Art'sDemiseofficialdraft 11-16-09

Art’s Demise
A Screenplay by
Michael J. Narvaez
Contact: michaelnarvaez1@yahoo.com
(610) 770-1299
Contact: Laverne Berry, Esq.

382 Warren Street
Brooklyn, NY 11201
718.852.1076
lberry@berryentertainmentlaw.com
Official Draft February 1, 2009
WGAE Registered #155578 , December 10, 2007
US COPYRIGHT © 2007
All rights reserved
1
FADE IN:
NEW YORK:
INT. AN ART GALLERY – NIGHT
A once crowded art showcase is now scarcely populated as the event

begins to wind down. A gloomy ambiance permeates throughout as
GENA, early 40’s, modestly sensual and very pretty with dirty blonde
hair, slightly streaked with gray, waltzes towards a particular painting.
Her pristine figure silhouettes the art work.
She stops in front of the canvas and admires it. She is close to tears.
CLOSE UP: On her, as tears begin to flow as she allows the

masterpiece to dominate her soul.
The other few remaining patrons quietly leave the premises. A MALE
patron, tall, well-dressed, looks at his pocket watch and just shakes his
head as the WOMAN with him, older, matronly, wipes her eyes with her
flower designed kerchief, as they both briskly walk out the front door.
The woman begins to sob.
Lights throughout are being put out or dimmed.
A door slams shut.
A siren is heard from the street, as well as the searing cries of a

toddler.
Gena wipes her own tears, then steps a bit closer towards the work.
She opens her purse, looks around before she caustically takes out her
little flask. She glances about one more time then takes a huge gulp.
A CUSTODIAN approaches.
Gena had reacted to the footsteps as she slipped the flask back inside
her purse. She burps then glances towards the custodian.
2
She nods her head as if to say she knows that it is time for her to go.
She turns back to enjoy the painting for a moment longer when he
asks.
CUSTODIAN
Would you like more time?
Gena smiles, almost gets emotional again, recovers and nods her
head.
CUSTODIAN (CONT’D)
Ten minutes good?
The custodian strolls away as Gena acknowledges.
She studies the work and slowly stretches her arm with her palm
outward. She extends as far as she can and closes her eyes.
FLASHBACK: The following images are shot MOS (sans sound)

accompanied by a Beethoven sonata.
INT. A BEDROOM – NIGHT
Gena is in bed with a MAN. She is on top. The room is dark and we
see them in silhouette as they rhythmically and lovingly romance each
other.
INT. SAME BEDROOM, LATER – NIGHT
Gena smokes a cigar as she sadly watches her Lover inject himself
with a dose of heroine.
CLOSE UP: On Gena, as she anxiously looks on. She studies her
Lover intently, starts to say something but changes her mind.
Her Lover lets out a soothing groan.
INT. A KITCHEN – NIGHT
Gena ducks as her Lover smashes a toaster against the wall as Gena
reads a letter to him.
He starts to laugh uncontrollably as he bolts from the kitchen.
From Gena’s P.O.V.; we read the contents of the letter which states
“...thank you but we are not interested.”
3
INT. A LAW OFFICE – DAY
Gena watches in horror as her Lover grabs a MAN, dressed in a gray

flannel suit, by the throat and chokes him.
Her Lover stops and spits into the Man’s face, and storms out of the
office.
The Man in the suit looks apologetically towards Gena. After a moment
he changes his mood and starts to yell at her.
She bolts out of the office.
INT. A LIVING ROOM – NIGHT
Her Lover prepares another shot of heroine.
CLOSE UP: On his hands in operation.
Gena, wearing only a bra and panties, tries to interfere with his fantasy
journey by first kissing him, then, she carefully puts aside the
paraphernalia and straddles (More)
(Cont’d)
in-between and kisses him again. And just as she begins to reach
behind her in order to unclasp her bra, he gets up and yells at her.
EXT. A PARK IN NEW YORK CITY – DAY
Gena tries to pick up her Lover from under a park bench. He fights her
off.
Unbeknownst to them both, there’s a MAN in the foreground. He wears

a guayabera shirt and smokes a pipe.
CLOSE UP: On the Man’s face, as he keeps his distance and follows
them.
Gena struggles to walk her Lover out of the park.
INT. A NEW YORK CITY RESTAURANT – NIGHT
It’s a quaint eatery with only a few tables. Gena and her Lover sip
their drinks.
4
A FAN walks up to her and asks for her autograph.
Gena shakes her head no but the Fan insists. She smiles at him and
indicates that she’d rather not. The Fan persists so her Lover jumps up
from his chair, grabs the heckler by the collar and Gena by her
shoulder and pushes them towards each other as if they were to kiss.
Gena resists and falls off of her chair and onto the floor.
CLOSE UP: On Gena’s face as she lies on the floor.
INT. A WORK STUDIO – NIGHT
Gena strolls in as her Lover urinates on one of his paintings.
She runs towards him and urges him to stop.
EXT. A NEW YORK CITY STREET – NIGHT
Gena and her Lover walk hand in hand. They both smile at each other.
They kiss.
Gena laughs after the kiss.
A baby is seen waddling towards the curb.
He gives her a heartfelt hug.
CLOSE UP: On her Lover. His expression changes a bit.
A bus approaches.
Suddenly her Lover breaks away from her and darts across the street.
CLOSE UP: On Gena as she reaches out, with her palm stretched out
she screams in utter hysteria.
A large horn blows, tires screech, a baby cries, the horrific sounds of an
accident dominate Gena’s senses.
END OF FLASHBACK
INT. THE ART GALLERY, SAME TIME – NIGHT
CLOSE UP: on Gena’s outstretched palm. Her shaking palm is

smoothly met by another more rugged looking one.
5
We see the face of this man. It is the same man at the park with the
guayabera shirt and the pipe. His name is BOBBY, early 40’s, tall, lean
with sad looking eyes and a forlorn look...her husband.
Their hands clasp then Gena leans her head onto his shoulder.
BOBBY
It’s time to go doll.
She nods.
They slowly walk towards the door as they again, acknowledge the
custodian.
From the P.O.V. of the custodian; they pass him, and we see the exit
door.
Near the door, hangs a photo of the celebrated artist...the Man of the
Hour.
CLOSE UP: On the photo of the ruggedly handsome man with the
pathetic smile and hurtful eyes.
We read the caption:
“Michel Felipe, born in Arecibo, Puerto Rico 1967, died East Harlem,
NYC, 2007...a genuine artist filled with truths.”
As the couple passes by, the lights in the gallery dim. Gena clings onto
her husband. She slowly passes her hand over the face of the photo of
the dead man...her previously seen Lover.
They exit.
INT. GENA’S OFFICE – DAY
The next morning, Gena is at work. She is in the middle of writing her
latest critique for her now famous column.
She puts aside the column for a moment.
She opens a desk drawer and removes a photo album.
Gena peruses through the album.
6
From Gena’s P.O.V.; A group photo of an apparent party scene with;
Michel Felipe hugging a Man wearing a bow tie, Gena, holding hands
with a sharply dressed Man, all flanked by a Man seemingly playing a
bomba drum.
Two people suddenly barge into her office.
The woman, ANN, early 30’s, blonde, very business like marches in and
sits in one of the chairs.
The man, TODD, early 40’s, balding, very cultured and refined, wearing
his proverbial bow tie and who was just previously seen in the group
photo, tactfully closes the door and remains standing by it.
ANN
Gena, look we all loved him...I guess you
more so-
TODD
...Ann, please!
ANN
(To Todd)
Hey are we going to speak plainly
here?
Gena slowly puts her pen down, closes her ledger and stares at her
two bosses.
ANN (CONT’D)
(To Gena)
We are a national magazine and you’re
not paid to editorialize per se...
our...your reputation is such that
objectivity and creativity is your...our
bully whip...our rep. It’s what and why
people subscribe.
(Pause)
I’ve never truly edited nor do I really
ever get in the way of your work here...
my God you’re practically a famous celebrity
and please don’t underestimate fame and
celebrity, not today! Fame is what this
new century is all about!
Todd uncomfortably shuffles his feet.
7
Gena suppresses a sudden urge to scream so she smiles at Todd
instead, as Todd purses his lips.
ANN (CONT’D)
Michel Felipe is not a Jackson Pollack!
He’s not even a Julian Schnabel...now
there! He’s someone! Write about
him...he’s it. An artist, a filmmaker,
somewhat commercial, the world loves
him-
Gena
...Okay when he dies I’ll write about
him.
Todd tries to cover a smirk.
Gena begins to play with her pencil.
ANN
I read your expose and it’s wrought
with sentimentality and melodrama!
The 21st century’s lost Picasso? You
kidding me or what? No way Gena,
either re-write it or it’s out!
Ann looks towards Todd.
ANN (CONT’D)
What are you Harpo Marx all of a sudden?
Speak up! You agreed, too.
Gena looks towards her long time friend, who can’t quite look at Gena
as he explains.
TODD
It could use a polish-
GENA
...I understand.
Gena snaps her pencil in half as Todd jumps a bit to the crackling
sound.
8
ANN
You’re not Lee Krasner, Gena and
Felipe...rest in peace was just
an ordinary low level-
TODD
...ENOUGH!!
Ann slowly turns towards Todd as Gena regains her composure.
Ann triumphantly now turns towards Gena.
ANN
Well?
Gena gets up, takes her purse, picks up her ledger and begins to walk
out of her office.
GENA
The piece stays as written or-
TODD
...Gena-
GENA
...you can fire me.
ANN
As you wish.
TODD
No need for-
GENA
...no threats, just a fact! Then you
two can explain to your bosses why I’m
gone. Look! Editing is one thing,
re-writing...I’ve never allowed that.
(Pause)
You decide and let me know by tomorrow
morning if you can.
She continues out the door of her office as Todd steps aside to let her
out. She’s gone.
9
Todd looks towards Ann as Ann can not hide her pleasure just as Todd
can not hide his displeasure.
INT. THE OFFICE HALLWAY, A MOMENT LATER – DAY
Gena takes a swig from her flask, holds her chest a bit, then lets out a
sound burp.
She looks towards her shaking hands and starts to walk.
EXT. A STREET IN THE CITY, LATER – DAY
Gena studies a small piece of porcelain artwork. It is the simplest yet

one of the most beautiful pieces she has seen in quite some time.
The sidewalk Vendor, an old friend, mentor, and former teacher:

JACOB, late 60’s, Puerto Rican, smiles towards his friend, as she
continues to examine the work.
Jacob begins to roll a cigarette as Gena suddenly seems to be in pain.
JACOB
Need an aspirin?
GENA
Like you wouldn’t believe!
Jacob digs into his other pocket, removes a joint and offers it to her.
JACOB
On the house!
Gena smiles at him and continues to study the porcelain.
GENA
Light it for me.
Jacob obliges, and takes the first hit.
He passes it to her, but she burns herself and drops the joint as she
reached for it, and also carelessly drops the art work.
They watch it shatter against the sidewalk as she yells out in pain.
Jacob picks up the joint, then studies the broken china and just shakes
his head.
10
JACOB
That cost me five bucks, was gonna
sell it for thirty. Some china-men
told me it was special. He had three.
I shoulda bought all of ‘em...damn!
Gena takes out a ten dollar bill and offers it to her friend.
Jacob at first hesitates, before he snatches the bill.
JACOB (CONT’D)
Need it today.
Gena looks at the porcelain on the sidewalk.
GENA
I want the pieces.
She bends down and tries to recover all of the broken parts. She
notices on one of the pieces, an oriental marking. Jacob nods.
JACOB
The name of the artist, huh? Another
anonymous genius.
Gena puts all of the remaining pieces inside her purse.
GENA
Yeah.
Jacob offers the joint.
GENA
Nah...you finish it, I’m okay now.
Jacob proceeds to smoke the joint.
GENA (CONT’D)
Jacob why are you not acting anymore?
He appears melancholic and shrugs.
JACOB
A million reasons-
11
GENA
...Try one?
JACOB
Aahh...I was never really any good.
GENA
Not true!
(Pause)
Teach again...your acting classes
were so inspiring.
JACOB
Were they?
GENA
Yes...and your Iago was the best New
York had seen in decades. And when you
did Richard III, I actually cried.
Imagine crying for that bastard...
Not even Olivier could ever pull that
one off.
JACOB
Exactly!
GENA
What do you mean?
JACOB
You hit it on the head. Long time
ago anyway. Nobody really wants
Shakespeare...it’s all super hero cartoons
now. Man with the new technology, they
soon won’t need actors anymore, all
animation and special effects-
GENA
...I’m talking theatre!
JACOB
My brain is all mush now.
He holds his side to control the sudden attack. He is in great pain.

Gena concerned, asks.
12
GENA
Are you still in remission?
He laughs.
JACOB
I guess you can call it that.
She suddenly hugs him very tight. They clinch for quite a long
moment.
CLOSE UP: On their faces.
She releases first, then, he does. She abruptly kisses him on the lips.
GENA
You, along with the late greats,
Jose Ferrer and Raul Julia...were
the greatest Puerto Rican actors in all
of history!
Jacob sadly laughs, and gets very melancholic.
JACOB
Not bad company.
She nods.
GENA
Yep, not bad company!
JACOB
Though God took Raul far too early...
young too...Fifty-four was it?
(Pause)
He was just approaching true art with
his craft, real art! What did Meisner
try to teach us all...that it takes
twenty years before one becomes a
true actor.
(Pause)
Raul was right there then...
Gena gently strokes his shoulder.
13
GENA
Get back on stage. Test that mush!
Jacob looks at her very solemnly.
JACOB
I’m in the wrong century babe. Hell
I’m even ugly, with bad teeth too!
They both laugh.
Gena takes out a twenty dollar bill.
GENA
This makes it Thirty...sold!
JACOB
Deal!
He takes the bill.
JACOB (CONT’D)
And don’t worry about me...hell I don’t
even like buses.
Gena freezes, as the smile leaves Jacob’s face as well.
GENA
Shame on you for that!
JACOB
Didn’t mean anything by it...heck I
loved him too...he was one of my best
students back in the day, as you were-
GENA
...You of all people! How dare you?
JACOB
Relax. I’m just as pissed about it as
you are.
(Pause)
Hey you were there...well...you know what
I mean then, don’t you?
She looks at him.
14
GENA
Goodbye Teach.
She turns and walks away as he stuffs the Twenty dollar bill into his
shirt.
MONTAGE:
THE FOLLOWING SEQUENCE IS SHOT MOS (sans sound)

underscored by the melodic tune of a cello.
EXT. A NEW YORK CITY STREET, LATER - DAY
Gena gives money to a STREET PERSON who plays the violin.
EXT. A SIMILAR STREET, SAME TIME – DAY
Gena walks past the Juilliard School and sees a YOUNG WOMAN,
holding her portfolio, crying.
Gena tries to console the young artist, who offers to show her portfolio
to Gena.
Gena obliges and takes the time to look at her work.
The young woman kisses Gena on the cheek.
EXT. A STREET, LATER - EARLY EVENING
Gena listens to a MAN who stands on a milk crate, and recites poetry.
He looks like a bum, but obviously from the behavior of several
onlookers, he has everyone, including Gena, mesmerized.
EXT. A STREET, SAME TIME – EARLY EVENING
Gena stops to look at a huge poster of the latest soap opera TV

personality and just shakes her head.
EXT. A STREET, LATER - EVENING
Gena watches TWO young BLONDES get out of their limousine as

paparazzi mob them.
She stops to see who these two are and realizes they are just the latest
heiresses who have been in the tabloids, nobody.
15
Gena disgustedly begins to leave the scene when she notices an OLD
MAN, standing with a poster that reads “VIVA PUERTO RICO LIBRE”.
The man sips at a bottle of rum and is oblivious to his surroundings.
More paparazzi and a small group of passers-bye see the heiresses and
practically trample over the Old Man, in order to get to the heiresses.
The Man’s poster is torn and he sits on the sidewalk dumbfounded.
Gena walks over to him and suddenly recognizes him. The Old Man is
a known political activist and poet.
She tries to talk to him, and he tries to remember her.

but the Man abruptly looks around him, appears scared, picks up his
torn poster and runs down the street.
Gena is left standing there.
END OF MONTAGE.
EXT. A DOWNTOWN STREET, LATER – EVENING
Gena is near the SOHO district where she lives with her husband
Bobby.
She stops to have an Italian ice and makes a call on her cell phone.
GENA
Honey?
INT. GENA’S LIVING ROOM, SAME TIME – EVENING
Bobby, in his underwear, sips at his wine and munches on some

cheese, as he listens to Bach.
He talks into his cell phone.
BOBBY
Yeah?
EXT. SAME STREET, SIMULTANEOUS – EVENING
Gena licks at her ice while talking.
GENA
Can you hear me?
16
BOBBY (V.O.)
Barely...hold it a minute.
(Pause)
Okay, I can hear you now.
Gena slurps at her ice.
BOBBY (CONT’D) (V.O.)

What are you sucking on?
Gena spills some ice on her blouse.
GENA
Lemon ice.
BOBBY
Mario’s Italian?
GENA (V.O.)
Yep.
BOBBY
They’re hard to find these days
outside of The Bronx.
GENA (V.O.)
Yeah, that’s what the sign said, but it
doesn’t seem to taste right though?
BOBBY
What does these days?
Bobby spills his wine.
BOBBY (CONT’D)
Dammit!
GENA (V.O.)
What?
BOBBY
Nothing...spilled something.
17
Bobby turns as he hears the sound of the shower from the bathroom.
He smiles.
BOBBY (CONT’D)
What’d you say?
EXT. SIMILAR STREET, SAME TIME – EVENING
GENA
Honey...I’m on my way home now and-
BOBBY (V.O.)
...NOW? I thought you were-
GENA
...Nah, it didn’t...anyway listen.
I just realized that I am near McCann’s
Bar. I wanna stop in and see Kevin,
see if he’s in...don’t know if he knows
GENA (CONT’D)
yet?
Bobby is a bit relieved.
BOBBY
Fine, okay.
GENA (V.O.)
Okay?
BOBBY
Yeah.
GENA (V.O.)
What?
BOBBY
I said okay...don’t be too late.
GENA (V.O.)
Okay, bye.
BOBBY
...bye-
18
He too quickly puts the phone down and runs towards the bathroom.
BOBBY (CONT’D)
Hey...you gotta go!
EXT. SAME STREET, SIMULTANEOUS – EVENING
Gena had not yet closed her phone, and thought she might have heard
Bobby yell something. She looks at her cell phone and places it back
to her ear.
Her expression changes as she hears music from the phone and some
muffled voices.
VOICE (V.O.)
Oh shit!
The line goes dead.
She slowly closes her phone, hurtfully sighs, and continues to walk
towards the bar.
INT. A BAR BASEMENT, A MOMENT LATER – EVENING
A poker game is in session. Seven card stud, a cash game. There are
only Four Players. One of them is KEVIN, early 40’s, “black Irish”.
Kevin is the previously seen sharply dressed Man in the group picture
in Gena’s photo album.
They are in the middle of a hand.
Kevin studies his opponent for a moment, takes a sip of beer, looks at
his cards, then, looks up again.
A YOUNG PLAYER is impatient.
YOUNG PLAYER
You gonna call, raise, fold...what?
Kevin slowly turns to face this big mouth to his right.
KEVIN
You in this hand?
(Pause)
19
Then shut the fuck up!
The Young Player abruptly gets up from his chair, walks to the
bathroom and slams the door.
KEVIN (CONT’D)
(To no one in particular)
Kids...playing poker.
Another Player, COSMO, early 40’s, Puerto Rican, who is not in the
hand, nods his head.
COSMO
Yeah...the poker boom man! Every
squirt thinks he’s Amarillo Slim.
The Other Player, who is in the hand, early 30’s, retorts.
PLAYER #2
You mean Phil Helmuth...the kids today
don’t know Amarillo Slim from Homer
Simpson.
Kevin laughs.
KEVIN
The casinos, the internet...all that cash,
you got loads of young punks with no class,
no style...don’t know shit about life
nothing! Talking like King Kongs of poker,
acting like fuckin’ orangutans after they
suck out a hand.
COSMO
Drives me crazy! If those kids tried
that shit in street games, they’d lose
teeth besides their money.
KEVIN
It’s the times we live in...like football,
I can’t take the African jungle bunny
touchdown celebrations!
COSMO
Touchdown celebrations? How ‘bout after
COSMO CONT’D)
20
a simple tackle?
KEVIN
It’s all bull. Lombardi, Landry, they’d
throw them off the field on the spot.
The Young Player comes out of the bathroom.
YOUNG PLAYER
Still?
Kevin stares at the kid, who thinks better than to say another word.
KEVIN
(To Cosmo)
It’s a fad. Like anything else...don’t
worry, all those young brats today, five,
ten, years from now, nine out of ten will
either be broke, out of the game, stuck in
an insane asylum if they don’t first jump
off one of those casino balconies...dead and
buried, over and out.
PLAYER #2
I would like a decision though.
KEVIN
You’re right pal, raise pot...eighty
bucks.
Kevin stares at the Young Player.
The BARTENDER comes down the stairs and walks towards Kevin.
BARTENDER
Kev, you got a girlfriend upstairs
asking for you.
KEVIN
Okay.
PLAYER # 2
Call!
KEVIN
21
Two pair...kings up.
The other player tosses his cards.
Kevin rakes in the cash, and gets up from the table.
KEVIN (CONT’D)
If I’m not back in ten then I’m gone.
YOUNG PLAYER
Adios man.
Kevin smiles at the kid and follows the Bartender up the stairs.
COSMO
Okay... a three way, just the way
I like it. Let’s play some cards.
The other player gathers up the cards and begins to shuffle them as
Cosmo looks pensively towards the steps.
A Man dries his hair. His name is MERV, late 30’s. He smiles towards
Bobby as he puts on his shirt.
MERV
I don’t think...can I be straight?
Bobby nods.
BOBBY
Please.
MERV
Not sure if it’s any good...look
poetry is...hard, I...wasn’t moved. But
that’s me. Revisit it...it, I don’t
know...misses...for me, that’s all.
BOBBY
You think so?
MERV
Hey what do I know?
22
BOBBY
Plenty!
MERV
It’s all tastes babe, don’t take what I
say to heart, just...just, I don’t know,
look at it again.
BOBBY
It’s all I do.
(Pause)
Gena’s on her way up.
Merv freezes.
MERV
Now?
BOBBY
Soon.
MERV
Shit, time to go.
BOBBY
No...well, yes and no.
MERV
What do you mean?
BOBBY
Yeah, I guess it would be best if you
did go.
They hug as men. But Bobby then holds on just a bit longer than
usual, to a startled and pleased Merv.
Bobby does not quite let go, then finally does, but this time Merv holds
on for a moment.
Then Merv, lets go.
Bobby looks sheepishly at Merv, who nervously smiles.
23
MERV
I better get my little ass outta here.
INT. McCANN’S BAR, SAME TIME – EVENING
Kevin sees Gena sitting at the bar’s northeast corner stool. She sips at
her Seven and Seven drink.
She sees him, waves, smiles, and she gets up from her stool as Kevin,
with a becoming smile, approaches her. Gena tries to hug Kevin, who
suddenly side steps her and slides to the other stool.
Gena, perplexed, is still for a moment.
Kevin then indicates for her to sit back down on her stool.
Gena hesitates, tries to maintain a smile, and slowly sits down.
After a moment, Kevin breaks the silence.
KEVIN
What the fuck do you want?
Gena abruptly gets up but Kevin grabs her arm.
KEVIN (CONT’D)
Okay...come on...sit back down.
Gena does not move.
KEVIN (CONT’D)
Please.
She slowly sits on the bar stool.
KEVIN (CONT’D)
(To the Bartender)
Johnnie Black, straight up...double.
The Bartender gets the scotch, pours. They both watch as he finishes.
He tends to another customer. Kevin gulps half of his drink.
KEVIN (CONT’D)
Okay, sorry, it’s just...explain it to
24
me. Was it an accident?
Gena now gulps and finishes her drink.
KEVIN (CONT’D)
Felipe was nuts, we all knew that...
a total fuckin’ nut, but...careful,
you know? He enjoyed being a miserable
mensch to suddenly just check out like that?
Am I right?
Gena plays with her empty glass.
KEVIN (CONT’D)
You were there...what happened?
Kevin indicates for the Bartender to mix Gena another drink. He does.
They solemnly watch the ritual to the end, then, the Bartender walks to
the other end of the bar.
KEVIN (CONT’D)
Don’t want to talk?
GENA
I’m here to drink Kev...and, I just
wanted to say hello...know what I mean,
hello, that’s all.
Kevin nods then finishes his scotch.
KEVIN
What about his estate?
GENA
He’s got some brother coming
out of the woodwork...some businessman
type I hear with a bunch of kids.
Kevin glances affectionately towards Gena.
GENA (CONT’D)
His art won’t go anywhere.
KEVIN
That’s my point.
25
GENA
No...I don’t know, I mean...
KEVIN
I’ve got three of his paintings.
GENA
Really?
KEVIN
Yeah...what? You think you and Todd are
the only ones from the old crowd who
appreciate art?
Gena very sensually touches Kevin’s shoulder.
Kevin stiffens up a bit.
KEVIN (CONT’D)
Don’t do that.
She continues to sensually massage his shoulder.
KEVIN (CONT’D)
Look. I’ll fuck ya, if that’s what
you want. It’s one of my fondest...
(Pause)
...memories.
Gena stops the massage, very hurt.
KEVIN (CONT’D)
It’s not that I don’t respect the
marriage vow...do you not?
(Pause)
Sorry.
Gena tries to stay put but gets very fidgety.
KEVIN (CONT’D)
How is that fruitcake husband of yours
anyway?
Gena starts as if she is about to leave.
26
KEVIN (CONT’D)
You’re not going to pretend that you’re
going to leave again are you?
GENA
You’re a real horse’s ass Kevin!
She gets up to leave and this time she does.
After a moment, she’s gone.
KEVIN
(To Himself)
And you’re a real heartbreaker baby.
(Pause)
Damn.
(Pause)
KEVIN (CONT’D)
Motherfu-
(Pause)
God I...what the hell!
Kevin indicates for the Bartender to come over.
KEVIN (CONT’D)
Johnnie Walker BLUE...open a bottle
for me.
Kevin shudders, recovers, smiles.
The Bartender brings over the Twenty-five year old scotch and
ceremoniously opens the bottle, takes out a special glass, and extra
wipes it clean.
KEVIN (CONT’D)
Get yourself a glass too.
The Bartender does so and gently pours two glasses.
They toast.
KEVIN (CONT’D)
To Michel Felipe...last week a two bit
unknown artiste...tonight, one of the
honored dead...with a posthumous show
27
to boot.
They both drink.
KEVIN (CONT’D)
Again!
The Bartender obliges as Kevin takes out three one hundred dollar bills
and places them on the bar.
They toast again.
KEVIN (CONT’D)
To true...hah! Almost said true love,
but that’s crap.
(Pause)
No...to true...yes, to true Art!
They both down the sweet scotch.
KEVIN (CONT’D)
Man, that’s good.
Kevin now plays with the empty glass as the Bartender tends to
another customer.
EXT. A STREET IN THE CITY, LATER – NIGHT
Gena continues her daily walk home, loving it as usual.
She passes by Washington Square Park and although it’s late, there
seems to be some vibrant activity by (MORE)
(CONT’D)
some of the benches. It is fully lit and there is crowd noise at the south
end of the park near NYU.
She decides to follow the light and strolls towards the action.
She is spotted by another friend. It is CRUZ, early 40’s, Puerto Rican.

Cruz is squatted by a bench, he gently strokes his ever present bomba
drum. He is the man previously seen with the drum in the group
photo.
Cruz looks disheveled and worn, as if he has not slept or eaten for
hours on end. He sweats profusely.
28
CRUZ
Aqui, sister!
Gena hears his voice, turns, smiles and shakes her head as she walks
towards him.
GENA
What is this...I feel like I’m in
the middle of some kind of reunion?
CRUZ
What’s that, chica?
GENA
Nothing...como estas?
CRUZ
Ahi, aca, you know.
(Pause)
You just missed my jam.
GENA
Apparently! Are you alright?
Cruz coughs violently and spits out some phlegm.
CRUZ
Never better.
He continues to cough.
CRUZ (CONT’D)
You?
He finishes his cough.
CRUZ (CONT’D)
Yowsa! That one was a doozy como los
blancos se dicen, no?
GENA
Yeah, I’m okay...inside.
CRUZ
That’s where it counts chica. Hear the
CRUZ (CONT’D)
29
latest about Michel?
GENA
Yeah, they’ve already decided to close
his show...although to tell you the
truth it seemed more like a wake to me.
It was just a tribute...short term,
contingent on interest, sales.
CRUZ
How many sold?
GENA
Just the one I bought.
Cruz sadly ponders for a moment and says.
CRUZ
Maybe I should have donated his, what
I think is his masterpiece, “El Maestro”.
GENA
You have that?
CRUZ
He gave it to me just a week before he-
GENA
...Didn’t know that?
CRUZ
Yeah Felipe man, I tried to teach him
pace, karma...how to chant, to go with
life’s natural flow you know.
(Pause)
I guess it didn’t take.
GENA
He was-
CRUZ
...beautiful!
They both take a moment to think about Michel Felipe, and they both
sigh simultaneously.
30
Then they look at each other and just laugh.
CRUZ (CONT’D)
Well, now he lives right?
(Pause)
That’s what I’m wrestling with.
(Pause)
I am my music, but I won’t record. I think
it corrupts it, call me crazy I guess.
But if I check out...my music goes with me.
Kind of stupid...I should record.
GENA
Honey nobody plays bomba y plena like you.
CRUZ
Yeah but the music, the authentic bomba
y plena is gone...out of style.
Cruz begins to tap rhythmic beats on his drum as he talks.
CRUZ (CONT’D)
It’s all that crap reggeatón now and other
shit derivatives.
He bangs on the drum.

CRUZ (CONT’D)
But see, that’s all I’ll ever play.
The real exquisite bomba right here
on the streets where it belongs, no CD
man...you know I caught some yuppie dude
trying to IPOD me man...I just freaked!
They could do that now, record music on
the fly with an IPOD and presto instant
record, then You Tube it, download...
man somebody just hand to me a fuckin’
gun! Fuck...big brother is musically
and literally sniffing up my culo man!
(Pause)
Recording? Man...what do you think?
GENA
Do what pleases you baby.
Cruz stops playing and just slouches.
31
Gena reaches to console him when he just as suddenly lightens up
again.
CRUZ
I’ll have to think about this?
(Pause)
Wonder what Michel would say?
GENA
Do it. Just...do it!
CRUZ
That’s it...right...contra man,
Felipe, man, I loved him.
Gena points toward all the lights and the crowd noise.
CRUZ (CONT’D)
Chess!
GENA
All that...for chess?
CRUZ
There’s a kid taking on ten tables at
once...ten matches simultaneous and
CRUZ (CONT’D)
from what I understand, he can whip all
of their asses clean.
EXT. WASHINGTOM SQUARE PARK, A MOMENT LATER – NIGHT
There are ten tables, with Ten Players seated (horizontally from each
other.) There are wooden chess pieces and time clocks on each table.
There’s a crowd of on-lookers, friends, and family of the players, chess
connoisseurs and some stragglers.
The lights give the whole scene a surreal ambiance as we see a chess
protégé named FRANCIS, 19. He wears glasses and has black curly
hair. He quickly darts from one table to the
next, makes moves, hits the time clocks, dodging, bobbing and
weaving like a boxer as he maneuvers from table to table.
32
Gena is amazed as Cruz sets up his bomba drum and starts to tap a
rhythmic beat that orchestrates Francis’ every movement as one by
one he dominates his opponents.
The ANNOUNCER sits at a table with a loudspeaker and calls the play
by play.
ANNOUNCER
Checkmate on table number Three!
The PLAYER from table Three shakes his head in utter disbelief as the
crowd finally lets out a huge roar.
Moments later.
ANNOUNCER (CONT’D)
Checkmate on table number Six!
The PLAYER from table Six, an OLDER WOMAN, scowls at Francis.
After a couple more bobs and weaves to the bomba beat provided by
Cruz we hear.
Checkmate on table number Seven!
The crowd really let’s out a huge roar on that one in that the PLAYER
on Seven is a fairly well known club pro. The Pro smiles in amazement,
the crowd cheers. TWO YOUNG WOMEN
start what seems to be almost a ritualistic dance choreographed to
Cruz’ bomba rhythms.
Suddenly Francis stops. He is breathing heavily. He stands in front of

table number Two. Francis can not seem to decide what to do here, so
he skips table Two and slides to table number One, much to the delight
of the PLAYER on table Two.
The crowd is now enjoying Cruz’ rhythms as he follows Francis’ every

nuance.
CLOSE UP: on Gena as she looks towards a very well dressed and
distinguished looking MAN, early 30’s. He has a slight resemblance to
Francis.
This Young man has been watching Francis like a hawk.
33
As Gena eases a little towards this Young Man we hear.
ANNOUNCER
Checkmate on table number Eight-
Francis darts to the adjourning table and slams the clock.
...What...my God and...yes, yes,
checkmate on table number Nine, almost
simultaneous mates!
The crowd shouts their approval as Cruz, the Dancers and Francis are
totally synchronized.
TWO POLICE OFFICERS run towards the crowd thinking something is

wrong. They quickly realize everything is fine.
Another OLDER WOMAN starts to dance with the two Younger ones,
and now a MAN begins to dance with them all.
After a few darts and moves from table to table suddenly Francis stops
cold.
The Young Man jumps to his aid. Francis waves him off.
Gena follows the Young Man.
Francis makes another move and slams the clock.
Checkmate on table number Four!
The Announcer sips at his beer.
Cruz tries a new rhythm.
The Dancers pick up on it and resume their dance.
Francis continues his assault.
Francis stops in front of table number Two, makes a move and slams
the clock then darts to table number Five. He hesitates, makes a move
then goes to table number Ten.
GENA
34
(To the Young Man)
Never seen anything like this!
The Young Man turns towards Gena, his name is PHIL.
PHIL
And you never will lady.
Gena is startled. She then puts out her hand.
GENA
Gena.
Phil takes her hand and shakes it as he keeps his eyes on Francis.
PHIL
Phil.
Francis darts back and forth from table to table, as Cruz’ continues his
accompaniment. Gena prods a little.
GENA
Excuse me...may I ask?
(Pause)
What did you mean by that...Phil
is it?
Phil studies her and recognizes who she is.
PHIL
You on a story? You can’t report this.
ANNOUNCER
Checkmate on table Ten!
The PLAYER from table Ten pounds the table. Enraged, he knocks
pawns, rooks and other pieces all over the place.
A piece goes astray, hits a female BYSTANDER, as her male

BOYFRIEND angrily reacts. The Player stalks off.
FRANCIS
(Laughing)
My Dad used to do that?
35
The crowd laughs with Francis, as the Policemen edge a little closer to
the action now.
Phil looks at Gena very carefully.
GENA
I’m not here to report anything...I’m
just a fan right now.
Phil nods, and focuses on Francis again.
He decides to talk to Gena, while always looking at Francis.
PHIL
That kid...kid...that genius, he’s
my little cousin.
(Pause)
Best chess player on the planet period!
I’d match him against any grand master,
anywhere, anytime, anyplace in the world.
PHIL (CONT’D)
(Pause)
But he won’t play...something about his Dad,
my Uncle...how he got screwed by the “suits”
and organizers and sponsors as Francis calls
them. So he won’t play in the tournaments,
or any of the prestigious matches...
anything that is produced by
the so called “suits”.
ANNOUNCER
Checkmate on table number Five! Only two
tables are left!
The crowd loudly cheers! The Policemen join in.
Francis sits down, much to Phil’s apprehension. Phil hurries over with a
fresh bottle of water.
Francis takes the bottle and smiles at his cousin.
FRANCIS
Don’t know yet about the last two
cous’?
36
Phil affectionately touches Francis’ shoulder and walks back towards
Gena.
Francis notices a beautiful caterpillar slowly crawling towards his feet.
One of the Dancers walks up to Francis to warm up to him.

Francis looks up to her for a fleeting moment and unbeknownst to her
she inadvertently steps on and crushes the caterpillar.
When Francis looks back down, to his horror, he sees the mangled
creature.
Francis rises, picks up the now dead caterpillar, and

cradles it into his shirt pocket. The Dancer stares at him with a weird
and confused look.
Francis ignores her as he resumes play.
Phil is back next to Gena.
PHIL
(To Gena)
Will only play in the streets...his...
my Uncle died there...on a street, chasing
a cab going to some meeting for some film
project or something like that...not sure?
Francis ponders his next move.
PHIL (CONT’D)
I’m a talent agent for goodness sakes!
Could book him anywhere...we’d make a
PHIL (CONT’D)
fortune.
(Pause)
But he won’t have it.
GENA
An artist with principles, nice
to see.
Phil looks at her for a moment.
PHIL
Last month though, after some begging
37
on my part, he now allows me to set up
these little street extravaganzas, where
I can with his permission...take some
action.
(Pause)
But he won’t take any of the winnings!
(Pause)
See those two guys over there wearing
suits?
Gena spots the two “lawyer” types and nods to Phil. Both MEN seem a
bit apprehensive.
PHIL (CONT’D)
Two more mates and they’ll fork over
40 thou cash!
GENA
Happy?
Gena winces at her insensitive remark as Phil chooses to ignore the

slight.
GENA (CONT’D)
Sorry.
Cruz’ rhythms have become very slow and subtle. The Dancers have
stopped. The two remaining Players stoically sit still, as Francis needs
to make moves at each table.
One of the lawyers breaks a smile.
The crowd is silent.
PHIL
My little cousin...a true artist
at work.
CLOSE UP: On Francis, who seems a bit perplexed for the very first
time.
Cruz’ rhythm takes on the sound of Francis’ heart beat.
PHIL (CONT’D)
Beautiful...a work of art...a gift
from God.
38
Francis makes a move and slams the clock. Player on Table One
counters as Francis makes a quick move as Player on table One quickly
counters.
Francis moves again. The Player smiles and makes his moves. Francis
moves again and viscously slams the clock.
Francis runs to table Two and makes a move.
He shifts back to table One and makes another move.
The Player on table One slams the table as Francis smiles to the
adoring crowd.
Suddenly Francis grimaces in pain for a second. Only Phil, Gena and
Cruz noticed that grimace.
Player on table Two is no longer smiling.
Cruz bomba picks up.
Player on table One, frustrated and in disbelief knocks over all of his
remaining pieces off of the table. He is embarrassed and defeated and
thus forfeits the game.
The lawyers are no longer smiling.
Francis giggles as only he can.
The crowd roars.
The suits sweat.
FRANCIS
(GIGGLING To Player #1)
And my brother used to do that!
There is laughter all around, as Player One slumps to the ground.
Player on table Two, glances at the clock, and studies the board.
PHIL
But I guess God wants him back more
than the demons of this life do?
39
Gena looks at Francis carefully and notices that there is dried up caked
foam around his mouth and his breath is measured and shallow.
Francis wipes off the crud, and spits onto the ground.
CLOSE UP: On Francis reveals that his lips are parched as he

grimaces slightly to camouflage his acute pain.
CLOSE UP: On Phil as he fights to remain calm.
Francis in a moment of epiphany, stalks, makes a move and slams the

clock. Player Two quickly counters. Francis like lightning moves and
slams the clock.
Player Two sits dumbfounded. A moment, before Player Two very
slowly and deliberately slinks away from the table and resigns.
ANNOUNCER
We have a winner! El Maestro! Master
Francis!!
The crowd wildly cheers as Cruz feverishly beats on his drum.
One of the dancers hugs Francis and the two lawyers nod towards Phil.
A sudden wind envelopes the entire park as leaves fly everywhere.
The crowd begins to disperse as Phil walks towards the lawyers.
The Policemen shake Francis’ hand as the Announcer sips his beer.
The lawyers hand over a small briefcase to Phil. Phil shakes their
hands.
Cruz broadly smiles.
CLOSE UP: On Francis who suddenly appears very sad as he weakly

smiles to the remaining crowd to a final applause.
Francis takes a bow, then looks towards the sky and makes the sign of
the cross as Gena looks at him with awe.
Francis walks over to her. They look at each other for a moment. He
smiles. She smiles back.
Francis turns and begins to walk away.
40
Francis continues his walk, the lights dim, and Phil begins to supervise
the clean up.
Francis continues to stroll, alone, towards the dark corner of the park.
Phil takes a moment and watches his cousin go and bows in salute to
him.
Francis at that moment without looking back waves and continues his
walk.
Gena, not knowing what to do, decides to just smile towards genius.
Unbeknownst to anyone, Jacob sits on a secluded stoop next to a

garbage can. He sips from a small plastic milk container. Jacob follows
Francis with his eyes and smiles to himself.
Francis does not notice Jacob and soon disappears into the night.
INT. GENA’S LIVING ROOM, LATER – NIGHT
Gena walks into her apartment. She plops onto her couch.
She takes off her shoes, sweater and opens up her blouse.
She looks for and finds a cigarette on the coffee table.
She sees an unfamiliar book of matches. She does not light

her cigarette and puts it down.
She opens up her purse and takes out the broken pieces of
the Chinese porcelain.
Bobby, wearing boxer shorts, ambles over and kisses her on

her forehead, walks over to the makeshift bar and mixes two drinks.
Gena works on the assemblage of pieces as Bobby brings the

drinks over.
They look at each other for a moment. He sips. She gulps.
GENA
Who was here?
A long moment, Bobby decides to tell the truth.
BOBBY
A painter-poet...critic, friend of mine!
41
GENA
Woman?
BOBBY
No...a kid...a man, a nice man.
GENA
Bobby.
BOBBY
Yeah?
GENA
Come here.
BOBBY
Come here? What...I’m here.
GENA
Closer.
He gets close and affectionately touches her hair.
GENA (CONT’D)
I saw some beautiful people today!
Wonderful people...human beings.
(Pause)
They all...it was as if...
She slouches as Bobby starts to kiss her. She

returns the kiss. He kisses her again.
GENA (CONT’D)
Bobby.
As they continue to kiss.
GENA (CONT’D)
Bobby?
He kisses her and removes her blouse.
GENA (CONT’D)
Did you write today?
42
BOBBY
Yes.
GENA
Did you feel good while writing it?
BOBBY
What do you mean?
GENA
Did you feel it...inside?
BOBBY
What I-
GENA
...Inside...did you feel it?
He shrugs. They kiss again. She allows him to unclasp her

bra, but it does not fall and remains in place.
GENA
Bobby...
(Pause)
I want a divorce.
Bobby freezes.
INT. THE BATHROOM, LATER - NIGHT
Bobby, red eyed from crying, disheveled, looks at himself

in the mirror.
INT. GENA’S BEDROOM, SAME TIME – NIGHT
The moonlight glistens from the window. We hear what seems to be

some kind of a howl.
The room is very dark and we can barely see Gena.
Gena just lies on her bed, eyes wide open. She stares at
the ceiling.
She is stark naked.
43
INT. A LOFT LIVING ROOM – DAY
A handsome Man, late 30’s, previously seen at the Art Gallery honoring
Michel Felipe, named LUIS, Michel’s younger brother, wears a three
piece suit. His nails are meticulously manicured. His shoes are
brightly polished. An older Woman, also previously seen at the Gallery,
Michel and Luis’ Mother, named TERESA, serves her son a cup of
Bustelo coffee. His half-SISTER, named LIZ, early 30’s, stands holding
her BABY BOY, 2, while her lover and partner named LILLIAN, early
30’s, pretends to read her magazine.
Luis puts down his coffee and starts to read a legal

document when Liz interrupts.
LIZ
Well...that’s it?
(Pause)
Do we...are all of his works
accounted for?
LUIS
For the most part...there has to
be at least twenty or thirty pieces
out there that he just gave away.
LIZ
(Sarcastically)
The saint-
TERESA
Oye...respeta mija!
LUIS
...At least that I’m aware of.
Liz puts the baby down, who quickly waddles towards Lillian, who picks
him up and places him on her lap as
she sets the magazine aside.
LUIS (CONT’D)
We really can’t put a claim on those,
They’re gifts...sort of, anyway possession
is nine tenths of the law, and there is
no documented chain of title.
(Pause)
He didn’t keep any ledger, records,
44
anything? He didn’t even sign some of
them.
He looks at Liz.
LUIS (CONT’D)
We may have to do something about that.
TERESA
Cuidado...los dos-
LUIS
...no te apure Mamita-
TERESA
(To Liz)
...Aha! Dios esta aqui mismo.
Recuerdate de eso...mal criada.
Teresa leaves for the kitchen.
Liz smiles, as Lillian just shakes her head. Lillian gets up and takes the
baby with her.
LIZ
I can do that.
Luis smiles towards Liz.
LUIS
I’m counting on you...you’re a real
artist that way.
He gathers all of the documents and continues to read.
LUIS (CONT’D)
Who’s Gena?
LIZ
His last fling?
LUIS
Think so?
LIZ
Why not?
45
LUIS
Maybe she can be of some use?
Liz thinks for a moment and finally realizes something.
LIZ
Wait a minute, wait a minute...
she’s that famous critic I think,
Gena...Cassel. I think she started
out as a-
Luis accidentally spills his coffee.
LIZ (CONT’D)
...What the hell is wrong with you?
LUIS
Relax.
LIZ
My rug you imbecile! Cost me a thousand!
It’s Persian, priceless...from Turkey.
LUIS
Make up your mind.
LIZ
What?
LUIS
Either it’s Turkish or it’s Persian, can’t
be both.
LIZ
It’s freakin’ authentic, whichever!
LUIS
Then you better hurry and clean it up.
Liz starts for the kitchen but Lillian beat her to it and wipes the stain
clean.
LILLIAN
It’s Persian.
46
LIZ
This Gena...I think she was a novelist
or poet, not sure.
LUIS
Which is it?
LIZ
Which what?
LUIS
A novelist or a poet?
LIZ
Carajo man I said not fuckin’ sure!
I think she hooked up with ABC-TV as a
cultural liaison...whatever the shit
that is? Now I believe she’s head culture
critic for that national mag, I forgot
the name but she’s pretty famous anyway.
LUIS
Yeah, I think I know who you’re talking
about?
LIZ
What did that guinea wop lawyer say...
what’s his name Guisseppe what?
LUIS
That it could be worth over a hundred
thousand in about six or seven years?
LIZ
A hundred...six or seven...that’s all?
Luis hesitates then smiles.
LUIS
Per painting!
Liz practically springs up and down.
LIZ
That dumb SOB WAS a freakin’ genius
after all! Hah!
47
(Laughing)
Who would have known?
She devilishly smiles. Luis grins.
Lillian, holding the baby, enters the room.
She is disgusted with the both of them.
Teresa also enters holding onto a Bible. She slowly places the Bible on
the table for Luis to see.
Lillian intentionally spills milk on the rug.
INT. GENA’S OFFICE – DAY
Todd enters Gena’s office with a piece of paper in his hand. His face is
ashen.
TODD
Gena...thirty days?
(Pause)
Why?
Gena looks up, her eyes are bloodshot. Todd sees this and
is concerned for her.
TODD (CONT’D)
Have you slept at all?
(Pause)
The higher ups are livid!
(Pause)
You’ve worked so hard.
Gena bangs on her desk.
GENA
No I haven’t!
Todd is taken aback.
GENA (CONT’D)
Am I a writer? A critic, an artist,
a bullshitter maybe...an essayist?
A poet, actress what? I’ve done all of
that, all of it...I’ve done it!
48
Where is my art though? What have I done
that is respectable? Money? I have it!
So? Have I written anything that
I can be proud of...one perfect line?
One? Where’s my body of work?
She tosses whatever is on her desk onto the floor. Todd closes the
door so as not to alarm the rest of the workplace.
Gena appears frantic and is now beside herself.
TODD
Gena, please!
GENA
The other day I heard a poem from a
Latino standing on a milk crate...he
recited, “...human beings long for the
transformational powers of the
caterpillar...”, you hear that?
Todd nods approvingly.
GENA (CONT’D)
Simple yet beautiful...listen to that!
It rings of at least seven metaphors,
simultaneous...that’s a verse, that’s
what I want!
(Pause)
My last column, I ripped into a playwright,
filmmaker, director...a failed artist,
failed? Know why she is now considered
a failure? Because of me! She did a movie
about her beloved Puerto Rico...who says
she’s a failure...know who did the review?
Me! I did! It’s ludicrous!
Gena rips into one of her magazine clippings.
GENA (CONT’D)
The film...was lovely...just was not
commercial and I butchered it for her.
You see...
(Pause)
What do I want?
49
TODD
What? To write? Write...what?
(Pause)
Do it. Remember...just, do it!
GENA
NOooo!
(Pause)
The cocoon...I want the fucking cocoon!
(Pause)
Damn you Felipe!
Todd tries to console her but Gena won’t have it and

she backs away from him. Todd does not move.
GENA
Felipe...I wish I had seen it...I
just don’t know what happened he just,
ran away!
TODD
No one saw that coming!
GENA
NO! That’s not what I meant, you’re
not listening!
She is almost hysterical as Todd listens to some commotion

outside her office door. Todd waits for the other workers
to pass. He grabs Gena by the shoulders, straightens her up and slaps
her across her face.
Gena stunned, slaps Todd twice as hard.
They shockingly stare at each other.
Todd’s eyes glisten.
Gena suddenly is composed.
GENA (CONT’D)
I’m...
(Pause)
...through.
(Pause)
Tell Ann to...I’m not coming
50
back here.
(Pause)
This place! This commercial, plastic,
phony, place is eating me alive and
destroying our culture!
(Pause)
I quit.
She opens up her door and walks into the hallway.
Todd looks towards the floor.
INT. A HALLWAY AT THE OFFICE, SAME TIME – DAY
Gena stares at a few CO-WORKERS. They seem to all step

aside as she approaches them.
Ann stands triumphant with a silly smirk on her face.
Gena bolts through the exit door for the stairwell.
INT. A STAIRWELL, A MOMENT LATER – DAY
Gena bursts down the stairs, kicks off her shoes and blindly runs down
the three flights of stairs at full speed.
At the ground floor she slams herself against the final

exit door but it won’t open.
She tries to force the door to open but to no avail.
Frustrated she rips at her clothes, opens up her blouse

and screams at the top of her lungs.
Todd, followed by TWO SECURITY PERSONNEL approach her.
She stops screaming and looks at the three men for

a moment.
CLOSE UP: On her.
CLOSE UPS: On each of the three men.
Todd hands her shoes to her. She deliberately takes them

and slowly slips them on.
She tries to button her blouse but her hand shakes so Todd
51
gently and lovingly does it for her. She lets him.
Gena looks at the door, then at the two security people. Finally she
glances towards Todd.
TODD
(To Security)
Do you have a key?
One of the security guards nods his head.
TODD (CONT’D)
Sweetheart...maybe you should wait-
GENA
...No! I mean...no honey, I’m okay.
Gena tries to adjust herself.
GENA (CONT’D)
(To Security)
How do I look?
One guard shrugs.
GENA (CONT’D)
Todd?
Todd slowly walks up to her, fixes her hair a bit. Smoothes her blouse
a little, wipes off a little smudge off her face, and smiles at her.
He places his hand on her cheek. Gena takes his hand

in hers.
Todd turns towards security.
TODD
You can open the door now.
Gena stands upright. She checks her person, looks through her purse,
is satisfied. She calmly walks out of the building.
INT. A NEW YORK COFFEE SHOP, LATER – DAY
Luis fidgets with his money clip, as he is served a cup of coffee and
cheese Danish by a WAITRESS. He does not touch the food. He looks
52
at his vest pocket watch to check the time. He places the watch back
into the little compartment.
Kevin enters the shop, looks around and spots Luis immediately.
Luis looks towards Kevin, unsure, which makes Kevin stroll towards
him.
Kevin now faces Luis.
KEVIN
You must be the scum bag brother.
Luis is taken aback, nervously smiles, gets serious and awkwardly puts
out his hand for Kevin to shake.
LUIS
Luis Felipe!
Kevin nods.
LUIS (CONT’D)
Um...Kevin right?
Kevin slightly nods but does not shake Luis’ hand.
Luis puts his hand down back to his side.
Kevin notices that the food has not been touched.
KEVIN
Yeah, the food sucks here too!
The waitress hears that and playfully bumps into Kevin.

Luis picks up the Danish and takes a big bite.
WAITRESS
Up yours Kevin! Watch it or I’ll
spit in your soup.
KEVIN
The chink cook beats you to it babe.
Kevin watches Luis chomp on the Danish.
KEVIN (CONT’D)
53
And he creams on the Danishes.
Luis stops chewing.
WAITRESS
(To Luis)
Don’t listen to him.
(To Kevin)
Want anything?
KEVIN
No.
Waitress walks away as Kevin sits.
They both look at each other for a moment.
Luis finally swallows the Danish.
KEVIN
Tastes good?
Luis smiles as he takes a breath and wipes his mouth.
LUIS
Kevin...I’m...I understand you were
a friend of my brothers and-
KEVIN
...From who?
LUIS
What?
KEVIN
From who? Who said I was your brother’s
friend?
LUIS
Oh, I’m not at liberty to say.
KEVIN
Oh I see, one of them.
(Pause)
Look...what is it...whoever said
54
whatever they said to you, got it so
that you got me here. Okay, I’m here.
What do you want from me?
Luis hesitates and nervously scratches his neck.
LUIS
May I be blunt?
KEVIN
Yeah.
LUIS
Paintings, the estates...I’m executor,
my brother’s property...I mean art work,
it’s-
KEVIN
...You gotta be kidding?
(Pause)
I guess they were right.
LUIS
They?
KEVIN
Yeah you know, the infamous they...they
said, you are a scum bag!
Luis gets serious.
LUIS
Listen, I usually don’t take that
kind of talk from anybody.
KEVIN
And?
LUIS
Try not to-
KEVIN
...Yeah well you’re gonna take it today.
They both size up the other.
55
KEVIN (CONT’D)
Look, just forget it.
(Pause)
And I don’t care what or who you
think about what from what. If I
hear about you sniffing around
trying to get what you’re trying to get-
Kevin takes the rest of the Danish and eats it.
After he swallows it down, he looks right through Luis.
KEVIN (CONT’D)
Hey, from the size of it, you probably
could kick my Irish ass.
Luis leans forward with a little more bravado.
KEVIN (CONT’D)
But see, not a good idea though ‘cause
if the truth be told, I never really
learned how to truly fight.
(Pause)
I only know how to kill.
Luis freezes.
Kevin suddenly gets up and intentionally spills the coffee on Luis’ nice
suit.
A weird sound emanates from Luis’ area.
Luis with coffee splattered all over him, does not move.
Kevin walks out of the coffee shop as he keeps his eyes on Luis.
The waitress walks by and smells at something awful.
WAITRESS
My God, what’s that smell?
Luis is embarrassed.
INT. GENA’S LIVING ROOM – NIGHT
56
Gena is in her negligee. She lies on the carpeted floor in a fetal
position. Bobby wears a robe, sits morose on the couch, and looks at
her. He sips his wine. He has a pad and a pencil on his lap.
Bobby gets up to turn on the television. We hear from the television

station, a gossip type news report about a Hollywood starlet.
Gena, very still, yells out.
GENA
Shut the TV...please!
Bobby does not get up and continues to write.
We hear more about the starlet as Gena begins to stir.
GENA (Cont’d)
Please.
Bobby stops writing. He does not get up, and glances a little behind
her. Then he gets up and walks to the kitchen.
Gena struggles to move, can’t. She notices the plug on the wall for the
TV, turns a bit and sees the remote
control right behind her by her head.
She labors to get to the remote. She gets it, painfully pushes the
power button on the remote and the TV shuts off. She violently throws
the remote towards the kitchen.
GENA (Cont’d)
Faggot!
She abruptly gets up and stumbles about. She puts on her robe that
was placed on the couch, finds and lights a cigarette, sees a bottle of
scotch on the far side of the table, grabs it and takes a swig.
On the table, are some pieces of the previously seen Chinese porcelain
and what appears to be a large chunk of them, glued together, with
the remaining pieces strewn about.
To her left is a pile of torn paper next to a typewriter.
She fights her way over to the typewriter and flips it upside down.
57
She sees a piece of paper that is not torn, picks it up, and starts to
read the poetry. She crumbles it.
GENA (Cont’d)
Sentimental, self-indulgent, pitiful,
pop bull shit!
Bobby comes back from the kitchen with a sandwich. He takes a big
bite.
BOBBY
(Chews)
You know?
(Swallows)
In spite of everything, the affairs, the
mental cruelty, all of it...every little
slight, I still-
GENA
...Shut up Bobby, please!
She straightens herself up.
GENA (CONT’D)
I’m, grateful to you...yes, when I was
whatever...you were there, we did help
each other, but now...
Bobby sheepishly looks away from her.
GENA (CONT’D)
...look we can’t even fuck...
fuck without...toys, films, fantasies,
what’s next? A threesome...
foursome, perversion? That’s where
we’re headed!
Bobby tries not to cry and sniffles a bit.
GENA (CONT’D)
Don’t start crying!
Gena takes another gulp from the bottle, as Bobby steadfastly looks
right at her.
GENA (CONT’D)
58
Bobby it’s me...I’m, impossible!
(Pause)
Divorce will be good for the both
of us.
She moves towards Bobby, gets close. She gently lifts up his chin in
order to look straight at him.
GENA (CONT’D)
Bobby you...you’re a, you’re a woman.
(Pause)
And I’m...a man.
(Pause)
Let me...you, you go find your man.
(Pause)
And let me find...my woman.
FADE OUT.
EXT. A NEW YORK CITY STREET – DAY
Gena walks along the street with Phil. They have been talking for quite
some time.
GENA
Phil I can’t thank you enough.
PHIL
For what? Taking you on as a client?
I should be thanking you.
Phil suddenly turns and looks across the street. He continues his
conversation with her.
PHIL
What you’ve written is good, it does
need more work, you know that. Let’s
see where it goes.
GENA
Thank you.
(Pause)
How’s Francis?
Phil looks towards the ground.
59
PHIL
Seems to have disappeared.
GENA
What?
PHIL
Spoke to my aunt, his Mom, she’s sure
that he’s headed out West.
(Pause)
I’ll find him. Francis does this from
time to time, though this time, I wish
he hadn’t.
GENA
Is he-
PHIL
...Yeah.
GENA
Damn.
She spots a gallery, Phil sees it too.
GENA
You got time?
Phil nods as they go inside.
INT. A SMALL ART GALLERY, LATER – DAY
They have been inside for a while. Gena walks towards the bathroom,
so Phil sits down on what seems to be a bench.
A GUARD approaches him.
GUARD
Hey! What’s the matter with you?
Phil is confused and he motions with his hands as to what.
GUARD (CONT’D)
You don’t see?
Phil shakes his head.
60
GUARD (CONT’D)
You’re sitting on someone’s art?
Phil realizes that he is sitting on an exhibition piece that resembles a

bench. He gets up. The guard marches away.
After a moment or two, Gena joins him.
GENA
Nothing special here!
PHIL
I saw one thing that caught my eye.
GENA
Yeah? Where?
PHIL
Down the hall in a corner.
GENA
Let’s see it.
They walk along the hall towards the work. As they get close Gena
stops cold.
GENA
Holy shit!
PHIL
What?
Gena studies the work, marvels at it. She nods her head and smiles.
Phil looks at the painting carefully.
PHIL (CONT’D)
The caption says “anonymous”.
He combs through the painting like a detective.
PHIL (CONT’D)
No signature or marking anywhere.
61
GENA
Michel Felipe.
EXT. A STREET, SAME TIME – DAY
Jacob, sitting on a stoop, assembles a small chess board. We see a

slight shadow of someone observing the work.
It is Francis.
Francis watches as Jacob places all of the chess pieces on his

makeshift chess board.
FRANCIS
The king is on the wrong side.
Jacob looks up, not quite sure what Francis is talking about.
FRANCIS (CONT’D)
The white king goes on the player’s
right side.
Francis places the piece correctly.
JACOB
I see.
(Pause)
El maestro...it’s you!
(Pause)
Man that was some chess display
the other night, son.
FRANCIS
You liked it?
Francis smiles as Jacob nods.
FRANCIS (CONT’D)
It felt good. Showing how the game
really is...how, it’s to be played!
When you know...how the game can be
really great. Making moves no one’s
seen before. Playing the game, the way
nobody’s ever played the game before.
62
Francis spits out some lumpy phlegm. He painstakingly wipes his
mouth.
JACOB
Want something for your throat?
FRANCIS
No I’m good.
JACOB
Okay.
JACOB (CONT’D)
(Pause)
Would you like this set?
FRANCIS
No thanks. It’s for someone else.
(Pause)
It’ll be inspirational...for somebody.
Francis coughs and spits out some blood.
Jacob notices the blood and pulls from his shirt pocket a small bottle.
JACOB
Here kid, this can help you.
Francis, with slight askance, takes the bottle. He checks out the
contents, looks at Jacob as he takes a sip, and hands the bottle back to
Jacob, who puts it away.
FRANCIS
Thanks.
JACOB
It’ll help a bit.
FRANCIS
Help with what...the inevitable?
JACOB
...end of life?
FRANCIS
No. The beginning...the beginning
of the true, the real life.
63
Francis coughs furiously.
JACOB
Life is a search kid.
FRANCIS
A search I guess for somewhere,
somewhere to go.
JACOB
And at that moment, everything comes
together in that single moment of truth.
A gift unravels. Magic stirs the soul.
The cocoon breaks, and a simple butterfly
soars above all of the grains of sand.
Francis’s eyes glisten.
FRANCIS
Sounds like the meaning of life?
Jacob painfully smiles as his side suddenly aches.
A YOUNG GIRL approaches marveling at the chess assemblage and the

unique board.
YOUNG GIRL
Wow! You make this sir?
Jacob turns towards the young girl, smiles, then looks back towards
Francis.
Francis is gone.
JACOB
(To Young Girl)
Yeah. I did.
EXT. THE STREET ORDER WINDOW OF AN EATERY, LATER – DAY
Phil and Gena stand at the order window, sipping Puerto Rican coffee
at this local “cuchifrito” joint.
PHIL
So who has power of attorney?
64
GENA
I think his brother, I got a call
from him, wants to meet with me. He
sounds oily...yuch!
PHIL
You want me there...as agent?
GENA
Not a bad idea. Let me think about it.
I haven’t agreed to meet him yet.
Lillian walks her baby with a stroller. Her baby giggles as Lillian
swerves right to left.
She spots Gena, stops her stroller in front of them. Gena and Phil
notice her. Gena, weakly smiles towards her as Phil munches on his
Cuban sandwich.
LILLIAN
Remember me?
Gena can’t quite make her out.
GENA
I seem to-
Lillian smiles broadly.
LILLIAN
...NYU writing LAB, I was one of
your students, back then.
(Pause)
You had asked me of all people to
read what you had written, imagine that?
GENA
Oh my GOD, wow! That’s how long ago?
Yes...Lillian?
LILLIAN
Right...and you, a big star now! I told
you.
65
GENA
My goodness! What a memory. You’re still
acting?
LILLIAN
Always!
GENA
Oh excuse me, Lillian...Phil, Phil,
Lillian.
Phil warmly shakes her hand.
PHIL
Cute baby!
LILLIAN
Thank you.
GENA
A talent agent-
Lillian laughs. Phil awkwardly shrugs.
LILLIAN
Oops, hope I made a good first
Impression.
Phil smiles at her and nods his head. Lillian smiles back.
LILLIAN (CONT’D)
Gena, the female Roger Ebert of the
art world!
GENA
Please, I thought I was happy to see you.
They both laugh.
GENA (CONT’D)
How old?
Lillian picks up her baby.
LILLIAN
Two and a half!
66
GENA
He looks like you.
LILLIAN
Adopted, but you’re right.
LILLIAN (CONT’D)
(Pause)
God, Gena, it’s so good to see you.
I don’t know why I am so happy to have
bumped into you.
INT. A BAR – NIGHT
Bobby sits by himself. He holds onto a pad. He crumbles up another

piece of writing and tosses it into the garbage can. He sips his wine.
Merv ambles in and indicates for the FEMALE BARTENDER to pour him
his usual.
She winks at Merv, as she takes the garbage can away.
Bobby notices the wink. She continues to walks to the back.
Merv settles in.
MERV
So, it’s a divorce.
BOBBY
Think so.
MERV
Good, good...good for you!
The Bartender serves Merv his Irish cream.
BOBBY
What...why?
MERV
You kidding? Now you can focus on
your work! Never heard of anything
truthful or meaningful coming out of
a happily married writer.
67
BOBBY
Come on that’s bull shit.
MERV
No listen, the true artist...is
generally alone. No burdens, no
obligations...just the work!
Married to the work!
(Pause)
This could be your breakthrough?
(Pause)
Now...WRITE!!
Bobby suddenly kisses Merv on the mouth.
The female Bartender was approaching them and stops cold.
Merv gently cradles Bobby’s face, and slowly moves him slightly back.
Merv affectionately slides his hands from Bobby’s face.
MERV (CONT’D)
Dammit Bobby no.
(Pause)
Not again. Not this time okay?
(Pause)
Write!
Merv pats Bobby’s shoulder, gulps his Irish cream.
Merv winks towards the barkeep who remains stoic.
He walks out of the bar.
Bobby sits for a moment.
He gets up and peeks over the bar to look for the garbage can. It’s not
there.
Bobby is a little panicky.
BOBBY
(To No one in particular)
Hey! The garbage, who threw out the
garbage?
No one answers.
BOBBY (CONT’D)
68
(YELLS)
Who threw out the garbage?
FEMALE BARKEEP
The fuckin’ garbage man!
Bobby sits back down. After a moment, jumps back up.
BOBBY
Where?
FEMALE BARKEEP
In the back!
Bobby runs towards the back of the bar.
INT. THE LOFT DINING ROOM - NIGHT
Liz is hysterical.
LIZ
What the fuck’s the matter with you
huh? You’re gonna let that mick
son of a bitch humiliate you, spit
in our faces-
The Baby runs from Liz and towards Lillian, who scoops him up into her
loving arms.
Luis, sits with both hands in his face. He looks up.

LIZ (CONT’D)
...and probably has, he has who knows
how many paintings he has! Damn! We
only have what six? Six! And I had to
sign two of them! There must be Seventy
or Eighty out there! Come on man you’re
the freakin’ executor!
Lillian takes a long look at her lover, as she quietly walks with her baby
and leaves for the bedroom. Liz does not even notice them.
LIZ (CONT’D)
What are you gonna do? Hah? What are you
going to do?
LUIS
69
I have a meeting with Gena.
LIZ
Big deal!
LUIS
Will you stop? Look I need this money!
LIZ
What? You?
LUIS
Yes! Me! I need it...more than you.
LIZ
(Pause)
Then get off your sorry ass and
get it!
(Pause)
We’re talkin’ family legacy, the
crown jewels, the family jewels! Our
ticket out of here!
(Pause)
Three, four million dollars maybe each!
Paradise in the Caribbean! Maybe more?
Meetings? What are meetings? Just
find the paintings, fuckin’ take them
and that’s that!
INT. A BEDROOM AREA IN THE LOFT, SAME TIME – NIGHT
Lillian changes the baby’s diaper.
She gives the little prince a kiss, and plays with him.
We can vaguely hear Liz’ ranting and raving.
LILLIAN
Yeah I here it too booby...yeah I know,
I know. I’m a little upset with her too!
Yeah.
(Pause)
LILLIAN (CONT’D)
We just may have to do something about
this?
70
(Pause)
What do you think?
The baby giggles approvingly. Lillian laughs as she picks him up and
dances with him around the room.
INT. TODD’S OFFICE – DAY
Todd is on the telephone as Ann sits across from him.
Ann reads some of the magazine’s copy and potential work product for
the next issue.
Todd, nervous, decides to eat his hard boiled egg. He holds onto the
telephone receiver.
ANN
What the hell are you doing?
He chews on the egg.
TODD
I’m on hold.
He devours the egg. He has almost finished swallowing when

suddenly, he almost drops the receiver.
TODD (CONT’D)
Gena, hold on!
INT. A NEW YORK CITY BUS, SAME TIME – DAY
Gena has sat next to the BUS DRIVER. Phil is next to her.
GENA
Todd wait, don’t-
(Pause)
Dammit, now I’m on hold.
(Pause)
I’ve got to get rid of that feature.
Phil looks out towards the street and checks his watch.
TODD (V.O.)
Gena, you there?
71
GENA
Yes!
INT. TODD’S OFFICE, SAME TIME – DAY
TODD
Baby your resignation has not
been accepted.
(Pause)
Hear me?
(Pause)
TODD(CONT’D)
You have almost three years left on
your contract.
Ann reads some more copy.
TODD (CONT’D)
There are specific clauses regarding
this and you are beholden to the
corporation for a weekly column
until then. There’s no buy out,
remember? You traded that for your
very high salary.
(Pause)
Gena? Gena! GENA!!
Ann gets up from her chair.
Todd shrugs toward her.
INT. CITY BUS, SAME TIME – DAY
Gena disgustedly slams her phone shut.
GENA
Serpents!
PHIL
You okay?
GENA
Yeah, corporate, contractual horse
shit!
72
Phil nods. He sees something out on the street. He gets up as he taps
the yellow signal tape to ring the next stop.
PHIL
Let’s get off.
GENA
Why? What’s the matter?
INT. TODD’S OFFICE, A MOMENT LATER – DAY
Todd sips at his coffee.
TODD
She said goodbye.
ANN
Meaning?
TODD
Give me some time.
(Pause)
I’ll handle it.
Ann looks at some more of the copy for the next issue.
ANN
It’s all crap! Nothing original!
She tosses the copy.
Todd gives her a sardonic look.
ANN (CONT’D)
Lunch at 21?
TODD
No.
ANN
Really?
TODD
Yes.
Ann gets up, leaves.
73
Todd stays put for a moment.
He looks at the photo on his desk.
From Todd’s P.O.V.: It is a photo of Gena, Bobby, Todd, and Michel

Felipe. They have their arms around each other and are all smiles.
Todd reminisces and smiles as he fights, not to cry.
Todd walks over to his office closet, opens it, and reaches inside and
pulls out a wrapped package.
There is a note attached. He opens the note and reads.
Todd’s P.O.V.: We read, “Todd, thought you should have this, Kevin.”
He unwraps the package and admires the painting.
He holds his hand to his face in amazement and admiration.
TODD
Magnificent!
He moves his hand and caresses the art work without touching it.
TODD (CONT’D)
Bravo!
He walks to his desk drawer, opens it, takes out two blue pills,
swallows them whole without water. Sits back, closes his eyes.
He smiles ecstatically.
We see a model butterfly constructed of glass placed on his desk.

EXT. A NEW YORK CITY STREET, SAME TIME – DAY
Gena follows Phil, who runs towards a corner.
Phil stops running, sighs, then, turns back towards Gena.
PHIL
I’m going crazy.
Gena catches up to him.
74
PHIL (CONT’D)
Swore I saw Francis.
GENA
Oh...I’m sorry.
PHIL
Yeah.
(Pause)
Anyway, let’s grab a cab.
GENA
No...forget that meeting.
PHIL
Sure? I think we’ve figured out all
of the-
GENA
...waste of time I think.
(Pause)
Yeah, I’m not going to help him. Over
the phone he was so obvious. All he
wants to do is round up his brother’s
works. Screw him.
PHIL
Okay then, yeah I can go see some
talent.
(Pause)
Want to come?
GENA
No. I’ll go home and...write.
PHIL
Okay. See ya.
They hug and each walk in separate directions.
EXT. A PARK IN NEW YORK CITY, LATER – NIGHT
Luis, meticulously dressed, checks the time on his pocket watch. He

looks around, and resumes reading his newspaper.
LUIS
75
(To Himself)
Another no show...dammit!
He looks up again to see if anyone is coming.
It is Kevin.
Kevin walks fast, slows down a little, as Luis stands up.
They are within a few feet from each other.
Kevin glances around, and pulls out a gun.
Luis is stunned. He freezes.
Kevin aims at Luis.
CLOSE UP: On Kevin.
CLOSE UP: On Luis.
Kevin smiles as Luis appears as if he is about to collapse.
Kevin puts the gun away.
KEVIN
Believe me now?
(Pause)
I’ll have to kill you next time.
And to me, that’s no big deal.
I’ll be out in five.
(Pause)
Understand something, the only reason
you’re not dead is because
of my respect for your brother.
(Pause)
And although he’s gone, I wouldn’t
want to hurt his spirit.
I loved him.
(Pause)
But I mean it man...this quest you have
to round up his works, has to stop.
Luis sits down. His body shakes.
76
Kevin slowly sits across, takes out a cigarette, lights it and offers it to
Luis, who takes it.
Kevin lights another one for himself.
Kevin looks at Luis for a bit.
KEVIN
What do you do?
LUIS
What?
KEVIN
For a living?
LUIS
I’m a salesman.
KEVIN
I’m a salesman too.
Luis gives Kevin a sordid look, who smiles.
KEVIN (CONT’D)
Did you know your brother? No offence
here, I’m just curious.
LUIS
We weren’t close.
(Pause)
I wanted to be, but then I screwed him.
(Pause)
He forgave me though. It was me.
I couldn’t forgive myself.
KEVIN
So what, you think by getting his works
what will that do? Greed?
LUIS
My sister-
KEVIN
I see. The wife too...Am I right?
77
Luis nods.
Kevin takes a long puff.
KEVIN (CONT’D)
The world’s full of broken men, doing
what is against their nature, due to
a broad. And you were about to join
that scrap heap.
Luis looks towards the ground.
KEVIN (CONT’D)
I know what you’re thinking. And if
I was a real hard ass I’d end your
misery right here, I know you’re not
going to change...I am asking though.
Luis looks at Kevin.
KEVIN (CONT’D)
I mean it kid.
LUIS
People don’t change, they never even
reform.
Kevin looks out towards the sky.
LUIS (CONT’D)
I can sell you whatever goods I have
to sell, but the moment I’m gone, I’ll
LUIS (CONT’D)
be right back there scheming and
planning...we both know that.
KEVIN
It doesn’t have to be that way.
LUIS
We as human beings...well...I...
just suck as one. It’s a real job
just trying to be a decent human
being these days.
KEVIN
78
Luis, I’d like to ask you to be the one
that stops, the one that takes heed,
then locks on!
LUIS
What do you mean?
KEVIN
The guy that starts to swing the
pendulum in a new direction.
LUIS
It’s...my whole life...it’s all been a
waste.
(Pause)
I’m just a con man.
Flashback.
INT. A LIVING ROOM – DAY
We see Teresa standing between both of her sons who are about to
square off against each other.
Michel Felipe has tears in his eyes, as his brother Luis slowly brings
down his fists.
TERESA
YA!!
(Pause)
Ustedes son hermanos! Por
el amor de Dios!!
End of Flashback.
Luis struggles to continue and finishes his cigarette.
LUIS (CONT’D)
Michel always...
(Pause)
...he always knew that about me.
(Pause)
When we were kids he used to...ah,
what’s the use? Fucking life!
Kevin is moved and he sighs.
79
KEVIN
I don’t necessarily have to kill you
and you don’t necessarily have to
continue doing what you are doing.
Change, live, tell your wife to go
fuck herself, get your gargoyle sister
off your ass and move on.
LUIS
I don’t have the strength.
KEVIN
To live?
LUIS
Living’s not the problem...no I don’t
have the will to reform. I can’t change.
I am who I am...that’s it, that’s all.
Luis take a long moment. Then, Luis slowly starts to just

shake his head.
Kevin finishes his cigarette.
Luis sits still, and is content. He seems to see something.
A Man with a hood walks towards them, and is pointing something at

Luis.
Luis smiles as he takes a good look at the Man.
Luis sees Michel.
We just see a Man with a hood.
LUIS (CONT’D)
Michel...man you are beautiful!
CLOSE UP: On Kevin.
CLOSE UP: On Luis.
We hear a muffled silencer gunshot.
Kevin walks away.
80
Luis remains slumped on the park bench.
Kevin continues his walk.
He is joined by Cosmo, who slips off his hood.
KEVIN
Why’d you shoot him?
COSMO
Were you ever going to?
KEVIN
I was going to let him go?
COSMO
Why?
KEVIN
Because of Michel.
COSMO
What the fuck...that’s why we killed
him no? Or no?
KEVIN
That’s not why you killed him.
COSMO
Semantics!
KEVIN
I really wanted to let him go...for
Michel...it’s what he would have wanted.
COSMO
He’s dead.
KEVIN
Now he is.
COSMO
Not him...him!
KEVIN
Who?
81
COSMO
Who, who Felipe who!
KEVIN
Luis is.
COSMO
Luis what?
KEVIN
Dead.
COSMO
No shit we just shot him.
KEVIN
You just shot him.
COSMO
What’s with the fuckin’ semantics?
KEVIN
The spirit.
COSMO
Standard English please?
KEVIN
By killing his brother we besmirched
his spirit.
(Pause)
Man, what...imagine the conversation going
on right now?
COSMO
Conversation?
KEVIN
Between the two brother spirits.
Cosmo stops walking. Kevin stops and turns towards Cosmo.
KEVIN (CONT’D)
What don’t you believe in heaven and
hell?
82
COSMO
Is that what we’re talkin’ about?
KEVIN
I guess not. Anyway, I wanted to let
him go.
COSMO
Well, it wasn’t up to you.
KEVIN
Apparently.
(Pause)
Shooting this one was a mistake Cosmo.
COSMO
No one saw me.
KEVIN
There’s always somebody who sees
something.
COSMO
I was sure...nobody saw nothing.
KEVIN
Too many people for someone not to have
seen something.
COSMO
Nobody saw anything.
KEVIN
It would have been good to let him
go.
COSMO
No, he was contracted for and that’s
that.
KEVIN
Good for karma...our karma, Michel-
COSMO
With all due respect shut the fuck up.
83
They both look at each other, a moment.
COSMO (CONT’D)
Look, it was a contract, the son of a
bitch owed El Gordo Sixty large...it was
just a coincidence that he was
busting chops over his brother’s art.
One had nothing to do with the other.
(Pause)
Hey...you had the power...should have
let him collect some of the cash from
his brother’s works. Then maybe there
would not have been a fat contract on
the prick.
Kevin looks as if he wishes to strike at Cosmo.
Cosmo gets a little nervous and smiles.
COSMO (CONT’D)
Anyway it’s done.
(Pause)
Playing poker later?
KEVIN
No.
Cosmo puts his arm on Kevin’s shoulder.
COSMO
Shake it off buddy.
(Pause)
Otherwise...you shouldn’t be doing
what you’re doing. Shit, spirit talk.
Man, we’re done. You better hope there
is no hell, or whatever, too late
for confession man, much too late.
Kevin takes his friend’s arm off of him.
KEVIN
We’re shit Cosmo.
Cosmo is taken aback.
KEVIN (CONT’D)
84
We’re a waste!
COSMO
Retire then...tell them you’re
quitting.
KEVIN
Maybe I will.
COSMO
Forget it man.
(Pause)
Hey, in a way, you know you always talk
about art and such, well, we’re artists
too!
Kevin walks away.
Cosmo shouts out.
COSMO (CONT’D)
Go get laid Kevin, do like me, get
a three way going, shake this shit off.
We only take out those that deserve it.
That scum bag deserved it.
Kevin keeps on walking.
INT. GENA’S LIVING ROOM – LATE NIGHT
Gena drinks some scotch. She has almost finished the restoration of
the Chinese porcelain art work.
She places the revered work back on the table.

There is a knock on the door.
GENA
Shit!
She abruptly gets up and opens the door. It’s Bobby.
GENA (CONT’D)
You forget something?
(Pause)
Bobby what is it that you want?
85
BOBBY
I-
GENA
...What?
BOBBY
...give me one moment will you? One
respectful moment...ONE TIME!!
GENA
Bobby get-
Suddenly Bobby lifts her up and pins her against the wall, with his left
hand against her hip, as his right hand clutches her by the throat.
He starts to choke her.
She struggles, but he continues to choke her.
BOBBY
I want you to listen carefully.
BOBBY (CONT’D)
(Pause)
I am to let you go, but if you
do not let me say what I want to
say...I will kill you, right here,
tonight!
He releases her and lets her down but still holds his right hand firmly
on her throat. He does not press.
BOBBY (CONT’D)
I want you to apologize, to me.
Gena tries to smack him, but he is too strong, and starts to choke her
again.
This time Gena kicks and scratches but Bobby is able to finally subdue
her.
She bites his hand, and he smacks her very hard.
BOBBY (CONT’D)
86
Gena does not say a word.
BOBBY (CONT’D)
I want you to apologize, right now,
to me.
She just murderously stares at him.
He rips at her clothes, she resists.
He kisses her, she bites his lip.
He presses at her eyes until she lets go of his lip.
He holds her head firmly against the wall.
BOBBY (CONT’D)
I’m a woman hah? Am I...ah,
a...woman?
He takes out his private parts. We don’t see them.
CLOSE UP: On Gena.
BOBBY (CONT’D)
A woman? Toys? Hah? Perversions,
You said hah? The only thing perverted
here is your twisted sold out soul. You
fucking loose, fucking free fuck!
He pulls at her loose garment and removes her panties.
She lets him do this, then spits in his face.
He wipes the spit off of his face and licks his fingers.
We do not see her private parts.
CLOSE UP: On Bobby.
BOBBY (CONT’D)
A man hah? Where? Where’s the man?
I see a bush...where’s the cock? Ah?
87
Gena closes her loose garment but she leaves her panties on the floor.
She looks right through him.
Bobby covers himself again.
BOBBY (CONT’D)
GENA
And then?
Bobby looks at her with askance.
GENA (CONT’D)
I am not going to ever apologize to
you.
Bobby puts both of his hands around Gena’s neck.
BOBBY
You want to die?
GENA
Truth...yes, but you don’t have
the balls to do it, so let go of
my damn throat!
CLOSE UP: On Bobby.
CLOSE UP: on Gena.
BOBBY
I can-
GENA
...do nothing!
(Pause)
Now listen...get out. Unlike
you, I have the balls, and unless you
turn around and leave...RIGHT NOW,
you will be as dead as your bull shit
prose!
Bobby, let’s her go, almost breaks down, doesn’t.
He sees a painting on a wall.
88
He stands still.
She walks towards the painting.
GENA (CONT’D)
That’s right, one of Michel’s. Kevin
brought it over.
(Pause)
And we fucked too! Why not?
Bobby, defeated remains still.
GENA (CONT’D)
Now, is there anything here, that
belongs to you? Anything at all?
Bobby shakes his head.
BOBBY
No, nothing.
Bobby looks at the painting.
BOBBY (CONT’D)
Yeah...it is beautiful isn’t it?
Gena, tries not to warm up to him, not this time.
GENA
You need to leave now.
Bobby, turns and heads towards the door, he opens it.

He looks at Gena. Gena holds her neck for a bit.
BOBBY
Gena-
(Pause)
...nothing!
As Bobby closes the door, he hears her.
GENA
I apologize to you Bobby, for
everything!
89
The door closes shut.
EXT. A STREET, DAWN – DAY
Jacob places three quarters into the public phone slot, dials a number,
waits.
JACOB
I found him.
EXT. A NEW YORK CITY STREET, EARLY MORNING – DAY
Cruz, oblivious to all, strolls alongside a sidewalk curb, one foot in front
of the other. He tries not to land his feet either on the sidewalk or onto
the street.
Jacob, appears very haggard and worn. He sees his old student and
decides to stand in his way. (MORE)
(CONT’D)
He notices the seriousness in Cruz’ face and gently steps away and
looks down the street.
Gena and Phil aggressively walk towards Jacob from the opposite
direction and Jacob waves for them to come towards him.
They get closer as Cruz, oblivious to all, continues on his journey.
Gena and Phil are close to Jacob now.
GENA
(To Jacob)
So when was the last time you
spotted Francis?
Jacob, a bit put off at her abruptness, holds onto his side and grimaces
a bit.
JACOB
This morning...early!
PHIL
Where?
90
JACOB
I told Gena...right here!
PHIL
Damn!
(To Himself)
Where is he?
JACOB
(A little coldly)
He didn’t look good either.
Gena notices Jacob’s irritation at them, and realizes.
GENA
(To Jacob)
You okay?
Jacob shrugs off the slight.
Phil answers her.
PHIL
Yeah, I’m okay.
Jacob, bemused, just sighs then grimaces again.
No one notices his distress.
Cruz continues his balancing act and had passed them, when Gena
spots him.
GENA
(To Cruz)
Mira huevo! Donde vas?
Cruz, startled, slips off of the curb and his foot lands on the street.
CRUZ
Carajo man...just ten more feet!
GENA
What?
CRUZ
Ten more feet, been walking alongside
91
this Central Park curb for quite some
time. Ten more feet and I would have
broken Paco’s record.
Gena just sighs.
GENA
We’ve been lookin’ for Francis.
Cruz without looking up, tends to his old shoes by wiping them clean
with spit and his hands.
CRUZ
I know, that’s why I’m here, no?
GENA
Jacob spotted him.
Cruz finally looks up on hearing the name Jacob. Sees him, and jumps
up to hug him.
CRUZ
Teach!
They hug.
ClOSE UP: On Jacob who is in severe distress.
Cruz lets go and studies Jacob again and is serious.
CRUZ (CONT’D)
Como esta la lucha bro?
JACOB
Ahi, aca...you know the drill.
CRUZ
Don’t I? Don’t see much of you man.
JACOB
I’m around.
Cruz notices Jacob’s discomfort.
CRUZ
92
I heard.
JACOB
I’m okay.
They both sadly smile.
Phil, beside himself, interrupts.
PHIL
I’ll check the hospital.
JACOB
I’ll go to the shelter near here.
Cruz just shakes his head.
CRUZ
Why you guys act like if he’s
missing?
Phil, irritated, walks towards Cruz.
PHIL
What’s that?
CRUZ
Yo calmate socio, he’s not missing
man, he’s just on his own. Wants
to be left to himself.
GENA
You know something?
CRUZ
I can relate...that’s all.
PHIL
He’s ill.
Jacob, closes his eyes a bit in order to fight the pain.
GENA
Look! Let’s just check the usual
spots and meet back in front of
Mt. Sinai in a few hours!
93
They begin to disperse.
PHIL
Hey listen! I want to thank
everyone for helping out.
CRUZ
No problema man, we got to save
that chess genius!
JACOB
(To Himself)
Save...from what?
GENA
Okay, let’s find him.
EXT. THE FRONT OF A POLICE STATION, LATER – NIGHT
Gena bolts out from the front door and is a total wreck.
She has a hard time catching her breath, as Cruz runs to her aid.
Phil is on the precinct steps crying uncontrollably.
Jacob tries to reach out to Phil but he is in complete pain himself and
can barely move.
Cruz reaches Gena and awkwardly stands by as she regains her

composure.
Gena is not crying. She is beyond tears and the sadness of the
moment has overwhelmed her.
GENA
My God...he was...IS, an angel,
on loan.
Phil tries to fight off the utter devastating vice-like affect this is having
on him.
CRUZ
He’s good now. Right?
94
Jacob can barely move.
JACOB
(To Himself)
That is, everyone’s hope...isn’t it?
Otherwise every solid soul is...
every suffering being...lived in vain.
CRUZ
(To Jacob)
Que?
Phil starts to recover.
Jacob starts to cough.
Gena then sits alongside of Phil. She gently nudges at him with her
shoulder and touches his.
Phil looks up.
PHIL
I have to curse Him now.
GENA
Phil no-
PHIL
...no not him!
GENA
What do you-
PHIL
...no I have to not curse...God!
Phil rubs his hands together.
PHIL (CONT’D)
I do that you know, from time to time.
I curse Him.
(Pause)
I look at the state of the world, my
Mother...a saint too, how she suffered!
95
Francis, his Father...Francis, a genius!
Known to who? An unknown to the world
at large. His pain!
Jacob still coughs.
PHIL (CONT’D)
God must be a lunatic!
(Pause)
This world just grinds the soul out of
the good hearted.
(Pause)
Look around you.
At that moment a pair of BUSINESS WOMAN stroll by and practically

trip over themselves to avoid Jacob, who appears as if he’s some kind
of a bum to them.
PHIL (CONT’D)
Here we are in the Twenty-first
century, where housing, energy,
and the price of a damn ham sandwich
has catapulted through the roof.
Phil spits on the ground.
Jacob appears morose, as Gena and Cruz listen.
PHIL (CONT’D)
2007...Seven, God’s number! And
all of this life’s, true artists,
are doomed to exist within
themselves in pain, with loss,
betrayal, and annihilation!
Jacob excruciatingly tries to smile.
Gena appears to notice something across the street. She turns back
towards Phil.
PHIL (CONT’D)
While all of this life’s
scoundrels, thieves and ne’er do
wells, are living the life of
plenty, within their illustrious
bounty, industrious, fruitful...
96
it’s a wonder why terrorists want
to obliterate the decadence and
debauchery of the west, and why
the Chinese want to poison us
with our own goods!
(Pause)
It’s beyond a zero sum game. A
true zero sum game is at least
honest! This...is not!
CLOSE UP: On Gena.
CLOSE UP: On a very ill Jacob.
Jacob smiles through his pain and mumbles.
FLASHBACK sequence:
INT. JACOB’S ACTING CLASSROOM - DAY
Jacob sits in his lounge chair. He is seen solely from the back. He
watches a scene unfold. The students are all in their 20’s, it is a Young
Gena, a Young Kevin and a Young Michel Felipe.
From Jacob’s P.O.V. – (We see but cannot hear.) Kevin kneels besides
Gena and cries as Gena stands aloof. She resists Kevin’s attempt at
any apparent reconciliation.
Gena places her hand on Kevin’s shoulder as she shakes her head and
walks away. Kevin recovers, wipes his tears, as Michel Felipe enters
the stage area with a canvas wrapped around his arm. Michel Felipe
says something to Kevin, as Kevin takes out a cigarette, lights it, then
offers it to Michel who takes a drag from it, hands it back to Kevin and
continues his lecture to him.
CLOSE UP: On the students, then the back of Jacob’s head.
JACOB (O.S.)
End of scene!
His students freeze and expectantly await word.
Michel begins to leave the stage area.
JACOB (O.S.)(CONT’D)
Stay on stage...with honor!
(Pause)
97
That’s the best you’ve ever done.
The three of you are becoming
artistes...thank you.
(Pause)
Thank you. Thank you very much.
All of the students smile. Gena cries.
End of Flashback.
EXT. THE FRONT OF POLICE STATION, SAME TIME – NIGHT
Jacob, with eyes closed, grimaces in delirium.
Phil shakes his head.
Gena notices Jacob and touches his shoulder.
Jacob looks up as if to say, that he’s fine and that she’s beautiful.
Cruz starts to cough.
PHIL
And this is so...all over these
here United States of America,
including it’s colonies, it’s
territories, Puerto Rico!
And there is nothing we
can do about it, as oil companies
make a billion dollars a
day, and poets get paid ten bucks
for genius.
Cruz sits down on the curb.
Phil looks towards the sky.
PHIL (CONT’D)
I’m not crying for Francis, he,
he’s...he’s a saint now. Francis
is free. The next life is all
for his glory!
He looks at Gena.
PHIL (CONT’D)
98
I’m not crying for him, I’m not
crying for me either...I’m
crying for...for HIM! For God!
He’s the One, who suffered first,
the first broken heart...was His!
Before He even created Man in His
own image, He...His, was broken!
And He suffered.
(Pause)
Lucifer left Him right? Then
He created Man, and Man through
his Woman, left Him...so He gave
us His only begotten Son, and
we killed Him. For our sins...
do we understand any of that?
Of course we don’t.
(Pause)
We’re wallowing in our own refuse
and it’s no longer His will be
PHIL (CONT’D)
done...it’s ours. And we...
we’re done!
CLOSE UP: On Gena.
PHIL (O.S.) (CONT’D)

Human beings, humans, are done!
We are our own black hole and
We’re devouring ourselves into
oblivion! True cannibalism!
Phil gets up and walks away.
GENA
Phil wait!
PHIL
No I’m...going, that’s all.
CRUZ
(Pleading)
My man listen, don’t-
PHIL
...No I’m not going to do that.
I’m...I don’t have the courage.
99
Death comes to all of us anyway,
no need to speed it up, death
catches up with everybody.
Jacob looks towards his feet, then the sky.
IMAGINARY Sequence:
INT. A BROADWAY STAGE – NIGHT
Jacob, disheveled, in Shakespearean garb, stands up right, as he fights

the elements. His long gray hair moves with the storm. He is Lear.
JACOB
“Why should a dog, a horse, a rat,
have life, and thou no breath at all?
Thou’lt come no more!
(Pause)
Never, never, never.
(Pause)
Never!
(Long Pause)
NEVER!!
(Pause)
Pray you!
(Pause)
Undo this button: thank you sir.
(Long Pause)
Don’t you see this?
(Pause)
Look on her!
(Long Pause)
JACOB(CONT’D)
Look, her lips. Look there, look
there!!
End of Imaginary Sequence:
EXT. THE FRONT OF A POLICE STATION, SAME TIME – NIGHT
Jacob does not move.
His eyes are slightly open.
He is still.
100
PHIL
I just...want to...go! Get
out of this country. Try to
find some...meaning, that’s all.
GENA
Phil-
PHIL
...It’s okay Gena.
(Pause)
Yeah, I’m out, I’m...I got to go.
GENA
Do you want me to arrange-
PHIL
...the funeral? No, I’ll call
my aunt, his Momma. She’ll take
it from there.
(Pause)
Goodbye.
(Pause)
Yeah...bye. Goodbye.
Phil continues to walk down the street.
Cruz puts his arm around Gena.
CRUZ
Man.
CLOSE UP: On Gena as she watches Phil disappear.
CLOSE UP: On Cruz.
Then Gena looks towards Jacob. He is completely still.
Cruz tends to him as Gena bolts towards the police station door.
INT. ALCOVE IN POLICE STATION, SAME TIME – NIGHT
Gena rushes in.
GENA
101
An ambulance! An ambulance!
Please...NOW!
Freeze frame CLOSE UP: On Gena.
INT. AN APARTMENT – LATE NIGHT
Merv wears Bobby’s robe. He disgustedly towers over a fetal

positioned Bobby, who seems to be in a slow crawl.
Merv takes a long look at his “protégé”. He sips his wine, then nudges
Bobby, who irritatingly twitches but does not overtly respond to the
nudge.
Merv decides and pours his wine over Bobby.
Bobby does not even flinch and ignores this humiliation.
Merv then takes from the coffee table, Bobby’s poem. He holds on to
just one page from the middle of the poem, puts the rest of the pages
down and starts to read.
Bobby does not look at Merv, is aware of what he is up to, and does not
move, nor does he mind.
Merv reads the middle page.
Merv is visibly shaken and moved by the prose. It astounds him. He

nods his head approvingly, smiles, but tries to quickly recover his
senses before Bobby notices his awe.
Bobby, without ever looking at Merv, senses something positive, but

still does not move.
MERV
This is the original right?
(Pause)
And you still don’t immediately make
copies either...right my man?
Bobby does not answer.
Merv then inexplicably folds the page in half, takes out his lighter and
begins to burn the work.
Bobby jolts up and watches in horror as the original of what may be his
first genuine prose, burns to ashes.
102
Merv triumphantly watches the page burn, and Bobby crumble with it.
Bobby looks at Merv, who remains determined.
Merv now starts to get dressed.
Bobby stares at the ashes for a bit.
Merv devilishly smiles.
MERV (CONT”D)
Re-write the whole thing.
I’m sorry...it’s...it’s just
horrible Bobby.
Bobby appears broken and he sits back down onto the floor.
As he continues to dress, Merv then gently caresses Bobby’s

hair.
MERV (CONT’D)
You’re close...but...ah, forget
that poem.
(Pause)
Start another, okay?
Bobby nods his head.
Merv, fully dressed, moves to kiss Bobby, but Bobby moves his face
away from him. Merv is slightly startled. But he tries to kiss Bobby
again. Bobby steadfastly refuses.
Merv nods his head a little.
Merv grabs his coat, puts it on as Bobby keeps his eyes on his
“mentor”. Merv smiles.
MERV (CONT’D)
It’s not the end of the world.
Maybe you can...I don’t know,
maybe try songwriting?
Bobby stoically looks at Merv.
103
Merv winks at Bobby.
MERV (CONT’D)
Tomorrow night?
Bobby does not respond.
Merv shrugs his shoulders and leaves.
Bobby watches the door slowly close. Merv is gone.
Bobby then deliberately walks to where the ashes are and stares at
them for a moment.
He then strolls over to retrieve the rest of the poem.

He counts the pages. There are Six, one is missing, and in ashes.
He gets his CD player and plays something from Tchaikovsky.
Bobby walks over to a drawer, opens it, peruses through some papers,
after a while, he finds what he wants.
He lifts up a single page, reads it and admires it. He carefully inserts

the page into it’s proper place as the missing part from this Seven
page, finished work of art.
Bobby sees a photograph of him and Merv.
He looks at the photo, takes out his lighter, lights it and watches it
burn to ashes.
Bobby, for the very first time in over a year, broadly smiles from ear to
ear, as he re-reads and enjoys his completed verse.
INT. THE BASEMENT AT McCAAN’S BAR, LATER – LATE NIGHT
Kevin plays a game of solitaire at the poker table.
He methodically works on his hand.
Kevin glances towards the closet to his left. He resumes play.
Cosmo hops down the stairs two at a time, sees Kevin, then gets to the
little fridge, opens the door, grabs a beer and pops it open.
104
Cosmo indicates to Kevin whether or not he would like a beer, Kevin
does not respond so Cosmo closes the fridge door and takes a huge
swig from his beer.
COSMO
Did you hear?
(Pause)
You were right.
(Pause)
Somebody saw.
Kevin continues to play his game of solitaire as if nothing.
COSMO (CONT’D)
Yeah, got it from a tipster at
the precinct who works for El Gordo.
Some old lady, went to the station
house and picked us both out of a
spread sheet of photo ops.
(Pause)
This just happened.
(Pause)
Cops will be around by tomorrow
morning, crack of dawn, with
arrest warrants.
Kevin deliberately plays his hand.
COSMO (CONT’D)
El Gordo’s people said not to worry,
they’ll handle it...the witness,
100 grand, no problem they said.
(Pause)
Do you believe that?
Kevin stops playing solitaire and studies his friend.
KEVIN
Do you?
COSMO
No.
(Pause)
I think we’re through on this
one. Got a bad feeling that the
crew is done with us.
105
Cosmo walks around as he drinks more beer as Kevin astutely listens.
COSMO (CONT’D)
It was the way the tipster was
talking, sounded too clean, too
clean, too cut and dry...I think
we’re done.
KEVIN
What are you going to do?
Cosmo laughs.
COSMO
I’m already gone man, been
practicing my Zen...poof, I got
my outlet set. By morning I’ll
be on the bullet to Miami, then
shuttle to the Keys, chopper to
St. Croix, then I’ll disappear from
there.
Cosmo measures his words, stops drinking and looks right at Kevin.
COSMO (CONT’D)
I came here to tell you so that
you can call Michael, and arrange
your outlet.
KEVIN
I appreciate that buddy.
Kevin keeps his hands free.
COSMO
Here’s Michael’s number, he’s
waiting for your call.
KEVIN
Okay.
Kevin takes the little card and puts it inside his shirt pocket.
COSMO
Kev?
(Pause)
106
We’ll hook up in a few years,
who knows, maybe it won’t be
COSMO (CONT’D)
that long?
KEVIN
Maybe.
COSMO
Kev?
Cosmo tosses the beer.
COSMO (CONT’D)
We’re not a fucking waste!
Like what you said before...we’re,
we’re not shit!
(Pause)
We’re not.
Kevin gets very serious.
Cosmo spits on the floor.
COSMO (CONT’D)
We didn’t make this cesspool.
We just know how to live in it.
Kevin sadly smiles.
COSMO (CONT’D)
You’re going to call Michael
right?
KEVIN
I’ll call him.
Cosmo smiles now.
Kevin does not.
COSMO
You got that funny Kevin look
man that only I know. Don’t not
do it my man.
(Pause)
107
Come on Kevin, call him, we...
we’re...worth it.
(Pause)
Like I said, we’re artists too!
(Pause)
Hasta siempre?
KEVIN
Hasta siempre.
They look at each other for a long moment.
CLOSE UP: On Cosmo.
CLOSE UP: On Kevin.
They both smile.
Cosmo smirks, and slowly turns from Kevin and begins to slowly walk
up the stairs.
Kevin sees this, and deliberately turns from Cosmo.
Cosmo like lighting turns to shoot Kevin.
But Kevin was ready for his buddy and shoots Cosmo between the
eyes, dead.
Kevin quickly walks to the closet and starts to remove some things.
EXT. A DOWNTOWN STREET, SAME TIME – LATE NIGHT
Cruz, oblivious to his surroundings, sits on a stoop, rhythmically

tapping on his bomba drum.
A COUPLE approach him, but Cruz ignores them and anything else
around him as he taps, taps, taps, and taps.
CLOSE UP: On Cruz as he continues his street beat.
CRUZ
A salute to “Teach”!
(Pause)
Rest in peace my man...and
keep the class going there
with Michel, Teach...save my
soul...seat.
108
Cruz plays a most solemn and beautiful bomba rhythm.
Passers-by stroll along, not listening.
INT. GENA’S LIVING ROOM, LATER – LATE NIGHT
Gena, wears an exercise outfit. She sits on the floor of her living room.
She is crouched.
She does not move for a spell.
She sees a cockroach eating a colorful scrap of food.
Gena watches some ants carrying apparent “supplies” to their nest.
She gets up and walks to her window and looks out.
She opens the window and allows the cold night air to attack her and
spasms a bit.
Gena looks out of the window, examines the height and the drop down.
She turns and walks towards her bathroom.
INT. GENA’S BATHROOM, A MOMENT LATER – LATE NIGHT
Gena takes a shower, enjoying it’s warmth, wetness, and soothing

affects.
We see her in silhouette through the flimsy shower curtain, as she

washes her hair, shampoos and conditions. Suddenly it seems as if
she is violently pulling at her hair.
Brief Flashback Image:
INT. A BATHROOM – NIGHT
Gena sits in the bath tub. Michel sits alongside gently rubbing her
scalp.
Michel washes her entire body, almost as if he was giving her a bath.
The way “daddy” would bathe his “little girl”.
109
CLOSE UP: On various curved sections of Gena’s body, such as her
back, her hips, her thighs, her neck, her upper arm, and Michel Felipe’s
hands.
He takes a cup of water over her head and pours it as if he is baptizing

her in solemn prayer.
CLOSE UP: On Michel’s soothing hands.
They lovingly stroke her beauty.
BACK TO PRESENT.
INT. GENA’S BATHROOM, SAME TIME – LATE NIGHT
CLOSE UP: On Gena’s hands as she stops pulling at her hair, and
resumes her normal grooming.
She opens the shower curtain, grabs her robe, puts it on, and sits on
the toilet seat.
She takes a cigarette, lights it, takes a drag, and puts it out.
She gets up, looks at herself in the mirror and really studies herself for
a moment.
She suddenly laughs. Stops, giggles again, stops, almost cries, but
does not.
She quickly winds to throw a punch at her reflection in the mirror.
QUICK BLACK OUT.
INT. HER BATHROOM, LATER – LATE NIGHT
She sits on the bathroom floor. There are blood stains on her robe.
Her bruised hand bleeds just a little.
Gena looks up and we see the cracked mirror and some broken glass
from what seems to be a bottle of perfume. Little bits of glass are
strewn about.
She opens her medicine cabinet, finds some gauze, white tape, and
peroxide and she administers to her wounds.
110
She carefully picks up any stray broken glass, and cleans up the mess.
Gena looks at the cracked mirror. Her reflection meshes with the
crack. She inexplicably spits at what she sees.
The door bell rings.
INT. GENA’S LIVING ROOM, A MOMENT LATER – LATE NIGHT
Gena opens her door, smiles. It is Kevin. He has some packages.
Kevin enters, closes the door, puts all of the stuff down, and hugs Gena
very tight.
They clinch for a moment.
CLOSE UP: On Kevin.
CLOSE UP: On Gena.
He let’s her go, sees the blood.
KEVIN
What happened?
GENA
I’m okay now.
KEVIN
I know you are.
They sadly look at each other. Their love for one another is apparent
to the both of them.
Kevin points towards the packages.
KEVIN
Some more of Michel...You should
have these, they’re all magnificent!
Gena picks them up and places them on a table next to the completely
restored porcelain china art work.
She does not open them.
GENA
111
Thanks honey.
KEVIN
Look, I’m leaving the country.
GENA
You too?
KEVIN
What?
GENA
Nothing!
KEVIN
Now! Tonight! I have to.
(Pause)
Going to Amsterdam.
(Pause)
I want...I want to breathe, I want
to...I heard on the street, something
that hit home for me.
GENA
If it’s from the street then it’s
genuine.
KEVIN
Something about man’s yearning
for the transformational powers
of a caterpillar.
Gena smiles a little.
KEVIN (CONT’D)
You know it?
GENA
I heard it.
KEVIN
Some Rican dude...caught
my attention.
(Pause)
That’s what I want. Maybe in
Amsterdam...I’ll, I’ll transform
112
into my own beautiful-
Gena kisses Kevin fully on the mouth. Then they let go.
A moment, they both feel the release.
GENA
Before...I was thinking of...
nothing.
Kevin lights a cigarette and smokes.
She takes his cigarette and puffs at it once, then gives it back.
GENA (CONT’D)
Anyway, I found my passport, it
expired.
(Pause)
GENA (CONT’D)
I didn’t realize that I was so,
provincial.
KEVIN
Better renew it.
GENA
I will.
Kevin picks up the Chinese porcelain art work. Gena smiles.
KEVIN
Listen...did Michel kill himself?
Gena shrugs.
GENA
Truth? I really couldn’t tell you.
Kevin sighs.
GENA (CONT’D)
When I think about that day, the
bus...it was so fast. He just took
flight! I thought he was chasing
after something, maybe he was, I
thought I saw a baby, something.
113
Gena tries hard to recollect. Kevin moves towards her in order to
touch her, but doesn’t and puts the artwork back where it was.
GENA (CONT’D)
I heard a weird sound, I looked
away for maybe a fraction of a
second, not even...then came back,
only to see...what was left of him.
CLOSE UP: On Kevin.
CLOSE UP: On Gena.
KEVIN (O.S.)
A butterfly!
Gena almost cries, does not, and smiles, as does Kevin.
INT. A PASSPORT OFFICE, NEXT MORNING – DAY
Gena has completed filling out her paperwork and submits all of it to
the CLERK at the counter.
Lillian, with her baby on her lap, sits and waits.

She plays with her little prince.
The clerk, a heavy set Black Man, begins to read all of the contents of
Gena’s application for renewal.
Gena takes out her checkbook and starts to write a check for the
passport processing fee.
Suddenly, the clerk points out something in the application to Gena.
CLERK
Hold it!
Gena is startled.
CLERK (CONT’D)
What’s this you wrote here?
GENA
What, where?
114
CLERK
Here! Under...Occupation?
The clerk picks up that part of the application.
He reads it, looks at Gena, and glares at her.
CLERK (CONT’D)
These applications are federal docs
and need to be germane!
Gena does not move.
CLERK (CONT’D)
Occupation...a human being?
What the hell is that? That’s
not an occupation?
Gena finishes writing her check.
She calmly rips the check from her checkbook.
She hands it to the clerk, who waits for an answer to his question.
Gena looks at him straight in the eye.
GENA
Well, it ought to be!
FREEZE FRAME ON: Gena.
THE END.
December 4, 2007
Dedicated to my wife Damaris.
115
Art’s Demise by Michael J. Narvaez
March 26, 2008 SECOND OFFICIAL DRAFT
April 2, 2008 THIRD OFFICIAL DRAFT
May 17, 2008 FOURTH OFFICIAL DRAFT
September 11, 2008 FIFTH OFFICIAL DRAFT
116

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Art’s Demise

Contact: Laverne Berry, Esq.

Official Draft February 1, 2009

WGAE Registered #155578 , December 10, 2007

All rights reserved

INT. AN ART GALLERY – NIGHT

A once crowded art showcase is now scarcely populated as the event

CLOSE UP: On her, as tears begin to flow as she allows the

Lights throughout are being put out or dimmed.

A door slams shut.

A siren is heard from the street, as well as the searing cries of a

The custodian strolls away as Gena acknowledges.

FLASHBACK: The following images are shot MOS (sans sound)

INT. A BEDROOM – NIGHT

INT. SAME BEDROOM, LATER – NIGHT

Her Lover lets out a soothing groan.

INT. A KITCHEN – NIGHT

He starts to laugh uncontrollably as he bolts from the kitchen.

Gena watches in horror as her Lover grabs a MAN, dressed in a gray

She bolts out of the office.

INT. A LIVING ROOM – NIGHT

Her Lover prepares another shot of heroine.

CLOSE UP: On his hands in operation.

EXT. A PARK IN NEW YORK CITY – DAY

Unbeknownst to them both, there’s a MAN in the foreground. He wears

Gena struggles to walk her Lover out of the park.

INT. A NEW YORK CITY RESTAURANT – NIGHT

CLOSE UP: On Gena’s face as she lies on the floor.

INT. A WORK STUDIO – NIGHT

Gena strolls in as her Lover urinates on one of his paintings.

She runs towards him and urges him to stop.

EXT. A NEW YORK CITY STREET – NIGHT

Gena laughs after the kiss.

A baby is seen waddling towards the curb.

He gives her a heartfelt hug.

CLOSE UP: On her Lover. His expression changes a bit.

INT. THE ART GALLERY, SAME TIME – NIGHT

CLOSE UP: on Gena’s outstretched palm. Her shaking palm is

We read the caption:

INT. GENA’S OFFICE – DAY

She puts aside the column for a moment.

She opens a desk drawer and removes a photo album.

Gena peruses through the album.

Two people suddenly barge into her office.

Todd uncomfortably shuffles his feet.

Todd tries to cover a smirk.

Gena begins to play with her pencil.

Ann looks towards Todd.

Ann slowly turns towards Todd as Gena regains her composure.

Ann triumphantly now turns towards Gena.

INT. THE OFFICE HALLWAY, A MOMENT LATER – DAY

She looks towards her shaking hands and starts to walk.

EXT. A STREET IN THE CITY, LATER – DAY

Gena studies a small piece of porcelain artwork. It is the simplest yet

The sidewalk Vendor, an old friend, mentor, and former teacher:

Jacob begins to roll a cigarette as Gena suddenly seems to be in pain.

Gena smiles at him and continues to study the porcelain.

Jacob obliges, and takes the first hit.

Jacob at first hesitates, before he snatches the bill.

Gena looks at the porcelain on the sidewalk.

Gena puts all of the remaining pieces inside her purse.

Jacob offers the joint.

Jacob proceeds to smoke the joint.

Art'sDemiseofficialdraft 11-16-09

Art'sDemiseofficialdraft 11-16-09