SPANGLISH
by
James L. Brooks
SHOOTING DRAFT
FADE IN:
1 INT. BEDROOM - MEDIUM CLOSE - MALE FORM - LATE AFTERNOON 1
A shape fills the lower portion of the screen. It is a man's
back..... a perfect back... good dark color, slim, muscular.
LATIN MUSIC PLAYS... a song.... if you understood the words
you would hear love confronted and considered in a very
specific way...We are in a Mexico City suburb. The day is
hot; small beads of sweat are seen on the man's back, the
first indication that we are in slow motion..Perfect red
fingernails come into view...and now a woman's hand goes
beautifully to work...part sensual back scratch, part
massage. The hand cups bits of the man's back, a strong thumb
probes his spine, a long finger teases the very top of his
ass in a cute finger-pirouette and then continues down --
and, as the hand rises once more to the top of his back for
another trip down his upper body...
MAIN TITLES BEGIN: Full titles, minute after minute of titles
with some key dissolves helping us to represent some 30
minutes of time passage as the hand continues to scratch and
rub, the man making sounds of pleasure. The hand is getting
tired. Flirtatious no more, this is getting to be work...The
unseen woman shakes the hand vigorously, the man says a
single sound urging her to continue, the exhausted hand
complies, then stops, then the unseen woman changes hands as
TITLES CONTINUE.....The new hand, wearing a wedding ring,
goes to work then it too stops to rest..the man says
something in Spanish...important for us because it will
establish that there will be no subtitles and yet we
understand perfectly that he is asking her to continue. She
replies in Spanish lightheartedly, with a small and pretty
laugh, that her hands are tired. We understand. The man tells
her to continue. She continues, the rub now desultory and
resentful. She stops for another rest. The man wants more and
grabs forcibly at her hand -- his own hand coming into view
for the first time. She says, in Spanish, with no particular
anger, "you said you would never push me around again. If you
do, I will somehow break your arm so you can rub your own
back as high as you want." (NOTE: All Spanish dialogue will
be worked hard to provide something extra for the Spanish
speaking..working in tidbits or extra exposition, jokes etc.)
For now, the man's tone changes, placating her to continue.
Even as she resumes the massage they begin to have a domestic
argument in Spanish. This is no longer a massage we envy.
This back rub, going as it does from sex and hope to discord
and alienation, will be our only full direct knowledge of
their marriage.
2 INT./EXT. BEDROOM / DUSTY ROAD - OTHER ANGLE 2
Showing us the room and beyond, through the window, a school
bus stopping at the corner on a dusty road.
We now see the full figure of the woman's back as she looks
up with excitement and stops rubbing with the word,
2.
"Cristina." When the man protests her stopping she indicates
they should both run and meet their daughter. He waves her
off. Stunned by his disinterest, she runs from the room.....
3 EXT. DUSTY ROAD - THE BUS 3
As CRISTINA, six years old and adorable, waits patiently to
step down. She sees her mother and grins and waves excitedly,
digging into her little pack to pull out an English book
which she displays with pride. Now she steps down from the
bus and, as she walks TOWARD CAMERA, narration begins. The
voice is of a girl eleven years older than the child we see.
NARRATOR
To Princeton University's Director
of Admissions: In considering me
for a scholarship you have asked
for, and have every reason to
expect, an essay from me about
myself. And, as a clever high
school graduate, I of course
realize the subtext of this essay
about who I am and why I want to
enter Princeton, is actually to
make clear to you why you should
have me. I have gotten tips, from
friends who have preceded me to
college, that being a Latina, with
my grades, list of activities and
relative poverty, I am as good as
in if I simply do the dance and
work in a word like
"bipolarization" every so often.
And while I love dances -- this
dance of self is one I am afraid to
master.
(young girl looks off and
lights up)
I prefer to write about my mother.
4 INT. / EXT. HOUSE - SCHOOL GIRL'S POV - MOM 4
A drop-dead gorgeous Latin woman in her early 20's. As mother
and daughter move inside, a car pulls up with an ominous man
getting out. He nods in another direction calling our
attention to a police car parked off the street. The woman
does not notice - instead shepherding the child to her
father. The woman makes a big fuss over the text books the
child has..this is one supportive mom..again she is
disbelieving that her husband shows no interest, especially
when the child seems briefly hurt. The woman's husband looks
from the window and sees the ominous man coming. The woman
now does everything humanly possible to distract the child so
she does not see what is transpiring.
NARRATOR
For my mother, that afternoon
eleven years ago was a watershed
not because of my father's
(MORE)
3.
NARRATOR (cont'd)
imprisonment but because it was my
first day at school....
5 INT. KITCHEN / HUSBAND'S ROOM - LATE AFTERNOON 5
This room is directly across from the husband's room. The
woman looks up to see her husband open the suitcase to show
the man a huge store of Mont Blanc pens and high-end watches.
The man gives her husband some money..all the time the woman
is chattering to distract the girl. Looking off --the woman
grows wide-eyed as she sees her husband count some money. The
undercover cop begins shouting orders. The woman raises her
voice to cover the argument in the next room which puzzles
her daughter.
NARRATOR
There was never any pretense that
the gorgeous, vital, clever,
temperamental animal that was my
mother ever for a heartbeat
considered having any life of her
own. She ignored all her needs and
was alive only for me. It was
terrific.
(a long beat)
At the time.
ON MOM.
As she watches her daughter chew a cookie. Her daughter
begins to tell about her day, her young mother taking on a
glow we have not yet seen. And all the while she eyes the
action in the next room. Her husband makes a break for the
window. The other man points a gun at the ceiling preparing
to fire a warning shot. The woman moves ever so quickly to a
shelf of her favorite dishes, all the while talking to her
daughter, making much over the kid's new school books. It is
an impressive charade.
FULL SHOT - TAKING IN BOTH ROOMS.
And just as the cop shoots at the ceiling, in perfect timing,
she upsets the dishes, the resulting noise covering the
shot.. The woman asks her daughter what she learned
today..the daughter says she was taught a little English.
Mother is impressed as she watches the cop move her husband
toward the front door where other police await. Her daughter
starts to follow her gaze and she distracts her..brandishing
the Spanish/English book and asking her to say something.
6 INT. / EXT. KITCHEN - ON GIRL. 6
Standing proudly, smoothing her skirt.
CLOSE UP GIRL.
4.
As she clears her throat and says directly into camera.
GIRL
Hi.
The girl and woman are enormously excited over this word even
though, outside, her life's mate is being loaded into the
back of a police car.(Note: Mexican police DO NOT duck the
perpetrator's head WHEN LOADING THEM IN THE BACK SEAT..they
just allow the concussion.) It seems the mother will save her
child the trauma of her father being carted off; but the
police turn on their siren and the girl turns to see her
father as the car pulls away. The child is stricken. A tear
starts to form in her eye. Her mother acts quickly. We are
about to see powerful emotion reversed by sheer force of
will..the mother leans down, gives three quick kisses - power
pecks - to the girl's cheeks and then an admonition in
Spanish.
MOTHER
Una lágrima...sola una sola...Haz
la mejor possible.
NARRATOR
"One tear..only one...so make it a
good one." This was my mother's
instruction to me.
ON CHILD.
Baffled by the edict..
ON MOTHER.
Holding up one finger. That's it..one tear..she means it.
ON CHILD..
As she complies..one great tear forming and falling..Her
mother's thumb wipes it away..But now her eyes well with more
tears..her mother gestures she must have strength and
resolve..and so she does..a toss of her pretty little
head...the eyes clear.
7 INT. MOTHER'S BEDROOM - NIGHT 7
As the mother, lying in bed with her daughter loses her own
fight with tears..managing with difficulty to keep her
convulsive sobs silent since her daughter and she are
intertwined like pretzels.
DISSOLVE TO:
8 INT. GIRL'S ROOM - DAY 8
The girl works on her lesson plan..She is a study in beauty.
Her mother's daughter. Across the small hallway her mother
greets and deals with friends and family in a:
5.
9 SERIES OF SHOTS 9
As the girl works..her dress changing as the days change
while different visitors listen hard to her mother across the
hall.
NARRATOR
My mother dealt with our
considerable problems of survival
by talking..Always she discovered
her own best thoughts by sifting
through her own words.
The mother stops talking in mid-sentence, realizing she has
just solved something and makes a note.
10 INT. MOTHER'S BEDROOM - THE TWO OF THEM IN BED - NIGHT 10
NARRATOR
Each night my mother promised me a
wonderful life.. Each night I
looked for a new expressive way to
tell my mother how much I loved
her.
The child is ardent..clutching at her heart...kissing her
mother.. Holding her mother's face, talking directly into her
eyes. The mother, enormously pleased, is nonetheless thrown
by the extremes of it.
NARRATOR (CONT'D)
I just played and did my lessons
and every time I looked up my
mother was in the process of saving
us.
11 INT. / EXT. MONTAGE - VARIOUS SHOTS 11
Her mother selling keepsakes..counting money..Friends and
relatives bringing food, clothing - toys.
NARRATOR
Desperation in her hands was our
weapon.
ON MOTHER..
We see her totally intimidating a priest.
NARRATOR (CONT'D)
With this weapon she had her
marriage annulled - usually
impossible for the poor - and
somehow convinced an associate of
my father's to transport two
Mexicans North in style.
6.
12 INT. SMALL AIRPLANE - MAGIC HOUR 12
The mother and daughter seating themselves. The mother is
enormously nervous with the prospect of flight. She sits,
the daughter ignores an empty seat and goes on her lap,
mother hugging daughter, daughter hugging the hug.
AMERICAN PILOT
(to girl)
How you doing?
GIRL
(accented English)
Hi. How are you? I am fine..
(she checks her book of
English synonyms)
..happy, merry, joyful, glad,
contented, frisky.
As they taxi.
AMERICAN PILOT
(to mother)
Are you her mother, sister..what?
The mother says, "solo español"---"only Spanish." The
daughter starts to chatter excitedly about the imminent
flight. Her mother quiets her firmly in order to pray for
their safety.. As the plane continues to taxi...We HEAR the
mother's prayer in Spanish. She then nudges her
daughter..who, with this gentlest of prods, repeats the same
prayer.
13 EXT. AERIAL SHOT.. 13
The plane crossing the Rio Grande.
NARRATOR
My mother's prayer for us, which
she made me repeat exactly,
represented a stunning look into
our future. "Please God, let only
the bad things change."
14 INT. SMALL PLANE - CLOSE ON THE TWO FEMALES.. 14
Use this image if ever you want to strike a coin depicting
the moment of no return. The child aglow with happy
anticipation..the adult brave and enormously anxious.
OTHER ANGLE.
The pilot taken with the mother's looks.
AMERICAN PILOT
How can I reach you? Address?
Telephone? Por favor. Por favor.
7.
He glances over..this is not lechery, it is art
appreciation..an errant but decent man awed by the creature
he is drawn to..
NARRATOR
My mother had redefined her own
passions. Blaming herself for the
father she gave me, she would never
again be lured by a man's rough
edges..She had decided that
goodness would be her catnip.
ON MOTHER..
As she feels him looking at her and turns. With some
affection and regret, she shakes her head, "no."
THE PILOT.
As he mouths the word "ouch."
15 EXT. FIELD - NIGHT... 15
Plane landing on a dirt and grass strip...
16 EXT. FIELD - LATER - NIGHT - ON MOTHER AND DAUGHTER.. 16
Standing on the tarmac..Latin flavored music suddenly gives
way to a Texas country harmonica riff..The child tries to
comfort her apprehensive mother with the one wondrous fact
she finds so thrilling.
GIRL
(exulting)
Texas...
The mother hurries her along in the direction of distant
lights.
GIRL (CONT'D)
(more emphatically)
Texas.
17 EXT. ELEVATED HIGH SHOT...HIGHWAY 17
The two of them waiting, small figures.
GIRL
Mamá, Texas..
She raises her fingers like pistols. Shoots, blows in them
and reholsters them.
18 EXT. HIGHWAY - DUSK 18
Bus traveling the highway. The child looks out sadly.
8.
GIRL
Adios, Texas.
TRANSITION TO:
19 EXT. NORTH VALLEY STREET - EARLY EVENING 19
As they disembark...the mother studying a slip of
paper...fearing she has made the mistake of a lifetime. The
child fascinated by all.
NARRATOR
At the time, I was oblivious to my
mother's anguish. She loved and
lived to talk. Now, as if by a
witch's spell, words were no longer
her bridge but her barrier. In a
very real sense she feared she had
left herself behind.
ON THE TWO FEMALES.
The mother sees something. Joy returns.
HER POV.
A street full of stores with SIGNS IN SPANISH..She begins
walking the street asking passers-by for directions in
Spanish and is answered..her step lightens..she beams with
relief. So far so very, very good.
20 EXT. APT. COMPLEX - DAY - FIVE MONTHS LATER.. 20
An iron gate in front..small courtyard ringed by a second
floor horseshoe of apartments.
NARRATOR
We moved into a place managed by my
mother's aunt. My mother worked two
jobs in two local stores paying a
total of 450 dollars a week...
21 INT. APT. - DAY 21
As the mother enters.
NARRATOR
..just ever so barely enough.
22 INT. APT. - KITCHEN - CLOSER SHOT.. 22
Cristina taking a newspaper from her book bag and seriously
pondering - then circling grocery coupons.
ANGLE ON KITCHEN AREA.
9.
Cristina taking a snack from the refrigerator..smiling at the
note her mother left...lighting a burner and melting cheese
on a tortilla.
NARRATOR (CONT'D)
But we were fine. We had it down.
If only I could have stayed six.
The CAMERA MOVES QUICKLY from the child to:
23 EXT. APT. COMPLEX - ELEVATED SHOT - SIX YEARS LATER. 23
The courtyard is lit with colored lights and candles..a
wedding reception is in progress -
EXTREME CLOSE UP - THE BRIDE.
Gorgeous round and full cheeks stretched into a deep,
explosive smile.
BACK TO SCENE... music plays and we focus on Cristina, now
nearing 12 years of age..dancing with her mother and some
other smaller children.. The mother eyes the muscular back of
a Great Looking Man...who turns, and quickly oozes quality
sex appeal. She is turned on..They talk in Spanish...him
saying something hushed like, "I have been afraid to talk to
you. I need oxygen when I look at you." She indicates the six
children she is dancing with and offers to include him in
some ring around the rosey dance...He indicates the magic of
just the two of them...She quickly leads her little flock
away..
OTHER ANGLE..
A reed-thin FOURTEEN YEAR OLD BOY is staring at them...at
first the mother thinks this is adorable...the child eyeing
her as if he were a man..she indicates he should join the
rest of the children for a dance..
MOVING WITH THE BOY..
As he steps forward and it becomes clear it is Cristina he is
interested in... Before the mom can do anything about it, he
asks Cristina to dance and she readily accepts.
ON CRISTINA..
Satellite virginities falling with alarming speed..the first
time held by a male, the first time held close, the first
sexy (albeit touchingly awkward) gaze from half-closed male
eyes which utterly confuses Cristina. He begins to grind his
hips into his dancing partner.
ON HER MOTHER.
Not confused. It is exactly as if she sees her daughter about
to be run down by a car..only this time the thing to do is
scare the car.
10.
She runs toward the boy -- he sees the force of nature coming
his way and makes a break but she gets him and actually lifts
him and throws him to the sidelines. Then pats him on the
head maternally and goes back to Cristina.
CRISTINA.
Somewhat proud of her mom as the boy leaves the scene.
NARRATOR
That quickly it was clear she could
no longer work two jobs and leave
me to my own at night. The
following morning she did something
about it. A boy I never saw again
had changed our lives.
24 INT. BUS - DAY 24
The mother and her aunt, MONICA, take their seats..the bus is
filled with domestics..the mother, nervous, looks over to see
and greet... THE BRIDE from last night's wedding.
25 INT. BUS - DAY - 90 MINUTES LATER. 25
BRIDE
(to mom)
Este es Stone Canyon.
26 EXT. STONE CANYON - DAY 26
MUSIC CHANGE..as they disembark and start walking, joining
the busload of domestics into the canyon and up the
hill....they walk past a perfect country club fairway. Grand
trees from either side meet each other high over the road.
ON OUR GAL..AS THEY WALK
She sees the stuff...the dream that makes you migrate. She is
not awed..she is jazzed. To her aunt she does the Latin
version of OH.....MY...GOD!!!!!!!!...At regular intervals in
the background, one black SUV after another has a mother
taking kids home from school.
27 EXT. ATTRACTIVE HOME SECURITY GATE - DAY 27
Monica presses the security intercom. The gate swings open.
28 EXT. HOUSE - DAY. 28
In the foreground an expanse of turned up dirt...and huge
rolls of sod ready to be laid down. A catering truck stands
in the driveway.
29 INT. / EXT. HOUSE - GREAT KITCHEN / POOL - DAY 29
They enter..lots of glass French doors STAND OPEN to lawn,
pool and pool house. They look off.
11.
THEIR POV.
DEBORAH NORWICH CLASKY, a cool beauty in her mid 30's, sits
dominating this three generation portrait of the Good Life.
She is wearing a straw hat and killer Hawaiian shirt..She is
a perfect dresser; meaning her clothes seem to say she
doesn't care, while every article is a true and gifted find.
She is drinking from a tumbler which is also of the "don't
hold your breath while you try to find something as terrific"
variety. She is flanked by her mother, EVELYN, 60, who is
drinking from a stemmed glass with two olives and her 14 year
old overweight daughter, BERNICE..who is reading, her
grandmother idly holding her hand..In the immediate area more
rolls of sod wait to be laid.
THE TWO LATINAS.
As they stand inside the kitchen not sure what to do next.
Then Deborah gestures that they should join her at the
pool..as they start out..
THEIR EXIT.
Boink..three stooges retro..those French doors were not open
after all. Monica hits first. The women at the pool react.
Deborah and Bernice running. Evelyn momentarily attempts to
join the rush.. she half rises and then thinks better of
it..too late in the day for sudden movements.
KITCHEN DOORWAY.
BERNICE
Gee whiz in heaven...How are you?
Please?
DEBORAH
(a bit hyper)
Don't worry..I'm not mad...I was
looking for decoration to put on
the glass so people would stop
walking into it and instead of
taking what they had in stock,
which was awful, I special ordered.
I'll design something myself which
I should have done in the fi...
Our heroine, seeing the blood flow from her aunt's nose,
gestures that Monica needs help not conversation.
DEBORAH (CONT'D)
..and what difference does that
make when your nose is bleeding.
Shut up, Deborah.
BERNICE
Now you got it, Mom.
12.
Deborah grabs at paper towels, gets an ice pack from the
freezer and then grabs some cash from a bowl in the
kitchen..She has, moment to moment, the enormous desire to
feel loved that only the seriously hard to love can
experience.
DEBORAH
Here, take these.
(second thought)
Was that strange to give you
money..I just felt badly that..
MONICA
It's okay.
She pockets the cash.
30 EXT. HOUSE - BACKYARD - DAY 30
Moments later. As the group arrives at the outdoor table.
Evelyn makes half-hearted incomplete gestures of shaking
hands, nodding, indicating a seat...each simple act a test
which she fails -- every gesture a bit too late and then
some..simply too much for her to manage with the drinks under
her belt. In the background workers roll out sod, the yard
becoming more beautiful even as we look.
MONICA
She is my niece. She and her
daughter live in the apartment I
manage. Yolanda, who worked for
you, lived there before she went
back home. That's how I heard about
the job.
DEBORAH
So who am I interviewing?
MONICA
Her.
DEBORAH
(forcefully)
You're gorgeous.
On our gal..as she, not understanding the word, smiles and
nods.
MONICA
(translating sotto)
Vistosos.
Our gal thrown. Not knowing how now to react.
EVELYN
She doesn't mean it as a
compliment. It's more of an
accusation.
13.
DEBORAH
This is my daughter Bernice and
this is my mother, Evelyn Norwich..
BERNICE
(rising)
Excuse me...Glad you're okay.
(then to other Latina)
Good luck.
Our gal smiles back in appreciation.
DEBORAH
No, stay..this involves you.
BERNICE
I wouldn't want some kid around for
my interview. You understand, Mom.
EVELYN
(to Bernice)
Strength of character..empathy..big
heart..taste for futility - God I
love you.
She eyes with disapproval her mother's empty glass.
DEBORAH
MOTHER!
(then to Bernice)
Stop. It's just a conversation -
not an interview. Please sit.
(to visitors)
Don't you want to get out of the
sun?
She indicates a shaded seat. Deborah is protected by hat,
umbrella, sun glasses while her guest sits bareheaded
enjoying the rays and indicates she is fine. Underneath
Deborah's surface is a Russian roulette of deeply felt
emotions..at this moment she is earnest and vulnerable.
DEBORAH (TO OUR GAL) (CONT'D)
You guys want some lemonade?
(they demur)
Let's just talk. I have two
children. My husband works
nights..he's a chef and has his own
place.
MONICA
Do you work?
DEBORAH
I helped run a commercial design
company until ten months ago when
14.
DEBORAH (CONT'D)
it was downsized to zip. Okay. I
have two children. I like the house
to be like me in that I'm very
loose and meticulous at the same
time. It's all about first names
and closeness here but I care about
the place, you know. It's what they
used to call homemaker..
The two visitors exchange a wide-eyed look. Which Deborah
sees and understands.
DEBORAH (CONT'D)
(to Monica)
I'm not leaving time for you to
translate.
Monica says, in Spanish, "this woman is very strange. The
only thing I understand is she has two kids." Deborah leans
into Monica. Face to face, tender but unblinking..
DEBORAH (CONT'D)
Too bad for you that it just never
occurred to you to check on how
much Spanish I know.
MONICA
(a solid beat of
humiliation then)
I'm sorry what I say about
you...don't hold it against her.
BERNICE
Mom!!
DEBORAH
I don't speak any Spanish. But I'm
not an idiot - I talk for an hour
and you say two words. What did you
say?
Monica squirms - unusual for her.
DEBORAH (CONT'D)
Never mind. You got your nose
bopped. I got my feelings hurt.
Onward.
As Monica paraphrases what has happened, her translation is
DIALED DOWN for the:
NARRATOR
(as Deborah continues
talking)
I will major in linguistics and
make sociology my sub-
concentration. Because it has been
my experience that the barriers of
(MORE)
15.
NARRATOR (cont'd)
language are more than we dare
admit. That, as much as we
translate, finally we will never
understand each other. My mother's
name, for example, beautiful in
Spanish, becomes leaden and awful
when pronounced by a non-Latin.
DEBORAH (IN THE CLEAR)
What's your name? Llamo? One of my
five Spanish words..
OUR GAL
Flor Moreno.
She pronounces Flor in the Latin way...lots of RRRR's with a
curling of the tongue sound at the end.
DEBORAH
Flor.
She pronounces it flat like the "floor" we walk
on...throughout the following each of the women sticks to
their pronunciation as indicated by the extra "r's.
FLOR
(correcting)
Florrrrr.
DEBORAH
Flor.
FLOR
(correcting)
Florrrrr.
DEBORAH
Flor.
FLOR
(correcting)
Florrrrr.
DEBORAH
Flor.
FLOR
(trying)
Florrrrr.
DEBORAH
Flor..what I walk on?
MONICA AND EVELYN
Florrrrr.
16.
FLOR
Florrrrr.
BERNICE
It means flower, right?
MONICA
Yes. Flower. Florrrrr.
EVELYN
Florrrrr.
FLOR
Florrrrr.
Deborah is beginning to feel criticized...she takes a
beat..eyes everyone with some hostility.
DEBORAH
(directly to Flor)
Is there some school of the ear I'm
flunking out of right now?
Flor says to Monica, in Spanish, a tip to pronounce her name.
Monica warns Flor to leave it rest..since Deborah is becoming
clearly and strangely pissed..
DEBORAH (CONT'D)
What did she say?
CLOSE ON FLOR...
She feels the tension but, so far in her life, her own
irrepressible personality has served her - so she moves
forward with surprising and quiet confidence and assurance.
She tells her aunt to repeat her words so that now, for the
first time, she is, through Monica, talking directly to
Deborah.
MONICA
(translating)
She says..If you curl your tongue
and let it be loose you will have
it..that it's hard for Americans..
She says it's great that you try so
hard. Many people wouldn't bother.
DEBORAH
(an emotional
pronouncement/her
greatest accolade)
She gets me....
She smiles at Flor, who returns the smile.
17.
DEBORAH (CONT'D)
You want some lemonade? Take some
lemonade.
She pours some for Flor and Monica. Then she closes her eyes
and pauses in utter dedication to a final effort:
DEBORAH (CONT'D)
Florrrrr.
It is perfect..Flor grins at Deborah's victory...claps her
hands together.
FLOR
(a Spanish word)
Sublime.
Deborah feels relief..free for a moment from the dark
corridors of self-criticism..She is lighter, prettier,
innocent..Wholly and completely attractive.
DEBORAH
Whew, dense but stubborn, right?
Thanks.
(an important declaration)
What you just did with me is just
what kids need..patience and
encouragement. Alright, money...
Bernice rises like a shot to take off..
BERNICE
Goodbye, really..
(to Flor)
Look forward to seeing you.
As she leaves.
DEBORAH
(absently to Bernie)
Love you...
(then with not a
monoseconds break)
... the job is six days a week,
seven to seven..the kids and all
housekeeping, how much a week would
you like?
Monica translates..Flor, embarrassed a bit by the directness,
ducks the question..saying in Spanish -- "whatever you say.."
DEBORAH (CONT'D)
No.. This is an important
question..if you ask for too little
it means you don't value
18.
yourself..too much and you're
taking advantage.
(after Monica translates)
So?
Flor is dumbstruck by the challenge of this pop quiz but not
without some native wit and style to maneuver around it.
FLOR
(extremely heavy accent)
One thousand dollars.
Deborah falls for it until Flor laughs..others join...Deborah
now a big smile, snort of a laugh, putting her hand to her
face and shaking her head.
OTHER ANGLE..
As Monica uses Deborah's reaction time to, in mid-laugh,
flash four fingers to Flor..
ON EVELYN.
Catching the gesture and secretly indicating to Monica they
should go for six.
MONICA
(firmly)
Six hundred dollars.
Flor shoots her a look of fear...a tense beat.
DEBORAH
Welcome to the family..
Deborah kisses her..sort of on the mouth. In the midst of
Flor's delight she is thrown by Deborah's kiss...it is the
first of many borders to be violated.
31 EXT. CLASKY HOUSE - DAY. 31
As Flor and Monica exit and can finally show their full joy.
DISSOLVE TO:
32 EXT. STONE CANYON - EVENING. 32
JOHN CLASKY driving a smallish SUV. He is an upbeat,
talented, successful man with an ego as balanced as a high-
end watch; who loves his wife, kids and job. In other words,
watch out, John.
33 EXT. CLASKY HOUSE - EVENING. 33
As John pulls into the driveway next to a catering truck and
exits his SUV carrying a large wrapped tray..
19.
34 INT. CLASKY HOUSE - EVENING. 34
As John moves quickly through the downstairs, he puts the
tray on a counter where food servers are working.
JOHN
I brought some dessert.
As he moves on, we see in the background the workers unwrap
and react to a fantastic concoction. A caterer (who we may
notice looks at him like royalty) falls in beside him and
whispers to him.
CATERER
She came down to check on the party
and realized the gardeners hadn't
finished rolling the sod.
35 INT. / EXT. CLASKY HOUSE - BACKYARD - NIGHT 35
JOHN'S POV - DEBORAH AND TWO FEMALE CATERERS.
Deborah is wearing a party dress. They are rolling out the
last huge cylinder of sod, completing the now beautifully
manicured backyard. It is hard manual labor involving
physical strength. The female caterers are complaining that
it's too heavy but Deborah is undeterred.
DEBORAH
(to catering women)
We can do it. Come on.
She falls over the roll..getting filthy..but it gives and
they gain momentum...one of the catering women falling down,
one losing pace.. Deborah,however, gains the upper hand. Yet,
even while succeeding, she remonstrates herself.
DEBORAH (CONT'D)
(great exertion)
Why... do... I... care.. so..
much.. about.... CRAP?
And now she wins.. the cylinder of grass rolls all the way
out and she jumps on the seam in victory. She is dirty,
spent and triumphant..the components for a solid sexual
experience..and, in truth, as the exhausted caterers half-
heartedly applaud the bizarre victory, she has gotten off.
She looks with mother's pride at the lawn. Then sees John.
DEBORAH (CONT'D)
Can you believe they left without
finishing?
As she looks at her handiwork - John looks at her..A
grin..half laugh.. He loves the dame.
20.
DEBORAH (BREATHLESS) (CONT'D)
Looks great, huh?.... You're not
looking.
JOHN
I was getting a kick looking at you
look at it.
Not the answer she wanted..
DEBORAH
I better get dressed again in case
anybody's just a half hour late.
She hits a switch at the door and the backyard area is now
fully illuminated -- set up for a dinner party for 20 or
so....all details thought about and done to a "T". This is
the outdoor lighting nobody nails..the twinkling of a half
acre..the path to the pool like a runway to heaven. As she
looks at it all she has a wistful moment.
DEBORAH (CONT'D)
(a replenishing sigh)
Okay..We're okay here.
(then)
Why can't everything be like sod?
There's no wait, no dung, nothing
you have to do right and yet it's
perfect. It covers up all your
dirt and makes things immediately
pretty..then, the miracle, if you
just give it time, it roots and you
can't tell it from the real thing.
(a look to her husband)
No reaction. Nothing to say.
JOHN
Huh? Oh sure..I, uh..Well, no, I
don't have anything particular to
say.
DEBORAH
Oh, John why don't you just take
out a knife and kill me all
together.
Somewhat crushed, she prepares to exit.
JOHN
How'd you get there..Hey, wait a
minute..Deb..stop..come on.
(she turns)
I'd like to figure this one out.
What would have been the great
thing for me to say after you said
the sod sentence?..Really.
21.
DEBORAH
That's actually a good question.
JOHN
There you go. I surprise sometimes.
DEBORAH
I would have liked, if after I
compared the sod to life, if you
had said, "Exactly!"
She turns to leave.
JOHN
Yeah. But to say that and mean it
I'd have to think the same way you
do.
DEBORAH
(some sense of mischief)
It's worth a try...I had something
else to tell you...it'll come to
me..
36 INT. OLIVE GARDEN TYPE RESTAURANT - NIGHT 36
Standing in a nicely decorated middle class restaurant,
Cristina, totally bilingual, speaks to the American hostess
with a pronounced and charming accent as her mother, standing
beside her, bounces with energy and joy.
CRISTINA
Could we have a table for two,
please?
Flor says something to her in Spanish..the daughter waves it
off and when the mother persists, she translates.
CRISTINA (CONT'D)
We're celebrating.
HOSTESS
Smoking or non-smoking?
Before her daughter can translate.
FLOR
Dancing!
The hostess laughs..They are seated at the two ends of a
banquette and each automatically picks up her place setting
and "scootches" closely together. Cristina picks up a menu
and points to the prices.
CRISTINA
Wow, expensive..
22.
Flor scoffs -- says she's making six hundred dollars a
week..then looks at the prices and does a take. The hostess
returns --- Cristina points to the menu.
CRISTINA (CONT'D)
This is just for the starter?
Flor, encouraging her daughter's spirit of adventure, places
her hand over the prices in the menu.
HOSTESS
Uh-huh..And those men would like to
buy you a drink.
The daughter translates...the hostess points out the early
30's, well dressed, quite nice looking businessmen. Flor
addresses the men who are several tables away. Cristina
moves uncomfortably but responds to her mother's nudge to
translate.
CRISTINA
(to men)
This is very embarrassing but--
"what's wrong with you? I'm with
my daughter for God's sake!"
Then hostess, Flor and finally Cristina laugh. Cristina
relishes getting back to ordering from the menu...in a moment
that is a bit noteworthy..
CRISTINA (CONT'D)
And I would like to begin with the
Jumbo Shrimp.
37 EXT. STONE CANYON - DAY - 6:30 A.M. 37
Flor smiling..enjoying the canyon..as she walks the mile plus
from the bus stop to work..one of a straggly line of
domestics. Deborah jogs into view.
DEBORAH
Hi, Flor..See you up there.
Deborah runs past..She is clearly upset..She is also more
than a stay-in-shape jogger. She is an athletic woman fueled
by an ever flickering pilot light of anxiety. This makes her
seriously quick. She is highly aware of passing
everybody..She needs to pass everybody..Her voice trails
behind her as she announces to all as she approaches.."left,
please," "left," "left."
38 INT. CLASKY HOUSE - UPSTAIRS - DAY 38
John enters his son's room..GEORGIE, age 9.
23.
JOHN
Okay...think SERIOUSLY about
getting up. You don't have to get
up yet but are you thinking
seriously about it?
GEORGIE
Yes.
JOHN
Okay.
39 INT. CLASKY HOUSE - KITCHEN - DAY. 39
Bernice is making French Toast, doing something novel with
the filling and the last cooking process. Some great idea
which will have us making a mental note to try it at home.
40 INT. CLASKY HOUSE - UPSTAIRS DAY - DAY 40
John opens Georgie's door again.
GEORGIE
Now?
JOHN
Yes..actual up..
Georgie gets up..
GEORGIE
Morning, Dad.
JOHN
Yeah, good morning.
GEORGIE
You as mad at me as Mom 'cause of
what happened?
John pauses..aware his answer will have repercussions but
integrity wins.
JOHN
No, Georgie, I'm not.
GEORGIE
Are you mad at me?
JOHN
Uh...okay, no..
41 INT. CLASKY HOUSE - KITCHEN DOORWAY - DAY 41
As Flor enters from outside.
BERNICE
Morning, good to see you.
24.
FLOR
Morning. Good too.
She notices the French Toast.
BERNICE
Try some.
She demurs. Bernice holds out one slice on a spatula,
indicating Flor should just tear a piece off which she
does...One taste and she marvels -- her mouth dropping open
at this kid's ability to make something mundane
special..Bernice laughs.
BERNICE (CONT'D)
Thanks.
Her mother enters on her way upstairs. She is thoughtful,
tense and sweaty - her run having failed to exorcise her
current demon. She greets Flor and then shakes her head,
making a vain attempt to communicate her troubled mood to
Flor in some sort of sisterhood based on life being a fucker.
DEBORAH
Tough day.
Bernice prepares a plate for her mom while, in the b.g., a
GOLDEN RETRIEVER named CHUM approaches Flor from behind with
a ball in its mouth. Flor is checking out the kitchen...
what's in each drawer, etc .....Deborah is impressed by the
self-starter display and indicates same to Bernice.
BERNICE
I had an idea for a breakthrough in
French toast so I made breakfast. I
don't want to be teased about it..
No sarcasm. No tough love. Just try
it and if by any chance you have a
positive reaction...
DEBORAH
Right..mean ol' me. I can't play
right now. I have to do something
about your brother.
BERNICE
I had an idea for a recipe. When
has that happened? I got up early
to do this. At least taste it, for
God's sakes!
She does..
DEBORAH
Oh, it's good...oh God, it's rich --
Oh God, it's good.
25.
DEBORAH
(sudden alarm)
By the way, you could do without
this.
The approval rug pulled out from under her, Bernice looks at
her mother. But Deborah is unaware of having hurt her
daughter because her attention has been diverted so that
Deborah AND THE CAMERA LOSE FOCUS ON BERNICE as the teenager,
distraught, moves from the room.
DEBORAH (TO FLOR) (CONT'D)
NO..NO! FLOR!....Never do fetch.
Chum is nudging Flor with the ball and Flor was about to
accommodate him by taking it before Deborah's warning shout
stopped her in mid-sentence.
DEBORAH (CONT'D)
I mean it, NEVER!
ON Flor's stunned reaction to the outburst.
DEBORAH (CONT'D)
I'm not mad. I'm thinking of you.
This is me being nice..
Then using her hands to demonstrate.
DEBORAH (CONT'D)
Just no taking ball from dog.
(broadly)
Trust me on that one.
CLOSE UP ON Chum going nuts with Deborah's hand passing in
front of his face ignoring how urgently he offers the ball.
DEBORAH (CONT'D)
You and me. We are fine. Just a
tip.
(she gives her waist a
little squeeze)
Girlfriends.
(Flor is totally confused)
Could you make some coffee? Cafe?
FLOR
Yes.
Deborah directs her to the most complicated cappuccino
machine Italian overpriced artists ever devised.
42 INT. CLASKY HOUSE - UPSTAIRS - MASTER BATHROOM - DAY 42
Deb in the shower...you have never seen so many shampoos,
conditioners and bath balms...never seen so huge a
sponge..such fluffy towels.
26.
Skylight over the shower allows a beam of God's warmth. There
is a fireplace in the bathroom. The only significance of
this being that these people have a fireplace in their
bathroom. The woman who made it all happen is putting in a
contact lens..She is upset. We see that she has one blue eye
and one brown.
JOHN
This isn't an argument, honey.
DEBORAH
Yes. Yes it is. So stop being so
maniacally calm.
JOHN
(emphatically)
No..it's not. Because I understand
your side.
DEBORAH
I can't be wrong about that too.
This is a fight. We're having a
fight. Yo, I feel anger.
Deborah turns from the sink revealing one brown eye and one
blue. She blinks, realizes one lens is not in and turns back
to the sink.
DEBORAH (CONT'D)
Can I have a moment?
John exits into the..
43 INT. CLASKY HOUSE - MASTER BEDROOM - DAY 43
As John awaits his wife...a beat and she enters with two blue
eyes. Even though she is attempting reason and self-control
her voice is filled with tension and goes from loud to
borderline yelling.
DEBORAH
Okay..Let's get someplace here.
44 INT. CLASKY HOUSE - KITCHEN - DAY 44
As Flor works methodically - orienting herself..she is able
to hear their totally foreign words and though their volume
registers on her a bit - basically she remains blithe.
Loading a dishwasher, memorizing where everything is..
45 INT. CLASKY HOUSE - MASTER BEDROOM - DAY 45
BACK TO SCENE:
DEBORAH
You, mister, are crazy making..I
can't take this calm thing you've
27.
DEBORAH
started doing. It's like this is
your way of letting me know there's
something deeply wrong with me
because I'm not calm.
JOHN
(calmly)
Let's not go all over the
place..Can't we...
DEBORAH
(shouted burst)
If you're going to talk to me
please have the decency to raise
your voice.
JOHN
(a beat then sudden
urgency and change of
tone)
Let's make a break for it.
DEBORAH
What are you talking about?
He signals her with his eyes and head and then takes a large
but tentative step away from the spot where he was
standing...then additional faster steps. He gestures with
enormous energy for her to follow him to his new spot in the
room. She eyes him suspiciously.
JOHN
Just for a second.
She walks to him...he puts an arm around her shoulder. And
gestures back to where they were standing. He talks in an
almost hushed, conspiratorial voice.
JOHN (CONT'D)
We don't have to be those people.
Nobody's watching. They've been
masquerading as us for a while
here..I'll distract them - you make
a break for it and I'll meet you
outside.
DEBORAH
You're ridiculing me because I care
about this.
JOHN
(firmly)
No. I'm not. I mean this..let's get
away from those two in case they're
as miserable as they look..
28.
JOHN
(urging..like a Southern
coach)
Come on, baby.
He is looking at her with wit and conviction..trying to
squirt lighter fluid at the flame of their love. Deborah
looks up at him..intimacy of a different sort.
DEBORAH
Let me ask you a question..let me
change the subject..Forget for a
moment that you won't support me
with Georgie..
JOHN
(reasonably)
Well, I don't think...
She makes a noise of frustration to stop him..It works. John
is rendered still and intimidated by her conduct but he is
"man" enough for his jaw to set...to pause for a beat as he
looks her straight in the eye..And walks back to the spot
they occupied previously.
JOHN (CONT'D)
Go ahead.
DEBORAH
Here's the question. It's been on
my mind more and more. Do you do
that calm thing for the purpose of
infuriating me?
JOHN
(genuinely puzzled)
What? Why would ...
(on her exasperated look)
Why would anyone do something to
someone they love for the purpose
of messing them up?
DEBORAH
(unconvinced/distant)
Okay.
He hates that look of isolation on her face..He needs to make
her feel better.
JOHN
Deb, since high school we've been
able to read each other...take
advantage of it..The answer to the
question is,"absolutely not." Now
take a look and tell me if you
believe me.
29.
She looks at him..with a finger motion he directs her gaze to
his eyes..
CLOSE on JOHN'S EYES.
Open, smiling, trusting. Trying to get a laugh out of her.
CLOSE ON DEBORAH'S EYES.
Studying, questioning, probing, doubting, exhausted...
DEBORAH
I don't.. believe you. I think you
just want me to feel badly about
myself..Sorry, honey.
46 INT. CLASKY HOUSE - KITCHEN - DAY 46
John enters - not seeing Flor - goes to the Sparkletts water
container and fills a cup...He is shaken..
JOHN
(to himself)
Great God in heaven save me.
Boy meets girl.
FLOR
Hi.
He turns with a start to see Flor smiling at him. Gorgeous
squared. His first word is inadvertent.
JOHN
Whoa...whoa...I didn't know Deborah
had found someone... You work here?
You're going to help with the house
and kids?
FLOR
Solo español.
JOHN
You work here and you don't speak
any English at all?
The sound of feet on the stairs..Deborah and Georgie enter.
DEBORAH
All she has to do is dial 9-1-1 and
press two for Spanish.
(even before she enters)
Flor...John.
(to John enunciating the
name)
This is Flor.
30.
JOHN
(pronouncing it perfectly)
Hi, Flor.
Deborah reacts, grabs some coffee and pushes Georgie along.
JOHN (CONT'D)
(to Deborah)
Look, I'll take Georgie to school.
DEBORAH
No. I'm doing it..show Flor the
ropes.
Flor is trying to figure out what's expected of her then
Deborah gestures impatiently for her to fall into step and
come with her.
47 EXT. CLASKY HOUSE - DRIVEWAY - DAY 47
The biggest, baddest, BLACKEST SUV..there is some subtle
custom work so the vehicle impacts us in ways we cannot quite
fathom. Deborah is wiping away a tear as she gets in and
shares a woman to woman moment with Flor.
DEBORAH
Fuckin' hombres, huh?
She sniffles. Flor nods uncertainly. A small voice from the
back seat..Georgie..
GEORGIE
I just didn't want to sing last
night.
DEBORAH'S VOICE
(hurt)
Yeah. Well you said you would..You
said you wanted to. I asked you
five times. Then when I have the
whole party paying attention you
refused.
As she puts the car in gear...Georgie sings insanely well.
But he's just two lines into an old blues standard:
DEBORAH
It doesn't do any good now,
Georgie.
She presses a button on her dash and a glass partition comes
up between front and back seat thereby cutting him off in mid-
song. Flor is utterly baffled by the notion of putting a
divider between parent and child. But Deborah is calling for
her to pay attention to the car's navigation screen.. a
Spanish voice says, "route guidance system starting."
31.
DEBORAH (CONT'D)
I've programmed it for Spanish..
Look, it will take you anywhere and
then back home. If you figured out
how to make coffee on that thing
it's all downhill.
The MALE SPANISH VOICE talks about imminent left turns. Flor
is thrown by the amount of oddness..All the while Georgie is
singing his little heart out in the back seat. Flor,amused by
the boy, suppresses a smile...maybe the first time in her
life she's had to suppress joy. But Deborah never misses
anything.
DEBORAH (TO FLOR) (CONT'D)
This is stop gap..You, kiddo,
you're going to have to learn
English.
48 INT. RESTAURANT KITCHEN - LATE AFTERNOON 48
John cooking...the theory that nobody's sexier than when they
are seen doing what they do best applies here.. In the
BACKGROUND John's number two, PETER, the Sous Chef, being
bossy and anal as he organizes his cooking and GWEN, who
spends most nights trying not to show her enormous affection
for John. At the moment, John's work is a strange mixture of
art and cloddishness.....the hands blur with expertise...but
he keeps dropping items.....each time a Latin kitchen worker,
ALEX, 20, dives on the spillage..At one point they bump.
JOHN
Sorry...
PETER
(sharply to Alex)
Not the best place to stand, fella.
JOHN
(to Alex)
No. It's me. You're the new
helper, huh..
ALEX
I didn't mean to...
JOHN
No..no..it's okay. It's me being
bugged.
Two people head for John almost simultaneously. PEG, an arty
looking woman in her late 50's..wild, scraggly gray hair,
enters lugging an ice chest and the maitre d'.
PEG
You are going to be so happy..
The Maitre D' enters.
32.
MAITRE D'
I have something very important to
tell you.
John makes a no-brainer of a decision pointing to the woman
who promised happiness. She hefts her ice chest up on the
counter.
PEG
Perfect cod this is John -- John,
perfect cod..Best one I've seen all
season and he was swimming twenty
minutes ago.
The fish is that special, a sentence that kicks out for a
writer, the right brush stroke for an artist. You get it..
JOHN
Knockout.
(to Alex)
You want to learn something? You
want to pack it away?
The kid nods.. he picks up the fish.
JOHN (CONT'D)
Cradle it...Put it in the cooler
but not on its side.. In the same
position it swims.
(important added thought)
And check the ice pack..make sure
it can drain away..if it can't the
chlorine can hurt the flesh. Do all
that and nobody can put a fish in
the fridge better than you...and
that's a solid start.. First day
and you already did something
perfect.
KID
(smiling)
Yes, I understand.
MAITRE D'
Please. Now?
JOHN
Oh, sorry..I forgot.
He whispers in John's ear..
JOHN (CONT'D)
Damn.. "ohhhh damn."
PETER
What, buddy, what?
33.
JOHN
Victor spotted a food critic..
PETER
From?
VICTOR
The New York Times..I'll bet they
sent her out just for us.
(hands John a slip)
Here's what she ordered.
PETER
Look, if you're nervous take a
walk..
JOHN
I don't need a walk.
GWEN
I'll walk with you..I know a
breathing thing.
JOHN
What do you think I'm worried
about... how I'll cook? That's not
the problem..
(looks at slip/then to
Alex)
The lady wants fish. Get the fish.
He starts to prepare for cooking.
JOHN (CONT'D)
I worked in a kitchen once in New
York that got four stars. It was
like a line formed for the chance
to become an asshole. People's
accents changed. The heart went out
of the place. You understand.
PETER
No.
GWEN
(w/barely understated
passion)
I agree with everything you've
said. I admire you for your
feelings. I hope to adopt them as
my own....
ON JOHN.
As he works..Let's be clear here...this is that sequence that
either kicks out or doesn't..no food channel..no simple knife
stuff..something casually brilliant..meticulous...smart and
gifted as he prepares the critic's meal.
34.
He is talking quickly..almost to himself.
JOHN
I don't know what to root for.. the
thought of one star makes me
nauseous..but with four there's no
place to go but, "Oh my God, they
took away a star."
(musing)
Three..three and a half. That's
what you want..No. Wrong! Three and
a half you feel disappointed that
you just missed out on four. You
know what you want? Three and a
quarter..
(a eureka moment)
That would be perfect!!
(getting off on it)
It would mean you're good..but
you're not good enough to feel
disappointed that you just missed
out on excellent..but nothing truly
bad happened, you still got your
three and a quarter stars. Which
encourages you to try and
improve..And you still get enough
respect so that you can get good
people to work with you..Business
is good but not crazy. You're right
there underneath the radar where
you get to mind your own business.
That's a solid life.
He tastes a sliver of the food dish he is preparing.
JOHN (CONT'D)
(with professional honesty
and some regret)
Aw, man..this is amazing. No three
and a quarter here.
49 INT. CLASKY KITCHEN - DAY. 49
Evelyn, having a glass of white wine and a sandwich, is
talking to Bernice in the kitchen also including Flor though
she is only catching a word here or there..
EVELYN
Well, I'm in the vitamin section
and this little hip hop
girl..what's her name..Grammys -
adorable -- big voice..subtle
phrasing...oh, she's famous..the
kids know her...oh - little blue
shoes..darn me.
Flor looks concerned over Evelyn's displeasure with herself,
a fact picked up by the older woman...It is actually a small
35.
but resonant good-natured, affectionate moment between the
lush and the Latina.
EVELYN (CONT'D)
God Bless the language barrier, it
keeps you from being bored with me.
Spoken to directly like this, Flor is confused..
EVELYN (CONT'D)
Anyway, she said, "aren't you
Evelyn Wright?" First of all, that
she recognized me from the old
covers and then she .... Oh, please
her name..it makes the story so
much better...She said,
(genuinely stirred)
"Whenever I think everything is.."
(aside)
Pardon my French..pardon her French
(back to quote)
"a mother hmmmhmmm...I put on one
of your records.."
BERNICE
Awwww. How sweet....
Evelyn looks transparently vulnerable for a second. Flor
reacts. Bernie squeezes her grandmother's hand..Flor smiles.
EVELYN
Just such a lovely thing to come
from the blue....
Deborah enters, carrying a load of packages. With lightning
speed, her eye picks out...the glass her mother is drinking
from.
DEBORAH
Oh, Mother...It's not even noon.
EVELYN
(defensively)
It's almost two o'clock.
DEBORAH
God, where is this day going...Flor
could you come with me?
BERNICE
Grandma, tell Mom what happened.
EVELYN
(very deliberately)
No.
36.
Deborah leads the way out...but Flor stops before following
her out to give Evelyn a gesture of support and appreciation.
50 INT. BERNIE'S ROOM - LATE AFTERNOON 50
John is in Bernie's room - helping her with her homework.
They lay at right angles to each other..He is testing her.
JOHN
This is going to work.
BERNICE
I don't know anything.
JOHN
Free your mind...the president
whose policies many consider
responsible for the Great
Depression...
BERNICE
I don't know...
JOHN
Name a vacuum cleaner..
BERNICE
Okay. Yes..thanks.
JOHN
And this vacuum whooshed all this
money out of everyone's pockets.
BERNICE
Got it. I no longer know nothing.
JOHN
And Hoover was followed in office
by..
BERNICE
I'm just drawing blanks. I'm
embarrassed. It's my own fault I
spent my time on math, which I'm
lucky if I don't flunk anyway and..
JOHN
The guy we are looking for is not a
ruse..
BERNICE
What's ruse mean?
JOHN
Phony. So this president was not a
ruse..He was the real thing.
37.
JOHN
(she looks at him blankly)
Ruse??
BERNICE
(enjoying her father's
absurdity)
Rusevelt..If I'd ever heard of the
word before - that would lock it
in..It's so stupid it might work
anyway...
Deborah enters followed by Flor. They are carrying several
boxes of clothes...
DEBORAH
Surprise new clothes..
Bernie gasps..As she looks at a sweater..
BERNICE
What'd I do right?
DEBORAH
Warehouse sale..
Bernice tries on the sweater over her T-shirt..and mirth
ends..The sweater is tight...Bernice picks up a blouse and
then skirt and checks the size.
ON FLOR AND JOHN.
As they are COUPLED BY THE CAMERA ANGLE as each catches on
and is dumbfounded.
ON BERNICE..
Whose style, wit and grace should not have to be used to
deflect such trauma. But so be it, as, though mightily stung:
BERNICE
Thanks, mom..I'm glad you didn't
get here a little earlier or else I
wouldn't be able to tell you that
your gift is a ruse. Please, excuse
me..
She exits to her bathroom.
51 INT. STAIRWELL - EARLY EVENING 51
Flor one step behind John and Deborah who are moving quickly
down the stairs...John pissed..Deborah feeling the futility
of anyone understanding her point even as she makes it.
38.
DEBORAH
She's right between the two
sizes..I thought about it..what am
I supposed to do encourage
her...what is it? - DENIAL? Or
motivate her to get herself in
shape.
Flor tries to slide by..Something surreptitious in her
behavior..Deborah suddenly turns to Flor.
DEBORAH (CONT'D)
Flor..
She holds out her hand in a "we women understand" gesture.
Flor does not waver..just meets her eyes.
FLOR
Me puedo ir?..go..can go?
DEBORAH
(a bit nonplussed)
Sure. Go.
JOHN
I'll drive you to the bus stop.
And that fast they are gone.
52 EXT. CLASKY HOUSE - DRIVEWAY - DAY 52
As John gets in his seat..then sees Flor approaching the door
and hops out to open her door...apologizing as he goes.
JOHN
Sorry. I'm cracking.
As he moves back to his side of the vehicle.
JOHN (CONT'D)
(a shout)
Shiiiiiiit!
Flor hears this from inside and nods in agreement.
53 INT. JOHN'S CAR - EARLY EVENING.. 53
As they drive down the canyon. He is wildly frustrated. Even
if Flor were not there, he would be talking to himself
anyway, in the manner of bag ladies and all of us.
JOHN (CONT'D)
I am running out of excuses for the
lady of the house.
Flor doesn't understand his words...yet fully agrees. But
then John takes rein of his emotions.
39.
JOHN (CONT'D)
But you know, you gotta watch out
for the times you think you're
absolutely right..But, man, Bernice
has finals tomorrow. She didn't
need this one..And just that look
on her face when she got the gifts--
(now his voice cracks; he
grows wet-eyed)
--like for a second she thought all
her problems with her mother had
been solved...
Flor is flabbergasted..she peeks to see if he is actually
crying. At first her heart is touched by John but then there
is distinct disapproval (a real roll of the eyes) that the
macho meter can read that low. He looks at her and she faces
front quickly.
NARRATOR
My mother did not understand her
male boss. His heart was good and
he was rare in not flirting with
her. But they were starkly
different. Privacy and dignity were
the same word to my mother.
Naturally, when she found herself
sitting next to a man who cried
over his child's hurt she had no
idea how to process the event.
Meanwhile, he has stopped for traffic near the end of the
canyon. Flor takes the opportunity to bolt.
FLOR
Gracias.
She opens the door and starts to get out though the car is
still rolling a bit...
JOHN
What are you doing? Let me take you
all the way.
Reluctantly she re-enters the car..It rolls another ten feet
to her bus stop and she gets out again.
JOHN (CONT'D)
How weird was this ride? Sorry.
FLOR
No es nada.
He doesn't quite know what that means...indicates same in a
little helpless gesture..
40.
54 EXT. BUS STOP - EARLY EVENING.. 54
As Flor is dropped off...the goodbye awkward.
NARRATOR
The job was taxing her. She had no
template for confusion let alone
frustration.
While waiting for the bus, Flor suddenly turns and runs a few
yards...and then back..and waves off the looks from her
colleagues - many of whom are overweight..many of them
adorable. All puzzled for the moment as they watch Flor
unsuccessfully try to shake off her day.
55 INT. FLOR'S APT. - EVENING 55
As Flor enters -- kisses her daughter..distraught and
distracted. She walks immediately to the refrigerator and
takes out a chocolate cake and a bottle of milk...she cuts a
huge slice of cake and puts it in front of her startled
daughter..in Spanish riding her on being too thin..the
daughter gestures at her mother's own slim figure.
NARRATOR
It was so unusual for my mother to
ask my help that I realized
immediately she was losing her
battle to be uninvolved with the
Claskys.
Flor asks her daughter how to say something in English.
CRISTINA
Try it on.
Flor asks again in Spanish...trying to find a precise
phrase.. The nuance important to her.
CRISTINA (CONT'D)
Please try it on?
Flor knows the word "please"..it's not what she wants...what
she wants is a way to say, "try it on" in a manner which is
not a request..or order, but is, rather, friendly and caring.
Her daughter works on the problem.
CRISTINA (CONT'D)
Just try it on?
FLOR
(thickly accented)
Just try it on.
CRISTINA
(small accent)
Just try it on.
41.
FLOR
(improvement each time)
Just try it on...just try it on..
She's got it.
NARRATOR
Our culture embraces fullness in a
woman. You, the women of the
admissions committee, as
intelligent as you are, have no
idea how casual and complete such
acceptance is back home, in the
land of the size 16 bikini.
56 EXT. BUS STOP - NORTH VALLEY - PRE-DAWN 56
Flor is the only one waiting. An empty bus stops and she gets
on.
57 EXT. STREET - NEAR BUS STOP - HIGH SHOT - FIRST LIGHT 57
As we see Deborah cross Sunset Blvd., overtake and pass two
UCLA men running at a good clip as Flor's bus stops.
CLOSE ON FLOR..
As she strides purposefully up the street.
NARRATOR
This is one of the cultural
differences between us which I wish
to explore academically at
Princeton. American women, I
believe, actually feel the same as
Hispanic women about weight.
58 INT. CLASKY HOUSE - EXTREME EARLY MORNING 58
The house asleep. Flor walks carefully up the steps.
NARRATOR
....a desire for the comfort of
fullness.
59 INT. BERNIE'S ROOM - FIRST LIGHT 59
Bernie asleep on the bed...Kleenex abounds...the solid sleep
earned by a few hours of sobbing. She looks touchingly pretty
and decidedly round. Flor looks for, finds and carries out
the new clothes Deborah had given her daughter.
NARRATOR
And, when that desire is suppressed
for style and deprivation allowed
to rule...
42.
60 EXT. STREET - STEEP INCLINE 60
ANGLE ON DEBORAH & KILLER HILL:
Two young athletic men and one woman considerably ahead of
her on the steep incline.
DEBORAH
Left..left..
ON RUNNERS.
They turn and look confused at Deborah who is so far behind
them she has no need to pass..They turn away. Deborah
struggles to turn it on and does so...huffing to just behind
them where she utters one more strained:
DEBORAH (CONT'D)
Left.
And then passes.
NARRATOR
...dieting, exercising American
women become afraid of everything
associated with being curvaceous,
such as wantonness, lustfulness,
sex, food, motherhood..all that is
good in life.
61 INT. CLASKY MAID'S ROOM - EARLY MORNING. 61
Flor at work on a sewing machine..opening seams, moving
buttons, even steaming where the buttons have been
changed..etc.
62 INT. BERNIE'S ROOM - MORNING 62
Flor is in the room...having put the altered clothes back in
place..Bernie's alarm clock rings..She wakes and sees Flor.
BERNICE
Hey..buenas dias, Flor..
Flor holds up the new clothes and indicates that they are
beautiful.
BERNICE (CONT'D)
(ruefully)
Yes..Well, taste she has..
Bernie starts her morning routine..her back to us when:
FLOR
(damn good English)
Just try it on.
43.
Bernie, though her back is to us, does a "take" then turns
grinning.
BERNICE
Hey!!!! When did you learn to...
FLOR
(cutting her off)
Just try it on..
BERNICE
Too tight..it doesn't fit.
Flor clearly doesn't understand..
FLOR
Just try it on..Hey?!
Flor extends a blouse and skirt.
FLOR (CONT'D)
Just..
BERNICE
Okay. I'll show you..
She steps behind a closet door to try the clothes on,
muttering pessimistically before she does so. CAMERA STAYS ON
FLOR..
BERNICE (O.C.) (CONT'D)
Lovely way to start the day.
World's most trim Mexican learns
her first sentence and uses it to
watch me grrrrunt my way into...
And then....silence...Bernie, open mouthed, steps out wearing
the clothes which fit like a glove. Flor beams..then laughs
at Bernie's reaction as she keeps checking the waist and
looks into the mirror.
INTO MIRROR.
To see Bernie in the foreground as Flor looks on..nods
approval and leaves.
ON BERNIE..
The fit of the clothes is as mystifying as it is nice..she
picks up another shirt..checks the size tag and then studies
it a bit.
CLOSE UP SHIRT..
As Bernie's fingers find the barely visible holes where the
buttons have previously been.
44.
63 INT. CLASKY HOUSE - KITCHEN - DAY 63
Flor at work..Chum, ball in mouth, comes to her and nudges
her.
FLOR
(to dog)
Lo siento. No.
Chum, momentarily depressed, walks away..Bernie enters. She
is a bit overwhelmed -- her voice breaking a bit even with
one word.
BERNICE
Hey..
Flor turns..Bernie moves to embrace her.
64 INT. CLASKY HOUSE - DAY - FIFTEEN MINUTES LATER 64
As John comes down the stairs..He looks apprehensive..From
the den comes the sound of singing..it stops him from going
out the front door as he turns to check it out.
65 INT. DEN - DAY.. 65
John finds Evelyn and Georgie in their night clothes. They
are singing an old song...something like "LUSH LIFE" -
something preposterous for a nine year-old boy..but you can't
knock the quality of the voices..world class. They see him
and stop.
EVELYN
Every time he has a nightmare, I
teach him one of my old songs. That
way the nightmares have a purpose.
GEORGIE
But I don't have to sing it for
anyone.
JOHN
Right. You're clear on that..
GEORGIE
How many did you sell of this song?
EVELYN
(embarrassed in front of
John)
He likes to know that stuff.
JOHN
(to Georgie)
She was huge.
45.
EVELYN
Seventy-six thousand..which is
great for a jazz album.
They resume harmonizing. As John leaves, the song lyric
making some comment on:
66 EXT. CLASKY HOUSE - DAY 66
As John, growing tense, walks toward the front gate..Chum
proffers a ball and accepts defeat as he bends down to pick
up the New York Times. John's body chemistry launches a
surprise attack...anxiety and dread...He takes his newspaper
to a wire bench in the front driveway..He finds the
section..opens to the page..and just like that his life
changes forevermore.
67 INT. CLASKY HOUSE - DAY. 67
John enters..Georgie is going up the stairs..Flor putting out
breakfast food.
EVELYN
You okay?
JOHN
(strangely)
I am okay.
(to Flor)
Deborah around?
FLOR
She run.
John nods and heads upstairs.
67A
67A INT. CLASKY HOUSE - UPSTAIRS - BERNIE'S ROOM - DAY
He looks in Bernie's room. She is loading her backpack for
school..
JOHN
Hey, honey.
BERNICE
What's wrong?
JOHN
No..nothing...just that..
Georgie enters the scene..
GEORGIE
A kid offered me a trade..Let me
show you.
JOHN
Yeah..
46.
He starts to follow him to his room.
BERNICE
Dad!!! He can wait.
JOHN
No..It's okay..
BERNICE
Let him wait..Yours is obviously
important.
GEORGIE
You don't even know how important
the trade is..
JOHN
Let me just do Georgie.... Here.
He hands her the newspaper...
68 INT. CLASKY HOUSE - GEORGIE'S ROOM 68
We MOVE with John and Georgie to Georgie's room where he goes
to his collectibles..He holds up a card..
GEORGIE
He says he'll give me any three
silvers for him.
JOHN
I don't know...This is the one you
started with..You really want to
give up your first card?
Note: this is an involved discussion on both their
parts..NOTHING in John thinks it is trivial.
GEORGIE
I know..that's why I needed you.
JOHN
..this is your favorite..
GEORGIE
I think he'd go higher.
JOHN
But it's not numbers..it's.....
They are interrupted by a never quite heard before sound of
exultation..
69 INT. KITCHEN - DAY 69
Flor and Evelyn jolted..they exit to follow the sound..
47.
70 INT. BERNIE'S ROOM - DAY 70
As they enter holding the paper. She has been smacked in the
heart by gleeful and prideful emotions...It is disorienting
for her to experience the rush of pleasure.
JOHN
For God's sake..why did you...
BERNICE
WHY?!!? CRAZY FATHER, WHY?!? Why
aren't YOU screaming?..
JOHN
I'm getting there..just the stunned
thing has to get dealt with...
BERNICE
(reading from newspaper)
John Clasky, who at 25 made his
mark on the New York restaurant
scene when JAMMED lived up to and
survived its silly name, has re-
emerged as a young and confident
veteran taking chances with his
combinations in so subtle a
manner.."
GEORGIE
If he gave me six...
JOHN
(catching her excitement)
Wait a minute, your sister's
talking.
Evelyn indicates to Flor that the good news is about
John..and so she studies him a bit..
BERNICE
"...beginning with the succession
of appetizers, each one with its
own stunning and fully realized
agenda, is constantly yet casually
daring."
(emotional and earnest
aside)
Ah, Dad...this is so great...
(to others)
Now here's the thing...
She tears up...Evelyn rubs Bernie's back..looks at Flor and
taps her heart...Flor indicates she should leave and does.
Bernice continues reading with a lovely sense of mission and
moment. John is taken with his daughter's delivery.
48.
BERNICE (CONT'D)
"Eating at this perfect smaller,
passionate restaurant inspires
one's own abandonment of caution.
To wit: John Clasky is the best
chef in the United States."
JOHN
(genuinely enthusiastic)
Look how great you read it.
BERNICE
(massive irony)
Perfect, Dad.
Evelyn and Bernice hug him..
EVELYN
John..John...Oh, my God you even
look different to me....
JOHN
What are you talking about?
BERNICE
I wonder what mom will do?
71 INT. BEDROOM - LATE AFTERNOON 71
Deborah is ripping John's clothes off..buttons fly..shreds of
cloth..John is laughing - happy.
JOHN
What is this?
DEBORAH
I don't know.
She rips at her own clothes and then exclaims in passion.
DEBORAH (CONT'D)
Oooohhch!
72 EXT. NORTH VALLEY - DAY. 72
Flor walks to the news stand - as if to buy something --
changes her mind and LEAVES THE FRAME only to RETURN A HALF-
BEAT LATER where she reads to the dealer from a note.
FLOR
(heavily accented)
New York Times..
73 INT. FLOR'S APT. - NIGHT... 73
Cristina, standing, translating the review into Spanish for
her mother...as she comes to the last sentence.
49.
CRISTINA
Wow..."John Clasky es el mejor chef
en Los Estados Unidos..
FLOR
(easily)
Ah, bravo...
74 INT. CLASKY MASTER BEDROOM - DAY. 74
The Claskys are engaged in sex. John's brief sounds are
exuberant..they shift position so that Deborah is on top
BRINGING DEBORAH INTO A CLOSE SINGLE. Suddenly her smile
fades - she hits the skids.
DEBORAH
Oh, damn it --- what am I going to
do? Everything seems so surely
pointless...
ON JOHN.
This IS WEIRD. And then the small, distinctive sound of Deb's
climax...then, in a relatively small voice.
DEBORAH'S VOICE
Okay here...okay there...good,
good, good.
She falls off him...an arm across her eyes, lying on her back
down the bed from him...
ON JOHN.
Puzzling over what just happened..a few false starts forming
his thought...then finally..hesitantly...
JOHN
Hey, Deb?
DEBORAH
(from the vortex of
depression)
Yeah?
He scoots to her side.
JOHN
You know, I guess I got used to you
getting a little blue after
intercourse...But DURING..??
DEBORAH
Something else I do wrong.
She grabs something and starts walking toward the bedroom.
50.
JOHN
You've gotta stop walking away.
DEBORAH
(turning)
If I stay, I will say awful things
to you that I might not even
mean..You pick.
JOHN
See ya.
She exits to the bathroom.
75 INT. JOHN'S CAR - DAY. 75
Very upset as he drives. Then comes to the red light at the
end of the street and sees Flor walking with others. An
awkward beat as he waits for the light to change and they
acknowledge each other..the light remains red..she confers
with another woman.
FLOR
(to woman)
Yo leÌ la crÌtica buena.
The woman tells Flor how to say it in English.
FLOR (CONT'D)
(parroting woman)
I read your good review.
He nods..still the light doesn't change.
FLOR (CONT'D)
It's nice.
The light changes.
JOHN
Not so far...How you doing?
The light has changed - cars are beeping..she is about to let
him go off but realizes he will wait for her answer.
FLOR
I do fine.
He nods and drives off.
76 INT. RESTAURANT - DAY 76
As he enters....the phone is going off the hook..As he passes
the maitre d's desk. Their conversation is strangely hushed
and very, very quick.
51.
VICTOR
Should I stop answering? We're
booked for two months solid.
JOHN
No, no, no, no, no....I want to
keep some walk-in business..I want
this to stay neighborhood.
VICTOR
Impossible. There would be
riots..You should hear the
desperation in their voices..Best
day of my life.
JOHN
We'll serve a full menu at the bar
then.
VICTOR
Then where do I put the people
waiting for a table? It won't work.
JOHN
Do this for me.
VICTOR
There's no way.
JOHN
Do this for me or I'll set my hair
on fire and start punching myself
in the face.
VICTOR
Huh?
JOHN
Yeah..you're right...that was an
unusual way for me to make myself
understood..But you'll do the bar
thing?
VICTOR
Yes, of course, John..
77 INT. RESTAURANT KITCHEN - DAY 77
PETER
I need to talk to you.
JOHN
Ah, man..Okay.
They walk into the cooling room.
52.
78 INT. RESTAURANT - COOLING ROOM - DAY 78
Again there is a kind of strange rapidity to the conversation
sparked by John..
JOHN
What's up? What's wrong?
PETER
I've gotten a fantastic offer for
my own place..Everybody wants to
back me since the paper came out.
JOHN
What's your reaction?
PETER
Honestly? Because I've had this
very unusual reaction.
JOHN
Yeah.
PETER
I've had a hard on almost all day
and it won't go away. Like I'm
riding on the back seat of a bus
with bad shocks and every other
passenger is a gorgeous woman with
a yellow sports top whose leaning
over. It's like every dream I ever
had and some even I didn't have the
balls to dream..
JOHN
So you're considering taking it?...
(he looks at him)
Okay, here's the thing. I can't
lose you and still keep the hours
I'm keeping. I can't do my life
unless I can hold onto you.
(sudden thought)
I think I just gave you an
incredible bargaining position.
79 INT. CLASKY BEDROOM - NIGHT 79
As John and Deborah lay next to each other.
DEBORAH
So you gave away twenty percent of
the restaurant without talking to
me about it.
JOHN
Yeah. If I didn't do it - I'd have
been coming home just to sleep.
53.
DEBORAH
(trying to make livid more
attractive)
Remember the other day when you
asked me the perfect response to
something I said?...I'm asking you
now..what would you like my
response to be to your giving away
twenty percent of the business
without asking me?
JOHN
(with great enthusiasm)
"You're ma man!"
DEBORAH
Okay! So that would be???
JOHN
My dream response from you, yes.
DEBORAH
(measured)
I'm not quite there..Actually, I
just had this flash that the reason
women in the old days used to faint
was to avoid doing acts of violence
against men.
(a beat then)
And I was all worried about
figuring out the timing just to
talk to you about renting a place
for the summer.
JOHN
Well, I think you got your timing.
80 EXT. CLASKY HOUSE - DAY 80
A man is parked at the gate in an open convertible..He is
great looking...We HEAR Deborah's excited voice over the gate
speaker...
DEBORAH
Be right out...
81 EXT. CLASKY DRIVEWAY - DAY.. 81
As Deborah calls behind her as she opens the door...
DEBORAH (CONT'D)
Mom, you want to come?..the
realtor's here..Okay, see you
later.
She clicks the gate open and walks to the man..perfect 40
year old great looking surfer sort..Deborah does the very
slightest of "takes" at his looks..As she gets in..
54.
DEBORAH (CONT'D)
Hi.
REALTOR
I'm Mike..there's one great rental
that just came on..so we're
starting at the top..
As they pull away...
82 EXT. CONVERTIBLE - DAY.. 82
Deborah's hair whips across her face...it's bothersome.
DEBORAH
I'll never be one of those girls
whose hair blows perfectly in a
convertible.
REALTOR
Move your seat forward..
Puzzled, she uses the electric lever and the seat budges
forward..
REALTOR (CONT'D)
A little more..just..good.
The Realtor uses his switches and raises his window a
bit..her window a bit less and monkeys the position of the
half windows in back...Deborah turns around checking out the
odd tweaking and then faces forward. Her hair blows perfectly
and beautifully behind her...
DEBORAH
Oh, you must be trouble.
On his small laugh...
83 EXT. CLASKY RENTED BEACH HOUSE - DAY. 83
As they move toward the house...seeing the beach beyond.
DEBORAH (CONT'D)
Gorgeous, huh..Pretty, fabulous,
beautiful. What word is the same in
Spanish?
FLOR
Fabuloso.
DEBORAH
(taking it as a
compliment)
Thanks.
55.
84 INT. CLASKY RENTED BEACH HOUSE - DAY. 84
As Deborah, Flor and Evelyn enter. They carry boxes of stuff.
DEBORAH (CONT'D)
I don't care if it's a rental..this
place is getting a fixing.
She leads Flor to a small bedroom.
DEBORAH (CONT'D)
(to Flor with gestures)
This will be yours..
Flor doesn't understand..certainly doesn't want to.
EVELYN
Did you ask her if she could live
in?
DEBORAH
Come on...there's no buses from her
to here. There's no question.
Double come on...
Deborah uses her hand as if weighing something momentous like
the law vs. the bible then with heavy sarcasm.
DEBORAH (CONT'D)
The Barrio - Carbon Beach..The
Barrio - Carbon Beach. What to do?
(to Flor)
Don't worry. I'm putting nicer
stuff in here too.
When Flor gives no indication of anything - just standing,
somewhat stupefied..Deborah takes her by the hand and leads
her out.
85 EXT. CLASKY - BEACH RENTAL - DAY 85
As they move through a little courtyard area toward the
street.
DEBORAH
You must learn English. Why won't
she learn English? I'm going to
have to learn, "you must learn
English," in Spanish.
EVELYN
I think Flor is perfect and we
should do all we can to keep her
from changing.
DEBORAH
Gee, you took the words right out
of my mouthay.
56.
86 EXT. PCH - DAY 86
As she leads Flor along the highway side of Carbon Beach -
passing houses until she sees a Hispanic man washing
someone's car in a driveway. Evelyn is many steps back.
DEBORAH
Oh, good. Do you speak English?
HISPANIC MAN
Yes, I do.
DEBORAH
Would you translate for me?
He looks at Flor..my God.
HISPANIC MAN
Sure...forever.
He speaks to her in Spanish..a lavish, poetic compliment.
Flor, in full control, says, in Spanish.."Would you please
just find out what she wants." Evelyn joins them.
DEBORAH
Wait till I say something before
you start in..
(he looks at her)
I rented a house here for the
summer and now she must sleep at
the house because of the bus
schedule.
He translates along with Deborah's speech.
ON FLOR.
Stricken. She turns to Deborah.
FLOR
No.. Sorry.
DEBORAH
What? Why?
Flor talks briefly in Spanish.
HISPANIC MAN
She can't because of her daughter.
DEBORAH
You have a daughter? You have a
whole daughter you haven't
mentioned..How old?
FLOR
Twelve.
57.
DEBORAH
(to Evelyn)
It's a little crazy that I don't
know that.
The man translates.
DEBORAH (CONT'D)
(to man)
Don't translate asides.
The man says in Spanish to Flor.."You work for her?"--Flor
answers, "just tell her that I can't live here." Deborah
doesn't like that the man has initiated more conversation.
DEBORAH (CONT'D)
Hey!
HISPANIC MAN
She can't live here. Her daughter.
DEBORAH
Okay..
(beat then big decision)
Her daughter can also live with us
for the summer..
The man tells Flor..she answers directly to Deborah..
FLOR
(big decision)
No, sorry.
DEBORAH
Why?
The man asks Flor who speaks in Spanish..
HISPANIC MAN
I don't know. She just doesn't want
to.
DEBORAH
Will you please just tell me what
she said.
HISPANIC MAN
She said, "I just don't want to."
EVELYN
If she didn't tell us about her
child she has to have a deep sense
of privacy. We can figure out how
she can still live at home. Hell, I
don't mind driving her at night.
58.
DEBORAH
Let's spare the world you on the
roads.
(to Flor)
Well, what do we do?
The Hispanic man translates the last sentence. Deborah and
Flor stare at each other..Deborah's next words are somber and
have enough body language to transcend the need for
translation...the jig is up.
DEBORAH (CONT'D)
(big decision)
I'm sorry, my friend, this is what
I need. It's just for the summer. I
don't want to lose you. But ....
Flor indicates there is no need to translate. A beat.
FLOR
(enormous decision)
Yo vivo aquÌ.
HISPANIC MAN
She'll live here.
The man says something in Spanish to Flor as she starts to
walk away and she is thrown enough by the statement to
actually stumble as she looks back at him...then, before
Deborah can admonish him.
HISPANIC MAN (CONT'D)
I said, "God protect you from that
boss."
87 EXT. FLOR'S APT. COMPLEX - DAY 87
As Cristina, trying to suppress her grin, skips quickly down
the stairs moving towards a truck from John's restaurant.
Flor follows tight lipped - resolved. They each carry many
clothes on wire hangers. A group of girls on the balcony
literally cheer Cristina on.
BALCONY GIRLS
(accented)
MAL-----I------BU!
Cristina grins hugely back at them.
88 INT. MALIBU TUNNEL - DAY 88
The two women in the truck and then..
89 INT. TRUCK - DAY. 89
As the truck leaves the tunnel and all is cliffs, sand, and
waves..Cristina taking it in, unaware that her mother's eyes
never leave her.
59.
She gasps frequently..MAJOR GIANT ORGANIC GASPS OF WONDER AND
PLEASURE..This is awe as an active physical exercise. The
MOVING SHOT dramatizes the crossroads of the mother-daughter
relationship as the TWO SHOT finds Flor becoming first
blurred then lost as we focus on Cristina exclaiming over
each new sight.
NARRATOR
(over this incidental
dialogue)
The first time one sees natural
beauty which is owned by others
confounds the senses.. I had never
imagined the word "money" could be
associated with anything but the
anxiety of not having enough. I
didn't know God had a toy store for
the rich.
90 EXT. CLASKY BEACH HOUSE - STREET SIDE - DAY 90
The truck in the driveway..the women walking through a front
door into a court yard.
91 EXT. CLASKY BEACH HOUSE - BEACH SIDE - DAY 91
Georgie, in a swim suit, talking to CHUM in the manner of
people trying to excite dogs.
GEORGIE
Who wants to go swimming?..Yes, who
wants to go swimming?
The dog goes crazy with excitement -- then, droll for a nine
year old, Georgie turns to his grandmother (who is sunning
herself and reading) and addresses her in precisely the same
way. Evelyn has a drink in hand..
GEORGIE (CONT'D)
(to grandmother)
Who wants to go swimming?..Huh..
EVELYN
Not now..But I promise I'll go in
the summer after next.
John enters the scene..
JOHN
You want to go swimming?
GEORGIE
Oh yeah, you're off.
JOHN
What do you think, wet suits?
60.
GEORGIE
Wet suits are for wimps..
JOHN
Yeah, you're right..let me get
mine..
Georgie laughs..
GEORGIE
(to Dad)
You're good.
92 INT./EXT. HALLWAY / PATIO - DAY 92
Behind Flor and Cristina as they move toward the Claskys and
their destiny....Flor behind her daughter.
REVERSE - CLOSE ON CRISTINA.
As her eyes pop on seeing the Clasky beach house.
VERY CLOSE ON DEBORAH
As her eyes pop on seeing the stunning twelve year-old enter
her home, haloed by the sun. Again, Flor less distinct in
the background.
Bernice, just outside the open patio door, is putting on a
shirt over her bathing suit as she looks at Cristina and
emits a small, prescient moan.
DEBORAH
(to Flor)
Look at this child..Flor, you could
make a fortune at surrogate
pregnancy....
Flor looks to her daughter for some understanding of what
Deborah said..
FLOR
Que?
Cristina is as nonplussed by the remark as her mother.
JOHN
Hi. I'm John..It's good to see you.
(to Flor indicating
Cristina)
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