stay out of this.
AHMED
If you want me to stay out of it,
don't do it.
Yussef gets annoyed, stand up and leaves.
12 EXT. DESERT -- DAY
The brothers are sitting apart from each other. Ahmed guards
the goats with the rifle on his lap.
After a while, Yussef goes to sit behind a large rock. He
makes sure his brother isn't watching and he pulls his pants
down to start masturbating.
6.
When he is at his most concentrated, a shot rings out and
startles him. He quickly pulls his pants up and another
shot rings out. Yussef gets up to see what his brother is
doing.
Ahmed is aiming the rifle at a rock some two hundred yards
away. He fires a third time.
Yussef runs up to him.
YUSSEF
What are you doing?
Ahmed doesn't pay attention, and focuses on the rock in the
distance.
AHMED
Hassan said that it could hit things
three kilometers away, but it can't
even reach that rock over there.
YUSSEF
That's because you don't know how to
shoot. Give me the rifle.
Ahmed looks at his brother defiantly, then hands the rifle
over. Yussef aims and fires. The shot echoes through the
vast desert; the frightened goats scamper a few yards away.
AHMED
See, it can't reach it.
YUSSEF
Give me another bullet.
Yussef aims and fires. The bullet hits the rock and kicks
up a lot of whitish dust.
YUSSEF (CONT'D)
See.
AHMED
Yeah, but that's not three kilometers.
Ahmed remains pensive and suddenly starts climbing to the
top of the hill. Once at the top, he looks around for a
moment and then calls his brother.
AHMED (CONT'D)
Yussef, come here.
Yussef climbs the slope. Ahmed signals a road that in the
distance cuts across the great desert plain, and points out
a traffic sign that indicates a curve ahead.
7.
AHMED (CONT'D)
I bet you the bullet can't hit that
far away.
Ahmed loads the rifle and aims at the sign. He fires and
nothing.
AHMED (CONT'D)
These fucking bullets aren't any
good.
YUSSEF
You're not aiming right.
Yussef points at a yellow car driving along the road.
YUSSEF (CONT'D)
What'll you give me if I hit that
car?
AHMED
I'll shoot.
Ahmed reloads. The empty cartridge falls to the ground. He
fires again - the car keeps going. Yussef asks for the rifle.
AHMED (CONT'D)
You see? Nothing happens.
YUSSEF
Let me shoot.
He also drops the used cartridge on the ground, reloads and
shoots the traffic sign. He fires and nothing.
AHMED
I told you. Hassan's a liar.
A bus approaches. Ahmed points at it.
AHMED (CONT'D)
Shoot at that one...
Yussef loads the rifle parsimoniously, shuts the chamber,
raises the weapon, aims and fires.
The bus drives on. Ahmed turns to his brother.
AHMED (CONT'D)
See: nothing.
The bus drives on another three hundred yards and suddenly
stops in the middle of the road.
8.
13 INT. T.V. ROOM, L.A. HOUSE -- NIGHT
Amelia (54), a maternal, Mexican woman with a pleasant face,
is playing Monopoly with Debbie (4) and Mike (5). They are
both typically American kids.
AMELIA
(In Spanish)
I won...
MIKE
No, I won.
The phone rings and Amelia goes to answer it.
AMELIA
(In English)
Yes... yes sir... yes sir, Mrs. Rachel
told me...I'm very sorry. How is
Mrs. Susan?... No sir, don't worry...
Amelia turns to Mike.
AMELIA (CONT'D)
Your dad is calling.
Mike runs to the phone and grabs it.
MIKE
Hi dad... dad, guess what? Today, at
school, they brought some baby
chickens...I held one in my hand. He
was really little and he was all
warm...
(A beat)
Dad, are you ok?...And Mariana wanted
to take one home, but the teacher
didn't let her...
14 INT. CHILDREN'S ROOM, L.A. HOUSE -- NIGHT
Amelia is putting Debbie and Mike to sleep. They are both
lying in bed. Amelia sits next to them.
AMELIA
(In Spanish)
Did you brush your teeth?
Mike shows her his teeth so she can see he did.
MIKE
Will you tell us a story?
AMELIA
One and then you're going to sleep.
Both children nod.
9.
AMELIA (CONT'D)
(Her entire story in
Spanish)
Once there was a hawk who wanted to
fly higher than everyone else. He
trained every day and hunted little
birds so he could eat them and be
strong.
MIKE
Pajaritos? Little birds?
AMELIA
Of course, that's what hawks eat.
So, one day the hawk flew so, so
high that it crashed into an airplane.
It fainted and started to fall. And
when it was about to hit the ground,
all the birds flew toward him and
saved him.
DEBBIE
They saved him?
AMELIA
Yes, and when the hawk was healthy
again he went to talk to the birds
and said: I want to thank you for
saving me, but I can't change and
I'm going to keep hunting you. The
little birds answered: we don't care
that you hunt us, because that's who
you are. But we will always save
you, because that's who we are.
The children are silent.
AMELIA (CONT'D)
(In English)
Did you like it?
DEBBIE
No.
Amelia moves to turn out the light.
DEBBIE (CONT'D)
Leave it on.
Amelia stands still beside the switch.
AMELIA
Quedamos en que se iban a dormir con
la luz apagada.
DEBBIE
But I'm scared.
10.
AMELIA
No pasa nada.
DEBBIE
I'm scared that what happened to Pat
is gonna happen to me.
Amelia sits down next to her and caresses her.
AMELIA
A ti no te va a pasar eso...
DEBBIE
Pat died while she was sleeping.
AMELIA
That only happens to some babies
when they're really little.
MIKE
Then why did daddy get so angry at
mommy?
AMELIA
He wasn't angry, he was just very
sad.
DEBBIE
He left.
Amelia doesn't know what else to say. She pats Debbie's head.
AMELIA
Go to sleep. I'll sit here with you,
but you can't talk anymore.
They both nod and snuggle under their blankets. Amelia watches
them silently.
15 INT. AMELIA'S ROOM, L.A. HOUSE -- DAY
Amelia (54) sleeps. The sun is just starting to rise. A
phone rings distantly. Amelia awakes. She sits up, listens
intently and hears the ringing.
She grabs a robe from a chair beside her, puts it on and
gets up to answer the phone.
16 INT. KITCHEN, L.A. HOUSE -- CONTINUOUS
Amelia enters the kitchen and answers a wall phone.
AMELIA
Yes...
11.
RICHARD (O.S.)
Amelia, it's Richard. We're going to
have to be here a few more days here
in Morocco than we expected and Rachel
wasn't able to find anyone to take
care of the kids.
AMELIA
Your sister-in-law promised me to
find someone.
RICHARD (O.S.)
Amelia, this is very serious.
Amelia looks worried.
AMELIA
It's because... I told Mrs. Jones
three months ago that today is my
son's wedding.
RICHARD (O.S.)
Amelia, this is an emergency. Cancel
your son's wedding. I'll pay for
another one.
AMELIA
Sir, everything is ready. Can't anyone
come take care of the kids? It's
just one day.
RICHARD (O.S.)
We need you, Amelia... hold on.
Richard stops talking. We hear voices in the background.
RICHARD (O.S.) (CONT'D)
Amelia, we're really counting on
you. I have to go. Goodbye.
He hangs up. Amelia stares into empty space.
17 INT. KITCHEN, L.A. HOUSE -- DAY
Debbie (4) and Mike (5) are having breakfast while Amelia
leans on the sink and looks at them, overwhelmed.
AMELIA
(To Debbie, in Spanish)
Do you want another quesadilla?
DEBBIE
Mhh.
Amelia turns around to warm up a tortilla. Mike stops eating
his cereal and looks at her.
12.
MIKE
How many little birds did the hawk
eat?
Amelia turns around and sees Mike, who is truly worried.
AMELIA
(In English)
None, because he started to like
quesadillas.
Amelia strokes his hair. A car horn honks. Amelia looks
out and sees a school bus parked outside the house.
DEBBIE
Is the bus here?
AMELIA
(In Spanish)
Yes, but today you're not going to
school.
DEBBIE
Why?
AMELIA
We have things to do.
Amelia turns around and walks out to the street. Through
the door we can see her saying something to the bus driver.
The school bus leaves and Amelia walks back into the house.
18 INT. T.V. ROOM, L.A. HOUSE -- DAY
Debbie and Mike are watching cartoons while Amelia talks on
the phone.
AMELIA
(Both in Spanish)
I just want you to take of them for
today.
WOMAN (O.S.)
I can't, Mrs. Black is home.
AMELIA
And she won't go out?
WOMAN (O.S.)
No, I don't think so.
AMELIA
Ok, thanks. I'll call you tomorrow.
She hangs up and remains pensive.
13.
19 EXT. STREET, LOS ANGELES -- DAY
Amelia and the kids walk down a street in Santa Monica.
20 EXT. LUCIA'S HOUSE, LOS ANGELES -- DAY
Amelia and the kids are standing in front of a house, talking
with Lucia (22), who is dressed in a black and white uniform.
LUCIA
(Both in Spanish)
I can't Amelia.
AMELIA
Please, it's my son's wedding. I
helped you out with that thing with
your boyfriend.
LUCIA
I really can't.
AMELIA
Just for the day, Lucia. I'll be
back for them tonight.
LUCIA
And what do I tell Mrs. Black?
AMELIA
Tell her they're your nephews.
Lucia looks down at the blonde-haired, blue-eyed children.
LUCIA
Yeah right, they look just like
me...with this gringa look I have.
21 INT. CHILDREN'S ROOM, L.A. HOUSE -- DAY
Amelia is packing the children's clothes in a small suitcase.
Debbie and Mike, curious, watch her.
MIKE
Are we going to see your house?
AMELIA
Yes, you're going to see my house.
MIKE
Is it far?
AMELIA
(In Spanish)
Not very.
14.
22 EXT. LOS ANGELES HOUSE -- DAY
A run-down '88 Ford Pinto parks in front of the house and
honks its horn. The front door opens and Amelia walks out,
carrying the small suitcase, with the two kids.
Santiago (24), a young Mexican with light eyes.
SANTIAGO
(Both in Spanish)
Good morning Aunt Amelia.
AMELIA
Good morning.
Santiago, surprised, looks at the children.
SANTIAGO
Are they coming?
AMELIA
I couldn't find anyone to leave them
with. Their parents aren't coming
back today.
SANTIAGO
Why bring them, they're just going
to make trouble.
AMELIA
They're good kids.
SANTIAGO
I know a woman who can take care of
them.
AMELIA
Santiago, I have to take them. I
can't leave them with just anybody.
SANTIAGO
What if you lose your job?
AMELIA
Come on, don't tempt the fates.
Amelia opens the door for the children to get in.
23 EXT. CASBAH TAMNOUGALT, MOROCCO-- DAY
Richard (45), tall, thin, weathered, and Susan (38), good-
looking, with an athletic body, visit the impressive Casbah
with a group of American, French and English tourists. Most
of them are old, with a few couples in their forties or
fifties.
15.
Anwar (30), a man with a kind face, is the tour guide showing
them around.
ANWAR
(In English, with an
Arabic accent)
The Berbers built these kasbahs.
They made them like forts and here
they would reside after finishing
their caravans.
Richard listens attentively. Susan looks hot.
RICHARD
This place is beautiful, don't you
think?
SUSAN
(not very
enthusiastically)
Yeah, yeah it's very pretty...
Anwar walks toward one end of the aisles and calls the group.
ANWAR
Now, I'd like to show you the
materials that were used to build
the walls...
The herd moves docile toward Anwar's voice.
24 EXT. SMALL EATERY, MOROCCAN DESERT -- LATER
The group of tourists spread about a small eatery with open
air tables on a dusty terrace. A bus is parked behind them.
At a table, on one end of the terrace with views to a cluster
of mountains, Richard and Susan look through some menus.
Richard seems at ease in this place. Susan appears to be
bothered by the dust and otherness.
A waiter brings a plate and some cutlery.
WAITER
(in broken English)
You want to order?
RICHARD
I'll have a chicken cous-cous and a
Coke, please.
SUSAN
What do you have that doesn't have
fat in it?
WAITER
Everything is delicious.
16.
Susan reads the menu again.
SUSAN
I'll have the fried eggplant and a
diet Coke.
WAITER
We don't have diet Coke.
SUSAN
Then a regular Coke.
The waiter smiles and goes to place the order. Susan takes
out a small bottle with antibacterial gel, cleans her hands
and then starts wiping the plate and the cutlery thoroughly.
Richard looks at the mountain range through a pair of
binoculars. He spots a hawk flying over the plains.
RICHARD
Look, look: a hawk.
Richard follows the hawk with his binoculars for a few seconds
and then puts them down.
RICHARD (CONT'D)
This country is incredible.
Susan remains silent and then turns to look at him.
SUSAN
Richard, why did we come here?
RICHARD
What d'you mean why? I thought you
would like it.
SUSAN
Really: why are we here?
Richard knows that Susan's answer implies something else.
RICHARD
To forget everything, to be alone.
Susan, sardonically gestures toward the other tourists with
her chin.
SUSAN
Alone?
Richard sighs in disappointment. The waiter arrives with
the Cokes and the food, which does not look particularly
appetizing. He leaves everything on the table and goes.
Richard is about to pour his drink when Susan stops him.
17.
SUSAN (CONT'D)
Throw out the ice.
RICHARD
The Coke is warm.
SUSAN
Yeah, but you don't know what kind
of water is in there.
She grabs Richard's glass and tosses out the ice. Then she
does the same thing with hers. They are quiet for a moment.
RICHARD
Why can't you ever relax. You're
always stressed.
SUSAN
You're the one stressing me out.
You're why I can't relax.
RICHARD
You could if you tried.
SUSAN
Tried? Don't you think I tried?
RICHARD
You're never going to forgive me,
are you?
SUSAN
Do you even know what I'm talking
about?
RICHARD
Susan, please; we didn't come all
this way just to argue.
Susan gets angry and faces him.
SUSAN
Oh, we didn't? Then when are we
supposed to "argue"? Or are you
planning on running away again?
Richard sighs, defeated. They stop speaking and sit looking
at the mountains.
25 EXT. BUS -- MOMENTS LATER
The tourists crowd around to board the bus. Some boys in
rags approach to sell them trinkets.
BOYS
Stilo...stilo...
18.
Some of the tourists buy them. They come to Susan, who
becomes instantly uncomfortable. She gestures with her hand
to say they have no money, but the kids insist.
BOYS (CONT'D)
Stilo...stilo...
SUSAN
I don't have any money... I don't
have any...
Richard takes off his binoculars and gives them to the
youngest of the boys (7), who receives them with wide eyes.
RICHARD
Here.
SUSAN
What are you doing?
Richard just gets in the bus. Susan stares at the boy with
the binoculars for a moment and then gets in.
26 INT. BUS -- LATER
Susan sits next to the window, in the middle of the bus.
She looks hurt and sad. Richard walks over and sits next to
her.
The bus starts. Through the window, Richard can still see
the boy with the binoculars. He smiles until he sees an older
boy snatch the binoculars away and push the little boy.
The bus drives away, but Richard can't take his eyes off the
scene. The older boy walks away with the binoculars.
27 EXT. DESERT -- DAY
The bus drives down a straight road that divides the desert.
28 INT. BUS -- MOMENTS LATER
The bus drives on. Some of the old men sleep. Susan leans
her head against the window and watches the landscape scroll
past. Richard sits beside her silently.
Susan holds out her hand and takes Richard's, as a sign of
reconciliation. He holds hers and caresses it.
Susan gets comfortable to try to sleep. She closes her eyes
when suddenly something smashes the window and Susan collapses
forward.
Richard turns to look at the punctured glass and then Susan.
RICHARD
Susan, what's wrong?
19.
Susan doesn't answer, limp on her seat.
RICHARD (CONT'D)
What happened?
Richard lifts her up and when he does he sees a thread of
blood run down her neck. Richard yells at the driver.
RICHARD (CONT'D)
Stop the bus, stop, my wife's been
hurt.
29 INT. VOLLEYBALL COURT -- DAY
In an indoor volleyball court with bleachers, several Japanese
girls play volleyball. They all compete intensely for the
point. There is excitement, but everything occurs quietly.
A player jumps and spikes the ball. Chieko (16), tall,
beautiful, with strands of hair painted purple, volleys the
ball back up. It reaches one of her teammates who sets up
another to spike it.
Chieko's team wins the point. The referee, instead of
whistling, lifts up a red flag.
The players congratulate each other silently, in sign
language. The only sound we can here is the parents' clapping
as they watch the game from the stands.
Chieko's team serves. Again, the game is heated. A rival
player spikes the ball, and it is barely out of bounds.
However, the referee, with his red flag, calls the point.
Chieko is upset and goes to argue with him.
CHIEKO
(In sign language)
The ball was out.
REFEREE
(In sign language)
No, it was good.
Chieko gestures violently. One of her teammates goes to
calm her down.
TEAMMATE
Let it go.
Chieko breaks loose and approaches the referee.
CHIEKO
That was out.
REFEREE
It was on the line.
20.
CHIEKO
You're not just deaf, you're blind.
REFEREE
You're out.
Chieko is furious. She starts to make obscene gestures.
CHIEKO
You're an asshole.
The coach walks onto the court. He holds her to calm her
down and then takes her away. Despite Chieko's violent
reaction, everything is still silent. From the bleachers,
Yasujiro (47), Chieko's father, dressed in a nice suit with
the tie undone, with a sad pride about him, disapproves of
his daughter's actions.
30 INT. LOCKER ROOM, VOLLEYBALL COURT -- DAY
Chieko sits on a bench in her underwear. She looks aggravated
and absorbed in her own thoughts. Her other teammates get
dressed. Two of them walk past wrapped in towels, freshly
showered, and stand in front of her. They talk to each other
in sign language.
TEAMMATE 1
You shouldn't have lost your temper.
We lost the game.
CHIEKO
It wasn't my fault, it was the ref.
TEAMMATE 2
If you hadn't been thrown out, we
would've won the game.
Chieko, angry, gets up and starts to rummage through her
locker. Her teammate walks over and gets her attention.
TEAMMATE 1
Why are you in a bad mood?
Chieko doesn't answer. Teammate 2 approaches.
TEAMMATE 2
She's always in a bad mood because
nobody's fucked her yet.
She caps this with an obscene gesture that bothers Chieko.
CHIEKO
I'm gonna fuck your dad to get rid
of my mood.
Teammate 1 laughs, amused. Teammate 2 gives Chieko a scornful
look. Chieko smiles sardonically.
21.
31 INT. YASUJIRO'S CAR -- DAY
Yasujiro drives while Chieko looks at the swarming Tokyo
streets. She is wearing a skirt revealing of her long
volleyball legs.
Her fathers speaks to her in sign language.
YASUJIRO
What do you want to eat?
CHIEKO
I said I'd meet my friends from the
team at Eve's.
YASUJIRO
Weren't we going to have lunch
together?
CHIEKO
Dad, I told you I was going to eat
with them, but you never pay attention
to me.
Yasujiro shakes his head in disapproval.
CHIEKO (CONT'D)
My mother always paid attention to
me.
YASUJIRO
Why do you want to fight?
They don't say anything else. The traffic is chaotic.
YASUJIRO (CONT'D)
I miss your mother too.
Chieko just looks at him.
YASUJIRO (CONT'D)
I'm doing what I can, sweetie.
They don't say anything else. The traffic is chaos.
32 EXT. STREET, TOKYO -- DAY
Yasujiro parks his car and Chieko gets out.
YASUJIRO
(in sign language)
Don't forget you have the dentist at
four.
Chieko looks annoyed, and blows her father a kiss goodbye.
As she is about to get out of the car, Yasujiro grabs her
arm. She turns to look at him.
22.
YASUJIRO (CONT'D)
(In sign language)
I love you very much.
They exchange a glance. She nods, closes the door and leaves.
33 INT. EVE'S -- DAY
Eve's is a restaurant full of t.v.'s, noise, video games.
There is smoke, and people talking everywhere. Chieko moves
through the crowd. A hostess intercepts her.
HOSTESS
Do you have a table?
Chieko doesn't manage to read her lips. The hostess, smiling,
awaits an answer. Chieko waits, expectant, for the hostess
to repeat herself.
HOSTESS (CONT'D)
Do you have a table?
Chieko nods and points at her group of girlfriends, who are
sitting on the barstools next to the bar.
The hostess smiles another stupid smile and lets Chieko by.
Further off, her friends spot her and make silly faces.
Chieko laughs, walks over to them. They are all dressed the
same: short skirts, tight t-shirts. Some of them have
piercings in their nose, lips and ears. They all exude
hormones in their silence.
Chieko goes to talk to them in sign language.
CHIEKO
Why all the way in the corner?
Mitsu, with a good body, not very tall and with violet
highlights in her hair, points at a pair of tables where a
group of young men are drinking beer.
MITSU
Because of the view.
Chieko turns around and stares at one of them wearing a Milan
jersey. Their eyes meet. Chieko keeps her eyes on him, and
the boy finally turns away.
MITSU (CONT'D)
Do you like him?
Chieko nods without taking her eyes off him.
23.
34 INT. EVE'S -- DAY
Chieko, Mitsu and another of their friends are playing a
pinball game that makes noises whenever the ball hits a wall.
The young man in the Milan jersey approaches Chieko.
YOUNG MAN
Hello.
Neither Chieko, nor her friends answer. The guy turns to
look at one of his friends, who signals for him to insist.
YOUNG MAN (CONT'D)
Can I play with you?
Chieko, obviously, cannot hear him. She keeps playing.
Suddenly, Mitsu notices the young man's presence and taps
Chieko on the shoulder. Chieko turns around and is surprised.
The young man turns to look toward his friends as he speaks.
YOUNG MAN (CONT'D)
Do you want to come have a drink?
Chieko gets frustrated; she cannot read his lips. He stops
looking at his friends and awaits an answer, but all he sees
is three silent girls staring at him stupefied.
Chieko talks to Mitsu in sign language.
CHIEKO
Tell him I couldn't read his lips.
The young man, upon seeing them communicate, is caught off
guard. He turns around and walks toward his friends without
saying a word.
35 INT. BATHROOM, EVE'S -- DAY
Chieko leans on the sink while Mitsu pees in one of the
stalls. Chieko is noticeably upset.
Mitsu walks out of the stall, fixing her skirt. She sees
Chieko is distressed.
MITSU
(In sign language)
What's the matter?
CHIEKO
(In sign language)
They look at us like we're monsters.
MITSU
Oh, come off it.
24.
Chieko is at a loss for words. Mitsu stares at her: it looks
like another one of many tantrums.
Chieko hikes up her skirt and starts to pull down her panties.
MITSU (CONT'D)
What are you doing?
CHIEKO
Now they're going to meet the real
hairy monster.
She makes the gesture of sticking her finger up a hole, then
goes to the toilet, throws her panties in and flushes. She
turns to look at Mitsu defiantly, who cannot help but laugh.
36 INT. EVE'S -- DAY
Chieko sits on one of the restaurant's benches. Before her
is a new group of young men. Mitsu and Chieko exchange a
look. Provocatively, Chieko crosses her legs slowly revealing
her pussy.
One of the young men seems to notice, and is stunned. Chieko
smiles and does it again. He watches Chieko again and
discretely turns to one of his friends to tell him.
Chieko turns her back to him and faces the bar. She looks
over at Mitsu, who shakes her head, amused.
A beeper rings on Chieko's skirt. She picks it up and reads:
"Don't forget your appointment with the dentist. Papa."
She puts the beeper away and turns toward Mitsu.
CHIEKO
I'll see you later at my place.
She mischievously turns toward the table where the young man
was, and as she gets off the bench she spreads her legs wide
open, flashing him shamelessly.
She struts out.
37 EXT. DESERT -- DAY
Ahmed and Yussef run full speed, herding their goats as they
go. Some of them get left behind and Yussef hurries back to
them. As they climb a hill, he slips and falls, rolls
downhill and drops the rifle, which slides a few meters away.
Ahmed runs to help him. Yussef gets up, covered in dust and
with a scratch on his forehead. Ahmed picks up the rifle.
AHMED
Hurry up, man, hurry...
25.
Ahmed runs off, hands flailing, to herd the straggling sheep.
Yussef follows him, limping.
38 EXT. YUSSEF AND AHMED'S HOUSE -- LATER
The brothers make it back home. Agitated, they put the goats
back into their corral. Zora walks out and approaches them.
ZORA
What's wrong?
Yussef, busy closing the corral gate, pays no attention.
Ahmed, breathing agitatedly, doesn't answer.
ZORA (CONT'D)
I asked you what's wrong.
Ahmed, full of adrenaline, glances angrily at her.
AHMED
What do you care, whore?
Yussef gets in the way.
YUSSEF
Don't talk to her like that.
Yussef steps up to defend her, but Ahmed spins around and
goes into the house. Yussef turns to Zora.
YUSSEF (CONT'D)
Something we ate make us sick so we
came back.
Without another word, Yussef also goes into the house.
39 INT. YUSSEF AND AHMED'S HOUSE -- LATER
Yussef and Ahmed are sitting on their mats, looking at each
other, pale, scared and quiet. Yasira walks in to see them,
followed by her daughters. She turns to Ahmed.
YASIRA
What are you doing here?
Ahmed, livid, cannot answer.
YUSSEF
Something we ate gave us a stomach
ache.
Yasira stares harshly at Ahmed.
YASIRA
And is that why you're insulting
your sister?
26.
Ahmed looks at Zora, then Yussef, and then is silent.
YUSSEF
We were feeling really ill.
Yasira points toward the corral.
YASIRA
The goats are going to feel even
worse if they don't eat. Take them
out again.
AHMED
Our stomach really hurts.
YASIRA
Then start jerking the meat.
Yasira walks out. Yussef and Zora exchange a look.
40 INT. YUSSEF AND AHMED'S HOUSE -- DAY
Yussef and Ahmed are jerking a couple of young goats with
very sharp knives. They set the thin strips on newspaper.
They look nervous. They talk in whispers.
AHMED
D'you think something happened?
YUSSEF
I don't know.
AHMED
People were screaming.
They are silent for a long while.
AHMED (CONT'D)
It was your fault.
Yussef stares at him in disbelief.
YUSSEF
It was both our faults. We both
shot.
(A beat)
Swear to me you'll never say anything.
Ahmed won't answer. Yussef looks around the room to make
sure nobody is listening to them.
YUSSEF (CONT'D)
Swear. Nobody, never.
Ahmed remains pensive. He sighs and answers.
27.
AHMED
I swear. Nobody.
41 EXT. YUSSEF AND AHMED'S HOUSE -- EVENING
The brothers are hanging the strips of meat on ropes to dry
them in the sun.
An old Valiant packed with seven men parks in front of the
house and Abdullah gets out. He raises his hand to say
goodbye.
ABDULLAH
Thank you, I'll see you tomorrow.
The driver also raises his hand and then drives off. Abdullah
turns to Yussef.
ABDULLAH (CONT'D)
Tell your mother to prepare dinner.
Abdullah turns towards the house. Yussef comes out running
towards a little field below the house. Yasira is plowing
with a manual plow.
YUSSEF
Mother, mother, father says he wants
to have dinner now.
42 INT. YUSSEF AND AHMED'S HOUSE -- EVENING
Abdullah and his children sit at the small table while the
women prepare the food. A column of smoke rises from the
fire where they are roasting goat meat and toasting bread.
Yamil, the youngest of the daughters, sets some bread on the
table. Abdullah takes it, tears some off and starts to eat.
He turns to Yussef.
ABDULLAH
Did you kill any jackals?
YUSSEF
We shot at them, but didn't hit them.
ABDULLAH
You have to kill them. If not they're
going to eat all the goats.
Yasira sets the strips of goat meat on the table. Abdullah
serves himself some. His children wait until he's done to
serve themselves.
YASIRA
Why are you home so late?
Abdullah starts talking with his mouth full.
28.
ABDULLAH
They closed the road, and we had to
take the long way around.
(He swallows)
Apparently some terrorists killed an
American tourist.
Ahmed and Yussef shoot each other a nervous glance.
YASIRA
An American?
ABDULLAH
Yes, the terrorists attacked a tour
bus on the road.
YASIRA
But there aren't any terrorists here.
Abdullah finishes his mouthful. He wipes himself with his
sleeve. Ahmed doesn't even dare raise his eyes.
ABDULLAH
You never know.
Yussef, nervous, looks up.
YUSSEF
And how do you know the American
died?
ABDULLAH
That's what they were saying. The
police are looking for the culprits.
Yussef and Ahmed again exchange a furtive glance.
43 INT. YUSSEF AND AHMED'S HOUSE -- NIGHT
Night. An oil lamp in a Nescafe jar lights the house. The
family sleeps in the only two rooms in the house. One of
them is the parents room, the other the children's.
We hear a goat bleating in the darkness. Abdullah's snoring.
Yasira's breathing. The crunching of wood in the night cold.
Neither Yussef, nor Ahmed can sleep. They both look at each
other, anxious.
44 EXT. BORDER CROSSING -- DAY
Santiago's car crosses the border between San Diego and
Tijuana. They drive through a green light at the crossing,
easily entering Mexico without being stopped by three Mexican
customs officials.
29.
45 INT. SANTIAGO'S CAR -- DAY
Debbie and Mike stare through the windows, amazed at the new
world they are entering: other people, other architecture,
other colors, other noises.
Santiago turns towards them while he's driving.
SANTIAGO
See how easy it is to get into
paradise?
DEBBIE
Is this Mexico?
AMELIA
(In Spanish)
Yes, this is Mexico.
MIKE
My mom told us Mexico is really
dangerous.
Santiago turns toward the kids.
SANTIAGO
(In Spanish)
Yes, it's full of Mexicans.
Amelia and Santiago look at each other and smile.
46 EXT. TIJUANA -- DAY
They drive through Tijuana.
47 INT. SANTIAGO'S CAR -- DAY
Mike and Debbie continue to gaze awestruck through the
windows. Santiago turns to them.
SANTIAGO
(In Spanish)
Are you hungry?
They both nod.
SANTIAGO (CONT'D)
Do you like popsicles?
Santiago pulls over next to some stalls, and the street
vendors run out to offer them their products.
48 EXT. PARK, TIJUANA -- DAY
The children eat their popsicles as they walk through the
endless aisles of stalls, past the vendors and their incessant
banter.
30.
MIKE
What's this flavor called?
Santiago answers before Amelia.
SANTIAGO
(In Spanish)
Cajeta... it's called cajeta.
MIKE
(Mispronouncing)
Cayeto...
Santiago laughs.
SANTIAGO
No, cajeta... cajeta...
MIKE
Cajeto, cajeta... It's the best thing
I've ever tasted in my life.
(A beat)
Can I buy some for my mom? She's
gonna love them.
Amelia smiles and nods.
49 EXT. TIJUANA -- DAY
The car drives out of the city and gets on a highway. The
desert rises in all its magnitude and severity.
50 EXT. DESERT HIGHWAY -- DAY
Santiago parks the car next to a junkyard. Amelia and Debbie
run out and hide behind a fence.
Debbie pulls her underpants down to pee. Troubled, she looks
at the mound of destroyed cars.
DEBBIE
Are they crashed cars?
AMELIA
Yes...
DEBBIE
Did lots of people die?
AMELIA
I guess so...
DEBBIE
I don't like Mexico.
31.
51 EXT. DESERT HIGHWAY -- DAY
They drive down the highway and then turn onto a path. They
drive down the path at high speed, lifting up clouds of dust.
52 EXT. HAMLET "LOS LOBOS" -- DAY
They arrive at a dusty hamlet in the middle of the desert; a
few houses, no more than twenty, some adorned with
multicolored paper.
Several crates of soda are stacked up against a makeshift
shed built out of yucca fronds. A group of musicians who
play Norteña music are setting up their instruments.
There are various pickup trucks and smuggled cars parked
around the hamlet. The guests are wearing their best: fresh
shirts, big buckles, almost new boots.
Santiago parks. Amelia gets out first. A group of people
sees her and comes over to greet her.
COMADRE 1
(All in Spanish)
Hey, so you finally made it.
Amelia smiles. Her friends notices Mike and Debbie.
COMADRE 1 (CONT'D)
You brought them?
Amelia nods. Luis (24), Amelia's son, a typical Norteño
cowboy with long sideburns and moustache, his face tanned
from days under the sun, wearing a pistachio-colored tuxedo
with a cloth flower in the lapel, greets Amelia with a kiss.
LUIS
Hi mom, how're you doing?
She looks him up and down.
AMELIA
Son, you look like Pedro Infante.
COMADRE 1
More like Luis Miguel.
AMELIA
Where's the bride?
LUIS
She's not here yet.
AMELIA
What d'you mean she's not here yet?
32.
LUIS
Well, she ain't here.
Mike and Debbie, struck dumb by the language and the
strangers, hide behind Amelia, who introduces them to Luis.
AMELIA
Look son, these are Mike and Debbie,
the kids I take care of.
Luis holds his hand out ceremoniously.
LUIS
Pleased to meet you Mike.
Santiago calls out to some kids who are running around.
SANTIAGO
Psst. Lucio, come here.
Lucio (10), the oldest of the gang, approaches. Santiago
gestures toward the two American kids.
SANTIAGO (CONT'D)
These are Mike and Debbie. Keep an
eye on them for me.
Lucio gives them a scornful glance and calls them over half-
heartedly.
LUCIO
Come with me.
With her hand, Amelia signals to the kids that it's ok to go
with him. Shyly, Debbie and Mike follow.
53 INT. ROOM, HAMLET "LOS LOBOS" -- DAY
Amelia is in a room with her two daughters standing in front
of a peeling and broken mirror putting on her violet gown.
One of her daughters helps her and pulls the zipper all the
way up.
DAUGHTER 1
(All in Spanish)
Oh ma, I don't know how you did it
but it zipped up perfectly.
AMELIA
And it's been 15 years since I last
wore this dress.
DAUGHTER 1
You haven't changed a bit, ma.
33.
AMELIA
Working, dear, working, that's what
keeps one young.
The two sisters realize that the dress has a hole just below
the seat, exchange looks and smile, which doesn't please
Amelia.
AMELIA (CONT'D)
What are you guys laughing about?
DAUGHTER 2
Nothing ma, nothing.
Amelia looks at them suspiciously, turns around and leaves
the room with her dress elegantly torn.
54 EXT. DESERT ROAD, MOROCCO -- DAY
The bus is in the middle of the road.
Several of the tourists are hiding under their seats,
frightened. The driver, still ducking, looks toward the
mountains to try to piece together what happened.
Richard holds Susan against his shoulder, blood gushing from
her neck. Her eyes are open and staring at a fading world.
Richard takes Susan from under her armpits and carefully
lays her down on the aisle. Anwar runs over to help.
RICHARD
Take it easy honey, take it easy.
Anwar takes his shirt off - left only in his undershirt -
and puts it under Susan's neck.
SUSAN
(mumbling senselessly)
I'm ok... I'm ok...
Susan breathes in, and every time she does, blood flows from
her wound. Richard turns toward the other passengers.
RICHARD
Is anybody a doctor?
Nobody answers. Richard starts to lose his cool.
RICHARD (CONT'D)
Please: a doctor.
The pensioners don't answer; they are too scared. Richard
opens Susan's purse and sees a cell phone. He turns it on
and tries to call, but there is no signal. He turns to Anwar.
34.
RICHARD (CONT'D)
Where's the nearest hospital?
ANWAR
It's far away, about four hours.
(a beat)
There's a clinic that's a little
closer, about an hour and a half to
the south. By bus it'll take us about
two hours and a half though.
RICHARD
Does that takes away from Marrakesh?
ANWAR
Yes, but it's the closest thing we've
got.
Richard runs down the aisle and gets out of the bus.
55 EXT. DESERT HIGHWAY -- DAY
No cars drive by. The road is almost deserted. In the
distance, a run-down Renault approaches. Richard stands in
the road to stop it.
The car brakes and Richard runs toward the driver: an old
peasant traveling with his eight year-old grandson.
RICHARD
I need your help. We were attacked.
OLD MAN
(In Arabic)
I don't understand...
Richard grows desperate.
RICHARD
Help... hospital...
OLD MAN
(In Arabic)
I don't understand you sir.
Richard sees that Anwar and the bus driver have gotten out
of the bus and he starts shouting at them for help.
RICHARD
Tell him we need his help.
With the distraction, the old man drives off. Richard watches
helplessly as they drive away and he grabs Anwar by the arm.
RICHARD (CONT'D)
Let's take her to the clinic.
35.
56 EXT. DESERT HIGHWAY -- DAY
The bus makes a U-turn and drives away at full speed.
57 INT. BUS -- DAY
The bus rattles along. Richard huddles over Susan, trying to
stop the blood flowing from her neck. Barth, an old man starts
shouting.
BARTH
Marrakech isn't this way. They're
going to shoot at us again.
RICHARD
We've got to get her to a hospital.
BARTH
They're going to kill us all. Turn
back... turn the bus around...
Richard gets exasperated at the old man's screaming.
RICHARD
Shut up, god damn it!
Barth shuts up and the bus drives on.
58 EXT. DESERT HIGHWAY -- DAY
The bus bounces its way down the straight highway.
59 INT. BUS -- DAY
The passengers sit quietly. As the ride gets bumpier, Susan
starts to cry out in pain.
SUSAN
It hurts, it hurts...
Richard tries to calm her down.
RICHARD
Easy, sweetie, easy...
SUSAN
It hurts... it hurts so much...
Richard turns her around and sees her shoulder has been
shattered. She won't stop shouting. A pool of blood starts
trickling down the aisle.
RICHARD
(A Anwar)
Isn't there anywhere else we can
take her?
36.
ANWAR
We can take her to my town. It's
near here and there's a doctor. In
the meantime we can call Erfourd for
an ambulance.
Richard turns to look at Susan, who is writhing in pain.
RICHARD
Ok.
ANWAR
(To the driver, in
Arabic)
Make a right onto the next road.
Richard and Anwar exchange a glance.
60 EXT. DESERT HIGHWAY -- DAY
The bus leaves the main road and turns into a dirt road.
61 INT. BUS -- DAY
The bus' poor suspension gives the passengers a jolt. Richard
tries to protect Susan's head.
62 EXT. HAMLET -- DAY
The bus pulls into a small group of houses. Several children
run beside the bus, chasing it. Some gaunt dogs get out of
the way to let the bus by.
63 EXT. ANWAR'S HOUSE -- DAY
The bus pulls up in front of a modest house.
64 INT. BUS -- DAY
Richard raises his head and sees the desolate environs.
RICHARD
Are we here?
ANWAR
Yes sir, this is my house.
Richard tries to carry Susan, but she screams in pain.
RICHARD
Easy, darling, easy...
He slips his hands under her and lifts her up.
SUSAN
Don't touch me there.
37.
Richard moves his hand, which is covered in blood. As he
carries her, he turns into the aisle while Anwar and one of
the passengers try to help him.
65 EXT. HAMLET -- DAY
Richard carries her into the house through a crowd of curious
children.
66 INT. ANWAR'S HOUSE -- DAY
Anwar leads Richard down the hallways amidst Susan's screams.
67 EXT. PATIO, ANWAR'S HOUSE -- DAY
They walk through a dusty patio and Anwar points at some
stairs. Richard climbs them with difficulty and Anwar opens
the door to a room.
ANWAR
Here... here...
68 INT. ROOM, ANWAR'S HOUSE -- DAY
An old woman (87), Anwar's grandmother, who has centuries of
desert in her expression, lets them in and points at a rug
on the floor.
ANWAR'S GRANDMOTHER
(In Arabic)
Put her there...
Richard understands and softly lays Susan on the rug. Susan
looks around horrified: adobe walls, dirt floor: the epitome
of the third world.
RICHARD
I need to call an ambulance and
contact my embassy.
ANWAR
If you have the number of the embassy,
I can go call.
Obviously, Richard does not have it.
RICHARD
I need to make a phone call.
ANWAR
Of course, come with me.
They get ready to leave and Susan starts imploring.
SUSAN
Don't leave me here alone...
38.
RICHARD
Don't worry, I'll be right back.
Susan looks desperate. To set Richard somewhat at ease,
Anwar points at his Grandmother.
ANWAR
She can take care of her.
Richard leans over Susan.
RICHARD
You're going to be ok.
Anwar kneels down next to her, takes a cloth and improvises
a tourniquet that he adjusts near her shoulder. He turns
towards the grandmother.
ANWAR
(In Arabic)
Hold and release the tourniquet every
once in a while.
The grandmother nods. She sees the swarm of kids looking
into the place and she shoos them away.
ANWAR'S GRANDMOTHER
(In Arabic)
Get out of here... out...
The kids obey, except for one or two who take one last look
before they go. Susan's terrified eyes watch Anwar and Richard
leave the room.
69 EXT. ANWAR'S HOUSE -- DAY
The bus is still parked in front of the house. As soon as
Richard walks out, the pensioners approach him.
DOUGLAS
How is your wife?
RICHARD
Bad. Very bad.
Tom (51), a fat English passenger, faces him.
TOM
Get her outta there and let's go.
RICHARD
And where should I take her?
TOM
In Egypt, in a town like this, they
slit thirty German tourists' throats.
They might do the same to us.
39.
Anwar listens and intervenes.
ANWAR
No, not here.
TOM
(Aggressively)
What do you know? We have to get
out of here as soon as possible.
Lilly (79), an old woman, approaches.
LILLY
It's very hot, sir, and the driver
turned off the air conditioning.
I'm feeling sick.
RICHARD
You can't leave us here.
James (82), Lilly's husband, steps forward.
JAMES
What's the use in staying?
RICHARD
In case I need the bus.
JAMES
They can go drop us off and then
come back for you.
Douglas (75), a tall old man with good posture, interjects.
DOUGLAS
I'll stay with you if you need me.
Elyse (73), his wife, scolds him.
ELYSE
And why would you stay?
RICHARD
Please wait. Let me try to deal
with this.
TOM
We're not going to risk our lives,
so hurry.
Douglas looks defiantly at Tom.
DOUGLAS
You do what you have to do, we'll
wait.
40.
70 EXT. HAMLET -- DAY
Richard and Anwar walk down the streets of the small hamlet
before the people's inquisitive gaze. They arrive at a
general store with all sorts of roots and grains displayed
outside. Anwar walks over to the owner.
ANWAR
(in Arabic)
We need your phone. I'll pay for
the call.
71 INT. ROOM, ANWAR'S HOUSE -- DAY
Susan is lying on the floor, desolate. It seems as if the
pain is diminishing. The grandmother leans over her and softly
caresses her with her dirty, wrinkled hands. This startles
Susan.
ANWAR'S GRANDMOTHER
(In Arabic)
How do you feel?
Susan is a little bit uncomfortable with her this close.
SUSAN
Can I have some water?
The old woman doesn't seem to understand. She grabs a basket
of dates and offers them to her. Susan shakes her head.
SUSAN (CONT'D)
No, water...
With her hand, Susan mimes drinking a glass of water. The
old woman seems to understand. She pours some water from a
jar, leans over her and helps her drink in small sips.
SUSAN (CONT'D)
Thanks.
The grandmother bows her head as if to say "your welcome."
SUSAN (CONT'D)
Where's my husband?
The old woman just smiles. Susan makes a gesture of
desperation. The grandmother leans over her, unfurls her
index finger and points at her heart.
ANWAR'S GRANDMOTHER
(In Arabic)
Trust in god.
Susan keeps looking at her as she slowly gets up and goes to
sit in a chair.
41.
72 INT. GENERAL STORE -- DAY
Richard is in a small cubicle dialing on an old cream-colored
rotary phone while Anwar waits discretely in a corner. Dozens
of people watch from outside. Richard turns to look at them
while the call connects.
RICHARD
Yes... Rachel? It's Richard...
RACHEL (O.S.)
¿Are you still in Moroccco?
RICHARD
Yes, we're still in Morocco...Rachel,
there was an accident, your sister
was shot...
RACHEL (O.S.)
(Surprised)
What? Who shot her?
RICHARD
I don't know... We were shot at from
some hills.
RACHEL
Is she ok?
RICHARD
She was hit in her neck and shoulder.
Rachel, she's not doing well... I
need you to tell the embassy as soon
as possible... wait... and call
Mark...
RACHEL (O.S.)
Where are you?
He turns to Anwar.
RICHARD
Anwar, where are we?
ANWAR
In Tazarine, three hours southwest
of Erfoud.
RICHARD
Were in Tazarine, T-a-z-a-r-I-n-e
Three hours southwest of Erfoud...
in the desert... it's a town...
there's no hospital... There's nothing
here at all...
RACHEL (O.S.)
Where are you calling me from?
42.
RICHARD
From a shop. Rachel, this is urgent...
urgent... call the embassy... They
have to help us... call James too...
RACHEL (O.S.)
Why did they shoot her?
RICHARD
I don't know... Rachel, you're
sister's badly hurt... do you
understand? Call for help... now...
He hangs up. As soon as he does, he turns to Anwar.
RICHARD (CONT'D)
Call an ambulance...
ANWAR
I'll call Erfoud so they send one
over.
Anwar, clumsy and stressed at Richard's desperation, takes
the phone and starts dialing.
RICHARD
And find a doctor...
As he finishes dialing, Anwar turns to Richard.
ANWAR
They've already gone to look for
him.
73 INT. ROOM, ANWAR'S HOUSE -- DAY
Richard returns to the room. Susan, weak, lies with her
eyes open. The grandmother is tending to the wound, which
won't stop bleeding. She gets up and goes to Anwar.
ANWAR'S GRANDMOTHER
(in Arabic)
Anwar, bring me some water.
74 EXT. PATIO, ANWAR'S HOUSE -- DAY
Anwar goes out to the patio and fetches a metal basin full
of soil. He goes to a well, scoops out some water with a
gourd and washes out the basin.
Anwar is walking back when he is stopped by Mohammed, his
brother, a fat man (32) with curly hair and a tanned face.
MOHAMMED
(the entire dialogue
in Arabic)
Why did you bring them here?
43.
Anwar doesn't pay attention to him and keeps walking toward
the room. His brother catches up to him.
MOHAMMED (CONT'D)
You should have consulted with us.
Anwar stops and looks at him fixedly.
ANWAR
She's hurt, we had to take care of
her.
MOHAMMED
In town they're saying she was shot
by terrorists. Do you know what
they're going to do to us when they
find out she's here?
ANWAR
Don't be paranoid and go help find
the doctor.
Anwar pays no more attention to him and carries the basin
into the room.
75 INT. ROOM, ANWAR'S HOUSE -- DAY
Susan is lying down. A small pool of blood has collected
under her neck. She looks restless. She whispers weakly.
SUSAN
Get me out of here... please...
RICHARD
I'm going to as soon as I can. I've
already called Rachel; she's going
to tell the embassy.
SUSAN
I told you we shouldn't have come.
Just then Anwar enters. The grandmother takes the basin and
sets it in a corner. She gets some pieces of cloth and starts
to soak them.
RICHARD
How long until the ambulance gets
here?
ANWAR
About an hour and a half. It's coming
from Alnif.
RICHARD
That much? Isn't there anyone here
who could take her?
44.
Anwar shakes his head.
RICHARD (CONT'D)
We've got to get her out of here.
There's no one to tend to her.
ANWAR
My brother already called a doctor,
he's coming.
Richard is going to say something, but holds back. His
despair and confusion are evident.
ANWAR (CONT'D)
Trust my grandmother; she knows a
lot about remedies.
The grandmother wrings out the rags and puts them on a table.
She takes some herbs, a fistful of earth from the floor and
she tosses them into the basin. She stirs it and pulls out
a clump of mud which she lays out on one of the pieces of
cloth.
Susan looks horrified at the dirt. The grandmother leans
over her and tries to clean the wound with the other moistened
rags. Susan resists.
ANWAR'S GRANDMOTHER
(In Arabic)
I have to clean you.
ANWAR
(To Susan)
Miss, my grandmother is going to
help you.
The grandmother finishes cleaning her with the damp cloths
and grabs the clump of mud. She tries to put it on the wound,
but Susan flinches.
SUSAN
No, not that.
ANWAR'S GRANDMOTHER
(In Arabic)
It will stop the bleeding.
SUSAN
No, no... not that...
Richard intervenes.
RICHARD
(To Anwar)
Let's wait for the doctor.
45.
76 EXT. HAMLET -- DAY
Two old men walk through the streets.
77 INT. ROOM, ANWAR'S HOUSE -- DAY
Mohammed walks into the room and calls him.
MOHAMMED
(In Arabic)
The sheik and the moukadem are here.
78 EXT. ANWAR'S HOUSE -- DAY
The two men walk past the tourists and head inside without
knocking or asking for permission.
79 EXT. PATIO, ANWAR'S HOUSE -- DAY
Richard and Anwar have walked out into the patio to wait for
them. The sheik approaches.
SHEIK
(In Arabic)
Allah be with you.
ANWAR
(In Arabic)
Allah be with you.
He turns to Richard and speaks to him in very bad French.
SHEIK
(In bad French)
I am Atallah the sheik and this is
Walid, the moukadem. I'm very sorry
about your wife.
RICHARD
I don't understand French.
ANWAR
He says he is very sorry about your
wife.
Richard thanks him with a nod.
SHEIK
(To Anwar, in Arabic)
Tell him that I want to ask him some
questions.
ANWAR
(To Richard)
Can he ask you some questions?
Richard nods. The sheik continues in Arabic.
46.
SHEIK
(In Arabic)
Do you have any enemies in this
country?
ANWAR
He asks if you have any enemies in
this country.
Richard shakes his head.
RICHARD
Of course not.
SHEIK
(In Arabic)
Then why were you shot at?
ANWAR
Why did you come to Morocco?
RICHARD
Vacation.
ANWAR
(In Arabic)
He has no idea.
SHEIK
(In Arabic)
What does he do for a living?
ANWAR
What do you do for a living?
RICHARD
I'm a magazine editor.
ANWAR
(In Arabic)
He edits magazines.
SHEIK
(In Arabic)
Anti-muslim magazines?
ANWAR
Anti-muslim magazines?
RICHARD
No, magazine magazines.
ANWAR
(In Arabic)
No, normal magazines.
47.
RICHARD
Tell him we need to get my wife out
of here. Ask him if the ambulance is
on its way.
ANWAR
(In Arabic)
He wants to get his wife out of here.
He wants to know if the ambulance is
on its way.
SHEIK
(In Arabic)
Tell him the federal police are in
charge of this, that they are going
to send the ambulance.
ANWAR
He says the federal police are already
in charge, that they are going to
send the ambulance.
The sheik looks at the house.
SHEIK
(In Arabic)
Hey, did your cousin finally end up
getting married?
ANWAR
(In Arabic)
Yep, she's married, she doesn't live
here anymore.
Richard, anxious, questions Anwar.
RICHARD
What did he say?
ANWAR
He gives you his blessing.
RICHARD
Thank you.
The sheik and the moukadem turn and exit the house.
80 INT. DENTIST'S OFFICE -- DAY
Chieko is sitting in the reception area, waiting her turn.
There is a woman with a twelve year-old son listening to a
walkman and an old couple.
The receptionist (50) will not stop talking to the old lady.
48.
RECEPTIONIST
My niece sells these creams. And
just look at my skin now. I'm going
to turn fifty-two and look, almost
no wrinkles...
The woman continues her banal chatter. Chieko observes her
grotesque mouth. She then looks at the old man's bored face,
the old woman's feigned interest, the mother's annoyed
expression, and the boy, who rocks his head to the music.
A man walks out and the receptionist gestures at Chieko and
points toward the door.
81 INT. DENTIST'S OFFICE -- DAY
The dentist (47) - tall and, unlike the receptionist, with
impeccable skin covering his hardened, attractive face -
examines Chieko's mouth. His face comes very close to hers
as he looks at her, making her nervous. The fat receptionist
walks in without knocking.
RECEPTIONIST
Here are the sterilized drill bits.
The dentist looks up at her. She leaves the drill bits on a
table and leaves. The dentist turns back to Chieko and speaks
face to face with her so she can read his lips.
DENTIST
I-think |
