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Spanglish Movie Script

Writer(s) : James L. Brooks

Genres : Comedy, Drama, Romance

Search IMDb : Spanglish


                               SPANGLISH

                                  by


                            James L. Brooks



                            SHOOTING DRAFT





    FADE IN:


1   INT. BEDROOM - MEDIUM CLOSE - MALE FORM - LATE AFTERNOON      1

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

2   INT./EXT. BEDROOM / DUSTY ROAD - OTHER ANGLE                  2

    Showing us the room and beyond, through the window, a school
    bus stopping at the corner on a dusty road.
    We now see the full figure of the woman's back as she looks
    up with excitement and stops rubbing with the word,




                                                             2.







    "Cristina." When the man protests her stopping she indicates
    they should both run and meet their daughter. He waves her
    off. Stunned by his disinterest, she runs from the room.....

3   EXT. DUSTY ROAD - THE BUS                                     3

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

                        NARRATOR

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

4   INT. / EXT. HOUSE - SCHOOL GIRL'S POV - MOM                   4

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

                        NARRATOR

              For my mother, that afternoon
              eleven years ago was a watershed
              not because of my father's

                        (MORE)





                                                             3.

                        NARRATOR (cont'd)
              imprisonment but because it was my
              first day at school....

5   INT. KITCHEN / HUSBAND'S ROOM - LATE AFTERNOON                5

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

                        NARRATOR

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

    ON MOM.

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

    FULL SHOT - TAKING IN BOTH ROOMS.

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

6   INT. / EXT. KITCHEN - ON GIRL.                                6

    Standing proudly, smoothing her skirt.

    CLOSE UP GIRL.





                                                                 4.







    As she clears her throat and says directly into camera.

                           GIRL

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

                           MOTHER

                 Una l�grima...sola una sola...Haz
                 la mejor possible.

                           NARRATOR

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

    ON CHILD.

    Baffled by the edict..

    ON MOTHER.

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

    ON CHILD..

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

7   INT. MOTHER'S BEDROOM - NIGHT                                     7

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

                                                      DISSOLVE TO:


8   INT. GIRL'S ROOM - DAY                                            8

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




                                                                 5.








9    SERIES OF SHOTS                                                  9

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

                         NARRATOR

               My mother dealt with our
               considerable problems of survival
               by talking..Always she discovered
               her own best thoughts by sifting
               through her own words.
     The mother stops talking in mid-sentence, realizing she has
     just solved something and makes a note.

10   INT. MOTHER'S BEDROOM - THE TWO OF THEM IN BED - NIGHT       10


                         NARRATOR

               Each night my mother promised me a
               wonderful life.. Each night I
               looked for a new expressive way to
               tell my mother how much I loved
               her.
     The child is ardent..clutching at her heart...kissing her
     mother.. Holding her mother's face, talking directly into her
     eyes. The mother, enormously pleased, is nonetheless thrown
     by the extremes of it.

                         NARRATOR (CONT'D)

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

11   INT. / EXT. MONTAGE - VARIOUS SHOTS                          11

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

                         NARRATOR

               Desperation in her hands was our
               weapon.

     ON MOTHER..

     We see her totally intimidating a priest.

                         NARRATOR (CONT'D)

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




                                                              6.








12   INT. SMALL AIRPLANE - MAGIC HOUR                             12

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

                         AMERICAN PILOT

                   (to girl)
               How you doing?

                         GIRL

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

                         AMERICAN PILOT

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

13   EXT. AERIAL SHOT..                                           13

     The plane crossing the Rio Grande.

                         NARRATOR

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

14   INT. SMALL PLANE - CLOSE ON THE TWO FEMALES..                14

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

     OTHER ANGLE.

     The pilot taken with the mother's looks.

                         AMERICAN PILOT

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




                                                                7.







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

                            NARRATOR

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

     ON MOTHER..

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

     THE PILOT.

     As he mouths the word "ouch."

15   EXT. FIELD - NIGHT...                                        15

     Plane landing on a dirt and grass strip...

16   EXT. FIELD - LATER - NIGHT - ON MOTHER AND DAUGHTER..        16

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

                            GIRL

                      (exulting)
                  Texas...
     The mother hurries her along in the direction of distant
     lights.

                            GIRL (CONT'D)

                      (more emphatically)
                  Texas.

17   EXT. ELEVATED HIGH SHOT...HIGHWAY                            17

     The two of them waiting, small figures.

                            GIRL

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

18   EXT. HIGHWAY - DUSK                                          18

     Bus traveling the highway. The child looks out sadly.




                                                                 8.








                          GIRL

                Adios, Texas.

                                                 TRANSITION TO:


19   EXT. NORTH VALLEY STREET - EARLY EVENING                     19

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

                          NARRATOR

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

     ON THE TWO FEMALES.

     The mother sees something. Joy returns.

     HER POV.

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

20   EXT. APT. COMPLEX - DAY - FIVE MONTHS LATER..                20

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

                          NARRATOR

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

21   INT. APT. - DAY                                              21

     As the mother enters.

                          NARRATOR

                ..just ever so barely enough.

22   INT. APT. - KITCHEN - CLOSER SHOT..                          22

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

     ANGLE ON KITCHEN AREA.





                                                               9.







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

                         NARRATOR (CONT'D)

               But we were fine. We had it down.
               If only I could have stayed six.
     The CAMERA MOVES QUICKLY from the child to:

23   EXT. APT. COMPLEX - ELEVATED SHOT - SIX YEARS LATER.       23

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

     EXTREME CLOSE UP - THE BRIDE.

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

     OTHER ANGLE..

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

     MOVING WITH THE BOY..

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

     ON CRISTINA..

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

     ON HER MOTHER.

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




                                                              10.







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

     CRISTINA.

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

                           NARRATOR

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

24   INT. BUS - DAY                                               24

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

25   INT. BUS - DAY - 90 MINUTES LATER.                           25


                           BRIDE

                     (to mom)
                 Este es Stone Canyon.

26   EXT. STONE CANYON - DAY                                      26

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

     ON OUR GAL..AS THEY WALK

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

27   EXT. ATTRACTIVE HOME SECURITY GATE - DAY                     27

     Monica presses the security intercom. The gate swings open.

28   EXT. HOUSE - DAY.                                            28

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

29   INT. / EXT. HOUSE - GREAT KITCHEN / POOL - DAY               29

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




                                                           11.








THEIR POV.

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

THE TWO LATINAS.

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

THEIR EXIT.

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

KITCHEN DOORWAY.


                       BERNICE

             Gee whiz in heaven...How are you?
             Please?

                       DEBORAH

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

                       DEBORAH (CONT'D)

             ..and what difference does that
             make when your nose is bleeding.
             Shut up, Deborah.

                       BERNICE

             Now you got it, Mom.




                                                             12.







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

                         DEBORAH

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

                            MONICA

               It's okay.
     She pockets the cash.

30   EXT. HOUSE - BACKYARD - DAY                                  30

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

                         MONICA

               She is my niece. She and her
               daughter live in the apartment I
               manage. Yolanda, who worked for
               you, lived there before she went
               back home. That's how I heard about
               the job.

                         DEBORAH

               So who am I interviewing?

                            MONICA

               Her.

                         DEBORAH

                   (forcefully)
               You're gorgeous.
     On our gal..as she, not understanding the word, smiles and
     nods.

                         MONICA

                   (translating sotto)
               Vistosos.
     Our gal thrown. Not knowing how now to react.

                         EVELYN

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




                                                        13.








                    DEBORAH

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

                     BERNICE

              (rising)
          Excuse me...Glad you're okay.
              (then to other Latina)
          Good luck.
Our gal smiles back in appreciation.

                    DEBORAH

          No, stay..this involves you.

                    BERNICE

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

                    EVELYN

              (to Bernice)
          Strength of character..empathy..big
          heart..taste for futility - God I
          love you.
She eyes with disapproval her mother's empty glass.

                     DEBORAH


          MOTHER!

               (then to Bernice)
          Stop. It's just a conversation -
          not an interview. Please sit.
               (to visitors)
          Don't you want to get out of the
          sun?
She indicates a shaded seat. Deborah is protected by hat,
umbrella, sun glasses while her guest sits bareheaded
enjoying the rays and indicates she is fine. Underneath
Deborah's surface is a Russian roulette of deeply felt
emotions..at this moment she is earnest and vulnerable.

                    DEBORAH (TO OUR GAL) (CONT'D)

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

                    MONICA

          Do you work?

                    DEBORAH

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




                                                        14.








                    DEBORAH (CONT'D)

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

                     DEBORAH (CONT'D)

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

                    DEBORAH (CONT'D)

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

                    MONICA

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

                    BERNICE

          Mom!!

                    DEBORAH

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

                    DEBORAH (CONT'D)

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

                    NARRATOR

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

                    (MORE)





                                                        15.

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

                    DEBORAH (IN THE CLEAR)

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

                    OUR GAL

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

                      DEBORAH

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

                    FLOR

              (correcting)
          Florrrrr.

                      DEBORAH

          Flor.

                    FLOR

              (correcting)
          Florrrrr.

                      DEBORAH

          Flor.

                    FLOR

              (correcting)
          Florrrrr.

                      DEBORAH

          Flor.

                    FLOR

              (trying)
          Florrrrr.

                    DEBORAH

          Flor..what I walk on?

                      MONICA AND EVELYN

          Florrrrr.




                                                        16.








                      FLOR

          Florrrrr.

                    BERNICE

          It means flower, right?

                    MONICA

          Yes. Flower. Florrrrr.

                      EVELYN

          Florrrrr.

                      FLOR

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

                    DEBORAH

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

                    DEBORAH (CONT'D)

          What did she say?

CLOSE ON FLOR...

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

                    MONICA

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

                    DEBORAH

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




                                                         17.








                    DEBORAH (CONT'D)

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

                      DEBORAH (CONT'D)

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

                    FLOR

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

                    DEBORAH

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

                    BERNICE

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

                    DEBORAH

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

                    DEBORAH (CONT'D)

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




                                                                18.










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

                            FLOR

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

     OTHER ANGLE..

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

     ON EVELYN.

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

                            MONICA

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

                            DEBORAH

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

31   EXT. CLASKY HOUSE - DAY.                                     31

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

                                                  DISSOLVE TO:


32   EXT. STONE CANYON - EVENING.                                 32

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

33   EXT. CLASKY HOUSE - EVENING.                                 33

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




                                                             19.








34   INT. CLASKY HOUSE - EVENING.                                 34

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

                         JOHN

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

                         CATERER

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

35   INT. / EXT. CLASKY HOUSE - BACKYARD - NIGHT                  35


     JOHN'S POV - DEBORAH AND TWO FEMALE CATERERS.

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

                         DEBORAH

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

                         DEBORAH (CONT'D)

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

                          DEBORAH (CONT'D)

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




                                                       20.








                    DEBORAH (BREATHLESS) (CONT'D)

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

                    JOHN

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

                    DEBORAH

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

                     DEBORAH (CONT'D)

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

                    JOHN

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

                    DEBORAH

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

                    JOHN

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




                                                             21.








                         DEBORAH

               That's actually a good question.

                         JOHN

               There you go. I surprise sometimes.

                         DEBORAH

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

                         JOHN

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

                          DEBORAH

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

36   INT. OLIVE GARDEN TYPE RESTAURANT - NIGHT                 36

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

                         CRISTINA

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

                         CRISTINA (CONT'D)

               We're celebrating.

                         HOSTESS

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

                           FLOR

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

                         CRISTINA

               Wow, expensive..




                                                             22.







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

                         CRISTINA (CONT'D)

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

                         HOSTESS

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

                         CRISTINA

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

                         CRISTINA (CONT'D)

               And I would like to begin with the
               Jumbo Shrimp.

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

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

                         DEBORAH

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

38   INT. CLASKY HOUSE - UPSTAIRS - DAY                           38

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




                                                             23.








                         JOHN

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

                         GEORGIE

               Yes.

                         JOHN

               Okay.

39   INT. CLASKY HOUSE - KITCHEN - DAY.                           39

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

40   INT. CLASKY HOUSE - UPSTAIRS DAY - DAY                       40

     John opens Georgie's door again.

                         GEORGIE

               Now?

                         JOHN

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

                         GEORGIE

               Morning, Dad.

                         JOHN

               Yeah, good morning.

                         GEORGIE

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

                         JOHN

               No, Georgie, I'm not.

                         GEORGIE

               Are you mad at me?

                         JOHN

               Uh...okay, no..

41   INT. CLASKY HOUSE - KITCHEN DOORWAY - DAY                    41

     As Flor enters from outside.

                         BERNICE

               Morning, good to see you.




                                                        24.








                       FLOR

             Morning. Good too.
She notices the French Toast.

                          BERNICE

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

                          BERNICE (CONT'D)

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

                          DEBORAH

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

                       BERNICE

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

                       DEBORAH

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

                       BERNICE

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

                       DEBORAH

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




                                                              25.








                         DEBORAH

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

                         DEBORAH (TO FLOR) (CONT'D)

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

                         DEBORAH (CONT'D)

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

                         DEBORAH (CONT'D)

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

                         DEBORAH (CONT'D)

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

                          DEBORAH (CONT'D)

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

                         FLOR

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

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

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




                                                             26.







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

                         JOHN

               This isn't an argument, honey.

                         DEBORAH

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

                          JOHN

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

                         DEBORAH

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

                         DEBORAH (CONT'D)

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

43   INT. CLASKY HOUSE - MASTER BEDROOM - DAY                  43

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

                         DEBORAH

               Okay..Let's get someplace here.

44   INT. CLASKY HOUSE - KITCHEN - DAY                         44

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

45   INT. CLASKY HOUSE - MASTER BEDROOM - DAY                  45


     BACK TO SCENE:


                         DEBORAH

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




                                                        27.








                    DEBORAH

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

                    JOHN

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

                    DEBORAH

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

                     JOHN

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

                    DEBORAH

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

                    JOHN

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

                    JOHN (CONT'D)

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

                    DEBORAH

          You're ridiculing me because I care
          about this.

                    JOHN

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




                                                           28.








                    JOHN

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

                    DEBORAH

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

                    JOHN

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

                      JOHN (CONT'D)

          Go ahead.

                    DEBORAH

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

                    JOHN

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

                    DEBORAH

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

                    JOHN

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




                                                              29.







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

     CLOSE ON DEBORAH'S EYES.

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

                         DEBORAH

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

46   INT. CLASKY HOUSE - KITCHEN - DAY                            46

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

                         JOHN

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

                         FLOR

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

                         JOHN

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

                         FLOR

               Solo espa�ol.

                         JOHN

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

                          DEBORAH

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




                                                             30.








                         JOHN

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

                         JOHN (CONT'D)

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

                         DEBORAH

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

47   EXT. CLASKY HOUSE - DRIVEWAY - DAY                           47

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

                         DEBORAH

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

                         GEORGIE

               I just didn't want to sing last
               night.

                          DEBORAH'S VOICE

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

                         DEBORAH

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




                                                             31.








                         DEBORAH (CONT'D)

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

                         DEBORAH (TO FLOR) (CONT'D)

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

48   INT. RESTAURANT KITCHEN - LATE AFTERNOON                  48

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

                          JOHN

               Sorry...

                         PETER

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

                         JOHN

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

                         ALEX

               I didn't mean to...

                         JOHN

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

                         PEG

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




                                                        32.








                    MAITRE D'

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

                    PEG

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

                    JOHN

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

                    JOHN (CONT'D)

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

                    KID

              (smiling)
          Yes, I understand.

                    MAITRE D'

          Please. Now?

                    JOHN

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

                    JOHN (CONT'D)

          Damn.. "ohhhh damn."

                    PETER

          What, buddy, what?




                                                        33.








                     JOHN

           Victor spotted a food critic..

                     PETER

           From?

                     VICTOR

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

                     PETER

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

                     JOHN

           I don't need a walk.

                     GWEN

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

                      JOHN

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

                     JOHN (CONT'D)

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

                     PETER

           No.

                      GWEN

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

ON JOHN.

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




                                                             34.







     He is talking quickly..almost to himself.

                         JOHN

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

                         JOHN (CONT'D)

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

49   INT. CLASKY KITCHEN - DAY.                                49

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

                         EVELYN

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




                                                        35.







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

                    EVELYN (CONT'D)

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

                    EVELYN (CONT'D)

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

                    BERNICE

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

                    EVELYN

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

                    DEBORAH

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

                    EVELYN

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

                    DEBORAH

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

                    BERNICE

          Grandma, tell Mom what happened.

                      EVELYN

                (very deliberately)
          No.




                                                             36.







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

50   INT. BERNIE'S ROOM - LATE AFTERNOON                          50

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

                         JOHN

               This is going to work.

                         BERNICE

               I don't know anything.

                         JOHN

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

                         BERNICE

               I don't know...

                         JOHN

               Name a vacuum cleaner..

                         BERNICE

               Okay. Yes..thanks.

                         JOHN

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

                         BERNICE

               Got it. I no longer know nothing.

                         JOHN

               And Hoover was followed in office
               by..

                         BERNICE

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

                         JOHN

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

                         BERNICE

               What's ruse mean?

                         JOHN

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




                                                             37.








                         JOHN

                   (she looks at him blankly)
               Ruse??

                         BERNICE

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

                         DEBORAH

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

                         BERNICE

               What'd I do right?

                         DEBORAH

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

     ON FLOR AND JOHN.

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

     ON BERNICE..

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

                         BERNICE

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

51   INT. STAIRWELL - EARLY EVENING                               51

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




                                                              38.








                         DEBORAH

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

                         DEBORAH (CONT'D)

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

                         FLOR

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

                         DEBORAH

                   (a bit nonplussed)
               Sure. Go.

                         JOHN

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

52   EXT. CLASKY HOUSE - DRIVEWAY - DAY                           52

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

                         JOHN

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

                         JOHN (CONT'D)

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

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

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

                         JOHN (CONT'D)

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




                                                        39.








                    JOHN (CONT'D)

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

                    NARRATOR

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

                     FLOR

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

                    JOHN

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

                    JOHN (CONT'D)

          How weird was this ride? Sorry.

                    FLOR

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




                                                               40.








54   EXT. BUS STOP - EARLY EVENING..                             54

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

                         NARRATOR

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

55   INT. FLOR'S APT. - EVENING                                  55

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

                         NARRATOR

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

                            CRISTINA

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

                         CRISTINA (CONT'D)

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

                         CRISTINA (CONT'D)

               Just try it on?

                         FLOR

                   (thickly accented)
               Just try it on.

                         CRISTINA

                   (small accent)
               Just try it on.




                                                             41.








                         FLOR

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

                         NARRATOR

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

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

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

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

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

     CLOSE ON FLOR..

     As she strides purposefully up the street.

                         NARRATOR

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

58   INT. CLASKY HOUSE - EXTREME EARLY MORNING                 58

     The house asleep. Flor walks carefully up the steps.

                         NARRATOR

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

59   INT. BERNIE'S ROOM - FIRST LIGHT                          59

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

                          NARRATOR

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




                                                               42.








60   EXT. STREET - STEEP INCLINE                                  60


     ANGLE ON DEBORAH & KILLER HILL:

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

                         DEBORAH

               Left..left..

     ON RUNNERS.

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

                         DEBORAH (CONT'D)

               Left.
     And then passes.

                         NARRATOR

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

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

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

62   INT. BERNIE'S ROOM - MORNING                                 62

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

                         BERNICE

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

                         BERNICE (CONT'D)

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

                         FLOR

                   (damn good English)
               Just try it on.




                                                         43.







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

                    BERNICE

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

                    FLOR

              (cutting her off)
          Just try it on..

                    BERNICE

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

                    FLOR

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

                    FLOR (CONT'D)

          Just..

                    BERNICE

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

FLOR..


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

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

INTO MIRROR.

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

ON BERNIE..

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

CLOSE UP SHIRT..

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




                                                             44.








63   INT. CLASKY HOUSE - KITCHEN - DAY                            63

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

                         FLOR

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

                         BERNICE

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

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

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

65   INT. DEN - DAY..                                             65

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

                         EVELYN

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

                         GEORGIE

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

                         JOHN

               Right. You're clear on that..

                         GEORGIE

               How many did you sell of this song?

                          EVELYN

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

                         JOHN

                   (to Georgie)
               She was huge.




                                                                45.








                          EVELYN

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

66    EXT. CLASKY HOUSE - DAY                                      66

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

67    INT. CLASKY HOUSE - DAY.                                     67

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

                            EVELYN

                You okay?

                           JOHN

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

                            FLOR

                She run.
      John nods and heads upstairs.

                                                                 67A


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

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

                          JOHN

                Hey, honey.

                          BERNICE

                What's wrong?

                          JOHN

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

                          GEORGIE

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

                            JOHN

                Yeah..




                                                               46.







     He starts to follow him to his room.

                         BERNICE

               Dad!!! He can wait.

                         JOHN

               No..It's okay..

                          BERNICE

               Let him wait..Yours is obviously
               important.

                         GEORGIE

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

                         JOHN

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

68   INT. CLASKY HOUSE - GEORGIE'S ROOM                          68

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

                         GEORGIE

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

                         JOHN

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

                         GEORGIE

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

                         JOHN

               ..this is your favorite..

                         GEORGIE

               I think he'd go higher.

                         JOHN

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

69   INT. KITCHEN - DAY                                          69

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




                                                             47.








70   INT. BERNIE'S ROOM - DAY                                  70

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

                         JOHN

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

                         BERNICE

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

                         JOHN

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

                         BERNICE

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

                         GEORGIE

               If he gave me six...

                         JOHN

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

                         BERNICE

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




                                                             48.








                         BERNICE (CONT'D)

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

                         JOHN

                   (genuinely enthusiastic)
               Look how great you read it.

                         BERNICE

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

                         EVELYN

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

                         JOHN

               What are you talking about?

                         BERNICE

               I wonder what mom will do?

71   INT. BEDROOM - LATE AFTERNOON                               71

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

                         JOHN

               What is this?

                         DEBORAH

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

                           DEBORAH (CONT'D)

               Oooohhch!

72   EXT. NORTH VALLEY - DAY.                                    72

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

                         FLOR

                   (heavily accented)
               New York Times..

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

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




                                                                49.








                          CRISTINA

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

                          FLOR

                    (easily)
                Ah, bravo...

74   INT. CLASKY MASTER BEDROOM - DAY.                            74

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

                          DEBORAH

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

     ON JOHN.

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

                          DEBORAH'S VOICE

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

     ON JOHN.

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

                            JOHN

                Hey, Deb?

                           DEBORAH

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

                          JOHN

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

                          DEBORAH

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




                                                             50.








                         JOHN

               You've gotta stop walking away.

                         DEBORAH

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

                            JOHN

               See ya.
     She exits to the bathroom.

75   INT. JOHN'S CAR - DAY.                                    75

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

                         FLOR

                   (to woman)
               Yo le� la cr�tica buena.
     The woman tells Flor how to say it in English.

                         FLOR (CONT'D)

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

                            FLOR (CONT'D)

               It's nice.
     The light changes.

                         JOHN

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

                            FLOR

               I do fine.
     He nods and drives off.

76   INT. RESTAURANT - DAY                                     76

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




                                                     51.








                         VICTOR

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

                         JOHN

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

                         VICTOR

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

                         JOHN

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

                         VICTOR

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

                         JOHN

               Do this for me.

                         VICTOR

               There's no way.

                         JOHN

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

                         VICTOR

               Huh?

                         JOHN

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

                         VICTOR

               Yes, of course, John..

77   INT. RESTAURANT KITCHEN - DAY                     77


                         PETER

               I need to talk to you.

                         JOHN

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




                                                             52.








78   INT. RESTAURANT - COOLING ROOM - DAY                      78

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

                         JOHN

               What's up? What's wrong?

                         PETER

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

                         JOHN

               What's your reaction?

                         PETER

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

                         JOHN

               Yeah.

                         PETER

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

                         JOHN

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

79   INT. CLASKY BEDROOM - NIGHT                               79

     As John and Deborah lay next to each other.

                         DEBORAH

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

                         JOHN

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




                                                             53.








                         DEBORAH

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

                         JOHN

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

                         DEBORAH

               Okay! So that would be???

                         JOHN

               My dream response from you, yes.

                         DEBORAH

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

                         JOHN

               Well, I think you got your timing.

80   EXT. CLASKY HOUSE - DAY                                     80

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

                         DEBORAH

               Be right out...

81   EXT. CLASKY DRIVEWAY - DAY..                                81

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

                         DEBORAH (CONT'D)

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




                                                                54.








                            DEBORAH (CONT'D)

               Hi.

                         REALTOR

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

82   EXT. CONVERTIBLE - DAY..                                     82

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

                         DEBORAH

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

                         REALTOR

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

                         REALTOR (CONT'D)

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

                         DEBORAH

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

83   EXT. CLASKY RENTED BEACH HOUSE - DAY.                        83

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

                         DEBORAH (CONT'D)

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

                            FLOR

               Fabuloso.

                         DEBORAH

                   (taking it as a
                    compliment)
               Thanks.




                                                               55.








84   INT. CLASKY RENTED BEACH HOUSE - DAY.                       84

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

                         DEBORAH (CONT'D)

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

                         DEBORAH (CONT'D)

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

                         EVELYN

               Did you ask her if she could live
               in?

                         DEBORAH

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

                         DEBORAH (CONT'D)

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

85   EXT. CLASKY - BEACH RENTAL - DAY                            85

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

                         DEBORAH

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

                         EVELYN

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

                         DEBORAH

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




                                                             56.








86   EXT. PCH - DAY                                               86

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

                          DEBORAH

                Oh, good. Do you speak English?

                             HISPANIC MAN

                Yes, I do.

                          DEBORAH

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

                          HISPANIC MAN

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

                          DEBORAH

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

     ON FLOR.

     Stricken. She turns to Deborah.

                          FLOR

                No.. Sorry.

                             DEBORAH

                What? Why?
     Flor talks briefly in Spanish.

                          HISPANIC MAN

                She can't because of her daughter.

                          DEBORAH

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

                             FLOR

                Twelve.




                                                        57.








                     DEBORAH

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

                    DEBORAH (CONT'D)

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

                      DEBORAH (CONT'D)

          Hey!

                    HISPANIC MAN

          She can't live here. Her daughter.

                    DEBORAH

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

                     FLOR

              (big decision)
          No, sorry.

                      DEBORAH

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

                    HISPANIC MAN

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

                    DEBORAH

          Will you please just tell me what
          she said.

                    HISPANIC MAN

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

                    EVELYN

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




                                                             58.








                         DEBORAH

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

                         DEBORAH (CONT'D)

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

                         FLOR

                   (enormous decision)
               Yo vivo aqu�.

                         HISPANIC MAN

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

                         HISPANIC MAN (CONT'D)

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

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

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

                         BALCONY GIRLS

                   (accented)

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

     Cristina grins hugely back at them.

88   INT. MALIBU TUNNEL - DAY                                     88

     The two women in the truck and then..

89   INT. TRUCK - DAY.                                            89

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




                                                             59.







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

                         NARRATOR

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

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

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

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

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

                         GEORGIE

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

                         GEORGIE (CONT'D)

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

                         EVELYN

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

                         JOHN

               You want to go swimming?

                         GEORGIE

               Oh yeah, you're off.

                         JOHN

               What do you think, wet suits?




                                                              60.








                         GEORGIE

               Wet suits are for wimps..

                         JOHN

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

                         GEORGIE

                   (to Dad)
               You're good.

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

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

     REVERSE - CLOSE ON CRISTINA.

     As her eyes pop on seeing the Clasky beach house.

     VERY CLOSE ON DEBORAH

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

                         DEBORAH

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

                         FLOR

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

                         JOHN

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

                         DEBORAH

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




                                                        61.







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

                    EVELYN

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

                    CRISTINA

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

                    BERNICE

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

                    CRISTINA

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

                    JOHN

          Have you ever been to the beach
          here?

                    CRISTINA

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

                    JOHN

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

                    CRISTINA

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

                    DEBORAH

          Very little accent?

                       FLOR

                 (suspiciously)
          Que?

                    CRISTINA

              (to Flor)
          Sin acento.




                                                                62.







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

                           CRISTINA (CONT'D)

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

                              FLOR

                 Cristina..

                           DEBORAH

                 Right. Settle in..

                           CRISTINA

                 Thank you. I am thrilled to be
                 here.

93   INT. MAID'S ROOM - AFTERNOON                                 93

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

94   EXT. BEACH - EVENING                                         94

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

     OTHER ANGLE.

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

     ON JOHN..

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

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

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

96   INT. MASTER BEDROOM                                          96

     As Deborah steps out on the deck and sees Cristina.




                                                                63.








                            DEBORAH

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

                            CRISTINA

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

                            DEBORAH

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

                            CRISTINA

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

                            DEBORAH

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

                            CRISTINA

                  I don't know what that...

                            DEBORAH

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

                            CRISTINA

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

                            DEBORAH

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

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

     As Flor wakes..looks around.

                              FLOR

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

     INSERT..THE NOTE

     Dear Flor,




                                                             64.







     I decided to steal your daughter for a bit.

     LOVE,


     DEBORAH

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

     INSERT DICTIONARY.

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

98   EXT. PCH - EARLY AFTERNOON.                                 98


                         DEBORAH (CONT'D)

               Stop thanking me. I love having the
               company.

                         CRISTINA

               It was an adventure which I'll
               remember.

                         DEBORAH

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

                         CRISTINA

               Just recently I've had a dream in
               English.

                         DEBORAH

               What was it?

                         CRISTINA

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

                         DEBORAH

               You could have just said you didn't
               remember.

                         CRISTINA

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

                         DEBORAH

               Look who's sensational.




                                                              65.








99    EXT. CLASKY RENTED BEACH HOUSE - DAY.                        99

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

                          EVELYN

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

                          EVELYN (CONT'D)

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

                           BERNICE

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

                             GEORGIE

                It's okay.

                          BERNICE

                You want to know what happened?

                          GEORGIE

                No thank you.

100   INT. LIVING ROOM - DAY                                   100

      John enters..

                          JOHN

                Hey, Flor..
      She turns..

                          JOHN (CONT'D)

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

                          JOHN (CONT'D)

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

                          JOHN (CONT'D)

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




                                                        66.




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

                      JOHN (CONT'D)

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

CLOSE ON FLOR..

Is he coming on?..

HER POV..

His kind eyes.

FULL SHOT..

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

                      FLOR

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

                      JOHN

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

                      JOHN (CONT'D)

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

                      JOHN (CONT'D)

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

                        JOHN (CONT'D)

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




                                                              67.








                          JOHN (CONT'D)

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

      CAMERA STAYS WITH FLOR

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

101   EXT. CLASKY RENTED BEACH HOUSE - SUNSET.                    101

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

102   INT. CLASKY RENTED BEACH HOUSE - DAY                        102

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

                          DEBORAH

                What? Something bad happen?

      ON CRISTINA..

      Enormously anxious on reading her mother's mood.

                          DEBORAH (CONT'D)

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

                          CRISTINA

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

                           DEBORAH

                What? --

                          EVELYN

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

                          DEBORAH

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




                                                                 68.








                            DEBORAH (CONT'D)

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

103   INT. FLOR'S ROOM - EVENING                                  103

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

      INSERT - THE PAD.

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

                            PAD WRITING

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

      ON FLOR..

      Reaching a decisive conclusion.

                            PAD

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

      ON CRISTINA'S LOOK

      This is awful news.

      ON FLOR.

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

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

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

                            DEBORAH

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

      OTHER ANGLE..





                                                                69.







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

                           FLOR

                For you.

                           DEBORAH

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

                          DEBORAH (CONT'D)

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

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

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

                          JOHN

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

                          DEBORAH

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

                          JOHN

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

                          DEBORAH

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




                                                              70.







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

                           FLOR

                I slept.

106   INT. CLASKY BEACH RENTAL - DEN - DAY                     106

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

                          DEBORAH

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

                          EVELYN

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

107   EXT. CLASKY BEACH RENTAL - PATIO                         107

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

                          JOHN

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

                          JOHN (CONT'D)

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

                          GEORGIE

                Do we have to do this?

                          BERNICE

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




                                                                 71.








                          JOHN

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

108   EXT. BEACH - DAY - VARIOUS SHOTS                            108

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

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

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

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

      Cristina arising..

111   EXT. BEACH - PRE-DAWN..                                     111

      Cristina collecting sea glass.

112   EXT. BEACH - SAME SCENE - NIGHT.                            112

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

                                                   DISSOLVE TO:


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

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

                             CRISTINA'S VOICE

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

                          JOHN

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

                             JOHN (CONT'D)

                I'm broke.




                                                     72.








                    CRISTINA

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

                    JOHN

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

                    CRISTINA

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

                    JOHN

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

                    CRISTINA

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

                    JOHN

          Well, this one is borderline.

                     CRISTINA

          I agree.

                    JOHN

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

                    CRISTINA

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

                    JOHN

          So how much for the whole deal?

                    CRISTINA

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




                                                                73.








                          JOHN

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

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

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

115   INT. HALLWAY - ONE A.M.                                    115

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

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

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

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

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

                             FLOR

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

118   INT. POCKET KITCHEN - LATE NIGHT                           118

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

119   INT. CLASKY HOUSE - LIVING ROOM                            119

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

      ANGLE ON FLOR AND CRISTINA

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

                          CRISTINA

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




                                                         74.







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

                    CRISTINA AS FLOR

          May I talk to you?

                    JOHN

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

                    JOHN (CONT'D)

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

                    CRISTINA AS FLOR

          I don't have to sleep first?

                    JOHN

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

                    CRISTINA AS FLOR

          Did you give this money to my
          daughter?

                    JOHN

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

                    CRISTINA AS FLOR

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

                    CRISTINA AS FLOR (CONT'D)

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

                       JOHN

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




                                                           75.








                      CRISTINA AS FLOR

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

ON FLOR..

As she spits out the word to her daughter.

                        FLOR

            Engre�do.

ON JOHN..

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

                      JOHN

            Oh, no..engre�do's going to be
            rough.

ON CRISTINA..

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

                      CRISTINA

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

                        CRISTINA AS FLOR

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

                      JOHN

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

                      CRISTINA AS FLOR

            Fifty dollars is a lot of money..

                      JOHN

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

                       JOHN (CONT'D)

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




                                                           76.








                    JOHN (CONT'D)

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

                    CRISTINA AS FLOR

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

                    CRISTINA AS FLOR (CONT'D)

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

                    JOHN

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




                                                        77.








                    JOHN (CONT'D)

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

                      FLOR

                (hard on the translation)
          No!

                    JOHN

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

                    JOHN (CONT'D)

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

                    FLOR

          Sin diferencia. Yo interfer�.

                    CRISTINA AS FLOR

          No difference. I interfered.

                    JOHN

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

                    CRISTINA AS FLOR

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




                                                        78.








                    JOHN

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

                    CRISTINA AS FLOR

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

                    JOHN

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

                    CRISTINA AS FLOR

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

                    JOHN

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

                    FLOR

          No..

                    JOHN

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

                    JOHN (CONT'D)

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

                     CRISTINA

          Culpa, guilt, s�. We know. We are
          Catholics.

                    FLOR

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

                    CRISTINA

              (on her own)
          We know.

                    FLOR

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




                                                              79.








                          JOHN

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

                          FLOR

                Good night, Mr. Clasky..

                          CRISTINA

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

                          FLOR

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

                          CRISTINA AS FLOR

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

                          FLOR

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

                          JOHN

                You have a wonderful mother.

                          FLOR

                Que?

                          CRISTINA

                Nada.

120   INT. FLOR'S ROOM - NIGHT                                 120

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

                          NARRATOR

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




                                                                80.








121   EXT. MAIL BOX - DAY                                        121

      As Flor takes a package from the box.

                          NARRATOR

                My mother showed an extraordinary
                facility for learning the language.

                                                      DISSOLVE TO:


122   INT. BEACH HOUSE - LAUNDRY ROOM - DAY                      122

      Flor listening to the tapes as she does laundry.

                          NARRATOR

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

                                                      DISSOLVE TO:


123   EXT. BEACH - LATE AT NIGHT                                 123

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

                                                      DISSOLVE TO:


124   EXT. BEACH HOUSE - LATE NIGHT                              124

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

125   INT. BEACH HOUSE - LATE NIGHT                              125

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

                          JOHN

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

126   INT. BEACH HOUSE - DEN - LATE NIGHT                        126

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




                                                        81.




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

                    JOHN

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

                    JOHN (CONT'D)

          Don't you sleep anymore?

                    FLOR

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

                    JOHN

          You're doing fantastic.

                    FLOR

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

                    JOHN

          She say where?

                    FLOR

          No.
              (on his reaction)
          Sorry.

                    JOHN

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




                                                              82.








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

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

                          BERNICE

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

                          CRISTINA

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

                          CRISTINA (CONT'D)

                What?

                          BERNICE

                No. Just that I hate summer school.

                          CRISTINA

                Why do you go then?

                          BERNICE

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

                          CRISTINA

                What do you mean they failed?

                          BERNICE

                Joking.

                          CRISTINA

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

                          BERNICE

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

                          CRISTINA

                The joke is?




                                                                83.







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

128   INT. SUV - DAY.                                            128

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

                          BERNICE

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

                          DEBORAH

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

                          BERNICE

                Sexual experience..
      Cristina laughs.

                          BERNICE (CONT'D)

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

                          DEBORAH

                Look at you girls.

129   INT. BEACH BEDROOM - DAY                                   129

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

                          DEBORAH

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

                          EVELYN

                Talk to Flor...

                          DEBORAH

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




                                                              84.








130   EXT. GORGEOUS PRIVATE SCHOOL -DAY.                          130

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

                          DEBORAH (CONT'D)

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

                             ARLENE

                Deborah...

                          DEBORAH

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

                          DEBORAH (CONT'D)

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

                             ARLENE

                Hi..

                          CRISTINA

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

                          ARLENE

                Would you like a little tour?

      MOVING CAMERA..

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




                                                              85.








                          NARRATOR

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

131   INT. BEACH LIVING ROOM - DAY                             131

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

                          DEBORAH

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

                          FLOR

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

                          DEBORAH

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

                          FLOR

                It is too far from our home.

                          DEBORAH

                You could move in with us in town.

                          FLOR

                Never, thank you...

                          DEBORAH

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

132   INT. FLOR'S ROOM - NIGHT                                 132

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




                                                              86.








                          CRISTINA

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

                          FLOR

                Alright. I look.

                          CRISTINA

                Amen.

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

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

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

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

135   INT. FLOR'S ROOM - LATE NIGHT                            135

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

136   INT. BEACH HOUSE - LATE NIGHT                            136

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

                          EVELYN

                Hi, Flor, want some port?

                          FLOR

                No, thank you, Evelyn.

                          EVELYN

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

      EVELYN'S POV.

      She sees Flor approach John. Evelyn looks thoughtful.

137   INT. DEN - LATE NIGHT                                    137

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

                          FLOR

                May I talk with you?




                                                              87.








                           JOHN

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

                          FLOR

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

                           FLOR (CONT'D)

                No?

                           JOHN

                Sure.

                          FLOR

                Outside? Private?

                          JOHN

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

138   EXT. BEACH - NIGHT                                       138

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

                          FLOR

                You know about Cristina and your
                great school?

                          JOHN

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

                          FLOR

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

                           JOHN

                Yeah.

                          FLOR

                It's a good school?

                          JOHN

                Tops. It's tops.

                          FLOR

                So you like it?




                                                        88.








                    JOHN

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

                    FLOR

          Very right.

                    JOHN

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

                    FLOR

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

                     JOHN

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

                    FLOR

          I "get" it.

                    JOHN

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

                    FLOR

              (caring)
          It will be okay.

                    JOHN

          No, I was thinking about you..

                    FLOR

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

                    JOHN

          It's just tough to be sane.







                    (MORE)





                                                        89.

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

                    FLOR

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

                    JOHN

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

                    FLOR

          I don't understand.

                    JOHN

          That's okay.

                       FLOR

          I want to.

                    JOHN

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

                     JOHN (CONT'D)

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

                    JOHN (CONT'D)

          So you going to send her?

                    FLOR

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

                    JOHN

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













                       (MORE)





                                                               90.

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

                          FLOR

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

                          JOHN

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

                          FLOR

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

                          FLOR (CONT'D)

                Thank you, good night. I go sleep.

                          JOHN

                Good night..Hey?
      She turns..

                          JOHN (CONT'D)

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

                          FLOR

                What?

                          JOHN

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

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

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

140   EXT. STONE CANYON AND SUNSET - MORNING                    140

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




                                                        91.








                    BERNICE

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

                     DEBORAH

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

                    CRISTINA

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

                    CRISTINA (CONT'D)

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

                    DEBORAH

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

                    DEBORAH (CONT'D)

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

                    BERNICE

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

                     DEBORAH

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

                    FLOR

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




                                                                 92.







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

                          DEBORAH

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

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

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

                          NARRATOR

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

                          DEBORAH

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

                          DEBORAH (CONT'D)

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

                          DEBORAH (CONT'D)


                LEFT!

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

      ON DEBORAH...

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

      ANGLE AS DEBORAH DRAWS ABREAST OF FLOR.

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




                                                              93.








                            DEBORAH (CONT'D)

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

                            DEBORAH (CONT'D)

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

                            DEBORAH (CONT'D)

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

      ON DEBORAH..

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

      OTHER ANGLE.

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

      VARIOUS SHOTS..

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

      THE FINISH..

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

                            DEBORAH (CONT'D)

                      (calling back)
                  I love you for trying.

142   EXT. CLASKY HOUSE - DAY                                  142

      She exits into her home.

      ON FLOR..

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

                            NARRATOR

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




                            (MORE)





                                                              94.

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

143   INT. CLASKY HOME - NIGHT...                              143

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

                          JOHN

                You feel okay?

                          EVELYN

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

                           JOHN

                    (totally confused)
                Good deal.

                          EVELYN

                Let's hope.

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

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

                          NARRATOR

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

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

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

                          NARRATOR

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




                                                              95.








146   INT. CLASKY HOUSE - NIGHT                                146

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

                              DEBORAH

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

147   INT. FLOR'S APT. - NIGHT                                 147

      As Flor hangs up..

                             NARRATOR

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

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

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

      HER POV...

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




                                                                96.








149   EXT. CLASKY DRIVEWAY - NIGHT...                            149

      As Deborah leaves the house in a hurry.

                          EVELYN

                    (calling out)
                Wait!
      Deborah turns, startled.

                          EVELYN (CONT'D)

                I need to talk to you privately,
                honey.

                          DEBORAH

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

                          EVELYN

                Just give me a moment to talk
                here..

                          DEBORAH

                What is it? Are you buzzed?

                          EVELYN

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

                          DEBORAH

                One thing..go ahead...

                          EVELYN

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




                                                                 97.








                            EVELYN (CONT'D)

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

      SUV..


                            DEBORAH

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

                            EVELYN

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

                                                       DISSOLVE TO:


150   EXT. STONE CANYON - LATE NIGHT...                           150

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

      ON JOHN..

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

      ON FLOR..

      As he drives past her.

151   INT. CLASKY HOME - NIGHT...                                 151

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

                            EVELYN (CONT'D)

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

                            JOHN

                      (concerned)
                  What the hell's wrong?

                            EVELYN

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

      ROOM.





                                                              98.








      ON EVELYN..


                             EVELYN (CONT'D)

                       (to herself)
                   Denouement.

152   INT. MASTER BEDROOM - NIGHT...                           152

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

                             JOHN

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

                                DEBORAH

                   Here I am.

                             JOHN

                   Baby, what?

                             DEBORAH

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

                             JOHN

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

                             DEBORAH

                   Not so easy.

                              JOHN

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

                             DEBORAH

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

      ON JOHN...





                                                        99.







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

                    JOHN

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

                    DEBORAH

          Just what did you hear?

                    JOHN

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

                    JOHN (CONT'D)

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

                    DEBORAH

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

                    JOHN

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

                    DEBORAH

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

                    JOHN

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

                    DEBORAH

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

                    JOHN

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




                                                          100.








                    DEBORAH

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

                     JOHN

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

                    DEBORAH

          Is this your way of...

                    JOHN

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

                    JOHN (CONT'D)

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

                    DEBORAH

          I know you're very angry?

                    JOHN

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

                    DEBORAH

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




                                                             101.








                          JOHN

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

                          DEBORAH

                    (blurts)
                Yes..

                          JOHN

                    (core simple/eight years
                     old)
                Really?

                          DEBORAH

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

                          JOHN

                    (perplexed)
                What other questions could there
                be?

                          DEBORAH

                Are you really that much nicer than
                me?

                          JOHN

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

                          DEBORAH

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

                          DEBORAH (CONT'D)

                Oh, it's just Flor.

153   EXT. STONE CANYON NIGHT..                                  153

      As Flor enters the Clasky House...




                                                             102.








154   INT. CLASKY HOUSE - LATE NIGHT                             154

      Flor sees Evelyn in the living room.

                          EVELYN

                What are you doing here?

                          FLOR

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

                          EVELYN

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

                          FLOR

                Oh, yes..Where's Cristina?

155   INT. MASTER BEDROOM - NIGHT                                155

      Deborah can barely look at him...

                          DEBORAH

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

                          JOHN

                What?




                                                             103.








                            DEBORAH

                  John..

                            JOHN

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

                            DEBORAH

                  You've got to say something.

                            JOHN

                  You are a terrible wife.
      He exits.

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

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

                            EVELYN

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

157   INT. ENTRANCE HALL - NIGHT                               157

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

                            JOHN

                  Where you going?

                            FLOR

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

                            JOHN

                  Me too..I'll drive you.

                            FLOR

                  No.

                            JOHN

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

                            FLOR

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




                                                             104.







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

      OTHER ANGLE.

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

                           JOHN

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

                           FLOR

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

                           FLOR (CONT'D)

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

      ON CHUM.

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

158   EXT. CLASKY DRIVEWAY - NIGHT...                             158

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

                           JOHN

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

                           FLOR

                     (with anger)
                 Why?!?

                           JOHN

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

                           FLOR

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




                                                              105.







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

                           FLOR (CONT'D)

                 Please!?! Mandil�n.

      OTHER ANGLE..

      Deborah watching them...

      HER POV.

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

      CLOSE ON DEBORAH..

      She trembles under the force of imminent justice.

159   INT. JOHN'S CAR - LATE NIGHT                                159

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

                           FLOR

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

                           JOHN

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

                           FLOR

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

                           JOHN

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




                                                      106.








                    FLOR

          That's the bus stop.

                    JOHN

          I'll take you home.

                    FLOR

          No. Drop me at a bus.

                    JOHN

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

                    FLOR

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

                    JOHN

          Okay..we'll do something.

                    FLOR

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

                    JOHN

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

                    FLOR

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

                    JOHN

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

                    FLOR

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

                    JOHN

          Yes. Okay. Big man figure out!

                    FLOR

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




                                                              107.








160   EXT. MALL PARKING LOT - LATE NIGHT.                       160

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

161   INT. MEXICAN MARKET - LATE NIGHT.                         161

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

                          FLOR (CONT'D)

                Maquillaje!

                                                        CUT TO:

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

162   EXT. OUTDOOR MALL - LATE NIGHT                            162

      As she runs back to the car.

163   INT. JOHN'S VEHICLE -                                     163

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

                          FLOR

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

                          JOHN

                Well, you look familiar.

                            FLOR

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

                          JOHN

                I don't think I can handle public..

                          FLOR

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

                            JOHN

                I know.

                          FLOR

                You were going to figure this out!

                            JOHN

                My place!




                                                                108.








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

      As they enter the main restaurant...

                            FLOR

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

                            JOHN

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

                            FLOR

                  Hey..please..
      He turns.

                            FLOR (CONT'D)

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

                            JOHN

                  Ummmmmmmmm...Yes.
      He stands next to her and, for want of a better physical
      expression, pats her on her back..She eyes him, almost
      critical about the lame extent of his aggression....He can't
      quite look at her...He pats her again..

      REAR ANGLE..THE PAT ON THE BACK.

      The pat is becoming a rub..he cups her back..slides his
      hand..she responds just a bit..

                            JOHN (CONT'D)

                  I think I'm inventing a horrible
                  new way of making out..

                            FLOR

                  Not so horrible.....
      His hand keeps going..he now hugs her to him even though they
      both still face front.. like a loving couple on a walk to the
      market. His hand squeezes her shoulder.

                            JOHN

                  My hand is the only sane part of my
                  body..every other part wants to
                  jump off a cliff.




                                                             109.








                           FLOR

                     (digging this/almost
                      growing a sense of humor)
                If the other hand could cheer up,
                you could lift me up and carry me
                off.
      He laughs. He takes his hand from around her. It is a bit
      awkward.

                          JOHN

                I don't know how to handle that
                one. I think I already broke my
                record for smooth.

                          FLOR

                I don't understand.

                          JOHN

                It's me. I'm not making sense. But
                I can get you fed.
      He goes to the kitchen. She begins to explore a little. She
      goes to a cabinet and opens it to find a CD player. She digs
      in her purse and takes out a CD.

165   INT. RESTAURANT KITCHEN - NIGHT                             165

      As John starts cooking up a storm...there is some velocity to
      his cooking...he still seethes. Then reacts as Spanish Music
      starts to play. He clears his throat as if he must make a
      speech. Then does so again..some vocal spasm paying tribute
      to the increasingly intoxicating tension he feels.

166   INT. RESTAURANT - DINING AREA - NIGHT...                    166

      Flor is lighting the candle at each of the twenty tables.

167   INT. RESTAURANT KITCHEN - NIGHT...                          167

      He is cooking..He is talking to himself.

                           JOHN

                Nothing to be nervous about. You
                are not on a date...
                    (calls out)
                Hey, Flor?

                             FLOR'S VOICE (O.S.)

                Yes, John.

                          JOHN

                What are you doing?
      She enters the room...dancing a bit..




                                                       110.








                    FLOR

          Just lighting candles and picking
          music.
              (notices his cooking)
          Oooh.
She gets up on one of the counters and sits there, her feet
dangling...sings along a bit in Spanish. He is uncomfortable
anew. The nervousness mounting.

                    JOHN

          You want a drink?
She considers the question totally..He is busy cooking..not
realizing how weighty she considers his question...finally
aware she has not answered and looks at her..

                     JOHN (CONT'D)

          Huh?
She regards him levelly..then makes her decision.

                     FLOR

          No.
He gets out a bottle of vodka.

                    FLOR (CONT'D)

          I, uh...don't think you should
          either.

                    JOHN

          Then excuse me, because if I had
          the equipment I'd inject the vodka.
He starts to pour.

                    FLOR

          Wait!
              (he stops)
          I think it is so important that we
          are each clear-headed.
He looks at her..a beat...he puts the vodka away. Flor
beams..we have not seen her smile like this for quite some
time.

                    FLOR (CONT'D)

          It is very good that you did not
          ask, "why?"

                    JOHN

              (quietly)
          Keep things real, right?

                    FLOR

              (impressed)
          I wouldn't have put it so well.




                                                                111.








168   INT. RESTAURANT KITCHEN - HALF HOUR LATER - NIGHT           168

      They sit at a small table in the kitchen..finishing the
      greatest late-night meal in the history of Western man.

                          FLOR

                I will remember every
                taste..forever.

                          JOHN

                Tell you the truth..I wanted a shot
                at cooking for you.
                    (shy/his heart)
                I'm very glad you liked it.

                          FLOR

                It's something watching you.
      He looks up at her...she has not been seen like this for a
      very long time, if ever.. lit up by a man.

                          JOHN

                Well, if it's anything at your end
                imagine over here...scratch
                that..the last thing you want to
                hear is somebody going off on your
                looks.

                          FLOR

                Don't be crazy. Tell me every
                detail.

                          JOHN

                Okay, Flor, yes I will...They
                should name a gender after
                you..Looking at you doesn't do
                it..Staring is the only thing that
                makes sense..and trying not to
                blink so you don't miss anything.
      She squeals with laughter..He laughs a little himself and in
      so doing loses his courage..He looks down at his
      hands..shyness again belting him a good one..Still looking
      down.

                          JOHN (CONT'D)

                Look..forgive me..I'm.....It's just
                that you are drop-dead, crazy-
                gorgeous..so much so that I am
                really considering looking at you
                again before we finish up here.

                          FLOR

                Soon, please.
      And now he looks at her.

      CLOSE ON FLOR..





                                                               112.







      Utterly open...utterly optimistic...the half second before
      being swept away.

                             FLOR (CONT'D)

                   Right now....immediately..we have
                   to dance or kiss.
      He stands. She stands..He kids just a bit, clowning at
      weighing the two options and then:

      HIS POV..

      Her face..

                             JOHN

                   No contest.
      They kiss.

                             FLOR

                   You sure you're not Mexican.

                             JOHN

                       (smiling/he likes this)
                   What do you mean?

                             FLOR

                   I meant you talk like a Spanish
                   song.

                             JOHN

                   You kiss like a Spanish fly..
                       (on her confusion)
                   Joking around. I don't know what
                   I'm talking about...

                             FLOR

                   Yes you do.
      She breaks and heads for the dining room. John has a moment
      to consider.. He does not have his wits about him..a
      condition every bit as fearsome as liberating.

169   INT. RESTAURANT - DINING ROOM.                             169

      As Flor rummages for another CD, enjoying every minute. She
      places the disk in the player and exits.

170   INT. RESTAURANT KITCHEN.                                   170

      As she returns...

                             FLOR (CONT'D)

                   This song...You see what a good
                   thing to tell you how you talk like
                   a Mexican song.




                                                          113.







She begins to translate the lyrics.

                     FLOR (CONT'D)

          When I kiss you, entire oceans rush
          through my veins..
              (he is wildly
                uncomfortable)
          Gardens of flowers blossom in my
          body.
He starts to make a comic gesture of awkwardness to get past
the event..she shakes her head at him..driving the words --
pointing emphatically..she will not have her poetry laughed
at..

                    FLOR (CONT'D)

          And you wander along my fertile
          soil, picking its ripe fruit..A
          nightingale undresses on my
          tongue..And under its wings..
He laughs. She stops cold. Looks down..though just seconds
long, this still constitutes the first depression of her
life.

                    JOHN

          I'm sorry. I don't know what I just
          took out of you but tell me how to
          get it back in there..I'm sorry.
          Flor..I'm sorry.

CLOSE ON HER..

The downcast eyes rise to see him..

                    FLOR

          Then respect this.
He looks at her...they kiss..It is a kiss without an author.
God at the controls. They break. There is a beat then..

                    JOHN

          Here's something I never asked
          anyone..Did nightingales undress on
          your tongue?
Flor looks at him with enormous warmth. Her arms looped
around his neck..aware of the music.

                    FLOR

          Did they on yours?

                    JOHN

              (a long beat of
               reflection/then sincere
               and surprised)
          Yeah...




                                                                114.








171   EXT. RESTAURANT - SOME TIME LATER                           171

      Moving camera...the small house turned restaurant..little
      flickers of light...

                          NARRATOR

                My mother never told me the details
                of her visit to the restaurant.
                But she often referred to it as the
                greatest conversation of her life.

172   INT. RESTAURANT - VERY LATE NIGHT...                        172

      They are lying post coitally in each other's arms on a sofa
      just inside the dining room..They are covered by a table
      cloth. They hold hands above the cover...each private but
      still somehow in contact.

                          FLOR

                Oh, Johnny, why is everything so
                damn confusing?

                          JOHN

                Culpa.
      Flor's pleasure zone is rocked. She smiles at his first
      Spanish word. She is wrestling with large feelings of
      pleasure and large ominous thoughts.

                          FLOR

                    (a beat)
                Is your mind racing?

                          JOHN

                I would say my mind has
                evaporated...but that there are
                remnants still standing waiting to
                fall. It feels pretty good.

                          FLOR

                Like happy?

                          JOHN

                Like happy.

                          FLOR

                You think that will last?

                          JOHN

                It's already gone.

                          FLOR

                I understand what you mean.

                          JOHN

                I don't understand what I mean.




                                                       115.








                    FLOR

          That it's getting late. That
          responsibilities have entered your
          brain. Don't hide that from me.
          And really, one large reason we are
          here is because you respect me as a
          mother and I respect you as a
          father..
He is looking at her...she is disconcerted.

                    JOHN

          You're a great and wild mother.

                    FLOR

          You are a beautiful father.
She looks at him..they kiss...tenderness..heat...intimacy.

                    FLOR (CONT'D)

          When Cristina was young, I would
          say I want to take any man who
          wants me to the park and I will
          tell whether I want him from the
          way he is with Cristina. I wish
          you had been in the park then.
              (a beat)
          Any reaction?
John considering and then the answer comes to him.

                       JOHN

          Exactly!..

                    FLOR

          You know, I always think about when
          you...Oh, there's no point. I talk
          too much...
              (a bit of emotion)
          ...because I don't know if we ever
          talk again.

                    JOHN

          Hey, hey..How do you get there?
          Wait.

                    FLOR

          Yes you do. Be honest.

                    JOHN

          I'm being honest.
              (indicates their bodies)
          Look at us - I think I call it
          honesty.




                                                             116.








                          FLOR

                What are we going to do -- go home,
                let our hearts go back in our
                bodies, see each other a few more
                times. Make a tragedy out of us..
      She kisses him again...starts to cry....looks at him..emits a
      small cooing sound.

                          FLOR (CONT'D)

                Ahhhhhhh.
                    (sudden energy)
                There are some mistakes you cannot
                risk when you have kids...Please,
                are you ready to go?

                            JOHN

                     (urgently)
                No. I'm not. No.
                     (then)
                Stay put for a second. Stay here.
                Once our feet touch that floor, I'm
                going to get too many brain cells
                back. So don't be in such a hurry.
                That floor, Flor, is going to eat
                us alive.
                     (she settles back/he is
                      energized)
                So you think it was a mistake up to
                now.
                     (she nods "yes")
                That's rough.
      She nods again..trying to gut things out...but as her foot
      touches the floor, she must say one last thing to him.

                          FLOR

                The mistake....I love it.

173   INT. CLASKY HOME - MASTER BEDROOM - LATE NIGHT.          173

      Deborah's face is bleached from crying...the tear ducts of
      her now brown eyes are parched dry..Evelyn sits eyeing her as
      she looks through the window at the pre-dawn emptiness of
      Stone Canyon. In her current shape she would give pause to a
      staff worker at Promises..a shock victim walking through the
      rubble after the bomb has dropped. Deborah's voice is
      scratchy when she speaks.

                          DEBORAH

                Tell me again why I can't call him
                on the cell.

                          EVELYN

                Besides that he turned it off?

                          DEBORAH

                Yes.




                                                       117.








                    EVELYN

          Forty messages start to look needy.

                    DEBORAH

          Mother, you're enjoying this.

                    EVELYN

          No..Definitely not in the way you
          think.

                    DEBORAH

              (staggered)
          You are enjoying it?!?

                    EVELYN

              (rising/honest)
          I am enjoying actually being of use
          to my daughter. I am enjoying the
          fact that I really know how to
          advise you and the miracle that you
          are so deeply disoriented that you
          are gobbling up everything I say.
Deborah nods in agreement -- then looks at her mother in a
somewhat new way..as if Evelyn were an actual person instead
of an upsetting extension of herself.

                    DEBORAH

              (vulnerable)
          There's one thing I'd like to say
          to you about you and me.

                    EVELYN

          You don't have to.

                       DEBORAH

          I want to.

                       EVELYN

          Okay.

                    DEBORAH

              (quite vulnerable and
               appealing)
          You were an alcoholic and wildly
          promiscuous woman during my
          formative years so that I am in
          this fix because of you. It is your
          fault. I just needed..
              (gestures heart to heart)
          ..that moment for us.

                    EVELYN

          You have a solid point, dear. But
          right now the lessons of my life
          are coming in handy for you.




                                                        118.








                    DEBORAH

          There's a car coming....
Evelyn moves to her.

                    DEBORAH (CONT'D)

          It's him...he's got to tell me
          everything..
Evelyn shakes her head "no."

                       DEBORAH (CONT'D)

                 (wild-eyed)
          Yes!

                    EVELYN

          Do you know that right now you are
          your own worst enemy..that you
          can't trust one thought in your
          brain?

                       DEBORAH

          Duh.

                    EVELYN

          Then trust me and only allow
          yourself to say one thing to
          him..One thing..."I'm so glad
          you're back."

                       DEBORAH

          Huh?

                       EVELYN

          Yes.

                    DEBORAH

              (babbling)
          But I've got to know whether he
          touched her - where he touched her -
          how he touched her - if they broke
          a sweat --- what they said - who
          made the first move - how they left
          it -- if anyone loves anyone or has
          an intention of making contact in
          the future - what she wore - how he
          felt afterwards - whether anyone
          mentioned me..
              (a wail)
          ..whether they held hands when they
          left..
The distinct sound of a door opening and closing from
downstairs.




                                                             119.








                          EVELYN

                Just those words I said. If you
                want a prayer of coming out of
                this.

                          DEBORAH

                I know you're right..But..

                            EVELYN

                But what?

                          DEBORAH

                    (a small voice)
                I forgot the sentence you said I
                should say.

                          EVELYN

                "I'm so glad you're back."

                          DEBORAH

                Okay..do I have to wait here?

                          EVELYN

                No..he may not come up here..go to
                him.

                          DEBORAH

                Why wouldn't he come up here?

                            EVELYN

                Just go.

                          DEBORAH

                Do I need a little makeup?

                          EVELYN

                You need a hose but you don't have
                the time. It's fine that you look
                like that. It's genuine..You can
                use genuine.

                          DEBORAH

                Thank you, mom.
      She takes a breath exits...

174   INT. STAIRWELL                                           174

      She pauses at the top of the stairs..a breath..then unable to
      help herself runs down them at breakneck speed.

175   INT. DOWNSTAIRS..                                        175

      John turning a light on when Deborah bursts into the room.




                                                               120.








                          DEBORAH

                I'm so glad to see you
                    (correcting self)
                ..that you're back.
      John looks up at her - not knowing what to say...he is
      thrown. His demeanor has changed...deeper..serious..

                          JOHN

                It's late, Deborah.
      The wrong words start to form..she stops herself..

                          DEBORAH

                Well, I just wanted to say.. what I
                said..
      She is on the stairway..he turns to go in the opposite
      direction.

                          DEBORAH (CONT'D)

                    (way too loud)
                Uhhhh..
      He turns back to her...she stops herself from straying into
      untried words but gestures whether he is coming upstairs to
      bed.

                          JOHN

                    (a beat then)
                I can't sleep upstairs with you..
                Just can't for now.
      This rocks her..panicked she grabs at her life preserver.

                          DEBORAH

                I'm just so glad you're back.
      Deborah's suddenly classy demeanor provides just the barest
      of footings for them...He looks at her directly for the first
      time since she told him.

                          JOHN

                Yeah..okay.
      She nods..then goes back up the stairs..

176   INT. MASTER BEDROOM - NIGHT                                 176

      Evelyn, who has been standing close to the doorway, stands
      clear to let her enter. As Deborah flies in wildly vulnerable
      - her breath racing.

                          DEBORAH

                I am literally choking on unsaid
                words..seriously. If this were a
                restaurant ten people would have
                their knuckles in my sternum.




                                                             121.








                          EVELYN

                The fact that you didn't just make
                things worse should fill you with
                hope..
      In her current state, she has to process that one..and does.
      Her breath slows.

177   INT. MAID'S ROOM - NIGHT...                              177

      The first time we've seen this room since Flor was working
      the sewing machine...John enters. He is down, longing and
      finality make for a brutal cocktail..He rubs his head and
      sits near the sewing machine..He glances over and sees Flor's
      Spanish/English dictionary..There is a knock on the door.

                          JOHN

                Deb, I'm done tonight. I don't
                think we can jam anything else in.

                          BERNICE'S VOICE

                It's me, Dad.
      He springs from the bed and opens the door.

                          JOHN

                What's up, honey?

                          BERNICE

                Just thought I'd check that you
                were back and okay and all.

                          JOHN

                    (feigning innocence)
                Because?

                          BERNICE

                Mom was crying for six hours
                straight and Grandma was in with
                her all that time mostly saying,
                "he'll be back..he'll be back."
                I've got to get back to Georgie.

                          JOHN

                I just hate that you had that kind
                of a night.

                          BERNICE

                It's good for me to worry about
                something that really matters
                instead of the stupid stuff that's
                usually on my mind...

                          JOHN

                Like?




                                                               122.








                              BERNICE

                       (a big grin)
                   Surviving.

                             JOHN

                   You're fantastic, Bernie...I love
                   you.

                             BERNICE

                   It's a slant...
                       (pause then)
                   Hey..I know there's a lot you went
                   through but I knew all along that
                   Grandma was right about you coming
                   back..I mean totally knew it so I
                   wasn't that worried. But still I...
                       (some emotion out of
                        hiding)
                   I really appreciate it, Dad.
                   Thanks....Stop staring at me..what?
                   You don't know what to say?

                             JOHN

                   Right. I don't know what to say.

                             BERNICE

                   Just what you taught me..You're
                   welcome.

                             JOHN

                   You're welcome.
      They kiss.

178   EXT. STONE CANYON -     MORNING.                           178

      Flor purposefully walking up the hill..

179   INT. CLASKY HOUSE - DAY.                                   179

      As Flor enters...walks through a few empty rooms..then once
      in the kitchen she sees the children and Evelyn are swimming
      in the pool...she opens the glass door Monica bumped into on
      interview day.

180   EXT. CLASKY POOL - DAY.                                    180

      Evelyn, Bernice and Georgie are in the pool..Cristina,
      wearing a bathing suit, is on a chaise reading...

                             CRISTINA

                   Hey, mom...Is it okay if we don't
                   leave right away?
      The others call greetings..save Evelyn who studies the
      situation and gets out of the pool..Flor is awkward..no idea
      how to handle this...so she goes direct.




                                                       123.








                     FLOR

          No...
              (as Cristina begins to
                protest)
          No..and we must say "goodbye." I
          don't work here anymore.
She then talks Spanish to Cristina..admonishing her not to
embarrass them..something about Flor being prepared to go
nuts all over her daughter if she hurts their dignity...but
it is said with total calm.

                    GEORGIE

          Do I have to get out?

                    FLOR

          No, Georgie..Stay. I think you are
          a wonderful boy..be good..like you
          are. There are no monsters.

                    GEORGIE

          Thanks..thanks. Okay.
Bernice climbs out of the pool. Meanwhile, a flabbergasted
Cristina is staring at her mom who gives quiet two and three
word proddings in Spanish.

                    BERNICE

              (severely to Georgie)
          I can't believe you didn't get out.

                       GEORGIE

          Flor said.

                    BERNICE

              (to Flor)
          I don't want to get you wet.

                    FLOR

          Get me wet.

                    BERNICE

              (rushing to hug her)
          Thanks.
Bernice hugs her. Evelyn hugs Cristina..

                    EVELYN

          You...are...a...trip.

                    FLOR

              (to Bernice)
          You're a beauty. Amazing girl.




                                                                124.







      Despite herself, Bernice starts to cry..moans to herself over
      the display...Now, in the background, we hear a subliminal
      human voice. Incrementally it will grow louder and be
      recognizable as Deborah calling Flor from the master bedroom
      window..Bit by bit, the others will become aware of this as
      Flor ignores it...Bernice goes to embrace Cristina.

                          BERNICE

                My last chance to have some of you
                rub off on me..
                    (Cristina doesn't
                     understand)
                I'm sorry you're so sad but this
                could have been so much worse.

                             CRISTINA

                       (from her depths)
                How?
      And now Deborah calling "Flor" is getting hard to ignore but
      Flor manages..

                          EVELYN

                    (to Cristina)
                Why don't you run upstairs and say
                goodbye to Deborah?
      Flor flashes a look of thanks.

                          FLOR

                I'll be in front.
      Upset, Cristina runs off. She kisses Bernice..and walks
      toward the house. As she passes under the bedroom..

                          DEBORAH

                Please come see me.
      And then a crying Cristina appears on the deck. Flor glances
      up and keeps moving underneath the deck where she faintly
      hears the beginning of their exchange

                          DEBORAH'S VOICE

                It's okay, honey..we'll see each
                other at school..I'm going to keep
                an eye on you..I will.
      Flor enters the house...

181   INT. KITCHEN - DAY.                                         181

      She stands waiting..walks to the hallway and cranes her head
      to see into rooms, wondering if John is there. Finally, as
      she passes the stairwell, she sees Cristina on an upper
      landing and says, in Spanish, that Cristina should get her
      things and meet her out front. Cristina, agitated, moves off
      to comply...then Deborah appears in the same spot.




                                                             125.








                          DEBORAH

                Please stick your head in here for
                a minute.
      Flor nods and starts up the stairs...

182   INT. MASTER BEDROOM - DAY                                   182

      Deborah holds open the door while Flor walks inside..then
      closes it.

                          DEBORAH

                What's with avoiding me, am I this
                horrible person?
      As Flor just looks at her.

                          DEBORAH (CONT'D)

                I know. It's a ridiculous question
                but sometimes I'm ridi...

                          FLOR

                No. It's a good question. A fine
                question. Complicated.
                    (beat then)
                I was just thinking to answer.

                           DEBORAH

                Oh stop.   Come on. Weren't we
                close?

                            FLOR

                      (like a shot)
                No.

                          DEBORAH

                    (truly hurt)
                Well, I'm very, very disappointed
                to hear that. It makes me feel like
                a fool.

                          FLOR

                    (compassion forces a
                     crumb)
                We weren't close..but we were
                connected...in a bad way.

                          DEBORAH

                    (strangely soothed)
                You know something, I think we're
                saying the same thing...Look as
                long as we're doing closure..What
                did you and my husband, John, do
                last night?
      Flor pauses for less of a beat than we would have imagined.

                          FLOR

                I can only tell you what I did.




                                                               126.








                          DEBORAH

                That will be sufficient.

                          FLOR

                    (these are tender
                     feelings)
                I became sure of what an incredibly
                lucky woman you are and I must make
                myself not envy you which is hard.
                No, it's not hard. It's impossible.
                Now please..I am exhausted.

                          DEBORAH

                Same here - believe me.
      Deborah would hug..but it's only an eighth of a gesture
      because Flor has turned to exit, calling for her daughter to
      hurry as she goes.

                          FLOR

                Cristina, ap�rate.

183   EXT. CLASKY HOUSE - DAY                                    183

      As she exits the house and moves to the gate where she
      punches in the exit code...

      ANGLE ON GATE

      As it swings open to reveal John...

184   EXT. STREET - DAY.                                         184

      As she moves alongside him and the gate closes behind her.

                          JOHN

                I was hanging out here waiting.
                Can't give you guys a lift?
      Flor shakes her head "no." She looks away for a beat so the
      next thing she does is a considered action. She leans forward
      and kisses him on the lips. John looks at her.

                          JOHN (CONT'D)

                This is killer.
                    (on her confusion)
                Incredibly hard.

                          FLOR

                Yes, Cari..
      The gate opens and a sniffling Cristina is holding an armful
      of loot.

                          JOHN

                    (reading Flor)
                Let her have it..party favors.




                                                              127.







      She nods..bites back some emotion and turns from him.

                             FLOR

                Cristina..

                          CRISTINA

                Goodbye, Mr. Clasky..I am very
                sorry we will not see each other as
                frequently.
      She offers her hand, which John shakes while patting her on
      the back.

                             FLOR

                Yes.
      They turn and begin walking down the street.

      SHOT - STONE CANYON

      The women walking toward camera, John briefly in the
      background...As they begin their walk Flor begins talking in
      Spanish.

                          NARRATOR

                The first minute we were alone, my
                mother told me that I would no
                longer go to the private school.

                          CRISTINA

                No. No..You can't. I won't be able
                to forgive you..It will be the end.
                I won't let you.
      And then Cristina moves her hysterics to Spanish as she stops
      walking and her mother takes her hand and pulls her along
      with enormous dedication. CAMERA BEGINS A PULL BACK.
      Cristina dropping presents..picking them up..one of them left
      by the wayside..People noticing..Cristina's conduct violating
      tacit zoning laws.

      CLOSER SHOT..

      So we can see their faces in the struggle.

185   EXT. BUS STOP..                                            185

      As they wait...Flor talks sharply to Cristina to control
      herself.

                          NARRATOR

                My mother changed our lives once
                more. This time because she saw in
                me, to her great alarm, a character
                flaw of some size. She has taught
                me to be a watch dog of my
                character, to control my ambition.
                I am not quite there.




                                                              128.







      One last yelp from Cristina as the bus arrives.

186   INT. BUS - DAY.                                           186

      Almost empty - it's Saturday. Mother and daughter sit
      together by the giant window in the center of the bus.
      Cristina eyes her mother who is bearing her own heartbreak
      with stoic dignity. The girl is becoming less inconsolable
      and more in need of mothering.

                           NARRATOR (CONT'D)

                For that reason should you choose
                to grant me your scholarship my
                mother, at my request, will be
                relocating to the New York
                Metropolitan Area so that she can
                stay close during my time at
                Princeton.
      Cristina moves closer to Flor, who senses it immediately and
      wraps her in her arms.. kisses her head.

                          NARRATOR (CONT'D)

                I hope my essay has done her
                justice. I love her with all my
                heart.

                                                        FADE OUT.