Beneath a Jungle Carpet

A mysterious love story

( No fears, only " dreams " )

Fourth draw

1991

Written by: Damien ANRES

Translation French => English by Sandra REID

© & ® Copyright Damien ANRES Nį2000.02.0439, société des gens de lettres de France.   

 

1. CREDITS roll as

Bubbles of luminous air rise against a black background. We follow them until we come to the roots, and then the trunk of a tree in a slightly lighter silhouette than the black background. We come to the top of the tree which is bright green. Other trees, some dead, appear, surrounding the central tree. A yellow/orange sunset infiltrates the screen, before everything FADES INTO BLACK.

The sound of an air bubble bursting (O.S.)

2. EXT. FIELD - NIGHT(black and white apart from a blue star and green leaves)

TITLE, WHITE ON BLACK BACKGROUND

FIRST FUTURIST ROMANCE

A THURSDAY, 1.30AM

A MAN and WOMAN are lying down in the middle of an enormous meadow surrounded by trees whose leaves form a roof overhead. We find them in the middle of a conversation; at first, their speech is muffled, until :

WOMANCan you see that star shining behind the branch? MANThe one thatís shining more brightly than the others? WOMANThat oneís mine.

The MAN turns to look at the woman who is crying.

MANAre you sure your husband doesnít know about us?

The WOMAN sighs and turns to him.

WOMANNot a thing. After all, youíre just a friend, one who is very dear to me, of course.

The MAN smokes a cigarette. It seems he finds it difficult to swallow the smoke.

MANAre you sure you want to do this to your husband? You know thereís no turning back.

The WOMAN takes the cigarette from him, smokes. Looks at the star.

WOMANI want to do it. I want him to see how much I love him. Anyway, weíll do it through pleasure wonít we? Youíve liked it in the past, havenít you?

Silence. The MAN props himself up on his elbows.

MAN (dreamy) The pleasure is there. You can feel it. You can feel it along your tongue; it has a certain flavor. But what youíre about to do, Iíve never done that. Iím afraid of killing someone in this way. I can recall a woman, with her demonic arm between my thighs. She never said a thing to me. She lied to me and I hated her for it. With you itís different, though, you want me to help you to know what your husbandís feelings for you are. Iím not judging you, but you remind me of that woman who gave me what youíre presently wanting. Thatís why Iíll do it. Iím beginning to hate you.

The WOMAN places her hand on the MANíS stomach and draws him down next to her. She continues staring at the star.

WOMAN Whether you love or hate me matters little. Letís do it now. My husband is there.

She turns to him.

WOMAN (CONTíD) Youíre my instrument.

She looks back at the star.

WOMAN (CONTíD) Heís looking down at me and I want to satisfy him. I beg you, donít make me act violently towards you. Letís do what weíd planned, without changing anything. Youíre more than a true friend is.

3. Space-time

(Black and white apart the blue)

We speedily zigzag toward the star. Just when the star fills the screen with blue light, black forms at the center, spreading out to inundate the screen. We pan backwards from a totally black door. We continue quickly panning back until a hotel is revealed.

4. EXT. GARDEN AND JUNGLE - DAY (Black and white)

TITLE,WHITE ON BLACK BACKGROUND

IN A HOTEL WHERE ALL THE CHARACTERS ARE THE SAME PHYSICAL BEING

A garden and jungle surround the hotel. The jungle is about 300 meters further away from the hotel than the garden. The garden, situated directly in front of the hotel, is huge and its environs lap the edge of the jungle.STILL SHOT of the jungle. A MANíS cry echoes from it.

MAN (O.S.) What!!!

A gunshot is heard.

5. EXT. CHARACTERS ARE INTRODUCED TO THE DOG - DAY(black and white except for the blood and blue)

In the dead center of the garden a boxer DOG is attached by a collar and rope to the gardenís only apple tree. The rope twines to the top of the trunk. The collar is so tight the DOG can hardly bark; if it tries to get free it only strangles itself more. Even so, the DOG strains against the rope, pulling it rigid, as though wanting to be far away from the garden. To go where? In a corner of the garden a CHILD has found a recently dead magpie. He saw the young bird being killed. Hit in the neck, falling from the sky to dash against the gardenís greenery.The CHILD takes the bird in his hands, cushioning its broken neck. He speaks to it in icy tones while the blood drips from its neck.

CHILD Come back to these skies where youíre used to fighting, or fly far away toward the gold of the setting sun. Choose. Donít stay speechless, say what you think would be best for you, for your wings and your shuttered eyes. See.

The CHILD lifts the grass covered with the birdís blood and digs a hole with his hands. He delicately puts the bird in the hole, covers it over and slowly disappears into the jungle.The DOG is still tugging at the rope. Yellow apples as big as fists fall from the tree and the DOG eats them.The HOTEL MANAGER walks out of the hotel.

HOTEL MANAGER Howís everything tonight, the worldís most ferocious dog? Sweet dreams.

He walks away, leaving the DOG to its apples.

6. Ext. CHARACTERS ARE INTRODUCED TO THE DOG 2

P.O.V DOG:Night falls on the scene. The DOG lies down, its rope still straining, and listens to the noises coming from the hotel: doors slamming shut, a womanís voice screaming that she doesnít want to know anything about the Cannes Film Festival. It sees a BLIND MAN exit from the hotel, a cup of herb tea in his left hand, a white cane in his right. He taps his way along the hotel wall until he finds a bench to sit on. BLIND MAN I know youíre there, old dog. I can see youíre fed up with waiting, but you donít scare me.

He drinks the herb tea in one gulp, stands and goes into the hotel. Another man comes out, touching and clearing his throat. Night has fallen.

MUTE Rhha.. (he spits) Rhha.. I wrote a song about you.He enters the hotel, crossing paths with another man, his eyes glancing every which way, who stumbles out. BALANCING MAN Bah! Eat your apples.

SHOT OF ENTIRE HOTEL. BALANCING MAN goes inside.

7. INT. HOTEL - NIGHT (black and white)

Everyone is more or less asleep. The stairwell is quiet. The COOK/MAN WITH NO SENSE OF TASTE OR SMELL has just slammed the door of Room #2 and gone to bed. The corridor is empty and dimly lit by naked light bulbs.

8. INT. COOKíS ROOM - NIGHT

COOK/MAN WITH NO SENSE OF TASTE OR SMELL falls asleep, his head propped up by a pillow. He dreams about...

9. EXT. SWIMMING POOLS - DAY (color)

Women floating in semi-roofed pools. The pools are round, the water blue. The women are naked, white-skinned.Horizontal traveling shot: thousands of pools with women floating on their stomachs. The camera is the COOKíS unconscious.(We could picture being on top of an imaginary hill, looking over a four-lane highway that goes on into infinity. Replace the highway with a white smooth surface asymmetrically dotted with swimming pools 3 meters in diameter.)

Sketch #1

10. INT. HOTEL - NIGHT (black and white)... COOK is awoken by the sound of breaking glass. It is 4.52 am. More breaking glass. The COOK lifts his head.

COOK Whatís all that noise? Canít anyone get any goddamn sleep in this wretched hotel!

He picks up a shoe from beside his bed and throws it against the door.

11. INT. HOTEL - NIGHT

The KILLER, dressed entirely in black, a hood covering his face, softly climbs the stairs, making no noise. He stops at a landing, looks to the left and sees a door marked WC. He takes a knife from his pocket, plays with it while continuing up the stairs. He comes to a door (Room #1) on his left, puts a pipe into the keyhole and lets off a sleeping gas bomb into the pipe. He escapes down the corridor, passing in front of a door marked MANAGERíS OFFICE. The BLIND MAN goes into Room #1, oblivious to whatís been going on. The KILLER heads for Room #5, and repeats the operation as for Room #1. Taking a knife from his pocket with his right hand, he opens the door to Room #3 and looks at a double bed. Thereís no one in the room. He goes out, repeats the bomb action and heads for Room #4. The knife overhead, he opens the door, but stalls when he hears a noise from behind. The COOK is at the other end of the corridor. Caught in a dangerous trap, the KILLER rapidly pulls a gun from the right pocket of his trousers and points it at the COOK.The two men stare at each other in icy silence.The COOK lowers his head and swallows, sniffing at something in the air. The gun goes off and the COOK is hit in the left leg. He falls to the ground, right hand first.The KILLER looks down as the COOK crawls toward the stairs. The COOK tumbles down the stairs and lands headfirst near the WC. The KILLER slips the gun into his back pocket and goes down the stairs, waving a large, pointed knife in the air. He stops on the landing and stares through the toilet keyhole, lets out a cry.

VOICE coming downstairs (O.S.) Some quiet, goddamn!

The KILLER stabs the COOK 7 times. His final act is to slit the COOKíS throat, up through the tongue, stopping at his nose. He rests momentarily and wipes the knife on a piece of white velvet. Then he carves up the body after moving it on to the tiles so as to not stain the carpet on the stairs. The WC door opens. The BLIND MAN slides passed him.

BLIND MAN What are you still doing here?

The BLIND MAN goes into Room #1, closes the door, falls to the ground, sleeps. The KILLER finishes cutting up the body at 8.00 am exactly according to his watch. He wraps the pieces in blue rubbish bags, and goes down the staircase.

12. EXT. GARDEN AND JUNGLE - DAY

The KILLER comes to the edge of the jungle and throws the bags into a tree. As he does so, a box of matches falls from his left pocket. The bags hang like Christmas lights 5 meters up in the tree. Theyíre such a bright blue that even a blind man could see them. The KILLER disappears into the jungle.

13. INT. HOTEL CORRIDOR - DAY (black and white apart from yellow light, blue rubbish bags and blood)

The HOTEL MANAGER walks up and down the corridor which is dimly lit by a light bulb splattered with a thin layer of blood. The COOK isnít in his room, and the MANAGER is worried about breakfast for the four hotel clients and himself. The clients begin to exit from their rooms except the balancing man.

CLIENT (O.S.) You seem very jumpy, whatís happened? HOTEL MANAGER My cookís disappeared without organizing breakfast. Itís not like him to behave like this, unless...

Pause

HOTEL MANAGER (CONTíD) Gentleman, I believe he may have got rotten drunk in a bar. Nevertheless, Iím surprised, because he usually leaves me a note.

The BLIND MAN points at the light bulb.

BLIND MAN Let there be light in here!

The HOTEL MANAGER discovers the blood on the light bulb. The BLIND MAN looks through the doorway of the PREPPY COUPLE.

BLIND MAN Those two blue marks werenít there last night.

The PREPPY MAN stands on the threshold of his door and stares outdoors.

PREPPY MAN Theyíre just rubbish bags. I noticed them this morning when I opened my window. HOTEL MANAGER How strange. The jungle is never dirty. Iím going to take a closer look and, if need be, Iíll knock those bags down from the trees.

The HOTEL MANAGER, armed with a long rod, walks into the garden while the hotel clients look on.

14. EXT. GARDEN AND JUNGLE - DAY (black and white)

HOTEL MANAGER hits an apple in the tree which falls directly between the DOGís jaws. He shakes the bags with his rod and they fall one by one. Shocked by what he sees inside one of the bags, he turns towards the window where the hotel clients are looking out at him, his hand covering his mouth.

15. INT. MANAGERíS OFFICE - DAY

HOTEL MANAGER on the telephone.

HOTEL MANAGER Hello, police? POLICE OFFICER (0.S.) Yeah.

HOTEL MANAGER swallows, is shaky.

HOTEL MANAGER Iíve... just.. discovered.. POLICE OFFICER (O.S.) What?! Who the hell is this?

HOTEL MANAGER is brought to attention, responds mechanically, obeying drill.

HOTEL MANAGER Iím the MANAGER of the hotel and Iíve just found a cadaver hacked into pieces and left in trash bags in the garden and Iím very worried because I think itís my cook. POLICE OFFICER (O.S.) Really. A cadaver hacked into pieces, eh?

HOTEL MANAGER is amazed by police officerís lack of response to this news.

HOTEL MANAGER Thatís what I just told you, didnít I? POLICE OFFICER (O.S.) An inspector is on his way. Stay near the victim and donít move. The inspector will meet you there, okay? HOTEL MANAGER Everythingís fine, thanks. And you?

The HOTEL MANAGER hangs up and leaves the office.

16. EXT. A DESERTED ROAD - DAY

The INSPECTOR gets out of a bus. He looks at his watch. Itís 8.00 am.

17. EXT. JUNGLE - DAY

The INSPECTOR crosses the jungle.

18. EXT. GARDEN - DAY

The INSPECTOR comes to the garden where he spots the HOTEL MANAGER He mentally notes the HOTEL MANAGERíS clothing: a cap sporting the label ĎI am the hotel managerí and a doctorís white smock. The CLIENTS have all returned to their respective rooms. The INSPECTOR takes photos of the contents of the rubbish bags. The flash causes HOTEL MANAGER to blink.

HOTEL MANAGER

Itís my cook. There were times he believed he was a tongue in a bed. He dreamed of naked women floating in swimming pools and drank a lot of beer. He had no sense of taste or smell, yet he was a good cook. Iím going to miss him.

INSPECTOR Youíre the hotel MANAGER, isnít that right? HOTEL MANAGER Exactly. How did you know that? INSPECTOR The body is not your concern, a forensic scientist will examine the evidence. Given the state of the remains it wonít be easy. HOTEL MANAGER I understand. I wonít touch a thing.The DOG in the garden becomes restless. INSPECTOR Did anyone in the hotel hear anything during the night? HOTEL MANAGER Yes, a preppy couple overheard something. INSPECTOR Did you say a preppy couple? HOTEL MANAGER (Slapping the INSPECTOR) Yes, and there was nothing suspect about it.

The DOG lunges for the INSPECTOR and leaps for his head. The cord stretches to breaking point. The DOGís jawís snap shut just in front of the INSPECTORíS mouth.

INSPECTOR (with blank expression) I must question the preppy couple, please. Iíll then talk to the other clients. HOTEL MANAGER Iíll show you the way.

The INSPECTOR avoids the DOG who is being strangled by it collar.

19. INT. HOTEL FOYER - DAY

The INSPECTOR follows HOTEL MANAGER into the hotel. He greets the RECEPTIONIST, who smiles back.

20. INT. CORRIDOR - DAY

INSPECTOR and HOTEL MANAGER come to the door of Room #3

INSPECTOR Thank you. Iíll manage on my own from here on in. HOTEL MANAGER What do you mean...Ďon my owní? INSPECTOR (drawling) I prefer to be alone when questioning people. You see, I have a method of questioning that requires that I be alone. HOTEL MANAGER (scratching head) What do you mean...Ďaloneí?

The INSPECTOR begins to open the door. Close-up on ĎROOM #3í which rocks as the door opens.

21. INT. PREPPY COUPLEíS ROOM - DAY (black and white apart from the blue rug)

A PREPPY MAN, immaculately dressed in black suit, black bow tie and white shirt, between half-opened curtains out the window. He sees the DOG which is now still. The DOG licks its chops. As the door opens, the PREPPY MAN slowly turns around.

PREPPY MAN (superior) Who, exactly, are you? INSPECTOR I am an inspector. PREPPY MAN Did you hear that, darling? Thereís an inspector in our room.

Thereís no reply. The PREPPY MAN looks left toward the bathroom. A mirror hangs on the door. The INSPECTOR is reflected in it. The image is distorted, as if reflected in troubled water.

PREPPY MAN Darling, come on. Say something. Darling? PREPPY WOMAN (O.S.) Why should I give a damn about an inspector in our room.

The PREPPY MAN looks at the floor and gets a cigarette out of his pocket. He lights it with a gold-plated lighter.

PREPPY MAN Iíll take this chair. (points elegantly) And you can take that one next to you.

The PREPPY MAN goes toward the chair, twisting his right hand which holds the cigarette. He stubs out the cigarette in an ashtray. Smoke from the cigarette rises to the ceiling, which is a large mirror. The INSPECTOR takes his chair and puts it on the blue rug. The PREPPY MAN looks at himself in a mirror to the right of the bed, while his back is reflected in the mirror to the left. He takes his chair and joins the INSPECTOR on the rug. Theyíre now face to face.

PREPPY MAN I suppose youíre here because of last nightís murder? INSPECTOR Thatís right. PREPPY MAN I find it all very sad. Donít you, darling? Donít you think itís all very sad?

Silence.

PREPPY MAN Darling? PREPPY WOMAN (O.S.) What should I care? I didnít even know the guy. For Godís sake, leave me alone, Iím taking a shower, so just shut up, okay! PREPPY MAN Fine, darling. I wonít bother you again.

He turns and goes toward the INSPECTOR.

PREPPY MAN Sheís a little nervous. Weíre on our way to the Cannes Film Festival and sheís very anxious to get there. INSPECTOR I totally understand.

The PREPPY MAN sighs and leans back on his chair, looking darkly toward the ceiling. Low-angle shot toward ceiling, followed by a high-angle shot from the ceiling downward.

INSPECTOR (leaning forward) It appears that you heard something during the night at the time of the murder. PREPPY MAN Yes, well.. My wife heard something. I was asleep. But my wife isnít quite herself, you know, sheís - INSPECTOR (testy) Let me ask you again. What was it she heard? PREPPY MAN (laughing)Around four in the morning there was the sound of footsteps and a loud bang (he claps his hands) against a door or something. But sheís making it up.

The INSPECTOR lowers his head momentarily.

INSPECTOR Are you really going to Cannes? PREPPY MAN Yes, thatís right isnít it darling! PREPPY WOMAN (O.S.) What is it now?! PREPPY MAN Isnít it true that weíre going to Cannes? PREPPY WOMAN Go polish your knob with your shitty festival, is that clear enough, sweetheart?A dog bark (O.S.) PREPPY MAN I read you, loud and clear.

PREPPY MAN leans backwards and looks at the ceiling, returns to normal position.

PREPPY MAN (CONTíD) (frowns, waves hands) You see what I mean, sheís very antsy. INSPECTOR Thank you for the information. Should you remember anything else, youíll be able to find me in the hotel. Goodbye. INSPECTOR Goodbye.

INSPECTOR leaves room.

PREPPY WOMAN (O.S.) (screaming) Goddamn it! PREPPY MAN What now! When will you shut the fuck up, darling?

INSPECTOR enters room.

INSPECTOR Did you say something? PREPPY MAN Itís my wife. She accidentally dropped her glass of grenadine syrup in the shower. INSPECTOR Right. Okay, goodbye again.

22. INT. BATHROOM - DAY (black and white)

The black shower curtain is vaguely transparent. The PREPPY WOMAN catches her breath. P.O.V PREPPY WOMAN: sees blood rising from the ground up, making untimely splashes.

23. INT. CORRIDOR - DAY

The INSPECTOR walks slowly, head lowered. He comes to Room #4. Rubbing his chin, he hesitantly opens the door without knocking.

24. INT. ROOM #4 - DAY (black and white, apart from the blue sheet)

P.O.V INSPECTOR: sees a soberly dressed MAN standing on the left side of his bed in the depths of the room. The bed is covered with a blue silk sheet which undulates as though a caught in the draught of a ventilator. The sound of water springs forth when sheet comes into view. The MUTE MAN, oblivious to the INSPECTOR, is cracking his knuckles. The INSPECTOR walks toward him, then stops and looks at a giant poster of a silver microphone under bright light. Massive speakers can be seen in the background. The sound of cracking knuckles.The INSPECTOR and MUTE MAN turn toward each other at the same time.

INSPECTOR(indicating with his hand to the poster)I believe youíve heard about last nightís murder.

The MUTE MAN walks rapidly toward the INSPECTOR. He stops brusquely in front of him, Ďsignsí, and his hand brushing the INSPECTORíS face.The MUTE MAN points to a chair, which the INSPECTOR takes and sits down upon. The MAN lies on the bed. The sheet is now black.

INSPECTOR Did you see anything last night?

The MUTE MAN signs Ďnoí.

INSPECTOR (insistent) Did you see anything last night?

The MUTE MAN gesticulates. The INSPECTOR watches his movements. The MUTE MAN moves his arms until it seems theyíll fall from their sockets. The INSPECTOR is surprised and appears afraid. The MUTE MAN suddenly stops.

MUTE MAN And while my door was open, I heard a dreadful scream. INSPECTOR What did you do next? MUTE MAN I got up and closed the door. Then I fainted on my bed. INSPECTOR (surprised and taken aback) Why did you close the door? MUTE MAN (yelling) I HATE PEOPLE WHO SCREAM, THATíS WHY I CLOSED THE DOOR, THE FUCKING DOOR. INSPECTOR (carefully putting the chair back in its former position) Fine. If anything else comes to mind, let me know. Iíll be staying at the hotel.

The MUTE MAN signs Ďyesí, runs his thumb over his lips. The INSPECTOR leaves the room. P.O.V MUTE MAN: his hand opens and closes with a musical cracking sound. Do re mi fa sol.

25. INT. ROOM #1 - DAY (black and white)

Inscription ĎRoom #1í

26. INT. ROOM #1 - DAY

P.O.V INSPECTOR: sees a panoramic shot of empty room. The window is closed, the light dim. Sound of door opening, then of the sound of a cane tapping the roomís furniture. Someone - perhaps he came out of the cupboard - stands in front of the INSPECTOR. He holds a bamboo cane, and wears dark glasses. The INSPECTOR steps backwards, breathing through his nose.

INSPECTOR I imagine that you know about last nightís murder. BLIND MAN Yes. (points cane at chair) Take a seat. INSPECTOR (sitting down) Did you hear anything? BLIND MAN (hesitates, while looking at cupboard) No. INSPECTOR Did you see anything?

Silence.

BLIND MAN Yes. Around five ten I went to the toilet and...

27. INT. WC - NIGHT

BLIND MAN (CONTíD. O.S.) ...I was flushing the toilet and watching my shit go down the drain.

BLIND MAN listens to the sound of water flushing through the pipes.

BLIND MAN (CONTíD. O.S.) When I suddenly heard someone coming up the stairs and being a curious person.

BLIND MAN looks through the keyhole and sees MURDERER, knife in hand, climbing the stairs. The INSPECTORíS head appears behind the MURDERER.

INSPECTOR And what did you do? BLIND MAN (O.S.) I watched him twirl his knife for a while. INSPECTOR What next? BLIND MAN (O.S.) I carried on taking a dump because I hadnít quite finished, and thatís all.

28. INT - ROOM #4 - DAYThe INSPECTORíS head is lowered. The BLIND MAN raises his glasses. Lowers them when the INSPECTOR looks up.

INSPECTOR If you remember anything else, call me. Iíll be booking a room at the hotel.

The INSPECTOR exits.

BLIND MAN (grimacing) Youíre welcome.

29. INT. CORRIDOR - DAY

Close-up on ĎRoom #5í

30. INT. BALANCING MANíS ROOM - DAY (black and white except for the photo)

P.O.V INSPECTOR: the walls are covered with sketches of round swimming pools and lakes. Only one photo is framed. It, like all the sketches, is hanging crookedly. The INSPECTOR tries to straighten the photo.

BALANCING MAN Donít touch it! Itís balanced just as it is! INSPECTOR What does it represent? BALANCING MAN (points to the photo) Itís obvious. Itís a lake surrounded by a jungle. INSPECTOR (looks at BALANCING MAN) What does it represent?

The BALANCING MAN, whoís sitting on his bed, puts both hands between his thighs and leans forward. He lifts his head, his eyes wide open.

BALANCING MAN (sing-song, accenting each syllable before a comma) A green mouse, running through the grass, I catch it by the tail, I show it those men, those men say, soak it in oil, soak it in water, and youíll get a.. INSPECTOR (joining in) Hot snail! BALANCING MAN Well done! Now you understand. INSPECTOR (looking at the pool sketches) Yes, more or less.

The INSPECTOR exits.The BALANCING MAN gets up and admires the photo - not crooked to his eyes.

31. INT. CORRIDOR - SUNSET (black and white)

The INSPECTOR leaves the room and stops in front of a statue of a boxer dog. Looks at it, touches it, then turns toward the camera, a smile on his face.

32. INT. MANAGERíS OFFICE - NIGHT

The HOTEL MANAGER peers through a slit in the curtains at the DOG. He looks annoyed.

33. INT. GARDEN - NIGHT

P.O.V DOG: HOTEL MANAGER looking out window.

34. INT. MANAGERíS OFFICE - NIGHT

The HOTEL MANAGER rapidly paces, smoking a cigarette. The INSPECTOR has a bead on him. The INSPECTOR sits on a chair. A weak lamp on the desk lights room.

HOTEL MANAGER Who asked you to sit down? INSPECTOR I want a room. HOTEL MANAGER Are you trying to insinuate that I do a lousy job of taking care of my clients? INSPECTOR Not exactly, but things are a bit slack. HOTEL MANAGER (goes back to the window and peers through the curtains) I donít know what youíre trying to insinuate. INSPECTOR I think the killer is in the hotel. HOTEL MANAGER (aggressive) Iíll get you a key. You can sleep in the cookís bed. INSPECTOR (rising) Very interesting. HOTEL MANAGER What? INSPECTOR You still only have one free room.

Silence.

INSPECTOR (CONTíD) Iím going to bed. Are you going to get me a key? HOTEL MANAGER (annoyed) Yes.

35. INT. PREPPY COUPLEíS ROOM - NIGHT

The sound of crickets floats in through the open window. A cigarette smokes in the ashtray on the nightstand. On the PREPPY MANíS side of the bed the bedside lamp is on. The PREPPY WOMAN is in shadow.The PREPPY MAN is reading ĎA Dream Creatureí.

PREPPY WOMAN I had a lovely dream last night. PREPPY MAN (distracted by his book) Really. PREPPY WOMAN It was a dream about us, except I wasnít physically the same. We were lying down, our feet at the edge of the lake...

36. EXT. LAKE - NIGHT (colored sparks)

The COUPLE from FIRST FUTURIST ROMANCE MAN are lying at the edge of a lake.A campfire, half-extinguished with ashes, still burns. The lake is surrounded by a forest-jungle.

WOMAN Why so many stars in the sky? MAN I believe that each star is like a gaze. A person, tree, a speck of dust gazes at a star and it twinkles. Each star... a gaze just at this instant and the sky is just like whoever looking at it. You see that star, a treeís gazing at it and it shines, hopeful for its past and future life. WOMAN I look at this star, and you donít look at it, yet, overall, the sky is the same gaze. MAN Who knows? Maybe Iíve already gazed at it, while youíre looking at it with your present life.

The COUPLE are silent, gazing at the sky.

WOMAN What was that? MAN A shooting star. WOMAN What does it mean?

They laugh at the same time. The man gets up and stirs up the fire with a dead branch. Sparks rise into the sky.

P.O.V WOMAN: sees the sky with only one star ; she turns her head to the fire. She sees a spark go from red to black, the camera follows it until it goes out. She turns her head to the sky, whereís not star at all.A teardrop falls down the WOMANíS cheek.

37. INT. PREPPY COUPLEíS ROOM - NIGHT (black and white)

PREPPY MAN And? What happened next? PREPPY WOMAN They found themselves naked in the jungle. Two people in love who find themselves in a jungle. A girl and boy around 15-years-old.

38. EXT. JUNGLE - NIGHT (color)

YOUNG COUPLE laugh while crossing the jungle.

39. EXT. RIVER OF THE AGES - NIGHT

The YOUNG COUPLE came to the remains of a garden in the middle of an enormous jungle. The garden was once a circle and a river running through it had divided it into two parts. The river shone. A STRANGER came up close beside them.

GIRL What river is this? STRANGER The river of ages. BOY The river of ages? STRANGER Yes, each time you cross it you grow older.

The YOUNG COUPLE walked toward a small wooden bridge, but the person stopped them in their tracks.

STRANGER No, the bridge is fragile, very fragile. Itís for children only. You must cross the river by walking through it. PREPPY WOMAN (O.S.) So, they did it. When they go to the other side, they had aged by a year. They looked at each other. GIRL Itís that easy! PREPPY WOMAN (O.S.) They went back and forth four or five times, aging by seven years. GIRL Letís swim in the river. PREPPY WOMAN (O.S.) They then went swimming in the river of the ages. They swam against the current for a long while, and even simultaneously swallowed two fish.

An underwater Ďcrackí is heard. A distant muffled babyís cry.

STRANGER (O.S.) (growing louder) The baby is following you. The baby is following you. PREPPY WOMAN (O.S.) And they swam up the river of ages followed by the baby

This river lost in the enormous jungle.

40. EXT. COOKíS ROOM - NIGHT (black and white, except for the red blood)

The INSPECTOR snoops in the COOKíS room, finding nothing else except a photo on a shelf. The photo is of an empty glass.

INSPECTORíS POV: the glass fills with water, then grenadine syrup, appearing like blood poured into water. The INSPECTOR lies down. Jungle music fills the room as the INSPECTOR falls asleep.

41. EXT. JUNGLE - NIGHT (color)

The INSPECTOR runs in the jungle with a can of beer in his hand. He runs for a long time, often falling over due to the jungleís tangled undergrowth. He runs into the COOK, stands straight, doesnít move.

COOK Were you rummaging around in the cupboard? INSPECTORIím sorry? COOKLetís sit down by the food.

A fake campfire and grilled kebabs in a corner of the jungle. The jungle is less overgrown in this area. Both characters sit on the ground.

INSPECTOR (passing the can of beer)Have you seen that? COOKI usually only drink on special occasions.

Silence.

COOK (turning over the kebabs)The director says Iíve lost my sense of taste and smell. (leaning toward the kebabs) But itís just not true.

Again, silence.

COOK (staring hard at the INSPECTOR) The singer knows a lot of songs. Beautiful Cowboy, Beautiful Girl. INSPECTORWhere do I go? COOKThat way! INSPECTORThanks. COOKDonít mention it.

The INSPECTOR gets up, leaving the COOK to his dinner.

COOK(screaming, holding the kebabs upright in his hands) Itís hard to find meat in this jungle.

The INSPECTOR runs quickly, very quickly. Heís surrounded by trees that zigzag and move like seesaws.

FADE TO BLACK

42. INT. COOKíS ROOM - SUNRISE (black and white)

INSPECTORíS POV: COOKíS alarm clock reads 6.30 am.

Close-up INSPECTORíS face.

43. INT. HOTEL CORRIDOR - DAY

The HOTEL MANAGER walks up and down, and then enters his office.

44. INT. HOTEL MANAGERíS OFFICE - DAY

MANAGER looks out the window and sees: A group of people dressed in black, wearing gloves, scratching around in the bushes at the edge of the jungle. The last in line stands up straight, brandishing in his blue-gloved hand a knife and revolver.

45. INT. FOYER - DAY

RECEPTIONIST sees: PREPPY MAN hobbling along outside the window. He enters the foyer and falls in front of the RECEPTIONISTíS desk. The RECEPTIONIST behaves as if nothing is happening, and studies the hotel register. The FORENSIC SCIENTIST enters the foyer.

FORENSIC SCIENTIST Whoís that?

Silence.

FORENSIC SCIENTIST Well? Are you deaf? I was nearly mauled by a dog, and you, youíre deaf!

Close-up of RECEPTIONISTíS breast pocket from which he takes a card with YES written on it. He then puts it back in the pocket.

FORENSIC SCIENTIST Please call the inspector. Iím the forensic scientist.

FORENSIC SCIENTIST exits. RECEPTIONIST lifts phone handset and dials a number.

RECEPTIONIST The forensic scientist has arrived.

46. INT. BEDROOM - DAY

INSPECTOR Fine, please ask him to come to the managerís office. Weíll be more comfortable there.

He hangs up violently.

47. INT. MANAGERíS OFFICE - DAY

FORENSIC SCIENTIST violently opens his PC and hits the keyboard. He takes a plastic bag out of his briefcase and places it next to his computer.

FORENSIC SCIENTIST There it is. No fingerprints; he must have been wearing gloves when he committed the murder.

48. INT. MUTE MANíS ROOM - DAYThe drapes are drawn, letting no light in. A WOMANíS FACE wearing a carnival mask appears on the television screen. The MUTE MAN sits on his bed, stands and walks in front of the drapes. We can see feet behind the drapes. The MUTE MAN turns up the television.

MANíS VOICE (coming from WOMANíS FACE) Iíll introduce you, youíll see... sheís very sweet.

The WOMANíS FACE is replaced by a MAN, seen from the back. MAN opens the drapes.

MAN (yelling) Iíve got you!

Close-up on the MUTE MANíS neck, black-gloved hands, a wedding ring on the index finger.

49. INT. MANAGERíS OFFICE - DAY

FORENSIC SCIENTIST (displaying MURDERERíS weapons) He was killed with these...

He throws the weapons at the INSPECTOR

FORENSIC SCIENTIST (CONTíD) A gun and a knife...

He looks at the computer

FORENSIC SCIENTIST (CONTíD) The knife sliced through the palate and into the nasal passages, thereby causing immediate loss of sense of taste and smell.

He snaps his fingers

INSPECTOR Thatís not true. He still has his sense of taste and smell. What about the bags? FORENSIC SCIENTIST (bursting into laughter) Bags? Bag is what you mean. Nothing. Nada! Oneís been eaten. INSPECTOR The singer knows a lot of songs. Beautiful Cowboy, Beautiful Girl. FORENSIC SCIENTIST Speaking about the singer... A packet of matches has been found. They came from the Milk Bar. Get this: the singer from the Milk Bar has been killed, cut up and put into trash bags. INSPECTOR Another one. FORENSIC SCIENTIST Be careful of dreams. Theyíre like water, colored and dangerous.

50. INT. MUTE MANíS ROOM - DAYSHOT of microphone poster, then a vertical traveling shot to the switched-off television. The MUTE MAN is on his knees, being strangled by the KILLER.

MUTE MAN I know what youíre up to.

The KILLER grips the MUTE MANíS cheeks, forcing him to stick out his tongue. He cuts off the tongue. The MUTE MANíS body falls limply to the ground. Close-up of the KILLERíS HEAD. Blood spurts. Alarm clock reads 6.31 amFADE TO BLACK.

50B. INT. MUTE MANíS ROOM - DAY

The MUTE MAN is wrapped in trash bags which the KILLER drags towards the door. A rapid traveling shot to the door. Thereís a knock at the door. The KILLER changes direction, drags bags to the window.

HOTEL MANAGER (O.S.) Your coffee is ready, sir.

The KILLER chucks the bags out the window.

51. EXT. GARDEN - DAY

MUTE MAN flies out the window.

52. INT. MUTE MANíS ROOM - DAY

HOTEL MANGAGER (O.S.) Sir, itís the manager here.

The KILLER doesnít know where to hide. Close-up of door handle. Rattling of keys. The MANAGER enters, looks at the bed and the open window. Shot from window: bags are splattered on the ground. The MANAGER turns from the window, puts his hand to his mouth, and leaves the room. Shot of cupboard door; the KILLER comes out.

53. EXT. GARDEN - DAY

Close-up of the torn bags. Blood drips out. Rapid long shot into nothingness.

54. INT. FOYER - DAY

FORENSIC SCIENTIST Let me know if anything new turns up. INSPECTOR Donít worry, I will. Iím sure the killer is still in the hotel.

The FORENSIC SCIENTIST leaves the hotel.

HOTEL MANAGERíS VOICE (O.S.) Inspector!

The INSPECTOR turns toward the staircase. The HOTEL MANAGER is coming down it.

HOTEL MANAGER The mute man has just been killed.

55. EXT. JUNGLE - DAY

Full screen shot of jungle.

56. INT. MUTE MANíS ROOM - NIGHT

The INSPECTOR is caught snooping around by the BLIND MAN.

BLIND MAN Are you looking for evidence? INSPECTOR Trying to. BLIND MAN As it happens...

He stops talking when the HOTEL MANAGER enters

HOTEL MANAGER As it happens, heís responsible for video surveillance. INSPECTOR Right! HOTEL MANAGER Now youíll say that I donít take care of business! INSPECTOR (turning to the BLIND MAN) What did you get? BLIND MAN I donít know. Thatís why we called you. INSPECTOR Okay, letís take a look.

57. INT. BLIND MANíS ROOM - NIGHT (black and white, red arm)

They watch the video on a screen placed on the bed.

HOTEL MANAGER (mocking) Just what exactly should we sensibly be able to see? INSPECTOR Sense is the word. HOTEL MANAGER Up till now, thereís seems to be nothing strange. INSPECTOR Wait a minute. Rewind a bit.

Tongue cutting scene. The KILLERíS arm is strange.

INSPECTOR Pause it there.

Close-up of PAUSE button. The BLIND MAN takes off his glasses and scrutinizes the video screen.

INSPECTOR Look at his arm. HOTEL MANAGER This makes me sick. Iím going. BLIND MAN Weíre in some deep shit here.

Close-up of arm. Itís swollen to twice its usual size, thickly veined.

INSPECTOR Itís like a sponge full of holes filling up with blood. BLIND MAN His armís like a big phallus.

He leans closer to the screen.

BLIND MAN (CONTíD) Very big. INSPECTOR Iím going to sleep in the Mute Manís room. Please tell the manager. BLIND MAN (staring at the screen) Holy shit!

58. INT. MUTE MANíS ROOM - NIGHT (black and white)

The INSPECTOR lies on the bed, looking at the microphone poster. It becomes increasingly blurry and the INSPECTOR falls asleep.

59. INT. MILK BAR - NIGHT (color)

The INSPECTOR finds himself facing a stage. Loud jungle music pounds out of two speakers on either side of the stage. A SINGER arrives and belts out a poem into a large silver microphone.

SINGER When I discovered you I was overwhelmed And to free myself I slipped into controlled amnesia I went calmly and innocently As the sun does on a lake But I found something In controlled amnesia It was you, shining more brilliant than ever There where I would have wished to find you Before leaving you behind. There, in the controlled amnesia We met each other This amnesia which weíre trying to leave So as to gather the hearts of all men And of all voyagers. It contains, perhaps you already know this, It contains loveís truth and creation We forget it, and this kills me.

The SINGER disappears.

MAN (O.S.) I live in dreams. Let my smile be the umbrella sheltering you in the weeping domain of your love.

Silence.

INSPECTOR Who are you?

A MAN, wearing a pink ski mask, is back-to-back with the INSPECTOR. The INSPECTOR canít see him and doesnít try to around to look. Both look ahead. The stage disappears, and theyíre lit from an overhead light. They speak slowly.

MAN Your salvation, why do you want to know? INSPECTOR I thought you might be the killer. MAN Itís you whoís the killer

Silence.

INSPECTOR I donít think. MAN Thatís the problem. INSPECTOR Who are you really? MAN Think of me as a true friend.

60. INT. CORRIDOR OF THE SHADOWS - DAY AND NIGHT

The INSPECTOR wanders in the corridor. There are no doors.Intense light effaces the corridor and its walls. The INSPECTOR is in another corridor, again with no doors. Suddenly, jungle noises are heard, shadows fill the corridor. The INSPECTORíS starts breathing rapidly. A shadow stalks him. He starts running and gets lost in the corridor, gets stuck in a dead end. The shadow comes closer. Itís a trap.He tries to climb, the shadow reaches out to grab him. The INSPECTOR starts to float. He tries to reach the top of the wall. The shadow grabs him by his feet. The INSPECTOR gasps for breath.

61. INT. MUTE MANíS ROOM - DAY (black and white)

The INSPECTOR wakes with a start. Heís sweating. He looks at the microphone poster and sees the Mute Man next to it. A shot rings out in the hotel. The INSPECTOR gets up and goes into the corridor.

62. INT. HOTEL CORRIDOR - DAY

Stroboscopic flashes emanate from the BLIND MANíS room. The INSPECTOR goes into it.

63. INT. BLIND MANíS ROOM - DAY (black and white except for the television)INSPECTORíS POV: BLIND MAN has a knife implanted in his right eyeball. Heís lying on the bed, holding his glasses in his hands. He indicates that the INSPECTOR should come closer. Traveling shot to close-up of the BLIND MANíS mouth.

BLIND MAN Look in the cupboard.

He points out the cupboard. The INSPECTOR hurries to it and finds a pile of videos inside, all of them labeled: RIVER. The INSPECTOR takes out the video in the VCR. Itís labeled: FAREWELL LETTER.The INSPECTOR switches the VCR on and watches the screen. A still shot of a river.Shot enters into the television.

64. EXT. FAREWELL LETTER VIDEO - DAY (color)

The MAN from FIRST FUTURIST ROMANCE comes into shot. Heís standing on a two-meter high rock. He dives into the water.Radioheadís song ĎNo Surprisesí starts up.The MAN swims against the current.

PREPPY WOMAN (O.S.)I had dream that night.You were there.I remember how we were both having fun.I remember our strolls alongside the river.I was so tense, gathering all those fish,And was desperately afraid at the idea that thereíd be none left.It was here I developed my weeping habit.My father died from cancer. He smoked too much,So itís hardly a surprise. I hope that youíve stopped smoking.I would have liked to see him grow up beside me.Iím so tired, but very happy.Iíve got a surprise for you in the future.But right now Iím going to leave you.Donít cry.My mindís foggy.Before my eyes close, Iím going into the street and then to my motherís countryside.I love you.

PREPPY WOMAN enters into the shot (she was filming the MAN) after sheís put the camera on the ground. Naked, she joins the MAN in the river. Song ends. Screen becomes snowy.

65. INT. BLIND MANíS BEDROOM - DAY (black and white)

INSPECTOR Do you know this man and woman?

The BLIND MAN doesnít answer. The INSPECTOR accidentally knocks him off the bed to the ground. The INSPECTOR takes an eye mask from the nightstand and puts it on. He lies on the bed. Close-up of eye mask.

66. INT. BALANCING MANíS ROOM - DAY

The HOTEL MANAGER watches the BALANCING MAN trying to stand upright on his bed.

HOTEL MANAGERSTOP ! ! ! smoking... STOP smoking... You must stop smoking ! ! ! You must... Where these words come from?... STOP ! !

The HOTEL MANAGER takes out some nicotine chewing gum and chews two pieces. The noise of a car crash. He goes to the window and parts the drapes.

67. EXT. STREET - NIGHT (black and white, except the child and the umbrella)

Two cars have crashed head on. The passengers next to the driverís seat have gone through the windscreen into the other car. Both drivers are wearing seat belts. Their heads rest on the steering wheel. A child stands next to the cars, twirling an open umbrella.

68. INT. BALANCING MANíS ROOM - DAY (black and white)

The HOTEL MANAGER rolls a gumball.

69. INT. BLIND MANíS ROOM - DAY

The INSPECTOR is asleep. His right index finger moves.

70. EXT. RIVER - DAY (color)

The INSPECTOR, fully dressed, swims in the river. He stops when a STRANGE MAN, who resembles none of the hotel clients, raises his head from the water.

STRANGE MAN I know you donít know me, but Iíve got a story to tell you. Listen up. INSPECTOR What is it? STRANGE MAN Some time ago, my girlfriend and I rented a chalet.

71. INT. CHALET - NIGHT

A fire. A WOMAN sits on a chair, holding a book. Sheís dressed in black, and has long black hair. Close-up on her mouth.

STRANGE MAN (O.S.) The fire blazed and she read one of Shelleyís poems. WOMAN (reciting poem) The awful shadow of some unseen Power Floats though unseen amongst us...Shot of a flower opening WOMAN (CONTíD) It visits with inconstant glance Each human heart and countenance...

Shot of flower on a tombstone

WOMAN (CONTíD) Like aught that for its grace may be dear And yet dearer for its mystery.

Shot of fire and WOMAN. The STRANGE MAN enters.

STRANGE MAN The Power, it causes dreams.

He slips his hand under the WOMANíS dress. The WOMAN stands up abruptly.

WOMAN Do you know what the girl does at the end of Kafkaís Metamorphosis? She stretches out her young body.

Traveling shot past the WOMAN standing, the STRANGE MAN kneeling, to the chaletís front door. The MAN WITH THE PINK SKI MASK enters. He takes out a gun. The WOMAN grows angelís wings. The MAN WITH THE PINK SKI MASK shoots. The WOMAN falls to the ground in slow motion. Thereís blood on her wings, and her neckís been ripped open by the bullet.

72. EXT. RIVER - DAY

The INSPECTOR with a blank expression on his face.

STRANGE MAN Strangely enough, on this planet, the birds are like angels.

The STRANGE MAN points out a bird in the sky. Shot of a flying bird. The STRANGE MAN dives into the river and disappears. The INSPECTOR keeps swimming.

73. EXT. SWIMMING POOL - DAY

Overhead shot of round swimming pool. The INSPECTOR, in a foetal position, lies on the bottom.

74. INT. HOTEL MANAGERíS OFFICE - NIGHT (black and white)

The HOTEL MANAGER is asleep at his desk. His eyeballs move beneath his closed eyelids.He dreams:

75. EXT. WATERFALL - DAY (color)

Heís making love with a woman in a river. The sound of a waterfall. The reach orgasm together and fall into the waterfall. The woman cries with pleasure.

76. INT. HOTEL MANAGERíS OFFICE - NIGHT (black and white)

The HOTEL MANAGER is awoken by a hideous scream from the PREPPY WOMAN which resounds throughout the hotel.

77. INT. BLIND MANíS ROOM - NIGHT

The INSPECTOR gets up quickly and opens the door.

78. INT. HOTEL CORRIDOR - NIGHT

Shot of the INSPECTOR opening door. A shot rings out. Shot shakes and moves.

INSPECTOR The balancing man!

Shot of the Hotel Managerís office door opening. Move to the INSPECTOR.

INSPECTOR Come in!

Sound of door closing.The KILLER runs in the corridor and shoots the HOTEL MANAGER who falls over. The KILLER takes refuge in the PREPPY COUPLEíS room. The INSPECTOR comes out of the BLIND MANíS ROOM and walks down the corridor, gun in hand.

INSPECTORíS POV: approaching the PREPPY COUPLEíS room. The doorís open. The camera moves wildly. The INSPECTOR goes into the room.

79. INT. PREPPY COUPLEíS ROOM - NIGHT

Shaky shot of the INSPECTOR who hesitates in the doorway. The insect screen on the window snaps shut. Shot of the entire room. A WOMAN is lying on the bed, a knife in her lower stomach. We canít see her head. Blood is pouring from the wound, pooling on the bed. Shot of the INSPECTOR. Shot of the room.The INSPECTOR looks away from the WOMAN towards the window. He goes to it, opens the insect screen and slips through the window, sliding down a rope. The insect screen closes.

80. EXT. HOTEL FAÇADE, GARDEN, JUNGLE - NIGHT

The INSPECTOR slides down the rope and slips into the garden. The DOG sleeps. The INSPECTOR passes quietly beside it and goes into the jungle.The FORENSIC SCIENTIST comes out of the jungle, heading for the hotel.

81. INT. HOTEL FOYER - NIGHT

The FORENSIC SCIENTIST sees the RECEPTIONIST on the ground, blood pouring from his ears. Close up: In his hand a paper reads: ĎIím deafí.

82. INT. STAIRWELL, CORRIDOR - NIGHT

The INSPECTOR climbs the stairs. The door to the COOKíS room slams shut. The INSPECTOR heads for it, is about to touch the handle when he looks down the corridor. The KILLER is at the other end. Close-up of a terrified FORENSIC SCIENTIST. The KILLER transforms into the MAN WITH THE PINK SKI MASK and lunges at the FORENSIC SCIENTIST. The FORENSIC SCIENTIST protects his head with his crossed arms. The KILLER stops in front of him, breathing deeply. Zoom backwards to full shot of dog statue, then of the corridor, now empty of the KILLER/MAN WITH THE PINK SKI MASK. The FORENSIC SCIENTIST lowers his arms and sees the MANAGER lying in a pool of blood. He turns and sees the BLIND MANíS corpse. The FORENSIC SCIENTIST goes into the BALANCING MANíS room. The BALANCING MAN is hanging, a bullet through his heart, on the floor under his feet thereís a pool of blood.

83. INT. BALANCING MANíS ROOM - NIGHT

The FORENSIC SCIENTIST is on the telephone. Close-up on his mouth.

FORENSIC SCIENTIST I know whatís going on.

84. INT. EAR - NIGHT

Zoom in on PREPPY WOMANíS ear.

FORENSIC SCIENTIST (O.S.) I know whatís going on.

85. INT. BALANCING MANíS ROOM - NIGHT

The FORENSIC SCIENTIST hangs up and goes into the corridor.

86. INT. CORRIDOR - NIGHT

The FORENSIC SCIENTIST walks over the MANAGERíS body and goes into the PREPPY COUPLEíS room.

87. INT. PREPPY COUPLEíS ROOM - NIGHT

The FORENSIC SCIENTIST ignores the PREPPY WOMANíS corpse and opens the insect screen.

88. EXT. JUNGLE - NIGHT

The INSPECTOR wanders around the jungle, the gun in his hand. He suddenly sees the KILLER, but canít get him in his sights. The KILLER disappears and reappears in various places. The INSPECTOR stands still, lowers his gun. The KILLER lunges at the INSPECTOR and knocks him to the ground. The KILLER comes closer. The INSPECTOR shoots him and the KILLER tumbles to the jungle floor. The INSPECTOR gets up and peers at the KILLERíS face.

INSPECTOR (amazed) You!

Shot of the KILLERíS face; he could be any of the hotel clients. The inspector disappears.

89. INT. SLAUGHTER ROOM - NIGHT (black and white except the red blood)

The Doorsí ĎThe Endí begins.The INSPECTOR appears in a decrepit, near-empty room. He walks on a red rug in the shape of a half circle. He raises and lowers his head. Thereís a door behind him. He comes face-to-face with a wall.

MAN WITH THE PINK SKI MASK (O.S.) (brutal) Hey!

The INSPECTOR turns around.

MAN WITH THE PINK SKI MASK Surprise, fucking surprise!

The MAN WITH THE PINK SKI MASK has a cigarette in his right hand. Close-up of the hand. He smokes, blows out smoke. Shot of a wondering INSPECTOR.

MAN WITH THE PINK SKI MASK Thereís a new person amongst us. Shall I introduce you?

A COWBOY, his head lowered, appears in front of the door. He lifts his head and goes to the MAN WITH THE PINK SKI MASK.

MAN WITH THE PINK SKI MASK Beautiful Cowboy! He saddles-up and sneaks in everywhere.

The MAN WITH THE PINK SKI MASK drags on his smoke. He looks tense. The MAN WITH THE PINK SKI MASK and the COWBOY move to a dark corner in the room. The INSPECTOR keeps them in his gaze. Close-up of the light bulb which lights up the room. A noose hangs from it. All the hotel clients appear one by one in the doorway in this order:The MAN WITH NO SENSE OF TASTE OR SMELLThe MUTE MANThe BLIND MANThe DEAF RECEPTIONIST with his hearing aidThe HOTEL MANAGERThey each take out a gun when they move in front of the INSPECTOR. A light switch drops down in front of the MAN WITH THE PINK BONNET, who flicks it.The room goes black.Violent exclamations can be heard, shots. The light comes back on. Everything appears normal, although the INSPECTOR is shot full of holes and all the hotel clients are on the ground, each in a pool of blood.The INSPECTOR inspects his body, not feeling a thing.The MAN WITH THE PINK BONNET lets the COWBOY know itís his turn to act. Shot of the roomís only window, which is wide-open. The COWBOY runs and jumps out the window.

90. EXT. SPACE - NIGHT (color)

A black background highlights the COWBOY who falls feet first, spinning, as though floating.

91. INT. LOVEMAKING COUPLE - NIGHT (color)

Ten-second clip: a shot of a couple in the heat of passion, a MANíS back, and beyond that, a WOMANíS hair.

92. INT. HOTEL FOYER - NIGHT (black and white)

A BLACK CAT appears and disappears on the reception desk. The FORENSIC SCIENTIST is on the phone.

FORENSIC SCIENTIST You know... the man, heís starting again. The mask... behind it, thereís a...

He turns to see the COWBOY, waving a knife in his hand.

93. INT. LOVEMAKING COUPLE - NIGHT (color)

The COUPLE continue to make love.

94. INT. HOTEL FOYER - NIGHT (black and white)

The COWBOY stabs the FORENSIC SCIENTIST in the stomach. Blood spurts.

95. INT. LOVEMAKING COUPLE - NIGHT (color)

The WOMAN is astride the MAN - we can see his hand on her hip.

96. EXT. HOTEL FAÇADE - NIGHT (black and white)

The COWBOY throws trash bags containing the FORENSIC SCIENTISTíS corpse out the PREPPY COUPLEíS window. Close-up on the bags.

97. INT. LOVEMAKING COUPLE - NIGHT (color)

Jiggling breasts.

98. EXT. HOTEL FACADE - NIGHT (black and white)

The COWBOY is in the foreground, behind him is the hotel façade.

99. INT. LOVEMAKING COUPLE - NIGHT (color)

The WOMANíS hand grasps sheets. Orgasm is reached to the final strains of ĎThe Endí. The WOMANíS hand releases the sheets.

FADE TO BLACK

100. EXT. SWIMMING POOL GARDEN - DAY (color)

ĎChill Outí by KLF starts up. Horizontal panorama of swimming pools.The background consists of trees and branches set out like a childís drawing. Beside one of the pools, a round table and two chairs. The INSPECTOR is sitting in one of them. He looks blissed-out; his eyelids droop. A PHILOSOPHER is sitting in the other chair. Behind them, women entertain an old man, holding an oxygen mask over his mouth.A New Age atmosphere reigns.

PHILOSOPHER Do you have any fantasies? INSPECTOR (rubbing his eyes) Yes, one. PHILOSOPHER What is it?

Silence.

INSPECTOR To make love on this planetís moon. PHILOSOPHER (amazed) Why?

Silence.

INSPECTOR Because of weightlessness. PHILOSOPHER What becomes of the first extra-terrestrial baby?

The INSPECTOR looks at some cocktails on the table. He picks one up and holds it out to the PHILOSOPHER.

INSPECTOR Did you make me drink this? PHILOSOPHER Yes, to get you talking. Not that itís worked.

Silence.

INSPECTOR I practice passive meditation. PHILOSOPHER So, youíre not going to speak. INSPECTOR A know a lot of things. PHILOSOPHER Yes, I see, but youíve forgotten the essential thing. INSPECTOR What? PHILOSOPHER First of all, two stories.

The INSPECTOR indicates that the PHILOSOPHER should proceed.

PHILOSOPHER Do you know the story about snow? INSPECTOR (his eyelids closing) No. PHILOSOPHER Well, it had snowed on Mount Olympia and one day the sun came out. But not to melt the snow, but so as to light up the landscape. The snow started to melt. An avalanche was promised for the heavens, and the snow fell. In a corner, a snowball started forming, increasing in size, heading down the mountain until a colossal wall blocked its frenetic path. The ball crashed into the wall and was still for a long while until winds from the Four Corners of the world stirred it. Snowflakes started to fly; they wondered what was hidden behind the wall. But not one snowflake managed to fly over the wall. Then, one day a fresh and special snowflake rose up and floated onto the top of the wall. From there it could see the surroundings. At first, it forgot about its fellow snowflakes and then the winds started blowing. The snowflake called to the others to come and join it. After the storm, all the snowflakes rose up to the top of the wall and looked out over the world
Two voices can be heard chanting a Buddhist chant. They fade into the Beastie Boysí ĎBohhisattva Vowí from ĎIll Communicationí.The INSPECTOR flashbacks to the moment when he floated up and away from the corridor. (scene 60 : corridor of shadow)Shot of the table, KLF song starts up again.A MAN puts his hand on the INSPECTORíS shoulder. MAN Iím from somewhere around here.

The INSPECTOR looks at the hand, which is taken away.

INSPECTOR (leaning toward the PHILOSOPHER) Does your story finish there? PHILOSOPHER (leaning toward the INSPECTOR) No. On the other side they see a child making a snowman. The snowflakes were warmed by the sight of the child shaping the snow.

They both lean back.

PHILOSOPHER Whatís this about passive meditation? INSPECTOR (inadvertently letting himself go) I deal with people who are having problems. I play the part of the unconscious. I donít go and enter their drama, because it comes to me and I then see their thoughts pass in front of my eyes. Theyíre like a code that I can identify. Itís my role to tell them that I can crack the code, but in the present case, Iím rather concerned that it might be me up there on stage. PHILOSOPHER Howís that? INSPECTOR I come to this hotel, and the body I find seems to look uncannily like my own. PHILOSOPHER The second story? Actually, itís not really a story, but rather a legend. The legend of the swimming pool garden.

The INSPECTOR indicates that the PHILOSOPHER should proceed.

PHILOSOPHER Sadness was everywhere. A frozen, inanimate lake spread over the earth. A shooting star fell into it. Only love was warm enough to keep it alive. This shooting star caused all the stars of the heavens to disappear. An intense fire rained into the lake. It burned for 9 months and the water evaporated. Men built round, empty swimming pools in an arid place. The earthís father shook up these constructions sprinkled here and there in distant corners. At that time, few people knew the power of these places. Men, using buckets, filled the pools with water. Woman started appearing in the swimming poolsí blue waters, but few of the men managed to find their lovers. Often, the fruit of their labors disappeared. Trees started appearing. A jungle formed around the swimming pool garden. The women floated on their backs, but the shooting star fell again. It didnít crash, however its beauty was blinding and the women were forced onto their bellies.The shooting starís arrival indicates that a wish has been granted. It was therefore concluded that the swimming pool garden is part of a wish. But whose? Therein remains a primal mystery.

Medium close-up of PHILOSOPHER.

PHILOSOPHER (CONTíD) (looking directly at the camera) Since then a strange, mysterious joy reigns here.

Ten-second shot of INSPECTOR and PHILOSOPHER.Then, of INSPECTOR. A WOMANíS hand appears on his shoulder. Close-up of the hand.

WOMAN Now, Iím here.

The hand disappears. INSPECTORíS POV: the PHILOSOPHER drinks a cocktail. The INSPECTOR stands up.

PHILOSOPHER At least I tried.

101. EXT. SWIMMING POOL GARDEN - DAY

Van Heusen and De Langeís version of ĎDeep in a Dreamí on the soundtrack.Traveling shot follows the INSPECTOR. Women float in the pools. Some are black, yellow and others are white. The INSPECTOR follows his instinct, heading toward one of the pools. He stops at it and sees: a white-skinned woman floating on blue water.

INSPECTOR (murmuring) When I discovered you, I was overwhelmed. And to free myself, I slipped into controlled amnesia. I went calmly and innocently, as the sun does on a lake. But I found something in controlled amnesia. It was you, shining more brilliant than ever, there where I would have wished to find you before leaving you behind. There, in the controlled amnesia, we met each other. This amnesia which weíre trying to leave, so as to gather the hearts of all men and of all voyagers. It contains, perhaps you already know this, it contains loveís truth and creation. We forget it, and this kills me.

Full shot of the INSPECTOR. Behind him the sun moves in speeded-up motion.INSPECTORíS POV: in slow motion, the WOMAN turns over. Close-up of an arm coming out of the water. WOMAN moving. Before she turns over completely, cut back to the INSPECTOR and sun.

102. EXT. GARDEN - DAY

The DOG is gone. Close-up of the empty collar.The COWBOY looks at the moving sun. Close-up of the COWBOY lit up by the sun.

103. EXT. SWIMMING POOL GARDEN - DAY

The INSPECTOR stands by the pool. Move into close-up of his face looking at the sun. Shot of shining water.The INSPECTORíS face lit by the sun. Shot of the backdrop of trees, the sun begins to hit them.The INSPECTORíS eyes open ever wider as the sun dips behind the trees.

104. EXT. SWIMMING POOLíS WOMAN - SETTING SUN

The INSPECTORíS face lit by the orange/yellow light of the setting sun. Shot of the trees and sunset. Close-up of the INSPECTORíS face. Shot of the water gleaming with yellow/orange light. Close-up of the WOMANíS feet turning over. Body shot of the INSPECTOR seen from behind. He falls backwards. Close-up from the ground as the INSPECTOR continues to slowly fall onto the camera. Everything goes to black.

105. EXT. SPACE

Stars start filtering through the blackness. ĎDeep in a Dreamí fades out into silence. The INSPECTOR floats in space.

106. EXT. FIELD - NIGHT

TITLE, WHITE ON BLACK BACKGROUND

SECOND FUTURIST ROMANCE

A FRIDAY, 1.30 AM.

A MAN and WOMAN are lying down in the middle of an enormous field surrounded by trees whose leaves form a roof overhead. We find them in the middle of a conversation; at first, their speech is muffled, until

WOMAN (laughing) Well, I didnít know that. MAN Yeah, itís like that. WOMAN Now I know youíre a true friend. MAN Until who knows when.

A distant silhouette approaches. The woman looks at it.

WOMAN Whoís that? MAN I donít know. Probably a traveler whoís lost his way.

The silhouette, similar to that of an astronaut, comes closer.

WOMAN (afraid) Heís coming this way. MAN (soothing) Itíll be all right. WOMAN (upset) Kiss me!

The MAN looks at her softly, but doesnít kiss her. They both get up. The ASTRONAUT stands in front of them. An oxygen tube, similar to an umbilical cord, attaches him to the WOMANíS star.The ASTRONAUT slowly takes out a scalpel. Close-up of the scalpel which the ASTRONAUT slices into the WOMANíS lower stomach. Her stomach opens like a writing desk, steel wires holding the flesh open on each side. Water splashes out. Close-up of the astounded MAN, the WOMAN who blocks her mouth with her right hand. A foetus falls from her stomach/writing desk into the grass. The ASTRONAUT cuts the foetusí umbilical cord with a quick slash of the scalpel. He dropkicks the foetus into space. The WOMAN faints.

ASTRONAUT (looking at the WOMAN) I know what youíve done to me.

The ASTRONAUT looks at the MAN, shakes his hand and walks away.

107. EXT. CLOUD - DAY

A grey cloud draws rain to it into the sky.

108. INT. CLOUD - DAY

A grey light pervades the scene. The MAN and WOMAN enter the shot.

WOMAN When I was on the ground, my stomach open, my eyes were also open. I couldnít move one inch. I saw the treesí branches, but couldnít do anything. I told myself that things were meant to be this way. I donít know whether Iím dead or alive. MAN Donít worry. Let my smile be the umbrella sheltering you in the weeping domain of your love.

The HOTEL MANAGER dressed in a doctorís smock approaches them. He slaps the WOMANíS face. His hand passes through her head. The HOTEL MANAGER steps backwards. The MAN transforms into the HOTEL MANAGER and approaches the HOTEL MANAGER who moves backwards, slamming into a screen of invisible glass. The following actions flow into each other: The WOMAN transforms into the HOTEL MANAGER. The MAN puts his hand on the HOTEL MANAGERíS fly. The WOMAN puts her hand on his mouth; her hand reaches down into his throat.The MAN takes the HOTEL MANAGERíS cock from his pants and lowers a knife. Close-up of the knife slicing through the cock. The MAN holds the severed cock in his right hand and raises his arm. Itís as though the HOTEL MANAGER has cut off and swallowed his own cock. A flash of lightening.An UNKNOWN WOMAN appears in the background. Thunder rumbles.

UNKNOWN WOMAN Make love to me.

She lifts her red dress as she moves closer. A flash of lightening.

UNKNOWN WOMAN (screaming) Make love to me!

Close-up of her crotch.Sound of a telephone ringing.

109. INT. PREPPY COUPLEíS BEDROOM - NIGHT (black and white)

The night stand. A black telephone rings. Close-up of the PREPPY MANíS eyes. He blinks rapidly. Heís lying on the left side of the bed. The telephone continues ringing. He sits up and picks up the handset.

PREPPY MAN Hello. Hey! Howís it going? Yes, of course, weíll wait for you there. No, everythingís fine. Sheís taking a shower. No, sure, but Iíll call you as soon as we arrive. Bye. See you soon.

He hangs up and lies down. He rubs his eyes and grimaces, runs his hands through his hair, breathing deeply.

PREPPY WOMAN (O.S.) Who was it?

The PREPPY MAN rolls over and sees the PREPPY WOMAN, wearing a white nightdress, standing in the bathroom doorway.

PREPPY MAN Bill. He wanted to know if we could come to dinner when weíre in Cannes. PREPPY WOMAN What did you tell him? PREPPY MAN I said that Iíd call him. PREPPY WOMAN (pointing at the window) Itís raining.

The PREPPY MAN rolls over and looks at the raindrops hitting the windowpane.

PREPPY MAN It didnít stop me from having a nightmare. PREPPY WOMAN (soothing, slipping naked between the sheets) Iíll make you forget it. PREPPY MAN Oh, yeah?

She strokes and kisses his chest, moving up to his lips.

PREPPY MAN (murmuring)I want more.

Jungle music is heard in the background.She sits astride him and moves back and forth. He rises up on his elbows and looks at a mirror on the nightstand. Close-up on mirror: the MAN from the FIRST FUTURIST ROMANCE is reflected. The PREPPY MAN turns back to the PREPPY WOMAN and sees the MAN again sitting astride him. Back shot: PREPPY WOMAN continues to fuck. Close-up on her face.PREPPY WOMANíS POV: beneath her, the face of the WOMAN from the FIRST FUTURIST ROMANCE. She turns and sees the image repeated in a mirror to her right. Close-up of PREPPY MANíS surprised face.PREPPY MANíS POV: he sees himself on his back making love. Close-up of his face. He sees the WOMAN from the FIRST FUTURIST ROMANCE beneath him.

PREPPY MAN Sarah?

PREPPY MAN sees PREPPY WOMAN. Close-up of her eyes.PREPPY WOMANíS POV: She sees herself making love. Close-up of her face beneath her. She sees the MAN from the FIRST FUTURIST ROMANCE.

PREPPY WOMAN (O.S.) Yes?

Back to normal. The PREPPY COUPLE continue to make love. The preppy man kisses the preppy woman. We see the death of the tasteless man or smell. The preppy man relaxes, touches the preppy woman on the shoulder. We see the death of the man that lost sense of touch. The preppy man hears the preppy woman to shout of enjoyment then, more anything. The preppy man sees still. One sees the death of the deaf man. The preppy man shouts, but we do not hear anything. The preppy man sees the preppy woman to fall on him. We see the death of the blind man, then more anything. The white total. We see the death of the balancing man. Then we see the preppy couple, the one on the other one not moving. The hand of the preppy woman touches the ground. Image cuts itself in two. Below, the couple died. At the top, the couple continues to make love. The image of bottom becomes the image of the height. And the image of the height becomes the image of bottom. Then the image of the height disappears slowlyCrane shot plummeting toward the bed. A baby lies on it, tossing his legs.Radioheadís ĎLuckyí from the ĎOK Computerí disk starts up. Continues through next scene.

110. EXT. BABY, STAR - DUSK (color)

A BABY with twenty arms is shot from ten different angles against a black background:Pole North (overhead). West. Northwest. North. East. Northeast. East. Southeast. South. Southwest. South Pole (from beneath)The background fades to blue lit by yellow/orange light of sunset. FADE TO BLACK

111. CREDITS ROLL as

The PREPPY COUPLE each smoke a cigarette. FADE TO BLACK.

PREPPY MAN (O.S.) We are probably dead... PREPPY WOMAN (O.S.)Yeah... We are probably dead.

Radioheadís music is followed by Terry Callierís ĎTheme from Spartacusí from the ĎTime Peaceí disk, or ĎOh, my loveí of ĎJohn LENNONí from the ĎWonsaponatimeí disk.

THE END