PROJECT SUBMISSION PACK
FILM: Zorra
DATE: August 2015
1. Submission Form p2
2. Information Pack p3
3. Sales Estimates p18
4. Letters of Intent p19
5. Script Report p24
6. Script p27
FF II LL MM SS UU BB MM II SS SS II OO NN FF OO RR MM
PROJECT TITLE: ZORRA DATE: July 3, 2015
APPLICANT DETAILS APPLICANT CONTACT DETAILS NAME: David B. Oliver ADDRESS: 220 Fifth Avenue, PHW POSITION: Executive Producer New York, NY 10001, USA COMPANY Streetwise Pictures TEL: +1 917.674.8662; +1 212.431.9467 EMAIL: [email protected]; [email protected]
PROJECT DETAILS PRODUCER/S Kim Jackson, Zach LeBeau BUDGET: USD $2,500,000 and CREDITS PRODUCTION Lavender Pictures (US) WRITER: Zach LeBeau COMPANIES & Streetwise Pictures (US) GENRE: Drama NATIONALITY:
NAME CREDITS (1 or 2) Approached Confirmed DIRECTOR Kari Skogland “Fifty Dead Men Walking”; “Vikings” CAST 1 Sir Ben Kingsley Best Actor Academy Award, “Ghandi” CAST 2 Daniela Lavender “A Birder's Guide to Everything”, “The Scientist” CAST 3 Travis Fimmel “Vikings” (TV); “Warcraft” (upcoming) CAST 4 Ian Somerhalder “Lost” (TV); “The Vampire Diaries” (TV)
SHOOTING SCHEDULE – Prep, Principal, Post, delivery SHORT SYNOPSIS / LOGLINE Prep: Nov 1, 2015 Zorra, an emotionally volatile and sexually provocative sculptress PP/Post: Dec 1, 2015 fights to find her voice amidst an unforgiving New York City artist Delivery: Mar 1, 2016 (for distributors) community – surrounded by drugs, sex and intrigue.
FINANCE DETAILS FINANCIER NATURE OF INVESTMENT AMOUNT £ % BUDGET Proposed Approached Confirmed U.S.-based Fund Will provide matching funds 50% Tax credit lender Lending against NY state tax £256k 16% credit (usd $400k)
% Premiere Stakeholder Corridor Proposed 1st Premiere 12%-15% recoupment (tbd) BOND N/A schedule 2nd U.S.-based Fund 15% premium for all 3rd financiers: AUDITOR tbd 4th 5th
SALES INFORMATION SALES AGENT: Double Dutch SALES ESTIMATES CONTACT: Jason Moring LOW: USD $2,000,000 TEL: *Please note: 1. Estimates are provisional. MEDIUM: USD $2,897,500 EMAIL: HIGH: USD $4,495,000
TERRITORY DISTRIBUTOR MG RIGHTS Worldwide
COPRODUCTIONS COUNTRY % SPEND DETAILS USA 100% New York State/New York City – 30% fully refundable on qualifying production and post-production spend
Zorra Investment Overview
WHAT IS TO GIVE LIGHT, MUST ENDURE BURNING DISCLAIMER & CONFIDENTIALITY NOTICE
This investment overview was prepared by the company for the sole pur- pose of providing information to potential investors for their initial review in considering an investment in the company, and does not constitute an offer to sell or a solicitation of offers to buy securities of the company. By accepting this overview, each recipient agrees that he or she will not copy, reproduce, or distribute to others this confidential information, including but not limited to business, concepts, data, methods, process technique, and creative ideas contained herein not already public, and will use this overview only as part of their initial review while considering an investment in the company.
Additionally, although the information contained herein is believed to be complete and accurate, the company expressly disclaims any and all liability for representations, expressed or implied, confined in, or for omission from, this overview and reserves the right to require the return of this investment overview at any time.
This investment overview has been submitted on a confidential basis solely for the benefit of the selected, highly qualified investors and is not for use by any other persons. Neither may it be reproduced, stored or copied in any form. By accepting delivery of this overview, the recipient acknowl- edges and agrees that: 1) in the event the recipient does not wish to pur- sue this matter, the recipient will return the overview to the address listed for STREETWISE PICTURES, LLC OR LAVENDER PICTURES, LLP or destroy it. 2) The recipient will not copy, fax, reproduce, or distribute this investment overview, in whole or in part, without permission. All of the material con- tained herein shall be treated as confidential. CONTENTS
What...... is Zorra? 1 The...... Story 2 The...... Cast 3 The...... Producers 4 Financial...... Summary 5 Revenue...... Sources 6 To Thine 7 The...... Opportunity Blue...... Caprice 8 Revenue...... Scenarios 9 Financial...... Potential 10 Own Self,
BE TRUE Everyone is impacted Everyone has an expression that is all their own. Everyone feels it or has recognized it at some point in their lives. What is But because of the realities of the world, everyone pursues the whispers of their hopes and dreams in different measures. Because of duty, obligation, socioeconomic factors, etc, not all are able to travel down the path to find and express their true potential. But Zorra is a character that does pursue her dreams, no matter what, and offers the world an example that can uplift and inspire. A PROMISING catalyst The message throughout ZORRA is universal and classic, William Shakespeare touched upon it in many of his masterpieces, “To thine own self be true.” It is only through the ability to follow our hearts can we come to a place of true understanding of who we are and how ZORRA is an independent feature film we belong in this world. So much angst and violence exists in our world fueled partly because of unrealized that explores the trials and difficulties potential. You cannot force anyone to believe, you cannot force anyone to change or become a better of someone struggling to find their person, but we can offer examples of those who meet up against great and seemingly impassable identity in a harsh and unforgiving world. obstacles, who rise above them and become an inspiration to us all. Zorra is this example, she is this It is a compelling story of discovery and catalyst to help inspire and show the way for those who want to be more. healing that evokes a sense of hope and empowerment through a narrative that the potential will enrich the lives of all those who will IMPACT view it. isBREATHTAKING There is no end to how ZORRA can create a ripple effect to grow perspectives and heal the wayward broken-hearted. Through what this film offers, we can continue to build a brand of movie-making to uplift and inspire. Movie-making is more than just entertainment, it is a vehicle to positive change in our world.
Streetwise Lavender Pictures & Pictures ZORRA 1 A struggling sculptor- surrounded by drugs, sex and mystery fights to find her voice amidst an unforgiving New York City artist community.
Zorra, an emotionally volatile and sexually provocative New York City sculptress, drives a cab by day and works on her art at night. But, “A JOURNEY OF unlike many struggling artists, she has true, organic talent. She can male vulnerability & create beautiful worlds from solid blocks of granite and pieces of discarded refuse. But Zorra’s private life is chaos. She is in a FEMALE EMPOWERMENT.” sadomasochistic relationship with a duplicitous female lover while exploring an unrequited love affair with a sweet-tempered, male boxer. That’s when a dark stranger enters her life. He watches her from the shadows and insidiously becomes part of her daily routine in subtle and subversive ways. Is he stalking to help or hurt her? Will she find out what his true intentions are? And will Zorra be able to ask the question all of us ask during the most tragic times in our lives:
“Do we have the courage to face our darkest demons and turn them into our greatest strengths, or will we be swallowed up by them and destroyed in the end?”
Streetwise Lavender ZORRA 2 Pictures & Pictures A transformative actor who has played in some of cinema’s greatest films, Ben Kingsley plays the role of Johnny King, Zorra’s mysterious benefactor. Nomina- ted for four Academy Awards and winner of one, Kingsley has starred in such master- pieces as GHANDI, SCHINDLER’S LIST, HOUSE OF SAND AND FOG and SEXY BEAST.
With an award winning performance in the in- die drama EMOTIONAL BACKGAMMON, Daniela Lavender appeared on the BBC series LONGI- TUDE, EAST ENDERS and CASUALTY. She also toured with the British Shakespeare company and starred in her theatrical production, A WOM- Travis Fimmel, star of the hit show AN ALONE. In 2013 her production company VIKINGS, has appeared in several began the development of a slate of feature film starring roles including ROCKY POINT projects including the historical epic TAJ. Most (with Lauren Holly), SOUTHERN recently she can be seen in Darren Aronofsky’s COMFORT (with Madeleine Stowe & ZIPPER and Isabel Coixet’s LEARNING TO DRIVE. Eric Roberts), RESTRAINT (with True Blood’s Stephen Moyer) and SURFER Ian played Damon Salvatore in the long running hit DUDE (with Matthew McConaughey THE VAMPIRE DIARIES as well as Boone Carlyle in LOST. and Woody Harrelson), and AE’s Aside from a high profile and prolific television career, THE BEAST. Ian has starred in several films such as Life As A House, Pulse, The Rules of Attraction and The Tournament.
Streetwise Lavender Pictures & Pictures ZORRA 3 Streetwise Pictures is a New York based film production and financing company dedicated to powerful and inspiring independent filmmaking, utilizing traditional and new media methods and markets to maximize profit.
KIM JACKSON has been the lead Producer & President of Streetwise Pictures since 2006. Most recently, she produced the critically acclaimed,BLUE CAPRICE, starring “Our Films are character and narrative driven. At the Isaiah Washington and Tim Blake Nelson. With producing partner Steve Carr (Dr. Dolittle core of each of our films is a crucial gesture unique to 2, Daddy Day Care, Paul Blart: Mall Cop), she’s taking to marketplace her most recent that film. The characters represent those individual film, THE TRUTH ABOUT LIES, the dark-romantic comedy starring Fran Kranz and Odette Annable. gestures that are the eternal pattern of human behav- ior. As each film unfolds the audience will recognize Kim has been the driving force behind more than a dozen award-winning and theatrically released indie films. She began at Disney where she learned how to put together proj- the pure inevitability of each of those gestures. This is ects from script to screen. She then worked with Universal Pictures for Steven Spielberg’s our way of Story telling “. Ben Kingsley MUNICH and Spike Lee’s INSIDE MAN, understanding the technicalities of how to deliver on a studio film platform. She is an alumnus of Simmons College.
DAVID B. OLIVER, Executive Producer, has worked in the entertainment LAVENDER PICTURES industry for 20 years, with extensive experience in film and television finance. As a PRODUCERS banker at City National Bank and Comerica Bank, he structured various financing proj- ects for film, television and other entertainment clients, including major and indepen- dent film and television production studios, film funds and private investment firms. David has worked to provide financing for numerous films including the Peter Jack- Ben Kingsley son-produced DISTRICT 9, the TWILIGHT series of films, the Bruce Willis action picture Daniela Lavender RED, and television programming including the Jim Henson Company’s SID THE SCIENCE Toby Crabtree KID. He received an MA from Yale University and an MBA from the UCLA Anderson Naresh Malik School of Management.
Streetwise Lavender Pictures & Pictures ZORRA 4 INVESTOR’S OPPORTUNITY STREETWISE PICTURES, LLC and LAVENDER PICTURES, LLP seek accredited investors to fund a total of $2,500,000 for the development and production of ZORRA.
Company will pay investors 100% of the adjusted gross revenue until investors have received 115% of their original investment. Thereafter, investors are to receive a pro rata share of 50% of gross profits.
FILM SUBSIDIES Recently created incentives and state tax credits for money spent on films allows an investor to greatly minimize his or her risk on what would ordinarily be a somewhat risky investment.
Streetwise Lavender Pictures & Pictures ZORRA 5 STREETWISE PICTURES, LLC and LAVENDER PICTURES, LLP want to reward their partnership with investors. Our break-even point is at 115% since we want to pay back the investors DOMESTIC THEATRICAL INTERNATIONAL their full investment plus 15% before profit participation. As seen in the revenue distribution example below, once BOX OFFICE THEATRICAL, DVD, TV & a 115% return is achieved, the investors and producers Represents total gross receipts at the box DIGITAL SALES will split the remaining profits 50/50 pro rata. office for the picture in North America. Like the domestic revenue sources mentioned, The amount is typically in correlation with territories around the globe also generate the investment in marketing by the revenue through theatrical, video on demand, distribution company and careful broadcast and event screenings. Typically pre-planning to ensure each picture international revenue will represent 25% of undertaken is based on sound market a motion picture’s revenue in this market. research. That said, due to the expense, many films in the independent market have skipped the theatrical step and focused mainly on the following sources.
DOMESTIC TELEVISION DOMESTIC HOMES LICENSE SALES ENTERTAINMENT SALES The principal networks for independent films Total home video revenue received by a are the cable channels. The main licensing picture through digital streaming downloads. opportunities in this category are varied and Home entertainment is a fairly significant comprise- on average- 20% of a film’s portion of a picture’s total revenue revenue. representing about 50% of all revenue.
Streetwise Lavender Pictures & Pictures ZORRA 6 FRONT-END RETURN: 115% OF CAPITAL CONTRIBUTION SAMPLE 5 YEAR Investors will be entitled to receive REVENUE BREAKDOWN an amount equal to 115% of their total investment before any distribution profits are made to the producers of ZORRA.
BACK-END RETURN: PROFIT SHARE In addition to the front-end return, ZORRA investors will also have an equity interest in the movie through the issuance of units in the film.
These units represent a right to receive a pro rata share of ZORRA’S distributable cash.
Once each investor has received 115% of his or her investment, each investor’s pro rata share is equal to the ratio of their individual units aggregate of all units of membership interest.
Streetwise Lavender Pictures & Pictures ZORRA 7 Streetwise Lavender Pictures & Pictures 7
Streetwise Lavender Pictures & Pictures ZORRA 9 FINANCIAL POTENTIAL
Although investment in movies is speculative, we believe ZORRA has the potential to be a successful project. This is based on the story and the market-value of the cast. At the very least, for a film like ZORRA, with its marketable cast, its powerful and dynamic story and the utilization of government subsidies, achieving break even (100% return on investment) seems very possible. The back-end return of a motion picture is very speculative and cannot be guaranteed in any way. However, the fact remains, a successful film can be a very lucrative investment.
Streetwise Lavender ZORRA Pictures & Pictures 10 STATEMENT OF RISK
This investment overview outlines the formation and operation of a limited lia- bility company to engage in the business of the production and exploitation of a motion picture. The contents of this overview are confidential and are disclosed pursuant to a confidential relationship and may not be reproduced or otherwise used except for the purpose intended herein.
The purchase of membership interests described herein entails a high degree of risk and is suitable for purchase only by those who can afford a total loss of their investment. Further, factors as contained in this overview (which does not include all possible factors) should be carefully evaluated by each prospective purchaser of a limited membership interest.
The contents of this investment overview are not to be construed by any prospec- tive purchaser of limited membership interest as business, legal, or tax advice, and each such prospective purchaser will be required to demonstrate that he or she has the ability to evaluate the purchase of limited membership interest described herein or has retained the services of a representative who has such knowledge and expertise as may be necessary to evaluate said purchase.
The financial projections that accompany this overview are based on what World- wide Sales company DOUBLE DUTCH INTERNATIONAL believes are reasonable and achievable. There is no guarantee that they will be met. Investors have no assurance of receiving a return of the capital invested in STREETWISE PICTURES, LLC and LAVENDER PICTURES, LLP beyond what will be contractually stated.
This investment overview is neither an offer to sell nor a prospective, but is infor- mational in nature. A full investment prospectus will be provided upon request and at the sole discretion of the managing member.
TITLE: ZORRA PRODUCER: Kim Jackson GENRE: Drama DIRECTOR: Kari Skogland BUDGET: $2,500,000 CAST (or equal): Ben Kingsley, Travis Fimmel, Ian Somerhalder, Danielle Lavender ASSUMPTIONS: CANNES, TIFF or BERLIN, Sundance - Main Competition
TERRITORY ASK TARGET TAKE SOLD AMOUNT
NORTH AMERICA UNITED STATES 2,500,000 1,500,000 1,000,000 CANADA 100,000 75,000 50,000 SUBTOTAL 2,600,000 1,575,000 1,050,000 0 EUROPE BENELUX 30,000 20,000 15,000 FRANCE 100,000 75,000 50,000 GERMANY/AUSTRIA 150,000 100,000 75,000 GREECE 15,000 10,000 7,500 ITALY 125,000 80,000 65,000 PORTUGAL 15,000 10,000 7,500 SCANDINAVIA 70,000 50,000 35,000 SPAIN 100,000 75,000 50,000 SWITZERLAND 20,000 15,000 10,000 TURKEY 40,000 30,000 20,000 U.K. (including Ireland) 200,000 150,000 100,000 SUBTOTAL 865,000 615,000 435,000 0 EASTERN EUROPE BULGARIA 5,000 3,000 2,500 BALTIC STATES 10,000 7,500 5,000 CZECH & SLOVAK REPUBLICS 20,000 15,000 10,000 HUNGARY 20,000 15,000 10,000 POLAND 40,000 30,000 20,000 RUSSIA 75,000 50,000 37,500 ROMANIA 30,000 20,000 15,000 EX-YUGOSLAVIA 10,000 10,000 5,000 PAY TV - CENTRAL EUROPE 25,000 15,000 12,500 SUBTOTAL 235,000 165,500 117,500 0 ASIA/PACIFIC CHINA 50,000 30,000 25,000 HONG KONG 20,000 15,000 10,000 INDONESIA 20,000 15,000 10,000 JAPAN 50,000 30,000 25,000 KOREA 40,000 30,000 20,000 MALAYSIA 20,000 15,000 10,000 PHILIPPINES 20,000 15,000 10,000 SINGAPORE 20,000 15,000 10,000 TAIWAN 20,000 15,000 10,000 THAILAND 20,000 15,000 10,000 PAY TV - ASIA 30,000 20,000 15,000 SUBTOTAL 310,000 215,000 155,000 0 LATIN AMERICA ARGENTINA/PARAGUAY/URUGUAY 25,000 15,000 12,500 BRAZIL 50,000 30,000 25,000 CENTRAL AMERICA 10,000 7,000 5,000 CHILE 10,000 7,000 5,000 COLOMBIA 10,000 7,000 5,000 MEXICO 30,000 20,000 15,000 PERU/ECUADOR/BOLIVIA 20,000 15,000 10,000 VENEZUELA 10,000 7,000 5,000 WEST INDIES 10,000 7,000 5,000 PAY TV - LATIN AMERICA 40,000 30,000 20,000 SUBTOTAL 215,000 145,000 107,500 0 OTHER AUSTRALIA & NEW ZEALAND 100,000 75,000 50,000 INDIA 30,000 20,000 15,000 ISRAEL 10,000 7,000 5,000 MIDDLE EAST 50,000 30,000 25,000 SOUTH AFRICA 30,000 20,000 15,000 AIRLINES/SHIPS 50,000 30,000 25,000 SUBTOTAL 270,000 182,000 135,000 0 TOTAL WORLDWIDE 4,495,000 2,897,500 2,000,000 0
The above figures are revenue projections only; are subjective to the person providing; based on the proposed director, cast, budget; and reflective of current market conditions on the date of estimation. Double Dutch International makes no representation that these figures will be realized in full and actual results may vary. These projections are strictly confidential and meant for the producer mentioned above. Any disclosure to another party requires the prior consent of Double Dutch International.
prepared by: GP date: 2015-03-04 DocuSign Envelope ID: 9D646489-C3A7-4514-BF90-EF920ACEC56F
Letter of Interest
Daniela Lavender (hereinafter "Actor") hereby expresses interest in playing the lead role of "Zorra" in the film project of the working title "ZORRA" under development by LAVENDER PICTURES (hereinafter "Producer") subject to Actor's availability and the future agreement to terms of employment between Actor and Producer, which will be summarized in a Letter of Offer from LAVENDER PICTURES to her manager, Toby Crabtree. This letter does not bind either Producer or Actor to an employment contract, but grants Producer permission to use Actor's name and likeness in the pre-production development of this project and in seeking financing for this project, for a period not to exceed one year.
______Friday 1st August 2014
Actor Date
Regina House, 124 Finchley Road, London, NW3 5JS, United Kingdom email: [email protected] • telephone: +44 770 444 6935
PROJECT COVERAGE FORM
TITLE: ZORRA AUTHOR: Zach LeBeau SUB TO: Shelly Bancroft SUB BY: David B. Oliver FORM: Screenplay LENGTH: 93 pages BASED ON: N/A LANGUAGE/S: English BUDGET: USD $2,100,000 GENRE: Drama LOCATION: New York, USA PERIOD: Contemporary READER: Simona Marchegiani DATE: 27.11.2014
ELEMENTS: DIRECTOR: Kari Skogland; PRODUCERS: Kim Jackson, Zach LeBeau; CAST ATTACHED: Sir Ben Kingsley, Daniela Lavender, Travis Fimmel, Ian Somerthalder
LOGLINE: A young Brazilian artist, trying to make it in New York, finds her way when she discovers the identity of a mysterious man who has been following her.
COMMENT SUMMARY: The script offers a potentially intriguing and unique protagonist within an inspirational world. Having a struggling foreign female artist in New York would help discover a distinctive and hip part of this amazing city. In addition to the setting, the script also manages to deliver an interesting atmosphere. However, the story is ultimately not particularly engaging since characters, and mainly the protagonist, remain superficial and one-dimensional but more importantly distant and inaccessible. Furthermore, her journey does not present convincing obstacles but instead easy resolutions are offered to the problems superficially presented. Her journey towards becoming an artist, while embarking on a relationship containing three people, though potentially promising still requires substantial development, particularly in terms of characters and relationships. Currently, the story comes across pretentious rather than artistic and absorbing. However the package has interesting elements attached to the project.
Excellent (4) Good (3) Fair (2) Poor (1) PREMISE X STORYLINE X CHARACTERISATION X DIALOGUE X STRUCTURE X PACE X ORIGINALITY X AUDIENCE APPEAL X TOTAL 14 1
OVERALL SCORE: 15/32 = 47%
CHARACTERS: (list with brief details) ZORRA DE SILVA (30s) – an artist, painter and sculptor, enigmatic, sensual, hard-edged beauty, comfortable with her own body. She is Brazilian and a part-time taxi driver
VERA (30s) – thin, blond, Zorra’s lover, lesbian
MAX (30s) – handsome, athletic, trying to make it as a professional boxer and during the day he hauls junk. Honest and attracted to Zorra
JONATHAN KING (referred to for most of the script as A STRANGE MAN) (50s) – weird, looks like a thin Kojak, small in stature, famous and rich artist
JIMMY – tiny Vietnamese man of indeterminate age, works at the taxi depot as shifts supervisor, likes opera, wishes he was an opera singer
TONY (60s) – Max’s trainer
JAFFE (70s) – pawn and loan shop owner
BIG MOMMA (50s) and BIG PAPA (70s) – greasy spoon owners
PREMISE: A struggling artist is secretly helped to stand on her two feet by a mysterious stranger.
SYNOPSIS: (half a page to a page depending on how interesting) ZORRA (30s) lives in a garage in the rundown industrial neighbourhood of New York. She has a sensual relationship with VERA (30s). EDDIE (20s), an addict, hangs around outside her garage. The two become friends. Her space is full of junk, paintings and tools, with a large sculpture, a work in progress, of a female body without head. MAX (30s) arrives in a truck with more junk for Zorra, amongst which there is a small antique oval mirror, reflecting distorted images. She decides to use it as the head of her sculpture. Max is attracted to Zorra. A STRANGE MAN (50s) is watching them from an alley. While she is having a shower, the Man enters the garage and looks at the statue before disappearing. To pay rent Zorra works as a taxi driver. JIMMY, her shift supervisor, tells her that a man was looking for her the previous day. She starts working, carrying her portfolio with her and stopping at various galleries, but she keeps on getting rejections. She is upset. The Man enters her cab and asks her to drive around, and pays her $200 after a short ride. Back at the garage, she throws her work in the dumpster then makes out passionately with Vera. Eddie is outside injecting heroin and sees the Man standing over him. While Max is training in the gym, to become a professional boxer, the Man appears and offers him a job. Max arrives at Zorra’s and shows her a beautiful block of granite. She is very excited. She goes to see JAFFE (70s), the pawn and loan shop’s owner, who has just sold her first sculpture. The Man is watching from across the road. Back at her garage, she senses a presence and locks the door before working on the granite. Max boxes, but is beaten. While Zorra is sleeping the Man breaks into her place and leaves behind an unusual old chisel. When Zorra finds the chisel left, she starts working with it. The Man watches Max’s next fight, while Zorra finds out that she sold the sculpture with the mirror head.
The Man keeps following Zorra and she becomes aware of his presence, particularly after Eddie tells her that he has been looking around her place. When the granite sculpture gets fractured in half, Zorra explodes in rage and with the help of Max throws it in the river. Later, alone in the garage, she sets the place on fire then lies on the floor. The Man drags her out, before disappearing. Vera, the police, paramedics and the fire fighters arrive. The Man tells Max that he needs to focus his rage and kill his ghosts to succeed as a boxer. Zorra starts cleaning the garage. After collecting the money for her second sculpture she is attacked by two kids on crack. The Man saves her and they escape in her taxi. He asks her to drive him to his home in the warehouse district. She goes to his house and discovers that he is the famous artist JONATHAN KING. His place is full of an extraordinary collection, including her work. He shows her a beautiful block of pink veined marble from Italy. Back at the garage, Zorra locks herself in with Eddie to help him clear up. When they go to the café, she hears the news of Jonathan King’s death by illness. King’s assistant informs Zorra that he left her the block of marble and that she needs to collect it. With the help of Max, Tony and other friends from the gym, they manage to move the stone while in the next room an extravagant, filmed funeral ceremony takes place. Back at the garage, Vera, Zorra and Max make love, beginning a new relationship. Then Zorra starts working on the marble.
COMMENTS AND SUGGESTIONS: (a paragraph up to half a page depending on interest) The writing, particularly at the beginning, is not very engaging, instead becoming frustrating at times, particularly when description is not clear or visual. It is also intermittently unclear how information would be delivered on screen, and writing what the audience should feel is distracting and counter-productive. The story also moves slowly, with information repeated or with scenes that do not carry relevant information. For a long time not much seems to be happening.
The Strange Man never comes across as threatening and it soon becomes clear that he intends to help Zorra. Therefore it is just a question of waiting for his identity to be revealed. As for the suggested main characters’ internal torment, particularly in regards to Zorra and Max, this is something that is mentioned rather than explored and experienced through them and their actions.
The protagonist remains too distant and superficial and therefore it becomes difficult to engage with her journey, while obstacles are solved too easily. Dialogue is at times expositional, and the way characters backstory is revealed is too on the nose.
The story could have elements of films such as Elegy but without delivering the same depth and exploration of characters and relationships. On the other hand, as following the journey of an artist, Frida might also come to mind as a reference even though this is a biography on a famous, real artist and delivers a plot with more intensity. The environment portrayed also might suggest an artistic and hip vibe such as in the TV series How To Make it in America, however this is not currently delivered throughout the script.
POTENTIAL: This story could be of appeal to mature spectators and the festival circuit, especially considering the cast attached, and the type of story it is the intention to explore, through art. However, the script, in its current form, is not particularly engaging or absorbing and would have a limited audience. Pass.
ZORRA
March, 2014 Copyright ©2010 WGA Reg. #1464597 ALL RIGHTS RESERVED Lavender Pictures UK LLP INT. GARAGE - NIGHT
Minimal light. We catch fleeting glimpses, subliminal images of the following.
The environment is barely discernible.
A shirt yanked up to expose breasts.
A hungry mouth searching flesh.
Jeans pulled down around ankles.
The sound of flesh hitting a metal table.
A loud groan; pain or pleasure? We can’t tell.
In a passing flash of light, a hand thrusts between legs.
We can barely make out voices in their muffled intensity.
FEMALE VOICE 1 * Please... it hurts.
FEMALE VOICE 2 * Breathe.
Female Voice 1’s breathing becomes thick. Pleasure? Pain? * Maybe a mixture of both. *
EXT. GARAGE - MOMENTS LATER
Zorra (30s), a hard-edged beauty in her jeans and shirt raises the garage door gently. Zorra looks out to the rundown industrial neighborhood. The NEW YORK CITY SKYLINE looms in the distance.
Out of the corners of her eye she sees a figure crouched by the garbage bins. EDDIE (20’s)- a street junkie- He wears his signature BLOOD RED VELVET JACKET. He is fiddling with something that abruptly snaps. He flings it away reaching for A HEROINE KIT.
Zorra approaches him.
ZORRA Hey. ZORRA 03-25-2014 2.
EDDIE (a charmer) Wow.
ZORRA I live here. You’re on my patch.
Eddie zips up his kit, places it in his jacket pocket and attempts to rise, totters and steadies himself against the trash bin.
ZORRA You look like shit.
EDDIE (smiles) Yeahhh.
He begins to walk away, catwalk style, but with a buzz to it. * Zorra watches, smiles. A MEMORY stirs. She calls after him. *
ZORRA How ‘bout mac and cheese.
Eddie turns back to her.
EDDIE (smiles) Yum. *
But he continues his walk-off, Zoolander style. *
INT. GARAGE - MOMENTS LATER
Zorra splashes water on her face, wipes with a paper towel and stares at herself in the peeling mirror. HER EYES are fiery but tired-.
Zorra steps into the rest of the GARAGE. OIL PAINTINGS are stacked around, some on stretched canvas, some hanging on the wall. SCAVENGED JUNK fills the space: cinder blocks, scrap metal, dolls- kind of creepy- old frames, antique shoe stretchers, glass window panes, city street signs, etc.
ON A WORK TABLE ARE TOOLS: hand and electric saws, hammers, mallets, chisels, sanders, grinders, welding gun, etc.
In the middle of it all stands A LARGE SCULPTURE- a work in progress, an amalgamation of found/reclaimed stuff twisted into human form- but no head. IT’S OMINOUS... EERIE. ZORRA 03-25-2014 3.
Zorra plugs in an electric kettle in the makeshift kitchen. She rinses a dirty mug, spoons in instant coffee and stares at the sculpture as if it’s going to move on it’s own.
INT. GARAGE - MOMENTS LATER
Zorra takes off her shirt and puts on overalls and safety goggles. Her nakedness partially exposed.
As she plugs in an electric grinder we hear:
FEMALE VOICE (O.S.) You look like an insect.
ZORRA Try to go back to sleep
We see Vera (30s) a thin blond standing by the makeshift partition, a curtain, which separates the bedroom from the rest of the garage.
VERA Why didn’t you get under the covers with me? ... Zorra ... I’m sorry if I misunderstood... I’m sorry.
ZORRA Jesus, you have an amazing body...
VERA I’m confused...
ZORRA What do you think you might have done that I wouldn’t have wanted?
VERA You said I hurt you.
Zorra approaches Vera and strokes her face tenderly.
ZORRA I think I said ‘it hurts’. It did. It hurt so fucking good, tell me you didn’t know that.
VERA I know what I made you do, or you made me do. That doesn’t mean it’s right or you wanted it. ZORRA 03-25-2014 4.
ZORRA Of course I wanted it. Did you hear me say no? Jesus Christ, who fucked with your head like this.
Vera stops in her tracks like an animal caught in head lights.
VERA Rent’s due tomorrow.
ZORRA (mocking) Didn’t I work it off last night?
Vera smiles relaxing a little.
Zorra pulls down her goggles, flicks on THE RADIO which blasts CLASSICAL MUSIC - it’s kinetic, aggressive - and starts the grinder.
THE SCREAMS of the electric grinder join in- jarring the senses.
She grinds the metal of the sculpture’s neck into a flat platform:
CLOSE ON the TEETH of the grinder biting and ripping into the metal.
CLOSE ON SPARKS flying everywhere.
CLOSE ON Zorra’s MUSCLES- rigid and flexed.
CLOSE ON the DIRT and SWEAT of her flesh.
SHE MOVES to an unseen force.
EXT. GARAGE - CONTINUOUS
A SMALL TRUCK drives down the alley, slowing as it passes Vera. It pulls up in front of the garage.
MAX (30’s), handsome, athletic with honest troubled eyes, jumps out of the truck. Zorra notices him.
MAX You’re gonna like this... ZORRA 03-25-2014 5.
Curious, Zorra steps from the garage. Max sees she’s not wearing anything under her overalls, the flesh of her breasts almost exposed- he looks awkwardly away.
ZORRA (hopeful) Granite?
MAX (oops) No, still workin’ on that one for ya- (recovers) But you’ve seen nothin’ like this.
He pulls back a large tarpaulin revealing a PILE OF JUNK. He pulls out some shiny metal fixtures. She rummages through stuff. Max tries harder.
MAX I got these...
Max points out pieces of MULTI-COLORED CONCRETE BLOCKS, Zorra * shows slight interest. Max tries to avert his eyes from Zorra’s legs.
MAX ... Came from the wall of that drug store on fifteenth. Passed by it everyday when I was a kid. Got tore down yesterday.
Zorra continues rummaging. Max works up the nerve.
MAX Hey Zorra, I got this fight goin’ on tonight...
She looks at him.
MAX You know, like boxing. Well, it is boxing.
ZORRA I hate boxing.
MAX We could go somewhere after? ZORRA 03-25-2014 6.
ZORRA A date with you getting your face punched in?
MAX Nah... I don’t date.
ZORRA Me neither.
They hold each other’s gaze in silence.
ZORRA You a boxer?
MAX Yeah, well I’m working on it.
Zorra points at the slabs.
ZORRA How much?
MAX Well for all of them? ... How bout a hundred bucks?
ZORRA I got twenty.
MAX (with a faint smile) Okay. But you owe me.
ZORRA I owe you.
Zorra pulls out a handful of sweaty, grubby bills and hands them to Max. He counts the money, trying to flatten them before he puts them in his pocket. He wilts under her gaze then jumps into action, stacking four of the concrete slabs on top of each other- his muscles ripple attractively- Zorra notices. Max’s and Zorra’s eyes meet and they hold each other’s gaze for a moment then abruptly look away.
MAX I’ll throw in another for ya.
Max holds up AN OLD LEAD OVAL MIRROR about the size of a person’s head. ZORRA 03-25-2014 7.
ZORRA This?
MAX Yeah.
She takes the mirror. It’s old and the reflection creates an * almost funhouse reflection. She looks at herself. Sees her * reflection all wavy and distorted. She smiles, this is * exactly how she sees herself. Then points the mirror at him. * He winces from his reflection. He looks at her and wonders if * she sees him in the same way that this antique mirror * displays him. She is enigmatic, hard to tell what she * thinks. Silence, the uncomfortable kind, until she breaks * the silence with... *
ZORRA I gotta go.
MAX Yeah, me too.
His eyes on Zorra until she reaches her door. She doesn’t look back. He hops back into his truck and the door scrapes closed. She watches him leave, then returns to the garage. *
Neither of them notice THE STRANGE MAN (50’s) who watches them from down the alley, his features disguised by a hat.
INT. GARAGE - LATER THAT DAY
LOUD MUSIC reverberates as Zorra sculpts the stone shoulder of a feminine form:
CLOSE ON HER EYES- her focus is intense.
CLOSE ON HER KNUCKLES- white as she grips the chisel.
CLOSE ON the MALLET striking- CLOSE ON the chisel cutting into stone.
TIME CUT:
SILENCE- except for the sound of Zorra gently rubbing coarse sand paper on the sculpture’s shoulder toward a smooth, slender metal neck. She gently blows away the dust and studies her work.
Eyes closed, Zorra’s long, slender fingers search the stone as if it were flesh. She embraces the sculpture. ZORRA 03-25-2014 8.
Her cheek rubs against it, her fingers caress polished metal and wood. The once sharp metal edges are now soft, the mishmash of junk all fluidly connected together to represent THE BODY OF A WOMAN.
A KNOCK- Eddie, wearing his red jacket, enters.
EDDIE (indicating the sculpture) I can come back later if you two want to be alone.
Zorra stares at him baffled and remembers.
EDDIE I distinctly remember something about mac and cheese.
Zorra heads for her makeshift kitchen and scoops out some Kraft dinner - now a bit sticky.
ZORRA I made it an hour ago.
EDDIE (Looks at the statue) It doesn’t have a head
ZORRA You an art critic?
EDDIE Hummmm.
Eddie picks up the small antique oval mirror Zorra got from Max. Looks at himself in the mirror. Entranced by the * distorted image. He checks out his hair. She takes the mirror * from him and puts down the food. He eats. Zorra watches him.
He scoops the last bite of mac and cheese into his mouth and puts the empty pot down on her work table.
Zorra looks at the mirror and then looks to her sculpture- she has an idea.
He walks out of the Garage.
TIME CUT: ZORRA 03-25-2014 9.
Zorra makes a last surgically placed weld. Finished, she puts down her welding gun, takes off her protective visor and steps back to examine her work.
The ANTIQUE OVAL MIRROR amongst the mishmash of junk serves as the sculpture’s head. Zorra’s face is reflected, her look defiant- THE SCULPTURE IS POWERFUL. THEN- Zorra’s mood slips. She becomes unsure, disappointed. The sculpture seems lost and alone.
INT. GARAGE - LATER THAT DAY
Zorra stands under the shower spout. Water cascades over her body.
Beyond her, standing unnoticed in the middle of the garage, THE STRANGE MAN studies the sculpture. His mood hard to read, his fingers touch the stone of its shoulder. He picks up a chisel and examines it- holding it like a butcher’s knife. Zorra doesn’t see him, but he sees her. He watches her naked body with the same distant eyes. By the time Zorra turns off the water and turns around where she would surely see him, the Strange Man has vanished- we are suddenly afraid for her safety.
EXT. NYC STREETS - LATER THAT DAY
THE CITY IS FAST & UNFORGIVING- Cars honk, obscenities yell, HOMELESS lay passed out, construction machinery spew black exhaust, an ambulance wails, etc.
The sidewalk is filled with THE URBAN MASSES- a single organism moving mindlessly together- blank stares, eyes to the ground.
Zorra, A PORTFOLIO CASE under her arm, walks against the current of people- trying to find her stride, her rhythm- but passersby bump into her, slowing her down.
INT. SUBWAY - MOMENT LATER
Zorra sits on the subway, portfolio on her lap. An exhausted looking woman (somebody’s maid?) leans against her child’s shoulders, a girl neatly dressed in school uniform, sleeping. The girl holds Zorra’s gaze. ZORRA 03-25-2014 10.
Something passes between them. A comfort? An understanding? Others around them are attached to their ipods lost in their tablets, ipads and cell phones.
The Subway jerks violently- Zorra braces herself.
PRELAP - and we begin to hear an exquisite aria from Puccini.
INT. TAXI DEPOT - LATER THAT DAY
JIMMY, a tiny Vietnamese man of indeterminate age (hard to * tell, he could be 25, he could be 45) mimes passionately to * opera on the radio playing in his office. Every expression, every gesture practiced to perfection. He may be small in * stature, but his movements are bold with operatic passion. *
He, THE SHIFTS SUPERVISOR, abruptly ends his perfect mime and turns down the radio.
JIMMY * (with a Vietnamese accent) * Well, looky who back for ‘nother * tour of duty. Rent must be due.
Zorra rests her portfolio on the counter.
JIMMY * (indicating the portfolio) You go show me you day job, for * Jimmy? *
ZORRA No.
Jimmy takes a pair of keys from a hook and throws them on the * counter. Zorra scoops them up.
JIMMY * I see it all, ya know. Paul Becker drove for a few years with us, now * he winning Pulitzer prizes and shit- won’t return Jimmy’s calls. * (goes for her portfolio)
Zorra pulls it away. He gives her a knowing smile.
JIMMY * Maybe later, some time. * ZORRA 03-25-2014 11.
ZORRA * Yeah, when I’m ready. *
JIMMY * You never ready. *
ZORRA * Uh-huh. *
Zorra turns to go. Jimmy remembers something. *
JIMMY * Hey! You know guy, weird, fifty- ish, kinda looks like a thin Kojak? *
ZORRA * Who’s Kojak? *
JIMMY * Mamma’s favorite show in Vietnam. *
ZORRA Doesn’t sound familiar. Why? *
JIMMY * He in here yesterday ask about you. (levels a stare) You not sellin’ booty are you? * Cause I sniff you selling ass in my cab, Jimmy will be very mad. *
ZORRA (with a wry smile) Oh, and for a second I thought you were worried that some perv was stalking me.
Zorra turns to go. That hadn’t occurred to him.
JIMMY * Be careful.
She walks out of the depot. Jimmy now alone again turns the * opera back up and continues his glorious operatic mime. * ZORRA 03-25-2014 12.
INT. ZORRA’S TAXI, NEW YORK CITY - LATER THAT DAY
The RADIO talks news- something about a string of rapes and muggings the police think are connected.
It triggers a memory which Zorra blocks out cranking up some tunes- MUSIC BLASTS.
She scans the street for customers as she weaves through heavy traffic. Occasionally placing a steadying hand over her portfolio which sits on the seat beside her.
MONTAGE:
A HIPPIE waves for a cab, Zorra passes him by.
TIME CUT:
TWO UNIVERSITY STUDENT’S wave- she passes.
TIME CUT:
A car cuts in front of her- Zorra slams the brakes- she passionately curses in Portuguese- off she goes again.
TIME CUT:
A BUSINESS WOMAN, AND HER LITTLE DAUGHTER, both dressed, waves. Zorra snags them, beating another cabbie who honks and curses at her. The Business Woman and her little daughter get in. Zorra turns down the radio.
BUSINESSWOMAN Broadway and Wall.
TIME CUT:
Zorra notices in her rear view mirror that the little girl keeps up a constantly animated stream of chatter at her mother who completely ignores her daughter keeping her eyes fixed on the city beyond the cab window.
At their destination the business woman pays Zorra and leaves the cab. The little daughter follows her having fallen silent. Zorra watches them go.
A rap on her window brings her back to the present. A BUSINESS MAN enters the cab.
BUSINESSMAN Two oh two Lex. ZORRA 03-25-2014 13.
Zorra puts the car in drive and pulls away.
BUSINESSMAN (louder) Got that sweety? Hello! Hablo englais?
Zorra looks in the rearview mirror expressionless
ZORRA Yeah... I got it.
BUSINESSMAN There goes your tip, lady. Okay?
Zorra looks at him in the rearview mirror
ZORRA (with a faint smile) Fine.
She blasts the music up. Businessman wipes his hand over his face.
TIME CUT:
A TOURIST COUPLE get in. Zorra turns down the music.
HUSBAND JFK.
ZORRA Sorry. Don’t do JFK.
HUSBAND WIFE We’ve been standing out here We’re gonna miss our flight. forever.
ZORRA I don’t’ usually go to JFK in rush hour traffic. When is your flight? I don’t have a fare back guaranteed…
The couple exchange a look, the Husband digs into his wallet.
HUSBAND What will it take? ZORRA 03-25-2014 14.
INT. ZORRA’S TAXI, E 59TH ST - THAT NIGHT
Zorra shoves the last of a sandwich into her mouth as she searches for a building. There it is: “KRISTOWS”- an upscale and expensive auction house.
She pulls to the curb and sits there studying the place, her hand resting on her portfolio. She takes a deep breath and musters courage.
INT. KRISTOWS - MOMENTS LATER
A BEEFY SECURITY GUARD opens the door. Zorra enters, portfolio under arm. A SOPHISTICATED HOST sits at a reception desk, busy at a computer. He gives her the once over- clearly not a customer. The GALLERY MANAGER eyeballs Zorra suspiciously. A FEW COLLECTORS scan the art, speaking in hushed tones.
WOMAN IN BLUE stands in front of a sculpture as if waiting for someone to tell her what to think.
Zorra apprehensively approaches the Host.
ZORRA Hi. Is the curator available?
HOST Do you have an appointment?
Zorra glances through the window at a passing truck with HARRIS HAULAGE emblazoned on its side she looks back at the host.
ZORRA Yes. Harris spoke to you about me.
HOST You are with whom?
ZORRA Whom?... Nobody. I’m a sculptor. I’ve brought my portfolio and-
He puts out his hand, avoiding eye contact. She hands over her portfolio. The Manager slides closer for a peek as the Host thumbs through it.
MANAGER Where have you exhibited? ZORRA 03-25-2014 15.
ZORRA (deep breath) Errr...
HOST (to the Manager like Zorra’s not in the room) Junk art- hard sell- unless your Johnny King.
Zorra looks at him. Fuck. The manager smiles.
MANAGER Are your pieces selling?
ZORRA Well...
The Host hands back her portfolio- everyone knows the answer.
HOST (seeing her name in the Portfolio) Zorra... perhaps you can come back when you’re more established.
ZORRA (with a sarcastic edge) More established ... Right...
HOST (brightly) Right.
Zorra looks to the “art” on the wall. Her eyes rest on the woman in blue still staring puzzled at the same painting. Zorra speaks to her across the gallery kindly
ZORRA It’s all in the eye of the beholder...
With hardly a perceptible nod from the Manager, the Security Guard opens the door.
MANAGER We wish you luck.
Zorra walks toward the door, her back straight, she turns. ZORRA 03-25-2014 16.
ZORRA (knowingly) Johnny King ever exhibited here?
Deflated, the host and manager both swallow their pride... they both know the answer.
Zorra steps out.
INT. ZORRA’S TAXI - MOMENTS LATER
Zorra, in silence maneuvers through busy nighttime traffic, defeated.
INT. ZORRA’S TAXI - LATER
Zorra sees an opening parking spot in downtown, Spring Street the bowery a POSH GALLERY.
A MAN IN ELEGANT SUIT, talking on his cell phone stands in the middle of it, blocking anyone from parking. Zorra honks her horn inching towards him and into the spot. The man waves her on. Zorra rolls down her windows.
ZORRA You don’t look like a car.
He continues to wave her on. She bangs her horn.
ZORRA I’m parking!
She pulls forward next to the man. He clicks off his cell.
MAN I’m waiting for a delivery.
ZORRA I’ll be five minutes.
A delivery van with a loud horn pulls behind her. Zorra’s frustration bubbles to the surface SHE WELLS UP- involuntarily. The Man is surprised, he doesn’t know what to say.
Zorra screams curses in Portuguese. She screeches away. ZORRA 03-25-2014 17.
INT. POSH GALLERY - CONTINUOUS
Disoriented, Zorra, enters the gallery and glances at an A MAN talking with a group of people at the end of the room. She only sees the back of him. *
A WOMAN approaches.
WOMAN May I help you?
ZORRA Yes, I’m here to see the curator.
WOMAN Do you have an appointment?
ZORRA No, I tried to call but-
WOMAN I’m sorry.
ZORRA It’ll only take a minute.
WOMAN He’s with some people now. I’m sorry.
Zorra walks towards THE MAN.
WOMAN (following Zorra) You need to go through the proper channels, okay? ... Miss, please.
She approaches THE MAN.
ZORRA Excuse me, could I just have a moment of your time?
THE ELEGANT MAN turns to face her- the same man in the parking spot. He looks at her- discriminating eyes giving her the once over. He looks to the WOMAN- get her out of here. He turns back to his audience.
Zorra stands there- FROZEN WITH REJECTION. ZORRA 03-25-2014 18.
INT. ZORRA’S TAXI - MOMENTS LATER
Zorra sits in her cab, portfolio on her lap. She grips hard at the steering wheels with both hands and stares at nothing.
A passenger opens the door and sits in the back seat. We recognize the Strange Man from before.
STRANGE MAN Drive please.
INT. ZORRA’S TAXI - MOMENTS LATER
Zorra composes herself as she drives down the street.
ZORRA Where to?
STRANGE MAN Just drive.
Zorra looks in the rearview mirror.
STRANGE MAN Pull over here.
Zorra pulls to the curb. The Strange Man places $200 in the slit, gets out and slams the door. She automatically reaches for the money in the slit and is astonished to see two $100 bills. She turns to call after the man who has already disappeared down the street. She looks at the bills and folds them carefully puts them away in a YELLOW POUCH attached to her tummy.
INT. TAXI DEPOT - LATER THAT NIGHT
Opera playing on Jimmy’s radio. Zorra takes the money out of * a BLACK BAG and counts. Jimmy watches her like a hawk. * Jimmy glances at her portfolio. *
JIMMY * Any luck?
Zorra doesn’t answer. But her face says everything. *
JIMMY * Well fuck ‘em! That’s what Jimmy * always say. ZORRA 03-25-2014 19.
Her face softens.
SUDDENLY loud HIP HOP/RAP music rips through the air and * fills the Depot drowning out the opera. *
JIMMY * Ah, shit!
Then Jimmy launches into a slew of Vietnamese expletives. *
The newly arrived driver, black and blinged out, strides in * giving Zorra a “I’m feeling you,” gesture and walks over to * Jimmy. *
EXT. ALLEWAY - LATER THAT NIGHT
Zorra walks down the dimly lit alley toward her garage.
A SOUND- she stops and listens. A CAT runs from behind a dumpster. ANOTHER SOUND- someone’s there.
ZORRA Eddie?
Eddie peeks around the corner, he’s totally high. She looks at him- he’s a mess.
EDDIE Sell anything today?
Playfully he grabs her portfolio.
ZORRA Give it back, Eddie!
He dodges her, giggling, and then fumbles it to the ground. Her works spills onto the dirty alley. Something snaps in Zorra.
She hastily picks up the pages: drawings, sketches, photos of oil on canvas, her sculptures.
Zorra gathers all her work in the filth of the alleyway and throws them in the dumpster. Eddie watches.
EDDIE (weakly) You being a little sensitive or what. ZORRA 03-25-2014 20.
Zorra looks through him. Then heads back to the garage.
Eddie stands frozen.
INT. GARAGE - LATER THAT NIGHT
Zorra eats soup looking at her sculpture. A KNOCK AT THE DOOR. She looks at the door then back to the sculpture. ANOTHER KNOCK.
ZORRA Fuck off, Eddie!
VERA (O.S.) It’s me.
Zorra opens the door, Vera pushes her way in.
ZORRA Here for your rent?
VERA And dinner.
She grabs Zorra’s ass- Vera’s here for more than rent. She kisses Zorra hard, sloppy. Zorra pulls away.
ZORRA You taste like booze.
VERA You taste like chicken noodle... yum. (beat) That kid bothering you. Want me to call the cops?
ZORRA He’s harmless. (she holds up the can of soup) Want some?
VERA How romantic. I thought we’re goin’ for dinner?
Zorra hands her A WAD OF CASH- Vera takes a quick count and pockets it. ZORRA 03-25-2014 21.
ZORRA I prefer to stay in tonight.
Vera takes this as horny, but we can see from Zorra’s face she is anything but. She opens Zorra’s shirt possessively- kissing her breast. She puts her hand in between Zorra’s legs- Zorra succumbs to the pleasure. Zorra catches her * warped reflection in the mirror set atop her sculpture and * then kicks the radio- FLORENCE AND THE MACHINES- “Kiss With A Fist” blasts- hard, edgy. She kisses Vera back hard and takes control.
EXT. ALLEYWAY - CONTINUOUS
Eddie sits by the dumpster, sleeve rolled up, INJECTING HEROIN into his arm. SUDDENLY- he’s startled to see a figure standing above him- the Strange Man.
EDDIE Fuck! Scared the shit out of me.
The Strange Man doesn’t say a word, he just watches Eddie.
EDDIE Who are you, man?
Eddie looks him over, notices his shoes- expensive.
EDDIE Prada...
The heroin starts to kick in. Eddie starts to nod out.
EDDIE What the fuck man?
STRANGE MAN stands over him... Eddie slumps as the heroin spreads through his body landing at the Strange man’s feet.
EDDIE (whispers) Prada...
The shoes walk away. ZORRA 03-25-2014 22.
INT. TONY’S GYM - LATER THAT NIGHT
The gym is empty except for Max in the corner working a heavy bag. He has a black eye and a swollen nose- remnants of his fight earlier.
He compulsively punches at the bag.
The Strange Man appears. He moves closer to Max, watching the erratic display. Finally, exhausted, unable to go on, Max leans on the punch bag for support- chest heaving for air.
JUST THEN- he notices the Strange Man.
STRANGE MAN You must be quite a force in the ring.
MAX (with distant irony) Wasn’t tonight.
STRANGE MAN Pounding out the ghosts?
MAX Trying to. Still there.
STRANGE MAN I know.
MAX Everyone’s gone. Who’re you looking for?
STRANGE MAN You.
Max looks at the Strange Man for the first time.
STRANGE MAN Max, right? You haul junk when you’re not pounding out those ghosts.
MAX Yeah. That’s right.
STRANGE MAN I’ve got a job for you. ZORRA 03-25-2014 23.
INT. GARAGE - MORNING
A LIGHT RAIN patters against the cracked window. Zorra opens her eyes.
She sees Vera, sitting up against the wall, smoking a cigarette. Zorra turns away, trying to go back to sleep.
VERA If you didn’t know me, if you just saw me on the street. Would you find me attractive? Would you want to be with me?
ZORRA You’re hangover. Drink some water.
VERA I don’t know why I was put on this * planet. I understand better my * place in the world when I drink. My * life makes sense then. And then it * doesn’t. I think Faulkner once said * that. Or was it Hemmingway? *
Vera stops to remember who might have said those words, or * are they ones she herself made up. *
Zorra turns and looks at her not sure what to say.
Interrupting, there’s BANGING on the garage door. *
VERA That’s not that junk guy is it? What the hell?
VERA He’s thick as a brick.
Vera watches as Zorra jumps from the bed and covers her naked body with an oversized shirt and nothing else.
EXT. GARAGE - CONTINUOUS
Max is at the door- BANGING again, black eye and band-aid across his nose. His truck is backed up to the garage, a tarp covers a BLOCK OF SOMETHING.
Zorra opens the door. ZORRA 03-25-2014 24.
ZORRA (indicating his face) Nice.
MAX Jaffe was telling me he was looking for you.
ZORRA You came here to tell me that?
MAX (indicating the truck) Well, not just that.
Zorra steps out toward the truck. Max stares at her bare legs. He notices Vera watching from the bedroom and regains composure. He pulls back the tarp revealing: A BEAUTIFUL BLOCK OF GRANITE- Zorra’s breathless.
MAX Pure granite... that’s what the guy said.
Zorra jumps into truck bed, her nakedness is exposed briefly- Max looks away.
Zorra rubs her fingers over the stone. Lost in it.
ZORRA Max, its beautiful...
She turns to him.
ZORRA But I’m broke. It’ll take me a month of driving to pay you what its worth.
Max smiles.
MAX Okay, well, maybe when you sell it for thousands or whatever, you can give me cut.
ZORRA Deal. ZORRA 03-25-2014 25.
Zorra smiles. Max smiles. An uneasy moment passes between them. Vera stands at the door watching.
VERA (indicating his face) Get your ass kicked?
MAX Boxing. You should see the other guy.
ZORRA You won, right?
MAX Nah. Had ‘em on the run for a minute.
VERA I hate boxing.
Zorra glances at Vera then rubs her fingers over the stone.
INT. ZORRA’S TAXI - THAT NIGHT
Zorra slows as she pulls in front of “Jaffe’s Pawn & Loan”.
EXT. JAFFE’S PAWN AND LOAN - MOMENTS LATER
Zorra looks in the display window for something that doesn’t seem to be there. JAFFE (70’s), the owner, spots her and smiles with a twinkle. She motions to him as if to say “Where is it?” He motions back as if to teasingly say, “Where’s what?”
INT. JAFFE’S PAWN AND LOAN - CONTINUOUS
The bells above the door jingle as Zorra enters. Jaffe’s is like any other pawn shop, some junk but mostly 2nd hand trinkets and wares. Jaffe counts money at the register.
JAFFE (jokingly) There’s this new invention I keep hearing about- something called a mobile phone. It’s for when you want to get a hold of somebody. ZORRA 03-25-2014 26.
ZORRA It sold?
JAFFE Congratulations.
Zorra hugs Jaffe excitedly and kisses him on the cheek.
ZORRA My first one. For how much?
JAFFE What you asked, three hundred bucks.
Jaffe hands her the money.
JAFFE You can do better next time.
ZORRA So I can bring you another one?
JAFFE Of course.
ZORRA Oh thank you, Jaffe.
JAFFE Anytime.
ZORRA (looking at the money in her hand) Send Max around next time you see him will ya?
Zorra flashes Jaffe a triumphant smile and exits the pawn shop.
EXT. NEW YORK CITY STREET - CONTINUOUS
She walks back to her cab with an extra bounce in her step. Across the street the Strange Man stands hiding under his hat, watching her. ZORRA 03-25-2014 27.
EXT. ALLEYWAY - LATER THAT NIGHT
Zorra walks down the dimly lit alley to her garage. Her spidey sense twigs out and she picks up her pace.
EXT. GARAGE - MOMENTS LATER
As she approaches her door she looks behind her- a FIGURE stands at the far end of the alley. STARTLED, she hurriedly unlocks the door and looks back- NO ONE IS THERE.
INT. GARAGE - CONTINUOUS
Zorra locks and bolts the door.
She makes her way over to the BLOCK OF GRANITE situated atop a wooden crate in the middle of the room. With great care she lines up her TOOLS. She circles the granite, looking for an in, touching it gently- getting to know it. She kicks on the radio- CLASSICAL, AGGRESSIVE, KINETIC MUSIC.
CHISEL IN HAND, KNUCKLES WHITE- CRACK, her first chip of granite- it falls to the floor.
CRACK, CRACK- she tears into it with fury, focused and intense. EYES INTENSE, MUSCLES RIGID, MUSIC PUMPING.
CRACK, CRACK, CRACK... it goes on- BREATHING HEAVY, SWEAT ON HER BROW. CRACK, CRACK, CRACK.
SUDDENLY- she stops. As she circles the granite she catches a view of herself in the distorted mirror- her expression * hard to read
INT. BOXING HALL - CONTINUOUS- MONTAGE
Max, in the ring and on the defensive- circles away from a BIG BOXER whose giving him a beating.
FAST CUT TO: *
Zorra mallet strikes the chisel - CRACK!
FAST CUT TO: * ZORRA 03-25-2014 28.
Max’s trainer, TONY (60’s)- he’s been around- barks orders. The informal bout’s FEW SPECTATORS make bets- cash changes hands.
FAST CUT TO: *
Chisel bites into the granite fleeing granite ships and dust into the air.
FAST CUT TO: *
Blood spurts from a cut above Max’s eyes. A WHISTLE stops the fight. Tony pulls Max into the corner and attends to his wounds.
TONY You’re out matched, Maxi.
FAST CUT TO: *
Zorra’s steps back from her granite her face a mess of sweat and stone dust. She waves the back of hand across her brow.
FAST CUT TO: *
TONY I’m throwing in the towel. You’re not ready for this guy.
FAST CUT TO: *
Zorra resumes she cuts into the stone ferociously.
FAST CUT TO: *
MAX I got ‘em, I got ‘em. One’a these baboon’sll make a mistake and I’ll beat em.
TONY Alright, Maxi. You got one more roun’ to turn it around. Don’t lose it.
Max bounces back into the ring. The Spectators cheer their approval. The Big Boxer comes out hard with a combination. Max gets pummeled and HITS THE DECK. Tony shakes his head. ZORRA 03-25-2014 29.
EXT. NEW YORK CITY - DAY MONTAGE
Zorra pulls her taxi to the curb. TOURISTS pile in. Cash exchanges hands.
FAST CUT TO: *
Max, muscles bulging, throws bricks from a demolition site into the back of his truck.
FAST CUT TO: *
Zorra drives the city streets, PASSENGERS in the back. THE RED ELECTRONIC NUMBERS of the meter rises.
FAST CUT TO: *
Max backs up to a construction site. LABORERS unload the brick from the back of his truck.
FAST CUT TO: *
Zorra chips away at the block of granite. Its hard square angles have become rounded- giving way to form and shape.
FAST CUT TO: *
Max jogs down the street, weaving in between the pedestrians.
FAST CUT TO: *
Back in the garage Zorra alarm goes off. It’s 6am. She had no idea the night had passed.
FAST CUT TO: *
Zorra drives. In the rearview mirror a couple makes out in the back.
FAST CUT TO: *
Max jumps rope. Tony watches on.
FAST CUT TO: *
Vera puts a bag of Chinese food on the table. Zorra CRACKS away at the granite- it mimics the curve of Zorra’s face as the hint of her eye and nose emerge from the stone.
FAST CUT TO: * ZORRA 03-25-2014 30.
Vera eats. Zorra’s portions remains untouched.
FAST CUT TO: *
Max pounds the punching bag with ferocious abandon.
FAST CUT TO: *
INT. GARAGE- LATER THAT NIGHT *
Zorra is sleeping, the sleep of the utterly exhausted. Not * much could wake her up. We watch her for a few moments, * feeling her need for this moment of serenity in her mottled * world. *
We hear the lock on her door being jostled. We pan over to * find the Strange Man (breaking) and entering. He stops to * watch her. We wonder what he’s up to. His eyes wander from * Zorra to the emerging sculpture. The strange man pulls out * of his pocket what looks like a weapon. It is AN UNUSUAL * CHISEL- old and gnarly. He looks back to Zorra. But instead * of moving towards her still body -- he takes the chisel and * places it amongst her tools, all neatly laid out.
ZORRA STIRS AWAKE- and sees him. Or does she? She turns over and goes back to sleep. *
CUT TO: *
INT. GARAGE - THE NEXT MORNING *
Zorra gets up from her bed and with the passion of the * obsessed goes straight to her unfinished sculpture. She * touches the granite as one would a lover, morning sex, * passionate -- no need to wash or clean one’s breath. She * wants it and wants it now. *
Zorra picks up the chisel and examines it. She glances towards the door and carefully replaces the chisel.
CRACK, CRACK, CRACK... Zorra sculpts.
The soft delicate slopes of an ear emerge perfectly from the granite. Half of Zorra’s powerful, dramatic face can be seen coming from one half of the granite, the other half is crude and unformed stone. ZORRA 03-25-2014 31.
INT. GARAGE - LATER THAT NIGHT
Zorra and Vera are in bed, having sex. Zorra is rough and overwhelming- she squeezes Vera’s breast, bites at her neck.
VERA Ouch! Stop!
But Zorra doesn’t- hungry, unrelenting.
Suddenly Zorra gets up, pulls on some clothes.
INT. GARAGE - DAWN
CRACK, CRACK, CRACK- A FRENZIED INTENSITY IN ZORRA’S EYES- she pounds the unfinished half of the sculpture with a large mallet and chisel.
Her hands shake with strained nerves- CRACK!
Her chisel clatters to the floor.
She picks up the chisel. It’s back in her hand.
She notices her hand is dripping with blood. Cut, blistered and torn.
She holds her hand in front of her face gripping the chisel. She watches the blood trace its way down her arm.
TIME CUT:
Vera pushes her way through the partitions.
VERA’S JAW DROPS.
VERA Oh my God, Zorra.
Zorra stands there- EXHAUSTED, TRANSFIXED by her bleeding hand, AN OBSESSED LOOK IN HER EYES- hair disheveled, face pale, yet calm. *
ON THE FLOOR- trails of blood encircle the granite.
VERA What have you done? ZORRA 03-25-2014 32.
INT. GARAGE - LATER THAT NIGHT
Zorra is splayed on a chair. Vera slowly peels Zorra’s fingers from the sticky, bloody chisel. She rings a cloth out in a bowl of water.
VERA Jesus, Zorra... you’re gonna bleed to death?
Zorra gazes back at Vera as if Vera is crazy, closes her eyes and drifts to sleep.
PRELAP
WE HEAR THE ROAR OF A CROWED CALLING FOR BLOOD.
INT. BOXING HALL - CONTINUOUS
Max is in the ring fighting a FIERCE BOXER.
THE BOOKIE takes small money bets- 10’s and 20’s change hands.
The STRANGE MAN sits in the crowd.
Max is getting the shit kicked out of him. BUT- he starts a comeback. With a vengeance he pummels his opponent- he’s lost control. THE REF pulls them apart, sending Max to his corner. Tony sits him down. The other Boxer deals with a bloody nose- he’s mad. Max grins at him with a ‘fuck you’.
TONY You got to settle down out there, Max.
MAX I’m just turnin’ the corner.
TONY Let him throw his combo, make sure it don’t hit, then slip in a right to his nose. He’ll go down.
Money changes hands.
THE BOOKIE Six to one on Max! Come on boys, it’s his lucky night! ZORRA 03-25-2014 33.
The Strange Man appears to his left. He digs into his * pockets.
STRANGE MAN I’ll bet against that.
He pulls out five 100 dollar bills. The Bookie frowns- a player. He takes the money and gives the Strange Man a chit.
THE BOOKIE (just between him and the Strange Man) Max always tanks in the last round- puts on a good show though.
The two fighters meet in the center of the ring. Max is a man possessed- attacking with fury, not giving his opponent any opportunity to throw a punch. Tony shakes his head in disappointment. Max rains down punches but his opponent hides behind a patient defense. Max starts to lose steam- he let’s down his guard for a split second to regroup then BAM!- right hook and he’s on his ass, down for the count.
The Strange Man collects his money.
INT. GARAGE - A LOT LATER *
Zorra and Vera lay in bed. Zorra’s hands are bandaged. The wounds are cleaned. Zorra’s head rests on Vera’s bosom. A moment of repose. Suddenly Zorra lifts her head and looks directly at Vera.
ZORRA Rodin sculpted from stone. Not from junk. You know what I mean?
VERA Not really.
Zorra snuggles closer to Vera.
INT. GARAGE - DAY
Zorra, her hand’s bandages beginning to become unraveled, * perfects the last little form and detail of the finished half of the sculpture with a miniature mallet and chisel.
Satisfied, she puts her tools in their place at the work table. ZORRA 03-25-2014 34.
She discovers the chisel left by The Strange Man- hmmm. She examines it. Taking a mallet in hand, she chips away at the unfinished side of the granite. The stone comes away easily. She looks at the tool with new reverence- hmmm.
Her concentration is broken by the revving of a truck’s engine. Max jumps out of the truck, looks at Zorra, a fresh set of bruises across his face.
ZORRA Nice.
MAX (indicating her bandaged hands) You okay?
ZORRA Are you?
Max and Zorra share a moment of mutual recognition. *
MAX (beat) * Okay... Jaffe said you-
Max notices the half sculpted block of granite.
ZORRA Wanna take a closer look at it? *
Straight away Max moves towards the sculpture
ZORRA It’s not finished.
He notices the blood on the ground- a memory? ... She watches him look at her sculpture.
ZORRA Can you make a delivery to Jaffe’s for me?
Max snaps to.
MAX Yeah, sure, he said you got something for him.
Zorra walks over to her recent sculpture, the MISHMASH FEMALE FORM of metal, wood, plastic, stone and mirror head. ZORRA 03-25-2014 35.
ZORRA This.
MAX You sellin’ it there?
ZORRA Yeah... why?
MAX Well, no, I didn’t mean it like that. I don’t know nothin’ bout this stuff.
Max goes to pick it up- its heavy, Zorra helps. They carefully lift it in the back of Max’s truck. THEY TOUCH ACCIDENTLY as the sculpture’s pushed into position. Max is affected by it- he looks at her then away. Zorra notices and brushes it off.
ZORRA I’ll pay you of course, for hauling it... when it sells.
Max digs a torn piece of paper and pen out of his truck.
MAX (writing down his number) Zorra, I’m here every Tuesday but ... you know ... if you ever need me for somethin’ and I’m not around, just give me a call.
He holds the slip of paper out to Zorra.
MAX Sorry, no business cards just yet. It’s on the list.
Zorra doesn’t take the piece of paper.
ZORRA No sweat. I don’t have a phone.
MAX What? That’s gotta be illegal.
He continues to hold the number out to her. She hesitates and then takes it from his hand. ZORRA 03-25-2014 36.
He smiles at her then jumps into his truck. She looks at the fresh assortment of bruises on his face.
ZORRA Did you win?
MAX Still workin’ on that.
He drives away.
EXT. CENTRAL PARK - DAY
Max looks at a large sculpture of Alice sitting on a giant mushroom alongside the Mad Hatter, the Rabbit and the Cheshire Cat. (The bronze sculpture is by Jose de Creeft, unveiled in 1959.) He watches little kids crawling all over it, enjoying the characters.
The Strange Man approaches.
STRANGE MAN Thanks for meeting me here.
MAX Yeah... no sweat.
Pause.
STRANGE MAN It’s my favorite place to come.
A silence
MAX So, what’s up? Mr... ah...
STRANGE MAN Do you like it?
MAX What? (indicates the bronze) That? Yeah, it’s you know...
The Strange Man looks at it.
STRANGE MAN Me too. Anything seems possible when we are kids. ZORRA 03-25-2014 37.
MAX Is that right? Wow! Where did you get that one?
Strange man looks at him, catching sight of Max’s ghosts.
STRANGE MAN I don’t know. May I show you one more thing?
EXT. UNUSED PLAYGROUND - MOMENTS LATER
In the background, The strange man’s BLACK RANGE ROVER is parked at a deserted rundown street. The driver/body guard waits at the wheel. Max and Strange man sit on a decayed bench. Max takes in the surrounding unsure of why exactly he is here.
STRANGE MAN What do you see?
MAX Rusted monkey bars. Busted swings. * Slide tipped over, a round about jammed, a sandbox filled with * ebola... junk... *
STRANGE MAN Look again what do you see?
MAX C’mon man! Junk...
The Strange man sees that Max eyes stop transfixed at a broken swing.
STRANGE MAN Breathe. What do you see?
Close up of Max staring at the swing.
CU of the broken swing. *
Back to Max’s face and we hear the creaking sound of a solitary swing going backwards and forward backwards and forwards. Max looks at the Strange Man. *
MAX Junk, man. ZORRA 03-25-2014 38.
INT. BIG MOMMA’S - DAY
Zorra walks into the greasy spoon, Eddie’s with her. BIG MOMMA (50’s), big face, bigger smile, rings up a customer.
Eddie eyes the cash in the register. They take seats at the counter.
BIG MOMMA (seeing Zorra)) Well looky who’s here, hello sweetheart. What’s with the hand?
ZORRA Hazards of the work place.
BIG MOMMA (glances at Eddie inquiringly) Haven’t seen you since Big Papa caught the kitchen on fire.
BIG PAPA Wasn’t my fault.
BIG PAPA (70’s), a male version of Big Momma, yells from the back as he cracks eggs on a fryer.
BIG PAPA Hi, Zorra.
Throws an inquisitive look at Eddie.
EDDIE EDDIE!
ZORRA How ‘bout two coffees and two grandslams. We’re celebrating.
BIG MOMMA You two gettin’ married or something?
ZORRA (smiles) Hell no! ZORRA 03-25-2014 39.
BIG MOMMA Okay then, just celebratin’. Grandslam for Zorra and her friend here.
Zorra looks at Eddie’s dirty hands and nudges him with her elbow and indicates the men’s room. Big Momma pours Zorra’s coffee. A CUSTOMER next to her leaves cash on the counter and says his goodbyes to Big Momma.
Eddie eyes the cash as he goes.
In the reflection of the glass partition Zorra sees the Strange Man standing on the sidewalk looking in- hiding behind sunglasses and hat. She turns to look- he’s gone.
CUT TO: *
EXT. BIG MOMMA’S - CONTINUOUS *
No sign of the Strange Man.
CUT TO: *
EXT. BIG MOMMA’S - CONTINUOUS
Eddie rejoins Zorra at the table. His hands clean his hair * wet and slicked back. She’s still looking out the window. *
EDDIE Was it that rich guy?
ZORRA Rich guy, what are you talking about?
EDDIE Prada shoes dude. *
ZORRA You’ve seen him before?
EDDIE Yeah, I think its the dude that’s * been lurking around your place. *
Catching a glimpse of Big Momma racing toward him, waving a bill in her hand Eddie SUDDENLY takes off running. ZORRA 03-25-2014 40.
BIG MOMMA You little shit! You stole my customer’s money!
Eddie flees out the door, turns the corner and is gone. *
Big Momma looks to Zorra.
ZORRA I’ll cover it.
INT. GARAGE- THAT NIGHT
Zorra holding Big Mommas’ takeaway bags, pulls close the * garage door, then bolts and locks it. *
She turns on the radio- NOTHING. What??? She fusses with it- shakes it, hits it- NOTHING. She pulls the plug from the socket and puts it back in- NOTHING. She throws it on a pile of junk and walks to her sculpture- studying it.
A beautiful, powerful, detailed face jumps out from one half of the rock. She closes her eyes and caresses the still unformed half. She walks to the mirror and studies her face deeply. She rubs her fingers over it gently-
She picks up a mallet and THE CHISEL- the one The Strange Man left. She studies it for a beat, then makes a decision. She * places the chisel at an angle, it’s metal biting into the stone-
CRACK- a clean chip of granite launches off. CRACK- another. She repositions the chisel at a different angle. CRACK- a chip of granite flies off, then-- SUDDENLY--
--a SMALL FRACTURE emerges.
ZORRA’S EYES WIDEN-- THE FRACTURE GROWS.
ZORRA (whisper) No.
It turns into a GIGANTIC CREVICE that splits the face in two, all the way to the center of the granite. A CHUNK of the unformed face falls to the floor.
Zorra drops her mallet and chisel. She stands in front of her ruined sculpture- AGHAST. ZORRA 03-25-2014 41.
ZORRA Nooooo!
She overturns her worktable sending tools crashing to the floor. Getting her hands on everything, anything, SHE DEMOLISHES AND DESTROYS: the hotpot, kettle, coffee mug, dishes, the partitions, etc.
CUT TO: *
EXT. GARAGE - CONTINUOUS
The Strange Man stands in the shadows of the alley. He listens to Zorra demolishing her garage.
CUT TO: *
EXT. NEW YORK CITY STREETS - LATER THAT NIGHT
Zorra stuffs quarters into a payphone. The bandages on her hands are bloodied. Her eyes are red, her nose runny. Her hand shakes uncontrollably. With one she holds the piece of paper Max gave to her, with the other she pushes the numbers. The phone rings.
CUT TO: *
INT. TONY’S GYM - CONTINUOUS
Max, mid workout, tries to answer his cell-phone but his boxing gloves are too big to deal with it. He struggles to either answer the phone or get the gloves off- whatever works. He manages just in time.
MAX Hello?
INTERCUT AS NECESSARY-
ZORRA Max? It’s Zorra. Can you come over? (beat) I need you to come over now. ZORRA 03-25-2014 42.
MAX (without missing a beat) I’m on my way.
CUT TO: *
EXT/INT. GARAGE - LATER THAT NIGHT *
Zorra paces outside the garage as Max pulls up. He jumps out.
MAX (trying to hide his concern) What’s up Zorra?
She pulls him inside.
INT. GARAGE - CONTINUOUS
There lies the dead sculpture. Max is taken aback. Zorra looks at it like it’s a cadaver.
ZORRA Can you get rid of it?
MAX Yes
Max- full of worry, keeps one eye on Zorra who is completely unhinged. He unlatches the tailgate of his truck and slides a plywood ramp into place.
MAX Where’m I taking it?
Zorra looks at him.
MAX Okay. I can get rid of it.
Max struggles as he rolls the cracked sculpture up the ramp. Zorra joins in, as if the effort will help purge her anguish. The sculpture thuds into the back of the truck.
MAX Are you coming?
She looks at him- YES. ZORRA 03-25-2014 43.
INT. MAX’S TRUCK - MOMENTS LATER
Zorra and Max drive in silence. He turns into a RIVER WHARF PARKING LOT.
MAX Now what?
ZORRA Back the truck up to the river.
He’s surprised by her tone but doesn’t question.
MAX Okay.
The truck stops at the edge of the river.
EXT. MAX’S TRUCK - CONTINUOUS
Zorra gets out. Max follows.
MAX Can’t we fix it or somethin’?
Zorra doesn’t respond. She’s violently trying to unlatch the * tailgate. She pulls and jerks on it- it doesn’t budge.
Max gently puts his hands on the tailgate and easily let’s it * down.
Zorra climbs onto the truck. The granite doesn’t budge. She rocks it back and forth and pushes with all her force- nothing. All her frustration, all her pain bubbling over. Max looks on concerned but knows to give her space to carry on. Turning around to rummage through the truck’s contents she picks up a 2x4 and wedges it under the cracked granite head using it as a lever.
ZORRA Aahhhhh!!
The granite head begins to roll. KERPLUNK- the river swallows it. She watches the bubbles on the water’s surface, her face blank- it’s done.
MAX jumps on the truck, PUTS HIS HAND ON HER SHOULDER TO TRY AND COMFORT HER-ZORRA EXPLODES! ZORRA 03-25-2014 44.
ZORRA DON’T TOUCH ME! DON’T TOUCH ME!
She jumps from the truck and starts walking away across the parking lot.
MAX Zorra!! (softly to himself) Zorra...
INT. RANGE ROVER - CONTINUOUS
The Strange Man sits in his car from a distance. He watches * Zorra walk across the parking lot to the street. Max drives up next to her, urging her to get in. She yells and screams at him in Portuguese. She’s beating herself up, disappointed, * and self-loathing. But Max has no idea what she’s saying -- * is it about him, is it about her? *
The Strange Man watches.
FADE TO BLACK:
INT. ZORRA’S TAXI - DAY
Zorra drives the New York City Streets- no radio. Her eyes are empty and vacant. A MAN WITH LUGGAGE waves her down. She pulls over and he opens the door.
MAN WITH LUGGAGE Can you take me to JFK?
Without a word, Zorra pops the trunk.
INT. ZORRA’S TAXI - LATER THAT DAY
Zorra drives. The radio’s off, meter running. An ostentatiously dressed man his fingers covered in rings ushers a beautiful Ukrainian girl into the passenger seat ahead of him. Her skirt is very short; her clothes expensive, yet too revealing. She looks trapped and stoned. He slings his arm possessively around her shoulders.
MAN (to the girl) Columbus Circus? ZORRA 03-25-2014 45.
The woman sitting up sighs utterly defeated. Her eyes finding Zorra’s in the rearview mirror. They hold each other’s gaze.
The man’s voice breaks the moment.
MAN Good. (to Zorra) Columbus Circus
Zorra pulls away.
INT. BIG MOMMA’S - THAT NIGHT
Zorra sits by herself at the counter. She stares at an untouched sandwich in front of her. A nearby TV BLARES NEWS OF DOOM AND GLOOM.
INT. TAXI DEPOT - LATER THAT NIGHT
La Boheme playing softly underneath this exchange. *
Zorra turns her money and receipts into Jimmy. *
JIMMY * How long you keep this up?
Zorra doesn’t respond.
JIMMY * I worry that you end up like * Violetta. *
ZORRA * Who? *
JIMMY * Violetta, the doomed heroine of La * Traviata. She die at end. *
ZORRA * I’m okay. *
She turns to leave.
JIMMY * Whatever going on with you, you not * fit to be behind wheel. Take day off. * ZORRA 03-25-2014 46.
She looks at him hard, then Zorra nods- ok. *
Watching Zorra walk away, Jimmy listens to La Traviata’s * ending duet of Violetta and Alfredo before she dies. His * mouth perfectly mimes the beautiful closing notes as he extends his arm towards her receding figure.
INT. GARAGE - LATER THAT NIGHT
Zorra stands in the middle of her demolished garage. She fills water from the sink into the kettle and plugs it in. She finds a cup that isn’t broken, put’s a tea bag in it. She stares at the mess.
INT. GARAGE - MOMENTS LATER
Clothes still on, Zorra lay on her bed. She stares at the ceiling.
INT. TONY’S GYM - CONTINUOUS
Max works out alone, pounding the punching bag relentlessly. *
The punching bag swings away from him with a creak. Max hears * again the to and fro of the solitary swing. And the sickening thwack of a leather belt hitting flesh. *
Max pounds away ferociously. Mundane objects in the gym appear heightened. A bucket, a sponge, a towel, a protective leather head gear, the ropes all appear to be staring at him.
Max hears clearly the Strange Man’s voice ‘What do you see?”
He lunges at the punching bag grabbing it to him. All goes * still and silent. He is alone in the gym, left to deal with * his demons. *
EXT. GARAGE - DAY
Zorra sits on a large overturned plastic bucket, lost in thought looking down the alleyway, sipping on a cup of coffee. Eddie rounds the corner sporting his usual red jacket. He’s clearly high. *
He sees the mess inside though the open door. ZORRA 03-25-2014 47.
EDDIE Shit. You have a fight with your girlfriend or sumpin’?
Zorra sits in silence sipping her coffee
EDDIE Got anything to eat?
ZORRA No and Big Momma’s is off limits.
EDDIE Ohhh... testy.
ZORRA Get out of here, Eddie.
EDDIE Ya got twenty bucks you can lend * me? It’s for food. *
ZORRA * Yeah right. *
He backs off, rounds the corner.
Zorra keeps sipping her coffee.
Seconds later he comes back carrying a found old kitchen chair and Zorra’s discarded radio. It’s newly held together with bright red duck tape. He plunks down next to her and switches on the radio. It works. Same music she listens to whilst working. He sits. She sits. Both lost in thought. The day begins.
INT. ZORRA’S TAXI - LATER THAT DAY
The traffic is bumper to bumper. Zorra drives, radio off.
A CHARMING YOUNG BUSINESSMAN sits in the back. ANOTHER TAXI cuts in front of Zorra. She slams on the brakes- no cursing, no swearing, just looks vacantly to the road. The Young Man curses under his breath at the other car. He looks at Zorra’s license and sees her mug shot and name.
YOUNG MAN Zorra. That’s unusual, pretty though. ZORRA 03-25-2014 48.
Zorra eyes him in the rearview. He smiles at her.
YOUNG MAN Where you from?
Zorra doesn’t answer. She pulls over.
ZORRA (quietly) We’re here.
The Young Man hands the money through the slit in the barrier.
YOUNG MAN Keep the change. (emphasizes) Zorra.
He closes the door. Zorra pulls away.
INT. BIG MOMMA’S - LATER THAT DAY
Zorra and Vera attempt lunch. They sit at the counter, Vera eats her lunch, Zorra’s half eaten plate remains in front of her. She studies the dried scabs on her hand, then clenches her fist. One of the scabs tears slightly and her hand starts to bleed. Big Momma tops up the coffee. Zorra snaps to and hides her hand and stands to go.
VERA You off?
ZORRA (shuffling the bills) Pulling a double shift today.
Zorra offers the money.
VERA (what are you doing?) I’ve got this.
She watches Zorra leave. ZORRA 03-25-2014 49.
INT. ZORRA’S TAXI - THAT NIGHT
Zorra’s parked on 2nd Ave and 9th St, eyes closed, dozing. BANGING on the side of her taxi wakes her. 4 DRUNK STUDENTS pile in.
DRUNK STUDENT Times Square.
Zorra starts the meter and pulls away.
TIME CUT:
She drives- she looks at the Students in her rearview.
ZORRA’S POV: she see’s them in slow motion, their inane laughing, their vapid smiles. Their words sound as if from another world, unintelligible. She pulls over.
ZORRA We’re here.
The Students push money through the slit and pile out. Before the passenger door shuts, a YOUNG MAN and YOUNG WOMAN get into the taxi.
YOUNG MAN Can you take us to the village?
Zorra starts the meter and pulls into traffic. She eyes her passengers in the rearview- sensing the uneasy tension between the Young Man and Young Woman.
The silence breaks-
YOUNG MAN It wasn’t part of the deal.
YOUNG WOMAN Deal? Is that what I am to you? Just one of your deals.
YOUNG MAN We discussed this. Many times. And * we both agreed- no babies. *
YOUNG WOMAN Well... I’ve changed my mind.
YOUNG MAN I haven’t. ZORRA 03-25-2014 50.
YOUNG WOMAN It's too late.
YOUNG MAN A month? You don’t even like children!
YOUNG WOMAN I do now.
Zorra eyes them in the rearview.
YOUNG MAN Jesus! Stop the car please!
Zorra pulls to the curb. The Young Man exits without a word- slamming the door.
The Young Woman sits in the back seat- staring vacantly into her lap. She searches for Zorra’s eyes in the rearview mirror she catches them for a second but Zorra averts her gaze pulling into traffic.
INT. TONY’S GYM - CONTINUOUS
Max is in the ring pounding a heavy punching bag. He returns to his corner, sits on a stool and throws a towel around his neck. Mopping the sweat from his face he takes a long drink of water from a plastic bottle. A voice in his ear:
STRANGE MAN (O.S.) Don’t let your visions be limited by the absolute.
MAX (startled and pissed) Jesus Man!
STRANGE MAN (O.S.) A chair is a chair to everyone else. To me it’s an island. It allows me to separate.
MAX What the fuck!
STRANGE MAN What is the punching bag to you? ZORRA 03-25-2014 51.
MAX (on the verge of exploding) Oh man!!!
STRANGE MAN Think beyond the obvious. Look again.
Max doesn’t answer. His breathing quickens.
STRANGE MAN Look again.
Max turns on the Strange Man viciously.
MAX You’re not my fucking father.
STRANGE MAN (indicating the punching bag) No, I’m not. I think he’s over there.
Max looks at the punching bag. We don’t see what he’s * imagining, but the rage is burbling up. *
CUT TO:
CU: Max’s face. The face of a traumatized child staring * upward. Echoes of the broken and rusting swing we saw in the * playground earlier.
CUT TO:
Bed sheets tautly swinging from rafters in a dingy kitchen.
CUT TO:
Tears well up on Max’s bruised face. *
STRANGE MAN V.O. * Not your fault Max. You’ve got to kill the Ghosts.
Max advances on the punching bag and with a purpose and accuracy we’ve never seen before lands a killer punch. ZORRA 03-25-2014 52.
INT. GARAGE - LATER THAT NIGHT
Zorra stands in the middle of the garage- the canvases and paintings stacked against each other, the junk, the trash everywhere.
She opens a canister of PAINT THINNER. She pours it on the pile of canvasses and paintings. She lights a match and drops it- SWISH. A sudden breath of hot air and the CANVASSES ARE ABLAZE. She spreads the paint thinner around the garage until the canister is empty.
EXT. ALLEYWAY - CONTINUOUS
Through the windows- the fire builds.
INT. GARAGE - CONTINUOUS
Fire burns behind Zorra. Her eyes are vacant. She stares into the broken mirror.
EXT. ALLEYWAY - CONTINUOUS
Through the windows- thick black smoke billows inside.
INT. GARAGE - MOMENTS LATER
Zorra lies on the floor. The fire and smoke surrounding her.
INT. GARAGE - CONTINUOUS
STRANGE MAN’S POV: Through the window, makeshift curtains obstruct the view inside. Only smoke and fire can be seen.
The next window- Zorra on the ground, eyes open, unmoving.
INT. GARAGE - CONTINUOUS
Above the sound of the roaring fire, BANGING can be heard. The locks rattle. ANOTHER BANG and the locks give way, the door flies open.
Zorra’s on the floor, her vision blurry, the smoke clouding her view. She coughs uncontrollably. ZORRA 03-25-2014 53.
ZORRA’S POV: A FIGURE running toward her, dragging her out of the garage. Sirens getting closer.
EXT. GARAGE - CONTINUOUS
Zorra lies semi-conscious, coughing violently, a safe distance from the garage.
ZORRA’S POV: Out of focus, a figure kneels over her- The Strange Man. He stands up and walks away. SOMEONE SCREAMS HER NAME.
VERA Zorra!
Vera runs toward her. Zorra turns back to the Strange Man but he’s gone. Vera races to her side.
VERA Oh my God, Zorra!
EXT. ALLEYWAY - MOMENTS LATER
Zorra, face smeared with dirt and soot, sits with an oxygen mask and blanket over her. The Fire Fighters have put out the last of the fire. A PARAMEDIC takes her pulse and blood pressure. A POLICE MAN asks Vera questions.
VERA There was this man. And as soon as I started screaming he took off. Zorra was just coming home from work, I was coming to meet her.
A POLICE WOMAN chimes in.
POLICE WOMAN There’s signs of forced entry.
POLICE MAN (To Zorra) Can you talk?
Zorra doesn’t respond.
POLICE MAN Ok, just shake your head yes or no for me, ok? ZORRA 03-25-2014 54.
Zorra nods her head ‘yes’.
POLICE MAN Was your house on fire when you came home?
Zorra hesitates then nods her head “yes”.
POLICE MAN Did you see someone in the house?
Zorra nods “yes”.
POLICE MAN Was it a man?
Zorra nods “yes”.
POLICE MAN Did you recognize this man?
Zorra nods “no.”
POLICE MAN Do you have anywhere to stay tonight?
INT. VERA’S APARTMENT - LATER THAT NIGHT
Vera unlocks the door to an exceptionally clean and tidy * apartment. Vera looks expectantly at Zorra as she ushers her * in.
She guides Zorra to the bathroom.
INT. VERA’S APARTMENT, BATHROOM - MOMENTS LATER
Zorra lies in a hot bath with a wash cloth over her face. She coughs.
Vera sits on the toilet seat lid facing her.
VERA What on earth were you thinking.
Zorra doesn’t respond. ZORRA 03-25-2014 55.
VERA What were you going through that you needed to do this self destructive thing?
Zorra removes the wash cloth from her face and looks at Vera’s pained and desperately frightened face.
ZORRA (offering her hand) Help me get up?
INT. VERA’S APARTMENT, BEDROOM - MOMENTS LATER
Zorra lays in bed cradling Vera’s head against her bosom continuously stroking Vera’s hair.
ZORRA What’s the longest relationship you’ve had?
VERA I never had a relationship
ZORRA You never had a girlfriend?
Vera shakes her head.
ZORRA (chuckles) Why not? You are a...
VERA Yes ma’am. Though... for a long time ... I didn’t know what was going on inside me.
ZORRA Your father?
VERA Mostly.
ZORRA What’s the either side of mostly? ZORRA 03-25-2014 56.
VERA I never met anyone who made me like myself, I guess. What about you? Who was he? What did he do to you?
Zorra stiffens. She doesn’t answer. Vera reaches up and gently touches Zorra’s hardening face.
VERA Who broke your heart?
ZORRA I never gave my heart to anyone.
INT. VERA’S APARTMENT, BEDROOM - DAY
Zorra wakes. Vera is deep asleep next to her. She gets up * and goes to Vera’s closet. Quietly, she goes through Vera’s * clothes. Without much thought, grabs some things, and tip * toes out the door. *
INT. THRIFT STORE - LATER THAT DAY
Zorra rummages through bins and racks of used clothes.
EXT. ALLEYWAY - LATER THAT DAY
Wearing newly purchased second-hand clothes, Zorra walks down the alley with a can of paint and a bag of clothes.
INT. GARAGE - MOMENTS LATER
The garage is filled with the ashes of charred belongings. Black smoke scars line the walls and water is puddled on the floor.
EXT. GARAGE, NEAR DUMPSTER - MOMENTS LATER
Zorra hauls a wheel barrow full of burned canvasses and junk and throws them in the dumpster.
Eddie sits nearby watching, then goes over to the dumpster and starts rummaging through Zorra’s charred discarded items. *
Through the scene he continuously picks out items with surprising focus and precision. ZORRA 03-25-2014 57.
ZORRA Treasure hunting?
ZORRA What do you know about that guy?
EDDIE What guy?
ZORRA The one you saw hanging around here.
EDDIE Ah, Mr Prada.
ZORRA Prada?
EDDIE Yeah, Prada, Ferrarri, Bvlgari... Had all that...
ZORRA The angels have fallen?
EDDIE They were no angels. They were my parents. I had everything. Not a good start.
ZORRA Tell that to the folks where I come from. A trust-fund kid and you through it all away?
EDDIE (indicating her burnt discarded materials) Right back at you.
Zorra sits down next to him. Watches him sort through the detritus.
ZORRA (a realization almost to herself) They through you away. ZORRA 03-25-2014 58.
INT. GARAGE - LATER THAT DAY
Zorra and Vera paint the smoke stained walls with white emulsion.
The painting of the wall and dialogue should happen in real time.
Zorra applies the paint using a roller with long confident strokes. Vera daubs an excessive amount of paint on a tiny area of the wall. The work is messy and streaked, a lot of paint landing where it shouldn’t, e.g. on the floor and on herself.
VERA Who was that guy who helped you out?
ZORRA (chuckling) It’s a blur... Excuse me. Vera, how hard is it to fucking paint a wall?
VERA I want it to be perfect. God forbid this isn’t good and you go kill yourself again.
ZORRA In a minute there won’t be any paint left and only half of the wall will be done- with your skills.
VERA You’re lucky I came by when I did.
ZORRA Lucky? Easy for you to say.
VERA Just because you’ve had a shitty life back in God knows where you came from doesn’t mean your problems are worse than mine. What’s wrong with you anyway?
ZORRA ZORRA 03-25-2014 59.
ZORRA Nothing apart from my being stuck in every area of my life, can’t create properly, have no family, the scars my childhood left still * itch, I am rejected every day, my * new best friend is a heroine addict who can OD at any time and I have * no clue what to do with him, apart from that -- life is swell. *
VERA Well, you think you have it rough, how about my father’s love is totally conditioned to my sexuality, which drives my mother to the bottle; I’ve only just found * my first girlfriend now, at the * ripe old age of 35 and guess what? * She is straight AND suicidal? TA!DA!
ZORRA Not that easy; your “girlfriend” if you mean me, it’s clueless about herself that includes her sexual preference. She has none.
VERA Yes, but she IS suicidal.
ZORRA (laughing at herself) * I’ve been so trained to avoid pain I need to set fire to myself in order to feel something.
VERA Do you know what it is to which you were anyone else but who you are?
ZORRA Yes, I do.
VERA Do you know what it is to have never been kissed by your mother ZORRA 03-25-2014 60.
ZORRA (conceding) Fuck that’s bad.
VERA Yeah.
ZORRA Yeah but you have money.
VERA You have talent.
ZORRA Talent?... I don’t know who I am... I’m a shell, an empty... there is nothing inside me... nothing but damage. I’m sure it would take a year of intensive therapy to unravel which I don’t have the money for, but the way.
VERA I’m a puddle of need... I’m so needy when I saw you almost dead it felt like MY life was over.
ZORRA Well I can’t even end my life, now you top that!
Vera starts screaming Zorra joins in.
EXT. JAFFE’S PAWN SHOP - THAT NIGHT
Zorra looks in the display window from the taxi. Jaffe sees her and waves her in.
INT. JAFFE’S PAWN & LOAN - CONTINUOUS
The bells jingle as Zorra enters and Jaffe stands at the cash register counting out bills.
JAFFE How’s hundreds?
ZORRA It sold? ZORRA 03-25-2014 61.
JAFFE One thousand dollars, minus my commission of course.
ZORRA Who bought it?
JAFFE Not sure, wasn’t here. It sold within about an hour of Max dropping it off.
ZORRA (to herself) Max.
Jaffe looks up from his counting.
JAFFE I thought you’d be happy?
ZORRA I’m just surprised.
Jaffe goes back to counting.
JAFFE Here you go.
He holds out the one hundred dollar bills. Zorra takes the money.
JAFFE Do you have another one?
ZORRA No.
JAFFE Well, you better make one.
Zorra puts the money in her pocket.
ZORRA Thanks Jaffe. I got to go, my shift’s ending.
She heads for the door.
JAFFE Zorra. ZORRA 03-25-2014 62.
Zorra stops at the door.
JAFFE I don’t know nothin’ about you, so forgive me if I’m overstepping. (beat) I see all kinds here ya know? Most are down on their luck ... But you...
ZORRA (interrupting) Next thing I do- I’ll bring it.
Zorra walks out of the shop.
EXT. NEW YORK CITY, SIDE STREET - MOMENTS LATER
Zorra walks toward her taxi. Suddenly two 13-year-old boys high on crack are beside her.
VOICE (O.S.) Got a light?
Zorra sees A GUY walking toward her with purpose- instant read- not a good vibe.
ZORRA Sorry, don’t smoke.
She opens her car door.
VOICE 2 (O.S.) You sure? Money talks bitch.
Zorra turns around and is PUNCHED HARD IN THE FACE. -- the * kind of punch only crack can inspire. She drops to the * ground. KID 1 tries to pick Zorra’s pockets; she kicks, fights and screams. He PUNCHES HER AGAIN.
KID 1 What the fuck man. You’re gonna kill her, someone is gonna see this!
KID 1 Motherfucker hold her! ZORRA 03-25-2014 63.
KID 2 (in a panic) Camon man, what are you doing?
KID 1 Hold her you fuck.
KID 2 holds Zorra whilst KID 1 goes through her jacket pockets. Zorra’s lip bleeds badly.
KID 2 looks up and sees a man approaching.
The STRANGE MAN grabs KID 1 from behind. KID 2 now runs away.
KID 1 pulls A KNIFE from his jacket. He lunges toward the Strange Man who side steps
Zorra scrambles into her taxi, locks the door. The Strange Man runs towards the corner, KID 1 following.
She maneuvers out of the parking space, screeching away. The Strange Man is now at the corner, she slows- he gets into the moving car as KID 1 chases.
Zorra floors it.
INT. ZORRA’S TAXI - CONTINUOUS
The RPMs roar into the redzone as Zorra speeds down the street, narrowly missing oncoming cars.
STRANGE MAN You can slow down now.
Panicked, Zorra’s hands clutch the steering wheel. She coughs.
STRANGE MAN You can slow down now.
She takes her foot off the accelerator, folds into traffic, loosens her grip on the steering wheel. Her cheek bone is bruised and swelling, her lip bleeds. She looks into the rearview at the Strange Man.
ZORRA Why are you following me?
STRANGE MAN Could you drive me home? ZORRA 03-25-2014 64.
Zorra eyes him suspiciously in the rearview.
STRANGE MAN Please.
ZORRA Where do you live?
STRANGE MAN Not far.
ZORRA Not far- how bout another clue? (she looks at him) Thank you- second time you’ve saved me.
STRANGE MAN You need a full time keeper.
ZORRA Yeah, maybe so. (beat) Is that it, you’re my guardian angel? What did I do to deserve you?
STRANGE MAN (looks into the black night out the window) Turn left.
EXT. WAREHOUSE DISTRICT - CONTINUOUS
Zorra’s taxi turns onto a deserted street. Large warehouses stretch for miles.
INT. ZORRA’S TAXI - CONTINUOUS
Zorra drives slowly, watching the Strange Man in the rearview.
STRANGE MAN It’s this one here.
She slows down and stops at the entrance of a building.
STRANGE MAN Would you come up with me? ZORRA 03-25-2014 65.
She remains silent.
The Strange Man gets out of the taxi and closes the door. He stands on the dark sidewalk waiting for her.
Zorra doesn’t move, her eyes straight ahead- In a sudden move she turns off the ignition and gets out of the taxi.
INT. FREIGHT ELEVATOR - MOMENTS LATER
Zorra and the Strange Man stand together in silence as the large elevator slowly rises. Zorra wipes blood from her lip with the sleeve of her shirt. She looks at his shoes- very nice. He catches her look.
ZORRA Nice shoes.
He looks at her... taking her in.
INT. LOFT, ENTRY HALL - CONTINUOUS
The elevator door opens to a large, upscale loft immaculately decorated with paintings and sculptures. The Strange Man steps inside. Zorra cautiously enters, her eyes taking in the art on the walls and in the hall.
He puts his coat and hat on its rack, removes a REVOLVER from his pocket and places it in a drawer. Zorra eyes the gun as the drawer closes.
ZORRA You were armed?
STRANGE MAN Insurance. (off her look) Come.
INT. LOFT, KITCHEN - CONTINUOUS
He leads Zorra into the kitchen.
STRANGE MAN Please sit. ZORRA 03-25-2014 66.
He indicates a stool as he takes a plastic bag from a drawer and fills it with ice from the freezer, then wraps a cloth around it. Zorra takes in the room- sculptures everywhere. Small, large, moulds, etc.
STRANGE MAN You’re from Brazil.
ZORRA Yeah.
She looks at him- how much more does he know? He begins to gently apply the ice pack to her face. It hurts. Zorra doesn’t flinch she breaths through it.
STRANGE MAN And you got to New York on the arm of a wealthy man.
ZORRA (looking him straight in the eye) It was an opportunity.
There’s no judgement written on his face. He opens a cabinet and scans several pill bottles stacked upon one another- Zorra notices.
STRANGE MAN Pain killer?
ZORRA No drugs.
He takes out two bottles of pills, opens one and pops a few pills in his mouth, then puts the bottle back. He opens the other bottle and shakes out two pills, holding them out to Zorra.
STRANGE MAN Aspirin- for the swelling. Don’t think it counts as a drug.
She looks it over, then takes two pulls from it herself and pops them in her mouth.
He hands her the towel and antiseptic and indicates down the hall. ZORRA 03-25-2014 67.
STRANGE MAN The bathroom is down the hall.
She takes the antiseptic and cloth.
INT. LOFT, BATHROOM - MOMENTS LATER
Zorra stands in front of a large mirrored wall cabinet above the sink dabbing the blood from her lip. She applies the ice pack back to her cheek. Curious, she opens the cabinet and sees it filled with dozens of bottles of pills. The name on every label says, “JONATHAN KING”. We gaze with her at the bottles for several seconds. Then Zorra slowly closes the mirrored door as her reflection reappears, her hand resting gently on the glass, her expression has clearly changed.
INT. JOHNNY’S LOFT, KITCHEN - MOMENTS LATER
Zorra steps back into the kitchen. Johnny King is no longer there. She precedes through the kitchen.
INT. JOHNNY’S LOFT, HALLWAY - CONTINUOUS
Zorra steps into a hallway filled with paintings. We recognise Munch, Klimt, Renoir, Matisse, Picasso. It is an extraordinary collection.
She stops at an entry way- a large Private Gallery opens up before her.
INT. JOHNNY’S LOFT, PRIVATE GALLERY - CONTINUOUS
SEVERAL SCULPTURES line the walls of the large room, each perfectly positioned and lit. Zorra stops before an ABSTRACT SCULPTURE OF A WOMAN. Her eyes follow the intertwining lines and curves of its body.
Johnny King (The Strange Man) stands in the doorway watching as she takes in the sculptures.
ZORRA Your sculptures, Johnny King?
JOHNNY KING No. This is my collection. Mine are sold... gone. I’ve lost track... ZORRA 03-25-2014 68.
Zorra walks to the next sculpture and examines it. She turns from it and walks towards him.
ZORRA Why? Bringing me here- following me- why not just knock on my door?
They stand close.
JOHNNY KING Because it’s not as interesting.
We can feel how much she wants to touch him.
ZORRA Thank you for back there.
JOHNNY KING Escola de Belas Artes, you studied oil on canvas yes?
She looks at him surprised.
JOHNNY KING Under Victorino de Oliveira Neto- and you drop out.
ZORRA Rules?
JOHNNY KING Rules... It’s the job of the artist to break them, not run away from them.
ZORRA Yes, I know.
JOHNNY KING I run too, until I run into myself.
ZORRA I haven’t gotten there yet.
JOHNNY KING I believe you have.
The moment holds. She breaks his gaze. Looking over his shoulder she sees an odd looking sculpture of metal- her first piece she sold at Jaffe’s. ZORRA 03-25-2014 69.
ZORRA The first sculpture I ever sold.
Further down she sees her second sculpture, the mishmash female body made of metal, stone, wood and plastic, the mirror for its head. Johnny turns and walks towards them. Zorra follows gently taking his hand, like a child. They stand together as she looks into the oval mirror that sits atop its neck, she sees her face. She breaks her stare from the sculpture and looks at Johnny. He indicates to the far wall- Zorra turns. On top of a pedestal, perfectly placed and immaculately lit, is the HEAD OF GRANITE with the fracture down the middle of its face. ZORRA’S STUNNED. Johnny guides her toward it. The sculpture is dramatic and powerful.
ZORRA That belongs at the bottom of the river.
JOHNNY KING Really? Are you sure?
ZORRA (looking into his eyes) I got confident, used a chisel I hadn’t used before- stupid mistake.
JOHNNY KING Or the chisel showed you something... I gave it to you because it was good to me. It seems it was good to you.
INT. JOHNNY’S LOFT, STORAGE VAULT - MOMENTS LATER
Johnny King pushes through a set of heavy double doors into a large sprawling chamber. Pallets of stone, more sculptures and large wooden boxes fill the room.
In its center stands a MAGNIFICENT BLOCK OF PINK VEINED MARBLE. The monolith towers above Zorra and Johnny. It’s display lights dive into the translucent stone reflecting it like water.
JOHNNY KING It’s from Pietrasanta in Italy- from a unique vein of marble. One of a kind. ZORRA 03-25-2014 70.
ZORRA It’s... beautiful.
JOHNNY KING It’s yours.
Zorra stands before the block of stone searching for words.
JOHNNY KING Along with my tools.
ZORRA I don’t know the first thing about marble.
JOHNNY KING Intuition, cojones and intuition. *
She takes him in. Then she touches his face memorizing it with her hands like a blind person.
JOHNNY KING So it is settled. I’ll draft the necessary papers to make it official. Now you must excuse me. I must prepare.
Zorra withdraws her hands from his face.
ZORRA (tears gathering in her eyes) For what?
INT. JOHNNY’S LOFT, FREIGHT ELEVATOR - LATER
We watch Zorra descend in the elevator.
INT. TONY’S GYM, LOCKER ROOM - CONTINUOUS
Max sits on a bench in a deserted locker room. His knee bounces restlessly and his mind races. The door bangs open and Tony stands at the entrance.
TONY You alright?
Max composes himself. ZORRA 03-25-2014 71.
MAX Yeah. Fine.
TONY Good. We got a real match comin’... you need to turn the corner tonight.
Max doesn’t answer.
TONY Come on, your turn for sparrin’.
MAX Be right there.
Tony eyes him with concern, then leaves, closing the door behind him.
Max notices his knee shaking.
INT. GARAGE - LATER THAT NIGHT
Zorra locks and bolts the door.
She falls onto her bed fully clothed. She unties the yellow pouch with the money Jaffe gave her and puts it beside her, she notices her hands are shaking.
INT. TONY’S GYM - LATER THAT NIGHT
Max spars with A BIG GUY and he’s holding his own this time, not longer a slave to his anger. A Whistle: Max goes to his corner. Tony squirts water at him.
TONY Good! Lookin’ good Max. Remember that left jab- he’s a sucker for it.
Max nods, goes back into the ring- fights hard. Some good boxing going on. Max stands his ground- Tony catches his attention, indicates to go for the jab. He does.
It doesn’t work out. BLAM!- He takes a hard one to the chin and goes down and recovers. Gets back up and returns to his corner. ZORRA 03-25-2014 72.
TONY Better. A bit better.
INT. GARAGE - DAY MORNING
Zorra turns on the radio Eddie repaired. It works.
She lifts the garage door which rises with a screech and discovers Eddie looking pale, sweaty, shaky standing just outside right in front of her holding her discorded portfolio. Some used cans of paint at his feet.
Zorra and Eddie lock eyes. Their hands holding the portfolio. Suddenly she sees Eddie, his deep wounds and his struggle to overcome them.
ZORRA (cautious, tender, challenging) Are you good with a brush?
INT. GARAGE - MONTAGE
Zorra empties a can of paint into a roller tray. Eddie crumples into a chair and watches.
CUT TO:
Eddie uses all his strength to the simple task of applying the paint to the wall, with upwards and downwards strokes. He falters in pain.
ZORRA (in a reassuring voice) Eddie!
He carries on.
CUT TO:
Eddie attempting to open the locked garage door.
EDDIE (howling) Get me some stuff you fuck. Get me some stuff you fuck!
CUT TO: ZORRA 03-25-2014 73.
Eddie curled up in a ball on the floor screaming unintelligibly. Zorra kneeling some distance apart holding her head in her hands.
CUT TO:
Zorra crouches by the toilet bowl cradling Eddie’s head in her hand and he tries to bash it against the porcelain vomiting his guts out.
CUT TO:
Eddie lies in Zorra’s bed covered in sweat and shivering, but the worst is over. Zorra nods off in a chair. A blanket wrapped around her.
INT. BIG MOMMA’S - NIGHT
Zorra sits eating a sandwich. Eddie is by her side. He looks exhausted but he manages to eat.
Big Momma approaches to refresh coffee. Eddie feebly offers a $20 note. Momma raises an eye bow.
ZORRA (to Momma) C’mon he owes you.
Momma takes the money. On the television, suddenly a picture of Johnny King appears on the screen. Zorra perks up.
NEWS ANCHOR -the death of Johnny King this morning after a long battle with an undisclosed illness, stated a representative of the King estate. King is survived by no family and his extensive collection of paintings and sculptures has been willed to the New York City Museum of Modern Art. The enigmatic and eccentric King shot to fame and international acclaim by redefining-
INT. TONY’S GYM - CONTINUOUS
Max stands motionless by the punching bag gazing at the tv screen on the wall. ZORRA 03-25-2014 74.
INT. BIG MOMMA’S - CONTINUOUS
Zorra looks like she’s been sucker punched. Big Momma notices.
BIG MOMMA You knew him?
ZORRA Yes...I did.
EXT. ALLEYWAY - LATER THAT NIGHT
Zorra walks to her garage, A BLACK RANGE ROVER with tinted windows is parked in front, engine running. The car door opens and Johnny King’s assistant, a kind, enthusiastic giant of a man gets out and approaches
ASSISTANT Miss Zorra de Silva?
ZORRA Yes.
He holds out an envelope to her. Zorra takes it.
ASSISTANT Mister Jonathan King has willed to you one block of marble. This is title and deed. You are to make arrangements to pick up said item as soon as possible. Thank you.
The Assistant nods his head to her and makes his way back to the car. Zorra opens the envelope and looks at the papers inside. He gets into the car.
ZORRA Sir! Wait a minute!
Zorra runs to the car. The window rolls down.
ZORRA Sorry, what do you mean pick it up?
ASSISTANT There’s no provision in Mister King’s will for transporting the marble to you. ZORRA 03-25-2014 75.
ZORRA But it’s a couple’ o tons-
ASSISTANT Miss de Silva, I’ve got a whole list of people to visit, so just figure out a way. Good evening.
The window rolls up and the car drives away. Eddie comes out of the garage door carrying a screw driver and a spanner.
EDDIE I told you he was rich.
ZORRA You knew who he was all along didn’t you?
INT. TONY’S GYM - LATER THAT NIGHT
Zorra enters. BODY BUILDERS pump iron, BOXERS spar in the ring. Max pounds a bag in the corner, Tony holds it steady and cheers him on. Zorra ignores the stares and makes her way over to Max.
ZORRA Hi, Max.
He sees her face, still healing.
MAX Oh, wow. Are you okay?
ZORRA Yeah. Got mugged, another angel saved the day.
MAX This city, jeez- (noticing Tony who glares) Oh hey- this is Tony- my manager. Tony, Zorra- (as if to explain) ...she’s an artist.
ZORRA Max, what happened other night.... ZORRA 03-25-2014 76.
Tony rolls his eyes and gives them some space. He eyes Zorra disapprovingly as he walks toward the ring and yells at the sparring boxers.
ZORRA The way I acted...
MAX Okay, well, you scared me pretty good there.
ZORRA I know... and I need your help.
MAX Uh oh, that's what we call the end around, you say your sorry then you ask me for something.
ZORRA Yep. I’m one of those artsy pshyco types.
MAX Hey, I didn’t mean nothin’. (beat) It’s just sometimes I try to fix things. I end up in situations that are bad for me and don’t help everyone, you know?
Zorra studies him.
ZORRA Yeah, I know.... You are not talking about me are you?
Tony comes back to hold the bag for Max who snaps to.
TONY Tick tock Max.
MAX (steading the bag) I got my first pro fight coming up, I gotta stay focused.
ZORRA Yeah, okay. I understand. ZORRA 03-25-2014 77.
MAX I'm sorry.
Zorra turns to go. Max starts pounding the bag.
ZORRA Max!
Max stops punching the bag.
ZORRA (shares a realization) I need someone to help me take the blows.
Zorra turns around and walks out the door. Max watches her go. He tries to turn his attention back to his punching bag but can't. He takes his gloves off and heads for the door.
Tony shakes his head, shit- women... always trouble.
EXT. TONY’S GYM - MOMENTS LATER
Max sees Zorra get into her taxi. He jogs after her.
MAX Zorra!
She stops.
MAX So what is it you need help with?
ZORRA I need to transport something to my garage. It’s big, like a couple of tons big.
MAX Shit.
A grin takes over his face, she grins back at him.
EXT. JOHNNY KING’S WAREHOUSE - DAY
Over the entrance to the warehouse in lights, “FOR ONE NIGHT ONLY: JOHNNY!” ZORRA 03-25-2014 78.
On either side of the entrance are classic 1920s movie posters, Johnny King’s face surrounded by a swirl of movie stars from 1920s.
We see people filing in to the building elegant up beat all dressed and made up like actors in a 1920s silent movie. Amongst them are Keystone cops; Buster Keatons; Charlie Chaplins; Mary Pickfords; Laurel and Hardys. Children are amongst them appropriately dressed.
A LARGE FLATBED TRUCK with crane pulls in behind Max’s parked truck.
INT. MAX’S TRUCK - CONTINUOUS
Max looks out the window toward the building.
MAX Johnny King?
ZORRA You know who he is?
MAX Kinda.
ZORRA You knew him?
MAX Turns out he liked boxing and rust.
Zorra looks at Max thoughtfully, putting it together.
ZORRA You and Johnny met?
MAX Yeah, like I said.
Max looks at her, not yet up to speed. Then he puts it together too- Johnny had a plan all along. Max smiles.
MAX Fucking guy...
She smiles ruefully- yeah, fucking guy. Zorra hands Max a hand full of sweaty grubby hundred dollar bills. He flattens them and counts. ZORRA 03-25-2014 79.
ZORRA Is it enough?
MAX I pulled some favors, it’ll work.
EXT. JOHNNY KING’S WAREHOUSE - CONTINUOUS
People still filing in. Max and Zorra step out of the truck. Tony, the trainer, steps out of the Flatbed.
MAX Tony, you know Zorra. Zorra, Tony.
Tony and Zorra great each other.
TONY Listen Maxi, I got my bro’s all day but the sooner I get er back the better if you know what I mean.
ZORRA Tony, I don’t want you to get spooked or anything- its a huge chunk of rock.... and it’s all the * way up there.
She points upstairs above the loading bay.
TONY (throwing a glance at Max and indicating Zorra) Trouble! (then turning warmly to Zorra) Let’s check it out.
INT. JOHNNY’S LOFT, FREIGHT ELEVATOR - MOMENTS LATER
Zorra, Max and Tony stand in the elevator as it stops and the doors open. THE ASSISTANT WHOM WE SAW EARLIER greats them warmly dressed as OLIVER HARDY in full costume and in character.
ASSISTANT/OLIVER HARDY This way folks. ZORRA 03-25-2014 80.
INT. JOHNNY’S LOFT, STORAGE VAULT - MOMENTS LATER
THE MONOLITH MARBLE stands in the center of the room glistening in the sunlight shining through the windows. Tony is a bit taken aback.
TONY No elevator?
ASSISTANT/OLIVER HARDY (fluttering his tie) Mr. King had it removed. Hum hum hum.
TONY (as if he is in a mad house) Great.
Max eyes a hatch.
As the men plan Zorra starts to wander, looking at the various boxes, sculptures and blocks of stone.
MAX (O.S.) So if we can get this hatch off we can bring everything up through here, put the truck right underneath and let the stone right down on it.
She sees a leather case laying on its side on a small table. Curious, she pops its latches and opens it. Inside are an assortment of used mallets and chisels secured snugly in place. Above each tool is a small plaque with the name of the tool engraved on it. The plaques read, “La Mazza”, “Gili Scalpelli”, “La Subbia”, etc.
TONY (O.S.) So we got to get the rock on its side, roll it over here and hoist it down.
Zorra notices another case. She opens it revealing an assortment of hammers and hand drills.
MAX (O.S.) Easy enough. ZORRA 03-25-2014 81.
TONY (O.S.) If we can even get it out of here it’s gotta be hauled on its side. Standing it back up is gonna be the real problem.
Zorra notices the doors to Johnny King’s loft are ajar. She looks back to the men who are all preoccupied. Max senses her eyes on him and holds her gaze.
INT. JOHNNY’S LOFT, HALLWAY - CONTINUOUS
Zorra walks through the loft’s now empty hallway. She hears the strident opening cords of classical silent movie music played on an up right piano. She follows the sound.
INT. JOHNNY’S LOFT, PRIVATE GALLERY - CONTINUOUS
Zorra enters the gallery.
THE CROWD OF PEOPLE dressed as the silent movie stars, all scamper to their pre-assigned places. *
JOHNNY KING’S CLEAR PERSPEX CASKET bursts in through the * opposite doors of the gallery carried by 6 keystone cops. *
(INGMAR BERGMAN’S DEATH stands in the corner brooding). *
The lead keystone cop frequently blows a whistle and points abruptly changing the direction of the coffin. Some of the crowed react in choreographed horror others rush after it in exaggerated euphoria.
All of this action is being filmed on three strategically placed ancient hand cranked 8 millimeter cameras.
Zorra frozen to the spot like a delighted child takes it all in.
Assistant/Oliver Hardy approaches Zorra, slightly out of breath and smiling. He is accompanied by his STAN LAUREL.
ASSISTANT/OLIVER HARDY We are filming, and it’s a closed * set. * (MORE) ZORRA 03-25-2014 82. ASSISTANT/OLIVER HARDY (cont'd) (referring to the figure * of “Ingmar Bergman’s * Death” in the corner -- * pointing to him) * Death’s orders. *
STAN * And you can’t fight death, death * always wins. *
He guides her out, back into the hallway.
ZORRA Where did all the sculptures go?
ASSISTANT/OLIVER HARDY To wherever Mr. King willed them. (motioning down the hallway) Please.
INT. JOHNNY’S LOFT, STORAGE VAULT - CONTINUOUS
Zorra rejoins Max and Tony. LAUREL AND HARDY stand at the door.
ASSISTANT/OLIVER HARDY As you have discovered already, Miss de Silva, these cases of tools are now yours. Excuse me gentlemen.
Max and Tony stop their work.
ASSISTANT/OLIVER HARDY I have unlocked that door for you.
Max looks to a side door.
ASSISTANT/OLIVER HARDY It leads to a stairwell. You can exit and enter from there.
STAN Good luck.
The DUO exit closing the double doors. A loud metallic lock slips into place. ZORRA 03-25-2014 83.
TONY (bemused) What the fuck.
Zorra, Max and Tony stand in the storage room looking at the marble monolith.
ZORRA Do either of you know how this is gonna work?
Max shrugs.
MAX We googled it.
As the sound of a car door slams outside, Max opens the door for SIX GUYS carrying boxes of rope and various supplies. Some wear “Tony’s Gym” sweatshirts. Lively greetings exchange and everyone is in awe over the stone.
INT. JOHNNY’S LOFT, STORAGE VAULT/LOADING BAY - MONTAGE
Crowbars slip into place underneath the hatch. With grunts and yells the hatch is pried from the floor.
Hands grip the edges of the hatch and bulging muscles pull it away revealing a large rectangular hole looking down into the Loading Bay.
Fingers turn on TWO WAY RADIOS.
The Flatbed backs into the Loading Bay, stops right beneath the hole in the floor.
Max lowers a thick rope down into the Loading Bay. Attached to the rope, Max and a few of his buddies hoist up a hook and chain.
The music from Johnny King’s show drifts through the building dramatic cords on the piano.
INT. JOHNNY’S LOFT, PRIVATE GALLERY/STORAGE VAULT/LOADING BAY - MONTAGE
Harnesses are positioned around the marble and cranked tightly to it. ZORRA 03-25-2014 84.
Max and Tony stand on one ladder as they lift the hook and chain over a ceiling support beam.
A couple of other guys stand on another ladder grabbing the hook and running it over another support beam.
Zorra pitches in, working alongside the guys.
INT. PRIVATE GALLERY - CONTINUOUS
The head keystone cop spots ‘Laurel and Hardy’ standing about three feet apart in a soft pool of light.
The piano continues in low rumble of cords.
The head keystone cop blows his whistle and points to Laurel and Hardy charging the coffin towards them.
INT. STORAGE LOFT LOADING BAY - CONTINUOUS
Thick ropes hang from the hook above the marble and are fastened to its harnesses. The chain connecting to the hook is fastened to thick rope that runs along the floor and down to the Loading Bay.
Other ropes are wrapped around the marble. Several men stand at the end of these ropes ready to pull the marble toward them once it is lifted. Max holds a TWO WAY RADIO.
He walks over to the hatch and looks down to the Flatbed.
MAX Everyone in place?
Several “Yes’s” sound.
INT. PRIVATE GALLERY - CONTINUOUS
Johnny’s clear perspex coffin is placed on it’s end by the keystone cops who steadies it and back away. We now see that Johnny King’s coffin has been skillfully wired into a performance pose. He is now flanked by Laurel and Hardy who hold the exactly the same pose. A moment of total silence. ZORRA 03-25-2014 85.
INT. STORAGE LOFT LOADING BAY- CONTINUOUS
Tony turns the ignition on the truck and the engine comes alive. He slowly inches the truck forward.
The chain and hook above the marble begin to move.
INT. PRIVATE GALLERY - CONTINUOUS
The camera pans over a sea of silent movie faces.
INT. STORAGE LOFT LOADING BAY - CONTINUOUS
MAX Now!
Men pull on the ropes wrapped around the marble to swing it toward them at an angle.
Tony steps on the brake and puts the gear in “Reverse”.
The marble catches slack from the trucks movement and jerks violently. A bolt from the ceiling trellis gives way as bits of concrete fall to the floor. The trellis holds in place, creaking and pulling on its bolts.
The truck starts to slowly inch backwards. The men yell and grunt as they try to hold the marble at an angle.
INT. PRIVATE GALLERY - CONTINUOUS
Either side of Johnny, Laurel and Hardy start signing ‘In The Blue Ridge Mountains of Virginia’. Laurel, Johnny and Hardy appear like a trio. The moment is incredibly sweet.
INT. JOHNNY KING’S WAREHOUSE, LOADING BAY - CONTINUOUS
All we hear is the angelic strains of the ‘The Blue Ridge Mountains of Virginia’.
The marble is slowly let down onto the roller board. As the men pull it to an angle and as the chain let’s it down, the marble rests on its side.
Cheers erupt as everyone gets behind the marble and rolls it over to the hatch. ZORRA 03-25-2014 86.
Inch by inch the marble lowers toward the flatbed. Max and the men hold ropes and crank on pulleys. As the marble descends toward the flatbed another series of ropes and pulleys crank its end up.
Slowly the marble becomes horizontal and is gently let down on the truck.
EXT. JOHNNY KING’S WAREHOUSE - CONTINUOUS
The keystone cops, with perspex box aloft, and * performer/mourners stand eerily still. Frozen in mid- * movement. *
Emerging from the warehouse, is a camera operator who * hurriedly sets up his old 8mm camera. He cranks it, * Assistant/Laurel jumps in front of the camera with a * clapboard. He claps it. Stan yells out “Action” and the * frozen group of keystone cops and performer/mourners move * again. Keystone cops take Dead Johnny in the clear perspex * box into a waiting hearse. It drives off. The performer * mourners carry on in melodramatic silent despair. Stan yells * “cut!” And everyone drifts away, congratulating each other * on a great acting job. (You were so good! No, you were! Etc.) *
Zorra watches this from a distance as the flatbed truck * slowly pulls into the street.
The marble is secured. Max and the men watch. Zorra joins them, carrying her two cases of tools as Max waves a couple of guys off.
A few of the others say their good-byes as well.
INT. MAX’S TRUCK - MOMENTS LATER
Max drives, Zorra observes him.
ZORRA Thanks.
Max keeps his eyes on the road, smiles gently and nods ever so slightly.
Johnny’s hearse drives down a parallel street. As they both cross an intersection, Zorra turns and sees the hearse in the distance, we stay on Zorra as it gets lost in the traffic and hidden behind buildings- gone forever. She gazes after it. ZORRA 03-25-2014 87.
EXT. COOPER UNION, BUSY DOWNTOWN CITY - MOMENTS LATER
Max and Zorra sit side by side in the truck, stuck in traffic.
Homeless people sell clothes on the side walk, college kids exit NYU laughing, kissing, rushing people enter the subway, NY life hurries past this magnificent work of art and takes no notice.
Zorra leans forward in slight tension. She turns to find him gazing at the CUBE STATUE.
She starts to speak surprised by her own words.
ZORRA Have you ever wanted to go back? Back before you stopped believing in happy endings?
At the sound of her voice Max holds his gaze on the statue not wishing to break this moment.
MAX (turning to the traffic ahead) Zorra, before ... I’d stopped believing in happiness being a part of anything I was ever going be.
ZORRA And now?
MAX Right now, I’m happy.
ZORRA So am I.
They hear a gentle beep of a horn and they move on with the rest of the traffic.
EXT. GARAGE - MONTAGE
Zorra opens the garage door. The sun sets as the crane slowly moves the marble from the flatbed.
Vera stands in the garage having been waiting for Zorra. She looks different, poised and confident. Zorra takes it in and smiles. ZORRA 03-25-2014 88.
VERA Need a hand?
ZORRA Sure.
Zorra, Vera, Max and the others manipulate ropes to straighten and steady the load onto the roller board. Just as it seems the crane can’t take any more the marble sets down on the roller board.
The crane swings back into position and Tony starts to clean up the flatbed and stow everything away, the guys head out.
TONY Sorry Maxi, gotta get this thing back. But I can leave some gear for you- the roller, some of the ropes and pulleys.
ONE OF THE GUYS Yeah Max, taken my kid to the game tonight.
ANOTHER OF THE GUYS I gotta go too.
MAX Hey, no problem. If you could just help me push this thing inside that’d be great.
They all push in.
INT. GARAGE - CONTINUOUS
Max approaches Zorra and the marble- The ceiling’s too low.
Max thinks for a moment. Vera interjects.
VERA This place could use a bit more light anyway.
CUT TO:
INT. GARAGE - CONTINUOUS
Max climbs a ladder, electric saw in hand. ZORRA 03-25-2014 89.
ZORRA Are you sure about this?
VERA (smiling defiantly) Absolutely.
The screeching and grinding of an electric saw cuts into the ceiling.
Zorra and Vera start to scream excitedly.
INT. GARAGE - LATER
Heavy ropes harness the marble and lead to a pulley which leads to a crankshaft. From another pulley ropes lead up through the hole in the ceiling and down toward Max’s truck.
The other ropes lead from the pulley along the floor and to Max’s truck. It looks like a spider’s web- all leading to Max’s truck.
Max tests his footing and practices his motion, Zorra and Vera are ready to go.
MAX Help me with the crank if it looks like I’m fading and... (gets ready) cross your fingers.
Max readies his footing, adjusts his grip on the crank. He puts force on the crankshaft, slowly, it starts to turn. He yells as the crank makes a full rotation and the ropes become taut.
MAX Riiiiight on!!
The marble doesn’t move.
They pause to catch their breath. It’s not going well.
EDDIE (O.S.) Give me a place to stand and I’ll move the world.
They all turn to see Eddie has shown up, as he tends to do, * out of nowhere. He’s gazing at the pulley. * ZORRA 03-25-2014 90.
EDDIE Archimedes. Levers. Your pulley is in the wrong place. (pointing) ) It should be there. Trust me.
ZORRA (without hesitation) Okay. Let’s move it.
Eddie looks longingly at the big marble rock. *
EDDIE * (sighing) * If only that was one big crack * rock. *
Zorra looks at him with concern. *
EDDIE * Sorry. Musings of an ex-druggie. * (beat) * It’s been fun, but gotta go. *
He winks at Zorra. She smiles. He leaves. *
INT. GARAGE - LATER
The pulley has been moved to Eddie’s suggested position.
Zorra, Vera and Max all put their full force on the crank.
They groan loudly as they use all their might, the ropes inch through the pulleys, the marble budges. They throw their weight against the crank and it rises another inch. With all their power they continue to crank, and the marble begins to slowly stand.
Sweat pours. They grunt and yell with every rotation. Their bodies are close.
The front of Max’s truck starts to lift off the ground and roll slightly toward the garage. Zorra sees this.
ZORRA Max!
Max doesn’t stop. The blood vessels in his neck and head bulge. His cranking becomes slower and slower. ZORRA 03-25-2014 91.
The marble continues to rise- they double their efforts. The front of Max’s truck rises dangerously higher, to almost a forty-five degree angle.
The marble gives its last inch and stands up on its own weight, perfectly balanced.
Max let’s the pressure go and the taut ropes loosen and fall as the front of Max’s truck crashes to the ground and bounces on its suspension.
The FULL MOON spills through the hole and onto the marble. It glistens. Zorra goes to the marble and presses her body * against it. Caressing the cool stone. Max goes to the other * side of her and mimics her gesture, his body barely touching * hers. But touching. Vera goes to the other side of Zorra, * hugging the marble, also barely touching. *
Max then takes the hand that is closest to Zorra and starts * to caress her backside. She moans from the touch. Vera * takes her adjoining hand and does the same to Zorra. Zorra * moans. Vera and Max explore her body, Max with his right * hand, Vera with her left on either side of Zorra. The sexual * heat becomes so strong that they all organically move away * from the marble and begin to make love (yes love) -- as this * is the beginning of the Max, Zorra, Vera love affair. Like * artists Frieda and Diego, love doesn’t have to be confined to * two. *
We only see the beginning of their love-making. Let our * imaginations take over on how they find their way. *
CUT TO:
INT. GARAGE - MORNING *
The three of them are mangled on top of one another on the * bed. They are asleep. *
MORPHS INTO: *
INT. GARAGE- NEXT MORNING *
The three of them are mangled on top of one another on the * bed. They are asleep. There is some of Max’s things * littered around the house: boxing gloves, male underwear * strewn about, shaving cream, etc. * ZORRA 03-25-2014 92.
Vera’s things are littered in and around Max’s and Zorra’s * things. Vera type items, like flowers in vases, curling * irons, blow dryers, diet food. *
MORPHS INTO: *
INT. GARAGE- THE MORNING AFTER THAT *
The three of them are mangled on top of one another on the * bed. They are asleep. More of Max’s things invade the * garage room, like a boxing bag hung up. More of Vera’s * belongings are strewn about. *
SMASH CUT TO: *
C.U. ZORRA ON TOP OF SCAFFOLDING GETTING READY TO MAKE HER * FIRST INCISION OF THE DAY OF THE MARBLE. *
There’s an image already emerging. Is Vera and Max there? * We don’t know, as we are in C.U. But be that as it may, even * if they were there, she wouldn’t know. There could be a * crowd of 1000’s and she would be alone in her world. *
(The following V.O. is coming from JOHNNY KING. It makes us * wonder, is this voice coming from the heavens? Is it the * voice of memory coming from Zorra? Or is Johnny still alive? *
Performance art to beat all performance art. His final coup * de grace? We don’t know. We will never know.) *
As Zorra readies the marble to begin, we hear: *
JOHNNY KING V.O. * I bequeathed my art to the museum. * It is up to them to decide what is * deemed suitable for their * collection. I told you it doesn’t * matter if they choose your pieces. * If they take none of yours, then * you will be defeated. If they take * only one, then you will wonder why * the other pieces weren’t good * enough. If they take all three, * you will have ego. Ego destroys * your ability to create. I have * passed you the baton. Make me * proud. *
Zorra positions her chisel at an angle. * ZORRA 03-25-2014 93.
IN SLOW MOTION we see the mallet pulled back and then forward striking the handle of the chisel. The chisel cuts into the rock like a bullet. We see a spray of marble dust and chips * explode filling the screen. She cuts herself. She’s bleeding. * The blood mixes into the marble dust. We move into ECU to * the marble dust and the blood mixing together, forming a * pasty rivulet. *
CUT TO BLACK:
THE END