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Spanglish (2004)

by James L. Brooks.
Shooting draft.
Formatted by Alex Raynor :)

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

INT. BEDROOM - MEDIUM CLOSE - MALE FORM - LATE AFTERNOON

A shape fills the lower portion of the screen. It is a man's
back..... a perfect back... good dark color, slim, muscular.
LATIN MUSIC PLAYS... a song.... if you understood the words
you would hear love confronted and considered in a very
specific way...We are in a Mexico City suburb. The day is
hot; small beads of sweat are seen on the man's back, the
first indication that we are in slow motion..Perfect red
fingernails come into view...and now a woman's hand goes
beautifully to work...part sensual back scratch, part
massage. The hand cups bits of the man's back, a strong thumb
probes his spine, a long finger teases the very top of his
ass in a cute finger-pirouette and then continues down --
and, as the hand rises once more to the top of his back for
another trip down his upper body...
MAIN TITLES BEGIN: Full titles, minute after minute of titles
with some key dissolves helping us to represent some 30
minutes of time passage as the hand continues to scratch and
rub, the man making sounds of pleasure. The hand is getting
tired. Flirtatious no more, this is getting to be work...The
unseen woman shakes the hand vigorously, the man says a
single sound urging her to continue, the exhausted hand
complies, then stops, then the unseen woman changes hands as
TITLES CONTINUE.....The new hand, wearing a wedding ring,
goes to work then it too stops to rest..the man says
something in Spanish...important for us because it will
establish that there will be no subtitles and yet we
understand perfectly that he is asking her to continue. She
replies in Spanish lightheartedly, with a small and pretty
laugh, that her hands are tired. We understand. The man tells
her to continue. She continues, the rub now desultory and
resentful. She stops for another rest. The man wants more and
grabs forcibly at her hand -- his own hand coming into view
for the first time. She says, in Spanish, with no particular
anger, "you said you would never push me around again. If you
do, I will somehow break your arm so you can rub your own
back as high as you want." (NOTE: All Spanish dialogue will
be worked hard to provide something extra for the Spanish
speaking..working in tidbits or extra exposition, jokes etc.)
For now, the man's tone changes, placating her to continue.
Even as she resumes the massage they begin to have a domestic
argument in Spanish. This is no longer a massage we envy.
This back rub, going as it does from sex and hope to discord
and alienation, will be our only full direct knowledge of
their marriage.

INT./EXT. BEDROOM / DUSTY ROAD - OTHER ANGLE

Showing us the room and beyond, through the window, a school
bus stopping at the corner on a dusty road.
We now see the full figure of the woman's back as she looks
up with excitement and stops rubbing with the word,
"Cristina." When the man protests her stopping she indicates
they should both run and meet their daughter. He waves her
off. Stunned by his disinterest, she runs from the room.....

EXT. DUSTY ROAD - THE BUS

As CRISTINA, six years old and adorable, waits patiently to
step down. She sees her mother and grins and waves excitedly,
digging into her little pack to pull out an English book
which she displays with pride. Now she steps down from the
bus and, as she walks TOWARD CAMERA, narration begins. The
voice is of a girl eleven years older than the child we see.

		NARRATOR
	To Princeton University's Director
	of Admissions: In considering me
	for a scholarship you have asked
	for, and have every reason to
	expect, an essay from me about
	myself. And, as a clever high
	school graduate, I of course
	realize the subtext of this essay
	about who I am and why I want to
	enter Princeton, is actually to
	make clear to you why you should
	have me. I have gotten tips, from
	friends who have preceded me to
	college, that being a Latina, with
	my grades, list of activities and
	relative poverty, I am as good as
	in if I simply do the dance and
	work in a word like
	"bipolarization" every so often.
	And while I love dances -- this
	dance of self is one I am afraid to
	master.
		(young girl looks off and
		lights up)
	I prefer to write about my mother.

INT. / EXT. HOUSE - SCHOOL GIRL'S POV - MOM

A drop-dead gorgeous Latin woman in her early 20's. As mother
and daughter move inside, a car pulls up with an ominous man
getting out. He nods in another direction calling our
attention to a police car parked off the street. The woman
does not notice - instead shepherding the child to her
father. The woman makes a big fuss over the text books the
child has..this is one supportive mom..again she is
disbelieving that her husband shows no interest, especially
when the child seems briefly hurt. The woman's husband looks
from the window and sees the ominous man coming. The woman
now does everything humanly possible to distract the child so
she does not see what is transpiring.

		NARRATOR
	For my mother, that afternoon
	eleven years ago was a watershed
	not because of my father's
	imprisonment but because it was my
	first day at school....

INT. KITCHEN / HUSBAND'S ROOM - LATE AFTERNOON

This room is directly across from the husband's room. The
woman looks up to see her husband open the suitcase to show
the man a huge store of Mont Blanc pens and high-end watches.
The man gives her husband some money..all the time the woman
is chattering to distract the girl. Looking off --the woman
grows wide-eyed as she sees her husband count some money. The
undercover cop begins shouting orders. The woman raises her
voice to cover the argument in the next room which puzzles
her daughter.

		NARRATOR
	There was never any pretense that
	the gorgeous, vital, clever,
	temperamental animal that was my
	mother ever for a heartbeat
	considered having any life of her
	own. She ignored all her needs and
	was alive only for me. It was
	terrific.
		(a long beat)
	At the time.

    ON MOM.

As she watches her daughter chew a cookie. Her daughter
begins to tell about her day, her young mother taking on a
glow we have not yet seen. And all the while she eyes the
action in the next room. Her husband makes a break for the
window. The other man points a gun at the ceiling preparing
to fire a warning shot. The woman moves ever so quickly to a
shelf of her favorite dishes, all the while talking to her
daughter, making much over the kid's new school books. It is
an impressive charade.

FULL SHOT - TAKING IN BOTH ROOMS

And just as the cop shoots at the ceiling, in perfect timing,
she upsets the dishes, the resulting noise covering the
shot.. The woman asks her daughter what she learned
today..the daughter says she was taught a little English.
Mother is impressed as she watches the cop move her husband
toward the front door where other police await. Her daughter
starts to follow her gaze and she distracts her..brandishing
the Spanish/English book and asking her to say something.

INT. / EXT. KITCHEN - ON GIRL

Standing proudly, smoothing her skirt.

CLOSE UP GIRL.

As she clears her throat and says directly into camera.

		GIRL
	Hi.

The girl and woman are enormously excited over this word even
though, outside, her life's mate is being loaded into the
back of a police car.(Note: Mexican police DO NOT duck the
perpetrator's head WHEN LOADING THEM IN THE BACK SEAT..they
just allow the concussion.) It seems the mother will save her
child the trauma of her father being carted off; but the
police turn on their siren and the girl turns to see her
father as the car pulls away. The child is stricken. A tear
starts to form in her eye. Her mother acts quickly. We are
about to see powerful emotion reversed by sheer force of
will..the mother leans down, gives three quick kisses - power
pecks - to the girl's cheeks and then an admonition in
Spanish.

		MOTHER
	Una lágrima...sola una sola...Haz
	la mejor possible.

		NARRATOR
	"One tear..only one...so make it a
	good one." This was my mother's
	instruction to me.

ON CHILD

Baffled by the edict..

ON MOTHER

Holding up one finger. That's it..one tear..she means it.

ON CHILD

As she complies..one great tear forming and falling..Her
mother's thumb wipes it away..But now her eyes well with more
tears..her mother gestures she must have strength and
resolve..and so she does..a toss of her pretty little
head...the eyes clear.

INT. MOTHER'S BEDROOM - NIGHT

As the mother, lying in bed with her daughter loses her own
fight with tears..managing with difficulty to keep her
convulsive sobs silent since her daughter and she are
intertwined like pretzels.

						DISSOLVE TO:
INT. GIRL'S ROOM - DAY

The girl works on her lesson plan..She is a study in beauty.
Her mother's daughter. Across the small hallway her mother
greets and deals with friends and family in a:

SERIES OF SHOTS	

As the girl works..her dress changing as the days change
while different visitors listen hard to her mother across the
hall.

		NARRATOR

	My mother dealt with our
	considerable problems of survival
	by talking..Always she discovered
	her own best thoughts by sifting
	through her own words.

The mother stops talking in mid-sentence, realizing she has
just solved something and makes a note.

INT. MOTHER'S BEDROOM - THE TWO OF THEM IN BED - NIGHT

		NARRATOR

	Each night my mother promised me a
	wonderful life.. Each night I
	looked for a new expressive way to
	tell my mother how much I loved
	her.

The child is ardent..clutching at her heart...kissing her
mother.. Holding her mother's face, talking directly into her
eyes. The mother, enormously pleased, is nonetheless thrown
by the extremes of it.

		NARRATOR (CONT'D)

	I just played and did my lessons
	and every time I looked up my
	mother was in the process of saving
	us.

INT. / EXT. MONTAGE - VARIOUS SHOTS

Her mother selling keepsakes..counting money..Friends and
relatives bringing food, clothing - toys.

		NARRATOR

	Desperation in her hands was our
	weapon.

ON MOTHER..

We see her totally intimidating a priest.

		NARRATOR (CONT'D)

	With this weapon she had her
	marriage annulled - usually
	impossible for the poor - and
	somehow convinced an associate of
	my father's to transport two
	Mexicans North in style.

INT. SMALL AIRPLANE - MAGIC HOUR

The mother and daughter seating themselves. The mother is
enormously nervous with the prospect of flight. She sits,
the daughter ignores an empty seat and goes on her lap,
mother hugging daughter, daughter hugging the hug.

		AMERICAN PILOT
		(to girl)
	How you doing?

		GIRL
		(accented English)
	Hi. How are you? I am fine..
		(she checks her book of
		English synonyms)
	..happy, merry, joyful, glad,
	contented, frisky.

As they taxi.

		AMERICAN PILOT
		(to mother)
	Are you her mother, sister..what?

The mother says, "solo español"---"only Spanish." The
daughter starts to chatter excitedly about the imminent
flight. Her mother quiets her firmly in order to pray for
their safety.. As the plane continues to taxi...We HEAR the
mother's prayer in Spanish. She then nudges her
daughter..who, with this gentlest of prods, repeats the same
prayer.

EXT. AERIAL SHOT

The plane crossing the Rio Grande.

		NARRATOR
	My mother's prayer for us, which
	she made me repeat exactly,
	represented a stunning look into
	our future. "Please God, let only
	the bad things change."

INT. SMALL PLANE - CLOSE ON THE TWO FEMALES

Use this image if ever you want to strike a coin depicting
the moment of no return. The child aglow with happy
anticipation..the adult brave and enormously anxious.

OTHER ANGLE

The pilot taken with the mother's looks.

		AMERICAN PILOT
	How can I reach you? Address?
	Telephone? Por favor. Por favor.

He glances over..this is not lechery, it is art
appreciation..an errant but decent man awed by the creature
he is drawn to..

		NARRATOR

	My mother had redefined her own
	passions. Blaming herself for the
	father she gave me, she would never
	again be lured by a man's rough
	edges..She had decided that
	goodness would be her catnip.

ON MOTHER

As she feels him looking at her and turns. With some
affection and regret, she shakes her head, "no."

THE PILOT

As he mouths the word "ouch."

EXT. FIELD - NIGHT

Plane landing on a dirt and grass strip...

EXT. FIELD - LATER - NIGHT - ON MOTHER AND DAUGHTER

Standing on the tarmac..Latin flavored music suddenly gives
way to a Texas country harmonica riff..The child tries to
comfort her apprehensive mother with the one wondrous fact
she finds so thrilling.

		GIRL
		(exulting)
	Texas...

The mother hurries her along in the direction of distant
lights.

		GIRL (CONT'D)
		(more emphatically)
			Texas.

EXT. ELEVATED HIGH SHOT...HIGHWAY

The two of them waiting, small figures.

		GIRL
	Mamá, Texas..

She raises her fingers like pistols. Shoots, blows in them
and reholsters them.

EXT. HIGHWAY - DUSK

Bus traveling the highway. The child looks out sadly.

		GIRL
	Adios, Texas.

						TRANSITION TO:
						
EXT. NORTH VALLEY STREET - EARLY EVENING

As they disembark...the mother studying a slip of
paper...fearing she has made the mistake of a lifetime. The
child fascinated by all.

		NARRATOR

	At the time, I was oblivious to my
	mother's anguish. She loved and
	lived to talk. Now, as if by a
	witch's spell, words were no longer
	her bridge but her barrier. In a
	very real sense she feared she had
	left herself behind.

ON THE TWO FEMALES.

The mother sees something. Joy returns.

HER POV.

A street full of stores with SIGNS IN SPANISH..She begins
walking the street asking passers-by for directions in
Spanish and is answered..her step lightens..she beams with
relief. So far so very, very good.

EXT. APT. COMPLEX - DAY - FIVE MONTHS LATER

An iron gate in front..small courtyard ringed by a second
floor horseshoe of apartments.

		NARRATOR
	We moved into a place managed by my
	mother's aunt. My mother worked two
	jobs in two local stores paying a
	total of 450 dollars a week...

INT. APT. - DAY

As the mother enters.

		NARRATOR
	...just ever so barely enough.

INT. APT. - KITCHEN - CLOSER SHOT

Cristina taking a newspaper from her book bag and seriously
pondering - then circling grocery coupons.

ANGLE ON KITCHEN AREA

Cristina taking a snack from the refrigerator..smiling at the
note her mother left...lighting a burner and melting cheese
on a tortilla.

		NARRATOR (CONT'D)

	But we were fine. We had it down.
	If only I could have stayed six.

The CAMERA MOVES QUICKLY from the child to:

EXT. APT. COMPLEX - ELEVATED SHOT - SIX YEARS LATER

The courtyard is lit with colored lights and candles..a
wedding reception is in progress -

EXTREME CLOSE UP - THE BRIDE

Gorgeous round and full cheeks stretched into a deep,
explosive smile.

BACK TO SCENE
... music plays and we focus on Cristina, now
nearing 12 years of age..dancing with her mother and some
other smaller children.. The mother eyes the muscular back of
a Great Looking Man...who turns, and quickly oozes quality
sex appeal. She is turned on..They talk in Spanish...him
saying something hushed like, "I have been afraid to talk to
you. I need oxygen when I look at you." She indicates the six
children she is dancing with and offers to include him in
some ring around the rosey dance...He indicates the magic of
just the two of them...She quickly leads her little flock
away

OTHER ANGLE

A reed-thin FOURTEEN YEAR OLD BOY is staring at them...at
first the mother thinks this is adorable...the child eyeing
her as if he were a man..she indicates he should join the
rest of the children for a dance..

MOVING WITH THE BOY

As he steps forward and it becomes clear it is Cristina he is
interested in... Before the mom can do anything about it, he
asks Cristina to dance and she readily accepts.

ON CRISTINA

Satellite virginities falling with alarming speed..the first
time held by a male, the first time held close, the first
sexy (albeit touchingly awkward) gaze from half-closed male
eyes which utterly confuses Cristina. He begins to grind his
hips into his dancing partner.

ON HER MOTHER

Not confused. It is exactly as if she sees her daughter about
to be run down by a car..only this time the thing to do is
scare the car.

She runs toward the boy -- he sees the force of nature coming
his way and makes a break but she gets him and actually lifts
him and throws him to the sidelines. Then pats him on the
head maternally and goes back to Cristina.

CRISTINA

Somewhat proud of her mom as the boy leaves the scene.

		NARRATOR

	That quickly it was clear she could
	no longer work two jobs and leave
	me to my own at night. The
	following morning she did something
	about it. A boy I never saw again
	had changed our lives.
	
INT. BUS - DAY

The mother and her aunt, MONICA, take their seats..the bus is
filled with domestics..the mother, nervous, looks over to see
and greet... THE BRIDE from last night's wedding.

INT. BUS - DAY - 90 MINUTES LATER

		BRIDE
		(to mom)
	Este es Stone Canyon.

EXT. STONE CANYON - DAY

MUSIC CHANGE..as they disembark and start walking, joining
the busload of domestics into the canyon and up the
hill....they walk past a perfect country club fairway. Grand
trees from either side meet each other high over the road.

ON OUR GAL.. AS THEY WALK

She sees the stuff...the dream that makes you migrate. She is
not awed..she is jazzed. To her aunt she does the Latin
version of OH.....MY...GOD!!!!!!!!...At regular intervals in
the background, one black SUV after another has a mother
taking kids home from school.

EXT. ATTRACTIVE HOME SECURITY GATE - DAY

Monica presses the security intercom. The gate swings open.

EXT. HOUSE - DAY

In the foreground an expanse of turned up dirt...and huge
rolls of sod ready to be laid down. A catering truck stands
in the driveway.

INT. / EXT. HOUSE - GREAT KITCHEN / POOL - DAY

They enter..lots of glass French doors STAND OPEN to lawn,
pool and pool house. They look off.

THEIR POV

DEBORAH NORWICH CLASKY, a cool beauty in her mid 30's, sits
dominating this three generation portrait of the Good Life.
She is wearing a straw hat and killer Hawaiian shirt..She is
a perfect dresser; meaning her clothes seem to say she
doesn't care, while every article is a true and gifted find.
She is drinking from a tumbler which is also of the "don't
hold your breath while you try to find something as terrific"
variety. She is flanked by her mother, EVELYN, 60, who is
drinking from a stemmed glass with two olives and her 14 year
old overweight daughter, BERNICE..who is reading, her
grandmother idly holding her hand..In the immediate area more
rolls of sod wait to be laid.

THE TWO LATINAS

As they stand inside the kitchen not sure what to do next.
Then Deborah gestures that they should join her at the
pool..as they start out..

THEIR EXIT

Boink..three stooges retro..those French doors were not open
after all. Monica hits first. The women at the pool react.
Deborah and Bernice running. Evelyn momentarily attempts to
join the rush.. she half rises and then thinks better of
it..too late in the day for sudden movements.

KITCHEN DOORWAY

		BERNICE
	Gee whiz in heaven...
	How are you?
	Please?
	
		DEBORAH
		(a bit hyper)
	Don't worry..I'm not mad...I was
	looking for decoration to put on
	the glass so people would stop
	walking into it and instead of
	taking what they had in stock,
	which was awful, I special ordered.
	I'll design something myself which
	I should have done in the fi...
Our heroine, seeing the blood flow from her aunt's nose,
gestures that Monica needs help not conversation.

		DEBORAH (CONT'D)
	..and what difference does that
	make when your nose is bleeding.
	Shut up, Deborah.

		BERNICE
	Now you got it, Mom.

Deborah grabs at paper towels, gets an ice pack from the
freezer and then grabs some cash from a bowl in the
kitchen..She has, moment to moment, the enormous desire to
feel loved that only the seriously hard to love can
experience.

		DEBORAH
	Here, take these.
		(second thought)
	Was that strange to give you
	money..I just felt badly that..

		MONICA
	It's okay.

She pockets the cash.

EXT. HOUSE - BACKYARD - DAY

Moments later. As the group arrives at the outdoor table.
Evelyn makes half-hearted incomplete gestures of shaking
hands, nodding, indicating a seat...each simple act a test
which she fails -- every gesture a bit too late and then
some..simply too much for her to manage with the drinks under
her belt. In the background workers roll out sod, the yard
becoming more beautiful even as we look.

		MONICA
	She is my niece. She and her
	daughter live in the apartment I
	manage. Yolanda, who worked for
	you, lived there before she went
	back home. That's how I heard about
	the job.
	
		DEBORAH
	So who am I interviewing?
	
		MONICA
	Her.
	
		DEBORAH
		(forcefully)
	You're gorgeous.

On our gal..as she, not understanding the word, smiles and
nods.

		MONICA
		(translating sotto)
	Vistosos.

Our gal thrown. Not knowing how now to react.

		EVELYN

	She doesn't mean it as a
	compliment. It's more of an
	accusation.

		DEBORAH

	This is my daughter Bernice and
	this is my mother, Evelyn Norwich..

		BERNICE
		(rising)
	Excuse me...Glad you're okay.
		(then to other Latina)
	Good luck.

Our gal smiles back in appreciation.

		DEBORAH
	No, stay..this involves you.

		BERNICE
	I wouldn't want some kid around for
	my interview. You understand, Mom.

		EVELYN
		(to Bernice)
	Strength of character..empathy..big
	heart..taste for futility - God I
	love you.

She eyes with disapproval her mother's empty glass.

		DEBORAH
	MOTHER!

		(then to Bernice)
	Stop. It's just a conversation -
	not an interview. Please sit.
		(to visitors)
	Don't you want to get out of the
	sun?

She indicates a shaded seat. Deborah is protected by hat,
umbrella, sun glasses while her guest sits bareheaded
enjoying the rays and indicates she is fine. Underneath
Deborah's surface is a Russian roulette of deeply felt
emotions..at this moment she is earnest and vulnerable.

		DEBORAH (TO OUR GAL) (CONT'D)
	You guys want some lemonade?
		(they demur)
	Let's just talk. I have two
	children. My husband works
	nights..he's a chef and has his own
	place.

		MONICA

		Do you work?

		DEBORAH

		I helped run a commercial design
		company until ten months ago when

				        14.		DEBORAH (CONT'D)

		it was downsized to zip. Okay. I
		have two children. I like the house
		to be like me in that I'm very
		loose and meticulous at the same
		time. It's all about first names
		and closeness here but I care about
		the place, you know. It's what they
		used to call homemaker..
The two visitors exchange a wide-eyed look. Which Deborah
sees and understands.

		 DEBORAH (CONT'D)

	(to Monica)
		I'm not leaving time for you to
		translate.
Monica says, in Spanish, "this woman is very strange. The
only thing I understand is she has two kids." Deborah leans
into Monica. Face to face, tender but unblinking..

		DEBORAH (CONT'D)

		Too bad for you that it just never
		occurred to you to check on how
		much Spanish I know.

		MONICA

	(a solid beat of
	 humiliation then)
		I'm sorry what I say about
		you...don't hold it against her.

		BERNICE

		Mom!!

		DEBORAH

		I don't speak any Spanish. But I'm
		not an idiot - I talk for an hour
		and you say two words. What did you
		say?
Monica squirms - unusual for her.

		DEBORAH (CONT'D)

		Never mind. You got your nose
		bopped. I got my feelings hurt.
		Onward.
As Monica paraphrases what has happened, her translation is
DIALED DOWN for the:

		NARRATOR

	(as Deborah continues
	 talking)
		I will major in linguistics and
		make sociology my sub-
		concentration. Because it has been
		my experience that the barriers of

		(MORE)				        15.

				NARRATOR (cont'd)
		language are more than we dare
		admit. That, as much as we
		translate, finally we will never
		understand each other. My mother's
		name, for example, beautiful in
		Spanish, becomes leaden and awful
		when pronounced by a non-Latin.

		DEBORAH (IN THE CLEAR)

		What's your name? Llamo? One of my
		five Spanish words..

		OUR GAL

		Flor Moreno.
She pronounces Flor in the Latin way...lots of RRRR's with a
curling of the tongue sound at the end.

		DEBORAH

		Flor.
She pronounces it flat like the "floor" we walk
on...throughout the following each of the women sticks to
their pronunciation as indicated by the extra "r's.

		FLOR

	(correcting)
		Florrrrr.

		DEBORAH

		Flor.

		FLOR

	(correcting)
		Florrrrr.

		DEBORAH

		Flor.

		FLOR

	(correcting)
		Florrrrr.

		DEBORAH

		Flor.

		FLOR

	(trying)
		Florrrrr.

		DEBORAH

		Flor..what I walk on?

		MONICA AND EVELYN

		Florrrrr.

				        16.		FLOR

		Florrrrr.

		BERNICE

		It means flower, right?

		MONICA

		Yes. Flower. Florrrrr.

		EVELYN

		Florrrrr.

		FLOR

		Florrrrr.
Deborah is beginning to feel criticized...she takes a
beat..eyes everyone with some hostility.

		DEBORAH

	(directly to Flor)
		Is there some school of the ear I'm
		flunking out of right now?
Flor says to Monica, in Spanish, a tip to pronounce her name.
Monica warns Flor to leave it rest..since Deborah is becoming
clearly and strangely pissed..

		DEBORAH (CONT'D)

		What did she say?

CLOSE ON FLOR...

She feels the tension but, so far in her life, her own
irrepressible personality has served her - so she moves
forward with surprising and quiet confidence and assurance.
She tells her aunt to repeat her words so that now, for the
first time, she is, through Monica, talking directly to
Deborah.

		MONICA

	(translating)
		She says..If you curl your tongue
		and let it be loose you will have
		it..that it's hard for Americans..
		She says it's great that you try so
		hard. Many people wouldn't bother.

		DEBORAH

	(an emotional
	 pronouncement/her
	 greatest accolade)
		She gets me....
She smiles at Flor, who returns the smile.

				         17.		DEBORAH (CONT'D)

		You want some lemonade? Take some
		lemonade.
She pours some for Flor and Monica. Then she closes her eyes
and pauses in utter dedication to a final effort:

		DEBORAH (CONT'D)

		Florrrrr.
It is perfect..Flor grins at Deborah's victory...claps her
hands together.

		FLOR

	(a Spanish word)
		Sublime.
Deborah feels relief..free for a moment from the dark
corridors of self-criticism..She is lighter, prettier,
innocent..Wholly and completely attractive.

		DEBORAH

		Whew, dense but stubborn, right?
		Thanks.
	(an important declaration)
		What you just did with me is just
		what kids need..patience and
		encouragement. Alright, money...
Bernice rises like a shot to take off..

		BERNICE

		Goodbye, really..
	(to Flor)
		Look forward to seeing you.
As she leaves.

		DEBORAH

	(absently to Bernie)
		Love you...
	(then with not a
	 monoseconds break)
		... the job is six days a week,
		seven to seven..the kids and all
		housekeeping, how much a week would
		you like?
Monica translates..Flor, embarrassed a bit by the directness,
ducks the question..saying in Spanish -- "whatever you say.."

		DEBORAH (CONT'D)

		No.. This is an important
		question..if you ask for too little
		it means you don't value

				                18.

			yourself..too much and you're
			taking advantage.
		(after Monica translates)
			So?
Flor is dumbstruck by the challenge of this pop quiz but not
without some native wit and style to maneuver around it.

		    FLOR

		(extremely heavy accent)
			One thousand dollars.
Deborah falls for it until Flor laughs..others join...Deborah
now a big smile, snort of a laugh, putting her hand to her
face and shaking her head.

     OTHER ANGLE..

As Monica uses Deborah's reaction time to, in mid-laugh,
flash four fingers to Flor..

     ON EVELYN.

Catching the gesture and secretly indicating to Monica they
should go for six.

		    MONICA

		(firmly)
			Six hundred dollars.
Flor shoots her a look of fear...a tense beat.

		    DEBORAH

			Welcome to the family..
Deborah kisses her..sort of on the mouth. In the midst of
Flor's delight she is thrown by Deborah's kiss...it is the
first of many borders to be violated.

31   EXT. CLASKY HOUSE - DAY.		             31

As Flor and Monica exit and can finally show their full joy.

				  DISSOLVE TO:32   EXT. STONE CANYON - EVENING.		         32

JOHN CLASKY driving a smallish SUV. He is an upbeat,
talented, successful man with an ego as balanced as a high-
end watch; who loves his wife, kids and job. In other words,
watch out, John.

33   EXT. CLASKY HOUSE - EVENING.		         33

As John pulls into the driveway next to a catering truck and
exits his SUV carrying a large wrapped tray..

				             19.34   INT. CLASKY HOUSE - EVENING.		         34

As John moves quickly through the downstairs, he puts the
tray on a counter where food servers are working.

		 JOHN

	 I brought some dessert.
As he moves on, we see in the background the workers unwrap
and react to a fantastic concoction. A caterer (who we may
notice looks at him like royalty) falls in beside him and
whispers to him.

		 CATERER

	 She came down to check on the party
	 and realized the gardeners hadn't
	 finished rolling the sod.

35   INT. / EXT. CLASKY HOUSE - BACKYARD - NIGHT                  35     JOHN'S POV - DEBORAH AND TWO FEMALE CATERERS.

Deborah is wearing a party dress. They are rolling out the
last huge cylinder of sod, completing the now beautifully
manicured backyard. It is hard manual labor involving
physical strength. The female caterers are complaining that
it's too heavy but Deborah is undeterred.

		 DEBORAH

			 (to catering women)
	 We can do it. Come on.
She falls over the roll..getting filthy..but it gives and
they gain momentum...one of the catering women falling down,
one losing pace.. Deborah,however, gains the upper hand. Yet,
even while succeeding, she remonstrates herself.

		 DEBORAH (CONT'D)

			 (great exertion)
	 Why... do... I... care.. so..
	 much.. about.... CRAP?
And now she wins.. the cylinder of grass rolls all the way
out and she jumps on the seam in victory. She is dirty,
spent and triumphant..the components for a solid sexual
experience..and, in truth, as the exhausted caterers half-
heartedly applaud the bizarre victory, she has gotten off.
She looks with mother's pride at the lawn. Then sees John.

		  DEBORAH (CONT'D)

	 Can you believe they left without
	 finishing?
As she looks at her handiwork - John looks at her..A
grin..half laugh.. He loves the dame.

				       20.		DEBORAH (BREATHLESS) (CONT'D)

		Looks great, huh?.... You're not
		looking.

		JOHN

		I was getting a kick looking at you
		look at it.
Not the answer she wanted..

		DEBORAH

		I better get dressed again in case
		anybody's just a half hour late.
She hits a switch at the door and the backyard area is now
fully illuminated -- set up for a dinner party for 20 or
so....all details thought about and done to a "T". This is
the outdoor lighting nobody nails..the twinkling of a half
acre..the path to the pool like a runway to heaven. As she
looks at it all she has a wistful moment.

		 DEBORAH (CONT'D)

	(a replenishing sigh)
		Okay..We're okay here.
	(then)
		Why can't everything be like sod?
		There's no wait, no dung, nothing
		you have to do right and yet it's
		perfect. It covers up all your
		dirt and makes things immediately
		pretty..then, the miracle, if you
		just give it time, it roots and you
		can't tell it from the real thing.
	(a look to her husband)
		No reaction. Nothing to say.

		JOHN

		Huh? Oh sure..I, uh..Well, no, I
		don't have anything particular to
		say.

		DEBORAH

		Oh, John why don't you just take
		out a knife and kill me all
		together.
Somewhat crushed, she prepares to exit.

		JOHN

		How'd you get there..Hey, wait a
		minute..Deb..stop..come on.
	(she turns)
		I'd like to figure this one out.
		What would have been the great
		thing for me to say after you said
		the sod sentence?..Really.

				             21.		 DEBORAH

	 That's actually a good question.

		 JOHN

	 There you go. I surprise sometimes.

		 DEBORAH

	 I would have liked, if after I
	 compared the sod to life, if you
	 had said, "Exactly!"
She turns to leave.

		 JOHN

	 Yeah. But to say that and mean it
	 I'd have to think the same way you
	 do.

		  DEBORAH

				(some sense of mischief)
	 It's worth a try...I had something
	 else to tell you...it'll come to
	 me..

36   INT. OLIVE GARDEN TYPE RESTAURANT - NIGHT                 36

Standing in a nicely decorated middle class restaurant,
Cristina, totally bilingual, speaks to the American hostess
with a pronounced and charming accent as her mother, standing
beside her, bounces with energy and joy.

		 CRISTINA

	 Could we have a table for two,
	 please?
Flor says something to her in Spanish..the daughter waves it
off and when the mother persists, she translates.

		 CRISTINA (CONT'D)

	 We're celebrating.

		 HOSTESS

	 Smoking or non-smoking?
Before her daughter can translate.

		   FLOR

	 Dancing!
The hostess laughs..They are seated at the two ends of a
banquette and each automatically picks up her place setting
and "scootches" closely together. Cristina picks up a menu
and points to the prices.

		 CRISTINA

	 Wow, expensive..

				             22.

Flor scoffs -- says she's making six hundred dollars a
week..then looks at the prices and does a take. The hostess
returns --- Cristina points to the menu.

		 CRISTINA (CONT'D)

	 This is just for the starter?
Flor, encouraging her daughter's spirit of adventure, places
her hand over the prices in the menu.

		 HOSTESS

	 Uh-huh..And those men would like to
	 buy you a drink.
The daughter translates...the hostess points out the early
30's, well dressed, quite nice looking businessmen. Flor
addresses the men who are several tables away. Cristina
moves uncomfortably but responds to her mother's nudge to
translate.

		 CRISTINA

			 (to men)
	 This is very embarrassing but--
	 "what's wrong with you? I'm with
	 my daughter for God's sake!"
Then hostess, Flor and finally Cristina laugh. Cristina
relishes getting back to ordering from the menu...in a moment
that is a bit noteworthy..

		 CRISTINA (CONT'D)

	 And I would like to begin with the
	 Jumbo Shrimp.

37   EXT. STONE CANYON - DAY - 6:30 A.M.		  37

Flor smiling..enjoying the canyon..as she walks the mile plus
from the bus stop to work..one of a straggly line of
domestics. Deborah jogs into view.

		 DEBORAH

	 Hi, Flor..See you up there.
Deborah runs past..She is clearly upset..She is also more
than a stay-in-shape jogger. She is an athletic woman fueled
by an ever flickering pilot light of anxiety. This makes her
seriously quick. She is highly aware of passing
everybody..She needs to pass everybody..Her voice trails
behind her as she announces to all as she approaches.."left,
please," "left," "left."

38   INT. CLASKY HOUSE - UPSTAIRS - DAY		   38

John enters his son's room..GEORGIE, age 9.

				             23.		 JOHN

	 Okay...think SERIOUSLY about
	 getting up. You don't have to get
	 up yet but are you thinking
	 seriously about it?

		 GEORGIE

	 Yes.

		 JOHN

	 Okay.

39   INT. CLASKY HOUSE - KITCHEN - DAY.		   39

Bernice is making French Toast, doing something novel with
the filling and the last cooking process. Some great idea
which will have us making a mental note to try it at home.

40   INT. CLASKY HOUSE - UPSTAIRS DAY - DAY		 40

John opens Georgie's door again.

		 GEORGIE

	 Now?

		 JOHN

	 Yes..actual up..
Georgie gets up..

		 GEORGIE

	 Morning, Dad.

		 JOHN

	 Yeah, good morning.

		 GEORGIE

	 You as mad at me as Mom 'cause of
	 what happened?
John pauses..aware his answer will have repercussions but
integrity wins.

		 JOHN

	 No, Georgie, I'm not.

		 GEORGIE

	 Are you mad at me?

		 JOHN

	 Uh...okay, no..

41   INT. CLASKY HOUSE - KITCHEN DOORWAY - DAY		41

As Flor enters from outside.

		 BERNICE

	 Morning, good to see you.

				        24.		 FLOR

			 Morning. Good too.
She notices the French Toast.

		  BERNICE

			 Try some.
She demurs. Bernice holds out one slice on a spatula,
indicating Flor should just tear a piece off which she
does...One taste and she marvels -- her mouth dropping open
at this kid's ability to make something mundane
special..Bernice laughs.

		  BERNICE (CONT'D)

			 Thanks.
Her mother enters on her way upstairs. She is thoughtful,
tense and sweaty - her run having failed to exorcise her
current demon. She greets Flor and then shakes her head,
making a vain attempt to communicate her troubled mood to
Flor in some sort of sisterhood based on life being a fucker.

		  DEBORAH

			 Tough day.
Bernice prepares a plate for her mom while, in the b.g., a
GOLDEN RETRIEVER named CHUM approaches Flor from behind with
a ball in its mouth. Flor is checking out the kitchen...
what's in each drawer, etc .....Deborah is impressed by the
self-starter display and indicates same to Bernice.

		 BERNICE

			 I had an idea for a breakthrough in
			 French toast so I made breakfast. I
			 don't want to be teased about it..
			 No sarcasm. No tough love. Just try
			 it and if by any chance you have a
			 positive reaction...

		 DEBORAH

			 Right..mean ol' me. I can't play
			 right now. I have to do something
			 about your brother.

		 BERNICE

			 I had an idea for a recipe. When
			 has that happened? I got up early
			 to do this. At least taste it, for
			 God's sakes!
She does..

		 DEBORAH

			 Oh, it's good...oh God, it's rich --
			 Oh God, it's good.

				              25.		 DEBORAH

			 (sudden alarm)
	 By the way, you could do without
	 this.
The approval rug pulled out from under her, Bernice looks at
her mother. But Deborah is unaware of having hurt her
daughter because her attention has been diverted so that
Deborah AND THE CAMERA LOSE FOCUS ON BERNICE as the teenager,
distraught, moves from the room.

		 DEBORAH (TO FLOR) (CONT'D)

	 NO..NO! FLOR!....Never do fetch.
Chum is nudging Flor with the ball and Flor was about to
accommodate him by taking it before Deborah's warning shout
stopped her in mid-sentence.

		 DEBORAH (CONT'D)

	 I mean it, NEVER!
ON Flor's stunned reaction to the outburst.

		 DEBORAH (CONT'D)

	 I'm not mad. I'm thinking of you.
	 This is me being nice..
Then using her hands to demonstrate.

		 DEBORAH (CONT'D)

	 Just no taking ball from dog.
			 (broadly)
	 Trust me on that one.
CLOSE UP ON Chum going nuts with Deborah's hand passing in
front of his face ignoring how urgently he offers the ball.

		  DEBORAH (CONT'D)

	 You and me. We are fine. Just a
	 tip.
				(she gives her waist a
				 little squeeze)
	 Girlfriends.
				(Flor is totally confused)
	 Could you make some coffee? Cafe?

		 FLOR

	 Yes.
Deborah directs her to the most complicated cappuccino
machine Italian overpriced artists ever devised.

42   INT. CLASKY HOUSE - UPSTAIRS - MASTER BATHROOM - DAY        42

Deb in the shower...you have never seen so many shampoos,
conditioners and bath balms...never seen so huge a
sponge..such fluffy towels.

				             26.

Skylight over the shower allows a beam of God's warmth. There
is a fireplace in the bathroom. The only significance of
this being that these people have a fireplace in their
bathroom. The woman who made it all happen is putting in a
contact lens..She is upset. We see that she has one blue eye
and one brown.

		 JOHN

	 This isn't an argument, honey.

		 DEBORAH

	 Yes. Yes it is. So stop being so
	 maniacally calm.

		  JOHN

			 (emphatically)
	 No..it's not. Because I understand
	 your side.

		 DEBORAH

	 I can't be wrong about that too.
	 This is a fight. We're having a
	 fight. Yo, I feel anger.
Deborah turns from the sink revealing one brown eye and one
blue. She blinks, realizes one lens is not in and turns back
to the sink.

		 DEBORAH (CONT'D)

	 Can I have a moment?
John exits into the..

43   INT. CLASKY HOUSE - MASTER BEDROOM - DAY                  43

As John awaits his wife...a beat and she enters with two blue
eyes. Even though she is attempting reason and self-control
her voice is filled with tension and goes from loud to
borderline yelling.

		 DEBORAH

	 Okay..Let's get someplace here.

44   INT. CLASKY HOUSE - KITCHEN - DAY		 44

As Flor works methodically - orienting herself..she is able
to hear their totally foreign words and though their volume
registers on her a bit - basically she remains blithe.
Loading a dishwasher, memorizing where everything is..

45   INT. CLASKY HOUSE - MASTER BEDROOM - DAY                  45     BACK TO SCENE:		 DEBORAH

	 You, mister, are crazy making..I
	 can't take this calm thing you've

				        27.		DEBORAH

		started doing. It's like this is
		your way of letting me know there's
		something deeply wrong with me
		because I'm not calm.

		JOHN

	(calmly)
		Let's not go all over the
		place..Can't we...

		DEBORAH

	(shouted burst)
		If you're going to talk to me
		please have the decency to raise
		your voice.

		 JOHN

	(a beat then sudden
	 urgency and change of
	 tone)
		Let's make a break for it.

		DEBORAH

		What are you talking about?
He signals her with his eyes and head and then takes a large
but tentative step away from the spot where he was
standing...then additional faster steps. He gestures with
enormous energy for her to follow him to his new spot in the
room. She eyes him suspiciously.

		JOHN

		Just for a second.
She walks to him...he puts an arm around her shoulder. And
gestures back to where they were standing. He talks in an
almost hushed, conspiratorial voice.

		JOHN (CONT'D)

		We don't have to be those people.
		Nobody's watching. They've been
		masquerading as us for a while
		here..I'll distract them - you make
		a break for it and I'll meet you
		outside.

		DEBORAH

		You're ridiculing me because I care
		about this.

		JOHN

	(firmly)
		No. I'm not. I mean this..let's get
		away from those two in case they're
		as miserable as they look..

				           28.		JOHN

	(urging..like a Southern
	 coach)
		Come on, baby.
He is looking at her with wit and conviction..trying to
squirt lighter fluid at the flame of their love. Deborah
looks up at him..intimacy of a different sort.

		DEBORAH

		Let me ask you a question..let me
		change the subject..Forget for a
		moment that you won't support me
		with Georgie..

		JOHN

	(reasonably)
		Well, I don't think...
She makes a noise of frustration to stop him..It   works. John
is rendered still and intimidated by her conduct   but he is
"man" enough for his jaw to set...to pause for a   beat as he
looks her straight in the eye..And walks back to   the spot
they occupied previously.

		JOHN (CONT'D)

		Go ahead.

		DEBORAH

		Here's the question. It's been on
		my mind more and more. Do you do
		that calm thing for the purpose of
		infuriating me?

		JOHN

	(genuinely puzzled)
		What? Why would ...
	(on her exasperated look)
		Why would anyone do something to
		someone they love for the purpose
		of messing them up?

		DEBORAH

	(unconvinced/distant)
		Okay.
He hates that look of isolation on her face..He needs to make
her feel better.

		JOHN

		Deb, since high school we've been
		able to read each other...take
		advantage of it..The answer to the
		question is,"absolutely not." Now
		take a look and tell me if you
		believe me.

				              29.

She looks at him..with a finger motion he directs her gaze to
his eyes..
CLOSE on JOHN'S EYES.
Open, smiling, trusting. Trying to get a laugh out of her.

     CLOSE ON DEBORAH'S EYES.

Studying, questioning, probing, doubting, exhausted...

		 DEBORAH

	 I don't.. believe you. I think you
	 just want me to feel badly about
	 myself..Sorry, honey.

46   INT. CLASKY HOUSE - KITCHEN - DAY		    46

John enters - not seeing Flor - goes to the Sparkletts water
container and fills a cup...He is shaken..

		 JOHN

			 (to himself)
	 Great God in heaven save me.
Boy meets girl.

		 FLOR

	 Hi.
He turns with a start to see Flor smiling at him. Gorgeous
squared. His first word is inadvertent.

		 JOHN

	 Whoa...whoa...I didn't know Deborah
	 had found someone... You work here?
	 You're going to help with the house
	 and kids?

		 FLOR

	 Solo español.

		 JOHN

	 You work here and you don't speak
	 any English at all?
The sound of feet on the stairs..Deborah and Georgie enter.

		  DEBORAH

	 All she has to do is dial 9-1-1 and
	 press two for Spanish.
			 (even before she enters)
	 Flor...John.
			 (to John enunciating the
				name)
	 This is Flor.

				             30.		 JOHN

			 (pronouncing it perfectly)
	 Hi, Flor.
Deborah reacts, grabs some coffee and pushes Georgie along.

		 JOHN (CONT'D)

			 (to Deborah)
	 Look, I'll take Georgie to school.

		 DEBORAH

	 No. I'm doing it..show Flor the
	 ropes.
Flor is trying to figure out what's expected of her then
Deborah gestures impatiently for her to fall into step and
come with her.

47   EXT. CLASKY HOUSE - DRIVEWAY - DAY		   47

The biggest, baddest, BLACKEST SUV..there is some subtle
custom work so the vehicle impacts us in ways we cannot quite
fathom. Deborah is wiping away a tear as she gets in and
shares a woman to woman moment with Flor.

		 DEBORAH

	 Fuckin' hombres, huh?
She sniffles. Flor nods uncertainly. A small voice from the
back seat..Georgie..

		 GEORGIE

	 I just didn't want to sing last
	 night.

		  DEBORAH'S VOICE

			 (hurt)
	 Yeah. Well you said you would..You
	 said you wanted to. I asked you
	 five times. Then when I have the
	 whole party paying attention you
	 refused.
As she puts the car in gear...Georgie sings insanely well.
But he's just two lines into an old blues standard:

		 DEBORAH

	 It doesn't do any good now,
	 Georgie.
She presses a button on her dash and a glass partition comes
up between front and back seat thereby cutting him off in mid-
song. Flor is utterly baffled by the notion of putting a
divider between parent and child. But Deborah is calling for
her to pay attention to the car's navigation screen.. a
Spanish voice says, "route guidance system starting."

				             31.		 DEBORAH (CONT'D)

	 I've programmed it for Spanish..
	 Look, it will take you anywhere and
	 then back home. If you figured out
	 how to make coffee on that thing
	 it's all downhill.
The MALE SPANISH VOICE talks about imminent left turns. Flor
is thrown by the amount of oddness..All the while Georgie is
singing his little heart out in the back seat. Flor,amused by
the boy, suppresses a smile...maybe the first time in her
life she's had to suppress joy. But Deborah never misses
anything.

		 DEBORAH (TO FLOR) (CONT'D)

	 This is stop gap..You, kiddo,
	 you're going to have to learn
	 English.

48   INT. RESTAURANT KITCHEN - LATE AFTERNOON                  48

John cooking...the theory that nobody's sexier than when they
are seen doing what they do best applies here.. In the
BACKGROUND John's number two, PETER, the Sous Chef, being
bossy and anal as he organizes his cooking and GWEN, who
spends most nights trying not to show her enormous affection
for John. At the moment, John's work is a strange mixture of
art and cloddishness.....the hands blur with expertise...but
he keeps dropping items.....each time a Latin kitchen worker,
ALEX, 20, dives on the spillage..At one point they bump.

		  JOHN

	 Sorry...

		 PETER

			 (sharply to Alex)
	 Not the best place to stand, fella.

		 JOHN

			 (to Alex)
	 No. It's me. You're the new
	 helper, huh..

		 ALEX

	 I didn't mean to...

		 JOHN

	 No..no..it's okay. It's me being
	 bugged.
Two people head for John almost simultaneously. PEG, an arty
looking woman in her late 50's..wild, scraggly gray hair,
enters lugging an ice chest and the maitre d'.

		 PEG

	 You are going to be so happy..
The Maitre D' enters.

				        32.		MAITRE D'

		I have something very important to
		tell you.
John makes a no-brainer of a decision pointing to the woman
who promised happiness. She hefts her ice chest up on the
counter.

		PEG

		Perfect cod this is John -- John,
		perfect cod..Best one I've seen all
		season and he was swimming twenty
		minutes ago.
The fish is that special, a sentence that kicks out for a
writer, the right brush stroke for an artist. You get it..

		JOHN

		Knockout.
	(to Alex)
		You want to learn something? You
		want to pack it away?
The kid nods.. he picks up the fish.

		JOHN (CONT'D)

		Cradle it...Put it in the cooler
		but not on its side.. In the same
		position it swims.
	(important added thought)
		And check the ice pack..make sure
		it can drain away..if it can't the
		chlorine can hurt the flesh. Do all
		that and nobody can put a fish in
		the fridge better than you...and
		that's a solid start.. First day
		and you already did something
		perfect.

		KID

	(smiling)
		Yes, I understand.

		MAITRE D'

		Please. Now?

		JOHN

		Oh, sorry..I forgot.
He whispers in John's ear..

		JOHN (CONT'D)

		Damn.. "ohhhh damn."

		PETER

		What, buddy, what?

				        33.		 JOHN

		 Victor spotted a food critic..

		 PETER

		 From?

		 VICTOR

		 The New York Times..I'll bet they
		 sent her out just for us.
	 (hands John a slip)
		 Here's what she ordered.

		 PETER

		 Look, if you're nervous take a
		 walk..

		 JOHN

		 I don't need a walk.

		 GWEN

		 I'll walk with you..I know a
		 breathing thing.

		JOHN

		 What do you think I'm worried
		 about... how I'll cook? That's not
		 the problem..
	 (looks at slip/then to
		Alex)
		 The lady wants fish. Get the fish.
He starts to prepare for cooking.

		 JOHN (CONT'D)

		 I worked in a kitchen once in New
		 York that got four stars. It was
		 like a line formed for the chance
		 to become an asshole. People's
		 accents changed. The heart went out
		 of the place. You understand.

		 PETER

		 No.

		GWEN

	 (w/barely understated
		passion)
		 I agree with everything you've
		 said. I admire you for your
		 feelings. I hope to adopt them as
		 my own....

ON JOHN.

As he works..Let's be clear here...this is that sequence that
either kicks out or doesn't..no food channel..no simple knife
stuff..something casually brilliant..meticulous...smart and
gifted as he prepares the critic's meal.

				             34.

He is talking quickly..almost to himself.

		 JOHN

	 I don't know what to root for.. the
	 thought of one star makes me
	 nauseous..but with four there's no
	 place to go but, "Oh my God, they
	 took away a star."
			 (musing)
	 Three..three and a half. That's
	 what you want..No. Wrong! Three and
	 a half you feel disappointed that
	 you just missed out on four. You
	 know what you want? Three and a
	 quarter..
			 (a eureka moment)
	 That would be perfect!!
			 (getting off on it)
	 It would mean you're good..but
	 you're not good enough to feel
	 disappointed that you just missed
	 out on excellent..but nothing truly
	 bad happened, you still got your
	 three and a quarter stars. Which
	 encourages you to try and
	 improve..And you still get enough
	 respect so that you can get good
	 people to work with you..Business
	 is good but not crazy. You're right
	 there underneath the radar where
	 you get to mind your own business.
	 That's a solid life.
He tastes a sliver of the food dish he is preparing.

		 JOHN (CONT'D)

			 (with professional honesty
				and some regret)
	 Aw, man..this is amazing. No three
	 and a quarter here.

49   INT. CLASKY KITCHEN - DAY.		        49

Evelyn, having a glass of white wine and a sandwich, is
talking to Bernice in the kitchen also including Flor though
she is only catching a word here or there..

		 EVELYN

	 Well, I'm in the vitamin section
	 and this little hip hop
	 girl..what's her name..Grammys -
	 adorable -- big voice..subtle
	 phrasing...oh, she's famous..the
	 kids know her...oh - little blue
	 shoes..darn me.
Flor looks concerned over Evelyn's displeasure with herself,
a fact picked up by the older woman...It is actually a small

				        35.

but resonant good-natured, affectionate moment between the
lush and the Latina.

		EVELYN (CONT'D)

		God Bless the language barrier, it
		keeps you from being bored with me.
Spoken to directly like this, Flor is confused..

		EVELYN (CONT'D)

		Anyway, she said, "aren't you
		Evelyn Wright?" First of all, that
		she recognized me from the old
		covers and then she .... Oh, please
		her name..it makes the story so
		much better...She said,
	(genuinely stirred)
		"Whenever I think everything is.."
	(aside)
		Pardon my French..pardon her French
	(back to quote)
		"a mother hmmmhmmm...I put on one
		of your records.."

		BERNICE

		Awwww. How sweet....
Evelyn looks transparently vulnerable for a second. Flor
reacts. Bernie squeezes her grandmother's hand..Flor smiles.

		EVELYN

		Just such a lovely thing to come
		from the blue....
Deborah enters, carrying a load of packages. With lightning
speed, her eye picks out...the glass her mother is drinking
from.

		DEBORAH

		Oh, Mother...It's not even noon.

		EVELYN

	(defensively)
		It's almost two o'clock.

		DEBORAH

		God, where is this day going...Flor
		could you come with me?

		BERNICE

		Grandma, tell Mom what happened.

		EVELYN

		(very deliberately)
		No.

				             36.

Deborah leads the way out...but Flor stops before following
her out to give Evelyn a gesture of support and appreciation.

50   INT. BERNIE'S ROOM - LATE AFTERNOON		  50

John is in Bernie's room - helping her with her homework.
They lay at right angles to each other..He is testing her.

		 JOHN

	 This is going to work.

		 BERNICE

	 I don't know anything.

		 JOHN

	 Free your mind...the president
	 whose policies many consider
	 responsible for the Great
	 Depression...

		 BERNICE

	 I don't know...

		 JOHN

	 Name a vacuum cleaner..

		 BERNICE

	 Okay. Yes..thanks.

		 JOHN

	 And this vacuum whooshed all this
	 money out of everyone's pockets.

		 BERNICE

	 Got it. I no longer know nothing.

		 JOHN

	 And Hoover was followed in office
	 by..

		 BERNICE

	 I'm just drawing blanks. I'm
	 embarrassed. It's my own fault I
	 spent my time on math, which I'm
	 lucky if I don't flunk anyway and..

		 JOHN

	 The guy we are looking for is not a
	 ruse..

		 BERNICE

	 What's ruse mean?

		 JOHN

	 Phony. So this president was not a
	 ruse..He was the real thing.

				             37.		 JOHN

			 (she looks at him blankly)
	 Ruse??

		 BERNICE

			 (enjoying her father's
				absurdity)
	 Rusevelt..If I'd ever heard of the
	 word before - that would lock it
	 in..It's so stupid it might work
	 anyway...
Deborah enters followed by Flor. They are carrying several
boxes of clothes...

		 DEBORAH

	 Surprise new clothes..
Bernie gasps..As she looks at a sweater..

		 BERNICE

	 What'd I do right?

		 DEBORAH

	 Warehouse sale..
Bernice tries on the sweater over her T-shirt..and mirth
ends..The sweater is tight...Bernice picks up a blouse and
then skirt and checks the size.

     ON FLOR AND JOHN.

As they are COUPLED BY THE CAMERA ANGLE as each catches on
and is dumbfounded.

     ON BERNICE..

Whose style, wit and grace should not have to be used to
deflect such trauma. But so be it, as, though mightily stung:

		 BERNICE

	 Thanks, mom..I'm glad you didn't
	 get here a little earlier or else I
	 wouldn't be able to tell you that
	 your gift is a ruse. Please, excuse
	 me..
She exits to her bathroom.

51   INT. STAIRWELL - EARLY EVENING		       51

Flor one step behind John and Deborah who are moving quickly
down the stairs...John pissed..Deborah feeling the futility
of anyone understanding her point even as she makes it.

				              38.		 DEBORAH

	 She's right between the two
	 sizes..I thought about it..what am
	 I supposed to do encourage
	 her...what is it? - DENIAL? Or
	 motivate her to get herself in
	 shape.
Flor tries to slide by..Something surreptitious in her
behavior..Deborah suddenly turns to Flor.

		 DEBORAH (CONT'D)

	 Flor..
She holds out her hand in a "we women understand" gesture.
Flor does not waver..just meets her eyes.

		 FLOR

	 Me puedo ir?..go..can go?

		 DEBORAH

			 (a bit nonplussed)
	 Sure. Go.

		 JOHN

	 I'll drive you to the bus stop.
And that fast they are gone.

52   EXT. CLASKY HOUSE - DRIVEWAY - DAY		   52

As John gets in his seat..then sees Flor approaching the door
and hops out to open her door...apologizing as he goes.

		 JOHN

	 Sorry. I'm cracking.
As he moves back to his side of the vehicle.

		 JOHN (CONT'D)

			 (a shout)
	 Shiiiiiiit!
Flor hears this from inside and nods in agreement.

53   INT. JOHN'S CAR - EARLY EVENING..		    53

As they drive down the canyon. He is wildly frustrated. Even
if Flor were not there, he would be talking to himself
anyway, in the manner of bag ladies and all of us.

		 JOHN (CONT'D)

	 I am running out of excuses for the
	 lady of the house.
Flor doesn't understand his words...yet fully agrees. But
then John takes rein of his emotions.

				        39.		JOHN (CONT'D)

		But you know, you gotta watch out
		for the times you think you're
		absolutely right..But, man, Bernice
		has finals tomorrow. She didn't
		need this one..And just that look
		on her face when she got the gifts--
	(now his voice cracks; he
	 grows wet-eyed)
		--like for a second she thought all
		her problems with her mother had
		been solved...
Flor is flabbergasted..she peeks to see if he is actually
crying. At first her heart is touched by John but then there
is distinct disapproval (a real roll of the eyes) that the
macho meter can read that low. He looks at her and she faces
front quickly.

		NARRATOR

		My mother did not understand her
		male boss. His heart was good and
		he was rare in not flirting with
		her. But they were starkly
		different. Privacy and dignity were
		the same word to my mother.
		Naturally, when she found herself
		sitting next to a man who cried
		over his child's hurt she had no
		idea how to process the event.
Meanwhile, he has stopped for traffic near the end of the
canyon. Flor takes the opportunity to bolt.

		 FLOR

		Gracias.
She opens the door and starts to get out though the car is
still rolling a bit...

		JOHN

		What are you doing? Let me take you
		all the way.
Reluctantly she re-enters the car..It rolls another ten feet
to her bus stop and she gets out again.

		JOHN (CONT'D)

		How weird was this ride? Sorry.

		FLOR

		No es nada.
He doesn't quite know what that means...indicates same in a
little helpless gesture..

				               40.54   EXT. BUS STOP - EARLY EVENING..		     54

As Flor is dropped off...the goodbye awkward.

		 NARRATOR

	 The job was taxing her. She had no
	 template for confusion let alone
	 frustration.
While waiting for the bus, Flor suddenly turns and runs a few
yards...and then back..and waves off the looks from her
colleagues - many of whom are overweight..many of them
adorable. All puzzled for the moment as they watch Flor
unsuccessfully try to shake off her day.

55   INT. FLOR'S APT. - EVENING		          55

As Flor enters -- kisses her daughter..distraught and
distracted. She walks immediately to the refrigerator and
takes out a chocolate cake and a bottle of milk...she cuts a
huge slice of cake and puts it in front of her startled
daughter..in Spanish riding her on being too thin..the
daughter gestures at her mother's own slim figure.

		 NARRATOR

	 It was so unusual for my mother to
	 ask my help that I realized
	 immediately she was losing her
	 battle to be uninvolved with the
	 Claskys.
Flor asks her daughter how to say something in English.

		    CRISTINA

	 Try it on.
Flor asks again in Spanish...trying to find a precise
phrase.. The nuance important to her.

		 CRISTINA (CONT'D)

	 Please try it on?
Flor knows the word "please"..it's not what she wants...what
she wants is a way to say, "try it on" in a manner which is
not a request..or order, but is, rather, friendly and caring.
Her daughter works on the problem.

		 CRISTINA (CONT'D)

	 Just try it on?

		 FLOR

			 (thickly accented)
	 Just try it on.

		 CRISTINA

			 (small accent)
	 Just try it on.

				             41.		 FLOR

			 (improvement each time)
	 Just try it on...just try it on..
She's got it.

		 NARRATOR

	 Our culture embraces fullness in a
	 woman. You, the women of the
	 admissions committee, as
	 intelligent as you are, have no
	 idea how casual and complete such
	 acceptance is back home, in the
	 land of the size 16 bikini.

56   EXT. BUS STOP - NORTH VALLEY - PRE-DAWN                   56

Flor is the only one waiting. An empty bus stops and she gets
on.

57   EXT. STREET - NEAR BUS STOP - HIGH SHOT - FIRST LIGHT     57

As we see Deborah cross Sunset Blvd., overtake and pass two
UCLA men running at a good clip as Flor's bus stops.

     CLOSE ON FLOR..

As she strides purposefully up the street.

		 NARRATOR

	 This is one of the cultural
	 differences between us which I wish
	 to explore academically at
	 Princeton. American women, I
	 believe, actually feel the same as
	 Hispanic women about weight.

58   INT. CLASKY HOUSE - EXTREME EARLY MORNING                 58

The house asleep. Flor walks carefully up the steps.

		 NARRATOR

	 ....a desire for the comfort of
	 fullness.

59   INT. BERNIE'S ROOM - FIRST LIGHT		  59

Bernie asleep on the bed...Kleenex abounds...the solid sleep
earned by a few hours of sobbing. She looks touchingly pretty
and decidedly round. Flor looks for, finds and carries out
the new clothes Deborah had given her daughter.

		  NARRATOR

	 And, when that desire is suppressed
	 for style and deprivation allowed
	 to rule...

				               42.60   EXT. STREET - STEEP INCLINE		          60     ANGLE ON DEBORAH & KILLER HILL:

Two young athletic men and one woman considerably ahead of
her on the steep incline.

		 DEBORAH

	 Left..left..

     ON RUNNERS.

They turn and look confused at Deborah who is so far behind
them she has no need to pass..They turn away. Deborah
struggles to turn it on and does so...huffing to just behind
them where she utters one more strained:

		 DEBORAH (CONT'D)

	 Left.
And then passes.

		 NARRATOR

	 ...dieting, exercising American
	 women become afraid of everything
	 associated with being curvaceous,
	 such as wantonness, lustfulness,
	 sex, food, motherhood..all that is
	 good in life.

61   INT. CLASKY MAID'S ROOM - EARLY MORNING.		 61

Flor at work on a sewing machine..opening seams, moving
buttons, even steaming where the buttons have been
changed..etc.

62   INT. BERNIE'S ROOM - MORNING		         62

Flor is in the room...having put the altered clothes back in
place..Bernie's alarm clock rings..She wakes and sees Flor.

		 BERNICE

	 Hey..buenas dias, Flor..
Flor holds up the new clothes and indicates that they are
beautiful.

		 BERNICE (CONT'D)

			 (ruefully)
	 Yes..Well, taste she has..
Bernie starts her morning routine..her back to us when:

		 FLOR

			 (damn good English)
	 Just try it on.

				         43.

Bernie, though her back is to us, does a "take" then turns
grinning.

		BERNICE

		Hey!!!! When did you learn to...

		FLOR

	(cutting her off)
		Just try it on..

		BERNICE

		Too tight..it doesn't fit.
Flor clearly doesn't understand..

		FLOR

		Just try it on..Hey?!
Flor extends a blouse and skirt.

		FLOR (CONT'D)

		Just..

		BERNICE

		Okay. I'll show you..
She steps behind a closet door to try the clothes on,
muttering pessimistically before she does so. CAMERA STAYS ON

FLOR..		BERNICE (O.C.) (CONT'D)

		Lovely way to start the day.
		World's most trim Mexican learns
		her first sentence and uses it to
		watch me grrrrunt my way into...
And then....silence...Bernie, open mouthed, steps out wearing
the clothes which fit like a glove. Flor beams..then laughs
at Bernie's reaction as she keeps checking the waist and
looks into the mirror.

INTO MIRROR.

To see Bernie in the foreground as Flor looks on..nods
approval and leaves.

ON BERNIE..

The fit of the clothes is as mystifying as it is nice..she
picks up another shirt..checks the size tag and then studies
it a bit.

CLOSE UP SHIRT..

As Bernie's fingers find the barely visible holes where the
buttons have previously been.

				             44.63   INT. CLASKY HOUSE - KITCHEN - DAY		    63

Flor at work..Chum, ball in mouth, comes to her and nudges
her.

		 FLOR

			 (to dog)
	 Lo siento. No.
Chum, momentarily depressed, walks away..Bernie enters. She
is a bit overwhelmed -- her voice breaking a bit even with
one word.

		 BERNICE

	 Hey..
Flor turns..Bernie moves to embrace her.

64   INT. CLASKY HOUSE - DAY - FIFTEEN MINUTES LATER              64

As John comes down the stairs..He looks apprehensive..From
the den comes the sound of singing..it stops him from going
out the front door as he turns to check it out.

65   INT. DEN - DAY..				 65

John finds Evelyn and Georgie in their night clothes. They
are singing an old song...something like "LUSH LIFE" -
something preposterous for a nine year-old boy..but you can't
knock the quality of the voices..world class. They see him
and stop.

		 EVELYN

	 Every time he has a nightmare, I
	 teach him one of my old songs. That
	 way the nightmares have a purpose.

		 GEORGIE

	 But I don't have to sing it for
	 anyone.

		 JOHN

	 Right. You're clear on that..

		 GEORGIE

	 How many did you sell of this song?

		  EVELYN

			 (embarrassed in front of
				John)
	 He likes to know that stuff.

		 JOHN

			 (to Georgie)
	 She was huge.

				                45.		  EVELYN

		Seventy-six thousand..which is
		great for a jazz album.
They resume harmonizing. As John leaves, the song lyric
making some comment on:

66    EXT. CLASKY HOUSE - DAY		              66

As John, growing tense, walks toward the front gate..Chum
proffers a ball and accepts defeat as he bends down to pick
up the New York Times. John's body chemistry launches a
surprise attack...anxiety and dread...He takes his newspaper
to a wire bench in the front driveway..He finds the
section..opens to the page..and just like that his life
changes forevermore.

67    INT. CLASKY HOUSE - DAY.		             67

John enters..Georgie is going up the stairs..Flor putting out
breakfast food.

		    EVELYN

		You okay?

		   JOHN

				(strangely)
		I am okay.
				(to Flor)
		Deborah around?

		    FLOR

		She run.
John nods and heads upstairs.

				                 67A67A   INT. CLASKY HOUSE - UPSTAIRS - BERNIE'S ROOM - DAY

He looks in Bernie's room. She is loading her backpack for
school..

		  JOHN

		Hey, honey.

		  BERNICE

		What's wrong?

		  JOHN

		No..nothing...just that..
Georgie enters the scene..

		  GEORGIE

		A kid offered me a trade..Let me
		show you.

		    JOHN

		Yeah..

				               46.

He starts to follow him to his room.

		 BERNICE

	 Dad!!! He can wait.

		 JOHN

	 No..It's okay..

		  BERNICE

	 Let him wait..Yours is obviously
	 important.

		 GEORGIE

	 You don't even know how important
	 the trade is..

		 JOHN

	 Let me just do Georgie.... Here.
He hands her the newspaper...

68   INT. CLASKY HOUSE - GEORGIE'S ROOM		  68

We MOVE with John and Georgie to Georgie's room where he goes
to his collectibles..He holds up a card..

		 GEORGIE

	 He says he'll give me any three
	 silvers for him.

		 JOHN

	 I don't know...This is the one you
	 started with..You really want to
	 give up your first card?
Note: this is an involved discussion on both their
parts..NOTHING in John thinks it is trivial.

		 GEORGIE

	 I know..that's why I needed you.

		 JOHN

	 ..this is your favorite..

		 GEORGIE

	 I think he'd go higher.

		 JOHN

	 But it's not numbers..it's.....
They are interrupted by a never quite heard before sound of
exultation..

69   INT. KITCHEN - DAY		                  69

Flor and Evelyn jolted..they exit to follow the sound..

				             47.70   INT. BERNIE'S ROOM - DAY		          70

As they enter holding the paper. She has been smacked in the
heart by gleeful and prideful emotions...It is disorienting
for her to experience the rush of pleasure.

		 JOHN

	 For God's sake..why did you...

		 BERNICE

	 WHY?!!? CRAZY FATHER, WHY?!? Why
	 aren't YOU screaming?..

		 JOHN

	 I'm getting there..just the stunned
	 thing has to get dealt with...

		 BERNICE

			 (reading from newspaper)
	 John Clasky, who at 25 made his
	 mark on the New York restaurant
	 scene when JAMMED lived up to and
	 survived its silly name, has re-
	 emerged as a young and confident
	 veteran taking chances with his
	 combinations in so subtle a
	 manner.."

		 GEORGIE

	 If he gave me six...

		 JOHN

			 (catching her excitement)
	 Wait a minute, your sister's
	 talking.
Evelyn indicates to Flor that the good news is about
John..and so she studies him a bit..

		 BERNICE

	 "...beginning with the succession
	 of appetizers, each one with its
	 own stunning and fully realized
	 agenda, is constantly yet casually
	 daring."
			 (emotional and earnest
				aside)
	 Ah, Dad...this is so great...
			 (to others)
	 Now here's the thing...
She tears up...Evelyn rubs Bernie's back..looks at Flor and
taps her heart...Flor indicates she should leave and does.
Bernice continues reading with a lovely sense of mission and
moment. John is taken with his daughter's delivery.

				             48.		 BERNICE (CONT'D)

	 "Eating at this perfect smaller,
	 passionate restaurant inspires
	 one's own abandonment of caution.
	 To wit: John Clasky is the best
	 chef in the United States."

		 JOHN

			 (genuinely enthusiastic)
	 Look how great you read it.

		 BERNICE

			 (massive irony)
	 Perfect, Dad.
Evelyn and Bernice hug him..

		 EVELYN

	 John..John...Oh, my God you even
	 look different to me....

		 JOHN

	 What are you talking about?

		 BERNICE

	 I wonder what mom will do?

71   INT. BEDROOM - LATE AFTERNOON		       71

Deborah is ripping John's clothes off..buttons fly..shreds of
cloth..John is laughing - happy.

		 JOHN

	 What is this?

		 DEBORAH

	 I don't know.
She rips at her own clothes and then exclaims in passion.

		   DEBORAH (CONT'D)

	 Oooohhch!

72   EXT. NORTH VALLEY - DAY.		            72

Flor walks to the news stand - as if to buy something --
changes her mind and LEAVES THE FRAME only to RETURN A HALF-
BEAT LATER where she reads to the dealer from a note.

		 FLOR

			 (heavily accented)
	 New York Times..

73   INT. FLOR'S APT. - NIGHT...		         73

Cristina, standing, translating the review into Spanish for
her mother...as she comes to the last sentence.

				                49.		  CRISTINA

		Wow..."John Clasky es el mejor chef
		en Los Estados Unidos..

		  FLOR

				(easily)
		Ah, bravo...

74   INT. CLASKY MASTER BEDROOM - DAY.		    74

The Claskys are engaged in sex. John's brief sounds are
exuberant..they shift position so that Deborah is on top
BRINGING DEBORAH INTO A CLOSE SINGLE. Suddenly her smile
fades - she hits the skids.

		  DEBORAH

		Oh, damn it --- what am I going to
		do? Everything seems so surely
	pointless...

     ON JOHN.

This IS WEIRD. And then the small, distinctive sound of Deb's
climax...then, in a relatively small voice.

		  DEBORAH'S VOICE

	Okay here...okay there...good,
	good, good.
She falls off him...an arm across her eyes, lying on her back
down the bed from him...

     ON JOHN.

Puzzling over what just happened..a few false starts forming
his thought...then finally..hesitantly...

		    JOHN

	Hey, Deb?

		   DEBORAH

			(from the vortex of
				depression)
	Yeah?
He scoots to her side.

		  JOHN

	You know, I guess I got used to you
	getting a little blue after
	intercourse...But DURING..??

		  DEBORAH

	Something else I do wrong.
She grabs something and starts walking toward the bedroom.

				             50.		 JOHN

			 You've gotta stop walking away.

		 DEBORAH

		 (turning)
			 If I stay, I will say awful things
			 to you that I might not even
			 mean..You pick.

		    JOHN

			 See ya.
She exits to the bathroom.

75   INT. JOHN'S CAR - DAY.		            75

Very upset as he drives. Then comes to the red light at the
end of the street and sees Flor walking with others. An
awkward beat as he waits for the light to change and they
acknowledge each other..the light remains red..she confers
with another woman.

		 FLOR

		 (to woman)
			 Yo leÌ la crÌtica buena.
The woman tells Flor how to say it in English.

		 FLOR (CONT'D)

		 (parroting woman)
			 I read your good review.
He nods..still the light doesn't change.

		    FLOR (CONT'D)

			 It's nice.
The light changes.

		 JOHN

			 Not so far...How you doing?
The light has changed - cars are beeping..she is about to let
him go off but realizes he will wait for her answer.

		    FLOR

			 I do fine.
He nods and drives off.

76   INT. RESTAURANT - DAY		             76

As he enters....the phone is going off the hook..As he passes
the maitre d's desk. Their conversation is strangely hushed
and very, very quick.

				     51.		 VICTOR

			 Should I stop answering? We're
			 booked for two months solid.

		 JOHN

			 No, no, no, no, no....I want to
			 keep some walk-in business..I want
			 this to stay neighborhood.

		 VICTOR

			 Impossible. There would be
			 riots..You should hear the
			 desperation in their voices..Best
			 day of my life.

		 JOHN

			 We'll serve a full menu at the bar
			 then.

		 VICTOR

			 Then where do I put the people
			 waiting for a table? It won't work.

		 JOHN

			 Do this for me.

		 VICTOR

			 There's no way.

		 JOHN

			 Do this for me or I'll set my hair
			 on fire and start punching myself
			 in the face.

		 VICTOR

			 Huh?

		 JOHN

			 Yeah..you're right...that was an
			 unusual way for me to make myself
			 understood..But you'll do the bar
			 thing?

		 VICTOR

			 Yes, of course, John..

77   INT. RESTAURANT KITCHEN - DAY		 77		 PETER

			 I need to talk to you.

		 JOHN

			 Ah, man..Okay.
They walk into the cooling room.

				             52.78   INT. RESTAURANT - COOLING ROOM - DAY		78

Again there is a kind of strange rapidity to the conversation
sparked by John..

		 JOHN

			 What's up? What's wrong?

		 PETER

			 I've gotten a fantastic offer for
			 my own place..Everybody wants to
			 back me since the paper came out.

		 JOHN

	 What's your reaction?

		 PETER

	 Honestly? Because I've had this
	 very unusual reaction.

		 JOHN

	 Yeah.

		 PETER

	 I've had a hard on almost all day
	 and it won't go away. Like I'm
	 riding on the back seat of a bus
	 with bad shocks and every other
	 passenger is a gorgeous woman with
	 a yellow sports top whose leaning
	 over. It's like every dream I ever
	 had and some even I didn't have the
	 balls to dream..

		 JOHN

	 So you're considering taking it?...
			 (he looks at him)
	 Okay, here's the thing. I can't
	 lose you and still keep the hours
	 I'm keeping. I can't do my life
	 unless I can hold onto you.
			 (sudden thought)
	 I think I just gave you an
	 incredible bargaining position.

79   INT. CLASKY BEDROOM - NIGHT		       79

As John and Deborah lay next to each other.

		 DEBORAH

	 So you gave away twenty percent of
	 the restaurant without talking to
	 me about it.

		 JOHN

	 Yeah. If I didn't do it - I'd have
	 been coming home just to sleep.

				             53.		 DEBORAH

			 (trying to make livid more
				attractive)
	 Remember the other day when you
	 asked me the perfect response to
	 something I said?...I'm asking you
	 now..what would you like my
	 response to be to your giving away
	 twenty percent of the business
	 without asking me?

		 JOHN

			 (with great enthusiasm)
	 "You're ma man!"

		 DEBORAH

	 Okay! So that would be???

		 JOHN

	 My dream response from you, yes.

		 DEBORAH

			 (measured)
	 I'm not quite there..Actually, I
	 just had this flash that the reason
	 women in the old days used to faint
	 was to avoid doing acts of violence
	 against men.
			 (a beat then)
	 And I was all worried about
	 figuring out the timing just to
	 talk to you about renting a place
	 for the summer.

		 JOHN

	 Well, I think you got your timing.

80   EXT. CLASKY HOUSE - DAY		             80

A man is parked at the gate in an open convertible..He is
great looking...We HEAR Deborah's excited voice over the gate
speaker...

		 DEBORAH

	 Be right out...

81   EXT. CLASKY DRIVEWAY - DAY..		        81

As Deborah calls behind her as she opens the door...

		 DEBORAH (CONT'D)

	 Mom, you want to come?..the
	 realtor's here..Okay, see you
	 later.
She clicks the gate open and walks to the man..perfect 40
year old great looking surfer sort..Deborah does the very
slightest of "takes" at his looks..As she gets in..

				                54.		    DEBORAH (CONT'D)

	 Hi.

		 REALTOR

	 I'm Mike..there's one great rental
	 that just came on..so we're
	 starting at the top..
As they pull away...

82   EXT. CONVERTIBLE - DAY..		             82

Deborah's hair whips across her face...it's bothersome.

		 DEBORAH

	 I'll never be one of those girls
	 whose hair blows perfectly in a
	 convertible.

		 REALTOR

	 Move your seat forward..
Puzzled, she uses the electric lever and the seat budges
forward..

		 REALTOR (CONT'D)

	 A little more..just..good.
The Realtor uses his switches and raises his window a
bit..her window a bit less and monkeys the position of the
half windows in back...Deborah turns around checking out the
odd tweaking and then faces forward. Her hair blows perfectly
and beautifully behind her...

		 DEBORAH

	 Oh, you must be trouble.
On his small laugh...

83   EXT. CLASKY RENTED BEACH HOUSE - DAY.		83

As they move toward the house...seeing the beach beyond.

		 DEBORAH (CONT'D)

	 Gorgeous, huh..Pretty, fabulous,
	 beautiful. What word is the same in
	 Spanish?

		    FLOR

	 Fabuloso.

		 DEBORAH

			 (taking it as a
				compliment)
	 Thanks.

				               55.84   INT. CLASKY RENTED BEACH HOUSE - DAY.		 84

As Deborah, Flor and Evelyn enter. They carry boxes of stuff.

		 DEBORAH (CONT'D)

	 I don't care if it's a rental..this
	 place is getting a fixing.
She leads Flor to a small bedroom.

		 DEBORAH (CONT'D)

			 (to Flor with gestures)
	 This will be yours..
Flor doesn't understand..certainly doesn't want to.

		 EVELYN

	 Did you ask her if she could live
	 in?

		 DEBORAH

	 Come on...there's no buses from her
	 to here. There's no question.
	 Double come on...
Deborah uses her hand as if weighing something momentous like
the law vs. the bible then with heavy sarcasm.

		 DEBORAH (CONT'D)

	 The Barrio - Carbon Beach..The
	 Barrio - Carbon Beach. What to do?
			 (to Flor)
	 Don't worry. I'm putting nicer
	 stuff in here too.
When Flor gives no indication of anything - just standing,
somewhat stupefied..Deborah takes her by the hand and leads
her out.

85   EXT. CLASKY - BEACH RENTAL - DAY		    85

As they move through a little courtyard area toward the
street.

		 DEBORAH

	 You must learn English. Why won't
	 she learn English? I'm going to
	 have to learn, "you must learn
	 English," in Spanish.

		 EVELYN

	 I think Flor is perfect and we
	 should do all we can to keep her
	 from changing.

		 DEBORAH

	 Gee, you took the words right out
	 of my mouthay.

				             56.86   EXT. PCH - DAY				 86

As she leads Flor along the highway side of Carbon Beach -
passing houses until she sees a Hispanic man washing
someone's car in a driveway. Evelyn is many steps back.

		  DEBORAH

		Oh, good. Do you speak English?

		     HISPANIC MAN

		Yes, I do.

		  DEBORAH

		Would you translate for me?
He looks at Flor..my God.

		  HISPANIC MAN

		Sure...forever.
He speaks to her in Spanish..a lavish, poetic compliment.
Flor, in full control, says, in Spanish.."Would you please
just find out what she wants." Evelyn joins them.

		  DEBORAH

		Wait till I say something before
		you start in..
				(he looks at her)
		I rented a house here for the
		summer and now she must sleep at
		the house because of the bus
		schedule.
He translates along with Deborah's speech.

     ON FLOR.

Stricken. She turns to Deborah.

		  FLOR

		No.. Sorry.

		     DEBORAH

		What? Why?
Flor talks briefly in Spanish.

		  HISPANIC MAN

		She can't because of her daughter.

		  DEBORAH

		You have a daughter? You have a
		whole daughter you haven't
		mentioned..How old?

		     FLOR

		Twelve.

				        57.		 DEBORAH

	(to Evelyn)
		It's a little crazy that I don't
		know that.
The man translates.

		DEBORAH (CONT'D)

	(to man)
		Don't translate asides.
The man says in Spanish to Flor.."You work for her?"--Flor
answers, "just tell her that I can't live here." Deborah
doesn't like that the man has initiated more conversation.

		DEBORAH (CONT'D)

		Hey!

		HISPANIC MAN

		She can't live here. Her daughter.

		DEBORAH

		Okay..
	(beat then big decision)
		Her daughter can also live with us
		for the summer..
The man tells Flor..she answers directly to Deborah..

		 FLOR

	(big decision)
		No, sorry.

		DEBORAH

		Why?
The man asks Flor who speaks in Spanish..

		HISPANIC MAN

		I don't know. She just doesn't want
		to.

		DEBORAH

		Will you please just tell me what
		she said.

		HISPANIC MAN

		She said, "I just don't want to."

		EVELYN

		If she didn't tell us about her
		child she has to have a deep sense
		of privacy. We can figure out how
		she can still live at home. Hell, I
		don't mind driving her at night.

				             58.		 DEBORAH

	 Let's spare the world you on the
	 roads.
			 (to Flor)
	 Well, what do we do?
The Hispanic man translates the last sentence. Deborah and
Flor stare at each other..Deborah's next words are somber and
have enough body language to transcend the need for
translation...the jig is up.

		 DEBORAH (CONT'D)

			 (big decision)
	 I'm sorry, my friend, this is what
	 I need. It's just for the summer. I
	 don't want to lose you. But ....
Flor indicates there is no need to translate. A beat.

		 FLOR

			 (enormous decision)
	 Yo vivo aquÌ.

		 HISPANIC MAN

	 She'll live here.
The man says something in Spanish to Flor as she starts to
walk away and she is thrown enough by the statement to
actually stumble as she looks back at him...then, before
Deborah can admonish him.

		 HISPANIC MAN (CONT'D)

	 I said, "God protect you from that
	 boss."

87   EXT. FLOR'S APT. COMPLEX - DAY		       87

As Cristina, trying to suppress her grin, skips quickly down
the stairs moving towards a truck from John's restaurant.
Flor follows tight lipped - resolved. They each carry many
clothes on wire hangers. A group of girls on the balcony
literally cheer Cristina on.

		 BALCONY GIRLS

			 (accented)

               MAL-----I------BU!

Cristina grins hugely back at them.

88   INT. MALIBU TUNNEL - DAY		             88

The two women in the truck and then..

89   INT. TRUCK - DAY.				89

As the truck leaves the tunnel and all is cliffs, sand, and
waves..Cristina taking it in, unaware that her mother's eyes
never leave her.

				             59.

She gasps frequently..MAJOR GIANT ORGANIC GASPS OF WONDER AND
PLEASURE..This is awe as an active physical exercise. The
MOVING SHOT dramatizes the crossroads of the mother-daughter
relationship as the TWO SHOT finds Flor becoming first
blurred then lost as we focus on Cristina exclaiming over
each new sight.

		 NARRATOR

			 (over this incidental
				dialogue)
	 The first time one sees natural
	 beauty which is owned by others
	 confounds the senses.. I had never
	 imagined the word "money" could be
	 associated with anything but the
	 anxiety of not having enough. I
	 didn't know God had a toy store for
	 the rich.

90   EXT. CLASKY BEACH HOUSE - STREET SIDE - DAY                 90

The truck in the driveway..the women walking through a front
door into a court yard.

91   EXT. CLASKY BEACH HOUSE - BEACH SIDE - DAY                  91

Georgie, in a swim suit, talking to CHUM in the manner of
people trying to excite dogs.

		 GEORGIE

	 Who wants to go swimming?..Yes, who
	 wants to go swimming?
The dog goes crazy with excitement -- then, droll for a nine
year old, Georgie turns to his grandmother (who is sunning
herself and reading) and addresses her in precisely the same
way. Evelyn has a drink in hand..

		 GEORGIE (CONT'D)

			 (to grandmother)
	 Who wants to go swimming?..Huh..

		 EVELYN

	 Not now..But I promise I'll go in
	 the summer after next.
John enters the scene..

		 JOHN

	 You want to go swimming?

		 GEORGIE

	 Oh yeah, you're off.

		 JOHN

	 What do you think, wet suits?

				              60.		 GEORGIE

	 Wet suits are for wimps..

		 JOHN

	 Yeah, you're right..let me get
	 mine..
Georgie laughs..

		 GEORGIE

			 (to Dad)
	 You're good.

92   INT./EXT. HALLWAY / PATIO - DAY		      92

Behind Flor and Cristina as they move toward the Claskys and
their destiny....Flor behind her daughter.

     REVERSE - CLOSE ON CRISTINA.

As her eyes pop on seeing the Clasky beach house.

     VERY CLOSE ON DEBORAH

As her eyes pop on seeing the stunning twelve year-old enter
her home, haloed by the sun. Again, Flor less distinct in
the background.
Bernice, just outside the open patio door, is putting on a
shirt over her bathing suit as she looks at Cristina and
emits a small, prescient moan.

		 DEBORAH

			 (to Flor)
	 Look at this child..Flor, you could
	 make a fortune at surrogate
	 pregnancy....
Flor looks to her daughter for some understanding of what
Deborah said..

		 FLOR

	 Que?
Cristina is as nonplussed by the remark as her mother.

		 JOHN

	 Hi. I'm John..It's good to see you.
			 (to Flor indicating
				Cristina)
	 Great..

		 DEBORAH

			 (to Cristina)
	 Hi. This is my daughter,
	 Bernice..I'm Deborah..And out
	 there...are Georgie and.

				        61.

As she turns to gesture toward her mother and son, Evelyn has
almost reached them ..

		EVELYN

		I'm so glad to meet you. I'm a fan
		of your mother's.

		CRISTINA

		I'm Cristina.
As all acknowledge each other Deborah tugs at Bernie's top
which is half tucked in.

		BERNICE

	(kidding around but right
	 on)
		No comparisons, please, no
		comparisons.
Evelyn shoves her granddaughter for the self-
deprecation..Flor says something to her daughter in Spanish.

		CRISTINA

		My mother says it's best if we get
		out of the way and put our things
		away.

		JOHN

		Have you ever been to the beach
		here?

		CRISTINA

		I've never been anyplace but Mexico
		and Texas.....before today.
John goes to a big toy box and opens it up..it is filled with
beach paddles, Frisbees and boogie boards.

		JOHN

		Here's the most important place in
		the house..grab this stuff whenever
		you want.

		CRISTINA

	(delighted)
		Thank you..thank you so much.

		DEBORAH

		Very little accent?

		 FLOR

		 (suspiciously)
		Que?

		CRISTINA

	(to Flor)
		Sin acento.

				                62.

Her mom, not crazy about the lack of accent to begin with,
nods.

		   CRISTINA (CONT'D)

				 (to Deborah)
		 Thank you..there's an A.P. total
		 fluency class where they work you
		 pretty hard at sounding American.
Flor doesn't want her daughter to have an extended
conversation with Deborah of which she doesn't understand a
word.

		      FLOR

		 Cristina..

		   DEBORAH

		 Right. Settle in..

		   CRISTINA

		 Thank you. I am thrilled to be
		 here.

93   INT. MAID'S ROOM - AFTERNOON		         93

Deborah has re-decorated the room with casual
brilliance...Flor is tense..distraught...her daughter
giddy...excited over the sheets, the tv, the pile of
towels..a chaise..She goes to work on her mother to go
swimming....wanting her to appreciate the fun element of
being here...the spirit of the kid such that Flor relents....

94   EXT. BEACH - EVENING		                 94

Flor and Cristina, two sea nymphs, lit by the floodlights
from the beach homes.

     OTHER ANGLE.

John and Georgie in the waves..body surfing...they get to
shore...John sees the two females..dashing in the water in
their bathing suits..He remains hidden in a very shallow wave
as they run in...then once they are in he starts taking off
his wet suit hurriedly...

     ON JOHN..

As he suffers the cold -- Georgie enjoying every moment.

95   EXT. CLASKY BEACH RENTAL - DAWN'S EARLY LIGHT                95

Wave lights still shining..On a dune sits Cristina, looking
out.

96   INT. MASTER BEDROOM		                  96

As Deborah steps out on the deck and sees Cristina.

				                63.		    DEBORAH

		(in a loud whisper)
			Hey, Cristina...hey...hey..What are
			you doing up?
Cristina looks around -- then up..

		    CRISTINA

			Oh, hi..so beautiful..I was just
			excited.

		    DEBORAH

			I know..Would you believe I had to
			talk my husband into this?
		(no reply/then more
		 pointedly)
			Would you believe I had to talk my
			husband into it?...do you hear me?

		    CRISTINA

			Yes...I just ..
		(awash..a shy laugh)
			I didn't know what to say?

		    DEBORAH

		(still calling down)
			Do you want to come with me? -- I'm
			going to the flea market.

		    CRISTINA

			I don't know what that...

		    DEBORAH

			It's the Rose Bowl... miles, actual
			miles, of great things for sale for
			God's sake...We can have brunch in
			Pasadena.

		    CRISTINA

			I don't want to wake my mother so
			early.

		    DEBORAH

			I'll leave her a note...I'll

97   INT. FLOR'S ROOM - MORNING - TWO HOURS LATER                 97

As Flor wakes..looks around.

		      FLOR

			Cristina?
She goes to Cristina's bed...atop the bed is a note. She
picks it up.

     INSERT..THE NOTE

Dear Flor,

				             64.

I decided to steal your daughter for a bit.

     LOVE,     DEBORAH

With great energy born of bottled fury, Flor begins to go
through her daughter's things...finding her backpack and
extracting a Spanish/English dictionary.

     INSERT DICTIONARY.

As her finger points to:
"Steal...robar"
And then she flips some pages feverishly..Her finger
indicating:
"daughter .... hija"

98   EXT. PCH - EARLY AFTERNOON.		         98		 DEBORAH (CONT'D)

	 Stop thanking me. I love having the
	 company.

		 CRISTINA

	 It was an adventure which I'll
	 remember.

		 DEBORAH

	 Your English is genius. Do you
	 dream in Spanish or English?

		 CRISTINA

	 Just recently I've had a dream in
	 English.

		 DEBORAH

	 What was it?

		 CRISTINA

	 I am so sorry. I -- uh..I'd ..I uh,
	 can't tell ..This is so
	 uncomfortable.

		 DEBORAH

	 You could have just said you didn't
	 remember.

		 CRISTINA

	 I, uh, guess so..but I do.

		 DEBORAH

	 Look who's sensational.

				              65.99    EXT. CLASKY RENTED BEACH HOUSE - DAY.		99

Evelyn is sitting on the patio making sangria..Flor enters.
She is pissed.

		  EVELYN

		What's wrong?
She shows her the letter. Evelyn reads it and hands it
back..She is about to offer something..Flor waves it off and
enters the house..John comes in from the beach with his
kids..boogie boards...Evelyn hands him the letter..

		  EVELYN (CONT'D)

		She's wild-eyed over this..
John moves after Flor as Bernie reads the letter..

		   BERNICE

		Aw, shit..
				(then quickly)
		Sorry about the word, Georgie.

		     GEORGIE

		It's okay.

		  BERNICE

		You want to know what happened?

		  GEORGIE

		No thank you.

100   INT. LIVING ROOM - DAY		           100

John enters..

		  JOHN

		Hey, Flor..
She turns..

		  JOHN (CONT'D)

		I'm sorry..very sorry..
He indicates his watch -- then holds his fingers together.

		  JOHN (CONT'D)

		They should be back soon..
Flor starts to cry. She sits in a chair..He sits not far from
her.

		  JOHN (CONT'D)

		Hey, Flor..
Embarrassed, she says, in Spanish, to please leave her
alone..she turns from him..He walks to the wet bar and gets a
bottle of water...pours some..Her crying soft in the

				        66.

background...He walks to her, sits near her and offers her
the glass of water which she takes.

		JOHN (CONT'D)

			Deborah made a mistake. I
			understand how you feel...Do you
			understand me at all, generally? Is
			simpático the word?
He pats her on the back..She looks at him..

CLOSE ON FLOR..

Is he coming on?..

HER POV..

His kind eyes.

FULL SHOT..

This is real eye contact..two vaguely humiliated people
finding real company for an instant. Without thought, she
duplicates his gesture and pats his back.

		FLOR

			Simpático, yes.
And when he seeks to add another pat, he misses, because she
is out of her chair..(This is as intimate as John has been
with another woman since he was married..) He calls out to
stop her.

		JOHN

			Un momento, huh?
She stops and turns to him.

		JOHN (CONT'D)

			I'm really sorry this is happening.
			I just want you to know that. I am
			real sorry.
He taps his heart as an indication of sincerity -- then a
flash of worry that he has inadvertently come on to her.

		JOHN (CONT'D)

			I didn't mean..
He makes a gesture of ardent love..

		JOHN (CONT'D)

			I meant..
Makes a person to person innocent gesture..She finds herself
smiling.

				              67.		  JOHN (CONT'D)

		Well, the good thing about being an
		idiot is that every once in a while
		you cheer people up..Got to get to
		work.

      CAMERA STAYS WITH FLOR

As he exits...thinks about John's demeanor, smiles again,
shakes it off as her mind fills with concern for Cristina.

101   EXT. CLASKY RENTED BEACH HOUSE - SUNSET.		101

Deborah's SUV loaded at the curb..She and Cristina begin to
carry things in...(NOTE: Cristina's hair has been restyled.)

102   INT. CLASKY RENTED BEACH HOUSE - DAY		102

Evelyn, Bernie and Flor are gathered in the living room. All
staring at her.

		  DEBORAH

		What? Something bad happen?

      ON CRISTINA..

Enormously anxious on reading her mother's mood.

		  DEBORAH (CONT'D)

		Cristina, tell your mother I just
		played around with your hair..she
		can put it back..no hurt feelings.

		  CRISTINA

		Not right now.
Flor puts an arm around her shoulder, leading her off and
speaking to her forcefully in Spanish.

		   DEBORAH

		What? --

		  EVELYN

		You can't just take someone
		else's.....

		  DEBORAH

		Nuh-uh, Mom..don't go there..or
		I'll go there and you know where
		"there" is.
Evelyn stops on a dime. She leaves. Deborah crosses to
Bernice, who is highly concerned about Flor, and puts an arm
around her. A pleasant surprise..

				                 68.		    DEBORAH (CONT'D)

			Can you believe what Flor is making
			this into..Shoot me if I ever get
			that hard to deal with.
Bernice, unseen by Mom, does a long, muted, mock scream.

103   INT. FLOR'S ROOM - EVENING		          103

MUSIC IN: Action, purpose, energy.. Flor is dictating in
Spanish as Cristina writes it down in English on a pad.
Cristina enormously uncomfortable.

      INSERT - THE PAD.

The pad, in effect, lends subtitles to Flor's words. Cristina
winces with the words she records even while punctuating
perfectly.

		    PAD WRITING

			You cannot take my child without my
			permission..And, if you had asked
			me I would not have given
			permission. Is this why you did not
			ask? Because you knew this. You
			have no rights over my private
			life.

      ON FLOR..

Reaching a decisive conclusion.

		    PAD

			If you have any disagreement with
			this, I no longer wish to work
			here.

      ON CRISTINA'S LOOK

This is awful news.

      ON FLOR.

For a decisive nod of affirmation. She adjusts her daughter's
hair to the way it was, takes the note and exits.

104   INT. CLASKY RENTED BEACH HOUSE - LIVING ROOM - DAY          104

Flor enters in something of a fury and holds the letter out
to Deborah, who hates being cornered in this manner. She
actually places her hands behind her so as to avoid the note.

		    DEBORAH

			What's this?
Flor shakes the letter at her.

      OTHER ANGLE..				                69.

Showing Cristina hidden but looking on... like a stage
prompter in the wings.

		   FLOR

		For you.

		   DEBORAH

		From?
Flor with enormous emphasis stabs her finger at her own
chest.

		  DEBORAH (CONT'D)

		You are not yourself...This was
		written in anger. You sleep on it
		and then if you still want me to
		have it -- fine..I don't think you
		will once calm and rational thought
		returns. Just sleep on it.
Deborah exits to a bathroom and closes the door...leaving
Flor in the hall with the letter..Cristina reveals herself
and explains the situation to her mother. The last word we
hear before scene's end is "mañana."

105   INT. CLASKY RENTED BEACH HOUSE - BEDROOM - MORNING         105

Deborah surreptitiously finishing putting on her running
clothes and is making for the door when the alarm clock goes
off and John awakens.

		  JOHN

		She didn't even want us to know she
		had a daughter - then, on the first
		day, you take the kid without
		asking. I think that's...

		  DEBORAH

				(starting to lose it)
		What!?! Insensitive? Elitist?
		Irresponsible? Perverse? Dizzy?

		  JOHN

				(slow and emphatic)
		Dumb.
She looks at him...He has been atypical...Her immediate
emotional cocktail is panic, fury and deep, deep hurt. Her
words are slow...her voice ragged...

		  DEBORAH

		When is anyone in this damn house
		or this damn life going to consider
		my feelings? I just tried to make
		a lovely kid feel welcome. There's
		no reason to rake it over...I let
		it go..and gave Flor the room to
		let it go. Which I'm sure she has!
		It's over!! So get on board.

				              70.

She opens the door and almost runs into Flor who is standing
immediately in her way holding the letter.

		   FLOR

		I slept.

106   INT. CLASKY BEACH RENTAL - DEN - DAY		 106

Deborah stands over Cristina, who is writing in Spanish a
note Deborah is dictating. As John passes through the room.

		  DEBORAH

		I am deeply and sincerely sorry to
		have upset you. Especially in
		light of the deep connection, as
		women, I believe us to have.

		  EVELYN

				(sotto to John)
		And to think I was worried about
		Flor living here with her kid?

107   EXT. CLASKY BEACH RENTAL - PATIO		 107

John is talking to all three kids in an effort to lift the
overall atmosphere. IN THE BACKGROUND we see Deborah handing
Flor her letter..Cristina taking sidelong glances...relieved
to see them shake hands (Flor engaging), hug (Flor
reluctant).

		  JOHN

		So here's the idea..I want to make
		a serving platter for serving fish
		using sea glass like this..
He holds out some sea glass.

		  JOHN (CONT'D)

		I used to hunt for this stuff every
		free minute when I apprenticed in
		Italy. This is bits of broken glass
		that the ocean sand blasts over the
		years..great looking, huh? So you
		guys go hunting and I'll pay 50
		cents for any piece, a dollar for
		anything as big as this and five
		dollars for any color that isn't
		brown, clear or green.

		  GEORGIE

		Do we have to do this?

		  BERNICE

				(to Georgie)
		Oh, come on...
Georgie and Bernice start off..

				                 71.		  JOHN

		Come on, Cristina - go get em.
Her eyes widen and off she runs, intoxicated with being
included and having the chance to make money.

108   EXT. BEACH - DAY - VARIOUS SHOTS		    108

The kids combing through pebbles.
Georgie becoming bored and stopping..
Bernie stopping.

109   EXT. BEACH - SAME SCENE - SUNSET..		  109

Lots of people on their decks..hot-tubbing, sunning,
partying..rich people forming New Yorker cartoons in the
background as Cristina continues to doggedly collect her sea
glass. At one point, she comes upon a teenage couple making
out near a mass of pebbles, and politely asks them to roll
over so she can search the area.

110   INT. FLOR'S ROOM - PRE-DAWN		         110

Cristina arising..

111   EXT. BEACH - PRE-DAWN..		             111

Cristina collecting sea glass.

112   EXT. BEACH - SAME SCENE - NIGHT.		    112

Illuminated by the surf lights of the beach homes, Cristina
plugs away.

				   DISSOLVE TO:113   EXT. CLASKY'S RENTED BEACH HOUSE - LATE AFTERNOON.          113

John exits his door and steps to his car..as he is about to
get in..

		     CRISTINA'S VOICE

		Excuse me.
He looks up and steps around to where she is...there is a
battered wood table along the side of the house.

		  JOHN

		Hi..what's doing?
She overturns a large bucket and a small mountain of sea
glass spills on the table.

		     JOHN (CONT'D)

		I'm broke.

				     72.		CRISTINA

	(feeling horrible)
		No..you don't have to pay..I'm
		sorry. Don't worry, please.

		JOHN

		No. I'm kidding..Instead of a
		platter -- I'll just build a sea
		glass building and serve fish
		inside... Great, Cristina..Why
		don't you count it and..

		CRISTINA

		I have... Many times..I didn't
		sleep. I counted.

		JOHN

		So what's the damage...total?
Her eyes locked on his.

		CRISTINA

	(dead serious)
		It depends on whether you consider
		these four a color other than
		green, brown or clear..
She takes them from her pocket.

		JOHN

		Well, this one is borderline.

		 CRISTINA

		I agree.

		JOHN

		Oh my God, you found a blue..Nobody
		finds a blue..You know how a blue
		happens? I mean, before the ocean
		blasts it for 30-40 years. Somebody
		had to throw away an old Milk of
		Magnesia bottle. You know what Milk
		of Magnesia is?

		CRISTINA

		Unfortunately.
He smiles broadly. The kid's a trip. He likes her.

		JOHN

		So how much for the whole deal?

		CRISTINA

	(unable to look at him)
		Eleven hundred and one dollar.
He reacts..then..

				                73.		  JOHN

		Okay. We'll finish dealing with it
		when I get home from work.
She gasps..

114   INT. FLOR'S ROOM - ONE A.M.		        114

Flor asleep -- Cristina awake, alert..footsteps. She hears
John enter. She moves slowly so as not to awaken Flor.

115   INT. HALLWAY - ONE A.M.		            115

As she enters from the back room and sees that John is
walking into the kitchen. Her eye goes to the hall table on
which there sits a fat envelope with her name on it.

116   INT. CLASKY BEDROOM - ONE A.M.		     116

John enters the bedroom to find a note from Deb that she will
be late. He is disappointed.

117   INT. FLOR'S ROOM - NIGHT - ON CRISTINA		 117

Not aware of being observed..opens the envelope and takes out
a thick wad of cash..almost swoons..as she goes about hiding
it..she is jolted by her mother's whispered incredulity...

		     FLOR

		Cristina..
She turns...the wad of money in her hand..

118   INT. POCKET KITCHEN - LATE NIGHT		   118

The best chef in America has just fixed himself a snack as a
salve to his spirits. It's a little like Dagwood Bumstead as
a culinary genius..This is a snack we will remember and
copy...John is approaching a perfect moment...and this is a
guy who appreciates simple pleasures to the fullest...

119   INT. CLASKY HOUSE - LIVING ROOM		    119

He carries the brilliant snack to the living room and is just
about to take his first bite when he hears emotional Spanish
voices approaching. He looks up.

      ANGLE ON FLOR AND CRISTINA

As they enter. Cristina translating her mother's words.

		  CRISTINA

		My mother wishes me to represent
		exactly what she says, nothing
		else.

				         74.

And so, for the remainder of the scene, Flor will speak in
Spanish and Cristina will not only translate but render her
mother's emotion, sometimes including body language. It is
not only a translation but a reenactment.

		CRISTINA AS FLOR

		May I talk to you?

		JOHN

		You mean your mother....
Cristina nods...not comfortable breaking the rule of only
speaking for her mother...She faces him, her back to Flor.

		JOHN (CONT'D)

	(looking at Flor)
		Sure you can talk to me..
Cristina begins translating as her mother speaks in Spanish..

		CRISTINA AS FLOR

		I don't have to sleep first?

		JOHN

		What's wrong?
Flor waves the money..Cristina waves an empty hand as she
speaks for her mother.

		CRISTINA AS FLOR

		Did you give this money to my
		daughter?

		JOHN

		I made this little deal..with all
		the kids to...

		CRISTINA AS FLOR

	(interrupting)
		Please..
Flor advances on him past her daughter so Cristina now
translates from the background.

		CRISTINA AS FLOR (CONT'D)

		You don't tell or ask the mother
		when you give a child a fortune for
		looking on the beach for
		stones..what is the word for this..

		 JOHN

		Sea glass?
On hearing the translation of "sea glass" an exasperated Flor
turns so that her back is to John as Cristina admonishes him.

				           75.		CRISTINA AS FLOR

			No..not a name for the stones..a
			name for the act..what you did..

ON FLOR..

As she spits out the word to her daughter.

		FLOR

			EngreÌdo.

ON JOHN..

As his eyes shift to Cristina fearing the word he will hear.

		JOHN

			Oh, no..engreÌdo's going to be
			rough.

ON CRISTINA..

Reluctantly taking the emotional stance of her mother to
deliver the word.

		CRISTINA

		(briefly being herself)
			It's hard to translate.
She takes half a beat..finds the word and now spits it out.

		CRISTINA AS FLOR

			Smug.
John gets up and takes a conciliatory step toward Flor so
that now Cristina is in the middle looking up at them as she
translates for John

		JOHN

			I had no idea it would amount to
			that kind of money..I thought ---
			sort of tops fifty dollars.

		CRISTINA AS FLOR

			Fifty dollars is a lot of money..

		JOHN

			Okay. Right.
He has no idea where to take it from here -- the two females
look as he searches for the right thing to say..

		 JOHN (CONT'D)

		(sighing to himself)
			Ah, shit..
That fast Cristina translates.. Before Flor can react. John
talks directly to Flor..quiet,compassionate, a bit beaten.

				           76.		JOHN (CONT'D)

		I'm sorry....I get why you are
		upset. It might not look it but I
		am good at getting things. Doing
		something about it is something
		else..I was going to talk to you
		before I actually gave her the
		money..but maybe I should have
		checked before I started the whole
		thing.
	(he smiles/they don't)
		I know what it's like when you feel
		your kid is being messed with..I
		get the message. It won't happen
		again. It's late..I'm sure we'd all
		like...
Flor lets it out...her daughter hard pressed to keep up.

		CRISTINA AS FLOR

		To what..sleep? If this was small
		enough to be helped by some little
		apology, I would be a fool to bring
		it up..I need to say more no matter
		what the result. I need to be
		impolite. You leave someone else's
		child alone. It's simple, no? It
		is too easy for children to feel
		contradictions..It encourages
		questioning their parents..and that
		makes them less safe. Your wife
		takes her for rides and changes her
		hair..You give her money. Here..
	(this next sentence
	 Cristina translates with
	 alarm and adds her own
	 question mark.)
		Take back the money????????????
Flor hands John the envelope under her daughter's wrenching
gaze. They begin to exit..but Flor turns inadvertently
bumping into her daughter. Her voice softens.

		CRISTINA AS FLOR (CONT'D)

		I did not mean to be angry to you -
		only emotional..
They turn to leave. John speaks with sudden volume and
muscle.

		JOHN

		What about hypocritical?
Cristina turns back..confused..her mother asks her for a
translation and she complies.. Flor then wearing the same
confused expression.

				        77.		JOHN (CONT'D)

		Yeah, you heard me. It's not like
		you didn't do the same thing...

		FLOR

		(hard on the translation)
		No!

		JOHN

		Oh, yes. So go lecture
		yourself..you won't need a
		translator for that one...I mean
		what am I lately... A recycling
		bin?..just anyone dump in your
		garbage and hope I make something
		useful out of it...
Flor is confused and getting pissed but he is moving now and
pointing a finger at her.

		JOHN (CONT'D)

		Yes, you did the same thing...you
		think I didn't know about altering
		those outfits for Bernie..She tells
		me her stuff....So, am I missing
		something? Is there a real
		difference between that and what
		you are complaining about?
Cristina waits for a comeback from her mother to
translate..but doesn't get one..Instead her mother is a bit
mortified and considerably humbled..the pie smack into the
face.

		FLOR

		Sin diferencia. Yo interferÌ.

		CRISTINA AS FLOR

		No difference. I interfered.

		JOHN

		Okay......I'm still not sure I did
		the right thing keeping it to
		myself. It felt disloyal to
		Deborah..but my daughter really
		needed someone to be kind to her
		right then..so..so.

		CRISTINA AS FLOR

		I am very embarrassed. You are very
		right. Hypocrisy..yes.

				        78.		JOHN

	(something strikes him, he
	 softens, disoriented)
		I'll tell you, it's pretty wild to
		say something and have the other
		person just concede the point. I'm
		dazed here.

		CRISTINA AS FLOR

		I will leave whenever it is good
		for you and...

		JOHN

		No..no..come on, man..

		CRISTINA AS FLOR

		But how can I work for you after we
		talk like this?

		JOHN

		You can't quit even if you want to
		and you know why.

		FLOR

		No..

		JOHN

		Yes, you do..
Flor is worried as John looks right at her..Is he coming on?

		JOHN (CONT'D)

		Because then Cristina will blame
		herself for costing you the
		job...and that guilt...I don't know
		if you know about guilt..
Cristina doesn't have to check with her mother on this one.

		 CRISTINA

		Culpa, guilt, sÌ. We know. We are
		Catholics.

		FLOR

	(after her daughter's
	 translation)
		Culpa, si..Por Dios, Si.

		CRISTINA

	(on her own)
		We know.

		FLOR

	(big nod)
		We know.
John gestures that there is nothing to be done. Flor nods.

				              79.		  JOHN

		So, welcome back.
She smiles..gets up..extends her hand..they shake.

		  FLOR

		Good night, Mr. Clasky..

		  CRISTINA

		Good night As they exit..their
		backs to John, daughter following
		mother...Flor speaks to her
		daughter.

		  FLOR

				(an aside)
		No te puedo tener haciendo esto por
		mi. Ahora tengo que aprender
		inglÈs.

		  CRISTINA AS FLOR

				(over her shoulder to John
				 as they move)
		I can't have you doing this for me.
		I must learn English now.

		  FLOR

		No, dije eso por ti - no por John.
That translates to "No, I meant that for you, not John." But
Cristina does not translate the line. Nor..

		  JOHN

		You have a wonderful mother.

		  FLOR

		Que?

		  CRISTINA

		Nada.

120   INT. FLOR'S ROOM - NIGHT		         120

A Spanish commercial for learning English in a hurry is on
television..Flor on the phone ordering it..

		  NARRATOR

		Learning English would cost five
		hundred and ninety nine dollars
		down and 15 monthly payments of one
		hundred and ten dollars...which
		represents 48 percent
		interest..Mexicans marketing
		Mexicans. But not a penny was
		wasted.

				                80.121   EXT. MAIL BOX - DAY		                121

As Flor takes a package from the box.

		  NARRATOR

		My mother showed an extraordinary
		facility for learning the language.

				      DISSOLVE TO:122   INT. BEACH HOUSE - LAUNDRY ROOM - DAY		122

Flor listening to the tapes as she does laundry.

		  NARRATOR

		..as well as a totally committed,
		obsessive work ethic, which blocked
		out all else..She was her
		daughter's mother.
As Flor silently mouths some English while listening to a
tape,Chum nudges her with a ball and, without thinking, she
takes it from his mouth and tosses it..Realizing, with alarm,
a beat too late that she has broken the rule.

				      DISSOLVE TO:123   EXT. BEACH - LATE AT NIGHT		         123

Flor sitting on the sand...listening to her
tapes..continually forced by Chum's obsessive persistence to
throw him the ball.

				      DISSOLVE TO:124   EXT. BEACH HOUSE - LATE NIGHT		      124

As John arrives...He bumps the walls on entering.

125   INT. BEACH HOUSE - LATE NIGHT		      125

As John enters the house, clearly drunk.   There is the sound
of skittering paws as CHUM approaches.

		  JOHN

				(cheering)
		Hey, boy, I can use some up
		company.
But Chum feverishly digs his snout against a nearby piece of
furniture and retrieves a tennis ball and rockets away. John
follows, weaving a bit.

126   INT. BEACH HOUSE - DEN - LATE NIGHT		126

As John enters the room to find CHUM proffering the ball to
Flor who is watching one of video language tapes. She tosses
the ball without a look or a thought..then starts when she
sees John standing there. He cheers, seeing her predicament.

				        81.

When she speaks English, at this point, her words are
halting.

		JOHN

		You gotta do something about
		Chum..Your arm's going to go.
She waves it off and hurries to get her tape and get out of
his way. Chum complicates the task, proffering the ball. Flor
wearily throws it.

		JOHN (CONT'D)

		Don't you sleep anymore?

		FLOR

		No..You get more if you keep at it.

		JOHN

		You're doing fantastic.

		FLOR

		Now I am like a three year-old.
		Your wife go out.

		JOHN

		She say where?

		FLOR

		No.
	(on his reaction)
		Sorry.

		JOHN

		Listen..I just forgot she was going
		out..don't be a smart ass.
	(jolted by his own remark)
		Uh-oh..well, you and I communicate
		mostly in apologies anyway..I'm
		sorry. I should be whipped. I
		should be stoned- it's been a while
		- I meant to say, I think, don't be
		smart, don't be kind, don't be
		sensitive, don't be beautiful. I
		meant to say, "hi, Flor, good night
		Flor..that show you're watching is
		going to be a hit."
He staggers out. Flor watches his lonely back for a beat and
then urgently gestures Chum to join him. Chum is reluctant,
but relenting, runs and accompanies his appreciative master.
Flor, now alone, finds herself staring at a framed picture of
John in the den. He is younger and smiling. She studies the
picture and then blinks when she realizes her own emotion and
purposefully goes back to her lessons.

				              82.127   EXT. P.C.H. - LA SALSA FAST FOOD PLACE - DAY.            127

Cristina and Bernice waiting in line at the Mexican fast food
place on P.C.H. with the towering signature Mexican male
figure on its roof. Deborah is parked curbside in the SUV.

		  BERNICE

		How'd you get your mother to let
		you go with my mother?

		  CRISTINA

		Well, your mother just said she
		could use my help on a few errands
		while you're in class...
Bernice nods. Then unconsciously moans.

		  CRISTINA (CONT'D)

		What?

		  BERNICE

		No. Just that I hate summer school.

		  CRISTINA

		Why do you go then?

		  BERNICE

				(looks at her)
		I'm not sure I can explain to you
		the concept of not doing well in a
		class..in this case math...and the
		system kind of insists on the
		illusion that you've learned math --
		so they make you go to summer
		school..It helps them avoid facing
		that they have failed in their
		mission.

		  CRISTINA

		What do you mean they failed?

		  BERNICE

		Joking.

		  CRISTINA

		Oh. I see. Forgive me, I don't have
		a real sense of humor.

		  BERNICE

				(looking skyward)
		Thank you, God.
				(on Cristina's reaction)
		Joking...

		  CRISTINA

		The joke is?

				                83.

As they get in the car..Bernice doing a little stutter step
offering Cristina the front seat..Cristina demurs.

128   INT. SUV - DAY.				128

As they get in..Deborah privy to the conversation now.

		  BERNICE

		That you're better at everything
		than I am...and I was thanking God
		for there being this one thing
		where I might have my nose in
		front.
Deborah can't think of what single thing Bernice could
possibly feel superior about. She is genuinely puzzled.

		  DEBORAH

		And that thing is???
Bernice deeply resents the question..She turns to her mother.

		  BERNICE

		Sexual experience..
Cristina laughs.

		  BERNICE (CONT'D)

				(ruefully to self)
		That one even she knows is funny.
Cristina gives Bernice an appreciative push from behind.
Deborah, for some reason, feels she deserves credit for their
connection.

		  DEBORAH

		Look at you girls.

129   INT. BEACH BEDROOM - DAY		           129

Deb working an outfit..her mother eyeing her..

		  DEBORAH

		Cristina's already read, on her
		own, everything on Bernice's summer
		reading list..And she's two grades
		behind..Imagine if she went to
		Bernice's school..And they'd kill
		to give her a scholarship.

		  EVELYN

		Talk to Flor...

		  DEBORAH

				(sarcastic)
		Yeah..she's so open to new things.

				              84.130   EXT. GORGEOUS PRIVATE SCHOOL -DAY.		  130

Deborah and Cristina standing in a grass bordered parking
lot...Deborah, feigning upset, tearing into her bag but her
focus is elsewhere as she periodically looks off. She is
clearly stalling.

		  DEBORAH (CONT'D)

		Can't find my keys..
Another woman, ARLENE FOLSOM, calls to her..

		     ARLENE

		Deborah...

		  DEBORAH

				(acting surprised)
		Hi, Arlene..
				(to Cristina)
		Come on.
They walk to greet Arlene.

		  DEBORAH (CONT'D)

		Hi. This is Cristina..the girl I'm
		always raving about..This is Arlene
		Folsom..the school director.

		     ARLENE

		Hi..

		  CRISTINA

				(Barbara Boxer couldn't do
				 it better)
		Hello..a pleasure to meet you, Ms.
		Folsom. I couldn't believe how
		beautiful the grounds were as we
		drove in. I just think the balance
		of the buildings to open ground is
		so wonderful and must have been
		very difficult to achieve.
Deborah smiles with pride at the elegant first impression
Cristina is making..all are grinning...the two adults
suspiciously so...sharing their delight.

		  ARLENE

		Would you like a little tour?

      MOVING CAMERA..

First showing Cristina in foreground and her POV of this Drop
Dead Gorgeous Rich Kids School in the background and then we
MOVE CLOSER ON CRISTINA. We see lust in her reaction.

				              85.		  NARRATOR

		The experience was literally mind
		boggling. My mind did boggle. My
		cranial cells stunned. Even if I
		had enough sense of wonder to
		imagine such a school existed; my
		sense of fairness made it
		unthinkable that any school could
		offer this much more than my own..

131   INT. BEACH LIVING ROOM - DAY		     131

This is the last day of the summer rental - many packed
cartons on the floor. Deborah, Flor and Cristina engaged in a
momentous conversation..(NOTE: Throughout the following, and
quite beside the point, we see Flor periodically make the
motion of throwing the ball. But we do not cut to Chum,
rather we just hear his claws skittering after the ball as we
maintain focus on the momentous conversation.)

		  DEBORAH

		Nuh-uh, Flor you are not pinning
		this one on me. I've got to finish
		packing up.

		  FLOR

				(no longer sure of herself
				 or anything)
		I just don't....Out of space this
		school wants her to go for free?

		  DEBORAH

		We ran into the school head. They
		want diversity...Cristina knocked
		her out...I had nothing to do with
		it. By the way, the scholarship is
		worth twenty thousand dollars. And
		early registration is tomorrow.

		  FLOR

		It is too far from our home.

		  DEBORAH

		You could move in with us in town.

		  FLOR

		Never, thank you...

		  DEBORAH

		Okay, then don't..By the way..the
		phrase is "NO, thank you."

132   INT. FLOR'S ROOM - NIGHT		         132

Flor has her earphones on listening to her English tapes..but
she is enormously upset as she watches her daughter
passionately pray in English..soon taking off the ear phones.

				              86.		  CRISTINA

		Please, dear God..Enter my mother's
		heart and make her understand what
		this school would mean.

		  FLOR

		Alright. I look.

		  CRISTINA

		Amen.

133   EXT. L.A. PUBLIC SCHOOL - FLOR AT CRISTINA'S SCHOOL - DAY 133

Summer session - L.A. public school..ninety percent Hispanic.
Through Flor's POV, the place is seen not as crowded and worn
but as vibrant with community.

134   EXT. PRIVATE SCHOOL - FLOR AT BERNICE'S SCHOOL - DAY     134

Highly anxious and out of place, she sees the upper-scale
students..five percent Latino...No brochure can do it
justice. Overwhelmed by the implications, Flor's eyes tear.

135   INT. FLOR'S ROOM - LATE NIGHT		    135

Cristina sleeps. Flor sits on her bed - no thought of sleep.

136   INT. BEACH HOUSE - LATE NIGHT		    136

John enters, home from work ... as he passes Flor's door it
opens and she steps out. Before she can continue on, she sees
Evelyn at the foot of the stairs, carrying a glass of port.

		  EVELYN

		Hi, Flor, want some port?

		  FLOR

		No, thank you, Evelyn.

		  EVELYN

				(going up stairs)
		Thanks for never judging me..Love
		you. Love everybody. That's what's
		killing me.. Sleep well.

      EVELYN'S POV.

She sees Flor approach John. Evelyn looks thoughtful.

137   INT. DEN - LATE NIGHT		            137

John is about to pour himself a stiff drink. Flor startles
him.

		  FLOR

		May I talk with you?

				              87.		   JOHN

		Me?
				(she nods)
		Deborah will be home soon. I just
		talked to her.

		  FLOR

		I need real talk..Is it okay?
John does not answer immediately. The brief pause is noted.

		   FLOR (CONT'D)

		No?

		   JOHN

		Sure.

		  FLOR

		Outside? Private?

		  JOHN

		Sure.....
				(as they exit to beach
				 with a nervous laugh)
		You have me a little worried...
He glances back, hoping to have his fears assuaged, they are
not.

138   EXT. BEACH - NIGHT		               138

He sits..she stands, gorgeous..The wind gusts periodically
blowing her dress against her body. He tries not to notice.

		  FLOR

		You know about Cristina and your
		great school?

		  JOHN

		Oh, it's happened. Is it driving
		you nuts?

		  FLOR

		Yes, nuts. I have no idea what to
		do. Such an important thing.

		   JOHN

		Yeah.

		  FLOR

		It's a good school?

		  JOHN

		Tops. It's tops.

		  FLOR

		So you like it?

				        88.		JOHN

		No. I hate the damn school. But
		that's because they keep sending my
		daughter home anxiety-ridden,
		mostly over geometry..I mean you
		"get" Bernice..In a decent world
		her school should let her know how
		great she is, right?

		FLOR

		Very right.

		JOHN

		So, don't ask me..I'm worried about
		my own kid there.

		FLOR

		You don't have to worry about
		Bernice. Nothing is going to change
		that heart.
He looks at her..Out of nowhere overwhelmed by someone
echoing and affirming his deepest most private thoughts about
his daughter..It is odd..being this deeply touched before he
knows what hit him..He makes little adjustments until the
moment passes..

		 JOHN

		Um.....yeah..thanks...
	(then)
		It's great to hear someone else say
		that out loud..Hard to explain.

		FLOR

		I "get" it.

		JOHN

	(a beat..then deeply, with
	 core feelings, a lament)
		Ah, man..

		FLOR

	(caring)
		It will be okay.

		JOHN

		No, I was thinking about you..

		FLOR

	(instantly alarmed)
		Your, "Ah, man" was for me? You
		think I am in trouble with
		Cristina?

		JOHN

		It's just tough to be sane.

		(MORE)				        89.

				JOHN (cont'd)
		To know you're not just making
		something out of nothing. That when
		you think you're at some
		crossroads - you are.

		FLOR

	(she takes this in/nods)
		....I never know a man who can put
		himself in my place like you do.
		How do you become that man?

		JOHN

		I don't know...You introduce two
		Jews in the desert and wait five
		thousand years. Then, bingo,
		somebody else who can see trouble
		coming but can't do anything about
		it.

		FLOR

		I don't understand.

		JOHN

		That's okay.

		 FLOR

		I want to.

		JOHN

		Nothing. I don't know what I'm
		talking about..
A sustained gust of wind which celebrates her shape in a way
which cannot be ignored.

		 JOHN (CONT'D)

		Will you sit down.. Get out of the
		damn wind.
She sits. It helps.

		JOHN (CONT'D)

		So you going to send her?

		FLOR

		I don't know. But it does not feel
		good. I think if she goes there it
		will be one of two things..either
		she will be odd...or she will make
		herself the same as them.

		JOHN

	(in wonderment)
		That is EXACTLY the way I felt
		about Bernice going there..Exactly.

		 (MORE)				               90.

				JOHN (cont'd)
		I wasn't able to think it that
		clearly...But that's how I felt. So
		between odd and the same...you
		gotta root for odd, don't you?

		  FLOR

		Yes, you gotta.
Camera begins to pull back...early in the move John's words
stop the movement.

		  JOHN

		This was a crummy summer.
Flor nods ruefully..then suddenly off a glance at him.

		  FLOR

		Not all crummy.
Suddenly there is a bit of danger..she rises quickly,
changing mode.

		  FLOR (CONT'D)

		Thank you, good night. I go sleep.

		  JOHN

		Good night..Hey?
She turns..

		  JOHN (CONT'D)

		You speaking English...It's, uh..

		  FLOR

		What?

		  JOHN

		Nothing. Just.... Nice meeting you.
She gulps and exits...as the CAMERA PULLS BACK..ending the
summer at the rented house...as we transition to....

139   EXT. BIG BLUE BUS IN MOTION - MORNING.		139

Through the unusual center window we see Flor and Cristina.
Flor, at this moment, is assimilating against every fiber in
her body. Cristina is excited, certain her life is taking an
incandescent turn. Quite a contrast.

140   EXT. STONE CANYON AND SUNSET - MORNING		140

As the bus stops...Bernice is across the street, along with
some other kids and Deborah, who is wearing her running
clothes..Flor and Cristina exit the bus...

				        91.		BERNICE

	(calling)
		You just made it...I was getting
		worried..
Deborah has a backpack loaded with books which she hands to
Cristina..

		 DEBORAH

		I picked up your books yesterday..
	(by way of explanation to
	 Flor)
		This is one of Bernie's
		old..ancient backpacks.
Cristina taking it...

		CRISTINA

		Oh, thank you..
As she shoulders it and almost falls over..

		CRISTINA (CONT'D)

	(impressed with the heft)
		This is a great school.

		DEBORAH

	(to Cristina)
		I got you a little first-day-at-a-
		new-school present...
A school bus appears and heads toward them putting a certain
deadline pressure on the transaction.

		DEBORAH (CONT'D)

		It's from me and....Bernice.
	(to Flor)
		Okay? It is a big day.
Flor's uncertain reaction is taken as a yes.

		BERNICE

	(dry)
		What did we get her?
Deborah hands Cristina a locket..then, noting Flor's
expression.

		 DEBORAH

	 (to Cristina)
		It's from ALL of us. Your mother
		too.

		FLOR

	(to Cristina)
		It's not from me...

				                 92.

Deborah does a good-natured "TAKE" accepting Flor's reaction
as if it where an eccentricity..As Cristina and Bernice board
the bus, Cristina generally says goodbye to both women,
thereby depriving Flor of her own moment of passage with her
daughter.

		  DEBORAH

		Have a great year, girls..
				(for Flor)
		This is so great. It fills your
		heart, doesn't it?
Deborah turns and sees Flor has already started doggedly up
the hill..

141   EXT. STREET - HILL - ANGLE ON FLOR...		 141

Walking up the hill, blinking in disbelief at her own
fury..Deborah in the background feeling a bit abandoned..Flor
keeps walking toward the camera..

		  NARRATOR

		There is a terrible crisis which
		comes when your own personality is
		not equal to the challenge you
		face. When being who you are no
		longer works.
Deborah has started to jog. As she approaches Flor, she calls
for a clear path well in advance.

		  DEBORAH

		Left...left.
Flor does not alter course though she does start to walk
faster...

		  DEBORAH (CONT'D)

		Left...left...
Deborah is close behind now.

		  DEBORAH (CONT'D)                LEFT!

Suddenly, Flor breaks into a run..She is lithe and quick.

      ON DEBORAH...

A blink of confusion...then something resembling innate
satisfaction as she quickens her gait and...the Race is on.

      ANGLE AS DEBORAH DRAWS ABREAST OF FLOR.

Strangely, she is interpreting this as closeness. She is
genuinely warm.

				              93.		    DEBORAH (CONT'D)

		(to Flor)
			Why am I not surprised you're
			competitive?
Deborah looks up the street at a delivery truck.

		    DEBORAH (CONT'D)

			Oh, they're delivering my table.
Flor stays on task ..forces her stride. She just needs to win
so very much..that's all..to her current surprise, that's
everything...

		    DEBORAH (CONT'D)

			You are fast.. Better pace yourself
			though..
Flor, even more upset and provoked by the words now lets it
all out...

      ON DEBORAH..

Realizing she may not be a certain winner...she is concerned
as she goes after the rabbit.

      OTHER ANGLE.

Showing the delivery truck as finish line in the distance...

      VARIOUS SHOTS..

Flor fueled by desperation. Deborah, relentlessly gaining,
exhilarated.

      THE FINISH..

Decidedly anti-climactic..Deborah draws even -- passes her--
arrives at the house with a large margin of victory.

		    DEBORAH (CONT'D)

		(calling back)
			I love you for trying.

142   EXT. CLASKY HOUSE - DAY		          142

She exits into her home.

      ON FLOR..

Bent over, hands on knees, sweaty, gasping for breath. Flor
finally straightens up and, there being no other course,
continues her walk up the hill, to work.

		    NARRATOR

			When people exist under one roof, a
			tiny society forms..the stuff of

		    (MORE)				              94.

				NARRATOR (cont'd)
		novelas: masters and servants
		unconsciously dancing in lock step
		so that, when things go wrong,
		traumas converge.

143   INT. CLASKY HOME - NIGHT...		      143

As John moves past Evelyn on his way to work. She looks at
him a little wild-eyed as they both stand in the doorway.
Straining a bit for breath.

		  JOHN

		You feel okay?

		  EVELYN

		No. I've given up drinking.
				(he looks at her/she sadly
				 nods affirmation)
		I had to do it John..I need every
		brain cell to watch out for all of
		us..given the current climate.
		Anyway. John, I think you're great
		and I'm going to act accordingly.

		   JOHN

				(totally confused)
		Good deal.

		  EVELYN

		Let's hope.

144   INT. FLOR'S APT. - LATE AFTERNOON		144

Flor cooking alongside Monica --- a table is set for ten..A
banner proclaiming BIENVENIDA, MAMÁ.

		  NARRATOR

		My great Aunt Monica had finally
		managed to get her mother to Los
		Angeles and my mother was making a
		party.

145   INT./EXT. DEBORAH'S CAR / CLASKY HOME - DAY              145

Bernice sitting amidst Cristina and two other golden girls as
they arrive at the Clasky home.

		  NARRATOR

		I was with my friends who had
		helped me understand real optimism.
As they pull in the driveway. Cristina and her friends exit
the car and squeal loudly at each other with the excitement
of having it all. Bernice exits last. She is not squealing.

				              95.146   INT. CLASKY HOUSE - NIGHT		        146

As Deb finishes dialing a call..Cristina looking on...her two
friends watching a movie in the family room. A clock
prominently reads nine p.m.

		      DEBORAH

		 (into phone)
			 Flor? Deb..Look, sorry to call you
			 so late, but they're still studying
			 and I'm going out but I promised to
			 get her back so if you want me to
			 cut off the school work,
			 fine...whatever you want me to do.
			 Well, okay..you think about it..
		 (she holds on to give Flor
			time)
			 And hey, if you're tired, or want
			 to play, let her sleep here and
			 I'll get her back there tomorrow.
			 You still want to think about it?
			 Okay..
She hangs up...and exchanges a mischievous look with
Cristina.

147   INT. FLOR'S APT. - NIGHT		         147

As Flor hangs up..

		     NARRATOR

			 Though it is possible to judge
			 harshly my conduct toward my mother
			 in my first year at school; almost
			 all professional literature excuses
			 my behavior as developmental, since
			 I was entering an age where
			 rebellion and narcissism were to be
			 expected. And I was being mentored.
Monica and her newly arrived mother are there along with the
bride from an earlier scene and some of the girls who saw
Cristina off to Malibu..Women cooking in the kitchen..She
tells the girls, in Spanish, that Cristina may not make it.
They are disappointed...Flor thinks - then says something to
Monica who nods in agreement. Flor exits.

148   EXT./INT. CLASKY FRONT DRIVEWAY..NIGHT                   148

As Evelyn stands there...a little in the shadows..

      HER POV...

Deborah somewhat dolled up moving through the interior of the
house..

				                96.149   EXT. CLASKY DRIVEWAY - NIGHT...		    149

As Deborah leaves the house in a hurry.

		  EVELYN

				(calling out)
		Wait!
Deborah turns, startled.

		  EVELYN (CONT'D)

		I need to talk to you privately,
		honey.

		  DEBORAH

		"Honey?"-- Can't now, Mom...I'm
		late..I was looking all over for
		you...keep an eye on the kids. You
		know my secret cell number.

		  EVELYN

		Just give me a moment to talk
		here..

		  DEBORAH

		What is it? Are you buzzed?

		  EVELYN

		No. I gave up drinking weeks ago.
				(on Deborah's reaction)
		Yes. Nobody noticed -- which shows
		I probably conducted myself pretty
		well as a drunk. But duty called
		and I'm sober so may I say just one
		thing.

		  DEBORAH

		One thing..go ahead...

		  EVELYN

		Thanks..Deborah, you're going to
		lose your husband and you'll never
		find someone as good. There will
		only be men who you know are cheap
		and shallow and have no real warmth
		in their souls. You may have gotten
		by on those surfaces once but now
		you've been spoiled by a good man
		and you can no longer glide on such
		thin ice. If you do not act
		quickly you will soon cement an
		awful fate for yourself. A life,
		with no hope of repair, which has
		already begun to turn desperate and
		dumb. That's it. Drive safely.
She grabs a deep breath and then turns and walks to the
house.

				                 97.		    EVELYN (CONT'D)

		(to herself)
			If we're out of coffee, it's over
			for me.
Suddenly a sharp horn is heard..Evelyn jumps..then turns to
see her daughter calling to her from the driver's seat of the

      SUV..		    DEBORAH

			You've done it again, Mom, made me
			hate myself..One of the things I
			can count on..

		    EVELYN

			Honey, lately your low self-esteem
			is just good common sense.
Deborah considers that last thought for a long beat before
she drives off..

				       DISSOLVE TO:150   EXT. STONE CANYON - LATE NIGHT...		   150

Flor walking from the beginning of the hill........She looks
off to see John's vehicle approaching..She brightens..

      ON JOHN..

Who doesn't see her..We can see his car's digital clock
reading 11:30.

      ON FLOR..

As he drives past her.

151   INT. CLASKY HOME - NIGHT...		         151

As John enters..Evelyn, in an adjoining room, moves to
intercept him.

		    EVELYN (CONT'D)

			John, better wait a minute.
But John hears Deb's crying from upstairs..

		    JOHN

		(concerned)
			What the hell's wrong?

		    EVELYN

			Nothing. In all futility, can I
			urge you not to go up there.
But he is already moving quickly up the stairs..As he turns
at the top of the stairs WE SEE THE DOOR CLOSE TO BERNICE'S

      ROOM.				              98.      ON EVELYN..		     EVELYN (CONT'D)

		 (to herself)
			 Denouement.

152   INT. MASTER BEDROOM - NIGHT...		   152

John enters the room on the double...passes Deborah without
knowing it..(she is partially obscured by the drape or some
such). As he passes....camera HOLDS ON DEBORAH..she is a
mess...goopy tear stains..seeing him and his concern brings
her grief to a higher ground...a sinner humbled by
goodness..a trembling lip of childlike vulnerability...

		     JOHN

			 Deb..Deb?..where are you?
He is about to leave the room...she is about to let him but
an instinct leads her astray once more.

		        DEBORAH

			 Here I am.

		     JOHN

			 Baby, what?

		     DEBORAH

			 "Baby?" Stay there, John...Sit
			 down..I suddenly get what I have to
			 do...I just have to get the guts.

		     JOHN

			 Is it absolutely necessary to make
			 it this...this scary..can you just
			 say it?

		     DEBORAH

			 Not so easy.

		      JOHN

		 (tender/ready for the big
			 healing)
			 Yeah..come on..it's me. We can
			 talk.

		     DEBORAH

			 Do I ever hope so...I've been
			 seeing another man for the last
			 eleven weeks and it was nothing and
			 I ended it tonight..At first it was
			 just keeping an eye on the real
			 estate market..Then it was...what?
			 Me being insecure and looking for
			 some ridiculous vali...

      ON JOHN...				        99.

A shock victim..he holds up a hand to stop her..

		JOHN

		Go -- hold on...hold on...I'm
		missing what you're saying..You
		can't just keep talking and expect
		me to follow it when you start the
		way you did.......

		DEBORAH

		Just what did you hear?

		JOHN

		Well there was the crack in the
		planet. That was noisy...
She looks at him...a solid beat...

		JOHN (CONT'D)

		There's an actual noise in my
		head.....no kidding..
Briefly he does the noise...

		DEBORAH

	(slowly)
		I met him about...
John holds up a hand to stop her...he needs to gather himself
to hear this..She waits...and waits...as he waits he grows
flushed and stunned with dread. Finally a word..

		JOHN

		You..
She takes that as a cue to start..

		DEBORAH

		I met him..
He puts up his hand..

		JOHN

		If you talk that fast...I'll never
		hear you..there's a lot going
		through my mind....Have you said
		yet whether you slept with him?

		DEBORAH

		So far I've just been talking about
		a flirtation because the really
		important thing for you to know...

		JOHN

		Have you said yet whether you've
		had sex with someone else? Because
		I really am missing most of your
		words. So help me out here..

				          100.		DEBORAH

		I've been trying to explain that
		for the first ten weeks there was
		almost nothing to ...

		 JOHN

	(sincerely checking but
	 wild)
		You still haven't said, right?

		DEBORAH

		Is this your way of...

		JOHN

		This is my way of...this is my way
		of asking you whether..
He stops... staggering on the threshold of a diminished
future.

		JOHN (CONT'D)

		Oh man, once I ask it...give me a
		second.
	(several beats then some
	 conversational good
	 manners for keeping her
	 waiting)
		I'm just trying to figure out
		whether there's any way to avoid
		knowing..no, damn
	(quickly closing this
	 argument with himself)
		There's not...
	(to her)
		Okay, you're on..real short answer,
		huh? Have you had sex with
		another..

		DEBORAH

		I know you're very angry?

		JOHN

	(considering/then
	 repressed answer)
		Ahhhh...I'm getting there, yes.

		DEBORAH

	(softly)
		John?
	(on his look)
		I think if you let me tell you the
		full everything of this we'd be in
		a position to deal with it
		better..because eleven weeks ago
		when...

				             101.		  JOHN

		You don't believe that I miss your
		words..I get three or four
		tops...and then just see your mouth
		moving with nothing coming out and
		then I spin out and there's this
		noise...But there's no way to miss
		a "yes" or "no."

		  DEBORAH

				(blurts)
		Yes..

		  JOHN

				(core simple/eight years
				 old)
		Really?

		  DEBORAH

				(this gets her)
		I made up my mind that I would
		answer every question you had..I'll
		answer anything and everything and
		more.

		  JOHN

				(perplexed)
		What other questions could there
		be?

		  DEBORAH

		Are you really that much nicer than
		me?

		  JOHN

		Well, you don't set the bar real
		high.
He get up and starts to exit..

		  DEBORAH

		No. Please, please, please..I
		think if you listen to exactly what
		happened and then do whatever you
		need to...we'll..just let me tell
		you everything..
The doorbell rings...it's quite late...Deborah wondering
what's up..she looks out the window.

		  DEBORAH (CONT'D)

		Oh, it's just Flor.

153   EXT. STONE CANYON NIGHT..		          153

As Flor enters the Clasky House...

				             102.154   INT. CLASKY HOUSE - LATE NIGHT		     154

Flor sees Evelyn in the living room.

		  EVELYN

		What are you doing here?

		  FLOR

		I want Cristina. I want to talk to
		Mrs. Clasky. I want to quit.

		  EVELYN

		I don't think you can do any of it
		right this minute..

		  FLOR

		Oh, yes..Where's Cristina?

155   INT. MASTER BEDROOM - NIGHT		        155

Deborah can barely look at him...

		  DEBORAH

		...then, when I was driving back
		tonight after I ended the whole
		yuck thing..I was feeling human.
		I'm done with what's his name..a
		relief... ..and now it can be like
		it never happened and then I
		thought that the only hope was that
		I own that it did happen and that I
		take my medicine here..because if
		I'm walking around with what I did
		and you don't know what I
		did..there is a real limit to how
		close we can be..you're with me and
		I'm this person who has this bad
		secret and we aren't really on the
		same page ever again..so the reason
		I took this chance in telling -- is
		because I want us to be good..I
		want us to be close. I want to
		feel like you're not nuts to be in
		love with me..So what I think is we
		should talk till we pass out ..
		Talk till we're so sick of each
		other that there's nothing left to
		do but take the first step out of
		hell..So please let's not leave
		this room until you've heard and
		said everything..please say, okay..
She awaits his answer..He has heard barely a few words..

		  JOHN

		What?

				             103.		    DEBORAH

			John..

		    JOHN

			I've got to get out of
			here..because you keep talking.
		(as she starts to follow
		 him)
			Stay put!
She does. Just before he exits.

		    DEBORAH

			You've got to say something.

		    JOHN

			You are a terrible wife.
He exits.

156   INT. MAID'S ROOM - NIGHT...		      156

Evelyn stands in the doorway with Flor..they are looking at
Cristina and her two friends sleeping together.

		    EVELYN

			I don't think you want to wake her
			when you're this upset and the
			other kids are right there and...
Flor makes a noise of frustration and retreats from the room.

157   INT. ENTRANCE HALL - NIGHT		       157

As they arrive at the interior entrance, John comes down the
stairs just as Flor opens the front door.

		    JOHN

			Where you going?

		    FLOR

			I'm leaving....I have finally..

		    JOHN

			Me too..I'll drive you.

		    FLOR

			No.

		    JOHN

			Yes..come on...it's past midnight
			here.

		    FLOR

			If you truly don't know why I say
			"no" let me at last say the reason.
			At least that will be a relief.
			Have you no idea that I....

				             104.

Before she can there is the sound of scratching toes on the
floor and a ball comes into lower frame with a dog's
snout..Flor loses her thought and tosses the ball.

      OTHER ANGLE.

As Chum, now the only happy creature in the house, fetches it
and returns.

		   JOHN

		 Look I have to get out of here
		 right now..

		   FLOR

		 Go..
John exits to driveway...Flor makes one last toss..these
tosses have not made a dent in her anger and frustration.

		   FLOR (CONT'D)

		 Goodbye, Chum.
Another toss and Flor follows John out the door.

      ON CHUM.

No longer happy. He has lost his only easy mark. He stares at
the closed door..the ball drops from his mouth to the floor.

158   EXT. CLASKY DRIVEWAY - NIGHT...		     158

John is at the car but Flor heads for the gate.

		   JOHN

				 (as decisive as we've seen
		him)
		 I'm taking you.

		   FLOR

				 (with anger)
		 Why?!?

		   JOHN

		 Because if I don't -- I'll worry
		 about you and I can't handle that
		 right now, okay?
Flor emits a crooning sound.

		   FLOR

		 Ahhhhh.
				 (stunned and worried)
		 I never made that sound over a man
		 before..

				              105.

Flor shudders at her own sappiness as John opens the
passenger door for her...very much into his own torture he
nonetheless grabs her arm and guides her up and in..she
catches and appreciates his automatic gracious manners while
he is clearly fucked up...She is impatient with his
solicitousness almost slapping his hands away as he makes
sure her skirt doesn't get crushed in the door..The
frustration roiling in her.

		   FLOR (CONT'D)

		 Please!?! Mandilón.

      OTHER ANGLE..

Deborah watching them...

      HER POV.

Her cuckolded husband closing the door behind her gorgeous,
soon-to-be ex-housekeeper.

      CLOSE ON DEBORAH..

She trembles under the force of imminent justice.

159   INT. JOHN'S CAR - LATE NIGHT		        159

Two pissed-off people..jaws set...breathing labored..As the
car starts and Flor looks back, she lets out a guttural and
explosive shout...

		   FLOR

				 (a quick and mighty vent)
		 Arrchhhhhyeeeeiii!
For John, the first clear thing he has heard in a while..

		   JOHN

		 Yes! Exactly! Well put! Teach me
		 that word sometime. I can really
		 use it.
She nods..there is almost a moment of relaxation..then the
anger fires an immediate need..She leans across the seat to
deliver an urgent message to him. The words come out
exponentially too forcefully.

		   FLOR

		 I quit this job!
His spontaneous and forceful reaction surprises her..

		   JOHN

		 I quit this job!!!!!
As he turns onto Sunset.

				      106.		FLOR

		That's the bus stop.

		JOHN

		I'll take you home.

		FLOR

		No. Drop me at a bus.

		JOHN

		Oh, shut up and stop telling me
		what to do.

		FLOR

		Okay...then let's do something
		besides driving me home where my
		daughter isn't.

		JOHN

		Okay..we'll do something.

		FLOR

		And I'm supposed to figure out what
		because I'm a housekeeper and you
		don't have to think.

		JOHN

		Oh, don't do the class thing,
		man..You don't know where I come
		from.

		FLOR

		Alright, I know. But I can't be
		responsible no more for making sure
		nothing happens. That's another
		terrible job I quit.

		JOHN

		What are you talking about? I take
		responsibility for anything within
		a block. You have nothing to worry
		about. That's my job.

		FLOR

		Excellent. So you're going to
		figure out what we do, right?

		JOHN

		Yes. Okay. Big man figure out!

		FLOR

		Stop there.
She points to a mall..He looks at her and pulls in.

				              107.160   EXT. MALL PARKING LOT - LATE NIGHT.		 160

As she leaves the car and goes into a drug store. John, sober
faced, looks at Flor making an attractive and zestful beeline
toward an Hispanic market. This could be where it hits him
that he's on a date...If so..it's too late to duck..

161   INT. MEXICAN MARKET - LATE NIGHT.		 161

As Flor enters the market..She calls to the young shop girl
as Marine medics for morphine.

		  FLOR (CONT'D)

		Maquillaje!

				        CUT TO:

The shop girl directs her to the make-up counter where she
starts shopping..lip gloss, blush, eye stuff..She starts
applying it at the check out counter.

162   EXT. OUTDOOR MALL - LATE NIGHT		    162

As she runs back to the car.

163   INT. JOHN'S VEHICLE -		             163

As she enters, there is a fury to her which he almost
matches.

		  FLOR

		This is me when I'm not working..
		You have never seen me!

		  JOHN

		Well, you look familiar.

		    FLOR

		So,
				(parodying him)
		"man," where we heading?

		  JOHN

		I don't think I can handle public..

		  FLOR

		Yes, no...lots of people right now
		is..

		    JOHN

		I know.

		  FLOR

		You were going to figure this out!

		    JOHN

		My place!

				                108.164   INT. JOHN'S RESTAURANT - NIGHT...		   164

As they enter the main restaurant...

		    FLOR

			I've never seen your place. Very
			perfect.
He heads for the kitchen.

		    JOHN

			I'm going to cook, Beautiful.
		(on a dime correction)
			I'm going to cook beautifully.

		    FLOR

			Hey..please..
He turns.

		    FLOR (CONT'D)

			We both were not normal because we
			are angry and we act like we are
			angry with each other and we are
			not..I am not. I am glad to be with
			you. It feels comfortable to be
			with you. If I just left the job
			and never spoke with you it would
			have been sin. You understand?

		    JOHN

			Ummmmmmmmm...Yes.
He stands next to her and, for want of a better physical
expression, pats her on her back..She eyes him, almost
critical about the lame extent of his aggression....He can't
quite look at her...He pats her again..

      REAR ANGLE..THE PAT ON THE BACK.

The pat is becoming a rub..he cups her back..slides his
hand..she responds just a bit..

		    JOHN (CONT'D)

			I think I'm inventing a horrible
			new way of making out..

		    FLOR

			Not so horrible.....
His hand keeps going..he now hugs her to him even though they
both still face front.. like a loving couple on a walk to the
market. His hand squeezes her shoulder.

		    JOHN

			My hand is the only sane part of my
			body..every other part wants to
			jump off a cliff.

				             109.		   FLOR

				 (digging this/almost
		growing a sense of humor)
		If the other hand could cheer up,
		you could lift me up and carry me
		off.
He laughs. He takes his hand from around her. It is a bit
awkward.

		  JOHN

		I don't know how to handle that
		one. I think I already broke my
		record for smooth.

		  FLOR

		I don't understand.

		  JOHN

		It's me. I'm not making sense. But
		I can get you fed.
He goes to the kitchen. She begins to explore a little. She
goes to a cabinet and opens it to find a CD player. She digs
in her purse and takes out a CD.

165   INT. RESTAURANT KITCHEN - NIGHT		     165

As John starts cooking up a storm...there is some velocity to
his cooking...he still seethes. Then reacts as Spanish Music
starts to play. He clears his throat as if he must make a
speech. Then does so again..some vocal spasm paying tribute
to the increasingly intoxicating tension he feels.

166   INT. RESTAURANT - DINING AREA - NIGHT...		166

Flor is lighting the candle at each of the twenty tables.

167   INT. RESTAURANT KITCHEN - NIGHT...		  167

He is cooking..He is talking to himself.

		   JOHN

		Nothing to be nervous about. You
		are not on a date...
				(calls out)
		Hey, Flor?

		     FLOR'S VOICE (O.S.)

		Yes, John.

		  JOHN

		What are you doing?
She enters the room...dancing a bit..

				       110.		FLOR

		Just lighting candles and picking
		music.
	(notices his cooking)
		Oooh.
She gets up on one of the counters and sits there, her feet
dangling...sings along a bit in Spanish. He is uncomfortable
anew. The nervousness mounting.

		JOHN

		You want a drink?
She considers the question totally..He is busy cooking..not
realizing how weighty she considers his question...finally
aware she has not answered and looks at her..

		 JOHN (CONT'D)

		Huh?
She regards him levelly..then makes her decision.

		 FLOR

		No.
He gets out a bottle of vodka.

		FLOR (CONT'D)

		I, uh...don't think you should
		either.

		JOHN

		Then excuse me, because if I had
		the equipment I'd inject the vodka.
He starts to pour.

		FLOR

		Wait!
	(he stops)
		I think it is so important that we
		are each clear-headed.
He looks at her..a beat...he puts the vodka away. Flor
beams..we have not seen her smile like this for quite some
time.

		FLOR (CONT'D)

		It is very good that you did not
		ask, "why?"

		JOHN

	(quietly)
		Keep things real, right?

		FLOR

	(impressed)
		I wouldn't have put it so well.

				                111.168   INT. RESTAURANT KITCHEN - HALF HOUR LATER - NIGHT           168

They sit at a small table in the kitchen..finishing the
greatest late-night meal in the history of Western man.

		  FLOR

	I will remember every
	taste..forever.

		  JOHN

	Tell you the truth..I wanted a shot
	at cooking for you.
			(shy/his heart)
	I'm very glad you liked it.

		  FLOR

	It's something watching you.
He looks up at her...she has not been seen like this for a
very long time, if ever.. lit up by a man.

		  JOHN

	Well, if it's anything at your end
	imagine over here...scratch
	that..the last thing you want to
	hear is somebody going off on your
	looks.

		  FLOR

	Don't be crazy. Tell me every
	detail.

		  JOHN

	Okay, Flor, yes I will...They
	should name a gender after
	you..Looking at you doesn't do
	it..Staring is the only thing that
	makes sense..and trying not to
	blink so you don't miss anything.
She squeals with laughter..He laughs a little himself and in
so doing loses his courage..He looks down at his
hands..shyness again belting him a good one..Still looking
down.

		  JOHN (CONT'D)

	Look..forgive me..I'm.....It's just
	that you are drop-dead, crazy-
	gorgeous..so much so that I am
	really considering looking at you
	again before we finish up here.

		  FLOR

	Soon, please.
And now he looks at her.

      CLOSE ON FLOR..				               112.

Utterly open...utterly optimistic...the half second before
being swept away.

		     FLOR (CONT'D)

		 Right now....immediately..we have
		 to dance or kiss.
He stands. She stands..He kids just a bit, clowning at
weighing the two options and then:

      HIS POV..

Her face..

		     JOHN

		 No contest.
They kiss.

		     FLOR

		 You sure you're not Mexican.

		     JOHN

				 (smiling/he likes this)
		 What do you mean?

		     FLOR

		 I meant you talk like a Spanish
		 song.

		     JOHN

		 You kiss like a Spanish fly..
				 (on her confusion)
		 Joking around. I don't know what
		 I'm talking about...

		     FLOR

		 Yes you do.
She breaks and heads for the dining room. John has a moment
to consider.. He does not have his wits about him..a
condition every bit as fearsome as liberating.

169   INT. RESTAURANT - DINING ROOM.		     169

As Flor rummages for another CD, enjoying every minute. She
places the disk in the player and exits.

170   INT. RESTAURANT KITCHEN.		           170

As she returns...

		     FLOR (CONT'D)

		 This song...You see what a good
		 thing to tell you how you talk like
		 a Mexican song.

				          113.

She begins to translate the lyrics.

		 FLOR (CONT'D)

	When I kiss you, entire oceans rush
	through my veins..
			(he is wildly
	uncomfortable)
	Gardens of flowers blossom in my
	body.
He starts to make a comic gesture of awkwardness to get past
the event..she shakes her head at him..driving the words --
pointing emphatically..she will not have her poetry laughed
at..

		FLOR (CONT'D)

	And you wander along my fertile
	soil, picking its ripe fruit..A
	nightingale undresses on my
	tongue..And under its wings..
He laughs. She stops cold. Looks down..though just seconds
long, this still constitutes the first depression of her
life.

		JOHN

	I'm sorry. I don't know what I just
	took out of you but tell me how to
	get it back in there..I'm sorry.
	Flor..I'm sorry.

CLOSE ON HER..

The downcast eyes rise to see him..

		FLOR

	Then respect this.
He looks at her...they kiss..It is a kiss without an author.
God at the controls. They break. There is a beat then..

		JOHN

	Here's something I never asked
	anyone..Did nightingales undress on
		your tongue?
Flor looks at him with enormous warmth. Her arms looped
around his neck..aware of the music.

		FLOR

		Did they on yours?

		JOHN

	(a long beat of
	 reflection/then sincere
	 and surprised)
		Yeah...

				                114.171   EXT. RESTAURANT - SOME TIME LATER		   171

Moving camera...the small house turned restaurant..little
flickers of light...

		  NARRATOR

		My mother never told me the details
		of her visit to the restaurant.
		But she often referred to it as the
		greatest conversation of her life.

172   INT. RESTAURANT - VERY LATE NIGHT...		172

They are lying post coitally in each other's arms on a sofa
just inside the dining room..They are covered by a table
cloth. They hold hands above the cover...each private but
still somehow in contact.

		  FLOR

		Oh, Johnny, why is everything so
		damn confusing?

		  JOHN

		Culpa.
Flor's pleasure zone is rocked. She smiles at his first
Spanish word. She is wrestling with large feelings of
pleasure and large ominous thoughts.

		  FLOR

				(a beat)
		Is your mind racing?

		  JOHN

		I would say my mind has
		evaporated...but that there are
		remnants still standing waiting to
		fall. It feels pretty good.

		  FLOR

		Like happy?

		  JOHN

		Like happy.

		  FLOR

		You think that will last?

		  JOHN

		It's already gone.

		  FLOR

		I understand what you mean.

		  JOHN

		I don't understand what I mean.

				       115.		FLOR

		That it's getting late. That
		responsibilities have entered your
		brain. Don't hide that from me.
		And really, one large reason we are
		here is because you respect me as a
		mother and I respect you as a
		father..
He is looking at her...she is disconcerted.

		JOHN

		You're a great and wild mother.

		FLOR

		You are a beautiful father.
She looks at him..they kiss...tenderness..heat...intimacy.

		FLOR (CONT'D)

		When Cristina was young, I would
		say I want to take any man who
		wants me to the park and I will
		tell whether I want him from the
		way he is with Cristina. I wish
		you had been in the park then.
	(a beat)
		Any reaction?
John considering and then the answer comes to him.

		 JOHN

		Exactly!..

		FLOR

		You know, I always think about when
		you...Oh, there's no point. I talk
		too much...
	(a bit of emotion)
		...because I don't know if we ever
		talk again.

		JOHN

		Hey, hey..How do you get there?
		Wait.

		FLOR

		Yes you do. Be honest.

		JOHN

		I'm being honest.
	(indicates their bodies)
		Look at us - I think I call it
		honesty.

				             116.		  FLOR

		What are we going to do -- go home,
		let our hearts go back in our
		bodies, see each other a few more
		times. Make a tragedy out of us..
She kisses him again...starts to cry....looks at him..emits a
small cooing sound.

		  FLOR (CONT'D)

		Ahhhhhhh.
				(sudden energy)
		There are some mistakes you cannot
		risk when you have kids...Please,
		are you ready to go?

		    JOHN

				 (urgently)
		No. I'm not. No.
				 (then)
		Stay put for a second. Stay here.
		Once our feet touch that floor, I'm
		going to get too many brain cells
		back. So don't be in such a hurry.
		That floor, Flor, is going to eat
		us alive.
				 (she settles back/he is
		energized)
		So you think it was a mistake up to
		now.
				 (she nods "yes")
		That's rough.
She nods again..trying to gut things out...but as her foot
touches the floor, she must say one last thing to him.

		  FLOR

		The mistake....I love it.

173   INT. CLASKY HOME - MASTER BEDROOM - LATE NIGHT.          173

Deborah's face is bleached from crying...the tear ducts of
her now brown eyes are parched dry..Evelyn sits eyeing her as
she looks through the window at the pre-dawn emptiness of
Stone Canyon. In her current shape she would give pause to a
staff worker at Promises..a shock victim walking through the
rubble after the bomb has dropped. Deborah's voice is
scratchy when she speaks.

		  DEBORAH

		Tell me again why I can't call him
		on the cell.

		  EVELYN

		Besides that he turned it off?

		  DEBORAH

		Yes.

				       117.		EVELYN

		Forty messages start to look needy.

		DEBORAH

		Mother, you're enjoying this.

		EVELYN

		No..Definitely not in the way you
		think.

		DEBORAH

	(staggered)
		You are enjoying it?!?

		EVELYN

	(rising/honest)
		I am enjoying actually being of use
		to my daughter. I am enjoying the
		fact that I really know how to
		advise you and the miracle that you
		are so deeply disoriented that you
		are gobbling up everything I say.
Deborah nods in agreement -- then looks at her mother in a
somewhat new way..as if Evelyn were an actual person instead
of an upsetting extension of herself.

		DEBORAH

	(vulnerable)
		There's one thing I'd like to say
		to you about you and me.

		EVELYN

		You don't have to.

		 DEBORAH

		I want to.

		 EVELYN

		Okay.

		DEBORAH

	(quite vulnerable and
	 appealing)
		You were an alcoholic and wildly
		promiscuous woman during my
		formative years so that I am in
		this fix because of you. It is your
		fault. I just needed..
	(gestures heart to heart)
		..that moment for us.

		EVELYN

		You have a solid point, dear. But
		right now the lessons of my life
		are coming in handy for you.

				        118.		DEBORAH

		There's a car coming....
Evelyn moves to her.

		DEBORAH (CONT'D)

		It's him...he's got to tell me
		everything..
Evelyn shakes her head "no."

		 DEBORAH (CONT'D)

		 (wild-eyed)
		Yes!

		EVELYN

		Do you know that right now you are
		your own worst enemy..that you
		can't trust one thought in your
		brain?

		 DEBORAH

		Duh.

		EVELYN

		Then trust me and only allow
		yourself to say one thing to
		him..One thing..."I'm so glad
		you're back."

		 DEBORAH

		Huh?

		 EVELYN

		Yes.

		DEBORAH

	(babbling)
		But I've got to know whether he
		touched her - where he touched her -
		how he touched her - if they broke
		a sweat --- what they said - who
		made the first move - how they left
		it -- if anyone loves anyone or has
		an intention of making contact in
		the future - what she wore - how he
		felt afterwards - whether anyone
		mentioned me..
	(a wail)
		..whether they held hands when they
		left..
The distinct sound of a door opening and closing from
downstairs.

				             119.		  EVELYN

		Just those words I said. If you
		want a prayer of coming out of
		this.

		  DEBORAH

		I know you're right..But..

		    EVELYN

		But what?

		  DEBORAH

				(a small voice)
		I forgot the sentence you said I
		should say.

		  EVELYN

		"I'm so glad you're back."

		  DEBORAH

		Okay..do I have to wait here?

		  EVELYN

		No..he may not come up here..go to
		him.

		  DEBORAH

		Why wouldn't he come up here?

		    EVELYN

		Just go.

		  DEBORAH

		Do I need a little makeup?

		  EVELYN

		You need a hose but you don't have
		the time. It's fine that you look
		like that. It's genuine..You can
		use genuine.

		  DEBORAH

		Thank you, mom.
She takes a breath exits...

174   INT. STAIRWELL		                   174

She pauses at the top of the stairs..a breath..then unable to
help herself runs down them at breakneck speed.

175   INT. DOWNSTAIRS..		                175

John turning a light on when Deborah bursts into the room.

				               120.		  DEBORAH

		I'm so glad to see you
				(correcting self)
		..that you're back.
John looks up at her - not knowing what to say...he is
thrown. His demeanor has changed...deeper..serious..

		  JOHN

		It's late, Deborah.
The wrong words start to form..she stops herself..

		  DEBORAH

		Well, I just wanted to say.. what I
		said..
She is on the stairway..he turns to go in the opposite
direction.

		  DEBORAH (CONT'D)

				(way too loud)
		Uhhhh..
He turns back to her...she stops herself from straying into
untried words but gestures whether he is coming upstairs to
bed.

		  JOHN

				(a beat then)
		I can't sleep upstairs with you..
		Just can't for now.
This rocks her..panicked she grabs at her life preserver.

		  DEBORAH

		I'm just so glad you're back.
Deborah's suddenly classy demeanor provides just the barest
of footings for them...He looks at her directly for the first
time since she told him.

		  JOHN

		Yeah..okay.
She nods..then goes back up the stairs..

176   INT. MASTER BEDROOM - NIGHT		         176

Evelyn, who has been standing close to the doorway, stands
clear to let her enter. As Deborah flies in wildly vulnerable
- her breath racing.

		  DEBORAH

		I am literally choking on unsaid
		words..seriously. If this were a
		restaurant ten people would have
		their knuckles in my sternum.

				             121.		  EVELYN

		The fact that you didn't just make
		things worse should fill you with
		hope..
In her current state, she has to process that one..and does.
Her breath slows.

177   INT. MAID'S ROOM - NIGHT...		      177

The first time we've seen this room since Flor was working
the sewing machine...John enters. He is down, longing and
finality make for a brutal cocktail..He rubs his head and
sits near the sewing machine..He glances over and sees Flor's
Spanish/English dictionary..There is a knock on the door.

		  JOHN

		Deb, I'm done tonight. I don't
		think we can jam anything else in.

		  BERNICE'S VOICE

		It's me, Dad.
He springs from the bed and opens the door.

		  JOHN

		What's up, honey?

		  BERNICE

		Just thought I'd check that you
		were back and okay and all.

		  JOHN

				(feigning innocence)
		Because?

		  BERNICE

		Mom was crying for six hours
		straight and Grandma was in with
		her all that time mostly saying,
		"he'll be back..he'll be back."
		I've got to get back to Georgie.

		  JOHN

		I just hate that you had that kind
		of a night.

		  BERNICE

		It's good for me to worry about
		something that really matters
		instead of the stupid stuff that's
		usually on my mind...

		  JOHN

		Like?

				               122.		      BERNICE

		 (a big grin)
			 Surviving.

		     JOHN

			 You're fantastic, Bernie...I love
			 you.

		     BERNICE

			 It's a slant...
		 (pause then)
			 Hey..I know there's a lot you went
			 through but I knew all along that
			 Grandma was right about you coming
			 back..I mean totally knew it so I
			 wasn't that worried. But still I...
		 (some emotion out of
			hiding)
			 I really appreciate it, Dad.
			 Thanks....Stop staring at me..what?
			 You don't know what to say?

		     JOHN

			 Right. I don't know what to say.

		     BERNICE

			 Just what you taught me..You're
			 welcome.

		     JOHN

			 You're welcome.
They kiss.

178   EXT. STONE CANYON -     MORNING.		   178

Flor purposefully walking up the hill..

179   INT. CLASKY HOUSE - DAY.		           179

As Flor enters...walks through a few empty rooms..then once
in the kitchen she sees the children and Evelyn are swimming
in the pool...she opens the glass door Monica bumped into on
interview day.

180   EXT. CLASKY POOL - DAY.		            180

Evelyn, Bernice and Georgie are in the pool..Cristina,
wearing a bathing suit, is on a chaise reading...

		     CRISTINA

			 Hey, mom...Is it okay if we don't
			 leave right away?
The others call greetings..save Evelyn who studies the
situation and gets out of the pool..Flor is awkward..no idea
how to handle this...so she goes direct.

				       123.		 FLOR

		No...
	(as Cristina begins to
		protest)
		No..and we must say "goodbye." I
		don't work here anymore.
She then talks Spanish to Cristina..admonishing her not to
embarrass them..something about Flor being prepared to go
nuts all over her daughter if she hurts their dignity...but
it is said with total calm.

		GEORGIE

		Do I have to get out?

		FLOR

		No, Georgie..Stay. I think you are
		a wonderful boy..be good..like you
		are. There are no monsters.

		GEORGIE

		Thanks..thanks. Okay.
Bernice climbs out of the pool. Meanwhile, a flabbergasted
Cristina is staring at her mom who gives quiet two and three
word proddings in Spanish.

		BERNICE

	(severely to Georgie)
		I can't believe you didn't get out.

		 GEORGIE

		Flor said.

		BERNICE

	(to Flor)
		I don't want to get you wet.

		FLOR

		Get me wet.

		BERNICE

	(rushing to hug her)
		Thanks.
Bernice hugs her. Evelyn hugs Cristina..

		EVELYN

		You...are...a...trip.

		FLOR

	(to Bernice)
		You're a beauty. Amazing girl.

				                124.

Despite herself, Bernice starts to cry..moans to herself over
the display...Now, in the background, we hear a subliminal
human voice. Incrementally it will grow louder and be
recognizable as Deborah calling Flor from the master bedroom
window..Bit by bit, the others will become aware of this as
Flor ignores it...Bernice goes to embrace Cristina.

		  BERNICE

		My last chance to have some of you
		rub off on me..
				(Cristina doesn't
				 understand)
		I'm sorry you're so sad but this
		could have been so much worse.

		     CRISTINA

		 (from her depths)
		How?
And now Deborah calling "Flor" is getting hard to ignore but
Flor manages..

		  EVELYN

				(to Cristina)
		Why don't you run upstairs and say
		goodbye to Deborah?
Flor flashes a look of thanks.

		  FLOR

		I'll be in front.
Upset, Cristina runs off. She kisses Bernice..and walks
toward the house. As she passes under the bedroom..

		  DEBORAH

		Please come see me.
And then a crying Cristina appears on the deck. Flor glances
up and keeps moving underneath the deck where she faintly
hears the beginning of their exchange

		  DEBORAH'S VOICE

		It's okay, honey..we'll see each
		other at school..I'm going to keep
		an eye on you..I will.
Flor enters the house...

181   INT. KITCHEN - DAY.		                 181

She stands waiting..walks to the hallway and cranes her head
to see into rooms, wondering if John is there. Finally, as
she passes the stairwell, she sees Cristina on an upper
landing and says, in Spanish, that Cristina should get her
things and meet her out front. Cristina, agitated, moves off
to comply...then Deborah appears in the same spot.

				             125.		  DEBORAH

		Please stick your head in here for
		a minute.
Flor nods and starts up the stairs...

182   INT. MASTER BEDROOM - DAY		           182

Deborah holds open the door while Flor walks inside..then
closes it.

		  DEBORAH

		What's with avoiding me, am I this
		horrible person?
As Flor just looks at her.

		  DEBORAH (CONT'D)

		I know. It's a ridiculous question
		but sometimes I'm ridi...

		  FLOR

		No. It's a good question. A fine
		question. Complicated.
				(beat then)
		I was just thinking to answer.

		   DEBORAH

		Oh stop.   Come on. Weren't we
		close?

		    FLOR

		(like a shot)
		No.

		  DEBORAH

				(truly hurt)
		Well, I'm very, very disappointed
		to hear that. It makes me feel like
		a fool.

		  FLOR

				(compassion forces a
				 crumb)
		We weren't close..but we were
		connected...in a bad way.

		  DEBORAH

				(strangely soothed)
		You know something, I think we're
		saying the same thing...Look as
		long as we're doing closure..What
		did you and my husband, John, do
		last night?
Flor pauses for less of a beat than we would have imagined.

		  FLOR

		I can only tell you what I did.

				               126.		  DEBORAH

		That will be sufficient.

		  FLOR

				(these are tender
				 feelings)
		I became sure of what an incredibly
		lucky woman you are and I must make
		myself not envy you which is hard.
		No, it's not hard. It's impossible.
		Now please..I am exhausted.

		  DEBORAH

		Same here - believe me.
Deborah would hug..but it's only an eighth of a gesture
because Flor has turned to exit, calling for her daughter to
hurry as she goes.

		  FLOR

		Cristina, apúrate.

183   EXT. CLASKY HOUSE - DAY		            183

As she exits the house and moves to the gate where she
punches in the exit code...

      ANGLE ON GATE

As it swings open to reveal John...

184   EXT. STREET - DAY.		                 184

As she moves alongside him and the gate closes behind her.

		  JOHN

		I was hanging out here waiting.
		Can't give you guys a lift?
Flor shakes her head "no." She looks away for a beat so the
next thing she does is a considered action. She leans forward
and kisses him on the lips. John looks at her.

		  JOHN (CONT'D)

		This is killer.
				(on her confusion)
		Incredibly hard.

		  FLOR

		Yes, Cari..
The gate opens and a sniffling Cristina is holding an armful
of loot.

		  JOHN

				(reading Flor)
		Let her have it..party favors.

				              127.

She nods..bites back some emotion and turns from him.

		     FLOR

		Cristina..

		  CRISTINA

		Goodbye, Mr. Clasky..I am very
		sorry we will not see each other as
		frequently.
She offers her hand, which John shakes while patting her on
the back.

		     FLOR

		Yes.
They turn and begin walking down the street.

      SHOT - STONE CANYON

The women walking toward camera, John briefly in the
background...As they begin their walk Flor begins talking in
Spanish.

		  NARRATOR

		The first minute we were alone, my
		mother told me that I would no
		longer go to the private school.

		  CRISTINA

		No. No..You can't. I won't be able
		to forgive you..It will be the end.
		I won't let you.
And then Cristina moves her hysterics to Spanish as she stops
walking and her mother takes her hand and pulls her along
with enormous dedication. CAMERA BEGINS A PULL BACK.
Cristina dropping presents..picking them up..one of them left
by the wayside..People noticing..Cristina's conduct violating
tacit zoning laws.

      CLOSER SHOT..

So we can see their faces in the struggle.

185   EXT. BUS STOP..				185

As they wait...Flor talks sharply to Cristina to control
herself.

		  NARRATOR

		My mother changed our lives once
		more. This time because she saw in
		me, to her great alarm, a character
		flaw of some size. She has taught
		me to be a watch dog of my
		character, to control my ambition.
		I am not quite there.

				              128.

One last yelp from Cristina as the bus arrives.

186   INT. BUS - DAY.		                   186

Almost empty - it's Saturday. Mother and daughter sit
together by the giant window in the center of the bus.
Cristina eyes her mother who is bearing her own heartbreak
with stoic dignity. The girl is becoming less inconsolable
and more in need of mothering.

		   NARRATOR (CONT'D)

		For that reason should you choose
		to grant me your scholarship my
		mother, at my request, will be
		relocating to the New York
		Metropolitan Area so that she can
		stay close during my time at
		Princeton.
Cristina moves closer to Flor, who senses it immediately and
wraps her in her arms.. kisses her head.

		  NARRATOR (CONT'D)

		I hope my essay has done her
		justice. I love her with all my
		heart.

				        FADE OUT.
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