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Babel Movie Script

Writer(s) : Guillermo Arriaga

Genres : Drama, Thriller

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                                        BABEL
          
          
          
                                     Written by 
          
                                 Guillermo Arriaga
          
          
          
                                                           (April 9, 2005)
          
          
          
          1   EXT. YUSSEF AND AHMED'S HOUSE -- MORNING
          
              Day breaks. Hassan (50) arrives at a solitary house made of
              adobe, in the southern deserts of Morocco, carrying a satchel
              and a large bundle wrapped in cloth.
          
              He walks past a corral made out of branches, where several
              goats bleat, and knocks on the front door.
          
          2   EXT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS
          
              Abdullah (40), opens.
          
                                    HASSAN
                            (In Arabic)
                        Good morning Abdullah... I brought
                        you this...
          
              He holds up the bundle.
          
          3   INT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER
          
              Abdullah's family is inside the house. There is a room, a
              small table and a simple kitchen. Yasira (38) is roasting
              some goat meat assisted by Yamil (16) and Zora (17), her
              daughters.
          
              Abdullah and his sons, Yussef (13) and Ahmed (14), are sitting
              on the floor around the small table, looking at a well-
              conserved .270 caliber Winchester 60 rifle.
          
                                    HASSAN
                            (To Abdullah)
                        It's almost new.
          
              He takes out several boxes of cartridges from his satchel.
          
                                    HASSAN (CONT'D)
                        Three hundred cartridges...
          
              He opens a box and shows them one of the golden bullets.
          
                                    HASSAN (CONT'D)
                        The hunter who gave it to me said
                        you can hit up to three kilometers
                        away.
          
                                    ABDULLAH
                        How much do you want for everything?
          
                                    HASSAN
                        One thousand dirhams.
          
                                                                           2.
          
                                    ABDULLAH
                        One thousand dirhams? I'll give you
                        one thousand and a goat.
          
              Abdullah and Hassan exchange a look and Hassan smiles.
          
          4   EXT. YUSSEF AND AHMED'S HOUSE -- DAY
          
              Hassan and Abdullah's family are behind the house. Hassan
              stands with the rifle in front of a rock some twenty yards
              away and he turns toward Abdullah.
          
                                    HASSAN
                        With this rifle, your sons will be
                        able to kill plenty of jackals.
          
              He aims at the rock and pulls the trigger without holding
              the rifle properly. It is clear that he doesn't know how to
              fire a weapon, and the shot cracks loudly. The rifle kicks
              and hits him roughly in the shoulder. The bullet flies far
              wide of the rock. The women laugh nervously.
          
              Rubbing his shoulder, Hassan turns to Abdullah.
          
                                    HASSAN (CONT'D)
                        Let one of your sons shoot.
          
              Abdullah looks at his boys and points at the younger one.
          
                                    ABDULLAH
                        Let Yussef shoot.
          
              When Hassan is about to hand Yussef the rifle, Ahmed cuts
              him off, upset.
          
                                    AHMED
                        I want to shoot first.
          
              Father and son exchange an angry glance. Hassan, without
              realizing it, turns and gives the rifle to Ahmed. The boy
              grabs the gun: it is heavier than he thought.
          
                                    HASSAN
                        Look, load it like this.
          
              Hassan opens the chamber, inserts the bullet and then closes
              it. Once it is loaded, he points at the safety.
          
                                    HASSAN (CONT'D)
                        This is the safety. Push it in when
                        you're ready.
          
              Ahmed nods. Unsure of himself, he raises the rifle and,
              almost without aiming, fires. The shot kicks up dust far
              from the rock. His sisters laugh.
          
                                                                            3.
          
                                    HASSAN (CONT'D)
                        If he doesn't hit the jackals, at
                        least he'll scare the shit out of
                        them.
          
              Ahmed lowers the rifle. His father grabs it and gives it to
              Yussef enthusiastically.
          
                                      ABDULLAH
                        Your turn.
          
              Yussef grabs the rifle and loads it confidently. He lifts
              the rifle with ease and takes his time aiming. He seems
              innately skilled at the maneuver. He shoots and the bullet
              hits just below the rock.
          
              Abdullah celebrates the shot and mockingly turns to Hassan.
          
                                    ABDULLAH (CONT'D)
                        Now this kid shoots a hell of a lot
                        better than you.
          
          5   EXT. GOAT CORRAL -- LATER
          
              Yussef takes one of the goats out, ties and ropes it and
              gives it to Hassan. Abdullah supervises. Yasira approaches
              and gives Abdullah a bag.
          
                                      YASIRA
                        Your lunch.
          
              Abdullah takes it and turns to his sons.
          
                                    ABDULLAH
                        You better kill at least three
                        jackals.
          
                                    HASSAN
                        And make sure no one sees you with
                        the rifle, hide it if you see someone
                        approach you.
          
              Ahmed nods.   Abdullah and Hassan go on their way.
          
          6   EXT. YUSSEF AND AHMED'S HOUSE -- LATER
          
              Yasira and Yamil are far from the house, cleaning some
              goatskins stretched out on some branches.
          
              Ahmed, with the rifle in his hands, opens the corral gate
              and enters to herd them out. He calls his brother.
          
                                    AHMED
                        Yussef, Yussef...
          
                                                                             4.
          
          7    EXT. SIDE WALL, YUSSEF AND AHMED'S HOUSE -- CONTINUOUS
          
               Yussef is squatting on the other side of the house, spying
               through a crack, breathing excitedly.
          
          8    INT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS
          
               Zora is inside, undressing. She has a long body and her
               cinnamon skin is soft and clean. Every now and then she
               aims a complicit glance at the crack through which Yussef is
               spying.
          
                                        AHMED (O.S.)
                         Yussef...
          
               Zora turns around toward where the voice is coming from.
          
          9    EXT. YUSSEF AND AHMED'S HOUSE -- DAY
          
               Yussef is still spying.    Ahmed approaches.
          
                                     AHMED
                         What are you doing?
          
               Yussef turns around and signals for him to lower his voice.
          
                                     AHMED (CONT'D)
                         I told you not to spy on her again.
          
               Yussef pays no attention and keeps spying. Ahmed pulls him
               by the shoulder and makes him lose his balance. Yussef falls
               on his ass.
          
                                     AHMED (CONT'D)
                         I said don't spy on her.
          
               Yussef gets up and dusts himself off.
          
                                     YUSSEF
                         What the hell do you care?
          
                                     AHMED
                         Come on, let's go.
          
               He turns around and leaves.
          
          10   EXT. DESERT -- DAY
          
               The goats graze. Yussef and Ahmed watch them sitting on the
               side of a hill. They look hot and bored. They both throw
               stones at a small rusty can. Yussef throws one and misses.
               Ahmed throws his and does. He draws a line in the ground.
          
                                        AHMED
                         Five to two.
          
               A jackal is stalking the goats.    Yussef spots it.
          
                                                                            5.
          
                                     YUSSEF
                         There's a jackal over there.
          
               Ahmed raises his head but cannot see it. Yussef points at
               it, but Ahmed still cannot locate it. Yussef despairs.
          
                                       YUSSEF (CONT'D)
                         Over there.
          
               Ahmed finally spots it. He loads the rifle, but when he is
               about to aim, the rifle fires. The shot hits amidst the
               goats, lifting up a small cloud of dust.
          
                                     YUSSEF (CONT'D)
                         What are you doing, you idiot?
          
               The jackal flees, terrified, while the goats scamper in
               different directions.
          
          11   EXT. DESERT -- LATER
          
               Both brothers are sitting under a tree, eating bread and
               drinking water from a goatskin canteen.
          
                                     YUSSEF
                         Zora doesn't mind.
          
               Ahmed keeps eating without turning to look at his brother.
          
                                     AHMED
                         She doesn't, but I do.
          
                                     YUSSEF
                         This is between her and me.
          
                                     AHMED
                         You're both pigs. Next time I'm
                         going to tell my dad.
          
                                     YUSSEF
                         Stay out of this.
          
                                      AHMED
                         If you want me to stay out of it,
                         don't do it.
          
               Yussef gets annoyed, stand up and leaves.
          
          12   EXT. DESERT -- DAY
          
               The brothers are sitting apart from each other.   Ahmed guards
               the goats with the rifle on his lap.
          
               After a while, Yussef goes to sit behind a large rock. He
               makes sure his brother isn't watching and he pulls his pants
               down to start masturbating.
          
                                                                        6.
          
          When he is at his most concentrated, a shot rings out and
          startles him. He quickly pulls his pants up and another
          shot rings out. Yussef gets up to see what his brother is
          doing.
          
          Ahmed is aiming the rifle at a rock some two hundred yards
          away. He fires a third time.
          
          Yussef runs up to him.
          
                                YUSSEF
                    What are you doing?
          
          Ahmed doesn't pay attention, and focuses on the rock in the
          distance.
          
                                AHMED
                    Hassan said that it could hit things
                    three kilometers away, but it can't
                    even reach that rock over there.
          
                                YUSSEF
                    That's because you don't know how to
                    shoot. Give me the rifle.
          
          Ahmed looks at his brother defiantly, then hands the rifle
          over. Yussef aims and fires. The shot echoes through the
          vast desert; the frightened goats scamper a few yards away.
          
                                AHMED
                    See, it can't reach it.
          
                                YUSSEF
                    Give me another bullet.
          
          Yussef aims and fires. The bullet hits the rock and kicks
          up a lot of whitish dust.
          
                                   YUSSEF (CONT'D)
                    See.
          
                                AHMED
                    Yeah, but that's not three kilometers.
          
          Ahmed remains pensive and suddenly starts climbing to the
          top of the hill. Once at the top, he looks around for a
          moment and then calls his brother.
          
                                AHMED (CONT'D)
                    Yussef, come here.
          
          Yussef climbs the slope. Ahmed signals a road that in the
          distance cuts across the great desert plain, and points out
          a traffic sign that indicates a curve ahead.
          
                                                                        7.
          
                                AHMED (CONT'D)
                    I bet you the bullet can't hit that
                    far away.
          
          Ahmed loads the rifle and aims at the sign.    He fires and
          nothing.
          
                                AHMED (CONT'D)
                    These fucking bullets aren't any
                    good.
          
                                YUSSEF
                    You're not aiming right.
          
          Yussef points at a yellow car driving along the road.
          
                                YUSSEF (CONT'D)
                    What'll you give me if I hit that
                    car?
          
                                  AHMED
                    I'll shoot.
          
          Ahmed reloads. The empty cartridge falls to the ground. He
          fires again - the car keeps going. Yussef asks for the rifle.
          
                                  AHMED (CONT'D)
                    You see?    Nothing happens.
          
                                YUSSEF
                    Let me shoot.
          
          He also drops the used cartridge on the ground, reloads and
          shoots the traffic sign. He fires and nothing.
          
                                  AHMED
                    I told you.    Hassan's a liar.
          
          A bus approaches.    Ahmed points at it.
          
                                AHMED (CONT'D)
                    Shoot at that one...
          
          Yussef loads the rifle parsimoniously, shuts the chamber,
          raises the weapon, aims and fires.
          
          The bus drives on.    Ahmed turns to his brother.
          
                                AHMED (CONT'D)
                    See: nothing.
          
          The bus drives on another three hundred yards and suddenly
          stops in the middle of the road.
          
                                                                             8.
          
          13   INT. T.V. ROOM, L.A. HOUSE -- NIGHT
          
               Amelia (54), a maternal, Mexican woman with a pleasant face,
               is playing Monopoly with Debbie (4) and Mike (5). They are
               both typically American kids.
          
                                     AMELIA
                             (In Spanish)
                         I won...
          
                                       MIKE
                         No, I won.
          
               The phone rings and Amelia goes to answer it.
          
                                     AMELIA
                             (In English)
                         Yes... yes sir... yes sir, Mrs. Rachel
                         told me...I'm very sorry. How is
                         Mrs. Susan?... No sir, don't worry...
          
               Amelia turns to Mike.
          
                                     AMELIA (CONT'D)
                         Your dad is calling.
          
               Mike runs to the phone and grabs it.
          
                                      MIKE
                         Hi dad... dad, guess what? Today, at
                         school, they brought some baby
                         chickens...I held one in my hand. He
                         was really little and he was all
                         warm...
                             (A beat)
                         Dad, are you ok?...And Mariana wanted
                         to take one home, but the teacher
                         didn't let her...
          
          14   INT. CHILDREN'S ROOM, L.A. HOUSE -- NIGHT
          
               Amelia is putting Debbie and Mike to sleep.   They are both
               lying in bed. Amelia sits next to them.
          
                                     AMELIA
                             (In Spanish)
                         Did you brush your teeth?
          
               Mike shows her his teeth so she can see he did.
          
                                     MIKE
                         Will you tell us a story?
          
                                     AMELIA
                         One and then you're going to sleep.
          
               Both children nod.
          
                                                             9.
          
                                AMELIA (CONT'D)
                        (Her entire story in
                         Spanish)
                    Once there was a hawk who wanted to
                    fly higher than everyone else. He
                    trained every day and hunted little
                    birds so he could eat them and be
                    strong.
          
                                   MIKE
                    Pajaritos?     Little birds?
          
                                AMELIA
                    Of course, that's what hawks eat.
                    So, one day the hawk flew so, so
                    high that it crashed into an airplane.
                    It fainted and started to fall. And
                    when it was about to hit the ground,
                    all the birds flew toward him and
                    saved him.
          
                                DEBBIE
                    They saved him?
          
                                AMELIA
                    Yes, and when the hawk was healthy
                    again he went to talk to the birds
                    and said: I want to thank you for
                    saving me, but I can't change and
                    I'm going to keep hunting you. The
                    little birds answered: we don't care
                    that you hunt us, because that's who
                    you are. But we will always save
                    you, because that's who we are.
          
          The children are silent.
          
                                AMELIA (CONT'D)
                        (In English)
                    Did you like it?
          
                                   DEBBIE
                    No.
          
          Amelia moves to turn out the light.
          
                                   DEBBIE (CONT'D)
                    Leave it on.
          
          Amelia stands still beside the switch.
          
                                AMELIA
                    Quedamos en que se iban a dormir con
                    la luz apagada.
          
                                DEBBIE
                    But I'm scared.
          
                                                                            10.
          
                                     AMELIA
                         No pasa nada.
          
                                     DEBBIE
                         I'm scared that what happened to Pat
                         is gonna happen to me.
          
               Amelia sits down next to her and caresses her.
          
                                     AMELIA
                         A ti no te va a pasar eso...
          
                                     DEBBIE
                         Pat died while she was sleeping.
          
                                     AMELIA
                         That only happens to some babies
                         when they're really little.
          
                                     MIKE
                         Then why did daddy get so angry at
                         mommy?
          
                                     AMELIA
                         He wasn't angry, he was just very
                         sad.
          
                                     DEBBIE
                         He left.
          
               Amelia doesn't know what else to say. She pats Debbie's head.
          
                                     AMELIA
                         Go to sleep. I'll sit here with you,
                         but you can't talk anymore.
          
               They both nod and snuggle under their blankets. Amelia watches
               them silently.
          
          15   INT. AMELIA'S ROOM, L.A. HOUSE -- DAY
          
               Amelia (54) sleeps. The sun is just starting to rise. A
               phone rings distantly. Amelia awakes. She sits up, listens
               intently and hears the ringing.
          
               She grabs a robe from a chair beside her, puts it on and
               gets up to answer the phone.
          
          16   INT. KITCHEN, L.A. HOUSE -- CONTINUOUS
          
               Amelia enters the kitchen and answers a wall phone.
          
                                     AMELIA
                         Yes...
          
                                                                           11.
          
                                     RICHARD (O.S.)
                         Amelia, it's Richard. We're going to
                         have to be here a few more days here
                         in Morocco than we expected and Rachel
                         wasn't able to find anyone to take
                         care of the kids.
          
                                     AMELIA
                         Your sister-in-law promised me to
                         find someone.
          
                                     RICHARD (O.S.)
                         Amelia, this is very serious.
          
               Amelia looks worried.
          
                                     AMELIA
                         It's because... I told Mrs. Jones
                         three months ago that today is my
                         son's wedding.
          
                                      RICHARD (O.S.)
                         Amelia, this is an emergency. Cancel
                         your son's wedding. I'll pay for
                         another one.
          
                                     AMELIA
                         Sir, everything is ready. Can't anyone
                         come take care of the kids? It's
                         just one day.
          
                                     RICHARD (O.S.)
                         We need you, Amelia... hold on.
          
               Richard stops talking. We hear voices in the background.
          
                                     RICHARD (O.S.) (CONT'D)
                         Amelia, we're really counting on
                         you. I have to go. Goodbye.
          
               He hangs up.   Amelia stares into empty space.
          
          17   INT. KITCHEN, L.A. HOUSE -- DAY
          
               Debbie (4) and Mike (5) are having breakfast while Amelia
               leans on the sink and looks at them, overwhelmed.
          
                                     AMELIA
                             (To Debbie, in Spanish)
                         Do you want another quesadilla?
          
                                       DEBBIE
                         Mhh.
          
               Amelia turns around to warm up a tortilla. Mike stops eating
               his cereal and looks at her.
          
                                                                          12.
          
                                     MIKE
                         How many little birds did the hawk
                         eat?
          
               Amelia turns around and sees Mike, who is truly worried.
          
                                      AMELIA
                             (In English)
                         None, because he started to like
                         quesadillas.
          
               Amelia strokes his hair. A car horn honks. Amelia looks
               out and sees a school bus parked outside the house.
          
                                     DEBBIE
                         Is the bus here?
          
                                     AMELIA
                             (In Spanish)
                         Yes, but today you're not going to
                         school.
          
                                       DEBBIE
                         Why?
          
                                     AMELIA
                         We have things to do.
          
               Amelia turns around and walks out to the street. Through
               the door we can see her saying something to the bus driver.
               The school bus leaves and Amelia walks back into the house.
          
          18   INT. T.V. ROOM, L.A. HOUSE -- DAY
          
               Debbie and Mike are watching cartoons while Amelia talks on
               the phone.
          
                                     AMELIA
                             (Both in Spanish)
                         I just want you to take of them for
                         today.
          
                                     WOMAN (O.S.)
                         I can't, Mrs. Black is home.
          
                                     AMELIA
                         And she won't go out?
          
                                     WOMAN (O.S.)
                         No, I don't think so.
          
                                       AMELIA
                         Ok, thanks.    I'll call you tomorrow.
          
               She hangs up and remains pensive.
          
                                                                            13.
          
          19   EXT. STREET, LOS ANGELES -- DAY
          
               Amelia and the kids walk down a street in Santa Monica.
          
          20   EXT. LUCIA'S HOUSE, LOS ANGELES -- DAY
          
               Amelia and the kids are standing in front of a house, talking
               with Lucia (22), who is dressed in a black and white uniform.
          
                                     LUCIA
                             (Both in Spanish)
                         I can't Amelia.
          
                                     AMELIA
                         Please, it's my son's wedding. I
                         helped you out with that thing with
                         your boyfriend.
          
                                     LUCIA
                         I really can't.
          
                                     AMELIA
                         Just for the day, Lucia.   I'll be
                         back for them tonight.
          
                                     LUCIA
                         And what do I tell Mrs. Black?
          
                                     AMELIA
                         Tell her they're your nephews.
          
               Lucia looks down at the blonde-haired, blue-eyed children.
          
                                     LUCIA
                         Yeah right, they look just like
                         me...with this gringa look I have.
          
          21   INT. CHILDREN'S ROOM, L.A. HOUSE -- DAY
          
               Amelia is packing the children's clothes in a small suitcase.
               Debbie and Mike, curious, watch her.
          
                                     MIKE
                         Are we going to see your house?
          
                                     AMELIA
                         Yes, you're going to see my house.
          
                                      MIKE
                         Is it far?
          
                                     AMELIA
                             (In Spanish)
                         Not very.
          
                                                                         14.
          
          22   EXT. LOS ANGELES HOUSE -- DAY
          
               A run-down '88 Ford Pinto parks in front of the house and
               honks its horn. The front door opens and Amelia walks out,
               carrying the small suitcase, with the two kids.
          
               Santiago (24), a young Mexican with light eyes.
          
                                     SANTIAGO
                             (Both in Spanish)
                         Good morning Aunt Amelia.
          
                                     AMELIA
                         Good morning.
          
               Santiago, surprised, looks at the children.
          
                                     SANTIAGO
                         Are they coming?
          
                                     AMELIA
                         I couldn't find anyone to leave them
                         with. Their parents aren't coming
                         back today.
          
                                     SANTIAGO
                         Why bring them, they're just going
                         to make trouble.
          
                                     AMELIA
                         They're good kids.
          
                                     SANTIAGO
                         I know a woman who can take care of
                         them.
          
                                     AMELIA
                         Santiago, I have to take them. I
                         can't leave them with just anybody.
          
                                     SANTIAGO
                         What if you lose your job?
          
                                     AMELIA
                         Come on, don't tempt the fates.
          
               Amelia opens the door for the children to get in.
          
          23   EXT. CASBAH TAMNOUGALT, MOROCCO-- DAY
          
               Richard (45), tall, thin, weathered, and Susan (38), good-
               looking, with an athletic body, visit the impressive Casbah
               with a group of American, French and English tourists. Most
               of them are old, with a few couples in their forties or
               fifties.
          
                                                                         15.
          
               Anwar (30), a man with a kind face, is the tour guide showing
               them around.
          
                                     ANWAR
                             (In English, with an
                              Arabic accent)
                         The Berbers built these kasbahs.
                         They made them like forts and here
                         they would reside after finishing
                         their caravans.
          
               Richard listens attentively.   Susan looks hot.
          
                                     RICHARD
                         This place is beautiful, don't you
                         think?
          
                                     SUSAN
                             (not very
                              enthusiastically)
                         Yeah, yeah it's very pretty...
          
               Anwar walks toward one end of the aisles and calls the group.
          
                                      ANWAR
                         Now, I'd like to show you the
                         materials that were used to build
                         the walls...
          
               The herd moves docile toward Anwar's voice.
          
          24   EXT. SMALL EATERY, MOROCCAN DESERT -- LATER
          
               The group of tourists spread about a small eatery with open
               air tables on a dusty terrace. A bus is parked behind them.
          
               At a table, on one end of the terrace with views to a cluster
               of mountains, Richard and Susan look through some menus.
               Richard seems at ease in this place. Susan appears to be
               bothered by the dust and otherness.
          
               A waiter brings a plate and some cutlery.
          
                                     WAITER
                             (in broken English)
                         You want to order?
          
                                     RICHARD
                         I'll have a chicken cous-cous and a
                         Coke, please.
          
                                     SUSAN
                         What do you have that doesn't have
                         fat in it?
          
                                     WAITER
                         Everything is delicious.
          
                                                                      16.
          
          Susan reads the menu again.
          
                                SUSAN
                    I'll have the fried eggplant and a
                    diet Coke.
          
                                WAITER
                    We don't have diet Coke.
          
                                SUSAN
                    Then a regular Coke.
          
          The waiter smiles and goes to place the order. Susan takes
          out a small bottle with antibacterial gel, cleans her hands
          and then starts wiping the plate and the cutlery thoroughly.
          
          Richard looks at the mountain range through a pair of
          binoculars. He spots a hawk flying over the plains.
          
                                RICHARD
                    Look, look: a hawk.
          
          Richard follows the hawk with his binoculars for a few seconds
          and then puts them down.
          
                                RICHARD (CONT'D)
                    This country is incredible.
          
          Susan remains silent and then turns to look at him.
          
                                SUSAN
                    Richard, why did we come here?
          
                                RICHARD
                    What d'you mean why? I thought you
                    would like it.
          
                                SUSAN
                    Really: why are we here?
          
          Richard knows that Susan's answer implies something else.
          
                                RICHARD
                    To forget everything, to be alone.
          
          Susan, sardonically gestures toward the other tourists with
          her chin.
          
                                SUSAN
                    Alone?
          
          Richard sighs in disappointment. The waiter arrives with
          the Cokes and the food, which does not look particularly
          appetizing. He leaves everything on the table and goes.
          
          Richard is about to pour his drink when Susan stops him.
          
                                                                          17.
          
                                     SUSAN (CONT'D)
                         Throw out the ice.
          
                                     RICHARD
                         The Coke is warm.
          
                                     SUSAN
                         Yeah, but you don't know what kind
                         of water is in there.
          
               She grabs Richard's glass and tosses out the ice. Then she
               does the same thing with hers. They are quiet for a moment.
          
                                     RICHARD
                         Why can't you ever relax.    You're
                         always stressed.
          
                                     SUSAN
                         You're the one stressing me out.
                         You're why I can't relax.
          
                                     RICHARD
                         You could if you tried.
          
                                     SUSAN
                         Tried? Don't you think I tried?
          
                                     RICHARD
                         You're never going to forgive me,
                         are you?
          
                                     SUSAN
                         Do you even know what I'm talking
                         about?
          
                                     RICHARD
                         Susan, please; we didn't come all
                         this way just to argue.
          
               Susan gets angry and faces him.
          
                                     SUSAN
                         Oh, we didn't? Then when are we
                         supposed to "argue"? Or are you
                         planning on running away again?
          
               Richard sighs, defeated. They stop speaking and sit looking
               at the mountains.
          
          25   EXT. BUS -- MOMENTS LATER
          
               The tourists crowd around to board the bus. Some boys in
               rags approach to sell them trinkets.
          
                                     BOYS
                         Stilo...stilo...
          
                                                                            18.
          
               Some of the tourists buy them. They come to Susan, who
               becomes instantly uncomfortable. She gestures with her hand
               to say they have no money, but the kids insist.
          
                                     BOYS (CONT'D)
                         Stilo...stilo...
          
                                     SUSAN
                         I don't have any money... I don't
                         have any...
          
               Richard takes off his binoculars and gives them to the
               youngest of the boys (7), who receives them with wide eyes.
          
                                     RICHARD
                         Here.
          
                                     SUSAN
                         What are you doing?
          
               Richard just gets in the bus. Susan stares at the boy with
               the binoculars for a moment and then gets in.
          
          26   INT. BUS -- LATER
          
               Susan sits next to the window, in the middle of the bus.
               She looks hurt and sad. Richard walks over and sits next to
               her.
          
               The bus starts. Through the window, Richard can still see
               the boy with the binoculars. He smiles until he sees an older
               boy snatch the binoculars away and push the little boy.
          
               The bus drives away, but Richard can't take his eyes off the
               scene. The older boy walks away with the binoculars.
          
          27   EXT. DESERT -- DAY
          
               The bus drives down a straight road that divides the desert.
          
          28   INT. BUS -- MOMENTS LATER
          
               The bus drives on. Some of the old men sleep. Susan leans
               her head against the window and watches the landscape scroll
               past. Richard sits beside her silently.
          
               Susan holds out her hand and takes Richard's, as a sign of
               reconciliation. He holds hers and caresses it.
          
               Susan gets comfortable to try to sleep. She closes her eyes
               when suddenly something smashes the window and Susan collapses
               forward.
          
               Richard turns to look at the punctured glass and then Susan.
          
                                     RICHARD
                         Susan, what's wrong?
          
                                                                           19.
          
               Susan doesn't answer, limp on her seat.
          
                                     RICHARD (CONT'D)
                         What happened?
          
               Richard lifts her up and when he does he sees a thread of
               blood run down her neck. Richard yells at the driver.
          
                                     RICHARD (CONT'D)
                         Stop the bus, stop, my wife's been
                         hurt.
          
          29   INT. VOLLEYBALL COURT -- DAY
          
               In an indoor volleyball court with bleachers, several Japanese
               girls play volleyball. They all compete intensely for the
               point. There is excitement, but everything occurs quietly.
          
               A player jumps and spikes the ball. Chieko (16), tall,
               beautiful, with strands of hair painted purple, volleys the
               ball back up. It reaches one of her teammates who sets up
               another to spike it.
          
               Chieko's team wins the point. The referee, instead of
               whistling, lifts up a red flag.
          
               The players congratulate each other silently, in sign
               language. The only sound we can here is the parents' clapping
               as they watch the game from the stands.
          
               Chieko's team serves. Again, the game is heated. A rival
               player spikes the ball, and it is barely out of bounds.
               However, the referee, with his red flag, calls the point.
          
               Chieko is upset and goes to argue with him.
          
                                     CHIEKO
                             (In sign language)
                         The ball was out.
          
                                     REFEREE
                             (In sign language)
                         No, it was good.
          
               Chieko gestures violently.   One of her teammates goes to
               calm her down.
          
                                      TEAMMATE
                         Let it go.
          
               Chieko breaks loose and approaches the referee.
          
                                     CHIEKO
                         That was out.
          
                                     REFEREE
                         It was on the line.
          
                                                                            20.
          
                                     CHIEKO
                         You're not just deaf, you're blind.
          
                                        REFEREE
                         You're out.
          
               Chieko is furious.   She starts to make obscene gestures.
          
                                     CHIEKO
                         You're an asshole.
          
               The coach walks onto the court. He holds her to calm her
               down and then takes her away. Despite Chieko's violent
               reaction, everything is still silent. From the bleachers,
               Yasujiro (47), Chieko's father, dressed in a nice suit with
               the tie undone, with a sad pride about him, disapproves of
               his daughter's actions.
          
          30   INT. LOCKER ROOM, VOLLEYBALL COURT -- DAY
          
               Chieko sits on a bench in her underwear. She looks aggravated
               and absorbed in her own thoughts. Her other teammates get
               dressed. Two of them walk past wrapped in towels, freshly
               showered, and stand in front of her. They talk to each other
               in sign language.
          
                                     TEAMMATE 1
                         You shouldn't have lost your temper.
                         We lost the game.
          
                                     CHIEKO
                         It wasn't my fault, it was the ref.
          
                                     TEAMMATE 2
                         If you hadn't been thrown out, we
                         would've won the game.
          
               Chieko, angry, gets up and starts to rummage through her
               locker. Her teammate walks over and gets her attention.
          
                                     TEAMMATE 1
                         Why are you in a bad mood?
          
               Chieko doesn't answer.    Teammate 2 approaches.
          
                                     TEAMMATE 2
                         She's always in a bad mood because
                         nobody's fucked her yet.
          
               She caps this with an obscene gesture that bothers Chieko.
          
                                     CHIEKO
                         I'm gonna fuck your dad to get rid
                         of my mood.
          
               Teammate 1 laughs, amused. Teammate 2 gives Chieko a scornful
               look. Chieko smiles sardonically.
          
                                                                            21.
          
          31   INT. YASUJIRO'S CAR -- DAY
          
               Yasujiro drives while Chieko looks at the swarming Tokyo
               streets. She is wearing a skirt revealing of her long
               volleyball legs.
          
               Her fathers speaks to her in sign language.
          
                                     YASUJIRO
                         What do you want to eat?
          
                                     CHIEKO
                         I said I'd meet my friends from the
                         team at Eve's.
          
                                     YASUJIRO
                         Weren't we going to have lunch
                         together?
          
                                     CHIEKO
                         Dad, I told you I was going to eat
                         with them, but you never pay attention
                         to me.
          
               Yasujiro shakes his head in disapproval.
          
                                     CHIEKO (CONT'D)
                         My mother always paid attention to
                         me.
          
                                     YASUJIRO
                         Why do you want to fight?
          
               They don't say anything else.   The traffic is chaotic.
          
                                     YASUJIRO (CONT'D)
                         I miss your mother too.
          
               Chieko just looks at him.
          
                                     YASUJIRO (CONT'D)
                         I'm doing what I can, sweetie.
          
               They don't say anything else.   The traffic is chaos.
          
          32   EXT. STREET, TOKYO -- DAY
          
               Yasujiro parks his car and Chieko gets out.
          
                                     YASUJIRO
                             (in sign language)
                         Don't forget you have the dentist at
                         four.
          
               Chieko looks annoyed, and blows her father a kiss goodbye.
               As she is about to get out of the car, Yasujiro grabs her
               arm. She turns to look at him.
          
                                                                            22.
          
                                     YASUJIRO (CONT'D)
                             (In sign language)
                         I love you very much.
          
               They exchange a glance.   She nods, closes the door and leaves.
          
          33   INT. EVE'S -- DAY
          
               Eve's is a restaurant full of t.v.'s, noise, video games.
               There is smoke, and people talking everywhere. Chieko moves
               through the crowd. A hostess intercepts her.
          
                                     HOSTESS
                         Do you have a table?
          
               Chieko doesn't manage to read her lips. The hostess, smiling,
               awaits an answer. Chieko waits, expectant, for the hostess
               to repeat herself.
          
                                     HOSTESS (CONT'D)
                         Do you have a table?
          
               Chieko nods and points at her group of girlfriends, who are
               sitting on the barstools next to the bar.
          
               The hostess smiles another stupid smile and lets Chieko by.
               Further off, her friends spot her and make silly faces.
          
               Chieko laughs, walks over to them. They are all dressed the
               same: short skirts, tight t-shirts. Some of them have
               piercings in their nose, lips and ears. They all exude
               hormones in their silence.
          
               Chieko goes to talk to them in sign language.
          
                                     CHIEKO
                         Why all the way in the corner?
          
               Mitsu, with a good body, not very tall and with violet
               highlights in her hair, points at a pair of tables where a
               group of young men are drinking beer.
          
                                     MITSU
                         Because of the view.
          
               Chieko turns around and stares at one of them wearing a Milan
               jersey. Their eyes meet. Chieko keeps her eyes on him, and
               the boy finally turns away.
          
                                     MITSU (CONT'D)
                         Do you like him?
          
               Chieko nods without taking her eyes off him.
          
                                                                            23.
          
          34   INT. EVE'S -- DAY
          
               Chieko, Mitsu and another of their friends are playing a
               pinball game that makes noises whenever the ball hits a wall.
               The young man in the Milan jersey approaches Chieko.
          
                                     YOUNG MAN
                         Hello.
          
               Neither Chieko, nor her friends answer. The guy turns to
               look at one of his friends, who signals for him to insist.
          
                                     YOUNG MAN (CONT'D)
                         Can I play with you?
          
               Chieko, obviously, cannot hear him. She keeps playing.
               Suddenly, Mitsu notices the young man's presence and taps
               Chieko on the shoulder. Chieko turns around and is surprised.
          
               The young man turns to look toward his friends as he speaks.
          
                                     YOUNG MAN (CONT'D)
                         Do you want to come have a drink?
          
               Chieko gets frustrated; she cannot read his lips. He stops
               looking at his friends and awaits an answer, but all he sees
               is three silent girls staring at him stupefied.
          
               Chieko talks to Mitsu in sign language.
          
                                     CHIEKO
                         Tell him I couldn't read his lips.
          
               The young man, upon seeing them communicate, is caught off
               guard. He turns around and walks toward his friends without
               saying a word.
          
          35   INT. BATHROOM, EVE'S -- DAY
          
               Chieko leans on the sink while Mitsu pees in one of the
               stalls. Chieko is noticeably upset.
          
               Mitsu walks out of the stall, fixing her skirt.   She sees
               Chieko is distressed.
          
                                     MITSU
                             (In sign language)
                         What's the matter?
          
                                     CHIEKO
                             (In sign language)
                         They look at us like we're monsters.
          
                                     MITSU
                         Oh, come off it.
          
                                                                              24.
          
               Chieko is at a loss for words. Mitsu stares at her: it looks
               like another one of many tantrums.
          
               Chieko hikes up her skirt and starts to pull down her panties.
          
                                     MITSU (CONT'D)
                         What are you doing?
          
                                     CHIEKO
                         Now they're going to meet the real
                         hairy monster.
          
               She makes the gesture of sticking her finger up a hole, then
               goes to the toilet, throws her panties in and flushes. She
               turns to look at Mitsu defiantly, who cannot help but laugh.
          
          36   INT. EVE'S -- DAY
          
               Chieko sits on one of the restaurant's benches. Before her
               is a new group of young men. Mitsu and Chieko exchange a
               look. Provocatively, Chieko crosses her legs slowly revealing
               her pussy.
          
               One of the young men seems to notice, and is stunned. Chieko
               smiles and does it again. He watches Chieko again and
               discretely turns to one of his friends to tell him.
          
               Chieko turns her back to him and faces the bar.    She looks
               over at Mitsu, who shakes her head, amused.
          
               A beeper rings on Chieko's skirt. She picks it up and reads:
               "Don't forget your appointment with the dentist. Papa."
          
               She puts the beeper away and turns toward Mitsu.
          
                                     CHIEKO
                         I'll see you later at my place.
          
               She mischievously turns toward the table where the young man
               was, and as she gets off the bench she spreads her legs wide
               open, flashing him shamelessly.
          
               She struts out.
          
          37   EXT. DESERT -- DAY
          
               Ahmed and Yussef run full speed, herding their goats as they
               go. Some of them get left behind and Yussef hurries back to
               them. As they climb a hill, he slips and falls, rolls
               downhill and drops the rifle, which slides a few meters away.
          
               Ahmed runs to help him. Yussef gets up, covered in dust and
               with a scratch on his forehead. Ahmed picks up the rifle.
          
                                     AHMED
                         Hurry up, man, hurry...
          
                                                                           25.
          
               Ahmed runs off, hands flailing, to herd the straggling sheep.
               Yussef follows him, limping.
          
          38   EXT. YUSSEF AND AHMED'S HOUSE -- LATER
          
               The brothers make it back home. Agitated, they put the goats
               back into their corral. Zora walks out and approaches them.
          
                                     ZORA
                         What's wrong?
          
               Yussef, busy closing the corral gate, pays no attention.
               Ahmed, breathing agitatedly, doesn't answer.
          
                                     ZORA (CONT'D)
                         I asked you what's wrong.
          
               Ahmed, full of adrenaline, glances angrily at her.
          
                                     AHMED
                         What do you care, whore?
          
               Yussef gets in the way.
          
                                     YUSSEF
                         Don't talk to her like that.
          
               Yussef steps up to defend her, but Ahmed spins around and
               goes into the house. Yussef turns to Zora.
          
                                     YUSSEF (CONT'D)
                         Something we ate make us sick so we
                         came back.
          
               Without another word, Yussef also goes into the house.
          
          39   INT. YUSSEF AND AHMED'S HOUSE -- LATER
          
               Yussef and Ahmed are sitting on their mats, looking at each
               other, pale, scared and quiet. Yasira walks in to see them,
               followed by her daughters. She turns to Ahmed.
          
                                     YASIRA
                         What are you doing here?
          
               Ahmed, livid, cannot answer.
          
                                     YUSSEF
                         Something we ate gave us a stomach
                         ache.
          
               Yasira stares harshly at Ahmed.
          
                                      YASIRA
                         And is that why you're insulting
                         your sister?
          
                                                                           26.
          
               Ahmed looks at Zora, then Yussef, and then is silent.
          
                                     YUSSEF
                         We were feeling really ill.
          
               Yasira points toward the corral.
          
                                     YASIRA
                         The goats are going to feel even
                         worse if they don't eat. Take them
                         out again.
          
                                     AHMED
                         Our stomach really hurts.
          
                                     YASIRA
                         Then start jerking the meat.
          
               Yasira walks out.    Yussef and Zora exchange a look.
          
          40   INT. YUSSEF AND AHMED'S HOUSE -- DAY
          
               Yussef and Ahmed are jerking a couple of young goats with
               very sharp knives. They set the thin strips on newspaper.
          
               They look nervous.    They talk in whispers.
          
                                     AHMED
                         D'you think something happened?
          
                                     YUSSEF
                         I don't know.
          
                                     AHMED
                         People were screaming.
          
               They are silent for a long while.
          
                                     AHMED (CONT'D)
                         It was your fault.
          
               Yussef stares at him in disbelief.
          
                                      YUSSEF
                         It was both our faults. We both
                         shot.
                             (A beat)
                         Swear to me you'll never say anything.
          
               Ahmed won't answer. Yussef looks around the room to make
               sure nobody is listening to them.
          
                                        YUSSEF (CONT'D)
                         Swear.     Nobody, never.
          
               Ahmed remains pensive.    He sighs and answers.
          
                                                                            27.
          
                                      AHMED
                         I swear.   Nobody.
          
          41   EXT. YUSSEF AND AHMED'S HOUSE -- EVENING
          
               The brothers are hanging the strips of meat on ropes to dry
               them in the sun.
          
               An old Valiant packed with seven men parks in front of the
               house and Abdullah gets out. He raises his hand to say
               goodbye.
          
                                     ABDULLAH
                         Thank you, I'll see you tomorrow.
          
               The driver also raises his hand and then drives off.   Abdullah
               turns to Yussef.
          
                                     ABDULLAH (CONT'D)
                         Tell your mother to prepare dinner.
          
               Abdullah turns towards the house. Yussef comes out running
               towards a little field below the house. Yasira is plowing
               with a manual plow.
          
                                     YUSSEF
                         Mother, mother, father says he wants
                         to have dinner now.
          
          42   INT. YUSSEF AND AHMED'S HOUSE -- EVENING
          
               Abdullah and his children sit at the small table while the
               women prepare the food. A column of smoke rises from the
               fire where they are roasting goat meat and toasting bread.
          
               Yamil, the youngest of the daughters, sets some bread on the
               table. Abdullah takes it, tears some off and starts to eat.
               He turns to Yussef.
          
                                     ABDULLAH
                         Did you kill any jackals?
          
                                     YUSSEF
                         We shot at them, but didn't hit them.
          
                                     ABDULLAH
                         You have to kill them. If not they're
                         going to eat all the goats.
          
               Yasira sets the strips of goat meat on the table. Abdullah
               serves himself some. His children wait until he's done to
               serve themselves.
          
                                     YASIRA
                         Why are you home so late?
          
               Abdullah starts talking with his mouth full.
          
                                                                           28.
          
                                     ABDULLAH
                         They closed the road, and we had to
                         take the long way around.
                             (He swallows)
                         Apparently some terrorists killed an
                         American tourist.
          
               Ahmed and Yussef shoot each other a nervous glance.
          
                                        YASIRA
                         An American?
          
                                     ABDULLAH
                         Yes, the terrorists attacked a tour
                         bus on the road.
          
                                     YASIRA
                         But there aren't any terrorists here.
          
               Abdullah finishes his mouthful. He wipes himself with his
               sleeve. Ahmed doesn't even dare raise his eyes.
          
                                     ABDULLAH
                         You never know.
          
               Yussef, nervous, looks up.
          
                                     YUSSEF
                         And how do you know the American
                         died?
          
                                     ABDULLAH
                         That's what they were saying. The
                         police are looking for the culprits.
          
               Yussef and Ahmed again exchange a furtive glance.
          
          43   INT. YUSSEF AND AHMED'S HOUSE -- NIGHT
          
               Night. An oil lamp in a Nescafe jar lights the house. The
               family sleeps in the only two rooms in the house. One of
               them is the parents room, the other the children's.
          
               We hear a goat bleating in the darkness. Abdullah's snoring.
               Yasira's breathing. The crunching of wood in the night cold.
          
               Neither Yussef, nor Ahmed can sleep.   They both look at each
               other, anxious.
          
          44   EXT. BORDER CROSSING -- DAY
          
               Santiago's car crosses the border between San Diego and
               Tijuana. They drive through a green light at the crossing,
               easily entering Mexico without being stopped by three Mexican
               customs officials.
          
                                                                         29.
          
          45   INT. SANTIAGO'S CAR -- DAY
          
               Debbie and Mike stare through the windows, amazed at the new
               world they are entering: other people, other architecture,
               other colors, other noises.
          
               Santiago turns towards them while he's driving.
          
                                     SANTIAGO
                         See how easy it is to get into
                         paradise?
          
                                     DEBBIE
                         Is this Mexico?
          
                                     AMELIA
                             (In Spanish)
                         Yes, this is Mexico.
          
                                     MIKE
                         My mom told us Mexico is really
                         dangerous.
          
               Santiago turns toward the kids.
          
                                     SANTIAGO
                             (In Spanish)
                         Yes, it's full of Mexicans.
          
               Amelia and Santiago look at each other and smile.
          
          46   EXT. TIJUANA -- DAY
          
               They drive through Tijuana.
          
          47   INT. SANTIAGO'S CAR -- DAY
          
               Mike and Debbie continue to gaze awestruck through the
               windows. Santiago turns to them.
          
                                     SANTIAGO
                             (In Spanish)
                         Are you hungry?
          
               They both nod.
          
                                     SANTIAGO (CONT'D)
                         Do you like popsicles?
          
               Santiago pulls over next to some stalls, and the street
               vendors run out to offer them their products.
          
          48   EXT. PARK, TIJUANA -- DAY
          
               The children eat their popsicles as they walk through the
               endless aisles of stalls, past the vendors and their incessant
               banter.
          
                                                                             30.
          
                                     MIKE
                         What's this flavor called?
          
               Santiago answers before Amelia.
          
                                     SANTIAGO
                             (In Spanish)
                         Cajeta... it's called cajeta.
          
                                     MIKE
                             (Mispronouncing)
                         Cayeto...
          
               Santiago laughs.
          
                                     SANTIAGO
                         No, cajeta... cajeta...
          
                                      MIKE
                         Cajeto, cajeta... It's the best thing
                         I've ever tasted in my life.
                             (A beat)
                         Can I buy some for my mom? She's
                         gonna love them.
          
               Amelia smiles and nods.
          
          49   EXT. TIJUANA -- DAY
          
               The car drives out of the city and gets on a highway.   The
               desert rises in all its magnitude and severity.
          
          50   EXT. DESERT HIGHWAY -- DAY
          
               Santiago parks the car next to a junkyard.   Amelia and Debbie
               run out and hide behind a fence.
          
               Debbie pulls her underpants down to pee.   Troubled, she looks
               at the mound of destroyed cars.
          
                                     DEBBIE
                         Are they crashed cars?
          
                                     AMELIA
                         Yes...
          
                                     DEBBIE
                         Did lots of people die?
          
                                     AMELIA
                         I guess so...
          
                                     DEBBIE
                         I don't like Mexico.
          
                                                                              31.
          
          51   EXT. DESERT HIGHWAY -- DAY
          
               They drive down the highway and then turn onto a path. They
               drive down the path at high speed, lifting up clouds of dust.
          
          52   EXT. HAMLET "LOS LOBOS" -- DAY
          
               They arrive at a dusty hamlet in the middle of the desert; a
               few houses, no more than twenty, some adorned with
               multicolored paper.
          
               Several crates of soda are stacked up against a makeshift
               shed built out of yucca fronds. A group of musicians who
               play Norte�a music are setting up their instruments.
          
               There are various pickup trucks and smuggled cars parked
               around the hamlet. The guests are wearing their best: fresh
               shirts, big buckles, almost new boots.
          
               Santiago parks. Amelia gets out first.     A group of people
               sees her and comes over to greet her.
          
                                     COMADRE 1
                             (All in Spanish)
                         Hey, so you finally made it.
          
               Amelia smiles.   Her friends notices Mike and Debbie.
          
                                     COMADRE 1 (CONT'D)
                         You brought them?
          
               Amelia nods. Luis (24), Amelia's son, a typical Norte�o
               cowboy with long sideburns and moustache, his face tanned
               from days under the sun, wearing a pistachio-colored tuxedo
               with a cloth flower in the lapel, greets Amelia with a kiss.
          
                                     LUIS
                         Hi mom, how're you doing?
          
               She looks him up and down.
          
                                     AMELIA
                         Son, you look like Pedro Infante.
          
                                     COMADRE 1
                         More like Luis Miguel.
          
                                     AMELIA
                         Where's the bride?
          
                                     LUIS
                         She's not here yet.
          
                                     AMELIA
                         What d'you mean she's not here yet?
          
                                                                            32.
          
                                     LUIS
                         Well, she ain't here.
          
               Mike and Debbie, struck dumb by the language and the
               strangers, hide behind Amelia, who introduces them to Luis.
          
                                     AMELIA
                         Look son, these are Mike and Debbie,
                         the kids I take care of.
          
               Luis holds his hand out ceremoniously.
          
                                     LUIS
                         Pleased to meet you Mike.
          
               Santiago calls out to some kids who are running around.
          
                                      SANTIAGO
                         Psst.   Lucio, come here.
          
               Lucio (10), the oldest of the gang, approaches.   Santiago
               gestures toward the two American kids.
          
                                     SANTIAGO (CONT'D)
                         These are Mike and Debbie. Keep an
                         eye on them for me.
          
               Lucio gives them a scornful glance and calls them over half-
               heartedly.
          
                                     LUCIO
                         Come with me.
          
               With her hand, Amelia signals to the kids that it's ok to go
               with him. Shyly, Debbie and Mike follow.
          
          53   INT. ROOM, HAMLET "LOS LOBOS" -- DAY
          
               Amelia is in a room with her two daughters standing in front
               of a peeling and broken mirror putting on her violet gown.
               One of her daughters helps her and pulls the zipper all the
               way up.
          
                                     DAUGHTER 1
                             (All in Spanish)
                         Oh ma, I don't know how you did it
                         but it zipped up perfectly.
          
                                     AMELIA
                         And it's been 15 years since I last
                         wore this dress.
          
                                     DAUGHTER 1
                         You haven't changed a bit, ma.
          
                                                                            33.
          
                                     AMELIA
                         Working, dear, working, that's what
                         keeps one young.
          
               The two sisters realize that the dress has a hole just below
               the seat, exchange looks and smile, which doesn't please
               Amelia.
          
                                     AMELIA (CONT'D)
                         What are you guys laughing about?
          
                                     DAUGHTER 2
                         Nothing ma, nothing.
          
               Amelia looks at them suspiciously, turns around and leaves
               the room with her dress elegantly torn.
          
          54   EXT. DESERT ROAD, MOROCCO -- DAY
          
               The bus is in the middle of the road.
          
               Several of the tourists are hiding under their seats,
               frightened. The driver, still ducking, looks toward the
               mountains to try to piece together what happened.
          
               Richard holds Susan against his shoulder, blood gushing from
               her neck. Her eyes are open and staring at a fading world.
          
               Richard takes Susan from under her armpits and carefully
               lays her down on the aisle. Anwar runs over to help.
          
                                     RICHARD
                         Take it easy honey, take it easy.
          
               Anwar takes his shirt off - left only in his undershirt -
               and puts it under Susan's neck.
          
                                     SUSAN
                             (mumbling senselessly)
                         I'm ok... I'm ok...
          
               Susan breathes in, and every time she does, blood flows from
               her wound. Richard turns toward the other passengers.
          
                                     RICHARD
                         Is anybody a doctor?
          
               Nobody answers.   Richard starts to lose his cool.
          
                                     RICHARD (CONT'D)
                         Please: a doctor.
          
               The pensioners don't answer; they are too scared. Richard
               opens Susan's purse and sees a cell phone. He turns it on
               and tries to call, but there is no signal. He turns to Anwar.
          
                                                                            34.
          
                                     RICHARD (CONT'D)
                         Where's the nearest hospital?
          
                                      ANWAR
                         It's far away, about four hours.
                             (a beat)
                         There's a clinic that's a little
                         closer, about an hour and a half to
                         the south. By bus it'll take us about
                         two hours and a half though.
          
                                     RICHARD
                         Does that takes away from Marrakesh?
          
                                     ANWAR
                         Yes, but it's the closest thing we've
                         got.
          
               Richard runs down the aisle and gets out of the bus.
          
          55   EXT. DESERT HIGHWAY -- DAY
          
               No cars drive by. The road is almost deserted. In the
               distance, a run-down Renault approaches. Richard stands in
               the road to stop it.
          
               The car brakes and Richard runs toward the driver: an old
               peasant traveling with his eight year-old grandson.
          
                                     RICHARD
                         I need your help. We were attacked.
          
                                     OLD MAN
                             (In Arabic)
                         I don't understand...
          
               Richard grows desperate.
          
                                     RICHARD
                         Help... hospital...
          
                                     OLD MAN
                             (In Arabic)
                         I don't understand you sir.
          
               Richard sees that Anwar and the bus driver have gotten out
               of the bus and he starts shouting at them for help.
          
                                     RICHARD
                         Tell him we need his help.
          
               With the distraction, the old man drives off. Richard watches
               helplessly as they drive away and he grabs Anwar by the arm.
          
                                     RICHARD (CONT'D)
                         Let's take her to the clinic.
          
                                                                            35.
          
          56   EXT. DESERT HIGHWAY -- DAY
          
               The bus makes a U-turn and drives away at full speed.
          
          57   INT. BUS -- DAY
          
               The bus rattles along. Richard huddles over Susan, trying to
               stop the blood flowing from her neck. Barth, an old man starts
               shouting.
          
                                     BARTH
                         Marrakech isn't this way. They're
                         going to shoot at us again.
          
                                     RICHARD
                         We've got to get her to a hospital.
          
                                     BARTH
                         They're going to kill us all. Turn
                         back... turn the bus around...
          
               Richard gets exasperated at the old man's screaming.
          
                                     RICHARD
                         Shut up, god damn it!
          
               Barth shuts up and the bus drives on.
          
          58   EXT. DESERT HIGHWAY -- DAY
          
               The bus bounces its way down the straight highway.
          
          59   INT. BUS -- DAY
          
               The passengers sit quietly. As the ride gets bumpier, Susan
               starts to cry out in pain.
          
                                     SUSAN
                         It hurts, it hurts...
          
               Richard tries to calm her down.
          
                                     RICHARD
                         Easy, sweetie, easy...
          
                                     SUSAN
                         It hurts... it hurts so much...
          
               Richard turns her around and sees her shoulder has been
               shattered. She won't stop shouting. A pool of blood starts
               trickling down the aisle.
          
                                     RICHARD
                             (A Anwar)
                         Isn't there anywhere else we can
                         take her?
          
                                                                           36.
          
                                     ANWAR
                         We can take her to my town. It's
                         near here and there's a doctor. In
                         the meantime we can call Erfourd for
                         an ambulance.
          
               Richard turns to look at Susan, who is writhing in pain.
          
                                        RICHARD
                         Ok.
          
                                      ANWAR
                             (To the driver, in
                              Arabic)
                         Make a right onto the next road.
          
               Richard and Anwar exchange a glance.
          
          60   EXT. DESERT HIGHWAY -- DAY
          
               The bus leaves the main road and turns into a dirt road.
          
          61   INT. BUS -- DAY
          
               The bus' poor suspension gives the passengers a jolt.    Richard
               tries to protect Susan's head.
          
          62   EXT. HAMLET -- DAY
          
               The bus pulls into a small group of houses. Several children
               run beside the bus, chasing it. Some gaunt dogs get out of
               the way to let the bus by.
          
          63   EXT. ANWAR'S HOUSE -- DAY
          
               The bus pulls up in front of a modest house.
          
          64   INT. BUS -- DAY
          
               Richard raises his head and sees the desolate environs.
          
                                        RICHARD
                         Are we here?
          
                                     ANWAR
                         Yes sir, this is my house.
          
               Richard tries to carry Susan, but she screams in pain.
          
                                     RICHARD
                         Easy, darling, easy...
          
               He slips his hands under her and lifts her up.
          
                                     SUSAN
                         Don't touch me there.
          
                                                                         37.
          
               Richard moves his hand, which is covered in blood. As he
               carries her, he turns into the aisle while Anwar and one of
               the passengers try to help him.
          
          65   EXT. HAMLET -- DAY
          
               Richard carries her into the house through a crowd of curious
               children.
          
          66   INT. ANWAR'S HOUSE -- DAY
          
               Anwar leads Richard down the hallways amidst Susan's screams.
          
          67   EXT. PATIO, ANWAR'S HOUSE -- DAY
          
               They walk through a dusty patio and Anwar points at some
               stairs. Richard climbs them with difficulty and Anwar opens
               the door to a room.
          
                                     ANWAR
                         Here... here...
          
          68   INT. ROOM, ANWAR'S HOUSE -- DAY
          
               An old woman (87), Anwar's grandmother, who has centuries of
               desert in her expression, lets them in and points at a rug
               on the floor.
          
                                     ANWAR'S GRANDMOTHER
                             (In Arabic)
                         Put her there...
          
               Richard understands and softly lays Susan on the rug. Susan
               looks around horrified: adobe walls, dirt floor: the epitome
               of the third world.
          
                                     RICHARD
                         I need to call an ambulance and
                         contact my embassy.
          
                                     ANWAR
                         If you have the number of the embassy,
                         I can go call.
          
               Obviously, Richard does not have it.
          
                                     RICHARD
                         I need to make a phone call.
          
                                     ANWAR
                         Of course, come with me.
          
               They get ready to leave and Susan starts imploring.
          
                                     SUSAN
                         Don't leave me here alone...
          
                                                                           38.
          
                                     RICHARD
                         Don't worry, I'll be right back.
          
               Susan looks desperate. To set Richard somewhat at ease,
               Anwar points at his Grandmother.
          
                                     ANWAR
                         She can take care of her.
          
               Richard leans over Susan.
          
                                     RICHARD
                         You're going to be ok.
          
               Anwar kneels down next to her, takes a cloth and improvises
               a tourniquet that he adjusts near her shoulder. He turns
               towards the grandmother.
          
                                     ANWAR
                             (In Arabic)
                         Hold and release the tourniquet every
                         once in a while.
          
               The grandmother nods. She sees the swarm of kids looking
               into the place and she shoos them away.
          
                                     ANWAR'S GRANDMOTHER
                             (In Arabic)
                         Get out of here... out...
          
               The kids obey, except for one or two who take one last look
               before they go. Susan's terrified eyes watch Anwar and Richard
               leave the room.
          
          69   EXT. ANWAR'S HOUSE -- DAY
          
               The bus is still parked in front of the house. As soon as
               Richard walks out, the pensioners approach him.
          
                                     DOUGLAS
                         How is your wife?
          
                                     RICHARD
                         Bad. Very bad.
          
               Tom (51), a fat English passenger, faces him.
          
                                     TOM
                         Get her outta there and let's go.
          
                                     RICHARD
                         And where should I take her?
          
                                     TOM
                         In Egypt, in a town like this, they
                         slit thirty German tourists' throats.
                         They might do the same to us.
          
                                                                    39.
          
          Anwar listens and intervenes.
          
                                ANWAR
                    No, not here.
          
                                TOM
                        (Aggressively)
                    What do you know? We have to get
                    out of here as soon as possible.
          
          Lilly (79), an old woman, approaches.
          
                                LILLY
                    It's very hot, sir, and the driver
                    turned off the air conditioning.
                    I'm feeling sick.
          
                                RICHARD
                    You can't leave us here.
          
          James (82), Lilly's husband, steps forward.
          
                                JAMES
                    What's the use in staying?
          
                                RICHARD
                    In case I need the bus.
          
                                JAMES
                    They can go drop us off and then
                    come back for you.
          
          Douglas (75), a tall old man with good posture, interjects.
          
                                DOUGLAS
                    I'll stay with you if you need me.
          
          Elyse (73), his wife, scolds him.
          
                                ELYSE
                    And why would you stay?
          
                                   RICHARD
                    Please wait.     Let me try to deal
                    with this.
          
                                TOM
                    We're not going to risk our lives,
                    so hurry.
          
          Douglas looks defiantly at Tom.
          
                                DOUGLAS
                    You do what you have to do, we'll
                    wait.
          
                                                                            40.
          
          70   EXT. HAMLET -- DAY
          
               Richard and Anwar walk down the streets of the small hamlet
               before the people's inquisitive gaze. They arrive at a
               general store with all sorts of roots and grains displayed
               outside. Anwar walks over to the owner.
          
                                     ANWAR
                             (in Arabic)
                         We need your phone.     I'll pay for
                         the call.
          
          71   INT. ROOM, ANWAR'S HOUSE -- DAY
          
               Susan is lying on the floor, desolate. It seems as if the
               pain is diminishing. The grandmother leans over her and softly
               caresses her with her dirty, wrinkled hands. This startles
               Susan.
          
                                     ANWAR'S GRANDMOTHER
                             (In Arabic)
                         How do you feel?
          
               Susan is a little bit uncomfortable with her this close.
          
                                     SUSAN
                         Can I have some water?
          
               The old woman doesn't seem to understand. She grabs a basket
               of dates and offers them to her. Susan shakes her head.
          
                                        SUSAN (CONT'D)
                         No, water...
          
               With her hand, Susan mimes drinking a glass of water. The
               old woman seems to understand. She pours some water from a
               jar, leans over her and helps her drink in small sips.
          
                                        SUSAN (CONT'D)
                         Thanks.
          
               The grandmother bows her head as if to say "your welcome."
          
                                     SUSAN (CONT'D)
                         Where's my husband?
          
               The old woman just smiles. Susan makes a gesture of
               desperation. The grandmother leans over her, unfurls her
               index finger and points at her heart.
          
                                     ANWAR'S GRANDMOTHER
                             (In Arabic)
                         Trust in god.
          
               Susan keeps looking at her as she slowly gets up and goes to
               sit in a chair.
          
                                                                        41.
          
          72   INT. GENERAL STORE -- DAY
          
               Richard is in a small cubicle dialing on an old cream-colored
               rotary phone while Anwar waits discretely in a corner. Dozens
               of people watch from outside. Richard turns to look at them
               while the call connects.
          
                                     RICHARD
                         Yes... Rachel? It's Richard...
          
                                     RACHEL (O.S.)
                         �Are you still in Moroccco?
          
                                     RICHARD
                         Yes, we're still in Morocco...Rachel,
                         there was an accident, your sister
                         was shot...
          
                                     RACHEL (O.S.)
                             (Surprised)
                         What? Who shot her?
          
                                     RICHARD
                         I don't know... We were shot at from
                         some hills.
          
                                      RACHEL
                         Is she ok?
          
                                     RICHARD
                         She was hit in her neck and shoulder.
                         Rachel, she's not doing well... I
                         need you to tell the embassy as soon
                         as possible... wait... and call
                         Mark...
          
                                     RACHEL (O.S.)
                         Where are you?
          
               He turns to Anwar.
          
                                     RICHARD
                         Anwar, where are we?
          
                                     ANWAR
                         In Tazarine, three hours southwest
                         of Erfoud.
          
                                     RICHARD
                         Were in Tazarine, T-a-z-a-r-I-n-e
                         Three hours southwest of Erfoud...
                         in the desert... it's a town...
                         there's no hospital... There's nothing
                         here at all...
          
                                     RACHEL (O.S.)
                         Where are you calling me from?
          
                                                                            42.
          
                                     RICHARD
                         From a shop. Rachel, this is urgent...
                         urgent... call the embassy... They
                         have to help us... call James too...
          
                                     RACHEL (O.S.)
                         Why did they shoot her?
          
                                     RICHARD
                         I don't know... Rachel, you're
                         sister's badly hurt... do you
                         understand? Call for help... now...
          
               He hangs up. As soon as he does, he turns to Anwar.
          
                                     RICHARD (CONT'D)
                         Call an ambulance...
          
                                     ANWAR
                         I'll call Erfoud so they send one
                         over.
          
               Anwar, clumsy and stressed at Richard's desperation, takes
               the phone and starts dialing.
          
                                     RICHARD
                         And find a doctor...
          
               As he finishes dialing, Anwar turns to Richard.
          
                                     ANWAR
                         They've already gone to look for
                         him.
          
          73   INT. ROOM, ANWAR'S HOUSE -- DAY
          
               Richard returns to the room. Susan, weak, lies with her
               eyes open. The grandmother is tending to the wound, which
               won't stop bleeding. She gets up and goes to Anwar.
          
                                     ANWAR'S GRANDMOTHER
                             (in Arabic)
                         Anwar, bring me some water.
          
          74   EXT. PATIO, ANWAR'S HOUSE -- DAY
          
               Anwar goes out to the patio and fetches a metal basin full
               of soil. He goes to a well, scoops out some water with a
               gourd and washes out the basin.
          
               Anwar is walking back when he is stopped by Mohammed, his
               brother, a fat man (32) with curly hair and a tanned face.
          
                                     MOHAMMED
                             (the entire dialogue
                              in Arabic)
                         Why did you bring them here?
          
                                                                           43.
          
               Anwar doesn't pay attention to him and keeps walking toward
               the room. His brother catches up to him.
          
                                     MOHAMMED (CONT'D)
                         You should have consulted with us.
          
               Anwar stops and looks at him fixedly.
          
                                     ANWAR
                         She's hurt, we had to take care of
                         her.
          
                                     MOHAMMED
                         In town they're saying she was shot
                         by terrorists. Do you know what
                         they're going to do to us when they
                         find out she's here?
          
                                     ANWAR
                         Don't be paranoid and go help find
                         the doctor.
          
               Anwar pays no more attention to him and carries the basin
               into the room.
          
          75   INT. ROOM, ANWAR'S HOUSE -- DAY
          
               Susan is lying down. A small pool of blood has collected
               under her neck. She looks restless. She whispers weakly.
          
                                     SUSAN
                         Get me out of here... please...
          
                                     RICHARD
                         I'm going to as soon as I can. I've
                         already called Rachel; she's going
                         to tell the embassy.
          
                                     SUSAN
                         I told you we shouldn't have come.
          
               Just then Anwar enters. The grandmother takes the basin and
               sets it in a corner. She gets some pieces of cloth and starts
               to soak them.
          
                                     RICHARD
                         How long until the ambulance gets
                         here?
          
                                     ANWAR
                         About an hour and a half. It's coming
                         from Alnif.
          
                                     RICHARD
                         That much? Isn't there anyone here
                         who could take her?
          
                                                                     44.
          
          Anwar shakes his head.
          
                                RICHARD (CONT'D)
                    We've got to get her out of here.
                    There's no one to tend to her.
          
                                 ANWAR
                    My brother already called a doctor,
                    he's coming.
          
          Richard is going to say something, but holds back.   His
          despair and confusion are evident.
          
                                ANWAR (CONT'D)
                    Trust my grandmother; she knows a
                    lot about remedies.
          
          The grandmother wrings out the rags and puts them on a table.
          She takes some herbs, a fistful of earth from the floor and
          she tosses them into the basin. She stirs it and pulls out
          a clump of mud which she lays out on one of the pieces of
          cloth.
          
          Susan looks horrified at the dirt. The grandmother leans
          over her and tries to clean the wound with the other moistened
          rags. Susan resists.
          
                                ANWAR'S GRANDMOTHER
                        (In Arabic)
                    I have to clean you.
          
                                ANWAR
                        (To Susan)
                    Miss, my grandmother is going to
                    help you.
          
          The grandmother finishes cleaning her with the damp cloths
          and grabs the clump of mud. She tries to put it on the wound,
          but Susan flinches.
          
                                SUSAN
                    No, not that.
          
                                ANWAR'S GRANDMOTHER
                        (In Arabic)
                    It will stop the bleeding.
          
                                SUSAN
                    No, no... not that...
          
          Richard intervenes.
          
                                RICHARD
                        (To Anwar)
                    Let's wait for the doctor.
          
                                                                            45.
          
          76   EXT. HAMLET -- DAY
          
               Two old men walk through the streets.
          
          77   INT. ROOM, ANWAR'S HOUSE -- DAY
          
               Mohammed walks into the room and calls him.
          
                                     MOHAMMED
                             (In Arabic)
                         The sheik and the moukadem are here.
          
          78   EXT. ANWAR'S HOUSE -- DAY
          
               The two men walk past the tourists and head inside without
               knocking or asking for permission.
          
          79   EXT. PATIO, ANWAR'S HOUSE -- DAY
          
               Richard and Anwar have walked out into the patio to wait for
               them. The sheik approaches.
          
                                     SHEIK
                             (In Arabic)
                         Allah be with you.
          
                                     ANWAR
                             (In Arabic)
                         Allah be with you.
          
               He turns to Richard and speaks to him in very bad French.
          
                                     SHEIK
                             (In bad French)
                         I am Atallah the sheik and this is
                         Walid, the moukadem. I'm very sorry
                         about your wife.
          
                                     RICHARD
                         I don't understand French.
          
                                     ANWAR
                         He says he is very sorry about your
                         wife.
          
               Richard thanks him with a nod.
          
                                     SHEIK
                             (To Anwar, in Arabic)
                         Tell him that I want to ask him some
                         questions.
          
                                     ANWAR
                             (To Richard)
                         Can he ask you some questions?
          
               Richard nods.   The sheik continues in Arabic.
          
                                                         46.
          
                                SHEIK
                        (In Arabic)
                    Do you have any enemies in this
                    country?
          
                                ANWAR
                    He asks if you have any enemies in
                    this country.
          
          Richard shakes his head.
          
                                RICHARD
                    Of course not.
          
                                SHEIK
                        (In Arabic)
                    Then why were you shot at?
          
                                ANWAR
                    Why did you come to Morocco?
          
                                RICHARD
                    Vacation.
          
                                ANWAR
                        (In Arabic)
                    He has no idea.
          
                                SHEIK
                        (In Arabic)
                    What does he do for a living?
          
                                ANWAR
                    What do you do for a living?
          
                                RICHARD
                    I'm a magazine editor.
          
                                ANWAR
                        (In Arabic)
                    He edits magazines.
          
                                SHEIK
                        (In Arabic)
                    Anti-muslim magazines?
          
                                ANWAR
                    Anti-muslim magazines?
          
                                RICHARD
                    No, magazine magazines.
          
                                ANWAR
                        (In Arabic)
                    No, normal magazines.
          
                                                                            47.
          
                                     RICHARD
                         Tell him we need to get my wife out
                         of here. Ask him if the ambulance is
                         on its way.
          
                                     ANWAR
                             (In Arabic)
                         He wants to get his wife out of here.
                         He wants to know if the ambulance is
                         on its way.
          
                                     SHEIK
                             (In Arabic)
                         Tell him the federal police are in
                         charge of this, that they are going
                         to send the ambulance.
          
                                     ANWAR
                         He says the federal police are already
                         in charge, that they are going to
                         send the ambulance.
          
               The sheik looks at the house.
          
                                     SHEIK
                             (In Arabic)
                         Hey, did your cousin finally end up
                         getting married?
          
                                     ANWAR
                             (In Arabic)
                         Yep, she's married, she doesn't live
                         here anymore.
          
               Richard, anxious, questions Anwar.
          
                                     RICHARD
                         What did he say?
          
                                     ANWAR
                         He gives you his blessing.
          
                                      RICHARD
                         Thank you.
          
               The sheik and the moukadem turn and exit the house.
          
          80   INT. DENTIST'S OFFICE -- DAY
          
               Chieko is sitting in the reception area, waiting her turn.
               There is a woman with a twelve year-old son listening to a
               walkman and an old couple.
          
               The receptionist (50) will not stop talking to the old lady.
          
                                                                            48.
          
                                     RECEPTIONIST
                         My niece sells these creams. And
                         just look at my skin now. I'm going
                         to turn fifty-two and look, almost
                         no wrinkles...
          
               The woman continues her banal chatter. Chieko observes her
               grotesque mouth. She then looks at the old man's bored face,
               the old woman's feigned interest, the mother's annoyed
               expression, and the boy, who rocks his head to the music.
          
               A man walks out and the receptionist gestures at Chieko and
               points toward the door.
          
          81   INT. DENTIST'S OFFICE -- DAY
          
               The dentist (47) - tall and, unlike the receptionist, with
               impeccable skin covering his hardened, attractive face -
               examines Chieko's mouth. His face comes very close to hers
               as he looks at her, making her nervous. The fat receptionist
               walks in without knocking.
          
                                     RECEPTIONIST
                         Here are the sterilized drill bits.
          
               The dentist looks up at her. She leaves the drill bits on a
               table and leaves. The dentist turns back to Chieko and speaks
               face to face with her so she can read his lips.
          
                                      DENTIST
                         I-think-you-have-two-cavities-in-
                         your-molars.
          
               She smiles. The dentist moves closer to Chieko's mouth again;
               she cannot stop looking at him.
          
               Suddenly, Chieko licks his cheek. He is surprised, but
               continues his checkup. She licks him again, this time on the
               lips. He pulls away, flustered.
          
                                     DENTIST (CONT'D)
                         What are you doing?
          
               She grabs his hand, puts it on her inner thigh and rubs it
               against her pubis.
          
               He, confused, tries to pull his hand away, but she prevents
               him from doing so. The scene starts to turn slightly
               grotesque. After a slight struggle, he pulls his hand back.
          
                                     DENTIST (CONT'D)
                         What's the matter with you?
          
               She grabs his hand again and, again, pulls it toward her
               pubis. He gets angry and moves back. The fat woman enters
               again without knocking, sees they are agitated and, without
               a word, walks out and closes the door.
          
                                                                             49.
          
               The dentist turns toward Chieko.
          
                                       DENTIST (CONT'D)
                           Get out.
          
               She shakes her head. She is excited, anxious, scared,
               fragile. He pulls her by her wrist out of the chair.
          
                                       DENTIST (CONT'D)
                           Get out right now.
          
               He walks to the door and opens it. Just before she walks
               out, Chieko draws out a slight smile, which is almost a grin.
          
          82   EXT. TOKYO STREETS -- DAY
          
               Chieko walks down crowded Tokyo streets.   She walks with a
               lost gaze, unsettled.
          
          83   EXT. APARTMENT BUILDING, TOKYO -- DAY
          
               Chieko arrives at an upper class apartment complex. The
               architecture is cutting edge, but impersonal and cold.
          
          84   INT. LOBBY, TOKYO APARTMENT BUILDING -- DAY
          
               Chieko enters the lobby. Beside the doorman are two men
               dressed in suits: Kenji (31) and Hamano (50). The janitor
               gestures at Chieko with his chin. The men walk over toward
               her and cut her off.
          
                                       HAMANO
                           Are you Yasujiro Wataya's daughter?
          
               Chieko doesn't manage to read his lips. She is silent. The
               doorman notices the situation, walks out from behind his
               small desk and shouts at the men.
          
                                       DOORMAN
                           She's deaf mute. Face her when you
                           speak so she can read your lips.
          
               Kenji and Hamano are disconcerted. Hamano stands squarely
               in front of her and speaks slowly, emphasizing every word.
          
                                       HAMANO
                           Are-you-Yasujiro-Wataya's-daughter?
          
               She nods.
          
                                       HAMANO (CONT'D)
                           We-are-sargeants-Kenji-Mamiya-and-
                           Hamano-Kanoo-of-the-Tokyo-police.
                           We-need-to-find-your-father.
          
               She pulls out a pen and a piece of paper from her bag.   She
               scrawls a few lines and hands them over.
          
                                                                             50.
          
               Hamano reads it and turns his face toward hers.
          
                                     HAMANO (CONT'D)
                         No, he didn't do anything wrong. We
                         just want to talk to him. Do you
                         know where he is?
          
               She shrugs her shoulders. Kenji gives her his card. Upon
               receiving it, Chieko turns to look at him. Their eyes meet
               and she looks down. She then looks up again, blushing.
          
                                     KENJI
                         Tell him to call us. And don't be
                         scared, we're not going to do anything
                         bad to him.
          
                                      HAMANO
                         Thank you.
          
               Chieko can't stop staring at Kenji. The two cops leave.    As
               soon as they do, Chieko heads toward the elevator.
          
          85   INT. CHIEKO'S APARTMENT -- DAY
          
               Chieko walks into the apartment. It is a large apartment,
               elegantly furnished. Although decoration is scant, some
               hunting trophies stand out: a scimitar-horned Oryx, sheep,
               and others. There are also photographs of Yasujiro hunting.
          
               A wall is dedicated to family photos. Among them is a picture
               of Chieko as a little girl with her father and her mother.
          
               Chieko sees a note on the table at the entrance. She puts
               the policeman's card down and picks up a note from her father
               that says: "I waited until five and you didn't make it.
               I've got a meeting and I'll be back late. I left you some
               soup and some chicken for dinner. Kisses. Papa."
          
          86   INT. CHIEKO'S ROOM -- DAY
          
               Chieko sits in front of a mute T.V., channel surfing.   She
               stops at a fashion show, then some cartoons.
          
               Suddenly, on a news program, we see the photographs of Ahmed
               and Yussef. Chieko looks at them for a moment and then
               changes the channel. She is watching T.V. when a red bulb,
               set between a yellow bulb and a blue one, starts to light up
               insistently as the doorbell rings.
          
               Chieko notices and shuts off the T.V.
          
          87   INT. LIVING ROOM, CHIEKO'S APARTMENT -- DAY
          
               Chieko opens the door and Mitsu walks in. They greet each
               other with a handshake where they end up touching their index
               fingers to each other's hearts.
          
                                                                            51.
          
                                     MITSU
                         Are you ready?
          
                                     CHIEKO
                         Yeah, I'm just going to get my bag.
          
               Chieko goes to get her bag. Mitsu sees the policeman's card
               on the entrance table and looks at it. Chieko comes back
               and Mitsu asks her about it in sign language.
          
                                     MITSU
                         The cops came again?
          
                                    CHIEKO
                         Yeah. They hadn't come in nine
                         months. But these were different
                         cops.
          
                                     MITSU
                         Did they come to ask about your
                         mothers' death?
          
                                     CHIEKO
                         No, but they're probably going to
                         ask my dad about the same things.
          
                                     MITSU
                         They're just not convinced, are they?
          
               Chieko shakes her head, remains pensive and then smiles.
          
                                     CHIEKO
                         Believe it or not, I liked one of
                         the cops.
          
               Chieko puts Kenji's card in her purse.
          
                                     MITSU
                         Did you put on some panties?
          
               Chieko smiles, lifts up her skirt and exposes her naked pubis.
               Mitsu lifts hers up as well and is also without panties.
               They laugh and leave the apartment.
          
          88   EXT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER
          
               Dawn. The desert is a rose plain softly lit by the sun's
               first rays. Yussef and Ahmed are digging a hole with their
               bare hands. Once they're finished, they clean up around the
               hole and mark it with three stones.
          
          89   EXT. HIGHWAY, DESERT -- MORNING
          
               Alarid (40), a federal cop, tall, in an impeccable uniform
               with numerous rank badges, stands on the highway examining
               the site of the shot with the old man who was driving.
          
                                                                         52.
          
               In the distance we can see a police checkpoint stopping some
               cars and, after checking them, letting them go.
          
                                      ALARID
                             (To the old man, the
                              entire dialogue in
                              Arabic)
                         Are you sure it was here?
          
                                     OLD MAN
                         Sure. I drive down this road every
                         day. The American tried to stop me
                         right here.
          
               He stands more or less where Richard tried to stop him.
          
                                     OLD MAN (CONT'D)
                         I was scared. He was covered in
                         blood and I was coming from picking
                         up my grandson from his work.
          
                                     ALARID
                         Where was the bus?
          
               The old man points some twenty yards behind him.
          
                                       OLD MAN
                         Over there.
          
               Alarid walks toward where the old man said and looks out at
               the mountains. Some of his men are visible at the tops.
               Alarid talks to them by radio.
          
                                     ALARID
                         Look further to the right.
          
               We can see some men exploring the terrain.
          
                                     ALARID (CONT'D)
                             (To the old man)
                         Why did you wait so long to contact
                         the police?
          
                                     OLD MAN
                         I had to drive my grandson home.
          
               The radio crackles.
          
                                     POLICEMAN VOICE
                         Captain Alarid, Captain Alarid... We
                         found the cartridges.
          
          90   EXT. MOUNTAIN RANGE -- MORNING
          
               Alarid squats, scrutinizing the four empty cartridges lying
               on the earth. One of his men approaches and Alarid signals
               with his hand for him to stop immediately.
          
                                                                            53.
          
                                     ALARID
                         Stop right there...
          
               The man remains motionless. Alarid follows the prints that
               lead away from the cartridges. He reaches the mess of goat
               hoof-prints. He picks up a ball of shit and feels it.
          
                                     ALARID (CONT'D)
                         They're from around here. Find out
                         who has a .270 caliber rifle.
          
          91   EXT. DESERT -- MORNING
          
               Yussef and Ahmed walk back home, lost in their own thoughts.
               Suddenly a jackal trots out and stares at them. Yussef picks
               up a rock and throws it. The jackal runs off.
          
          92   EXT. HASSAN'S HOUSE -- MORNING
          
               Hassan and his wife are listening to the radio and playing
               cards at a table placed outside the house. As they play,
               Hassan whittles a stake with a small knife.
          
               Hassan's wife lowers her hand and Hassan follows.
          
                                        HASSAN
                         I won...
          
               His wife pushes two chips from her pile toward him. In the
               distance, several trucks approach, kicking up a dust cloud.
               Hassan's wife gets up to better see them.
          
                                     WIFE
                         Are you expecting anyone?
          
               Hassan stands up and watches the vehicles come closer.
          
                                        HASSAN
                         No.
          
               Five trucks pull up in a semicircle around the house. A
               dozen police officers get out armed and aim at Hassan and
               his wife.
          
               Alarid gets out and stands next to his car door.
          
                                     ALARID
                         Hassan Ibrahim?
          
               Hassan paralyzed by fear, answers in a broken voice.
          
                                        HASSAN
                         Yes.
          
               One of the police officers approaches him aiming directly at
               his head, while another one aims at his wife.
          
                                                                            54.
          
                                     POLICE OFFICER
                         Drop your weapon.
          
               Hassan lifts up his knife and shows it to them.
          
                                     HASSAN
                         It's not a weapon, it's my knife.
          
                                     POLICE OFFICER
                         Drop it, now...
          
               Hassan drops the knife in the dust.
          
                                     POLICE OFFICER (CONT'D)
                         Get down on the floor... face down...
          
               Hassan and his wife look at each other before they obey.
          
                                     HASSAN
                         What did we do?
          
               The cop readies himself to fire, and Hassan drops to the
               ground. His wife follows and also lies on her stomach.
          
          93   EXT. YUSSEF AND AHMED'S HOUSE -- DAY
          
               Abdullah takes two goats out of the corral, ties a rope to
               their neck and drags them over to a rock. The goats bleat
               desperately trying to break free.
          
               Abdullah turns to look at his children.
          
                                      ABDULLAH
                         Hold them.
          
               Yussef and Ahmed hold their legs.   Abdullah pulls out a knife
               and slits the goat's throat.
          
          94   EXT. HASSAN'S HOUSE -- DAY
          
               Hassan lies on the floor, cuffed, with a broken mouth,
               surrounded by cops. Alarid is carrying out the interrogation,
               squatting next to Hassan's face.
          
                                     ALARID
                         Why did you shoot at the bus?
          
                                     HASSAN
                         I didn't shoot at anyone.
          
                                     ALARID
                         Then who, you idiot?
          
               Hassan remains silent and turns to look at his wife who is
               sitting on a chair, cuffed, a few yards away.
          
                                                                             55.
          
                                     HASSAN
                         It wasn't me.
          
               Alarid punches him in the face.
          
                                     ALARID
                         That was your rifle.
          
                                     HASSAN
                         No, not anymore, I sold it today.
          
                                      ALARID
                         Oh yeah?   To who?
          
          95   EXT. YUSSEF AND AHMED'S HOUSE -- LATER
          
               Abdullah gives Yussef and Ahmed some goat skins.
          
                                     ABDULLAH
                         Take these goat skins to Naguib and
                         see if he wants to buy them.
          
               The two brothers bundle up the skins, tie them up with some
               cord and they leave down the path away from the house.
          
          96   EXT. DESERT -- DAY
          
               As they climb a hill, they encounter a convoy of Moroccan
               police trucks. They are terrified. The vehicles screech to
               a dramatic halt before them, lifting up much dust.
          
               Alarid opens the passenger window.
          
                                     ALARID
                         Hey, do you know where Abdullah Adboum
                         lives?
          
               Ahmed and Yussef exchange a glance.   Yussef nods.
          
                                      YUSSEF
                         Yes.
          
               Ahmed gets very nervous.   Yussef points the wrong way with
               an air of certainty.
          
                                     YUSSEF (CONT'D)
                         Over there, you have to cross those
                         mountains.
          
                                     ALARID
                         They told us he lived around here.
          
                                     YUSSEF
                         No, we just live here with our mother.
                         Abdullah lives over there.
          
               Alarid scrutinizes the brothers' faces.
          
                                                                              56.
          
                                     ALARID
                         If you're lying to me I'm going to
                         come back and cut your balls off.
          
               Ahmed breathes nervously.    Yussef continues in cold blood.
          
                                     YUSSEF
                         You can come back whenever you like.
          
               Alarid smiles and gestures at the driver with his head that
               they should go on. The police vehicles drive off in the
               direction Yussef pointed them in.
          
          97   EXT. YUSSEF AND AHMED'S HOUSE -- DAY
          
               Ahmed and Yussef run home. Their mother and sisters are
               milking some goats into a tin bucket. When they fill, Abdullah
               empties the milk out into a barrel.
          
                                     AHMED
                         Papa... papa...
          
               Abdullah puts the bucket down on the floor and turns to look
               at his kids, who stop before him, panting, exhilarated.
          
                                     ABDULLAH
                         What happened?
          
               Ahmed can barely control his gasping.
          
                                     AHMED
                         The police... they're looking for
                         you...
          
                                        ABDULLAH
                         Me?    Why?
          
                                     YUSSEF
                         No, they're not looking for you...
                         they're looking for us...
          
                                        ABDULLAH
                         You?    Why?
          
                                     YUSSEF
                         Because of what happened to the
                         tourist...
          
               Yasira and her two daughters stop milking and approach.
               Abdullah can't seem to understand what their talking about.
          
                                     ABDULLAH
                         What tourist?
          
                                     AHMED
                         The American... Yussef killed her...
          
                                                                            57.
          
                                     YUSSEF
                         That's not true, we both did.
          
                                     YASIRA
                         What are you saying?
          
               Ahmed fires his words out.
          
                                     AHMED
                         Yussef started shooting at the cars
                         because Hassan said that the bullet
                         could go really far...
          
                                      YUSSEF
                         That's a lie, you started shooting
                         at the cars.
          
                                     AHMED
                         Yes, but you killed her.
          
               Abdullah loses his patience and grabs Ahmed by the shoulders.
          
                                     ABDULLAH
                         What the hell are you talking about?
          
               Ahmed looks at his father straight in the eyes.
          
                                     AHMED
                         Yussef killed the American and he
                         spies on Zora naked and Zora lets
                         him watch her...
          
               Abdullah turns toward Zora.   In his mind, everything is
               confusion.
          
                                     ABDULLAH
                         What is your brother talking about?
          
                                     ZORA
                         That's bullshit.
          
                                     AHMED
                         It's not bullshit; she's a whore and
                         my brother spies on her...
          
               As soon as the words leave Ahmed's mouth, Yussef decks him
               and leaves him sprawled on the dust.
          
               Ahmed shoots right back up and runs at Yussef kicking, until
               they're both entangled in the fight and end up rolling on
               the ground. Abdullah tries to get between them.
          
          98   EXT. HAMLET "LOS LOBOS" -- DAY
          
               Debbie and Mike are almost like spectators at a soccer match
               between the other kids, as they play in the dirt with an
               orange plastic ball.
          
                                                                               58.
          
                Nobody passes to them.    Mike just runs from side to side
                without saying a word.    Frustrated, Debbie just watches.
          
          99    INT. HOUSE, HAMLET "LOS LOBOS" -- DAY
          
                 nside the house, Amelia is checking on the food.
          
                                      AMELIA
                              (All in Spanish)
                          How many pots of rice did you make?
          
                                         DAUGHTER 1
                          I made two.
          
                Amelia looks out the window and sees the vast amount of guests
                that have arrived and which have transformed the hamlet into
                a large parking lot of trucks, horses, carts, etc.
          
                                      AMELIA
                          Too many people have come, that's
                          not going to be enough. Make two
                          more pots.
          
                She turns to another of her daughters.
          
                                      AMELIA (CONT'D)
                          And you Maria Eugenia, warm up more
                          tortillas.
          
                She sees Santiago walk past the window.
          
                                      AMELIA (CONT'D)
                          Santiago... please go kill another
                          six chickens, or there won't be enough
                          food.
          
                Santiago stops and looks through the window.
          
                                         SANTIAGO
                          Sure thing.
          
                Out back, Santiago sees a car arrive.    A priest steps out.
          
          100   EXT. HAMLET "LOS LOBOS" -- DAY
          
                Luis is standing under a shack drinking beer with some
                friends. Amelia, worried, approaches him.
          
                                      AMELIA
                              (Both in Spanish)
                          Luis, the priest is here and Patricia
                          hasn't arrived. Where is she?
          
                                         LUIS
                          No idea.
          
                                                                             59.
          
                                      AMELIA
                          Fifteen minutes left before the
                          wedding and you have no idea?
          
                                      LUIS
                          What if she doesn't want to get
                          married? Shut up and come help me
                          look for her.
          
          101   EXT. HAMLET "LOS LOBOS" -- DAY
          
                Santiago arrives at where the children are playing.   He calls
                out to them.
          
                                      SANTIAGO
                              (In Spanish)
                          Who wants to help me with the
                          chickens?
          
                Everyone raises their hand and go toward him. Mike and Debbie
                stand still without knowing what to do. Santiago calls them.
          
                                      SANTIAGO (CONT'D)
                          Mike and Debbie. Come with me.
          
          102   EXT. CHICKEN COOP -- DAY
          
                The chickens walk around a rustic chicken coop made with
                wire mesh and mesquite posts. Santiago opens the door to
                the coop and lets the kids in, Mike and Debbie among them.
                Once inside, Santiago tells them to catch the chickens.
          
                                      SANTIAGO
                              (In Spanish)
                          I'll give ten pesos to the first one
                          of you who catches a chicken.
          
                The kids start chasing the chickens, which scamper as soon
                as they feel hands trying to grab them.
          
                At first, Mike and Debbie don't know what to do, but they
                are soon amused and run to catch them. After a while, Debbie
                catches one and holds it up.
          
                Santiago applauds her.
          
                                      SANTIAGO (CONT'D)
                          Debbie is the winner. Now we need
                          another five.
          
                The kids get back to their game of catching chickens.
          
          103   EXT. DESERT ROAD -- DAY
          
                Santiago's car drives down the road, with a terrible sun
                beating down on it.
          
                                                                            60.
          
          104   INT. SANTIAGO'S CAR -- DAY
          
                Luis drives while Amelia looks out the window.
          
                                      AMELIA
                              (Both in Spanish)
                          Did you get into a fight with
                          Patricia?
          
                                      LUIS
                          No, not at all.
          
                                      AMELIA
                          I didn't bust my hump to pay for
                          this wedding for Patricia not to
                          show. So she's either coming or
                          she's coming.
          
          105   EXT. CHICKEN COOP -- DAY
          
                Santiago has several chickens tied up. One of the kids
                catches the last one and hands it to Santiago.
          
                                      SANTIAGO
                              (In Spanish)
                          Ready. Now who's going to help me?
          
                Several children raise their hands. Mike and Debbie raise
                theirs as well, excited. Santiago picks Mike.
          
                                      SANTIAGO (CONT'D)
                          Let's see, Mike, you can help me.
          
                Proud, Mike walks toward Santiago and stands next to him.
                Santiago unties a chicken and gives it to Mike.
          
                                      SANTIAGO (CONT'D)
                          Hold it tight, like this.
          
                He shows him how to hold it. Mike grabs it and holds it
                between his arms, smiling, oblivious to what will happen.
                Santiago grabs the chicken by the head and pulls it off.
          
                The chicken starts to shake, spurting blood everywhere.
                Mike, stunned, lets the animal fall to the ground and the
                chicken starts its mad race.
          
                The Mexican kids start screaming excitedly, chasing the
                headless chicken. Nobody notices that Debbie and Mike,
                completely shocked, are about to cry.
          
          106   EXT. PATRICIA'S HOUSE -- DAY
          
                They arrive at the bride's house. A car adorned with ribbons
                is parked outside. There is no one to be seen.
          
                                                                            61.
          
          107   INT. SANTIAGO'S CAR -- DAY
          
                Luis honks the horn.   Nobody shows.
          
                                      AMELIA
                          I'm going to see if they're inside.
          
          108   EXT. PATRICIA'S HOUSE -- DAY
          
                As Amelia gets out, Patricia's mother appears, upset.
          
                                      AMELIA
                          What's the matter?
          
                                      MOTHER
                          Patricia's not feeling well.
          
          109   EXT. CHICKEN COOP -- DAY
          
                Santiago and the other kids are plucking the chicken's
                feathers. Mike and Debbie stare, horrified.
          
                                      SANTIAGO
                              (In Spanish)
                          Aren't you going to help?
          
                Mike and Debbie shake their heads.
          
                                       SANTIAGO (CONT'D)
                          Why?
          
                                      MIKE
                          It's not good to kill animals.
          
                Santiago smiles to himself.
          
                                      SANTIAGO
                              (In English)
                          Have you ever been to Kentucky Fried
                          Chicken?
          
                They both nod.
          
                                      SANTIAGO (CONT'D)
                          What? Did you think that Colonel
                          Sanders kept them as pets?
          
                He hands Mike a headless chicken, and he slowly starts to
                pluck it.
          
          110   INT. PATRICIA'S ROOM -- DAY
          
                Patricia, in her bridal dress and clearly six months pregnant,
                is sitting on her bed with her hands around her belly, with
                her mother, father and entire family around her.
          
                                                                             62.
          
                                      PATRICIA
                              (Both in Spanish)
                          My belly's been hard since the
                          morning.
          
                                      AMELIA
                          That happens when you're nervous.
          
                                      MADRE
                          D'you think the baby's coming?
          
                                      AMELIA
                          There's no way the baby's coming;
                          she's only six months pregnant.
          
                                      PATRICIA
                          But my belly feels hard, really hard.
          
                                      AMELIA
                          D'you want to get married?
          
                                       PATRICIA
                          Yes.
          
                                      AMELIA
                          Well, let's go then.
          
                                      MADRE
                          And what if the baby comes out?
          
                                      AMELIA
                          Well, we'll have the wedding and
                          baptize the kid while we're at it.
          
          111   EXT. HAMLET -- DAY
          
                A bearded man (50) on an old bicycle rides down the hamlet's
                narrow streets. He is carrying a briefcase on the bike.
          
                He is escorted by dozens of children.
          
          112   INT. ROOM, ANWAR'S HOUSE -- DAY
          
                Susan is lying on the floor, moaning softly. Flies hover
                around the pool of blood under her neck. Richard, worried,
                strokes her hair.
          
                The grandmother brings them a pot of tea with two cups and
                sets them on the floor beside them.
          
                                       RICHARD
                          Thank you.
          
                The grandmother goes to sit in a chair. Mohammed walks in
                and whispers something to him. Anwar turns to Richard.
          
                                                                           63.
          
                                      ANWAR
                          The doctor's here.
          
          113   EXT. PATIO, ANWAR'S HOUSE -- DAY
          
                The doctor walks across the patio, through the tumult of
                children and before the scrutiny of two police officers.
          
          114   INT. ROOM, ANWAR'S HOUSE -- DAY
          
                The doctor enters the room.
          
                                      DOCTOR
                              (In Arabic)
                          Allah be with you.
          
                                      ANWAR'S GRANDMOTHER
                              (In Arabic)
                          Allah be with you.
          
                Richard just bows his head slightly. The doctor walks over
                to Susan, shoos the flies away and examines the wound. She
                looks at him, anxious.
          
                                      DOCTOR
                              (In Arabic)
                          The bullet didn't hit her spine or
                          split her jugular. But it did shatter
                          her clavicle and she could bleed to
                          death.
          
                Anwar looks worried.
          
                                      RICHARD
                          What did he say?
          
                                      ANWAR
                          He says she will be fine.
          
                                      RICHARD
                          Stop lying to me god damn it, and
                          tell me what the fuck he said!
          
                The doctor addresses Richard in terrible English.
          
                                      DOCTOR
                          Hospital... need hospital...
          
                                      RICHARD
                          Yes, we know that. What can you do
                          in the meantime?
          
                                      DOCTOR
                              (In Arabic, to Anwar)
                          Tell him I have to stitch up the
                          wound to stop the bleeding.
          
                                                                    64.
          
          Anwar draws close to Richard and whispers.
          
                                ANWAR
                    He has to sew up her wounds.
          
          Susan turns to look at them, suspicious.
          
                                SUSAN
                    What did he say?
          
          Richard gets nervous.
          
                                RICHARD
                    You need some stitches.
          
                                SUSAN
                    What do you mean stitches?
          
          The doctor opens his kit and takes out a rudimentary needle
          and thread. He gets ready to sew. Richard questions him,
          also in whispers.
          
                                RICHARD
                    You're not going to give her any
                    anesthetic?
          
          The doctor and Anwar exchange a look.
          
                                ANWAR
                        (To Richard)
                    No, he doesn't use anesthetic.
          
                                RICHARD
                    What kind of doctor is he?
          
          Anwar answers naively, in a low voice.
          
                                ANWAR
                    He's a veterinarian, but he is good.
          
          Richard looks at him, surprised and angry.
          
                                RICHARD
                    He can't take care of her.
          
                                SUSAN
                    Richard, he might infect the wound...
          
          Richard can't answer as he focuses on what the doctor says.
          
                                DOCTOR
                        (In Arabic)
                    Tell him that if I don't stitch up
                    her wound she may bleed to death.
          
                                                                        65.
          
                                ANWAR
                    If he doesn't sew up the wound, she
                    may bleed to death.
          
                                DOCTOR
                        (In Arabic, to Anwar)
                    And tell him her clavicle is broken.
                    We have to fasten a splint to it.
          
                                ANWAR
                    He says she has a broken bone and he
                    has to put a splint on it.
          
          Richard remains pensive for a moment. He looks at Susan,
          then at the doctor and assents tentatively.
          
                                DOCTOR
                        (In Arabic)
                    We're going to have to hold her down.
          
          He mimes holding her down with his hands. Richard leans over
          Susan, who weakly languishes on the rug.
          
                                RICHARD
                    Honey, this is going to hurt a little.
          
          She stares at him. Richard turns to Anwar and signals that
          he can begin. Anwar holds her hands. Susan, stupefied, to
          Richard.
          
                                SUSAN
                    Richard, don't let him...
          
          The doctor lifts Susan's neck and starts to stitch.    She
          howls in pain and tries to move away.
          
          Anwar and Richard hold Susan down.    The doctor sticks the
          needle in again.
          
          Susan shakes her head from side to side trying to pull away.
          
                                SUSAN (CONT'D)
                    Don't let him, don't let him.
          
                                RICHARD
                    Calm down... calm down... Susan,
                    they have to sew you up... relax...
          
          Richard holds her head to keep her still. She resists.
          
                                SUSAN
                    No, no...no..
          
                                RICHARD
                    Honey, please try to relax...
          
                                                                          66.
          
                The doctor rubs alcohol on the wound and starts to stitch.
                She moans in pain. Richard puts a rag in her mouth, on which
                she bites down.
          
          115   EXT. TINY SHOP -- DAY
          
                Mohammed sits outside with three friends drinking coffee.
                From where they are we see the bus and the American tourists.
                A battery powered radio plays Moroccan music and commercials
                in the background.
          
                                      MOHAMMED
                          I don't understand why Anwar brought
                          them here.
          
                                      FRIEND 1
                          Well he spends all his time with
                          them, what do you expect.
          
                                      FRIEND 2
                          The woman is hurt, he had to help
                          her.
          
                                       MOHAMMED
                          Yeah?   And when have they helped us?
          
                                      FRIEND 1
                          I liked one of those tourists.
          
                                       FRIEND 2
                          Really?   They're all skin and bones.
          
                Suddenly Mohammed focuses on the radio.
          
                                      MOHAMMED
                          Shh... sh... listen.
          
                The friends are quiet.
          
                                      NEWSCASTER (V.O.)
                          Today, near Tazarine, there was an
                          incident where an American was shot...
          
                One of the friends interrupts.
          
                                      FRIEND 3
                          Hey look, it's the story.
          
                                      FRIEND 2
                          They said Tazarine, did you hear?
                          We were on the radio...
          
                                      MOHAMMED
                          Shh, shut up.
          
                                                                          67.
          
                                      NEWSCASTER (V.O.)
                          Although authorities say it could
                          have been a foiled robbery, the
                          American government claims they are
                          certain it was a terrorist attack.
                          Minister Hassef Hazal has said that
                          in our country, terrorist cells have
                          been eradicated, that Morocco is a
                          peaceful country and that one act of
                          vulgar banditry followed by
                          superficial evaluations such as the
                          U.S. intends to place upon it cannot
                          ruin the image, the economy and the
                          pacifist reputation of our country.
                          American Ambassador Ken Jones,
                          however, insists that it was a
                          terrorist attack on American citizens,
                          that it merits a full investigation,
                          and that the guilty should be
                          punished. So far, the attack has not
                          been attributed to any known terrorist
                          organizations...
          
                Mohammed shouts.
          
                                      MOHAMMED
                          I fucking told Anwar, I told him he
                          was only going to get us in trouble...
                          he never comes and when he does he
                          always brings trouble...god damn
                          it...
          
                                       FRIEND 1
                          Are the Americans going to invade
                          our country?
          
                                      MOHAMMED
                          I don't know.
          
          116   INT. ANWAR'S HOUSE -- DAY
          
                Susan lies on the floor with her neck shoddily stitched and
                a splint on her shoulder made out of a few sticks and some
                dirty bandages. She moans in pain and mumbles curses.
          
                                      SUSAN
                          I hate you... I hate you...
          
                She tries to stand, but the doctor impedes it.
          
                                      DOCTOR
                              (To Anwar in Arabic)
                          Tell her not to move; the bullet's
                          still inside.
          
                                                                             68.
          
                                      ANWAR
                              (To Susan)
                          Don't move, miss. The bullet is still
                          inside you.
          
                                      SUSAN
                          I don't give a shit...
          
                                      RICHARD
                          My love, don't move.
          
                                      SUSAN
                          I want to call the kids.
          
                                      RICHARD
                          You can't move, calm down.
          
                                      SUSAN
                          I want to talk to them.
          
                                      RICHARD
                          You can't; there's only one phone in
                          town. I'll call them later.
          
                She seems obsessed by the idea.
          
                                      SUSAN
                          I want to talk to them...
          
                She tries to stand again. As they struggle, the grandmother
                takes out a hash pipe form a drawer and lights it. She gives
                it two drags and squats next to Susan.
          
                She shows her how to smoke it and hands it over. The old
                woman's serenity is such that Susan acquiesces. She takes
                four drags and slowly starts to relax.
          
                Susan smokes another three times, relaxes and closes her
                eyes. The old woman goes to get the clump of mud and starts
                to spread it on Susan's neck. Susan does not protest.
                Richard watches the scene in awe.
          
          117   EXT. ANWAR'S HOUSE -- DAY
          
                The bus is still parked outside Anwar's house. Some of the
                passengers sit leaning against the wall, scrutinized by some
                of the town's children and women who have offered them tea
                and dates.
          
          118   INT. BUS -- DAY
          
                The driver sits in the driver's seat and stares out at the
                desolate landscape through the windshield.
          
                Several of the tourists nap in their seats. One of them, a
                French tourist, Robert (70), starts to breathe with
                difficulty. Jane (65), his wife, is alarmed.
          
                                                                      69.
          
                                JANE
                        (In French)
                    Are you ok?
          
          Robert nods, but it is clear that he is not.    Jane shouts at
          the driver.
          
                                JANE (CONT'D)
                        (In French)
                    Could you please turn on the air
                    conditioning?
          
          The driver shakes his head regretfully.
          
                                DRIVER
                        (In broken French)
                    No air condition, no gasoline near.
                    I'm sorry.
          
          Robert inhales, he can barely breathe.
          
                                JANE
                        (In French)
                    My husband is feeling ill.     You have
                    to turn it on.
          
                                DRIVER
                        (In French)
                    No possible. No gasoline near.      I'm
                    sorry.
          
                                LILLY
                        (In French)
                    Please, it's too hot.   We can get
                    dehydrated.
          
                                DRIVER
                        (In French)
                    I'm really sorry, forgive me, but
                    gasoline finish with air conditioner.
          
          Tom turns to Jane.
          
                                TOM
                    What is he saying?
          
                                JANE
                    That he can't turn on the air
                    conditioning, that it's not possible.
          
          Tom stands up and goes to yell at the driver.
          
                                 TOM
                    Fuck you.   We're gettin' out of here.
          
                                                                               70.
          
          119   EXT. PATIO, ANWAR'S HOUSE -- DAY
          
                Tom resolutely walks up the stairs followed by James.
          
          120   INT. ROOM, ANWAR'S HOUSE -- DAY
          
                Richard is looking out the window while Susan, relaxed,
                sleeps. Tom and James walk in making noise.
          
                                      TOM
                          We've gotta talk to you.
          
                Richard, with his index finger, signals for him to shut up
                and points at Susan. He gestures for them to leave the room.
          
          121   EXT. ANWAR'S HOUSE -- DAY
          
                Tom, James and others are gathered by the door.
          
                                      TOM
                          We're leaving.
          
                                      RICHARD
                          You can't leave us like this.
          
                                      TOM
                          There are old people here and the
                          heat is getting to them.
          
                                      RICHARD
                          At least wait until an ambulance
                          comes.
          
                                      TOM
                          One man almost fainted in the bus
                          and there's a woman who needs to get
                          back in time to take her medication.
          
                Richard turns to Anwar.
          
                                      RICHARD
                          Is there anyone around here who can
                          take them in?
          
                                      TOM
                          It's not about that.
          
                                      LILLY
                          Sir, we can't wait anymore.
          
                Walter an English man, one of the older men,    defends him.
          
                                      WALTER
                          We can't leave him here alone.
          
                                      TOM
                          Well let him come, then.
          
                                                                               71.
          
                                      DOUGLAS
                          His wife is in no condition to ride
                          a bus.
          
                                      TOM
                          And lots of other people aren't in
                          any condition to keep waiting, can't
                          you see?
          
                                      RICHARD
                          Just wait, the ambulance should be
                          here any minute now.
          
                                      TOM
                          We're giving you an hour... one
                          hour...
          
                Richard breathes, relieved.
          
          122   EXT. STREET, TOKYO -- DAY
          
                Chieko walks down the street with Mitsu. They are good-
                looking and attract attention. They know this and look back
                out of the corners of their eyes.
          
          123   EXT. PARK, TOKYO -- DAY
          
                They arrive at a park with a playground: swings, see-saws,
                slides. Several of their deaf-mute volleyball friends are
                there.
          
                With them are two young men with hair dyed blond. One of
                them, Takeshi (18), has an earring, and the other, Haruki
                (19), has several tattoos.
          
                Mitsu and Chieko greet them in sign language.    Chieko asks
                the slightly chubby Kumiko who they are.
          
                                      KUMIKO
                          They're my cousins.
          
                Chieko turns to look at them, curious. Haruki, the guy with
                tattoos, exchanges a look with her. Chieko suddenly feels
                intimidated and looks down.
          
                                      CHIEKO
                          Is he deaf-mute like us?
          
                                      KUMIKO
                          No, but he understands some.
          
                Haruki seems to understand what they're saying and leans in
                to whisper something to Takeshi, his brother. They both
                laugh.
          
                Haruki approaches Chieko and talks to her face to face so
                she can read his lips.
          
                                                                                 72.
          
                                      HARUKI
                          What's your name?
          
                Chieko and her friend smile.    Chieko takes out her notebook
                and pen and writes her name.    Haruki reads it out loud.
          
                                         HARUKI (CONT'D)
                          Chieko?
          
                Chieko nods.
          
                                      HARUKI (CONT'D)
                          My name's Haruki.
          
                Chieko nods, trying to show she's understood. Haruki takes
                out a flask and holds it out to her. Chieko opens it and
                smells it. Haruki stands in front of her.
          
                                         HARUKI (CONT'D)
                          It's whisky.
          
                Chieko smiles and gives a long swig.       Mitsu asks for some
                and also gives it a long drink.
          
                                      HARUKI (CONT'D)
                          Do the cops come around here?
          
                                      MITSU
                              (Gutturally)
                          Sometimes.
          
                Haruki takes out some ecstasy and gives it to them. Mitsu
                and Chieko look at each other and down the pills with a gulp
                of whisky.
          
          124   EXT. PARK, TOKYO -- LATER
          
                Half-drunk and rushing from the pills, Chieko, her friends,
                and Haruki and Takeshi, play on the swings and see-saw.
                They laugh at almost anything. Haruki and Chieko are on the
                see-saw and every time Chieko rises, Haruki looks at her
                bush. Chieko knows this sometimes opens her legs even more
                so he can look to his heart's content. Hormones float in
                the air.
          
                Mitsu also takes advantage of the occasion. She flirts with
                Haruki whenever she can. Haruki looks happy to be the object
                of their attention.
          
                Takeshi, who has started to make out with one of Chieko's
                friends, turns to the group and speaks slowly.
          
                                      TAKESHI
                          Why- don't- we- go- to- Montana?
          
                                                                             73.
          
          125   INT. TAXI, TOKYO -- EVENING
          
                Night begins to fall. Haruki sits between Mitsu and Chieko.
                He strokes Chieko's knee with his hand; she seems turned on.
          
          126   EXT. NIGHTCLUB STRIP, TOKYO -- NIGHT
          
                The taxi parks outside the Montana. Chieko, Mitsu and Haruki
                get out of the car and meet with the others at the door.
          
          127   INT. HALLWAY, NIGHTCLUB -- NIGHT
          
                They enter. The music, the light, the crowd, it is almost
                hallucinatory. For Chieko, it is a silent concert of movement
                and chaos.
          
                She and her friends push their way through the place. Haruki
                grabs Chieko by the hand, pulls her toward the floor and
                starts dancing. Chieko looks at the other dancers' rhythm
                and follows. She slowly manages to follow.
          
                The other deaf-mutes also dance. Some do better than others,
                lost in the sea of lights and people.
          
                For Chieko, the dance turns into something hypnotic. She
                dances with her eyes closed, concentrated on her own rhythm.
          
                When she opens her eyes, she sees that Mitsu, a little drunk,
                is grinding against Haruki, feeling him up.
          
                Chieko seems annoyed by this and goes to defend her territory.
                She starts dancing next to Haruki, but she is constantly
                interrupted by the surrounding crowd.
          
                The struggle between Chieko and Mitsu is a little bit
                ridiculous. It is finally resolved when Mitsu takes Haruki
                by the face and starts to kiss him. Chieko doesn't know what
                to do. Mitsu and Haruki start to make out intensely.
          
                Suddenly Chieko is left standing in the middle of the club,
                motionless, while her friends dance awkwardly and Mitsu and
                Haruki are having the time of their lives. Chieko, defeated
                by her friend, decides to leave. Mitsu spots her out of the
                corner of her eye and waves goodbye. Chieko smiles back and
                walks away from her friends as they dance.
          
          128   INT. LOBBY, TOKYO APARTMENT BUILDING -- NIGHT
          
                Chieko enters her building and goes straight to the doorman.
          
                                      DOORMAN
                          Good evening, how may I help you?
          
                Chieko takes out a piece of paper and a pen from her purse
                and writes a note. She gives it to the doorman together
                with Kenji's card. He reads it carefully, and when he's
                done he turns to her.
          
                                                                            74.
          
                                      DOORMAN (CONT'D)
                          Very well miss, I'll call him now.
          
                The doorman picks up a cordless phone and dials.
          
                                      DOORMAN (CONT'D)
                          Lieutenant Kenji Mamiya, please?
          
                There is a pause. The doorman gestures to Chieko that the
                lieutenant will answer in a moment.
          
                                      DOORMAN (CONT'D)
                          Lieutenant? Yes, look, I'm with the
                          deaf-mute girl you saw in the
                          afternoon, and she asked me to call
                          you... Yes, her... She says she needs
                          to talk to you, alone... about her
                          father... If it's possible, in her
                          apartment, tonight.
          
                Chieko watches attentively.
          
          129   EXT. YUSSEF AND AHMED'S HOUSE -- DAY
          
                Yussef and Ahmed are sitting against the wall of the house.
                Yussef's lip is split. Ahmed's nose is bleeding.
          
                Abdullah paces desperately, while his wife and daughters
                watch the scene, silent. Abdullah stops to look at Yussef.
          
                                      ABDULLAH
                          Why did you do this?
          
                They don't answer.   Abdullah leans over and slaps Ahmed.
          
                                      ABDULLAH (CONT'D)
                          Answer me, god damn it!
          
                Ahmed won't answer and he turns to Yussef again.
          
                                      YUSSEF
                          We were testing the rifle.
          
                Abdullah turns and gives Yussef a powerful slap, which he
                endures with silent dignity.
          
                                      ABDULLAH
                          Are you idiots? You killed a woman,
                              (He turns to Zora)
                          And you, you got naked so your brother
                          would see you?
          
                                      AHMED
                          Yes, she got naked lots of times.    I
                          saw how Yussef spied on her.
          
                                                                             75.
          
                                      ZORA
                          That's not true.
          
                Abdullah turns to Yussef.
          
                                      ABDULLAH
                          Is it true or not?
          
                Yussef is silent. Abdullah walks two steps forward and slaps
                Zora. He looks furious, scared, indignant.
          
                                      ABDULLAH (CONT'D)
                          Why did you do this to us?
          
                He can barely hold in his tears. Zora brings her hand to
                her face tearily. Abdullah turns to Ahmed.
          
                                      ABDULLAH (CONT'D)
                          Where's the rifle?
          
          130   EXT. HASSAN'S HOUSE -- DAY
          
                A cop interrogates Hassan. His face is badly bruised and
                his hands are cuffed behind his back.
          
                                      COP
                          What organization gave you the weapon?
          
                                      HASSAN
                          I've told you it wasn't an
                          organization; I got it from a hunter.
          
                                         COP
                          What hunter?
          
                                      HASSAN
                          A Japanese hunter gave it to me many
                          years ago. I've got a picture inside.
                          She can get it.
          
                He turns to look at his wife. She has also been beaten and
                is guarded by two cops. The interrogating cop authorizes
                her. She walks in and comes out with a photograph of Hassan
                with Yasujiro, posing with the scimitar-horned oryx. He hands
                it over and the cop examines it.
          
                                      HASSAN (CONT'D)
                          He's holding the rifle he gave me.
          
          131   EXT. DESERT -- DAY
          
                Yussef and Ahmed dig up the rifle and the bullets in front
                of their parents and sisters.
          
                Abdullah grabs the rifle, dusts it off and puts the bullets
                in his bag. He turns to Yasira.
          
                                                                            76.
          
                                      ABDULLAH
                          We're going to hide out at Naguib's
                          house. If the cops come, tell them
                          we went south.
          
                With the rifle in hand, Abdullah runs off, followed by Yussef
                and Ahmed. The women watch them get lost on the horizon.
          
          132   EXT. HASSAN'S HOUSE -- DAY
          
                Alarid's truck parks in front of Hassan's house again. Hassan
                is still cuffed and being interrogated. Furious, Alarid gets
                out of the truck and goes toward him.
          
                                       ALARID
                          This Abdullah doesn't live where you
                          said he did.
          
                He walks over to kick him. The wife intervenes from where
                she is, some ten yards away.
          
                                      WIFE
                          They live where he said they do.
          
                Alarid turns to her.
          
                                      ALARID
                          You're going to take us.
          
                With a gesture, he orders his subordinates to put her in the
                truck. She obeys, docile.
          
                                      ALARID (CONT'D)
                          And if they're not there, I'll cut
                          your tongue out and I'll kill your
                          husband.
          
          133   EXT. DESERT -- DAY
          
                The Moroccan police trucks drive down the dusty roads.    The
                landscape is harsh and barren.
          
          134   INT. POLICE TRUCK -- DAY
          
                Hassan's wife gives directions.
          
                                      WIFE
                          Make a right here.
          
                Alarid, with his hand, signals the driver to follow her
                directions.
          
                Suddenly, in the distance, over the hills, she signals three
                tiny dots running up a slope.
          
                                         WIFE (CONT'D)
                          That's them.
          
                                                                             77.
          
                                      ALARID
                              (To the driver)
                          Stop...
          
                The trucks stop and Alarid takes out his binoculars.
          
          135   P.O.V. ALARID'S BINOCULARS -- CONTINUOUS
          
                In the distance, we can still see Abdullah, Yussef and Ahmed
                run across the hills. Abdullah is clearly carrying the rifle.
          
          136   EXT. DESERT -- DAY
          
                Alarid quickly gets out.
          
                                      ALARID
                          There they are.
          
                All the cops get out with their high powered rifles.
          
          137   EXT. DESERT HILLS -- DAY
          
                Abdullah and his sons run full speed.   Yussef sees the trucks
                in the distance.
          
                                      YUSSEF
                          The police, the police...
          
                They run up a hill to try to lose them, but shots start to
                ring out.
          
                                      YUSSEF (CONT'D)
                          They're shooting at us.
          
                Abdullah stands before his sons and lifts up the rifle as a
                sign of surrender. The shots cease for a few seconds, but
                they suddenly start again.
          
                                       ABDULLAH
                          Get down.   Run.
          
                The three shepherds run, huddling as low as they can. More
                shots. They desperately climb between the rocks. Bullets
                whiz past everywhere.
          
                Abdullah makes one last attempt at surrender. He lifts up
                the rifle again, sets it on the ground and backs away. But
                the gesture is in vain, as the bullets still rush past.
          
                They begin to run again when Ahmed is hit in one of his
                calves. He collapses and rolls downhill. Abdullah hurries
                to rescue him and drags him behind a rock.
          
                Ahmed won't stop screaming from the pain.
          
                                      AHMED
                          They shot me, they shot me...
          
                                                                            78.
          
                Yussef dives on his belly and snakes his way through the
                rocks. He gets the rifle, loads it and aims at the trucks.
          
                He shoots without hitting anything.    Abdullah turns to him.
          
                                      ABDULLAH
                          Don't shoot, don't shoot!
          
                Yussef doesn't pay attention.    He loads again and aims.
          
          138   P.O.V. RIFLE SIGHTS -- DAY
          
                Yussef aims carefully. He picks out one of the cops who has
                been shooting barely protected by one of the trucks' fenders.
                Yussef shoots and the policeman collapses.
          
          139   EXT. HAMLET "LOS LOBOS" -- LATER
          
                The religious ceremony has ended and everyone throws rice at
                the bride and groom. Debbie and Mike enjoy doing it.
          
                Several cowboys, among them Santiago, have gone to their
                trucks and are loudly honking their horns.
          
                Music begins to blare.
          
          140   EXT. HAMLET "LOS LOBOS" -- DAY
          
                The band plays various Norte�o songs. Everyone waits for
                the music to start. After a while a couple starts to timidly
                dance. Then another, and another, until the dance floor
                becomes a sway of heads moving to the same rhythm.
          
                Amelia dances with Mike and Debbie with Santiago; both Amelia
                and Santiago show them a few steps.
          
                                      SANTIAGO
                              (To Debbie, in Spanish)
                          Like this, look...
          
                He kicks his heel back, then forward. Debbie watches,
                entertained. Jacinto (55), overweight and with a good-natured
                face, moves closer to Amelia and watches her dance for a
                while, she notices and stops, embarrassed.
          
                                       JACINTO
                               (Both in Spanish)
                          Amelia, will you let me dance with
                          you?
          
                Amelia remains unperturbed, without answering him.
          
                                      JACINTO (CONT'D)
                          I've been asking you for a dance for
                          30 years. Does it really cost you
                          that much?
          
                                                                              79.
          
                Amelia stares at him.
          
                                      AMELIA
                          I don't think your wife would have
                          liked that.
          
                                      JACINTO
                          C'mon Amelia, she's been dead for 10
                          years.
          
                Amelia looks around and then turns to him.
          
                                      AMELIA
                          Okay, just one.
          
                Jacinto chivalrously takes her by the waist and they begin
                to dance. Santiago watches them, amused, and continues to
                dance with Mike and Debbie.
          
                Jacinto draws Amelia closer and they kiss gently.
          
          141   EXT. HAMLET "LOS LOBOS" -- NIGHT
          
                Beer starts to flow and some of the guests get overbearing.
                There is a small scuffle at the edge of the dance floor, but
                order is soon restored.
          
                The guitarist in the band stops the music.
          
                                      GUITAR PLAYER
                              (All in Spanish)
                          Now, Luis and Patricia, come forward.
          
                Everyone makes way for the bride and groom.
          
                                      GUITAR PLAYER (CONT'D)
                          We-want-cake, we-want-cake...
          
                The audience and the band sing the little cake song. A giant,
                tacky wedding cake, covered in cream, arrives. The bride
                grabs the knife and gets ready to cut it.
          
                                      GUITAR PLAYER (CONT'D)
                          Take- a- bite, take- a- bite...
          
                The bride gives into the ritual. She tries to take a bite
                out of the cake without using her hands and someone pushes
                her face into the cream. Debbie and Mike laugh.
          
                A cowboy pulls out a gun and, festively, fires.   Debbie is
                frightened and goes to hide behind Amelia.
          
                                      AMELIA
                          Don't worry, it's ok.
          
                The man puts the gun away and walks back onto the dance floor
                as if nothing had happened.
          
                                                                          80.
          
                Luis asks the band to stop the music for a little bit and he
                takes the microphone.
          
                                      LUIS
                          Good evening everyone... Hey... I
                          want to say something. Love came
                          today, it came here all pretty...
                              (he taps his heart)
                          It's kind of like a little mouse is
                          crawling inside of me. Because that's
                          what love is, it's like your insides
                          get all twisted into knots... and
                          that, baby, is what you've taught
                          me. And because you've shown me, I
                          want to tell everyone that hopefully
                          love will get inside them
                          too...because it feels so good,
                          really...Thanks a lot and keep havin'
                          a good time...
          
                Everybody applauds and Luis steps down from the dais, proud
                of his speech. He goes to Amelia and gives her a very long
                and loving hug.
          
          142   EXT. HAMLET "LOS LOBOS" -- NIGHT
          
                Night has fallen. The music plays full blast. Everyone
                dances, people start to make out, the drunk collapse.
          
                Patricia breathes regularly with her hands on her belly.
                Luis drinks beer beside her while he watches the guests dance.
                Debbie falls asleep on Amelia's lap while Mike watches the
                party, overwhelmed.
          
                                      MIKE
                          When are my parents getting back?
          
                The question catches Amelia off guard.
          
                                      AMELIA
                          Pronto...muy pronto...
          
                                      MIKE
                          They told me they were coming back
                          today.
          
                                      AMELIA
                          Se quedaron m�s rato.
          
                The answer seem to makes Mike anxious.
          
                                      MIKE
                          My dad's coming back with my mom.
          
                                      AMELIA
                          Yes. Yes he is.
          
                                                                            81.
          
                                      MIKE
                          I don't want him to leave again.
          
                                        AMELIA
                          He won't.
          
                He starts crying.
          
                                        MIKE
                          I miss Pat.
          
                Amelia embraces him and kisses his head.
          
                                      AMELIA
                          Yo tambi�n hijito, yo tambi�n.
          
                The boy, tired and sleepy, leans his head on Amelia.
          
          143   EXT. HAMLET "LOS LOBOS" -- NIGHT
          
                Santiago, a little bit drunk, and Amelia, carrying Debbie
                who has passed out, say goodbye to Luis and Patricia. Sleepy,
                Mike leans on the hood of the car.
          
                                      LUIS
                              (All in Spanish)
                          Stay the night.
          
                                      AMELIA
                          I can't. I have to take these kids
                          home and it's almost dawn.
          
                                      LUIS
                          But Santiago's pretty drunk.
          
                                      SANTIAGO
                          Drunk my ass. I'm fine. I'll go
                          and come back in an hour.
          
                                      PATRICIA
                          Stay for another while, the party's
                          just getting started.
          
                                      AMELIA
                          I wish, but these kids have to go to
                          school.
          
                Santiago opens the door for Amelia, who carefully sets Debbie
                on the back seat. Mike gets in and as soon as he does he
                nestles in to go to sleep.
          
                                      AMELIA (CONT'D)
                          See you soon, son.
          
                Luis and Amelia hug each other.    Then Amelia hugs her daughter-
                in-law.
          
                                                                             82.
          
                                      AMELIA (CONT'D)
                          Congratulations, dear.
                              (She points at her
                               belly)
                          Take care of my grandson 'cause I'm
                          dying to be a grandmother.
          
                She gives her a kiss and gets in the car.   Luis turns to
                Santiago.
          
                                      LUIS
                          You sure you're not too drunk?
          
                                      SANTIAGO
                          Drunk my ass. I'm fine.     I'll be
                          back soon.
          
                Santiago stumbles to the driver's side and opens the door.
          
          144   EXT. DESERT HIGHWAY -- NIGHT
          
                The night spreads over the highway that cuts across the
                desert. Santiago's car drives along, illuminating the cacti.
          
          145   INT. SANTIAGO'S CAR -- NIGHT
          
                Santiago drives the car, nodding off every now and then. In
                the back, Debbie and Mike have surrendered to sleep. Santiago
                jerks the wheel.
          
                                      AMELIA
                              (In Spanish)
                          Hey... be careful...
          
                Santiago corrects the vehicles trajectory and goes back to
                his careless driving.
          
          146   EXT. BORDER CROSSING -- NIGHT
          
                Santiago decides to cross through Mesa de Otay. Since it's
                nighttime, there are very few cars. They drive across the
                bridge and stop before the immigration officer.
          
          147   EXT. IMMIGRATION STALL, BORDER CROSSING -- CONTINUOUS
          
                The officer walks up to the window.
          
                                      OFFICER
                          Your papers...
          
                Santiago and Amelia take out their passports and their Green
                cards. The officer compares the documents to their faces
                again and again.
          
                                      OFFICER (CONT'D)
                          Where you comin' from?
          
                                                                      83.
          
                                SANTIAGO
                        (In bad English)
                    From a wedding.
          
          The officer looks through the window and sees Debbie and
          Mike sleeping in the back.
          
                                OFFICER
                    Who are they?
          
          Santiago rushes to answer.
          
                                SANTIAGO
                    They're her nephews.
          
          Amelia freezes at Santiago's answer.    The officer won't stop
          looking at the children.
          
                                OFFICER
                    They don't look like you.
          
                                AMELIA
                        (bewildered)
                    I'm in charge of them.
          
                                OFFICER
                    Do you have their passports?
          
          Amelia takes out their American passports and shows them to
          the cop. He looks them over very carefully. Santiago starts
          to get nervous.
          
                                SANTIAGO
                    Is there a problem?
          
          The officer turns to look at them suspiciously.    He obviously
          smells the alcohol.
          
                                OFFICER
                    Should there be one?
          
          Santiago shakes his head.    Debbie wakes up and looks at the
          officer sleepily.
          
                                  DEBBIE
                    Hi.
          
                                OFFICER
                    Hey there, sweetie.
          
          Debbie rubs her eyes.
          
                                OFFICER (CONT'D)
                    Tell me, is this lady your aunty?
          
          Debbie innocently shakes her head.
          
                                                                            84.
          
                                      DEBBIE
                          No, she's not my aunty.
          
                The officer stares at them harshly. He says something
                incomprehensible over his radio and asks Santiago.
          
                                      OFFICER
                          Are you drunk?
          
                                       SANTIAGO
                          Me, sir?   No.
          
                                      OFFICER
                          Get out of the car.
          
                                      SANTIAGO
                          Why, officer?
          
                                      OFFICER
                          I'm countin' to three...
          
                He brings his hand to his gun.
          
          148   INT. SANTIAGO'S CAR -- NIGHT
          
                Nervous, Santiago glances ahead and looks at the border
                crossing through his rear-view mirror. He puts the car in
                reverse and accelerates, trying to escape back to Mexico,
                but he crashes into an arriving car.
          
                                      AMELIA
                              (In Spanish)
                          What are you doing?
          
          149   EXT. IMMIGRATION DESK, BORDER CROSSING -- NIGHT
          
                The immigration officers take out their guns and run to stop
                him. Santiago sees that the road ahead is clear and he drives
                away full speed, barely swerving around some customs officers
                who are searching another vehicle.
          
                The officer shouts urgently.
          
                                      OFFICER
                          They've kidnapped some kids...
          
                He starts a police chase.
          
          150   EXT. DESERT HIGHWAY -- NIGHT
          
                Santiago's car drives full speed down the highway.   He
                sometimes looks as if he is going to lose control.
          
          151   INT. SANTIAGO'S CAR -- NIGHT
          
                Santiago drives madly. Frightened, Amelia holds onto the
                dashboard. Debbie and Mike start to cry.
          
                                                                            85.
          
                                      SANTIAGO
                              (In Spanish)
                          See, I told you you shouldn't have
                          brought them. I told you. I told
                          you..
          
                A trailer drives slowly. Santiago decides to drive around
                it blindly, and almost drives off the other side of the road.
          
                                      AMELIA
                              (In Spanish)
                          Santiago, stop acting crazy and stop
                          the car... Santiago, stop...
          
                Santiago ignores her, concentrated on his driving. He looks
                through the rear-view mirror. There is nobody behind him,
                only the dark highway. Santiago steps on the gas.
          
                Amelia tries to comfort the kids.
          
                                      AMELIA (CONT'D)
                              (In English)
                          Everything's all right sweeties...
          
                The children won't stop crying, terrified by the speed.
                Through one of his mirrors, Santiago sees two patrol cars
                following him with their turrets flashing.
          
                                      SANTIAGO
                              (In Spanish)
                          Fucking asshole gringo mother-fuckers,
                          here they come...
          
                Santiago accelerates. The car seems to be out of control.
                The children scream. Amelia tries to stop Santiago.
          
                                      AMELIA
                              (In Spanish)
                          Stop... Stop...
          
                Santiago reaches a path and heads toward it.
          
          152   EXT. DESERT PATH -- NIGHT
          
                The car drives quickly down the path, raising up a cloud of
                dust. The patrol cars are no longer visible.
          
                The car drives on for a mile and then stops.
          
          153   INT. SANTIAGO'S CAR -- NIGHT
          
                Santiago turns to Amelia.
          
                                      SANTIAGO
                              (Their entire dialogue
                               in Spanish)
                          Get out...
          
                                                                             86.
          
                Amelia looks at the dark desert surrounding them.
          
                                      AMELIA
                          Are you crazy? Where?
          
                                      SANTIAGO
                          Get out. I'll lose these bastards
                          and then I'll come back for you.
          
                                      AMELIA
                          Santiago, calm down...
          
                                      SANTIAGO
                          Aunt Amelia, they're going to get
                          us, get out god damn it...
          
          154   EXT. SANTIAGO'S CAR -- NIGHT
          
                Amelia gets out and opens the door for the kids.
          
                                      AMELIA
                              (In English)
                          Come with me, dears.
          
                The kids get out and Amelia holds their hand.   Santiago closes
                the doors and drives off in a cloud of dust.
          
                They start to walk through the darkness. Amelia leads the
                way, avoiding cacti and thorny branches. The go on like
                this for a long stretch. The children are quiet and scared.
          
                Amelia goes toward the highway and realizes the patrol cars
                have turned into the path. She runs into the desert with
                the kids. She can barely see with the light of the early
                dawn. The three frequently trip on thorny plants.
          
                                      DEBBIE
                          I want to go home now.
          
                                      MIKE
                          Me too.
          
                Both of them, scared, start to cry.
          
                                      AMELIA
                              (In English)
                          Don't cry. We're going home now.
          
                She looks back worried at where the patrol cars were; they
                are approaching quickly. Then she turns to where Santiago
                ran. The headlights are soon lost on the horizon.
          
                Amelia holds them by the hand and pulls them as she runs.
          
                                      AMELIA (CONT'D)
                              (In Spanish)
                          Let's go.
          
                                                                             87.
          
                She leads them further and further away from the path, snaking
                through the brush. The patrol cars come even closer. Amelia
                ducks and hides behind one of the bushes.
          
                                         AMELIA (CONT'D)
                          Get down.
          
                The children hide with her. The patrol cars tear past her,
                some five hundred yards away, chasing after Santiago.
          
                We suddenly hear sirens. Then, the sound of doors slamming
                and unintelligible voices over a loudspeaker.
          
                                      POLICE OFFICER (O.S.)
                          Do not get out of the car...don't
                          get out...wait...stop...stop...don't
                          run...
          
                After a few seconds, we hear distant gunshots, three, four.
                Amelia listens, frozen.
          
          155   INT. ROOM, ANWAR'S HOUSE -- AFTERNOON
          
                Dusk. Susan sleeps and Richard looks at the vast desert
                through the window. Anwar, sitting on a chair, with a fan
                clears away the flies hovering around Susan. We can hear the
                call to prayer and Anwar prostrates himself toward Mecca.
          
                Richard observes Anwar's prayer and then looks at Susan who
                moans in her sleep.
          
          156   INT. ANWAR'S HOUSE -- AFTERNOON
          
                Richard and Anwar are sitting in silence while Susan lies
                unconsciously on the floor.
          
                Yamil� (9), a beautiful girl with large brown eyes, enters
                carrying a tray with cookies and tea. She greets Richard
                with a nod and offers him tea.
          
                Richard takes the tea.
          
                                         RICHARD
                          Thank you.
          
                The girl gets up to offer tea to Anwar, who takes it.
          
                                      ANWAR
                              (In Arabic)
                          Thank you, Yamil�.
          
                Yamil� smiles and leaves the room.
          
                                      RICHARD
                          Is that your daughter?
          
                                                                             88.
          
                                      ANWAR
                          The fourth of eight.
          
                                      RICHARD
                          Eight?
          
                Anwar affirms, smiling.
          
                                      ANWAR
                          Do you have kids?
          
                Richard takes out his wallet and pulls out a photo of him,
                Susan, Mike and Debbie. He shows it to him.
          
                Anwar takes it and looks at it.
          
                                      ANWAR (CONT'D)
                          Just two?
          
                                      RICHARD
                          Three...
                              (He remains pensive)
                          Yes, just two.
          
                                      ANWAR
                          You should have more.
          
                Anwar returns the photo. Richard looks at it for a moment
                before putting it back into his wallet.
          
                                      RICHARD
                          What about you? How many wives do
                          you have?
          
                                      ANWAR
                              (Smiling)
                          I can only afford one.
          
                                      RICHARD
                          And is this where you live?
          
                                      ANWAR
                          No, this is where my family lives. I
                          live in Marrakesh. But I come whenever
                          I can...
          
                They exchange a look. We hear a car engine.
          
          157   EXT. STREET, HAMLET -- AFTERNOON
          
                An old, run-down Peugeot driven by a policeman pulls up in
                front of the house. The policeman gets out. The tourists,
                leaning on the wall, get up to see what's happening.
          
                Mohammed comes out to talk to him.
          
                                                                          89.
          
                                      MOHAMMED
                              (in Arabic)
                          What happened?
          
                                      POLICEMAN
                              (In Arabic)
                          I need to talk to the American.
          
                Tom interrogates Mohammed.
          
                                      TOM
                          What did he say?
          
                                      MOHAMMED
                          No English...
          
          158   EXT. PATIO, ANWAR'S HOUSE -- AFTERNOON
          
                The policeman, Anwar and Richard are chatting in the patio.
          
                                      RICHARD
                              (To Anwar)
                          When did he find out?
          
                                      ANWAR
                              (In Arabic)
                          When did you know?
          
                                      POLICEMAN
                              (In Arabic)
                          A while ago... they said the ambulance
                          isn't coming anymore.
          
                                      ANWAR
                          A while ago... he says the ambulance
                          broke down.
          
                                      RICHARD
                          What? Tell him to call another one.
                          He has to get another one.
          
                                      ANWAR
                              (In Arabic, to the
                               Policeman)
                          He wants you to call another
                          ambulance.
          
                                      POLICEMAN
                              (In Arabic)
                          You know there isn't another one.
          
                                      ANWAR
                              (To Richard)
                          There isn't another ambulance.
          
                                                                     90.
          
                                RICHARD
                    What the hell do you mean there isn't
                    another ambulance? You've got to get
                    her out of here...
          
          He faces the police officer.
          
                                RICHARD (CONT'D)
                    She can't stay here or she'll die.
                    Call another fucking ambulance...
          
          The policeman cannot understand and remains expressionless.
          
                                 RICHARD (CONT'D)
                    Come on, move... call another
                    ambulance...
          
                                ANWAR
                        (In Arabic)
                    He asks how we're going to get the
                    woman out of here.
          
                                POLICEMAN
                        (In Arabic)
                    Tell him that they told me that his
                    embassy is going to deal with it.
          
                                ANWAR
                    He says your embassy will deal with
                    the matter.
          
          Richard now shouts at Anwar.
          
                                RICHARD
                    How the fuck are they going to deal
                    with it? It's your shitty fucking
                    country's responsibility.
          
                                POLICEMAN
                        (In Arabic)
                    The Americans want to send one of
                    their helicopters but I think there
                    are some problems.
          
          Anwar mulls over his answer.   He seems to want to lie again.
          
                                ANWAR
                    They're going to try to send a
                    helicopter.
          
                                RICHARD
                        (incredulous)
                    A helicopter?... Let's get out of
                    here...
          
          He starts walking. Anwar catches up to him.
          
                                                                     91.
          
                                ANWAR
                    Where?
          
          Richard turns to him, desperate.
          
                                RICHARD
                    I need to make a phone call.
          
          They turn towards the exit leaving the cop behind, who doesn't
          seem to understand. Tom and James take advantage of the
          situation to go talk to Richard.
          
                                TOM
                    We can't stay here any longer. It's
                    going to get dark soon. Lots of
                    people aren't feeling well and its
                    dangerous to stay here.
          
          Richard explodes and pushes Tom.
          
                                RICHARD
                    Stop fucking with me.
          
                                TOM
                    Don't you dare push me.
          
                                RICHARD
                    Oh no?
          
          He pushes him again, angrily.
          
                                TOM
                    What are you doing, you stupid fuck?
          
                                RICHARD
                    Leave asshole.
          
          Tom shoves him.
          
                                TOM
                    Fuck you.
          
          Richard becomes furious and loses it, hitting him over and
          over again. Some of the tourists get involved. James manages
          to grab him with Anwar.
          
                                JAMES
                    Hey, take it easy.
          
                                RICHARD
                    I'm fed up with that asshole.
          
          James pulls him away while other tourists pull Tom away.
          
                                JAMES
                    Try to calm down.
          
                                                                          92.
          
                                      RICHARD
                          Calm down? My wife is dying up there.
          
                                      JAMES
                          Come with us.
          
                                      RICHARD
                          Where the fuck do you want me to
                          take her?
          
                                      JAMES
                          Try to understand, many of them can't
                          go on. Tell me, honestly, is there
                          any point in us staying?
          
                Richard threatens him.
          
                                      RICHARD
                          You leave and I'll kill you...
          
                James is going to say something, but Richard turns around
                and walks away as he is about to say something. Anwar follows.
          
          159   INT. GENERAL STORE -- EVENING
          
                Richard is in the phone booth with telephone in hand. A
                woman's voice answers.
          
                                         RACHEL (O.S.)
                          Hello...
          
                                      RICHARD
                          Rachel... What's going on? Nobody's
                          come... Who have you talked to... we
                          need help...she's dying...
          
                                      RACHEL (O.S.)
                          What d'you mean dying?
          
                                      RICHARD
                          She's very weak, please, you've got
                          to do something.
          
                                      RACHEL (O.S.)
                          Mark, your business partner, already
                          called someone in the Secretary of
                          State, they're going to help you...
          
                                       RICHARD
                          You can't just make these stupid
                          fucking calls, you've got to do
                          something...
          
                                      RACHEL (O.S.)
                          Richard calm down, we're doing
                          everything we can.
          
                                                                     93.
          
                                RICHARD
                    How the fuck do you expect me to
                    calm down? Susan is dying...
          
                                RACHEL (O.S.)
                    I'm flying over there tonight.
          
                                RICHARD
                    There's no time. I need to get Susan
                    out of here now! Put Mark on the
                    phone...
          
                                RACHEL (O.S.)
                    I don't know if I can find him.
          
                                RICHARD
                    God damn it, connect the fucking
                    call.
          
          A few seconds go by. Desperate, Richard looks at the town as
          it goes about its daily business, oblivious to his tragedy.
          
                                MARK (O.S.)
                    Richard, it's Mark.
          
                                RICHARD
                    Mark, help me... Susan is dying and
                    there are no ambulances, there's no
                    hospital, there's nothing.
          
                                MARK (O.S.)
                    Richard, the news is all over the
                    place. They're going to go help you,
                    soon, but there have been some
                    political problems that are being
                    resolved.
          
                                RICHARD
                    I don't give a shit about political
                    problems... Do something, now,
                    please...
          
          Through the window, Richard, astonished, watches the bus
          drive away, kicking up dust as it disappears in the distance.
          
                                RICHARD (CONT'D)
                    Son of a bitch...
          
          He throws the phone away and runs after the bus. We hear
          Mark's desperate voice over the receiver.
          
                                 MARK (O.S.)
                    Richard... what happened? Richard,
                    answer me...
          
                                                                                94.
          
          160   EXT. HAMLET -- EVENING
          
                Richard runs after the bus as it drives away down the side
                streets.
          
                                        RICHARD
                            Stop... Stop... Stop you mother-
                            fuckers stop...
          
                The bus vanishes into the distance. Richard picks up a stone
                and hurls it impotently.
          
          161   INT. CHIEKO'S ROOM -- NIGHT
          
                Chieko is in her room, sitting on her bed, staring into space.
                The doorbell light goes on. She remains motionless for a
                few moments. The light goes on again. Chieko breathes in
                and goes to open the door.
          
          162   INT. ENTRANCE TO CHIEKO'S APARTMENT -- NIGHT
          
                Chieko opens the door and runs into Kenji, who greets her as
                if she were just anybody.
          
                                         KENJI
                            Hello.
          
                She bows.
          
                                        KENJI (CONT'D)
                            They told me you wanted to talk to
                            me.
          
                Chieko, who has been unable to read his lips, asks him with
                her hands that he speak slowly and face her. Kenji is
                embarrassed by his tactlessness and tries to be more
                considerate.
          
                                        KENJI (CONT'D)
                            I'm sorry. Is there something you
                            wanted to tell me?
          
                Chieko nods and asks him in with her hand. Kenji takes off
                his shoes and leaves them at the door. Chieko leads him to
                the living room and with a gesture asks if he wants anything
                to drink.
          
                                        KENJI (CONT'D)
                            Do you have tea?
          
                Chieko nods and goes into the kitchen. Kenji glances over
                the apartment. Chieko comes back from the kitchen holding a
                strange gadget which she puts on the living room table. A
                small bulb lights. Kenji just watches her.
          
                Chieko gestures for him to sit down.     Kenji and Chieko sit
                across from each other.
          
                                                                          95.
          
                Chieko takes out her notebook and pen, writes something down
                and hands it over to Kenji. Kenji reads, seems surprised
                and reads again slowly.
          
                                      KENJI (CONT'D)
                          "My father had nothing to do with my
                          mother's death," what's this?
          
                Chieko is disconcerted at the question. She takes her
                notebook and starts writing. Kenji reads and turns to her.
          
                                      KENJI (CONT'D)
                          Your father was asleep when she jumped
                          off the balcony?
          
                She nods. She gets up, asks Kenji to go with her and walks
                toward the balcony.
          
          163   EXT. BALCONY, CHIEKO'S APARTMENT -- NIGHT
          
                She opens the door to the balcony and points at the void:
                it's over twelve floors. Kenji looks over; the distance is
                dizzying. Chieko writes in her notebook and shows him the
                piece of paper.
          
                                      KENJI
                          You saw her jump?
          
                She nods and writes again.    She looks perturbed.
          
                                      KENJI (CONT'D)
                          You've already told the other
                          officers?
          
                She nods again.   Kenji holds her by her arms.
          
                                      KENJI (CONT'D)
                          I don't know what you're talking
                          about.
          
                Chieko remains motionless for a few seconds. She scrawls in
                her notebook "Then why do you want to talk to my father?"
                Kenji reads and then turns to her.
          
                                      KENJI (CONT'D)
                          It's about a hunting rifle in his
                          name.
          
                The red bulb on the gadget starts to blink. Chieko spots it
                from the balcony and signals to Kenji that she has to go to
                the kitchen. She runs off.
          
          164   INT. LIVING ROOM, CHIEKO'S APARTMENT -- NIGHT
          
                Kenji stands and looks at the photographs of Yasujiro hunting
                all over the world: with a kudu in Africa, a black bear in
                Kamchatka, Hassan and the Oryx in Morocco.
          
                                                                       96.
          
          Chieko comes back with a cup of steaming tea.
          
                                KENJI
                    Does your father still hunt?
          
          She shakes her head.   She writes something and hands it over.
          
                                KENJI (CONT'D)
                    There was an incident with a rifle
                    in your father's name. That's why
                    we want to talk to him.
          
          The news weighs on Chieko; she looks away. The sounds of
          Tokyo come in through the living room: its car horns, its
          voices.
          
          Suddenly a rush of wind comes in. Chieko sees the balcony
          doors are open and goes to close them. She then comes back
          to the living room and sits down, dejected.
          
          Kenji sits down beside her and leaves the tea on the table.
          He doesn't know what to do and looks uncomfortable.
          
          She picks up the notebook and writes.    Kenji reads.
          
                                KENJI (CONT'D)
                    No, your father isn't going to jail.
                    We just need to talk to him.
          
          There is a long silence. Chieko seems immersed in a remote,
          inaccessible world. Kenji turns his face to hers so that
          she can read his lips.
          
                                KENJI (CONT'D)
                    I have to go now. Thank you.
          
          Chieko grabs his arm and shakes her head, urging him to stay.
          They exchange a look for an instant and Kenji insists.
          
                                KENJI (CONT'D)
                    I have to go.
          
          He gets up to leave. Chieko signals for him to wait for a
          moment and goes to her room.
          
          Kenji stands in the middle of the room, waiting.    Chieko
          comes back completely naked. Her skin bristles.
          
          She walks toward him, breathing through her mouth. Kenji is
          disconcerted when he sees the quiet teenager approach. She
          walks all the way up to Kenji and when she is about to take
          another step, he holds her back with both hands.
          
                                KENJI (CONT'D)
                    What are you doing?
          
                                                                               97.
          
                She doesn't pay attention, breaks free and stands a few inches
                away from him. She is almost panting. She holds out her
                hand and caresses Kenji's ear. He stands there, immobile,
                without taking his eyes off Chieko's.
          
                She takes his hand and puts it on one of her breasts. Kenji
                strokes her breast and then pulls his hand away. She grabs
                it again and puts it back on.
          
                                      KENJI (CONT'D)
                          No, no, no... this is wrong.
          
                Kenji looks turned on and confused: Chieko is beautiful, but
                he knows he cannot go on and takes his hand away.
          
                                         KENJI (CONT'D)
                          No, I can't.     You're just a girl.
          
                She walks up to his face and licks it.    He is confused.
          
                                      KENJI (CONT'D)
                          Enough, please.
          
                He grabs her by her arms and moves her away. She grabs the
                sleeve of his jacket and pulls him back. She hugs him and
                suddenly Chieko starts crying, disconsolate.
          
                Kenji, bewildered, first does nothing, but upon seeing
                Chieko's despair, holds her. She buries her face in his
                shoulder. Her nakedness becomes increasingly fragile.
          
          165   EXT. DESERT -- DAY
          
                Abdullah, afraid, watches his son shoot. The police have
                stopped firing and run for cover. Yussef loads the rifle
                again and aims carefully. He shoots and, in the distance,
                we can see one of the headlights on a police truck shatter.
          
                Abdullah shouts at Yussef desperately.
          
                                      ABDULLAH
                          Yussef, stop shooting!
          
                Furious, Yussef loads the rifle again and starts shooting at
                the cops. Ahmed won't stop screaming from the pain. Confused,
                Abdullah doesn't know if he should console his wounded son
                or stop the enraged Yussef.
          
                In the distance, the cops reorganize.    We hear the faraway
                shots of Alarid giving orders.
          
                                      ALARID
                          Move that truck... god damn it...
          
                One of the cops gets onto a truck and uses it as a parapet.
                Yussef aims again, but this time the policemen are well
                covered. Abdullah drags himself all the way to Yussef.
          
                                                                     98.
          
                                ABDULLAH
                    Give me that rifle...
          
          Yussef turns to his father.
          
                                YUSSEF
                    They're going to kill us.
          
                                ABDULLAH
                    Give me that rifle.
          
          He tries to wrest it away, but Yussef resists. The struggle
          and Abdullah finally pulls it away. When Yussef tries to
          snatch it back, the police fire a round of shots and the two
          barely have time to hide.
          
          The air is thick with gunshots. Yussef and Abdullah,
          terrified, stick to the stones. The bullets strike very
          close to them, and they can't even raise their heads.
          
          Ahmed won't stop complaining.    Abdullah shouts at him.
          
                                ABDULLAH (CONT'D)
                    Ahmed, don't move.
          
          The gunshots rain down for over a minute. When they stop,
          Abdullah turns to look at Ahmed, who is lying motionless on
          the rocks with bullet in his back.
          
                                 ABDULLAH (CONT'D)
                    Ahmed!   Ahmed!
          
          Oblivious of the police, he gets up and runs toward him.
          Motionless, Ahmed just moans. With every breath, his shirt
          grows bloodier.
          
                                 ABDULLAH (CONT'D)
                    Ahmed!   Ahmed!
          
          He rolls Ahmed over and lays his head on his lap. Abdullah
          cannot stop crying. Yussef, ducking, runs toward his brother.
          Abdullah laments nervously.
          
                                ABDULLAH (CONT'D)
                    Don't die, don't die.
          
          Yussef is shocked upon seeing his dead brother. He stands
          up and, without caring whether anyone fires at him or not,
          he raises the rifle up in the air for the police to see that
          he is not aiming, and starts to break it against the rocks.
          
          When he's finished breaking it he opens his arms and walks
          toward the police. One of them policemen looks at him through
          a pair of binoculars. Alarid interrogates him.
          
                                ALARID
                    What's happening?
          
                                                                       99.
          
                                POLICE OFFICER
                    A boy is walking this way.
          
                                   ALARID
                    Is he armed?
          
          The officer takes a careful look.
          
                                POLICE OFFICER
                    It doesn't look like it.
          
                                ALARID
                    What are the others doing?
          
          The officer watches Abdullah carrying his wounded son.
          
                                POLICE OFFICER
                    A man is holding somebody injured.
          
                                ALARID
                    Is the other one still walking this
                    way?
          
                                   POLICE OFFICER
                    Yes.
          
          Alarid turns to the other officers.
          
                                   ALARID
                    Aim.
          
          The police aim and hold Yussef in their sights. He keeps
          walking resolutely toward his aggressors. He is crying
          softly, keeping his arms open.
          
          Yussef walks until his is 10 meters away from the police and
          he kneels with his arms open.
          
                                YUSSEF
                    I killed the American, I was the
                    only one who shot at you...
          
          Cautious, the police still aim at his chest. Yussef proceeds
          with his confession, babbling it through his nerves, his
          pain and his attempt to control his sobbing.
          
                                YUSSEF (CONT'D)
                    They did nothing... nothing...
          
          He turns to his father and his brother and points at them.
          
                                YUSSEF (CONT'D)
                    Kill me, but save my brother, he did
                    nothing... nothing...
          
          Alarid moves in, aiming at him with a rifle.    Behind him are
          five other cops, also ready to shoot.
          
                                                                            100.
          
                                      ALARID
                          On the ground...
          
                Yussef does not obey.
          
                                      YUSSEF
                          Save my brother...
          
                                      ALARID
                          On the ground...
          
                Yussef turns his face toward Alarid looks him in the eye.
          
                                      YUSSEF
                          Save my brother... please...
          
                He lies on the floor, crying. Alarid puts his gun down and
                looks at him: his enemy is a disconsolate child. Then he
                looks up at Abdullah who is screaming his lamentations. He
                turns to one of his subordinates.
          
                                      ALARID
                          Go help them.
          
                One of the officers goes to help Abdullah and Ahmed.     Yussef
                lies on the floor, crying.
          
          166   EXT. DESERT -- NIGHT
          
                The sun rises.   Amelia and the children keep walking.    They
                sweat.
          
                                      MIKE
                          I can't walk anymore.
          
                                      AMELIA
                          We have to keep walking.
          
                                      MIKE
                          Why is the air so hot?
          
                Amelia stops and tries to distract them.
          
                                      AMELIA
                              (the entire dialogue
                               in English)
                          Because coyotes and snakes and quails
                          have already breathed that air.
          
                Mike remains pensive.
          
                                      MIKE
                          We're breathing the same air animals
                          breathe?
          
                                        AMELIA
                          Yes.
          
                                                                             101.
          
                                      MIKE
                          And it doesn't rot?
          
                                      AMELIA
                          No, it doesn't rot.   We all breathe
                          this air.
          
          167   EXT. DESERT -- MORNING
          
                Dawn. The three walk through the desert.      Debbie walks
                mechanically, tired and exhausted.
          
                                      DEBBIE
                          I can't anymore. I'm thirsty.
          
                                         MIKE
                          So am I.
          
                Amelia looks around her: no sign of civilization.
          
                                      AMELIA
                              (In Spanish)
                          Just a little further and we'll go
                          look for water.
          
          168   EXT. DESERT -- LATER
          
                Amelia lumbers heavily, carrying Debbie asleep on her arm.
                Mike drags his feet a few yards behind.
          
                They walk for a long stretch through the thorny brush until
                they reach a small mound where a leafy mesquite grows.
          
                Amelia lays a limp Debbie down on the ground and sits on the
                mound of earth.
          
                                      AMELIA
                              (In Spanish)
                          We're going to rest here for a while.
          
                                      MIKE
                          What if there are snakes?
          
                                      AMELIA
                          No, there aren't any.   Come, lie
                          down.
          
                The boy, exhausted and docile, obeys and lies on her chest.
                Amelia leans against the trunk with Debbie on her legs. The
                children sleep while Amelia, nodding off, tries to keep watch.
          
          169   EXT. DESERT -- LATER
          
                It is well into the morning. Amelia and the children sleep
                deeply. There is a noise and Amelia opens her eyes. She
                sees a border patrol truck driving around near them.
          
                                                                     102.
          
          Looking through the branches, she spies on the truck and
          watches another one join it. Mike awakes and sits up.
          
                                MIKE
                    What happening?
          
          Amelia ducks and lays Mike face down.    The two trucks slowly
          approach.
          
                                AMELIA
                        (To Mike, in a low
                         voice, in Spanish)
                    Stay still.
          
          A truck drives by about eighty yards away and then passes.
          The other one cuts diagonally across its path and then gets
          lost in the desert.
          
          Amelia gets up and shakes off the dust. She looks out of
          place, wearing her best clothes torn by the bramble. She
          makes sure the trucks are leaving.
          
                                MIKE
                    Why are we hiding if we didn't do
                    anything wrong?
          
                                AMELIA
                        (In English)
                    Because they think we did something
                    wrong.
          
                                MIKE
                    That's not true: you're bad.
          
          Amelia freezes upon hearing the boy's words.
          
                                AMELIA
                    No, sweetie, I'm not bad.     I just
                    did something stupid.
          
          She pulls him toward her and hugs him tenderly.
          
                                AMELIA (CONT'D)
                        (In Spanish)
                    I love you very much, sweetie.
          
          Amelia turns and tries to wake Debbie.
          
                                AMELIA (CONT'D)
                        (In English)
                    Debbie, we've got to go.
          
          The girl opens her eyes, but doesn't answer.
          
                                AMELIA (CONT'D)
                    Debbie, sweetheart, wake up.
          
                                                                           103.
          
                She closes her eyes again. Amelia notices her lips are dry
                and her breath is irregular: she is visibly dehydrated.
          
                Upon seeing that she doesn't react, Amelia looks for the
                trucks: they're far away.
          
          170   EXT. DESERT -- LATER
          
                Amelia carries Debbie in her arms under the burning sun,
                following a cattle trail. Mike walk behind, pale, sweaty.
                Amelia looks to the horizon: there is no sign of the trucks.
          
          171   EXT. DESERT -- DAY
          
                They are still walking. Amelia can barely go on. She stops
                to rest. She is sweating copiously. Mike also looks weak.
          
          172   EXT. DESERT -- LATER
          
                The heat is strong and Amelia is beaten. She looks for the
                shade of a cluster of mesquites and lays Debbie down. Then
                she turns to Mike.
          
                                      AMELIA
                          Sweetie, I'm going to go look for
                          help. Stay here and don't move.
          
                                      MIKE
                          I'm not staying here alone.
          
                                      AMELIA
                          Honey, you have to take care of
                          Debbie.
          
                                      MIKE
                          I'm going with you.
          
                Mike looks at her with imploring eyes.   Amelia caresses him.
          
                                      AMELIA
                          I won't be long. I promise.
          
          173   EXT. DESERT -- DAY
          
                Amelia desperately looks through the desert.   She also looks
                dehydrated. She drifts.
          
          174   EXT. DESERT -- DAY
          
                Amelia drags her feet as she walks.   She can go no further.
          
          175   EXT. DESERT -- DAY
          
                Amelia sees a small hillock and climbs it with difficulty.
                She surveys the environs from the top. In the distance she
                sees a Border Patrol truck driving down a path.
          
                                                                      104.
          
          With great effort, Amelia runs down the hill.
          
                                AMELIA
                        (In Spanish)
                    Stop, stop...
          
          The truck doesn't stop. Amelia keeps running, flailing her
          arms and screaming wildly.
          
                                AMELIA (CONT'D)
                    Sir... sir... stop...
          
          The truck stops and backs up.   Amelia keeps going, tripping
          over stones.
          
          John (29), a thoroughly Mexican officer, gets out and she
          runs up, panting, to him.
          
                                AMELIA (CONT'D)
                    Please help me.
          
          John stares at her suspiciously.
          
                                AMELIA (CONT'D)
                    I have to go get two kids I left
                    behind in the desert.
          
          John looks at her suspiciously.
          
                                JOHN
                        (In Spanish, with a
                         terrible accent)
                    Are they illegal immigrants?
          
                                AMELIA
                    No, they're American.
          
                                JOHN
                    When did you cross?
          
                                AMELIA
                        (In English)
                    I didn't cross, I live here.   Please,
                    help me find these kids.
          
          John keeps staring at her.   He points to a mesquite.
          
                                JOHN
                    Stand there and don't move.
          
          Amelia obeys. John goes back to the vehicle, opens the door
          and sits down and grabs the radio.
          
                                JOHN (CONT'D)
                    Attention base, I have a 4533...I
                    have the suspect.
          
                                                                           105.
          
                Amelia doesn't manage to hear what the radio says. She looks
                attentively at what the agent is doing. John stops and runs
                back to her.
          
                                      JOHN (CONT'D)
                          You're under arrest. Turn around
                          and put your hands behind your head.
          
                Amelia despairs.
          
                                      AMELIA
                          I left those kids in the desert, I
                          swear.
          
                John pushes her forcefully against the truck.
          
                                      JOHN
                          Turn around, now.
          
                She turns around with her hands over her head.    John handcuffs
                her and leads her to the vehicle.
          
          176   INT. BORDER PATROL VEHICLE -- DAY
          
                Amelia, cuffed, and John, drive down a path in the desert.
          
                                      JOHN
                          Which way are they?
          
                Amelia studies the terrain.    She points at some mesquites in
                the distance.
          
                                      AMELIA
                              (In Spanish)
                          Over there.
          
          177   EXT. DESERT -- DAY
          
                The truck parks and they both get out.
          
                                      JOHN
                          Where are they?
          
                Amelia explores the landscape, anguished.
          
                                      AMELIA
                          They must be around here.
          
                Another border patrol truck arrives and pulls up next to
                them. Eliseo (34), looks out the window.
          
                                      ELISEO
                          What happened?
          
                                      JOHN
                          This lady said they were here, but
                          there's nobody.
          
                                                                           106.
          
                                       ELISEO
                               (In Spanish)
                          Ma'am, you're not lying to us, are
                          you?
          
                                      AMELIA
                              (In Spanish)
                          I swear they're around here somewhere.
          
                She sees another cluster of mesquites and points toward them.
          
                                      AMELIA (CONT'D)
                          They must be over that way.
          
          178   EXT. CLUSTER OF MESQUITES -- DAY
          
                They arrive at the cluster. The two trucks park and the
                three get out. She is still cuffed. A helicopter hovers
                above them.
          
                They walk around: nothing.
          
                                      JOHN
                          There's nobody here.
          
                                      AMELIA
                              (To Eliseo, in Spanish)
                          I left them about a kilometer in
                          from the road.
          
                                      ELISEO
                              (In Spanish)
                          Which road?
          
                She doesn't know what to say.    John grabs her by the arm and
                drags her toward the vehicle.
          
                                      JOHN
                          I don't believe you.
          
                Amelia looks at him desperately.
          
                                      AMELIA
                              (In English)
                          I swear they're around here.
          
                John is not affected.   He keeps pulling her.
          
                                      ELISEO
                              (In English)
                          John, wait, maybe she's telling the
                          truth.
          
                                      JOHN
                          Maybe she's not, let's go.
          
                                                                            107.
          
                                      AMELIA
                          Please sir, believe me.
          
                John pays no attention.   She turns to Eliseo.
          
                                      AMELIA (CONT'D)
                              (In Spanish)
                          I swear, they're lost, they're going
                          to die. I have to find them.
          
                John keeps pulling her. He puts her in the truck and closes
                the door before Eliseo's passive gaze.
          
                                      AMELIA (CONT'D)
                              (In English)
                          Please no... please...
          
          179   INT. ROOM, ANWAR'S HOUSE -- AFTERNOON
          
                Night begins to fall. From the window we can hear the noises
                of the town: voices, goats bleating, camels moaning, music
                from a radio.
          
                Susan wakes from her slumber and turns to Richard, who is
                leaning on a wall, tired, sweaty, with his eyes closed.
          
                                       SUSAN
                          Richard.
          
                                      RICHARD
                          What do you need?
          
                                      SUSAN
                          Richard... if I die, take care of
                          the kids. Especially Mike, he really
                          needs you.
          
                                      RICHARD
                          You're not going to die. You can't
                          die. You just can't.
          
                                      SUSAN
                          Don't ever leave them again.
          
                                      RICHARD
                          No, I'm not going to leave them and
                          don't you even think about leaving
                          me, because I'll kill you like
                          nobody's killed you before.
          
                She smiles.   He caresses her.
          
                                      SUSAN
                          I peed my pants.
          
                                       RICHARD
                          What?
          
                                                                        108.
          
                                SUSAN
                    I couldn't hold it in and I peed.
          
          Richard touches between her legs and feels the moisture.
          
                                RICHARD
                    I'm going to tell Mike on you, so
                    you never scold him again.
          
          They both laugh.   She grimaces in pain when she does.
          
                                SUSAN
                    I need to pee again.
          
                                RICHARD
                        (To Anwar)
                    Do you have a pot I can borrow?
          
          Anwar looks in a corner and hands it over.
          
                                RICHARD (CONT'D)
                        (To Anwar)
                    Can you leave us alone for a moment?
          
          The grandmother and Anwar exit.
          
                                RICHARD (CONT'D)
                    Come, try it like this.
          
          He lifts up her dress, pulls down her underpants and sets
          the basin under her. She puts her arm around him to pull
          herself up, but can't move her right arm.
          
                                 SUSAN
                    I can't.
          
          They laugh.   He kisses her.   We start to hear the stream.
          
                                 SUSAN (CONT'D)
                    Now I can.
          
          While she pees, they kiss painfully.    She starts to cry.
          
                                RICHARD
                    Forgive me my love. When Pat died I
                    didn't know what to do, the pain
                    drove me crazy... I was scared, that's
                    why I left... forgive me.
          
                                SUSAN
                    I was scared too... when I saw Pat
                    lying still in his crib...
          
          Her voice breaks up and she can barely go on.
          
                                                                         109.
          
                                      SUSAN (CONT'D)
                          It wasn't my fault, it wasn't... I
                          couldn't do anything for him...
          
                                      RICHARD
                          No, it wasn't your fault. I was
                          wrong...
          
                He strokes her head.
          
                                       RICHARD (CONT'D)
                          Shhh... it wasn't your fault my love,
                          it wasn't anybody's fault... Pat
                          just left...
                              (A beat)
                          Forgive me, please.
          
                                      SUSAN
                          Forgive me for not forgiving you.
          
                Richard hugs her and starts to laugh.
          
                                      RICHARD
                          You missed; you got my leg.
          
                They both laugh, and as they do, the blanket covering Susan's
                wound slips off. Richard sees her swollen, bruised arm. He
                touches it.
          
                                      RICHARD (CONT'D)
                          Does it hurt?
          
                                      SUSAN
                          So much... so much...
          
                Richard looks worried and leaves the room.
          
          180   EXT. STAIRS, ANWAR'S HOUSE -- DAY
          
                He walks out onto the stairs and calls Anwar.
          
                                      RICHARD
                          Anwar...Anwar...
          
                Anwar runs into the room.
          
                                      ANWAR
                          What happened?
          
                                      RICHARD
                          We've got to get her out of here.
                          Where's the clinic?
          
                                      ANWAR
                          In Alnif, an hour and a half away
                          from here.
          
                                                                         110.
          
                                      RICHARD
                          Can you get us a car we can take her
                          in?
          
                Anwar remains pensive for a moment and then nods.
          
          181   INT. ANWAR'S HOUSE -- DAY
          
                Richard is squatting next to Susan.
          
                                      RICHARD
                          My love... I'm going to get you out
                          of here.   We're going to try to
                          take you to a clinic an hour and a
                          half away from here. Do you think
                          you can make it?
          
                She thinks for a moment and then nods.
          
                                      SUSAN
                          Yeah.
          
                                      RICHARD
                          I need you to be strong. Really
                          strong.
          
                Susan sighs: the effort required seems as if it will be too
                much, but she nods again. Richard hugs and kisses her.
          
          182   EXT. ANWAR'S HOUSE -- DAY
          
                Richard and the vet carry Susan out on a wheelbarrow. It is
                very difficult to move her. She is clearly in pain and groans
                quietly.
          
                Outside the house is the policeman with his Peugeot. Anwar
                is talking to him.
          
                Richard and the vet carry Susan all the way to the car.
                Richard stands before the policeman he humiliated earlier.
          
                                      RICHARD
                          Thank you for lending us the car.
          
                Anwar translates.
          
                                       ANWAR
                               (In Arabic)
                          He thanks you for lending us the
                          car.
          
                The policeman nods kindly.
          
                Dozens of girls and boys and a few adults stare at the scene.
          
                Gingerly, Richard, Anwar and the vet lift her into the car
                and softly lay her on the back seat.
          
                                                                           111.
          
                Even so, she screams in pain.
          
                                      SUSAN
                          Ahhh... Ahhh...
          
                Richard holds her hand and squeezes it.
          
                                      RICHARD
                          Sweetie, you've got to hold on.
          
                Richard gets into the car, and as they're about to drive
                off, the shopkeeper runs up to them.
          
                                      TENDERO
                              (In Arabic)
                          Stop... Stop...
          
                The shopkeeper catches up to them.
          
                                      TENDERO (CONT'D)
                              (In Arabic)
                          They're calling from the American
                          Embassy.
          
          183   INT. GENERAL STORE -- AFTERNOON
          
                Richard walks into the cubicle.    The phone is off the hook
                and Richard answers.
          
                                      RICHARD
                          Hello...
          
                                      SECRETARY (O.S.)
                          Just a moment, I'm going to put you
                          through to ambassador Ken Clifford.
          
                Richard awaits. In the corner of the room, he sees a goat's
                head covered with flies.
          
                                      KEN
                          Hello, Richard Jones?
          
                                      RICHARD
                          Yes, speaking.
          
                                      KEN (O.S.)
                          I'm very sorry about what happened
                          to your wife, but you can be sure
                          that the culprits will be punished.
          
                                      RICHARD
                          My wife is dying. She's in urgent
                          need of medical attention.
          
                                      KEN (O.S.)
                          We're working on it...
          
                                                                          112.
          
                Richard interrupts angrily.
          
                                      RICHARD
                          We've been here for five hours.
                          What the fuck are you waiting for?
          
                                       KEN (O.S.)
                          The Moroccan government won't let us
                          use their airspace. They refused to
                          acknowledge that this was an act of
                          terrorism...
          
                                      RICHARD
                          I can't wait anymore... I'm taking
                          my wife to a clinic in Tinerhir right
                          now...
          
                                      KEN (O.S.)
                          Stay put... we've settled the matter.
                          A helicopter should arrive soon...
          
                                      RICHARD
                          We can't wait any longer.
          
                                      KEN (O.S.)
                          The helicopter is on its way. Don't
                          move.
          
                                      RICHARD
                          My wife is in critical condition.
                          How long is the chopper going to
                          take?
          
                                      KEN (O.S.)
                          Soon... it'll be there soon... Be
                          patient, it won't be long.
          
          184   INT. INTERROGATION ROOM, POLICE HEADQUARTERS -- EVENING
          
                Amelia sits in a room painted white. An American, his hair
                slicked back, dressed in a shirt and tie, sits before her.
          
                                      POLICE OFFICER
                              (In Spanish)
                          Is your full name Amelia Gloria Jord�n
                          Susilla?
          
                                      AMELIA
                              (In Spanish)
                          Yes sir.
          
                                      POLICE OFFICER
                          Do you understand English?
          
                                      AMELIA
                              (In English)
                          Yes sir.
          
                                                                   113.
          
                                POLICE OFFICER
                        (In English)
                    Ma'am, it was a miracle that we found
                    those kids. I don't know how you
                    could leave them alone in the desert.
          
                                AMELIA
                    I had to look for help.
          
                                 POLICE OFFICER
                    Your reckless behavior endangered
                    their lives.
          
          Amelia stops arguing.   She looks worried.
          
                                AMELIA
                    How are they?
          
                                POLICE OFFICER
                    That's none of your business, ma'am.
          
          The man's words hurt Amelia, who looks away to avoid crying.
          
                                POLICE OFFICER (CONT'D)
                    You've committed serious crimes.
          
                                AMELIA
                    I just took the kids to my son's
                    wedding.
          
                                POLICE OFFICER
                    No ma'am, you did not just do that.
                    You took them to another country
                    without their parents' permission
                    and you put them in danger.
          
                                AMELIA
                    Sir, I raised these kids since they
                    were born. I take care of them day
                    and night. I feed them breakfast,
                    lunch and dinner. I play with them.
                    Mike and Debbie are like my own
                    children.
          
                                POLICE OFFICER
                        (sternly)
                    But they are not your kids, ma'am.
          
                                AMELIA
                    What about my nephew, Santiago?
          
                                POLICE OFFICER
                    I don't have any information on him.
          
          Amelia looks destitute.
          
                                                                          114.
          
                                      POLICE OFFICER (CONT'D)
                          We located the parents in Morocco.
                          They're very angry, but they've
                          decided not to raise charges.
          
                Amelia exhales, relieved.   The policeman leans toward her.
          
                                      POLICE OFFICER (CONT'D)
                          Nevertheless, the government of the
                          United States has deemed you were
                          seriously breaking the law and has
                          decided to immediately and
                          definitively deport you.
          
                Amelia loses her breath.
          
                                      AMELIA
                          I've been living here for fifteen
                          years. My things are here, I rent a
                          house, I made my life here.
          
                                      POLICE OFFICER
                          You should've thought of that
                          beforehand.
          
                                      AMELIA
                          I want to talk to a lawyer.
          
                                      POLICE OFFICER
                          If you attempt to take this to court,
                          I assure you you will end up in jail.
                          If you want my advice, accept the
                          deportation and never come back.
          
          185   EXT. BORDER CROSSING -- EVENING
          
                A bus parks in front of the border. Several border patrol
                agents have formed a wall for the illegal immigrants to pass
                directly through.
          
                The illegal immigrants get out and walk toward Mexico.   As
                Amelia crosses, she keeps looking back.
          
          186   EXT. BORDER CROSSING, MEXICO -- EVENING
          
                The illegal immigrants cross into Mexico, where they disband
                into small groups. Amelia walks alone. Before she walks
                away she turns to one of the other deported Mexicans.
          
                                      AMELIA
                              (In Spanish)
                          Do you have a cigarette?
          
                He acquiesces. He rummages through his pant pockets and
                pulls out a pack of cigarettes. He offers one to Amelia, who
                takes it. He also pulls out some matches and lights one.
          
                                                                          115.
          
                                         AMELIA (CONT'D)
                          Thank you.
          
          187   EXT. STREET, TIJUANA -- EVENING
          
                Amelia smokes, drifting. After a while she sits on a sidewalk
                and leans on a post. She looks into the street at the people
                passing by and starts crying softly.
          
                A dusty and battered pick up truck arrives. Inside are her
                son and her comadre. Her son steps down and hugs her in
                silence as she cries. Her comadre observes them from a
                distance.
          
          188   EXT. HAMLET -- EVENING
          
                The truck is parked in front of Anwar's house. Richard and
                Susan wait in the back while the boy, Anwar and the vet lean
                on the hood.
          
                Suddenly a helicopter with American insignia flies over them
                and goes to land in an empty lot.
          
                Anwar looks up and watches the helicopter descend. The
                helicopter kicks up a cloud of dust before the stunned gaze
                of dozens of children. Some camels are frightened. Some
                starving dogs bark at it.
          
          189   EXT. TOWN -- EVENING
          
                They carry Susan to the helicopter in a stretcher. They
                load her in carefully. Richard follows her through the wind
                generated by the helicopter. Anwar catches up to them to say
                goodbye.
          
                                      ANWAR
                          Good luck, mister...
          
                                      RICHARD
                          Thank you for everything.
          
                Richard gives Anwar a hug which he responds to affectionately.
                Richard takes out his wallet and holds out three hundred-
                dollar bills, which Anwar rejects.
          
                                      ANWAR
                          No sir, no... Allah be with you.
          
                They look each other in the eye and then Richard gets into
                the chopper. It takes off.
          
          190   EXT. DESERT -- EVENING
          
                The helicopter silently flies over the Moroccan desert.
          
                                                                           116.
          
          191   EXT. PARKING LOT, MOROCCAN HOSPITAL -- EVENING
          
                The hospital's perimeter is guarded by dozens of soldiers.
                The security is impressive. A group of doctors and nurses
                with a stretcher wait in the parking lot. Several journalists
                and cameras observe.
          
                Ken and his entourage await the helicopter's landing. The
                helicopter approaches. The cameramen hurry to position
                themselves for a better shot.
          
                A reporter speaks to the camera.
          
                                      REPORTER
                          In this helicopter is Susan Jones,
                          an American mother of two who was
                          seriously injured in a terrorist
                          attack. It appears fundamentalist
                          organizations planned the attack...
          
                The helicopter settles softly in the parking lot. It is
                immediately surrounded by several Moroccan soldiers. The
                doctors on the ground prepare the stretcher.
          
                Ken walks hurriedly toward the chopper, guarding himself
                from the wind.
          
                Susan is immediately placed on the stretcher and quickly
                taken to the emergency room. Richard follows close behind
                until his is intercepted by Ken.
          
                                      KEN
                          Mr. Jones, I'm Ken Clifford,
                          Ambassador to the United States.
          
                Richard keeps running behind the stretcher.   Ken stops him.
          
                                      KEN (CONT'D)
                          A first rate medical team is going
                          to tend to her, but if you want we
                          can take her to a hospital in Italy
                          as soon as she's stable...
          
                                         RICHARD
                          Thank you...
          
                                      KEN
                          There are lots of reporters waiting.
                          Is there anything you want to say to
                          the press? A statement against
                          terrorism?
          
                Richard looks at him as if he doesn't know what he's talking
                about.
          
                                                                            117.
          
                                      RICHARD
                          The last thing I'm worried about
                          right now is the fucking press.
          
                He pulls away from Ken and follows Susan toward the E.R.
          
          192   INT. HALLWAY, E.R., MOROCCAN HOSPITAL -- NIGHT
          
                Several Moroccan doctors are examining Susan.    Richard
                observes worriedly from a window.
          
                One of the doctors comes out.
          
                                       MOROCCAN DOCTOR
                              (In good English)
                          We're going to have to operate
                          immediately.
          
                                      RICHARD
                          Is she going to be ok?
          
                                      MOROCCAN DOCTOR
                          It's probable. We're going to try to
                          save her arm.   She's been bleeding
                          internally, and there's been some
                          clotting so there's a high risk of
                          gangrene.
          
                                       RICHARD
                              (insistently, as if
                               he hadn't heard the
                               doctor)
                          But she's going to be ok?
          
                The Moroccan doctor puts his hand on Richard's shoulder and
                thinks about his answer.
          
                                      MOROCCAN DOCTOR
                          Yes, she's going to be ok.
          
                The doctor leaves and Richard goes back to looking at his
                wife through the glass.
          
                The doctors are still prepping her.   Richard walks in.
          
          193   INT. EMERGENCY ROOM -- NIGHT
          
                He stands next to Susan, who is unconscious. He looks at a
                doctor and she moves to one side. Richard leans over and
                kisses her.
          
                He walks away and the nurses start to wheel her to the O.R.
          
          194   INT. HALLWAY, MOROCCAN HOSPITAL -- NIGHT
          
                Richard is talking on the phone from an office.
          
                                                                    118.
          
                                 RICHARD
                    Amelia?
          
                                 AMELIA (O.S.)
                    Yes sir.
          
                                RICHARD
                    How is everything?
          
                                AMELIA (O.S.)
                    Ok sir, Mrs. Rachel told me. I'm
                    very sorry. How is Mrs. Susan?
          
                                RICHARD
                    They're going to operate now...
                    Amelia... take good care of the kids,
                    and don't tell them anything...
          
                                AMELIA (O.S.)
                    No sir, don't worry.
          
                                RICHARD
                    Put Mike on please.
          
          A few seconds pass and Mike answers.   This is the phone call
          from the beginning.
          
                                 MIKE (O.S.)
                    Hi dad.
          
                                RICHARD
                    Hey sweetie, how are you?
          
                                MIKE (O.S.)
                    Dad, guess what? Today, at school,
                    they brought some baby chickens.
          
                                 RICHARD
                    Oh really?
          
                                MIKE (O.S.)
                    I held one in my hand. He was really
                    little and he was all warm.
          
          Richard starts to cry for the first time.
          
                                MIKE (O.S.) (CONT'D)
                    Dad, are you ok?
          
          Richard tries to hold back his sobbing.
          
                                RICHARD
                    Yeah, I'm ok. Everything's fine.
          
          The boy keeps talking while Richard cries.
          
                                                                          119.
          
                                      MIKE (O.S.)
                          And Mariana wanted to take one home,
                          but the teacher didn't let her...
          
          195   INT. CHIEKO'S APARTMENT -- NIGHT
          
                Chieko, naked, sits in an armchair, again submerged in the
                remote world of her silence. Before her, Kenji observes her
                nakedness, her sadness, her pained beauty.
          
                For a while they remain motionless. She seems to return
                from the long journey to herself and turns to look at him.
                Their eyes meet. There are still tears in Chieko's eyes.
                They hold each other's gaze until Chieko gets up, gets her
                notebook, scribbles down some words and gives them to him.
          
                Kenji reads them and looks at her.
          
                                      KENJI
                          You don't have to apologize for
                          anything.
          
                She sits down beside him. They look at each other again for
                a few, long seconds. Chieko takes his hand, strokes it for a
                moment, kisses it, sucks one of his fingers and then puts it
                back in its place.
          
                She grabs her notebook and starts writing a long note. It
                takes her almost a minute to do so. Kenji, nervous because
                of her proximity, watches her write feverishly.
          
                Chieko finishes writing, folds the note and hands it to Kenji.
                Kenji starts unfolding it, but Chieko stops him. She takes
                it away from him, folds it again and puts it in his breast
                pocket. She signals for him to read it later.
          
                Kenji gets up to go. She stands next to him. Her nakedness
                contrasts with Kenji's toughness. He bows his head to say
                goodbye and she moves aside for him to pass. Kenji walks
                past her as she watches.
          
                Kenji reaches the door. He opens it and turns to look at
                Chieko again, who has been left in the middle of the hall.
                He bows his head again and leaves.
          
                Chieko watches him leave and closes her eyes painfully.
          
          196   INT. ELEVATOR, CHIEKO'S BUILDING -- NIGHT
          
                Kenji rides the elevator down, touched, barely able to contain
                his emotion. The elevator doors open and he walks out.
          
          197   INT. LOBBY, TOKYO APARTMENT BUILDING -- NIGHT
          
                Kenji walks past the doorman.
          
                                                                     120.
          
                                  KENJI
                    Good night.
          
          He keeps walking. On the other end of the lobby, at the
          parking lot entrance, Yasujiro walks in.
          
          The doorman calls Kenji as he is about to leave.
          
                                DOORMAN
                    Officer... officer...
          
          Kenji stops.   Beside him is Yasujiro.
          
                                DOORMAN (CONT'D)
                    This is the man you were looking
                    for.
          
          Kenji approaches him while the doorman discretely moves away
          to leave them alone in the lobby.
          
                                KENJI
                    Good evening, I'm lieutenant Mamiya.
          
                                YASUJIRO
                    Good evening, how can I help you?
          
                                KENJI
                    Sir, there was an incident and...
          
          Yasujiro looks at him attentively. Kenji, still moved by
          Chieko, looks distracted, confused.
          
                                 KENJI (CONT'D)
                    I don't mean to bother you, but...
                        (a beat)
                    Do you own a .270 caliber Winchester
                    70 rifle with the registration
                    number...
          
          Kenji looks through his pockets, takes out a small notebook
          and looks up the missing number.
          
                                  KENJI (CONT'D)
                    UK-9023?
          
                                YASUJIRO
                    I don't remember the license, but I
                    did have a rifle like the one you
                    described.
          
                                KENJI
                    Is it true that you gave it to a Mr.
                    Hassan Ibrahim, who lives in southern
                    Morocco?
          
                                YASUJIRO
                    Hassan Ibrahim?
          
                                                                    121.
          
                                KENJI
                    He says he was your guide in a hunt.
          
                                YASUJIRO
                    Hassan? Of course. He was a very
                    good guide and I gave him the rifle.
                    Hassan is a very kind man. Did
                    anything happen?
          
                                KENJI
                    There was an attempted murder with
                    that rifle, and the Moroccan police
                    want to confirm it's not off the
                    black market.
          
                                 YASUJIRO
                    No, I gave it to him.
                        (a beat)
                    Is Hassan ok?
          
                                KENJI
                    I don't know.
          
          Yasujiro remains silent for a moment.
          
                                YASUJIRO
                    Am I legally involved?
          
                                KENJI
                    Not for the moment. You may have to
                    go testify for your friend.
          
                                YASUJIRO
                    Can I leave now?
          
                                  KENJI
                    Good night.
          
          They both bow to say goodbye. Yasujiro walks toward the
          elevator. Kenji calls out to him.
          
                                  KENJI (CONT'D)
                    Excuse me.
          
          Kenji approaches and Yasujiro awaits, expectant.
          
                                KENJI (CONT'D)
                    Your daughter told me about your
                    wife on the balcony. I'm very sorry.
          
                                YASUJIRO
                    What balcony?
          
                                KENJI
                    About how your wife killed herself
                    by jumping off the balcony.
          
                                                                           122.
          
                                      YASUJIRO
                          My wife never jumped off a balcony.
                          She shot herself in the head. My
                          daughter was the first to find her.
          
                Kenji is left speechless.
          
                                      YASUJIRO (CONT'D)
                          I've explained it to the police
                          several times. Don't bother us with
                          that anymore, please.
          
                                      KENJI
                          I'm very sorry sir, we won't bother
                          you anymore. Good night.
          
                He turns around and leaves the building.
          
          198   EXT. TOKYO STREETS -- NIGHT
          
                Kenji walks down the streets immersed in his thoughts.
          
          199   INT. BAR -- NIGHT
          
                Kenji sits in a half-empty bar.   He turns to the bartender.
          
                                      KENJI
                          Another whisky.
          
                The T.V. has been turned on to a Japanese newscast. Kenji
                takes out Chieko's note, reads it and, as soon as he is done,
                closes his eyes. He looks around. Everybody seems to be
                immersed in a world far from his own.
          
                A reporter appears on T.V.
          
                                      REPORTER
                          Susan Jones, the American woman
                          wounded in an attack in Morocco ten
                          days ago, left the hospital today,
                          heading to the United States...
          
                Susan appears on screen in a wheelchair pushed by a male
                nurse and followed by Richard.
          
                The bartender leans over to Kenji.
          
                                      BARTENDER
                          Do you want something to eat?    I
                          could make you a sandwich.
          
                                      KENJI
                          No thank you.
          
                When he looks back at the news, the story has changed.   Kenji
                drinks his whisky parsimoniously.
          
                                                                         123.
          
          200   INT. ELEVATOR, CHIEKO'S BUILDING -- NIGHT
          
                Yasujiro rides the elevator up, lost in thought.
          
          201   EXT. BALCONY, CHIEKO'S APARTMENT -- NIGHT
          
                From the balcony, naked, Chieko observes the city stretching
                before her.
          
                Yasujiro walks in and encounters his daughter completely
                naked. There are still traces of Chieko's tears in her eyes.
          
                Yasujiro is affected when he sees his daughter like this,
                but says nothing. He slowly walks toward her. Chieko looks
                hurt, but whole.
          
                Yasujiro stands beside her. They look at each other. Chieko
                holds out her hand and takes his. Chieko squeezes. She looks
                at the city and then looks at her father's eyes.
          
                He strokes her hair and they both stand on the balcony, with
                the massive city sprawling under them.