Beneath a Jungle Carpet
A mysterious love story
( No fears, only " dreams " )
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 :
The MAN turns to look at the woman who is crying.
The WOMAN sighs and turns to him.
The MAN smokes a cigarette. It seems he finds it difficult to swallow the smoke.
The WOMAN takes the cigarette from him, smokes. Looks at the star.
Silence. The MAN props himself up on his elbows.
The WOMAN places her hand on the MANíS stomach and draws him down next to her. She continues staring at the star.
She turns to him.
She looks back at the star.
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.
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.
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.
He walks away, leaving the DOG to its apples.
6. Ext. CHARACTERS ARE INTRODUCED TO THE DOG 2
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.
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.)
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.
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.
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.
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.
The BLIND MAN points at the light bulb.
The HOTEL MANAGER discovers the blood on the light bulb. The BLIND MAN looks through the doorway of the PREPPY COUPLE.
The PREPPY MAN stands on the threshold of his door and stares outdoors.
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 swallows, is shaky.
HOTEL MANAGER is brought to attention, responds mechanically, obeying drill.
HOTEL MANAGER is amazed by police officerís lack of response to this news.
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.
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.
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.
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
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.
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.
The PREPPY MAN looks at the floor and gets a cigarette out of his pocket. He lights it with a gold-plated lighter.
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.
He turns and goes toward the INSPECTOR.
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.
The INSPECTOR lowers his head momentarily.
PREPPY MAN leans backwards and looks at the ceiling, returns to normal position.
INSPECTOR leaves room.
INSPECTOR enters room.
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.
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.
The MUTE MAN signs Ďnoí.
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.
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.
27. INT. WC - NIGHT
BLIND MAN listens to the sound of water flushing through the pipes.
BLIND MAN looks through the keyhole and sees MURDERER, knife in hand, climbing the stairs. The INSPECTORíS head appears behind the MURDERER.
28. INT - ROOM #4 - DAYThe INSPECTORíS head is lowered. The BLIND MAN raises his glasses. Lowers them when the INSPECTOR looks up.
The INSPECTOR exits.
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.
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.
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.
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.
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.
The COUPLE are silent, gazing at the sky.
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)
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.
The YOUNG COUPLE walked toward a small wooden bridge, but the person stopped them in their tracks.
An underwater Ďcrackí is heard. A distant muffled babyís cry.
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.
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.
The INSPECTOR gets up, leaving the COOK to his dinner.
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.
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 exits. RECEPTIONIST lifts phone handset and dials a number.
46. INT. BEDROOM - DAY
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.
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.
The WOMANíS FACE is replaced by a MAN, seen from the back. MAN opens the drapes.
Close-up on the MUTE MANíS neck, black-gloved hands, a wedding ring on the index finger.
49. INT. MANAGERíS OFFICE - DAY
He throws the weapons at the INSPECTOR
He looks at the computer
He snaps his fingers
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.
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.
The KILLER chucks the bags out the window.
51. EXT. GARDEN - DAY
MUTE MAN flies out the window.
52. INT. MUTE MANíS ROOM - DAY
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
The FORENSIC SCIENTIST leaves the hotel.
The INSPECTOR turns toward the staircase. The HOTEL MANAGER is coming down it.
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.
He stops talking when the HOTEL MANAGER enters
57. INT. BLIND MANíS ROOM - NIGHT (black and white, red arm)
They watch the video on a screen placed on the bed.
Tongue cutting scene. The KILLERíS arm is strange.
Close-up of PAUSE button. The BLIND MAN takes off his glasses and scrutinizes the video screen.
Close-up of arm. Itís swollen to twice its usual size, thickly veined.
He leans closer to the screen.
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.
The SINGER disappears.
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.
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.
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 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)
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.
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.
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.
Shot of flower on a tombstone
Shot of fire and WOMAN. The STRANGE MAN enters.
He slips his hand under the WOMANíS dress. The WOMAN stands up abruptly.
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.
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.
Shot of the Hotel Managerís office door opening. Move to the INSPECTOR.
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.
84. INT. EAR - NIGHT
Zoom in on PREPPY WOMANíS ear.
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.
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.
The INSPECTOR turns around.
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.
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.
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.
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)
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.
The INSPECTOR looks at some cocktails on the table. He picks one up and holds it out to the PHILOSOPHER.
The INSPECTOR indicates that the PHILOSOPHER should proceed.
The INSPECTOR looks at the hand, which is taken away.
They both lean back.
The INSPECTOR indicates that the PHILOSOPHER should proceed.
Medium close-up of PHILOSOPHER.
Ten-second shot of INSPECTOR and PHILOSOPHER.Then, of INSPECTOR. A WOMANíS hand appears on his shoulder. Close-up of the hand.
The hand disappears. INSPECTORíS POV: the PHILOSOPHER drinks a cocktail. The INSPECTOR stands up.
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.
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
A distant silhouette approaches. The woman looks at it.
The silhouette, similar to that of an astronaut, comes closer.
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.
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.
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.
She lifts her red dress as she moves closer. A flash of lightening.
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.
He hangs up and lies down. He rubs his eyes and grimaces, runs his hands through his hair, breathing deeply.
The PREPPY MAN rolls over and sees the PREPPY WOMAN, wearing a white nightdress, standing in the bathroom doorway.
The PREPPY MAN rolls over and looks at the raindrops hitting the windowpane.
She strokes and kisses his chest, moving up to his lips.
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 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.
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.
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.