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she has a master degree in art history . Jose does not respond, looks at Paloma's diploma on the wall, finish dressing up and steps out of the bedroom.
LOVE MOSAIC: THE STRANGER

Written by Ahmed Riahi-Belkaoui

Address: 240 E. Illinois #403 Phone Number: 1-312-494-1499 E-mail: [email protected]

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FADE IN An aerial view of Chicago from Lake Michigan on an early summer morning with scenes moving from the HANCOCK TOWER to the LOOP and the WILLIS TOWER, and going west to the 25th ward neighborhood of PILSEN, high highlighting murals on the walls, and ending in front of a two story bungalows. NARRATOR (V.O)

The narrator's voice fades away CUT TO

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INT. A KITCHEN AND DINING ROOM-DAY An old white-haired woman, wearing all black, is cooking and watching the TV, whe re An anchorman is r eading the news in Spanish. A house in fire is shown with firemen running around. The old woman is watching the news with indifference. A map of Mexico is on one wall of the kitchen. The state of Jalisco is in red. THE OLD WOMAN (Speaking to herself in Spanish) It starts and ends with fire and only a merciful God will remain CUT TO INT. A BEDROOM-DAY Paintings cover a lot of the spaces on the walls. In a large bed, a naked middle aged man and a much younger woman are sleeping. He is a handsome man. The young woman, a muscle toned brunette opens her eyes and checks the clock. It is 5:30 AM. She looks at the sleeping man admiringly. She slowly steps out of the bed, goes to the adjoining bathroom and closes the door. In the bathroom, she steps in the bathtub and takes a shower. She dries herself, steps back in the bedroom, puts her clothes on, writes a note that she leaves on the pillow, and walk toward the door. The note says: "Cher Charles I needed to get home early so that I can have Sunday breakfast with my nice Latino family, and go to church with my mother and grandmother. I'll c all you later. Than ks for a beautiful evening. Love. Gabriella" Before stepping out, she hits a button on a record player and steps out. JACQUES BREL is singing: "NE ME QUITTE PAS". Charles does not wake up, but has now a nice smile on his face. CUT TO INT. A BEDROOM-DAY A middle aged man and a stunning middle aged woman are sleeping. The alarm clock on a dresser indicates 6:00 AM. The woman keeps tossing from side to side as if having a nightmare. The man opens his eyes and looks at her tossing. He proceeds with touching her and fondling her, leading the woman to wake up, a sorry look in her dark eyes. THE MAN (In Spanish) PALOMA. It's Sunday. of the Alderman

Time for the prayers

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PALOMA Alderman Jose. Do we have to do it every Sunday Morning. Jose does revealing penetrates the wall.

not answer and starts taking off PALOMA's nightgown, a beautiful voluptuous woman. With no foreplay, he her. She is simply staring at the wall on her side of She is staring at a framed diploma. IT reads: University of Illinois At Chicago Paloma Soliz Master of Arts Art History JOSE (In Spanish) I love being inside you. That's when I find peace and welcome Sunday. PALOMA (still staring at her diploma and looking annoyed) Please, don't describe anything. Just do it

Jose reaches a noisy climax within a minute or two. happy. She looks sad.

He looks

CUT TO INT. KITCHEN AND DINING ROOM-DAY The front door opens and Gabriella steps in. The old woman looks at her with critical eyes. Gabriella sits at the dining room table. The old woman brings her a ball of cereals and a cup of milk. Gabriella Thanks. Irma The old woman gives her a surprise look. Gabriella (In Spanish) Sorry. Thanks Grandmother Irma. IRMA (Whispering in Spanish) The seas is in your eyes and will drown you. Gabriella does not answer. her suspiciously.

Irma comes, and sits by her looking at

IRMA (In Spanish) Don't take your clothes for anybody

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Gabriella (In Spanish and smiling) Even if it is very hot. IRMA (In Spanish and almost screaming) Especially if it is hot. Gabriella is eating her cereals with Irma still starng at her disappointedly. Irma stands up and points a finger somewhere between Gabriella's legs. IRMA (In Spanish) Don't let anybody touche you there. CUT TO INT. BEDROOM-DAY Jose steps in the bedroom after taking a shower. Paloma is still in bed, staring at the ceiling, with the bed cover up to her chin. On the dresser next to her, is a pile of history of art books. JOSE I checked her room. Gabriella did not spend the night here. PALOMA She must have stayed with one of her girlfriends. JOSE I hope for our sake. I don't want anybody gossiping about her. There is already gossip of her getting the assistant curator job at the Mexican Museum of Art because of my position of Alderman of the ward and Chairman of the City Finance Committee. PALOMA (Looking annoyed) You worry more about political gossips than your daughter's happiness. In any case , she is more than qualified for the job. Remember, like your mother, she has a master degree in art history . Jose does not respond, looks at Paloma's diploma on the wall, finish dressing up and steps out of the bedroom. With painful look in her eyes, Paloma smells the sheet. She gets and sit at the edge of the bed naked. She looks sadly at her history of arts books and at her diploma.

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CUT TO INT. BEDROOM-DAY Charles wakes up, sees and reads the note left on the pillow. goes to the bathroom and looks at himself in the mirror

He

CHARLES (Speaking to his image in the mirror) If a worthless fellow be with thee, do not let him go, or else one worse will come to thee. Charles goes back to the bedroom and insert a disk in the music player. Leonard Cohen is singing: " Charles opens the "Arab Proverbs" book at a page in the middle of the book. The proverb reads:"The blind man does what is nasty upon the roof of his house, and thinks that the people do not see him" He goes back to the bedroom, picks up the phone and dials a number. In the dining room, Gabriella answers the call. CHARLES You left without waking me up. Gabriella You know my reasons. CHARLES It is OK with me. No need to chock your powerful Papa. Enjoy church. I'll pick you up Monday morning for your appointment at the Museum. Gabriella See you then. Je t'aime. Charles hangs up and picks up the book on the "ARAB PROVERBS". The proverb on the first page he opens is: "Who knocks at the door, will hear the answer". INT. DINING ROOM-DAY Jose and Gabriella are seated at the dining room table. Jose is eating his breakfast-eggs and ham. Gabriella is reading the Chicago Tribune. Irma is in the kitchen, looking busy. Paloma steps in, kiss Gabriella and start reading the Chicago Sun Times. Ther is a complete silence except for the kitchen noises made by Irma. JOSE You did not spend the night here. GABRIELLA Yes.

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Both Jose and Paloma give Gabriella an inquisitive look. drops a dish.

Irma

IRMA (In Spanish) JOSE (In Spanish) Mother. PALOMA Doing anything interesting at the Museum. GABRIELLA Glad you ask, The Museum of Mexican Arts is going to help the Chicago Art Institute highlight the works of three Latin American Artists. JOSE Oh! Gabriella The three artists are going to share the beauty and the richness of their cultural heritage in a picture book exhibition. JOSE Bill O'Connor is the chairman of the museum. He owes me if you need help. PALOMA That will make for good political gossip. O'Connor, a real estate man helps the daughter of the chairman of the Zoning Committee. Get REAL Jose. JOSE You know the Chicago saying,"We don't want nobody sent". It's still the rule. Somebody, whose name I won't mention became a President of the country, and I am not talking about President Kennedy . Gabriella Let me bring this discussion to a conclusion. Thanks Dad for the offer of help. I am already working with Charles. I'll be going Monday to the Chicago Art Musuem to finalize the details of the collaboration with the Museum of Mexican Arts. PALOMA

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Who is this Charles? JOSE Charles Chirac is the snobbish and French curator of the Chicago Art Musuem. He is really pushing the envelope in his choice of exhibitions. GABRIELLA It sounds like O'Connor is your main source. JOSE O'Connor is a good Chicago man. He is good for the city and the Musuem. Come to think of it, it is not that this Charles is butting heads with Bill O' Connor, it is the fact that Charles Chirac and Gabriella Pineda, my precious daughter, has been seen all over town. GABRIELLA (Angrily) He was my teacher at the University, my colleague from another museum, and a dear friend. Are we being followed? Jose remains silent, staring at Gabriella. PALOMA Answer her. JOSE No, I am not having you followed. Maybe I should. This man is much older than you. Paloma looks shocked by what she hears. GABRIELLA He is only 55 years old. I learn a lot from a very sophisticated and cultured man. JOSE An older man with a beautiful Latina like you will sing out sentences that he never thought. GABRIELLA (angrily) What is this supposed to mean? You think I can be easily fooled. G a b r i e l l a pushes her chai r and lo ok at he r now anguished mother. GABRIELLA Mother, I am going to get ready for church.

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Gabriella rushed out of the dining room. PALOMA Why are you bothered by this Charles fellow? He is after all a former professor and a colleague now. JOSE I am told they look rather comfortable with each other. PALOMA So. JOSE I don't like it. I am told that she looks very attracted to him. PALOMA What makes you say that? She is so difficult to please when it comes to men. What makes this Charles different. JOSE He is rather handsome in a dangerous way. He has also a superior air about him. PALOMA Oh! JOSE We need to find out more about her intentions before it gets serious. An old French man in my daughter's life is not part of my plan. PALOMA I'll find out. JOSE Thank you. Gossips are a pain. Jose gets up, approaches Paloma and kiss her. JOSE I need to get ready to get to city hall. There is no Sunday for a politician. IRMA (In Spanish) Mexican American face a heritage of sweat. JOSE (In Spanish)

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The united family will never be defeated. (La familia unida jamas sera vencida) Jose steps out of the dining room. INT. BEDROOM-DAY Sitting in front of a mirror, Gabriella is brushing her long dark hair. Paloma steps in, and sits on the bed, watching her daughter in silence. I love him.

GABRIELLA I love Charles. PALOMA

Does he love you? Gabriella I don't know. Paloma stays silent , and looks chagrined. Jose, now fully dressed in a dark suit, looking as the typical politician, steps in. PALOMA Why don't you get married to a nice man who would love you? JOSE (Shouting) Yes.

Why not?

GABRIELLA (smiling) Because it is too early to become A SLAVE, and it is much harder to gain freedom. Jose sees Paloma nodding in agreement. He is visibly angry.

He turns to face Paloma .

JOSE She is full of piss and vinegar like you. I am afraid a harder time is coming to this family. I need to go to City Hall. PALOMA We'll be using the chauffeur to go to church. Jose does not answer and rushes out. Paloma sits down next to Gabriella, both looking at their beautiful images in the mirror. PALOMA

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Tell me about him.

Why do you love him?

JOSE I learn a lot from him. I feel better about myself when he is around me. Is this love? Paloma looks intently at her image in the mirror, as if searching for an answer. PALOMA I have no real education in the art of love. Each of us must feel it differently. Each love has its own art and its precious colors. They look at each other, light tears in their eyes. long and hard.

They embrace

GABRIELLA Is it friendship? You must know about friendship. Dad IS your friend. PALOMA I don't know about friendship. Jose is my husband. I married him because I had to even though I had a art degree and could have done what you are doing. GABRIELLA Come to the Chicago Art Institute Monday. I'll introduce you to Charles. You can see for yourself. We'll see. Let me get ready. hurry to get to church.

PALOMA We need to

CUT TO INT. LOBBY-DAY Charles is entering the lobby of a building. A old Haitien man is the receptionist. He is behind a desk watching TV. An old woman steps out of the elevator with her dog. The spaniel has a skin disease which makes almost all its hair fall out and left it covered with brown sores and scabs. The old woman has also reddish scabs on her face and wispy yellow hair. The dog is pulling the woman until she stumbles. With Charles and the receptionist watching intently, she beats the dog. THE OLD WOMAN

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(Addressing the dog) Miserable beast. The dog now trails behind. step out of the building.

The old woman pulls the dog. They both THE RECEPTIONIST (In French) Hello Charles; Madame Gasparetti is with her dog. (Hello Charles; Madame Gasparetti est avec son chien). CHARLES (In French) They still hate each other.

(Bonjour Jean Marie; Ils ne s'aiment pas encore). Charles steps in the elevator. CUT TO INT. LIVING ROOM-DAY A beautiful blonde woman is sitting on a sofa in a large living room with walls full of colorful paintings. She is reading the Style section of the Sunday New York Times. There is a knock on the front door. She walks to the door and opens it. Charles Faces her inquiringly with his eyes and she is welcoming with a beautiful smile. They embrace long and hard. CHARLES Shannon dear, you don't mind I came without calling on a Sunday morning. SHANNON It is always a pleasure to see my ex. This was after all your home six months ago. We won't quarrel again about the divorce, I hope. CHARLES (In French) Madame Gasparetti was with her dog. (Madame Gasparetti etait avec son chien). SHANNON (smiling) They have not changed their funny routine in the eight years I lived here with you and without you. CHARLES They stayed together while hating each other

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While we are separated and we do not hate each other. SHANNON Au contraire. Please sit down. Charles sits on a sofa, and Shannon sits on another sofa facing him. SHANNON What are you working on? Charles A show on flies in the art. Shannon smiles and nods approvingly . Charles As Montaigne said: "We find nothing in the behavior of flies that does not remind us of our own". Charles looks chagrined. SHANNON What's bothering you? CHARLES I am worried about a personal relationship. SHANNON The same kinds of relationships that led to our divorce. CHARLES Her name is Gabriela. She is the assitant curator at the Mexican Musuem of Arts. She a very young and beautiful Hispanic woman. SHANNON What's the problem? You always managed to to move on to the next one to fall in your love trap . CHARLES Love trap! SHANNON What do you call it? Do you have another proverb for the situation. CHARLES

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If the rose come, we eat and drink neat it, if it departs, we do not regret it. SHANNON Is that what you think of our divorce? CHARLES No. I love you and wish we stayed married. Ditto.

SHANNON What do you want to do?

CHARLES There is no future in the relationship. have to tell her as soon as possible.

I

SHANNON Then what? Charles does not answer. Shannon stands up and come to sit next to him, their faces inches apart. CHARLES Give both of us another chance. Shannon does not answer, approaches closer. They kiss lightly. SHANNON You think you'll change. Charles does not answer and gives her another light kiss. CHARLES I thought about my mother this morning. SHANNON That's nice. What were your thoughts. CHARLES She was strong in the worst of conditions. No craking under any difficulty. My father had known affairs and was practically always absent. He had always an excuse. Like him I was like absent in your life. SHANNON Your are not your father and you were not absent in my life. I loved you. CHARLES Thanks. SHANNON Welcome.

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They kissed long and hard.

INT. CAR-DAY A car, driven by Charles, is stopped by a curve. Gabriela gets in. They kiss lightly. Charles seems distant. The car departs. The car is now driven thru the near west side of Chicago. GABRIELA What's on your mind? CHARLES We are passing Haymarket square. No monument is there to commemorate the martyrs of the American Labor Movement killed in the first famous Chicago police riot. GABRIELA Few people know about the Haymarket affair. CHARLES I wonder whether the Haymarket square riot and the unrest that continued through 1987 was inspired by the Paris commune of 1871. GABRIELA Were they really trying to take over Chicago the same way the French workers seized control of Paris. Charles looks at her, smiling approvingly. GABRIELLA You tried once to name some of the galleries in the West Wing of the musuem after the labor martyrs. What happened? CHARLES The City comptroller, who is a permanent member of the board, insisted that it would be an insult to the city's finest, who serve Chicago every day. GABRIELA Shame! CHARLES (Like talking to himself) They believed in a socialist revolution and that will never be honored here.

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Charles drive the car in a parking lot. Museum Staff".

A sign reads "Parking for

GABRIELA Before I forget. My mother is coming to the museum today. She wants to meet you. CHARLES (Stopping the car at a stop designated for the curator) Finally. Home away from home. Let's use the Michigan Avenue entrance. I want to see the action.

Are you sure? demonstrating.

GABRIELA (Looking worried) Those right wing nuts are

Charles does not answer and steps out of the car, followed by Gabriela. EXT. MUSUEM'S ENTRANCE ON MICHIGAN AVENUE-DAY A large sign on the building wall of the musuem reads: "DEGENERATE ART?" A huge crowd is protesting in front of the entrance. Charles and Gabriela, still far from the crowd, are approached by a TV reporter and a cameramen. THE TV REPORTER What is exactly this exhibit? Charles The National Socialists attacked modern art by staging in 1973 an exhibit on what they labeled "Degenerate Art". This exhibit replicates what has been done in Munich in 1937, using some of the works that escaped burning or destruction. THE TV REPORTER (Almost barking because of the noise from the crowd) What is it for Chicago? CHARLES (Answering calmly, one word at a time, as to accentuate the gravity of what he is saying) The public will see the fate of the Avant Garde in Nazi Germany, and the political uses and misuses of art.

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Charles and Gabriella are now trying to get to the door through the angry and shouting crowd. A heavy set man with a twisted face is hollering. THE HEAVY SET MAN (Pointing to the musuem's entrance) The enemy of the white people is here. It is degenerate art. It's decadence presented as art. The protesters unfurl a banner that reads: "DO NOT CROSS-DECADENT ART". People in the crowd are mostly young white males, some young enough to be worried about the visible zits on their faces, some dressed in khaki uniforms. Circling the heavy set speakers, a guard of muscular men surveys the scene. A few of them are bare chested, tatoos carved on their skins: broken hearts, torches, swatsikas, and roses. A lot of them are wearing T shirts, sporting the names of their favorite heavy metal bands: Grim Reaper, Black sabbath, Twisted Sister, W.A.S.P, And White Snake. Four musuem security guards rush to protect Charles and Gabriela, as they approach the musuem door. CHARLES (Smiling nervously to Gabriela) This may be good publicity for the show. A short overweight white woman pushes one of the security guards to face Charles and Gabriela, and takes a photo of them. THE WHITE WOMAN (Shouting) This is the dude that brought this show to Chicago Charles and Gabriela ignore her and get close to the door' THE WHITE WOMAN (Hollering) Where are you from? Charles stops and turns to face her. CHARLES (With clear disdain) La Belle France, Madame. Charles turns back and follows Gabriela in the musuem. THE WHITE WOMAN (Screaming with anger) A frog; Can you beat that? INT. MUSUEM LOBBY-DAY

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Charles and Gabriela are in the lobby of the musuem. GABRIELA Real unpleasant experience. CHARLES I love humankind. I despise some humans. In any case a dog that barkes does not bite. GABRIELA I am going to my schedule meeting. Don't forget my mother's visit later. CHARLES Judgement day! Bye. INT. GALLERIES IN THE MUSUEM-DAY Paloma is walking through the galleries of the musuem, looking at the paintings. INT. A CLASSROOM BETWEEN TWO GALLERIES-DAY Paloma enters what looks a classroom. A replica of "VENUS BEFORE THE MIRROR" stands in front of two rows of chairs. Paloma sits in the middle of the first row to admire the painting. A group of middle-aged people entered the room and starts sitting in the first and second row. Charles, impeccably dressed, stands next to the painting, facing the audience. CHARLES Ladies and gentlemen, this is the last presentation today. Thank you for your attention. CHARLES is pointing to Rubens'painting. CHARLES All that abundance, the proliferation of matter, the ripening of the flesh, the life that surges and all the details. The image of the naked Venus looking at something in front of her, presumably the mirror held by Cupid, and the black maid attending to her fair hair, draws an admiring silence from the audience. CHARLES Let me invite you to appreciate the

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display of naked flesh, the tender rounded features, the innocent face, the golden hair of the goddess and the puffy curvature of the cheek. Charles moves his gaze from the painting to where Paloma is sitting. They are looking intently at each other. CHARLES This is a scene to satisfy both the visual eye of the viewer and the mental eye of the interpreter. Charles is now looking at Paloma, as if she is the only person listening to him. CHARLES Cupid sets the angle of the mirror to allow the crossing between the stare of the admired, Venus, and the stare of he admirer, you the viewer. Paloma raises her hand. CHARLES Yes. PALOMA Sir, I see two images of Venus. The one in the mirror is more honest in her avowal of connivingness. Everybody remains si lent. The whole aud ience is observing curiously Paloma and Charles looking at each other. CHARLES (addressing Paloma) Venus ought to be praised for the honesty of her confession. Paloma stands up and rushes to the door, stepping on some feet. I am sorry.

PALOMA I am sorry.

INT.MUSUEM LOBBY-DAY Gabriella is standing by the grand staircase. Paloma joins her. They kiss. PALOMA You are glowing like a papaya.

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GABRIELA The meeting went well. We are proceeding with the Latin artists project. PALOMA Where is this Charles of yours? GABRIELA He is with a group of donors. He is now showing them a replica of "Venus in Front of a Mirror". Paloma looks anxious.

Just the, Gabriela's face beamed. GABRIELA Here he is.

Charles walks toward them.

He kisses Gabriela on both cheeks. Charles.

GABRIELA Meet Paloma, your mother.

CHARLES Delighted to finally meet you. PALOMA Meet you. CHARLES I hear you also majored in history of art. PALOMA Then, I got married and had Gabriela. CHARLES That's making art. Gabriela looks at her daughter. Paloma appears under the spell of Charles. PALOMA Why did you become a curator? CHARLES (smiling confidently) Because life is a waste of banal and cruel acts. Working with art makes it less cruel and banal. GABRIELA We need to let Charles go. He has a board meeting.

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Charles kisses Gabriela on both cheeks. Paloma looks sad at teh show of affection. Charles turns to face Paloma and shake her hand, his brown eyes asking for more. CHARLES Delighted to finally meet you. PALOMA Me too. INT. A GALLERY IN THE MUSUEM-DAY Paloma and Gabriela step in a gallery and sit on the bench in the middle of the gallery, facing . They remain silent for a while. GABRIELA (beaming) What do you think of him? PALOMA Of Charles? GABRIELA (Feigning impatience) Who else? PALOMA (Lowering her head to avoid Gabriela's stare) He is interesting. GABRIELA I adore him. I hope that Dad will will go along. PALOMA Go along with what? GABRIELA I would like to eventually marry him. Paloma does not answer and turns her face toward the painting. The, she looks back at Gabriela, puts her arms around her and hugs her. They both stand up. PALOMA I'll see you home. We'll talk about it. This is not the right place. GABRIELA I need to go back to my office.

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INT. THE MUSEUM BOARDROOM-DAY Well dressed men and women are sitting around a table in a large room. The door opens and Charles enter the room and takes a seat at the table. CHARLES Thank you for coming. The meeting will examine a potential project. It will be brief. A MAN Thank you Charles. CHARLES Thank you, Chairman O' Connor. O'CONNOR Jim. Please. CHARLES. Thank you Jim, I first would like to thank Judith for allowing us to show her contemporary collection. It is a success. As you know, it features an extraordinary selection of paintings, sculptures, and works on paper created from 1960 to the present. A woman at the end of the table nods approvingly. JUDITH It is a pleasure to help the musuem, and thank you Charles for making it possible. Jim O' Connor looks annoyed. JIM Let's get back to the business of the day. Th e l oo k o n C ha r le s ' fa c e s ho w s hi s d i sa p pr ov a l o f t he interruption. CHARLES We forget the best of what we are doing for the noise of a fly. A buzzing in our ears can distort our good judgement. Everyone is silent, with eyes looking at either Charles or Jim. CHARLES Pacifism in most of us precludes the cas ual killing of the annoying fly.

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JIM What are you getting at? CHARLES I propose for next summer a special exhibit on the fly in art. Everyone in the room was chuckling, nervously. JIM A fly in the art?

Are you

serious? Charles starts reading from a prepared document. CHARLES The legend goes that Giotto , then an apprentice, tricked his teacher, Cimabue, by painting a fly on the nose of a figure painted earlier by Cimabue . Returning to his work, Cimabue tried in vain to drive the fly away with his hand, believing to be alive. From the prank of an apprentice started the tradition of depicting the fly in a variety of poses. It was a professional "trompe l'oeil" JIM A professional what? CHARLES A trompe l'oeil. That is a trick, a trick which then became either a symbol or a bit of artistic mischief known to connoisseurs. Many painters aware of Giotto's hoax, have tricked their viewers by placing with a beautiful piece of art something that leads them to react. The viewer would not expect a fly on the shoulder of a cherub, or on the knee of the virgin. JUDITH Bravo Charles. I love it. CHARLES In few weeks, I'll send you a more elaborate document on this potential exhibit, that will allow us to have a good debate on the merits of an exhibit on "Fly in the Art". With the exception of Jim O'Connor, everyone looks pleased. EXT AND INT. CHICAGO STREETS AND MUSUEMS-DAY Charles is walking through the galleries of the Art Institute, looking reflective. Gabriela is walking through the galleries of the National Museum of Mexican Art. Paloma is walking in the LOOP and admiring public art works. Scene 1: Charles is looking at EL GREGO'S "ASSUMPTION" in Gallery 211. Gabriela is looking at the anonymous "ALEGORIA DE LA VIDA DE SAN

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FRANCISCO". Paloma is looking at EDWARD KENNEDY'S TWO LIONS guarding the entrance of Art Institute. Few demonstrators are still in front of the museum, screaming right wing slogans. Charles is looking Scene 2: Charles is looking at GEORGES SEURAT'S "A SUNDAY IN LA GRANDE JATTE' in gallery 240. Gabriela is looking at MARIA TOMASULA'S "ALL I KNOW". Paloma is looking at ALEXANDER CALDER"S "FLAMINGO" in the Federal Plaza. Scene 3: Charles is looking at VINCENT VAN GOGH'S "THE BEDROOM" in gaLLERY 241. Gabriela is looking at MARIO CASTILLO'S "LAS MEMORIAS ANTIGUAS DE LA RAZA DEL MAGUEY AUN RESPIRAN". Paloma is looking at CHAGALL'S "THE FOUR SEASONS". Scene 4: Charles is looking at EDWARD HOPPER'S "NIGHTHAWKS". Gabriela is looking at CARMEN"S LOMAS GARZA'S"QUINCEANARA". Paloma is looking at PICASSO'S "HEAD OF A WOMAN". Scene 5: Charles is looking at PABLO PICASSO'S "THE OLD GUITARIST" in gallery 391. Gabriela is looking at RAFAEL CORONEL'S "TULYEHUALCO "S "LA CARBONERA". Paloma is looking at JOAN MIRO'S "CHICAGO". Scene 6: Charles is looking at RENE MAGRITTE'S TIME TRANSFORMED in gallery 396. Gabriela is looking at MARCOS RAYA'S "LOS HIJOS DE LA MALA VIDA". Paloma is looking at JEAN DUBUFFET'S MONUMENT WITH STANDING BEAST" Scene 7: Paloma calls on her cell phone. Charles answers. PALOMA This is Paloma-Gabriela's answer. Charles A pleasure to hear from you. Paloma Go to your home. I meet you there. I know where it is. Paloma hangs up.

Charles looks pleased.

INT. LIVING ROOM-DAY EXT. CAB-NIGHT INT. DINING ROOM-NIGHT

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JOSE and Gabriela are seated at the dining room table, eating a dinner. Irma is busy in the kitchen. The door opens and Paloma steps in. She takes a seat at the table. All eyes are inquisitively on her. Paloma Sorry.

I went shopping.

IRMA (In Spanish) The tongue of the wise is in her heart, the heart of the fool is in her mouth. All eyes are now on Irma I'll have my dinner now.

Paloma Thank you, Irma.

Paloma pours wine in a large glass and drinks all of it. Gabriela look intrigued by her behavior.

Jose and

Paloma Congratulations on your success today. It is a victory for Hispanic art. Gabriela nods approval. Gabriela Charles has been instrumental in making it possible. Paloma lowers her eyes. JOSE Jim had the last say on the matter. Gabriela Thanks Dad for suggesting that zoning and real estate are there to help me. I know that Charles made it possible. JOSE Do you know that he divorced his wife of ten years , just few months ago. Gabriela So! JOSE Her name is Shannon. She is a very beautiful blonde. Paloma looks troubled and Gabriela annoyed. PALOMA Are you investigating Charles? I thought you only investigated real estate people.

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JOSE You bet, especially that my beautiful daughter is involved with this French guy and this French guy is known for his womanizing. IRMA(O.S) In Spanish) He gets his passage for nothing, and winks at the wife of the captain. GABRIELA (With irony) That's a lot of information you got from your sources. JOSE (Shouting) You are not going to marry this French guy, curator or no curator, He is older than you. What would I call him? My son-in-law or father-in-law. He is older than me and your mother. PALOMA There is no need for shouting, and nobody is getting married yet. GABRIELA Whose side are you? PALOMA The side of reason. Gabriela stands up and looks at her parents. GABRIELA I am going to sleep. This discussion is not going nowhere. Gabriela leaves the room. We have to deal with this.

JOSE I am also going to sleep

.

Jose stands up and leaves the room. IRMA (In Spanish) Hispanic men are born to carry the torches and end up getting first degree burns. INT. A CAFE TERRACE-DAY Paloma steps in a cafe terrace. A beautiful middle aged woman waves to her. Paloma walks toward the woman, gives her a kiss and sit next to her. PALOMA Hi Tina.

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TINA Hi, Latina goddess. PALOMA Don't feel like it. A waiter approaches the table. PALOMA An expresso. TINA You look preoccupied. PALOMA Life presents you sometimes with real challenges. TINA Believers from around the world travel to a shrine in he south side of Chicago to pray at a shrine. It is the National Shrine of St Jude. PALOMA (looking preoccupied) Saint who? Did you say St. Judas. TINA (Smiling) Saint Jude. J. U. D. E. The patron of difficult and helpless cases. Paloma remains silent. He is the saint of inspiration. The vibes travel.

TINA There is a lot of positive power.

The waiter arrives with the expresso . looks straight in Tina's eyes.

Paloma takes a sip and

PALOMA Did you sleep with anybody other than your husband. TINA I am Sicilian. I married Tony. It's the TINA and TONY for life. The same thing for you. Jose loves you. PALOMA On our wedding night he told me: You are a virgin. I love you for it. TINA Must have been a bliss for a budding alderman.

xxviii.

PALOMA I was virgin, Hispanic and Catholic. Nothing else mattered for Jose. He did not care about my degree in the history of art. He really never appreciated my beauty. I see in the staring eyes of other men. TINA If it is a consolation, it is not better with Tony. the caged bird feel.

I know how

PALOMA (Smiling) Can a woman become a virgin again? They both laughed and embraced. INT. LOBBY. DAY Paloma enter s a an apart ment l obby. An o ld man is at the reception desk. The elevator door opens and Mrs Gasparetti steps out pulling her resistent dog. The dog stops. Mrs Gasparetti hits it with her foot. MRS GASPARETTI Stupid beast. Mrs Gasparetti and her dog finally leave the lobby. The bemused old man looks at Paloma. THE OLD MAN Mrs Gasparetti is with her dog. Can I help you? PALOMA Mrs Shannon Chirac. THE OLD MAN 403.

Take the elevator.

INT.

LIVING ROOM-DAY

Shannon is sitting on a sofa, reading the Chicago Sun Times. There is a knock on the door. Shannon goes and opens the door. Paloma is standing there. SHANNON Yes. How can I help you? PALOMA I am looking for Mrs Shannon Chirac. SHANNON That's me

minus the Chirac.

xxix.

PALOMA Can I come in for few minutes? Shannon moves aside to let Paloma in, closes the door and walk toward the living room, followed by Paloma. SHANNON Please, sit down. Paloma sits on one of the sofas. She stares at the paintings on the walls. PALOMA (Pointing to the paintings) That's what you get when you marry a curator. PALOMA I am sorry about your divorce. Shannon does not answer. PALOMA My daughter who is only 22 years old has told me that she is thinking of marrying Charles. SHANNON Is her name Gabriela? PALOMA Yes. SHANNON Is her name Gabriela? PALOMA Yes. SHANNON I am meeting the mother of the woman who is in his life now. PALOMA I am sorry. SHANNON You don't need to be sorry. Charles is always looking for another conquest. That's his fate to be always looking. But, he is easily bored with perishable charms. PALOMA What do you mean? He needs to seduce women.

SHANNON He has kisses in stores for girls,

xxx.

women and whores. He won't marry her. seek his own pastime.

He feels loose enough to PALOMA

Why do you say that? SHANNON Now I need to be alone. I wish

You'll have to ask him yourself. you luck.

Paloma and Shannon stand up and move to the door. Be warned. the bones.

SHANNON Charles is a man who sucks the marrow before throwing

INT. CHARLES' OFFICE IN THE MUSEUM-DAY INT. LIVING ROOM-NIGHT Charles is sitting on a sofa, reading a book. The door opens. Gabriela steps in. She is wearing a white linen wrap dress. She looks stunning. Charles gives a nod for a hello. Gabriela You have a funeral face. I found your message about talking to me about something important. Gabriela tries to kiss Charles on the lips, but succeed only to kiss his cheek. CHARLES Sit down please. Gabriela sits on the sofa facing Charles. GABRIELA What's the matter with you? I simply want to end this affair.

CHARLES It can't go on and won't go on. GABRIELA

Are you crazy?

I love you. Do you love me?

It does not mean anything.

CHARLES You need to move on. GABRIELA

Are you interested in changing your life? People never change their life.

CHARLES They just change the decor.

xxxi.

GABRIELA That's what I was all these months- a decor. We were talking marriage a day ago. Don't you think marriage is serious thing? CHARLES I tried it once. No. GABRIELA You are strange. CHARLES I am a stranger. GABRIELA You are being heartless. CHARLES There are many roads that lead to the heart. GABRIELA Do you want me to go with another man. CHARLES Who is not pleased with the government of Moses will be pleased with the government of the Pharaoh. GABRIELA You compare yourself to Moses.

That's bull.

CHARLES Who cannot reach the bunch of grapes says of it,:"it is sour". GABRIELA Can't you respond without resorting to your damn Arab proverbs? Use your heart. CHARLES How many are the roads that lead not to the heart? GABRIELA YOu are repeating yourself. You already used that stupid proverb. You sound like an old man speaking. CHARLES Born with Noah in the ark. GABRIELA Fuck you. Gabriela stands up and walks toward the bedroom door. and turns her face towards Charles.

She stops

Gabriela I wish you die in an accident or something.

xxxii.

An accident. disease.

That's an appropriate ending.

You are after all an evil French man. my life by your behavior today.

CHARLES It beats terminal

GABRIELA You did work your horror in

Charles looks pained and says nothing. GABRIELA I can see how totally irrelevant I have become. CHARLES That's not true.

You'll always be your friend. GABRIELA

Shut up. I wish your father never met your mother. Gabriela leaves the living room and enters the bedroom.

xxxiii.

xxxiv.