WORLD WIDE LOVE

Your Liiffe iis a Piiece off Artt Y o u r L e s a P ece o A r

(The first 20 of 120 pages)

Actress Sabrina is alone, without a job, and suffering from nightmares. Only her faked profiles on internet dating sites provide exciting encounters and interesting material for the screenplay she is going to write. Then, her life gets out of control. Deeper and deeper, she sinks into the quagmire of online dating, and, to finance her absurd lifestyle, she starts stealing money from her dates. On the web, she eventually meets Marcus, a well-known art critic and earnestly falls in love. Of course, she has no idea that he, too, lives a secret virtual life which quickly catches up with both of them.

Screenplay for a feature film Version dated 22.08.2012 Copyright Jacqueline Phelps WGA Registration:1520712

2 1 TITLE SEQUENCE
PHOTOS/ANIMATION

CLICKING SOUNDS AND CHOPPY PHRASES FROM VARIOUS PEOPLE TALKING ABOUT (THEMSELVES) ARE HEARD IN STAKKATO TEMPO followed by widely different photos of various men and women (in terms of age, type and photographic situation), with strange names and words, numbers, gender symbols and signs of the zodiac popping up around them in many colors. Underneath, repeated pictures of the protagonists, SABRINA and MARCUS (taken from the movie). THE STAKKATO TEMPO GETS FASTER AND FASTER UNTIL IT IS ALMOST IMPOSSIBLE TO RECOGNIZE THE PICTURES. IN THE END, ALL THAT CAN BE HEARD IS MICKEY MOUSE VOICES AFTERWARDS, THE FILM TITLE LIGHTS UP IN A SHORT FLASH 2 SABRINAS KITCHEN (CREDITS) SLOW, INT./MORNING

MELANCHOLY MUSIC, E.G.SATISFATION BY CAT POWER TRACK 1

Moving from an extremely small and cluttered bright red painted kitchen, where the early morning sun shines through slightly fluttering, transparent curtains, slowly, a short moment across a small, dark hallway,...

3 SABRINAS LIVING ROOM (CREDITS)

INT./MORNING TRACK 1 CONTINUED

...into a small, colorfully decorated living room/study stuffed with (Asian) bits and pieces, various lights, pictures, photographs and books (what is visible on the walls looks somewhat yellowed). Above the glass desk, there is a framed quote: Move your chair to the edge of the abyss and Ill tell you a story. F. Scott Fitzge-rald. The desk is littered with tobacco crumbs, small notepads and a big stain of red wine. There is an opened laptop computer on top of the desk (showing the homepage of a fictitious internet dating service Findme!); to the left, the book Story by R. Mckee, to the right, an overfilled ashtray, a used wine glass, and an empty bottle of red wine. From there ...

4 SABRINAS BEDROOM (CREDITS)

INT./MORNING TRACK 1 CONTINUED

.... into a small, dim, cave-like bedroom that is only separated by a curtain of beads: An orange-violet lava lamp bubbles in the corner; a demonic African mask made from dark ebony hangs on the wall. On a large bed (covered with an Asian cloth, that is close to dropping from the bed), sprawling across a brown arti-

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ficial fur blanket, a half-dressed, slender, pale, black-haired WOMAN/SABRINA (she looks like shes in her early thirties) is sleeping. A black and white CAT/ SOPHIA nestling comfortably on top of her. Spread on the floor, there are some clothes and an empty bottle of wine. 2 mobile phones (one old, the other one new) are scattered on a chair next to the bed. Sabrina jerks her arms and hands around violently several times, which doesnt seem to bother Sophia at all. 5 SABRINAS FACE INT./MORNING TRACK 1 CONTINUED Zoom through twitching eyelids into SABRINAs head: 6 SABRINAS FIRST DREAM MOORLANDS EXT./NIGHT ANIMATION TRACK 1 SLIDES INTO THE DREAM It looks like an old black-and-white movie: SABRINA, wearing dark sunglasses, a white head scarf wrapped around her neck - 1950-s style, wrapped ino a black trenchcoat, drives a dark red convertible (with an open top) across a foggy - soggy, gloomy landscape with many trails, twisting and turning, covered with rampantly growing plants. It seems as if she is looking for an exit from this maze. Her headlights reveal flashes of inappropriately bright colored road signs made from plastic, showing nonsensical names, words, numbers, gender symbols and signs of the zodiac. 7 SABRINAS FIRST DREAM DESERT EXT./DAY TRACK 1 CONTINUED REPEATED (COLORED) FADE-IN INTO FRAME 6 In a sandy, barren landscape, SABRINA (looking the same as in frame 6), in her dark-red open convertible, flees from a long, black LIMOUSINE. Against the glaring, burning sunlight, both are only visible in the distance. 8 SABRINAS FIRST DREAM - DESERT/CLIFFS EXT./DAY TRACK 1 CONTINUED In a sandy, barren landscape, right in front of a cliff that seems to drop into a deep abyss, SABRINA slams on the brakes and / SCREAMS OUT / loudly. 9 SABRINAS BEDROOM INT./MORNING TRACK 1 OFF SOPHIA the cat, startled, jumps up and runs away. 10 POSH RESTAURANT INT./EVENING

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LOUD RESTAURANT NOISES SABRINA sits at the table of a classical posh restaurant, facing a stout, moon-faced MAN (GOLDFINGER)of uncertain age (about 30 45 years old). They are talking, gesticulating and laughing (with-out being heard). On the table, there is a dark red, longstemmed rose in a water glass. She sports an elegant, upswept hairdo, wearing a simple minidress, a lot of makeup, but no jewellery (except for her large green emerald ring, which she practically wears all the time); drinks white wine, and smokes. He wears a conservative suit and tie, drinking whisky. 11 STREET IN AN UPSCALE NEIGHBORHOOD EXT./NIGHT

SABRINA (in a short black trenchcoat, carrying a silver shoulder bag) and GOLDFINGER stroll happily, and obviously drunk, along an elegant street with big, imposing houses, until they stop at the front door of a new building; the man unlocks the door. 12 LUXURY LIVING ROOM INT./NIGHT

In an expensively, but tastelessly decorated penthouse living room with swanky furniture, golden lamps etc. GOLDFINGER laboriously /GIGGLING/ helps SABRINA take off her coat, and leaves the room. She drops on a white leather sofa and shoves away a real fur blanket, inspecting it. There is a window wall behind her, and a patio made of white tiles, with a trashy-looking fountain bubbling along. GOLDFINGER (Off with a slight Eastern
European accent)

How would you like your coffee? SABRINA A lot of cream and sugar please! Goldfinger returns (wearing white socks and an unbuttoned shirt), carrying a tray with two cups of coffee, cream and sugar on it, and sets it on the coffee table. He goes down on his knees, grinning at Sabrina, crawls towards a big flat screen monitor that rests on an anti-que console at the wall, and starts searching for music. Very quickly, Sabrina pours a white powder into a cup of coffee, stir-ring it with her finger. In this instant, Goldfinger turns around again they look at each other and Sabrina pulls her finger out of her mouth, grinning. Then, she pours quite a lot of cream and sugar into the other cup, and quickly takes a sip from it (without stirring). SLIGHTLY CHEESY LATIN CHILL MUSIC, E.G. BAILANDO VA VON LA CAINA /CAF DEL MAR - TRACK 2 Goldfinger crawls back to Sabrina; she offers him the prepared cup. Permanently smiling at her, he takes a few sips, absen-

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tmindedly; then he begins to fondle her knees and cautously kiss her. As he tries to reach up higher with his mouth and hands, she stops him. SOFTLY LAUGHING SABRINA (YAWNING) Im much too tired for that now, Goldfinger 07... GOLDFINGER (smiling) 007! Goldfinger 007, please! SABRINA Oh, Sorry, Goldfinger 007 of course! THEY BOTH LAUGH With one hand, she caresses his head that is resting on her legs; using the other hand, she empties the contents of her purse on the sofa. SABRINA Shit! But you could do me a favor and let me sleep on your sofa tonight, because imagine this!- I think I forgot my damn keys!
below)

GOLDFINGER(peering at her from

But of course MEANY SWEETY, he, he, of course youll sleep in my bed! Hmm...is the coffee working yet? By the way, youre not mean at all! Its been a nice evening, hasnt it? SABRINA (looking around the apartment) Oh, yes, very nice!
(and almost inaudible to herself)

I really hope that its going to work soon, my goldbear. GOLDFINGER(with closed eyes) What...? Lets make ourselves more comfortable in front of the fireplace ...You smell sooo good...

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SABRINA (pulling him up gently) Ive already told you that I cant drink much, Im totally gone after my second glass of wine...Lets just dance for a while, okay?Plot Pot] 13 LUXURY BEDROOM INT./NIGHT TRACK 2 CONTINUED SABRINA, fully dressed, with rumpled hair, gets up from a huge bed in a big, pretentiously furnished bedroom. 14 LUXURY LIVING ROOM (FROM FRAME 12) INT./NIGHT TRACK 2 CONTINUED SABRINA tiptoes past the slightly opened door into the living room to check whether GOLDFINGER is still /SNORING / on the sofa. There, she rummages through the drawers of a dresser, until she finds an expensive camera (and some other things), which she drops into a plastic bag. Grabs a Rolex and a thick golden ring from the coffee table and stuffs a big wad of bank notes from his wallet into her purse. She walks out of the room, standing in the door frame (dark corridor), and / WHISPERING / calls a taxi, using her (old) mobile. 15 LUXURY STUDY INT./NIGHT TRACK 2 CONTINUED She opens the door to a study, looks around, sits down at a swanky antique desk, turns on the computer, and starts typing something. 16 COMPUTER SCREEN MEANY SWEETY PHOTO/GRAPHIC-ANIMATION TRACK 2 CONTINUED On one side of the screen, there is a large PHOTOGRAPH OF SABRINA (she looks exactly the same as now), on the other side, a matching text. The hand symbol clicks on a button labeled Do you really want to delete your profile? Fade out LOUD CLICKING NOISES 17 DARK STAIRCASE INT./NIGHT TRACK 2 CONTINUED With her boots and the plastic bag in her hand,

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SABRINA softly closes the front door behind her and rushes down the stairs. 18 ELEGANT STREET (FROM FRAME 11) EXT./NIGHT TRACK 2 SLOWLY FADES OUT In a hurry, SABRINA flags down a taxi that is passing by. She gets into it, and the taxi drives off. 19 (1.) TRAIN INT./MORNING

SLOW, MELANCHOLY MUSIC FROM FRAME 1-3 (SATISFACTION BY CATPOWER)- TRACK 1 REPEAT SHORTLY SABRINA, asleep, leans against a window seat in a train. A CONDUCTOR wakes her up, harshly . CONDUCTOR (loudly and slightly irritated) Your ticket, please, Maam. SABRINA
(starting up from her sleep)

What? CONDUCTOR The ticket! SABRINA(confused) Oh my God Ive completely forgot-ten. I mean, eh, Ive forgotten my ticket at, eh, my friends house. CONDUCTOR (presenting a form to be
filled out)

Well Im not God, but would you mind telling me what your name is ? Your ID, please. SABRINA (still half asleep) Sina, eh, Sylvia Sanders, just one moment. She rummages around in her purse and shows him an ID card. CONDUCTOR(STARING ON THE CARD) Sina, Sylvia, ok? You also forgot your name, didnt you? Sabrina fishes some crumpled bills out of her purse.

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SABRINA (finally awake, now also
irritated)

How much do I owe you? 20 SHOPPING STREET/SHOPPING ARCADE (HAMBURG) EXT./DAY

LIGHT AND LIVELY MUSIC, E.G. JUST CANT GET ENOUGH BY ELOISA /NOUVELLE VAGUE - TRACK 3 A zestful SABRINA walks out of the door of a pawn shop and strolls into a pet shop. Afterwards, she stands in front of a shoe store, looks at the window display, smiling, goes inside, and leaves wea-ring a new pair of high-heeled shoes. Subsequently, she enters a delicatessen store. As can be expected on a Saturday, LOTS OF PEOPLE are milling around.] 21 SABRINAS BACKYARD/HOME EXT./EARLY EVENING TRACK 3 CONTINUED

SABRINA, sunglasses on her face and carrying several shopping bags, turns into her small backyard garden, where SOPHIA / MEEOWING LOU-DLY / runs to meet her. She drops her shopping bags and pets her, tenderly; then, she grabs her bags again and unlocks the front door. Sophia follows her. 22 SABRINAS LIVING ROOM INT./EARLY EVENING TRACK 3 FADES OUT SLOWLY SABRINA puts her bags down on a wicker chair beside her small dining table. She picks up SOPHIA and kisses her. 23 SABRINAS KITCHEN INT./EARLY EVENING

SABRINA empties a small, expensive-looking can of cat food into a small bowl and offers it to Sophia, who snuggles up to her feet. SABRINA So, how was your weekend, my little princess on the pea? Barney has ta-ken good care of you again, right? Oy vey! I really hope you didnt put another mouse into the house! Because Ive brought some real rich booty home for us, sweetiepie. While Sophia is eating, and Sabrina preparing a baguette sandwich, the phone rings. AFTER A FEW RINGS, THE ANSWERING MACHINE GOES ON

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ANSWERING MACHINE RECORDED MESSAGE (Off) Hello, this the voicemail of Sabrina Sanders, and I have no idea when Ill be personally available. But if youre Hollywood, please call my agency The Actors League, or my mother, Vera Sanders. Theyre both listed in the phone directory and seem to be urgently waiting for it. But no kidding please dont be frightened and leave a message after the beeeep. Ill call you back right away.
(Off an elderly female voice)

ANSWERING MACHINE - RECORDING

When are you going to stop this stupid nonsense? Ive told you, how many times ... youre even worse than your father! Anyway, I hope youre okay, Im doing okay myself, in case you care. Hmm... if anything happens, YOU can also call ME for a change. So, bye-bye. SABRINA(putting lettuce on her baguette sandwich) Well, sweetiepie, another month has passed! Oh sweetiepie, time flies, doesnt it? But you dont really ca-re, do you? 24 SABRINAS LIVING ROOM INT./EARLY EVENING

Holding her baguette sandwich in one hand, a bottle of champagne in the other, SABRINA enters her living room, shedding her highheeled shoes and presses the button of an old CD player on a shelf. SLOW, LASCIVIOUS MUSIC THAT IS BEING REPLACED BY STRANGE RHYTHMIC, MUSIC, WHICH KEEPS GETTING LOUDER. E.G.: 1. THIS IS NOT A LOVE SONG BY MELANIE PAIN/NOUVELLE VAGUE, 2. TOO DRUNK TO FUCK VON CAMILLE/NV (- FROM FRAME 23) = KEEP PLAYING TRACK 4 Sabrina sits down at her desk. She turns on her computer; while it is booting, she eats and takes some big swigs from the bottle. SOPHIA jumps on the desk and lies down next to the laptop, /purring/ at her favorite place a small red satin pillow. Sabrina quickly types something into her keyboard and stares at the screen, fascinated. 25 SABRINAS 1. COMPUTER SCREEN PHOTO/GRAPHIC-ANIMATION TRACK 4 CONTINUED

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Top left: a large PORTRAIT PHOTO of SABRINA: A few thick, dark curls jump into her squinting eyes, her cherry red, laughing mouth revealing gleaming teeth. Above the photo, it says: Sixth Sense//35//feminine symbol//sign of scorpio Underneath: OCCUPATION: Healer HOBBIES: Cooking (preferably out of my witches kitchen ),theater, literature, movies, movies, movies, and music, music, music! HABITS: Dying my hair and feeding cats. PERSONAL STATEMENT: Life is not what we live; its what we imagine to live (possibly by The Doors, or Jim Morrison, respectively). And now some other stolen words, dear Internet friends: Imagination does not mean thinking up something. It means creating something from the things. (This wonderful phrase was written by Thomas Mann the quotation marks for the things were written by me). STATUS: Ex girlfriend SEARCHING: Lets see whats available here... Bottom left: two BUTTONS with LABELS: If you want to know more about me / send me a message. From right above, an annoying, unsolicited commercial keeps popping up, spreading like a FOG across the entire screen, which stops abruptly or is deleted by the hand symbol. Right center a red button is blinking labeled: 18 new messages for you !!! There is red hand with a tempting finger next to it. Bottom right there is a table with several pseudonyms or PHOTOS, showing who has clicked on the Sixth sense... profile, when, and how many times.Underneath, there are diverse statistics: a sympathy score voting for her profile, when she joined the community etc. The tempting finger is being zoomed in (until the entire screen shortly turns red). 26 SABRINAS 2. COMPUTER SCREEN GRAPHIC-ANIMATION

WEIRD MUSIC (= 2ND SONG) - TRACK 4 CONTINUED One colored inbox mask appears, with many multicolored emails, some of them blinking. The hand symbol clicks on the blinking mail from Stolen-Goodies_RE: Rendezvous:

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LOUD CLICKING NOISES 27 SABRINAS 3. COMPUTER SCREEN PHOTO/GRAPHIC-ANIMATION

WEIRD MUSIC IS REPLACED BY LIGHTLY FLOATING MUSIC, E.G. MARIAN BY ALEX /NV (= 3.RD SONG ON TRACK 4) = KEEP PLAYING TRACK 4 A funny picture of a man Stolen Goodies appears, bald, and wearing dark sunglasses,; he sits behind bars, wearing a black and white striped shirt. Above the photo, it says: Stolen Goodys// 39// mas-culinity symbol//sign of Libra (next to the text of the email, respectively, the voice-over Stolen Goodies text from frame 28). Zoomed into the photo: An electric flash racing through one or several wires. 28 STOLEN GOODIES ROOM FLOATING MUSIC ( = 3RD SONG) INT./EVENING TRACK 4 CONTINUED, SOFTL

A well-built man (Stolen Goodies), around 40, bald, wearing dark-rimmed glasses and a black shirt, stands in front of a raised transparent computer table with a flat screen showing a large photo of SABRINA (from frame 25). He is typing into a keyboard. The wall behind him is smooth as glass it looks like it is covered with white tiles; the light is subdued (one can feel the cool breeze of a purist design). STOLEN GOODIES (Voice-over) Thank you for asking, Sophia... What can I say about our rendezvous? I really liked it at first. I thought you were sweet and charming...until about the fifth glass, when things somehow got out of control...I couldnt really handle the rest of the evening, to put it mildly. THAT IS WHY I left, of course! ... so how are you? 29 SABRINAS BACKYARD GARDEN EXT./EVENING

FLOATING MUSIC(=3RD SONG)-TRACK 4 CONTINUED, SOFTLY / LOUD TYPING NOISES In the garden SOPHIA jumps around a MOUSE, all excited, and pushes it around with her paws. TYPING NOISES SOFTENING SABRINA ( SMILING, OFF) Very good, John, thank you. What did I say that was so awful?

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STOLEN GOODIES (Off) Say?? Very funny, really. At least a blackout could be SOME excuse for your behavioryou slapped me!! SABRINA (Off) Really?? Oh, wait a minute, some real shit is happening right now! TYPING NOISES OFF - TRACK 4 FADES OUT SLOWLY. QUICK STEPS, A DOOR IS OPENED NOISILY; LOUD CLAPPING OF HANDS.
(screaming) Sophia! Dammit! Leave

that critter alone...Do you hear me!!! 30 SABRINAS BACKYARD GARDEN/HOME EXT./EVENING

THE DOOR IS BEING SLAMMED SHUT; HYSTERICALLY SOUNDING ROCK MUSIC STARTS, E.G. PRIVATE IDAHO BY B52 - TRACK 5 SOPHIA, with the mouse between her teeth, races towards the cat door in the garden door leading directly into SABRINAs apartment (-living room). SABRINA (Off) Oooh shit!!!!!!!!! 31 SABRINAS LIVING ROOM INT./EVENING CAT DOOR NOISE - TRACK 5 GETS LOUDER SOPHIA, as she slips through the cat door with the slightly BLOOD-COVERED MOUSE between her teeth; SABRINAs FOOT pulls back before she gets ready to slam it against the door. 32 SABRINAS APARTMENT INT./EVENING TRACK 5 CONTINUED Holding the mouse between her jaws, SOPHIA triumphantly runs around the entire apartment in slow motion. SABRINA fiercely sucks at an asthma inhaler. Then, / SCREECHING / Sophia drops the mouse at Sabrinas feet. Sabrina, still standing in her living room, is paralysed. The mouse disappears in the kitchen (behind the oven) in a flash. SABRINA
(desperate first, then increasingly furious)

O shit, o shit, oh shit,

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I am so tired of this ... okay listen, youll spend the whole night alone in the toilet!... dammit, at least you could kill the creatures?? ... Well of course not! You let them live for me, yeah, as a special present. Thank you very much in-deed!! And how am I supposed to get rid of this garbage? I cer-tainly will not kill the mouse for you. (now laughing hysterically -) You...you are just a loser! 33 SABRINAS BATHROOM INT./NIGHT TRACK 5 CONTINUED, SOFTLY RUSTLING NOISES In the shower tray, framed by a plastic curtain with goldfish designs, SOPHIA furiously fights with a hairband that is tied to lush black bangs; some blood sticking to her white paws. RUSTLING NOISES OFF SLOW TYPING NOISES START STOLEN GOODIES VOICE (Off) Hellooo Sophia is everything all right with you? Are you still there? Why are you still blinking? Did you fall asleep? Man, youre such a weirdo I believe we better stop this...well, good night! 34 SABRINAS BEDROOM TRACK 5 INT./MORNING OFF LOUD PURRING

The bedroom is totally demolished (there is a living mousetrap on the floor). SABRINA lies straddled across the bed, half dressed; SOPHIA is sleeping upon her, peacefully. TELEPHONE RINGING 35 SABRINAS LIVING ROOM INT./MORNING

SABRINA sits at her desk, yawning, holding her mobile phone, and still only half dressed. FEMALE VOICE/NICOLE (Off high and
chirpy)

Sorry, couldnt call you any sooner! Just came in! Its about a wild party carnival scene where you mainly need to improvise, but thats something you know how to do anyway, right? Lots of fun,

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lots of booze, and, well, you know. Ill mail the briefing to you. Oh, and they have a few more questions, Ill send them attached, please fill that out before you go. Got that? And, this time, please, keep your personal comments for yourself, in everyones interest!! SABRINA (sliding her hand across her
hair, bored)

Pay? FEMALE VOICE/NICOLE (Off) Oh, right, 500 per day of shooting, and 500 for the buyout. Got that? 36 CASTING OFFICE WAITING ROOM INT./DAY

MELANCHOLY MUSIC, E.G.TROUBLED WATERS BY CAT POWER -TRACK 6 SABRINA, sleeping, sits in a harshly lit, white room, making light, jerky movements with her ams and hands. She is wearing a colorful short glitter dress, black fishnet stockings and high heels. Her hair is loose curled, her make-up, luxurious, glittering. THE LOUD NOISE OF A VACUUM CLEANER WAKES HER FROM HER DREAM THE MUSIC GETS QUIETER SABRINA looks around, alarmed: she discovers a garishly pink, curly carnival wig hanging from a coat hook. Spontaneously, she puts on the wig and looks at herself in a mirror, where she sees a wall clock (which shows a few minutes after five). SABRINA I dont believe this... She turns to the back wall, quickly stares at the clock, pulls her purse and her trenchcoat from the chair and runs out of the room, with the wig on her head. 37 CASTING OFFICE RECEPTION COUNTER INT./DAY TRACK 6 SLOWLY FADES OUT The RECEPTIONIST behind the counter puts on her coat and surprisedly looks at SABRINA, who is approaching the counter. RECEPTIONIST What are YOU doing here at this time?

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SABRINA Thats exactly what I wanted to ask YOU why isnt there anyone to meet me? The casting was scheduled for 2.30, right? RECEPTIONIST But my intern told you! The director has already picked the 1 oclock team... Somehow, we..we havent been able to reach you on the phone... Anyway, I told the girl to meet you in the waiting room! Also, I had been wondering why... SABRINA
(stunned, interrupting her)

Well, talking about wondering, I...I...dont believe this. Youve got to be kidding. You had me fill out a 4-page document before I could even come in, then let me wait here for almost 3 hours, just to tell me that you forgot to cancel the appointment, or rather, that you just plain forgot that Im here ?? RECEPTIONIST Well, actually, if anyone forgot, it was my intern of course Im very... SABRINA (interrupting - loud) What do you mean if? And I dont give a shit whether you - or your stupid intern forgot about me!! RECEPTIONIST (appeasingly) Well, thats enough, maam!... But of course I can understand your feelings ... but its not as bad as it sounds, well usually do a follow-up spot, and well make sure youre in it, I promise! For the casting, I mean ... of course I cant decide the other stuff. Okay? Now, Sabrina tears the wig off her head and throws it on the counter.

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SABRINA You can shove your follow-up spot up yours...! I dont want to deal with people that dont have any respect! And I still decide whether its bad for me or not! Then, she violently shoves the wig over a bouquet of flowers placed in a vase on the reception counter. Furiously, she walks out of the room and slams the door shut behind her. 38 CAF/WINDOW EXT./EVENING STREET NOISES SABRINA sits at a small bistro table with a cup of coffee and a folder on top. Her hair is tightly combed back into a pony tail; otherwise, she looks the same as in the casting agency (Frame 36, 37). Lost in thought, she chews on her pen, looking out the window on to the street. 39 CAF INT./EVENING

CAF NOISES AND MELANCHOLY MUSIC FROM FRAME 36/CASTING OFFICE (TROUBLED WATERS BY CATPOWER)-TRACK 6 REPEATS SOFTLY SABRINA sits at her small bistro table, writing. 40 CASTING OFFICE - RECEPTION COUNTER CAF NOISES OFF INT./DAY TRACK 6 CONTINUES SOFTLY FADE-IN FRAME 39 In slow motion SABRINA, wearing a mega-sized, curly carnival wig, arrives at the reception counter of the casting office and loudly argues with the RECEPTIONIST / ONLY INCOMPREHENSIBLE WORDS /. Then she tears the wig off her head and pulls it over the receptionists head in a violent jerk, covering her eyes. 41 CAF FRAME 39 CONTINUED CAF NOISES INT./EARLY EVENING TRACK 6 FADES OUT SLOWLY

Smiling, SABRINA reads what she has written, corrects something and shortly looks at her mobile. Then she gets up and leaves. 42 SEMINAR ROOM INT./EVENING

SABRINA sits at a table that has been arranged into a closed Ushape with other tables. She has wiped off her glittery makeup; her black trench coat is hanging from her shoulders. She is sur-

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rounded by 10 PEOPLE OF VARIOUS SHAPES AND COLORS. She listens, almost de-votedly, to a somewhat elderly LECTURER standing in front of a clipboard. There is a folder on the table in front of him, with the book Story by Robert McKee on top. Shortly after the following monologue begins, the torsos/faces of the participants are shown: picking their noses, yawning, lost in thought, typing into their mobiles, etc., until the camera returns to the lecturer towards the end of the speech. LECTURER Aristotle approached the issue of history and meaning as follows: How is it that we react to the sight of a dead body in the street in one way, but in a different way if we read about death, or watch it in the theater? Its because in life, ideas and emotions go their separate ways. Reason and passion circle around different spheres of our humanity, rarely coordinated and usually at cross purpose. If you see a dead body in the street, you have a surge of adrenalin: Oh my God, hes dead! Maybe you drive away, terrified. Maybe LATER you think about the meaning of the death of that stranger, about your own mortality, life in the shadow of death. Maybe you talk to friends about it. These reflections may change you inwardly in a way that will make you respond to your next confrontation with death in a new, maybe more emphatic way. So, your intellectual life prepares you for emotional experiences that lead to new perceptions, which, in turn, result in a different chemistry for new encounters. Both areas influence each other BUT THE ONE PRECEDES THE OTHER! And while life separates meaning from emotion, art unifies them. A story is a tool that allows you to create such epiphanies at will, the phenomenon that is known as AESTHETIC EMOTION. The CONCURRENT meeting of toughts and emotions. You will most likely forget the dead person in the street eventually, but the death of Hamlet will haunt you forever. Life alone, without the art that is shaping it, leaves you in confusion and chaos. The aesthetic emotion establishes harmo-

18
ny between what you know and what you feel; it lends you a heightened consciousness and the certainty of your place in reality. In short: A well told story gives you exactly that which you cannot get from life: Meaningful emotional experience in present time! He packs up his documents. LECTURER So, next time well talk about the specifics of storytelling in film some more; role design and the pro-blem of screen dialogue and monolo-gue will be our topics. Thank you for listening, and have a nice evening! After that, he gives a short wink to the camera! 43 SABRINAS LIVING ROOM INT./NIGHT

SLOW, LANGUISHING MUSIC E.G. IN A MANNER OF SPEAKING BY CAMILLE /NOUVELLE VAGUE - TRACK 7 SABRINA sits in front of her computer, red-eyed. There is an almost empty bottle of red wine on the table, and a filled glass; smoke from a cigarette is rising from the ashtray. She wears scruffy jogging pants, a long white mens shirt and an old cardigan; her hair has been sloppily tied into a bun. Rapt in thought, she types on the keyboard. 44 SABRINAS 4. COMPUTER SCREEN PHOTO-GRAPHIC-ANIMATION TRACK 7 CONTINUED A PHOTO of a tanned, elegantly dressed, distinguished middle-aged MAN beaming at her through unobtrusive glasses. The text above the photograph says: St. Martin//47//masculinity symbol//sign of sa-gittarius (next to it, the email text, respectively, Voice Over -St.Martin text from frame 45). Into the photo: Electric lightning flashing through one or more wires.

45 ROOM ST.MARTIN

INT./NIGHT TRACK 7 CONTINUES SOFTLY

A YOUNG, VERY FAT MAN (ST.MARTIN), twentyish, sits at a dingy wooden table in a dark, dust-covered room, typing into a filthy computer keyboard, a matted scarf around his neck, his greasy hair hidden beneath a baseball cap. There are dirty dishes on the

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table, as well as pizza boxes, various bags of chips, torn-up chocolate wrappers and a used bottle of Coke. A joint is fuming in the ashtray. ST. MARTIN (Voice-over a young,
croaky voice)

Regarding: Reality Dear Sabrina, although this is as beautiful as a dream, I very much regret not being able to return to Germany, and maybe, to you. I cannot leave this project, even for a a few days however, I promise to invite you to wherever you want, if you want ... but as long as you invite me to share your life, I wont disappear, I promise! Because, look around you: Is it really the computer in front of you, the chair youre sitting on, is it real? Or is it the sensation of touching the computer, while its slowly booting up and your excitement rises in expectation ... maybe thats whats really real ... not the objects, but your perception of them inside you? Talk to you soon, Your Martin. P.S.: Good luck for your audition this weekend! 46 SUCCESSIVELY EMERGING MOSAIC PICTURE -46.9.(+PHOTOS/ANIMATION)

TRACK 7 FADES OUT SLOWLY. ALL IMAGES VERY RHYTHMIC MUSIC, E.G. EVER FALLEN IN LOVE BY MELANIE PAIN /NV - TRACK 8 46.1. ST. MARTINS ROOM (FROM FRAME 45) I/N

Fully dressed, ST.MARTIN sleeps on a grubby mattress on the floor next to his desk. VARIOUS PICTURES OF WOMEN are lined up next to each other on his computer screen, WITH SABRINA among them. Through the picture of the woman from frame P 46.2: 46.2. DINING ROOM (TO THE RIGHT OF FRAME 46.1) I/N

A middle-aged NORMAL WOMAN, with her eyes closed, her head resting on a ordinary table between a computer screen, showing a big photograph of the man on the following picture (46.3), and a plate with food that has half been finished, with a fork stuck in it vertically. Shortly there-after, a SMALL LAUGHING CHILD appears and pats the woman on her back. Through the photo of the man, into an: 46.3. OFFICE (TO THE RIGHT OF FRAME 46.2) I/N

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A middle-aged MAN wearing a suit and loosened tie joins in, as he masturbates in front of the flickering screen. In the dark, empty office, an ocean of highrises is glimmering through the windows: 46.4. STUDY (BELOW FRAME 46.3) I/N

Sitting at a desk littered with paper, newspapers and magazines, a distinctive looking middle-aged man (Marcus), his head leaning for-ward, smiles into his computer screen that is directly adjoined to Sabrinas picture (respectively, the back of her computer screen !). He is wearing glasses, jeans and a T-shirt, a small goatee, and dark blonde hair down to his shoulders. Across his screen, into Sabrinas living room: 46.5. SABRINAS LIVING ROOM (RIGHT, NEXT TO FRAME 46.4) I/N

SABRINA, holding a bottle of champagne, wearing nothing but the mens shirt, barefoot, her hair loose, dances in front of her computer and raises her glass to the screen. She starts turning faster and faster, until, AT THE END OF THE SEQUENCE OF INDIVIDUAL FILMS (46.9), LAUGHING, SHE DROPS DOWN ON THE FLOOR, WITH HER ARMS SPREAD. But first, the trip continues through the champagne glass on the table into a: 46.6. BATHROOM (TO THE RIGHT OF FRAME 46.5) I/N

In a dark bathroom, a MAN, IN HIS 70S, with a fringe of hair, and wearing an undershirt, sits on the toilet, slapping his thighs, laughing loudly (inaudible). He has a laptop on his knees, the screen showing the woman in the following picture (46.7). A MOUSY WOMAN in her nightgown opens the door and looks at the man, aghast, without the man noticing anything. Through the screen, into a: 46.7. CORRIDOR (BELOW FRAME 46.6) I/N

Moving in a strange Rhythm, a 50-YEAR OLD, PLUMP BLONDE, in sexy lin-gerie, poses in front of a mirror in the corridor. She is holding an opened laptop computer with its screen turned towards the mirror, showing the picture of a young man from frame 46.8; she smiles at him through the mirror image: 46.8. LIVING ROOM (TO THE RIGHT OF FRAME 46.7) I/N

A circa 20-year old man, wearing pyjamas, sits In a big dark living room at a computer table, eyes fixed on the computer screen, and hitting the keys like a maniac. Through his screen: 46.9. BEDROOM (TO THE RIGHT OF FRAME 46.8) I/N+PHOTOS/ANIMATION

TRACK 8 FADES OUT BABBLING VOICES, GETTING LOUDER AND LOUDER, PLUS TYPING AND CLICKING

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Appears the image of a YOUNG GIRL with her hair dyed blue, crying, sitting on a water bed inside a stylishly decorated bedroom. Her tears fall through the keyboard of a transparent laptop into the waterbed and turn into PHOTOS OF VARIOUS PEOPLE all of them alone, in different computer situations. The pictures cluster around the films with everything rotating faster and faster around Sabrina, becoming irrecognizable, until finally the entire mosaic picture consists of nothing but small colored dots. TRACK 8 FADES OUT BABBLING VOICES, GETTING LOUDER AND LOUDER, PLUS TYPING AND CLICKING 47 SABRINAS BATHROOM ELECTRO POP, E.G. UND ICH DREH (-AND I TURN) INT./DAY BY 2RAUMWOHNUNG TRACK 1/ CD 2

SABRINA stands in her bathroom, in front of a mirror hung above the sink, which is framed by a gaudy-looking string of lights, applying her make-up. The bathroom is painted turquoise and decorated with various ocean symbols (starfish, fishes, shells). She is wearing a tight fitting purple suit without blouse or shirt underneath, her hair smooth, and loose. Finally, she puts on dark-rimmed glasses, makes a stupid face in front of the mirror, and traces her lips with a cherry-red lipstick. 48 SABRINAS BACKYARD/HOUSE EXT./DAY TRACK 1/CD 2 CONTINUED SABRINA races out the backyard gate in her black trenchoat, wearing her silver shoulder bag. 49 (2.) TRAIN INT./EARLY EVENING TRACK 1/CD 2 CONTINUED SABRINA, tired, looks out the train window into the landscape rushing past. 50 CENTRAL TRAIN STATION - BERLIN EXT./EVENING

TRACK 1/CD 2 FADES OUT SLOWLY FAINT TYPING NOISES SABRINA walks along the platform. She rides down the escalator and runs out of the train station into the illuminated city. SABRINA (Voice-over) Dear Martin,youre rightwho knows whats real? And maybe its a good thing that we only know each other in this reality. But I absolutely dont want you to disappear from my life! Im in a hurry now. More next time. Your Sabrina