Emilia Perez
Executive Summary
Poster
Overview
Genres: Drama, Thriller, Crime, Legal, Social Commentary, Musical, Legal Drama, Action, Family, Mystery, Political, Social Issues, Romance, Conflict, Relationship
Setting: Contemporary, Mexico City and various locations in Mexico, including a villa in Lausanne, Switzerland, and a clinic in Bangkok
Overview: In 'Emilia Perez,' the story unfolds in the vibrant yet perilous backdrop of Mexico City, where Rita Mora Castro, a passionate defense attorney, grapples with the complexities of justice and personal identity. The narrative begins with a violent incident that sets the stage for Rita's involvement in a high-stakes legal battle for her client, Gabriel Mendoza, who is entangled in a web of crime and corruption. As Rita navigates the challenges of her profession, she becomes increasingly aware of the societal issues surrounding her, including the pervasive violence and the struggles of women affected by crime. The middle of the story sees Rita's journey intertwining with that of Emilia, a woman seeking redemption and grappling with her own past, as they both confront the harsh realities of their lives. The climax builds as Rita must make a pivotal decision that tests her moral compass, leading to a confrontation with the darker elements of her world. The story culminates in a powerful exploration of identity, resilience, and the quest for justice, leaving the audience to reflect on the complexities of love, loss, and the fight against systemic corruption.
Themes: Corruption and the Cycle of Violence, Justice and Redemption, Identity and Transformation, Love and Loss, Female Agency and Resistance
Conflict and Stakes: The primary conflicts revolve around Rita's fight for justice for her clients, Emilia's struggle with her past and her desire to help the missing, and Jessi's internal conflict regarding her family's legacy and her new life. The stakes include personal safety, emotional well-being, and the quest for redemption.
Overall Mood: Tense and reflective, with moments of dark humor and emotional depth.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene sets a tense and violent tone as a woman is thrown from a window, establishing the stakes of the narrative.
- Scene 10: The mood shifts to somber and reflective as Rita leads a chant for justice, contrasting personal tragedy with societal issues.
- Scene 20: The emotional tone is tense and chaotic during the confrontation between Jessi and Emilia, filled with underlying resentment and frustration.
- Scene 30: The mood becomes somber and reflective as Rita receives a disturbing package, highlighting the horror and urgency of the situation.
Standout Features:
- Unique Hook: The intertwining stories of a lawyer, a cartel leader, and a widow navigating their complex lives against the backdrop of violence and justice.
- Plot Twist: The revelation of Emilia's past and her connection to the cartel, which complicates her relationship with Rita and Jessi.
- Distinctive Setting: The contrasting environments of Mexico City, a luxurious villa in Switzerland, and a clinic in Bangkok highlight the characters' journeys.
- Innovative Ideas: The exploration of identity and transformation through the lens of personal and societal struggles.
- Genre Blends: A mix of legal drama, thriller, and social commentary that appeals to a diverse audience.
Comparable Scripts:
- The Night Of
- Roma
- The Handmaid's Tale
- The Godfather
- The Kite Runner
- Narcos
- A Streetcar Named Desire
- The Invisible Man
- The Girl with the Dragon Tattoo
Writing Style:
The screenplay exhibits a diverse yet cohesive writing style, blending elements of intense dialogue, complex character interactions, and exploration of moral dilemmas. It incorporates both gritty realism and moments of poetic lyricism, sometimes within the same scene. The narrative frequently features suspenseful situations, unexpected twists, and morally ambiguous characters, often against rich cultural backdrops. There's a significant focus on emotional depth and internal conflicts, with a tendency towards character-driven narratives that delve into themes of identity, family, and societal pressures.
Style Similarities:
- Quentin Tarantino
- Guillermo Arriaga
- Alejandro González Iñárritu
Pass/Consider/Recommend
Consider
Explanation: The screenplay for 'Emilia Perez' is a complex and ambitious story that explores themes of identity, love, and the impact of violence in Mexico. The narrative follows the intertwining lives of several characters, including Emilia Perez, a transgendered woman, and Rita Mora Castro, a lawyer who becomes involved in Emilia's life. The screenplay delves into the challenges faced by marginalized individuals, the complexities of family dynamics, and the corruption within Mexican society. While the script showcases strong character development and thought-provoking themes, it also exhibits some areas for improvement in terms of pacing, clarity, and cohesion. Overall, the screenplay has the potential to be a compelling and impactful feature film, but would benefit from further refinement and polishing.
USP: What sets 'Emilia Perez' apart is its blend of legal drama with a deep exploration of personal identity and societal issues, particularly in the context of violence in Mexico. The screenplay's unique perspective on the lives of women affected by crime and their resilience makes it compelling for audiences interested in character-driven stories that reflect real-world issues.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in drama, legal thrillers, and social issues.
Marketability: The screenplay has the potential to attract a wide audience due to its compelling characters, relevant social themes, and the exploration of the complexities of life in contemporary Mexico.
The unique blend of legal drama and personal stories, along with a diverse cast, can resonate with audiences looking for depth and authenticity.
While it tackles serious themes, the potential for dark humor and emotional moments can appeal to a broader demographic, though it may limit mainstream appeal.
Profit Potential: High, due to strong appeal to a wide adult audience, potential for award nominations, and the ability to generate discussions around social issues.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a potent blend of gritty realism and poetic introspection. The narrative seamlessly weaves together vivid imagery, intense action sequences, and emotionally resonant dialogue, often incorporating Spanish to enhance authenticity and cultural depth. The writer displays a keen eye for detail, capturing both the chaotic energy of Mexico City and the quiet, internal struggles of the characters. There's a recurring theme of juxtaposing violence and beauty, celebration and despair, creating a compellingly complex and morally ambiguous world.
Best representation: Scene 3 - Voices of Justice in the Night Market. This scene is the best representation because it encapsulates the writer's signature style most effectively. It masterfully combines the visceral imagery of street violence with Rita's introspective narration, showcasing both the external chaos and internal conflict that define the screenplay. The seamless transition between the quiet contemplation and the erupting chaos perfectly mirrors the unpredictable nature of the world the characters inhabit, highlighting the writer's ability to create a powerful emotional impact through carefully crafted juxtapositions.
Memorable Lines:
- Rita: Changing the body, changes Society. Changing Society, changes the soul. Changing the soul, changes Society. Changing Society, changes it all. (Scene 14)
- Manitas: I was entitled to another life, a life of my own. (Scene 17)
- MANITAS: No me falta el cielo, no me falta el mar, no me falta la voz, pero me falta cantar. (Scene 20)
- Rita: Vengan, todos, abran las Puertas del Tribunal de su Conciencia ¡Oigan, respondan mi pregunta! ¿Podrían dar a mi cliente, el señor Gabriel Mendoza, el derecho de amar a su esposa? (Scene 4)
- Berlinger: I ask purely and simply that the case against my client Gabriel Mendoza be dismissed… (Scene 5)
Characters
Rita Mora Castro:A passionate lawyer advocating for justice, grappling with her own personal struggles and the complexities of her clients' lives.
Emilia Pérez:A strong and determined woman with a complicated past, seeking to help others while dealing with her own emotional turmoil.
Jessi Del Monte:The widow of a cartel leader, navigating her new life while facing the repercussions of her husband's actions.
Juan Manitas Del Monte:A cartel leader undergoing a personal transformation, struggling with his identity and the violent world he inhabits.
Gustavo Brun:Jessi's fiancé, whose actions create tension and conflict within the story.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Nightfall in Mexico City | Intense, Suspenseful, Dark | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
2 - Unheard Arguments | Serious, Formal, Mundane | 7.5 | 8 | 7 | 9 | 8 | 6 | 8 | 6 | 6 | 7 | 7 | 7 | 6 | 7 | 8 | 7 | 7 | 8 | 8 | |
3 - Echoes of Love and Violence | Introspective, Reflective, Emotional, Tense | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
4 - Voices of Justice in the Night Market | Serious, Reflective, Passionate | 8.5 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
5 - The Weight of Regret | Serious, Intense, Reflective | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
6 - A Moment of Triumph and Discomfort | Passionate, Reflective, Frustrated | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 6 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | |
7 - A Call for Control | Suspenseful, Intense, Mysterious | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
8 - Echoes of Defiance | Defiant, Reflective, Passionate | 8.5 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
9 - Abduction at the Newsstand | Reflective, Defiant, Intense | 8.5 | 9 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
10 - Descent into Darkness | Tense, Suspenseful, Dark, Menacing | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
11 - A Night of Transformation | Tense, Mysterious, Intense, Confrontational, Dark | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 10 | 8 | 10 | 10 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
12 - Balancing Act | Tense, Mysterious, Intriguing | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
13 - Transformation and Threat | Tense, Surreal, Dark, Intense, Disturbing | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
14 - Tension in the Waiting Room | Intense, Confrontational, Defiant, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
15 - Acceptance in the Desert | Tense, Confrontational, Defiant | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
16 - Night at Manitas' Compound | Tense, Mysterious, Intense, Suspenseful | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
17 - Echoes of Conflict | Tense, Reflective, Intense, Dark | 8.5 | 8 | 9 | 8 | 8 | 8 | 9 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
18 - Under the Stars: A Tense Encounter | Tense, Mysterious, Intense, Intriguing | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
19 - Dawn of Decisions | Tense, Mysterious, Intense | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
20 - A Song of Longing | Tense, Reflective, Emotional | 8.5 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
21 - In Hiding: A Mother's Despair | Tense, Emotional, Protective, Desperate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
22 - Shadows of the Past | Tense, Emotional, Suspenseful | 9.2 | 9 | 10 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 10 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
23 - Awakening to Gratitude | Anxious, Grateful, Hopeful | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
24 - From Recovery to Confidence | Tense, Professional, Confident | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
25 - Unveiled Intentions | Tense, Confrontational, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
26 - Unexpected Return | Tense, Anxious, Resentful | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
27 - A Warm Welcome Home | Emotional, Tense, Hopeful | 8.5 | 8 | 8 | 9 | 9 | 5 | 8 | 7 | 4 | 7 | 5 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
28 - A Night of Concern and Care | Tense, Emotional, Supportive | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 6 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
29 - Morning Discontent at Emilia's Villa | Tense, Emotional, Conversational | 7.5 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 8 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
30 - Haunted Melodies | Dark, Intense, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
31 - Market Encounters: A Shift from Joy to Sorrow | Tense, Awkward, Dark | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
32 - Whispers of Memory | Emotional, Reflective, Nostalgic | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 7 | 3 | 6 | 4 | 7 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
33 - Confessions in the Shadows | Tense, Confessional, Sinister | 8.5 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
34 - Echoes of the Disappeared | Tense, Emotional, Reflective | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
35 - A Ray of Hope Amidst Scrutiny | Serious, Mysterious, Defensive | 8.2 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
36 - Diverging Perspectives | Tense, Serious, Defensive, Resolute | 8.2 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
37 - Chorus of Hope and Redemption | Hopeful, Reflective, Emotional, Resolute | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
38 - Reflections Under the City Lights | Introspective, Reflective, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
39 - Gala of Shadows | Tense, Intense, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
40 - Shaking Foundations | Serious, Critical, Satirical | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
41 - Confronting the Past | Tense, Emotional, Suspenseful | 8.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
42 - Dark Humor in the Shadows | Intense, Emotional, Tense, Dark | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
43 - A Morning of Connection | Intimate, Reflective, Hopeful | 9.2 | 9 | 9 | 8 | 10 | 8 | 8 | 7 | 3 | 6 | 6 | 7 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
44 - A Song of Unspoken Love | Introspective, Emotional, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 9 | 7 | 4 | 6 | 3 | 6 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
45 - Empowerment in the Office | Reflective, Intimate, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
46 - Nightlife Revelations | Sensual, Intimate, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
47 - Morning Tensions | Intimate, Reflective, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 3 | 7 | 4 | 6 | 7 | 9 | 7 | 8 | 8 | 9 | 9 | |
48 - Confrontation in the Shadows | Tense, Emotional, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
49 - Fractured Bonds | Intense, Emotional, Tense | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
50 - Under Siege and Missed Connections | Tense, Suspenseful, Mysterious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
51 - A Disturbing Revelation | Tense, Emotional, Mysterious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
52 - The Mysterious Delivery | Suspenseful, Mysterious, Intriguing | 7.5 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 5 | 7 | 9 | 8 | 8 | 8 | |
53 - A Gruesome Delivery | Tense, Suspenseful, Emotional | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7.5 | 9 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
54 - Descent into Darkness | Tense, Dark, Intense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
55 - The Ambush at the Quarry | Tense, Dark, Suspenseful | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
56 - Night of Tension | Intense, Tense, Dark, Mysterious | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 10 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
57 - Shadows of the Past | Intense, Emotional, Tense | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
58 - Desperate Struggle | Tense, Dramatic, Suspenseful, Violent | 8.5 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
59 - Echoes of Loss | Sadness, Regret, Longing | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
60 - A Song of Remembrance | Mourning, Reflective, Sorrowful, Hopeful | 9.2 | 9 | 9 | 8 | 9 | 3 | 9 | 7 | 2 | 6 | 3 | 6 | 6 | 10 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - Nightfall in Mexico City
Top shot and perpendicular zoom: Mexico City. Lights shimmer
like stars, building facades lit up like video games, etc.
In the far distance, a peddler’s saturated chant: “Se compran
colchones.”
WOMAN (FROM AFAR)
Se compran,
colchones, tambores,
refrigeradores, estufas,
lavadoras,
micro-ondas…
¿o algo de fierro viejo que vendan?
EXT. APARTMENT MENDOZA - NIGHT
As we approach the buildings, we first discover empty offices,
then apartments. On the top floor of a luxury building, we make
out silhouettes behind the curtains.
WOMAN (FROM AFAR)
Se compran,
colchones, tambores,
refrigeradores, estufas,
lavadoras,
micro-ondas…
¿o algo de fierro viejo que vendan?
A woman tries to escape a man’s attack. Extreme violence.
Suddenly he grabs her, pulls her to the bay window, lifts her up
and throws her like a bundle over the railing.
Just as she hits the ground, the image freezes in a flash of
light.
INSERT COMPUTER SCREEN:
A cascade of letters form the file heading:
CASE: “GABRIEL MENDOZA”
DEFENSE SPEECH
A woman’s voice. Almost internal, and halting, as if groping for
her words in what sounds like a defense speech.
1M1 EL ALEGATO
RITA (O.S.)
Este caso, este caso, este caso
This case, this case, this case.
Ratings
Scene 2 - Unheard Arguments
A mixed noise of radio and television broadcasting video
surveillance images.
RITA MORA CASTRO is 27. Wearing braided stretch pants, a
shapeless jacket, and gold loafers, she does not look like much.
A heavy bag is slung over her shoulder.
She continues with her speech that no one seems to be listening
to.
RITA
Señor presidente, señor juez
Honorables defensores de la familia de la
difunta
Mr. President, Mr. Judge
Honorable advocates for the family of the deceased,
Honorables colegas de la parte civil
Estimados miembros del jurado, estoy de
acuerdo con mis colegas de la fiscalía,
Honorable colleagues of the civil party
Dear members of the jury, I agree with my colleagues from
the prosecution,
Este caso es un caso demasiado mundano
Es un caso de violencia
This case is too mundane a case.
It is a case of violence,
She sees her reflection in the fridge doors…
… opens a door, takes out a pack of frozen food. She checks the
ingredients, scowls and puts it back.
She goes to the register to pay. The cashier wears an eye patch
behind his glasses. She leaves.
Ratings
Scene 3 - Echoes of Love and Violence
Rita walks out into the empty street. She walks for a moment,
lost in thought.
RITA
Ir hacia arriba, ir hacia abajo.
Ir hacia arriba, ir hacia abajo.
Ir hacia arriba, ir hacia abajo
Ir hacia arriba, ir hacia abajo
Going up, going down.
Going up, going down.
Going up, going down.
Going up, going down.
Her words are suddenly repeated by voices behind her. She turns
around. At the end of the street, a dense crowd coming her way.
It looks like a demonstration. It engulfs her, overtakes her...
The crowd is made up of dog walkers, scooters, hawkers selling
cigarette lighters and gaudy toys, bubble machines, sandwich
men...
RITA (CONT’D)
¿De qué hablamos hoy y ahora?
Hablamos de Violencia.
De Amor. De Muerte
De un País que sufre.
What are we talking about today and now?
We are talking about Violence.
About Love. About Death.
About a Country that suffers.
Rita is carried away by the flow. At times her feet no longer
touch the ground. The milling crowd repeats her words like a
slogan: “Violence, love, death, a suffering country...“
CUT TO:
Insert: a computer screen, words: “What are we talking about
today? Violence. Love. Death. A suffering country…”
BACK TO:
RITA (CONT’D)
¿De quién hablamos hoy y ahora?
Hablamos de una pareja.
La pareja que formaba mi cliente con su
esposa la que fue asesinada.
Who are we talking about today and now?
We are talking about a couple.
The couple my client and his wife, the one who was
killed.
In the middle of what looks like a bustling market: a
sidewalk café with high stools, steaming dishes and a
sizzling barbecue. Stalls are set up, laden with goods,
awnings are stretched over Rita. Shops, conversations,
commotion... Rita is caught up in the movement.
RITA (CONT’D)
Una pareja próspera, envidiada pero una
pareja pródiga
¿Quién dime quién en México
no les quera?, por favor?
A prosperous couple, much envied, but a prodigal couple.
Who, tell me who, in Mexico
didn't love them, please?
No es ningún cuento de hadas, es una
historia de amor
This is no fairy tale.
This is a love story
Vuelvo a los hechos.
Back to the facts.
On the ground in the dark: a man is knifed and beat to a pulp.
Money changes hands. A shopkeeper counts it and hands the
customer some money.
Ratings
Scene 4 - Voices of Justice in the Night Market
Insert: images of the MENDOZAS (both in their 50s).
Husband elegant and fit. Wife, same age, overly coiffed and
made up.
Rita walks through the crowded market. Young women accompany
her, repeating her words in unison.
RITA
De qué hablamos hoy y ahora?
De justicia que se compra?
¿Con veredictos pagados,
que engordan periodico,
cuellos cortados al lado derecho,
las chicas bonitas
al lado izquierdo
y el morbo corriendo
en las calles?
What are we talking about now and today?
Of a justice that can be bought?
With paid verdicts,
fattening tabloids,
cut necks on the right side,
pretty girls on the left side
and gossip running
in the streets?
The crowd occasionally joins in the refrain.
CHORUS
Ir hacia arriba, ir hacia abajo
Ir hacia arriba, ir hacia abajo
Ir hacia arriba, ir hacia abajo
Ir hacia arriba, ir hacia abajo
Going up, going down.
Going up, going down.
Going up, going down.
Going up, going down.
RITA
¿Con veredictos pagados,
cuellos cortados,
las chicas bonitas
el morbo corriendo
en las calles?
With paid verdicts,
cut necks,
pretty girls
and gossip in the streets?
RITA (CONT’D)
Distinguir lo verdadero de lo falso
Distinguish the true from the false
A table and chair appear. Rita places her computer on the
oilcloth and types. A refreshment stand has materialized
around her.
Insert: a printer churns out her defense speech.
Someone brings her a coffee.
RITA (CONT’D)
Vengan, todos, abran las Puertas
del Tribunal de su Conciencia
¡Oigan, respondan mi pregunta!
¿Podrían dar a mi cliente, el señor
Gabriel Mendoza, el derecho de amar
a su esposa?
Come, all of you, open the Doors
of the Court of your Consciousness.
Answer my question! Will you please give my client, Mr.
Gabriel Mendoza, the right to love his wife?
CUT TO:
Insert: computer screen: “the right to love his wife?”
BACK TO:
CHORUS
Su Señoría, pido el triunfo del
Amor, de la Inocencia, la derrota
de la Mala Fe
Fe, fe, fe, fe
Your Honor, I ask for the triumph of Love,
of Innocence, the defeat of Bad Faith, faith, faith,
faith, faith, faith.
Rita continues to type frenziedly. The owner of the stand
reads over her shoulder.
RITA
Cuando hablemos de Violencia
Hablemos de Compasión.
Hablemos de nuestros Muertos
Hablemos de nuestras Sombras
Acojamos nuestro Mundo.
When we speak of Violence
Let us speak of Compassion
Let us talk about our Dead,
Let us talk about our Shadows
Let us embrace our World
Cuando hablemos de Violencia
Abramos el Corazón
Amemos a las Mujeres
Perdonemos a los Hombres
Abracemos la Miseria,
¡La Miseria!
¡La Miseria!
¡La Miseria!
When we speak of Violence
Let us Open our Hearts
Let us Love Women
Let us Forgive Men
Let us Embrace Misery,
Misery!
Misery!
Misery!
…/…
Pages come out of the printer. Rita takes them mechanically
while rereading in a hurry:
RITA (CONT’D)
… Aún así es víctima de estos
mismos medios que se han encargado
de calumniarlo. Han sometido a mi
cliente y a su pareja al escrutinio
público. Ahora todos, nos sentimos
con el derecho de apuntar con el
dedo y tener una opinión
condenatoria hacia ellos dos…
... Yet he is a victim of these same media that have been
responsible for slandering him. They have put my client
and his partner under public scrutiny. Now, we all feel
we have the right to point fingers and have a condemning
opinion towards the two of them.
OWNER
¿Más café?
More coffee?
RITA
Sí, por favor.
Yes, please.
OWNER
Ya es hora, vas a llegar tarde.
It’s time, you’re going to be late.
Rita finishes the plea while packing up the sheets and
putting the computer in her briefcase.
RITA (ON/OFF)
Sí, sí… Me parece haber desmontado
no una, sino todas las pruebas de
la acusación.
Pido pura y simplemente la
liberación de mi cliente, el señor
Gabriel Mendoza.
Yes, yes… I seem to have refuted not one, but all of the
prosecution’s arguments.
I ask purely and simply that the case against my client
Gabriel Mendoza be dismissed…
She melts into the crowd of workers taking down stands and
leaving.
Over a neutral background, we segue to: feet and lower bodies
replaced by other feet and bodies. Feet of the rich soon
replace those of the poor.
Ratings
Scene 5 - The Weight of Regret
We follow two chairs being carried by two hands. We enter
what seems to be another place: noise, reverberating
echoes...
A loud amplified voice:
MAN
¡Corte, pónganse de pie!
All rise! The judge!
Chairs are moved. Silence.
MAN (CONT’D)
Ya pueden sentarse.
Please sit.
Chairs scrape. An audience takes its place in a courtroom.
INT. MEXICO CITY COURTROOM - NIGHT
Rita watches her boss, the lawyer BERLINGER, unfold "his"
plea with poses of torero. Occasionally she mouths the words
of “her” closing argument. She pushes a sheet of paper on the
table so that Berlinger can discreetly read it.
BERLINGER
Ahora todos, nos sentimos con el
derecho de apuntar con el dedo y
tener una opinión condenatoria
hacia ellos dos. Hoy quisiera
apelar a sus conciencias señoras y
señores.
(MORE)
BERLINGER (CONT’D)
¿Ustedes creen que Gabriel Mendoza
ha levantado un dedo no en contra
de su mujer sino en contra de
cualquier mujer o persona cuando ha
hecho tanto bien a la gente de esta
ciudad?
Now, we all feel we have the right to point fingers and
have a condemning opinion towards the two of them. Today
I would like to appeal to your consciences. Ladies and
gentlemen, do you believe that Gabriel Mendoza has raised
a finger not only against his wife but against any woman
or person when he has done so much good for the people of
this city?
BERLINGER (CONT’D)
Me parece haber desmontado no una,
sino todas las pruebas de la
acusación. Pido pura y simplemente
la liberación de mi cliente, el
señor Gabriel Mendoza.
I seem to have refuted not one, but all of the
prosecution’s arguments.
I ask purely and simply that the case against my client
Gabriel Mendoza be dismissed…
Next to him, Gabriel Mendoza follows the plea with a
regretful look.
Like a flash: the body of the woman in sequence 1 continues
to plummet and crashes on the sidewalk.
On the twelfth floor, a grey-haired, well-dressed man looks
over the railing: GABRIEL MENDOZA.
Ratings
Scene 6 - A Moment of Triumph and Discomfort
In the foreground, Rita's face on the phone, behind Mendoza
and Berlinger in the spotlight of the TV cameras.
RITA
... ¿Bueno, mamá? Ganamos. Sí,
ganamos... sí, sí estoy contenta...
Pero tengo un mal sabor en la
boca... te decía que... Nada,
olvídalo... ¿el domingo? No
puedo..Tengo un buen de
pendientes... Yo también, besos
bye...
... Hello, Mom? We won. Yes, we won... Yes, yes, I'm
happy... Just a little bad taste in my mouth... I was
telling you that... Nothing, never mind... Sunday? I
won't be able to... I have a lot of work... Me too,
kisses bye...
She hangs up. Rita looks for a moment at Mendoza and
Berlinger...
BERLINGER
Ni mi cliente, ni yo no dudamos
jamas de la justicia de mi país.
Neither my client nor I ever doubt the justice of my
country.
… Suddenly something seems to annoy her, as if her pants were
too tight.
RITA
…¡No, vale madre!
Shit!
She understands. She turns around looking for someone. She
goes to a secretary deep in discussion with a lawyer.
RITA (CONT’D)
Disculpa… (al oído de la chica) ¿No
tendrás un tampón porfa? Soy un
desmadre en este momento...
Excuse me… (into the girl’s ear) Do you have a tampon?
I’m a mess right now…
Ratings
Scene 7 - A Call for Control
We hear bathroom noises. Toilets flushing, faucets, blowers,
etc.
Blood on her hands. Her phone vibrates. She wipes her hand on
toilet paper and grabs her phone with two fingers so it won't
get bloodied.
She looks at the screen. Unknown caller.
She answers.
RITA
¿Sí, qué?
Hello?
Heavy breathing.
RITA (CONT’D)
¿Bueno?
Hello?
MAN (O.S.)
¿Señora Rita Mora Castro?
Señora Rita Mora Castro?
RITA
Sí.
Yes.
MAN (O.S.)
… ¿Pero qué anda haciendo en el
baño? A quien deberían aplaudirle
es a usted.
So what are you doing in the crapper? You’re the one who
should be lauded.
Rita instinctively looks around.
RITA
…
MAN (O.S.)
¿Le gustaría ser ama y señora de su
propio destino, aunque sea una vez?
How would you like to be master of your fate for once?
RITA
¿Quién habla?
Who are you?
MAN (O.S.)
Si le interesa va a buscarla un
carro en diez minutos al puesto de
periódicos.
If it interests you, a car will pick you up in ten
minutes at the newsstand.
RITA
Es que yo...
But I…
He has hung up.
Ratings
Scene 8 - Echoes of Defiance
She is back in the corridor.
A WOMAN
Ahí ya está cerrado, hay que pasar
por la sala.
It’s closed that way. Go in through the courtroom.
She stumbles into a crew of cleaning ladies wearing pink smocks.
Rita follows them, singing, at first with her inner voice, as if
a thought were grazing her lips.
Start 1M1BIS TODO Y NADA
RITA
Después de todo
¿Cuánto cuánto tiempo más agacharé
la cabeza?
¿Cuánto cuánto tiempo más les
lameré las botas?
(MORE)
RITA (CONT’D)
¿Cuánto cuánto tiempo más les daré
mi talento?
¿Cuánto cuánto tiempo más chambearé
para nada?
After all
How long will I keep my head down?
How much longer will I kiss their asses?
How much longer will they go on exploiting my talent?
How much longer will I go on working for nothing?
CORO
¡¿Qué tienes que ganar?!
What have you got to gain?
RITA
¿Qué tengo que ganar?
What have I gotta gain?
CORO
¡¿Qué tienes que perder?!
What do you have to lose?
RITA
¿Qué tengo que perder?
Yo y mi doctorado
What have I got to lose?
Me and my PhD
CORO
XXX
Extra, extra, extra large
RITA
Yo y mi puto salario
Me and my fucking salary
CORO
XXX chiquito
Extra, extra, extra small
RITA
Yo y mi corazón de piedra
Me and my heart of stone
CORO
XXX duro
Extra, extra, extra hard
RITA
Yo y mis pompis mantecosas
Me and my fat ass
CORO
XXX
Extra, extra, extra
RITA
¿Cuánto cuánto tiempo más?
How much longer?
CORO
¡¿Qué tenemos que ganar?!
What do we have to gain?
RITA
¿Cuánto cuánto tiempo más?
How much longer?
CORO
¡¿Qué tenemos que perder?!
What have we got to lose?
RITA
Y la bola de mis dizque amigos
dice:
And all my so-called friends say:
CORO
“¿Cuándo te vas a casar?
¿a tener hijos?”
When are you going to get married?
Have children?
RITA
No tengo tiempo para hacerlos.
Y la bola de víboras me dice:
I've not got the time to have them
And the bunch of bitches say:
CORO
“¿Cuándo vas a abrir tu gabinete,
bonita?”
When are you going to open your business, honey?
RITA
¡Ya mero!
¡Cuando ya no sea prieta!
Who knows?
When I'm not black anymore!
RITA (CONT’D)
¿Por qué me llamó? ¿Por qué yo?
¿Por qué en el puesto de
periódicos?
(x 4)
Why did he call me? Why me?
Why meet at the newsstand? (x2)
CORO
¿Por qué? ¿Por qué? ¿Por qué en el
puesto de periódicos? (x 4)
Why? Why?
Why meet at the newsstand? (x2)
She walks across the room. There is a flag in the background.
The cleaning staff goes to work.
Ratings
Scene 9 - Abduction at the Newsstand
The newsstand shines like a box of light in the night. It is
plastered with tabloid covers. An assassin’s face on one of them
has been pixelated.
She continues to sing, increasingly convinced.
RITA
No tengo nada que perder
I have nothing to lose
CORO
No tienes nada que perder
You have nothing to lose
RITA
Tengo todo que ganar
I have everything to gain
CORO
Tienes todo que ganar
You have everything to gain
RITA
No tengo nada que perder
I have nothing to lose
CORO
No tienes nada que perder
You have nothing to lose
RITA
Tengo todo que ganar
I have everything to gain
CORO
Tienes todo que ganar
You have everything to gain
RITA
Nada, nada, nada
Todo, todo, todo
Nada, nada, nada, todo
todo, nada, nada, todo
Nada, todo, nada, todo, nada,
Todo, nada, todo, nada
Nothing, nothing, nothing,
Everything, everything, everything,
Everything, nothing, nothing, everything
Nothing, everything, nothing, everything, nothing
Everything, nothing, everything, nothing
CORO
Nada, nada, nada
Todo, todo, todo
Nada, nada, nada,
Todo, todo
Nothing, nothing, nothing,
Everything, everything, everything,
Nothing, nothing, nothing,
Everything, everything
End 1M1bis TODO Y NADA
Start music 1M2 Instrumental
TATTOOED GUY (O.S.)
¡Señora!
Señora!
RITA
Sí.
Yes.
She swings around. An SUV appears out of nowhere. Through the
windshield, she can distinguish the pixelated face of the
driver: NB in the film, as in the press and documentaries,
sicarios’ faces will be pixelated.
Another “pixelated” sicario climbs out of the back seat.
TATTOED MAN
¿Señora Mora Castro?
Señora Mora Castro?
RITA
... sí.
...Yes.
He slips a hood over her head...
RITA (CONT’D)
¡Ah!
Oooh!
MAN
Tranquila.
Relax!
... and pushes her inside. The car drives away.
Ratings
Scene 10 - Descent into Darkness
1M3 SUV Instrumental
Top shot: an SUV zooms through the desert. The headlights
project two beams onto the sand.
A trail of dust lingers behind. On the radio, the guttural
inflections of a cheesy narco-corrido song.
INT. SUV - NIGHT
The music continues. Rita is still hooded.
A sudden shock: The car hits a bump. Rita is brutally sent
flying to one side.
RITA
¡Ah!
Ah!
One of the men sits her up straight. Her hood slips enough to
leave a chink through which she sees: the silhouettes of the
men up front, the lights on the dashboard, the monotonous
landscape whipping by…
EXT. DESERT - NIGHT
... Then, suddenly, a ruined bridge with corpses hanging from
the railings.
EXT. DESERT - NIGHT
The SUV dims its lights and drives in the night.
On closer look, what first looked like specks of light and
clouds of dust becomes a convoy of thirty trucks in the
desert. Pickup trucks equipped with machine guns, trailers,
armored SUVs, etc.
The SUV drives alongside the convoy that slows down to stop.
End 1M3
EXT. DESERT - NIGHT
The convoy is now stopped with the engine still on.
Still hooded, Rita is escorted by the two sicarios.
On the platforms of the pickups, there are armed and
sometimes masked men, covered with dust.
In the back of a pickup there are also wounded men who are
being bandaged or given local painkillers.
We hear a noise from the sky. It's a drone that a sicario
picks up.
Rita’s POV: men’s feet, guns, voices.
SICARIO (OFF)
Dile al patrón que están a 30 km,
que tenemos que ir.
Tell the boss they are 30 kilometers away, we have to go.
… An animal presence. Suddenly a dog burrows its nose in her
crotch...
Ratings
Scene 11 - A Night of Transformation
... a few metal steps… knocks on a door... the door
opening...
SICARIO 2 (OFF)
Rosario los vió, están a 30
kilómetros. Nos tenemos que largar.
Rosario saw them, they are 30 kilometers away. We gotta
get out of here.
No comment, just the atmosphere has changed. She is sat down
and secured with a seat belt. Sound of door being closed.
After a while.
RITA
¿Hay alguién ahí?
Is someone there?
MANITAS (OFF)
¿Tiene miedo?
Are you afraid?
RITA
¿Debería?
Should I be?
MANITAS (OFF)
No.
No.
Start 1M4 EL ENCUENTRO
MANITAS (OFF) (CONT’D)
¿Sabe quién soy?
Do you know who I am?
RITA
Creo que sí.
I think so.
MANITAS (OFF)
Dígame.
Tell me.
RITA
Usted es Manitas Del Monte.
You are Manitas Del Monte.
MANITAS (OFF)
¿Y qué sabe de mi situación abogada
Mora Castro?
Counselor Mora Castro, and what do you know of my
situation?
She hesitates.
RITA
Al parecer el cártel Del Monte
tiene algunos problemas
actualmente. La prensa dice que sus
fuentes de abastecimiento se
encuentran en manos del Cártel de
Los Tiburones y que las elecciones
pasadas no favorecieron a los
políticos que lo respaldan. Quienes
todavía no lo han abandonado lo
harán muy pronto.
It seems the Del Monte cartel is having some problems at
the moment. According to the papers, the Los Tiburones
cartel has taken over your supply chain, and the last
elections didn’t favor the politicians who support you.
The ones who haven’t dumped you yet, will dump you soon
enough.
A hand rips off her hood. JUAN MANITAS DEL MONTE sits in the
dark on the other side of a desk. He tosses aside the hood
and sits back down.
They are in an armored trailer with three rows of seats to
either side of a table littered with cell phones. The light
comes from ceiling spots and reading lights. Above Rita, a
CCTV screen showing: interiors of truck cabs, the road behind
and ahead.
Manitas speaks softly, as if fatigued or disgusted.
MANITAS
No... No puedo seguir
escondiéndome, cambiando de casa,
de departamento, como se cambia de
camisa … La jubilación no existe
para la gente como yo.
No... I can't go on hiding, changing houses, flats, the
same way I would change a shirt... Peace does not exist
for people like me.
RITA
¿En qué le puedo ayudar?
How may I help you?
MANITAS
Contestar esta pregunta supondría
que ya aceptó la misión y el
secreto que conlleva. Si te digo de
qué se trata, ya no hay vuelta
atrás. Oírlo es aceptarlo.
Debes saber también que si te digo de qué
se trata y entonces aceptas, considerables
sumas de dinero se transferirán en Suiza,
las Caimán, de las que sólo tú y yo
conoceremos la existencia. Cifras y
códigos, cuentas y millones. Sólo tú y yo..
To answer that question would mean that you have already
accepted the mission and the secrecy that goes with
it. If I tell you what it is about, there is no turning
back. To hear it is to accept it. You must also know that
if I tell you what it is about and then you accept,
considerable sums of money will be transferred in
Switzerland, the Caymans, of which only you and I will
know the existence. Figures and codes, accounts and
millions. Only you and I...
RITA
Ok, dígame ¿qué quiere de mí?
Ok, tell me, what do you want from me?
MANITAS
¿Estás segura?
Are you sure?
RITA
Sí.
Yes.
END 1M4 EL ENCUENTRO
He slides a sheet of paper over to Rita. She hesitates before
looking at it. Manitas insists with a nod. Rita looks at the
sheet: numbers with lots of zeros.
A beat.
RITA (CONT’D)
¿A qué me arriesgo?
What do I risk?
MANITAS
A volverse rica.
Becoming rich.
Suddenly Rita feels as if the lights have dimmed and the sound
has become muffled. The white glow of the paper with numbers on
it.
Rita catches her breath.
RITA
(suspirando) …está bien.
(in a breath) All right.
MANITAS
No oí.
I didn’t hear.
RITA
Está bien.
All right.
MANITAS
¿Qué está bien?
All right, what?
She swallows and points to the sheet of numbers.
Manitas takes his time.
MANITAS (CONT’D)
¿Segura, señora Mora Castro?
Are you sure, Señora Mora Castro?
Rita nods.
RITA
¿Qué quiere que haga?
Tell me what you expect of me.
MANITAS
Quiero ser una mujer
I want to become a woman.
RITA
No entiendo.
I don’t understand.
MANITAS
¿Qué no entiende?
Don’t understand what?
RITA
(en voz baja, como en secreto)
…quiere decir: ¿físicamente mujer?
(softly, like a secret) You mean a woman… physically?
MANITAS
Sí.
Yes.
RITA
¿Quiere volverse mujer físicamente?
You want to physically become a woman?
MANITAS
Sí.
Yes.
RITA
No entiendo. ¿Quiere cambiar de
vida o cambiar de sexo?
I don’t understand, do you want a new life or a new
gender?
MANITAS
¿Cuál es la diferencia?
Is there a difference?
RITA
Pues… es qu… (intentando sonreír)
¡soy abogada, señor Del Monte, no
cirujana!
But… uh… (trying to smile) I’m a lawyer, Mr. Del Monte,
not a surgeon!
MANITAS
Para eso acabo de contratarla, para
conseguir a uno bueno.
You’ve just been hired to find a good one.
RITA
Pero… mmm… pues… eso no se hace así
nada más, ¡puede tomar años!
But... mmm... well... it doesn't simply happen that way,
it can take years!
MANITAS
Ya empecé el tratamiento, hace dos
años.
I started treatment two years ago.
Manitas takes her hand and slips it under his shirt.
He rips open his jacket and shows her his developing breasts.
MANITAS (CONT’D)
¿Qué te pasa? ¿Te quieres echar
pa’ atrás? Ya no se puede, ni tú,
ni yo podemos salir de esto.
What’s the matter? You looking for a way out? There’s no
way out. Not for you, not for me.
She stares at him, flabbergasted.
Ratings
Scene 12 - Balancing Act
Rita sits behind a pile of files in Berlinger’s offices. Her
glass cubicle is in the back of the landscaped space. She seems
to be at work like everyone else.
MANITAS (O.S.)
Habrá que buscar un lugar seguro
para el “reseteo”, lejos de aquí,
ni en este país, ni en Estados
Unidos… un lugar donde sea
imposible encontrarme. Búscame
alguien difícil de rastrear,
alguien competente, intachable… El
que te precedió me hizo perder el
tiempo… Señora Mora Castro, cuentas
con todos mis recursos, y a escala
humana, son ilimitados.
For the "reset" we’ll need a safe place, far from here,
not in this country. And not in the US… A place where no
one could ever find me. Look for someone untraceable,
someone of the highest moral fiber and surgical prowess…
The person before you, made me waste my time…
Mrs. Mora Castro, you have all my resources, and on a
human scale, they are unlimited.
She slides her hand in her bag and pulls out a matte black
credit card. The card reads: INFINITE.
In CU on her computer screen: images of vaginoplasties,
mammoplasties, facial plastic surgery, etc…
While glancing at the screen and typing, Rita answers the
phone:
RITA
¿Bueno? no... sí, no... mamá, tengo
que colgar... sí, no... me están
llamando, voy a colgar mamá... voy
a colgar...
Hello? No... yeah, no... mom, I have to go... yeah... I
have another call, I'm hanging up, mom... I'm hanging
up...
She hangs up.
Then videos in which smiling Asian surgeons vaunt the quality of
their technique in English. Rita jots down a few addresses.
…/…
Rita is now on the phone, speaking softly so that no one else
will hear.
TRAVEL AGENT (O.S.)
(Un poco irritada)
México/Bangkok... Luego podemos
tomar Bangkok/Bombay, Bombay/Rio...
Bueno, para el primero, tengo un
México/Heneda... 4 horas de
conexión, luego Heneda/Bangkok...
(A bit cranky) Mexico/Bangkok... Then we can take
Bangkok/Bombay, Bombay/Rio... Well, for the 1st, I have a
Mexico/Heneda... 4 hours of connection, then
Heneda/Bangkok...
RITA
(En voz baja) ¿Cuánto tiempo es en
total?
(softly) How long all together?
TRAVEL AGENT(O.S.)
26 horas.
26 hours.
RITA
Tengo que estar de vuelta el
próximo jueves antes de las 9,
tengo una audiencia.
I have to be in court by 9 o’clock next
Thursday morning.
TRAVEL AGENT (O.S.)
No llegará a tiempo.
You will not make it in time.
RITA
Entonces encuéntreme otra cosa.
So find me something else.
TRAVEL AGENT (O.S.)
¿Cómo qué? ¿Un cohete?
Like what, a rocket?
RITA
¿Y en otra clase?
What about in another class?
TRAVEL AGENT (O.S.)
¿En business? Es mucho, mucho más
caro, ya lo sabe. ¿Paga su empresa?
Well, Business… but it’s much more expensive. Is your
company paying?
RITA
¿Y más arriba?
How about above?
TRAVEL AGENT (O.S.)
¿Arriba de qué?
Above what?
RITA
De la business.
Above Business.
Silence on the other end of the line…
TRAVEL AGENT (O.S.)
(Suspirando) Espere… ¿quiere…
quiere uno en primera clase?
(softly) Wait, do you mean First Class?
RITA
Sí.
Yes.
TRAVEL AGENT (O.S.)
Eso ya está muy afuera de nuestro
acuerdo tarifario… ¿Cómo pagará?
That's way beyond our rate agreement... How will you pay?
RITA
Con tarjeta…
By credit card.
TRAVEL AGENT (O.S.)
¿Qué tipo de tarjeta?
What kind of card?
Rita takes the Infinity card from her bag.
SECRETARY (O.S)
¿Rita estás ahí?
Rita, are you there?
Surprised, Rita drops the card.
RITA
Eh, sí, sí…
Uh, yes, yes...
SECRETARY (O.S.)
El patrón está con el cliente, ¡te
están esperando!
Rita, the boss is with the client. They’re waiting for
you!
RITA
¡Ahí voy, ahí voy!…
I’m coming.
The Infinity card lies on the floor. She picks it up.
28/29/30 OUT
EXT. SUVARNABHUMI AIRPORT - NIGHT
Suvarnabhumi Airport: A Bangkok Airways flight makes a night
landing.
Title card:
BANGKOK
Ratings
Scene 13 - Transformation and Threat
Start music 1M8 VAGINOPLASTY Duo Rita / various surgeons.
Everything is white.
A bright white carpet leads from the jetliner to a clinic where
the Asian surgeon and his staff - earlier seen on Rita’s
computer - greet Rita with perfectly synchronized bows.
Rita and the DOCTOR are followed by his staff.
RITA
Hello, very nice to meet you.
I’d like to know about sex change
operations.
DOCTOR
I see, I see, I see. Man to Woman or Woman
to Man?
RITA
Man to Woman.
DOCTOR
From penis to vagina. Is it for you?
RITA
For me? No, thank you.
DOCTOR
What do you want to know, Madam?
RITA
Everything. Everything. What is the
protocol, the technique, the risks. How
many operations, how much time do you need?
…/…
As the list goes on, CLOSE UP: the operations concerned. Red or
dotted lines mark faces, torsos, posteriors, etc.
DOCTOR
Mammoplasty?
RITA
Yes.
DOCTOR
Vaginoplasty?
RITA
Yes.
DOCTOR
Rhinoplasty?
RITA
Yes.
DOCTOR
Laryngoplasty?
RITA
Yes.
DOCTOR
Mammoplasty?
RITA
Yes.
DOCTOR
Vaginoplasty?
RITA
Yes.
DOCTOR
Rhinoplasty?
RITA
Yes.
DOCTOR
Laryngoplasty?
RITA
Yes.
DOCTOR
Chondrolaryngoplasty?
She stops.
RITA
What is that?
DOCTOR
Adam’s apple reduction.
Now other patients, surgeons, and staff members follow Rita, the
surgeon and his staff…
We realize that what is going on behind them is the same thing
that is going on before them.
RITA
YES! YES! YES! YES!
Rita in passing looks at the butt of a marvelously endowed girl.
RITA (CONT’D)
(speaking) And for my butt, just my
butt, about how much?
The list is repeated four times: Mammoplasty, Vaginoplasty,
Rhinoplasty, Laryngoplasty along with Rita’s - YES.
The light dims, replaced by surgical lights over operating
tables: liposuction, botox, lifting…
A different colored rug rolls out… an Indian surgeon and his
staff greet Rita. We are in another country.
DOCTOR
Mammoplasty?
Vaginoplasty?
Rhinoplasty?
Laryngoplasty?
Plasty!
RITA
Yes!
CHORUS
Man to woman, woman to man
Man to woman, woman to man
Man to woman, woman to man
Man to woman, woman to man
Vaginoplasty makes machos happy
Penoplasty, chicas too
Vaginoplasty drives chicas crazy
Penoplasty machos too
(MORE)
CHORUS (CONT’D)
Penoplasty
Vaginoplasty chicas too
Vaginoplasty
Penoplasty drives chicas crazy
Penoplasty
Vaginoplasty machos too
Vaginoplasty
Vaginoplasty makes los machos happy
Vaginoplasty
Penoplasty, chicas too
Penoplasty
Vaginoplasty, drives chicas crazy
Vaginoplasty
Penoplasty, machos too
Penoplasty
Vaginoplasty makes machos happy
Penoplasty chicas too
Vaginoplasty drives chicas crazy
Penoplasty machos too
Penoplasty makes machos happy
Vaginoplay drives chicas crazy
Vaginoplasty machos too
Vaginoplasty makes machos happy
Penoplasty chicas too
Rita makes her way against the flow of stretchers on which
operations take place.
Patients Face-Time their new faces and bodies.
A new human race marches behind Rita: people in their sixties,
women, men, entirely remade, smiling with big white teeth that
look like kitchen sinks.
RITA AND CHORUS
Men to women, women to men
Men to women, women to men
Men to women, women to men
Men to women, women to men
Her cohorts disappear. Rita is alone, contented and exhausted.
A plastic sheet billows in a draft behind her.
Suddenly a plastic bag is pulled over her head. Hands grab her
neck. A man whose face is pixelated sticks a phone in her face.
MAN
¡Oye bien, pendeja!
Listen, bitch!
We hear Manitas’ distorted voice on the loudspeaker:
MANITAS (O.S.)
¿Cómo va ese asunto Mora Castro?
¿Crees que te pago pa’ que te
gastes mi lana? ¿Pa’ que le hagas a
la mamada en primera clase?
¿Quieres que te cuente lo que le
pasó al que hacía tu chamba?
¡Apúrate chingada madre, que se me
acaba el tiempo!
How's it going, Mora Castro? You think I pay you to spend
my money? You think I pay you to show off in First Class?
You want me to tell you what happened to the guy who did
your job? Hurry the fuck up, I'm running out of time!
The hands loosen their grip. She drops to the floor.
Suffocating. The lights slowly go out.
Ratings
Scene 14 - Tension in the Waiting Room
An El-Al 787 lands at Ben Gurion International Airport.
Title card:
TEL AVIV
EXT. AVENUE, TEL AVIV - DAY
A large modern, white building with big letters on its facade:
HICHILOV HOSPITAL.
INT. LEVITCH MEDICAL CENTER, WAITING ROOM - DAY
Rita sits in a modest white waiting room.
She surveys the people waiting: a soldier with a bandaged face.
A mother with her teenaged son whose jaws are K-wired.
She overhears snippets of a conversation in Hebrew in the
doctor’s office.
INT. LEVITCH MEDICAL CENTER, WASSERMAN’S OFFICE – DAY
DR. WASSERMAN sits across from her. White lab coat, buzz cut,
blue eyes, an inscrutable half smile.
Rita watches him silently leaf through a file.
RITA (O.S.)
Creo que ahora sí lo encontré.
I think I've found it this time.
MANITAS (O.S.)
Lo dices porque te estás
apanicando.
You say that because you’re scared.
RITA (O.S.)
No, lo digo porque es el indicado.
No se las da de simpático. No trata
de vender sus chácharas. Además,
¿quién va a venir a buscarlo a
usted a Tel Aviv?
No, because he’s the right one. He doesn’t try to be nice
and he’s not pushing his wares. And who’d come looking
for you in Tel Aviv?
Wasserman looks up.
WASSERMAN
Your client has no name?
RITA
For the moment, no. He desires to
remain anonymous.
WASSERMAN
No name but a lot of money…
Rita nods.
WASSERMAN (CONT’D)
He’s Mexican like you?
Rita does not respond.
WASSERMAN (CONT’D)
He’s in trouble?
She doesn’t answer.
A beat.
Rita sees the doctor push the file back her way, as if an
answer.
Start 1M11 LADY duet Rita/Wasserman
WASSERMAN (CONT’D)
Lady,
You know I only fix the body
Skin, bones, but I will never fix
the soul
If he’s a he she’ll be a he
If he’s a she she’ll be she
If he’s a wolf she’ll be a wolf
(MORE)
WASSERMAN (CONT’D)
If he’s the wolf you’ll be his
sheep
Lady,
I’ve been a doctor since I’m 24
I fight and fix but I’ll never
stop the war
My door is not God’s door
Rita begins to show signs of impatience.
WASSERMAN (CONT’D)
Lady,
Will you please tell your Mister
Mystery
Instead of having plastic surgery
He’d better change ID
She mimes “okay, finished?”
RITA
Doctor,
I know you did a lot of studies
Doctor!
WASSERMAN
Please!
RITA
But let me say I disagree
She points a finger at Wasserman.
RITA (CONT’D)
Changing the body, changes Society
Changing Society, changes the soul
Changing the soul, changes Society
Changing Society, changes it all
So Doctor
You’d better trust my Mister
Mystery
If you had seen what he has shown
to me
You’d be a better man
Another Rita is standing on his desk.
RITA (CONT’D)
Doctor,
You don’t know what it’s like to be
a Queen
When you were born to strive and
raised to kill
(MORE)
RITA (CONT’D)
You’d better Dance or Die
Ladies and Gentlemen
and everyone in between
And every body
no one has
ever been
I’ll never let you down!
Getting carried away, Rita raises a fist and pierces the
false ceiling. Part of it collapses onto Wasserman’s desk.
RITA (CONT’D)
Doctor
I’ve been a lawyer since I’m 24
Don’t want to say what I’m doing
this for
I’ll never plead guilty
She leans in very close to Wasserman’s face.
RITA (CONT’D)
Doctor
I didn’t come your way to waste
your time
Changing gender is not an alibi
You’d better change your mind x3
Your Mind
Your Mind
WASSERMAN
Lady,
Will you please tell your Mister
Mystery
Instead of having plastic surgery
He’d better change his mind
His mind
His mind
End of 1M11 LADY
CUT TO:
Ratings
Scene 15 - Acceptance in the Desert
Rita sits back down in front of the stunned doctor.
WASSERMAN
Can… Can I at least talk to him?
RITA
That depends.
WASSERMAN
On what?
RITA
On you. If you are not willing to
accept, it’s not worth it to talk
to him. To listen to him is to
accept.
EXT. CHIHUAHUA DESERT – NIGHT
Top shot: the headlights of an SUV in the Mexican desert.
Ranchera music follows the car like the cloud of dust in its
wake.
WASSERMAN (O.S.)
Ah! (yelling) Could you ask them to
lower their shitty music?
RITA (O.S.)
(gritando) Oigan muchachos, ¿pueden
bajarle un poco al volumen por
favor?
(yelling) Hey guys, can you please turn it down!
The music stops.
Ratings
Scene 16 - Night at Manitas' Compound
Five cars are parked in a circle around Manitas’ compound.
A cloud of dust, the doors open… the hoods are pulled off…
.../...
A finger presses a button, turning on the generator.
Projectors on the vehicles light up to shape a circle. Stakes
are unloaded from the cars. Ropes are tied and canvas
stretched.
Holding his bag, Wasserman takes an anthropologist’s look at
the crowd. Neither the weapons nor the sinister looks
frighten him.
But it is also true that the atmosphere is very different
from scene 14, tonight there is like a smell of freedom.
EXT. MANITAS’ COMPOUND - NIGHT
A hand reaches into the frame…
Rita makes the introductions in English:
RITA
Manitas Del Monte… Professor
Wasserman.
Wasserman shakes his hand.
MANITAS
Good evening, Professor, did you
have a good trip?
WASSERMAN
Besides the shitty music,
excellent.
MANITAS
Are you hungry, would you like to
rest?
WASSERMAN
Neither… We can start whenever you
want.
Rita watches them disappear into Manitas’ armored vehicle.
We approach until her face fills the frame.
Start of 1M13 Chiaroscuro
On this image are superimposed:
Ratings
Scene 17 - Echoes of Conflict
- A guy fiddles with a record player. Throbbing music.
- Tilted down: infared images of the camp and the landscape.
These are the images of a drone remote control. The pilot
with other armed guards are set up on a height overlooking
the camp.
Walkie-talkies crackle and the sound system echoes as it is
set below.
The music will cover all of the following:
- In the halo of directional spotlights, two pickups arrive.
Inside, young and not-so-young women dressed for the party.
From the welcome they receive from the occupants of the camp,
we understand that they are their regulars, or their escorts.
In the light of the LEDs the colors flash.
- From a pickup are unloaded solid and liquid provisions:
Reserves of water, beer and mezcal. People help themselves
before everything is unpacked.
- Rita accepts the can of beer that is offered to her.
She observes while drinking.
- The faces of Manitas and Wasserman. The former speaks, the
latter listens and takes notes in a red notebook.
- A rising moon.
- The red notebook.
- Through the blinds over a window of Manitas’ car: Manitas’
and Wasserman’s silhouettes.
- Wasserman's pen on a page of the red notebook.
MANITAS (OFF)
A pigsty. You have no idea what it
is like growing up in pigsty?
You know the show “The Sopranos”?
Doesn’t ring a bell?
In the beginning, there’s a
character named Vito Spatafore.
He’s the capo of the DiMeo
family... I’ve seen it a hundred
times... Vito works with Tony
Soprano.
Over Manitas' narration:
- A succession of men's faces: tough, sometimes tattooed,
their weapons in their hands, or on their arms.
- A group shoots guns while dancing.
- A couple fucking in a car.
Etc.
MANITAS (OFF) (CONT’D)
They get on well and do good
business together until word gets
out that Vito is gay.
(MORE)
MANITAS (OFF) (CONT'D)
Then Phil Leotardo goes and beats
him to death. The problem in my
life, is that I’m both poor Vito
and that scumbag Leotardo. To keep
his true nature hidden, Vito had to
be the worst fucking scumbag of
them all... I can’t take it
anymore... I’ve thought about
killing myself, about ending up as
a few lines in a newspaper, like
the others. But then I thought it
wasn’t fair, I couldn’t die without
living... I was entitled to another
life, a life of my own.
- Rita's face lit up by what appears to be a campfire. She is
looking at something.
Ratings
Scene 18 - Under the Stars: A Tense Encounter
Silence. We are still on Rita, who is watching.
In front of her: men and women dance around a campfire.
Sicarios, wives of sicarios, children of sicarios.
The music has changed but not the source. Normal volume.
Strident.
A woman's voice from behind.
JESSI (O.S.)
¿Qué está haciendo aquí?
What are you doing here?
She turns around.
RITA
¿Y usted?
What about you?
JESSI
¿Yo? Soy su mujer. Soy Jessi Del
Monte.
I’m his wife. I’m Jessi Del Monte.
JESSI DEL MONTE is pretty and wears expensive clothes that
catch the eye, especially given the location. She is about
20, a bit shy. When she smiles, she exposes small, sharp
teeth.
RITA
Yo soy Rita Mora Castro, abogada.
Trabajo para su marido.
I am Rita Mora Castro, a lawyer. I work for your husband.
JESSI
Sí, me imagino, ¿pero qué hace para
él?
I figured, but what do you do exactly for him?
RITA
Muchas cosas…
Many things...
She cuts Rita off.
JESSI
¿Es cierto que nos va a sacar del
país?
Is it true that he’s getting us out of the country?
RITA
No lo sé, no estoy al tanto.
I do not know, I am not aware of it.
Jessi smiles, not believing her.
JESSI
¿Y quién es ese tipo que viene con
usted?
And who’s the guy coming with you?
MANITAS (O.S.)
Ah, ya se conocieron.
So you’ve met?
Jessi turns around, feeling uncomfortable.
JESSI
Sí. Le preguntaba a Rita quién era
el tipo que está contigo.
Yes. I was asking Rita who the guy with you was.
Manitas shrugs his shoulders.
MANITAS
Los negocios… ¿Dónde están los
niños?
Business stuff... Where are the kids?
JESSI
Están bailando con los demás.
Dancing with the others.
MANITAS
¿Vamos con ellos?
Shall we join them?
JESSI
(a Rita) ¿Viene con nosotros?
(to Rita) Are you coming with us?
RITA
No, gracias… estoy bien aquí.
No, thanks. I’m fine here.
She lifts her glass of beer in a toast.
CUT TO:
The music and the party continue. Manitas, Jessi and their
children lie on the ground in the desert. He points at stars,
teaching them their names. The family stares up at the sky.
Manitas sees Rita watching them. They exchange glances.
Ratings
Scene 19 - Dawn of Decisions
Smoke rises from the dead fire. The party is over. Sicarios
sleep off their mezcal in their pickup trucks.
EXT. CAMPEMENT - NIGHT
With a blanket draped over her shoulders, Rita smokes a
cigarette, watching the sun rise over the desert.
Wasserman hands Rita the burner phone. At his feet, his
travel bag.
Rita takes the phone and points to the red notebook sticking
out of his pocket.
RITA
Under normal circumstances, a
single word in this notebook would
condemn to death the person who
wrote it, the person who reads it
and all their families!
He hands it to her.
WASSERMAN
I told him I would give it to you.
I don’t need it anymore. The
operation and recovery will take
place back home in Tel Aviv.
Goodbye, Rita.
RITA
Goodbye, Doctor.
They shake hands.
RITA (CONT’D)
I think Manitas told them about the
music…
Behind them, the loud engines sputter, ready to leave.
Ratings
Scene 20 - A Song of Longing
Out the windows, on CCTV screens, the desert landscape speeds
by: the convoy, the cabs’ interiors, the drivers… Rita sits
across from Manitas.
Rita is sitting in front of Manitas. She hands him three
passports.
RITA
…los pasaportes con sus nuevos
nombres. Tienen que aprendérselos
de memoria.
The passports with their new names. They’ll have to
memorize them.
She hands him other papers but Manitas cannot take his eyes off
his children’s passport photos.
RITA (CONT’D)
…estas son las cuentas. Programé y
codifiqué todas las transferencias.
Seguí sus instrucciones: serán
ricos.
...These are the accounts. I programmed and coded all the
transfers. I followed your instructions: you will be
rich.
She shows him photos of a house.
Manitas, lost in his thoughts, looks out the window. He
begins to sing while Rita continues to give him the
information:
RITA (CONT’D)
Aquí es donde van a vivir, es en
Lausana, a la orilla del lago… es
grande, tranquilo… Suiza, pues. Voy
a acompañarlos y ayudarlos a
establecerse. No va a ser fácil al
principio, pero con el tiempo lo
olvidarán.
They will be living here, in Lausanne, a lakefront
property, spacious, calm… Switzerland. I’ll go with them
and help them settle in. It won’t be easy at first but
they’ll eventually forget you.
Start of 1M14 DESEO
MANITAS
No me falta el cielo,
no me falta el mar
no me falta la voz
pero me falta cantar.
I don't lack the sky,
I don't lack the sea
I don't lack a voice
but I lack singing.
No me falta la lana,
no me falta matar,
no me falta lujuria,
me falta desear.
I don't lack money,
I don't lack killing,
I don't lack lust,
I lack desire.
No deseo el deseo
Ni el ser deseado.
Que lo que “es” no no “sea”
yo solo deseo ser Ella.
I don't desire desire,
nor to be desired.
May what used to be no longer be,
I only wish to be a She
Yo quiero otra cara,
yo quiero otra piel,
que el fondo de mi alma
huela como la miel.
I want another face,
I want another skin,
I want the bottom of my soul
to smell like honey.
No deseo el deseo,
ni el ser deseado.,
Que no sea lo que sea
yo sólo deseo ser otra.
I don't desire desire,
nor to be desired,
May what used to been longer be,
I only desire to be a She
Moved, Rita places her hand on Manitas’. He is surprised by her
comforting hand.
End of 1M14 Deseo
Black.
Ratings
Scene 21 - In Hiding: A Mother's Despair
The moon hangs over the Alps and Lake Geneva like a steel
mirror.
Title card:
“SWITZERLAND”
EXT. VILLA LAUSANNE
Two parked minibuses, trunks and doors wide open in the snow.
Five men come and go between the house and minibuses, carrying
Vuitton trunks and suitcases. When they have finished, they
carry the two sleeping children, ÁNGEL and DIEGO, to the house.
Off to one side wrapped in her parka, Jessi shivers and bursts
into tears.
JESSI
Aquí no estamos en casa, ¡quiero
volver! ¿Por qué me hace esto? ¿Yo
qué le hice?
This is not our home, I want to go back! Why is he doing
this to me? What did I do?
RITA
(con voz baja) Es para protegerlos,
Jessi. Si vuelven, quienes van tras
su marido irán tras usted y sus
hijos. Quiere mantenerlos a salvo,
¿entiende?
(softly) If you go home, the men who are going after
Manitas will go after you and the children. Manitas is
protecting you, you understand?
JESSI
Por favor, señora… no quiero esto…
no tengo nada que hacer aquí.
Please, ma’am. I don’t want this… I have nothing to do
here…
RITA
Se lo ruego…
Please...
JESSI
¿Y cuánto tiempo va a durar?
How long will this last?
RITA
No lo sé.
I don’t know.
JESSI
¿Varios meses?
Several months?
RITA
Tal vez más.
Maybe longer.
Ratings
Scene 22 - Shadows of the Past
Shadows play on Rita’s face. She is in a sedan on the way to the
airport.
RITA
Listo, están a salvo.
It’s done. They’re safe.
On the other end, Manitas is breathing, then:
MANITAS (O.S.)
Todo desaparecerá. De ahora en
adelante, eres mi último lazo con
el pasado.
Everything must disappear. From now on, you're my last
link to the past.
CUT TO:
INT. TAXI - NIGHT
Wasserman’s notebook goes up in flames.
The pages twist and burn.
INT. JESSI’S VILLA - NIGHT
Close-up of a television screen. Televisa Veracruz 8 o’clock
news. After a few local news items, the ANCHORMAN announces,
over fire footage of what could be Manitas' trailer:
ANCHORMAN
Los restos humanos encontrados en
el almacén de Veracruz arrojaron su
ADN: pertenecen a Manitas Del
Monte. El conocido narcotraficante
que parecía haberse esfumado desde
hace meses habría, en realidad,
caído en manos de sus enemigos.
Enseguida le mostraremos la
retrospectiva de una trayectoria
criminal.
DNA testing of human remains found in a Veracruz
warehouse has identified the victim as Manitas Del Monte.
The famous drug trafficker, who disappeared months ago,
had in fact fallen into the hands of his enemies. A look
back at a criminal history.
INT. JESSI’S VILLA - NIGHT
In the blue flickering light of the screen, Jessi’s face, a hand
clasped over her mouth and her eyes wet with tears.
We see photos of Manitas in all his splendor: photos of rival
drug lords murdered at his behest – heads cut off, corpses
hanging from bridges, etc.
ANCHORMAN (O.S.)
Y ahora la cápsula deportiva.
And now, sports…
JESSI
¡Noooo!
No!
Black.
CUT TO:
Ratings
Scene 23 - Awakening to Gratitude
The sun rises over Tel Aviv.
Start 2M15 Tel Aviv
INT. ROOM HICHILOV HOSPITAL - DAY
End of 2M15 Tel Aviv
We slowly open on…
Subjective camera:
You open your eyes in a dark hospital room. You groan. You are
breathing heavily. The door opens. A silhouette steps in from
the bright corridor and approaches. You recognize Wasserman, who
has come to see you. You shut your eyes.
You open them later. They are dazzled by the sunlight streaming
in through the blinds … It takes time to adjust.
CUT TO:
INT. ROOM HICHILOV HOSPITAL - DAY
You hear the sound of the TV attached to the wall. The weather
report and regional news.
Your hand shakes. You aim a small mirror at your stomach. You
hyperventilate. Delighted with what you see. Groaning:
EMILIA
… Dios mío… Dios mío… gracias, Dios
mío…
… My God… my God… thank you, God…
Ratings
Scene 24 - From Recovery to Confidence
Still in the room. On the TV screen: a telenovela dubbed into
Hebrew.
Sitting on the edge of her bed in her panties, Emilia tries on
bras. Her head is covered in bandages, her body in traces of her
operations.
She puts on a bra and repeats to herself, to try her new voice:
EMILIA
(para sí misma) Emilia Pérez…
Señora Pérez… Emilia… Emilita…
Señora Emilia Pérez…
(to herself) Emilia Pérez… Señora Pérez… Emilia… Emilita…
Señora Emilia Pérez…
Outside: sea and sun.
Fade to black…
Début 3M17 HYDE PARK. Instrumental
A title card:
LONDON
FOUR YEARS LATER
INT. RESTAURANT - NIGHT
A chic restaurant in the city of London, greens and reds in the
English style. Ten guests dine at a table. They all look alike:
40s, same milieu, same natural superiority, same high incomes.
Rita Mora Castro fits in, sitting in the middle of the table.
She has become the perfect executive woman she always wanted to
become.
She is having a conversation with a young man in front of
her.
RITA
I believe if we change the text
here with what you proposed - which
was very good, by the way. He will
get him to sign off on the
agreement by Monday. He’s a
mercurial client…
MAN
What do you mean mercurial?
RITA
It means today he says yes,
tomorrow he says no. By Monday he
will cave in and agree to the
proposal, I can guarantee it.
She feels a glance on her.
Ratings
Scene 25 - Unveiled Intentions
WOMAN (O.S.)
You’re not English, are you?
Rita looks at her. She looks forty-five, friendly and dresses
with taste. We suppose that it is Emilia. We recognize her.
Rita does not.
RITA
No, I’m not, why?
WOMAN
You have something very special…
something not very…
RITA
I’m Mexican.
WOMAN
No way! Me too!
RITA
No mames. ¿De verdad? ¿De qué
parte?
Really? Where from?
WOMAN
De Monterrey ¿Y tú?
From Monterrey, and you?
RITA
De Veracruz. Bueno, nací en
República Dominicana pero crecí en
México.
From Veracruz. Well, I was born in the Dominican Republic
but grew up in Mexico.
WOMAN
¡Qué buena onda!
How cool!
She calls out to the woman’s neighbor and signals a change of
partners.
RITA
¿Puedo acercarme más?
Can I come closer?
She slides in next to the woman.
RITA (CONT’D)
Me da gusto hablar español…
I am glad to speak Spanish...
WOMAN
¿Extrañas México?
Do you miss Mexico?
RITA
No. Un poco. La verdad no lo sé,
siempre soñé con irme a otro lado…
¿Y tú, vives allá?
No. A little. Well, I can’t say. I always wanted to go
away. Do you live there?
WOMAN
Ya hace mucho que ando de un lado a
otro. Pero, sí lo extraño, claro.
It's been a long time since I've been on the go. But, I
do miss it, of course.
RITA
Sí… Pero no oí bien, ¿cómo te
llamas?
Yes… I didn’t hear… What’s your name?
WOMAN
(riendo) No oíste porque no te
dije.
(Laughing) You didn’t hear because I didn’t tell you.
RITA
Yo me llamo Rita, Rita Mora Castro.
My name is Rita, Rita Mora Castro.
WOMAN
Yo soy Emilia Pérez. Un placer.
I’m Emilia Pérez. Nice to meet you.
They shake hands.
RITA
¿Con quién vienes?
Who did you come here with?
WOMAN
Con Simon, Sí lo conoces ¿no? él se
ocupa de mis asuntos en Europa.
With Simon. You know him, right? He manages my business
in Europe.
RITA
Claro, de hecho, trabajamos más o
menos en…
Of course. We have similar…
Then it suddenly dawns on Rita. A flood of light. She has the
wind knocked out of her. She opens her mouth, but nothing
comes out. She feels the woman’s eyes and smile on her.
RITA (CONT’D)
(como suspirando) ¿Eres tú?
(as if sighing) Is it you?
EMILIA
Bingo.
BINGO.
RITA
¿Por qué estás aquí?
Why are you here?
EMILIA
Tenía negocios en Londres…
I had business in London…
RITA
¡No te hagas pendeja! ¿Pusiste a
alguien a rastrearme?
Cut the crap! Did you put someone to track me?
EMILIA
Nadie.
Nobody.
Start 3M19 POR CASUALIDAD
RITA
No reconozco tu voz.
I don't recognize your voice.
EMILIA
¿Nada más mi voz?
Just my voice?
RITA
No me digas que viniste por
casualidad,
que pasabas por aquí así nada más.
No me digas que viniste por
casualidad
Don't tell me you came by chance,
that you were passing by just like that.
Don't tell me you came by chance
No me digas que viniste por
casualidad,
Dime que viniste a borrar el
pasado,
a callar al último puto testigo
molesto: ¡Yo!
No me, ah, por casualidad.
Don't tell me you came by chance
Tell me you came to erase the past
To silence the last annoying witness: Me!
Don't tell me that you came by chance.
No me digas que viniste por
casualidad.
Dime que viniste hasta aquí a
matarme,
para hacer la limpieza, para que
nadie
se dé cuenta quien fuiste y sepa lo
que sé.
No me digas que viniste por
casualidad
Don't tell me you came here by chance
Tell me you came all the way here to kill me
To do a last clean-up, so that no one
knows who you were and what I know
Don't tell me you came here by chance
Don't tell me you came by chance
Emilia gently interrupts.
EMILIA
No, no, no.
No Rita, no vine por casualidad.
No vine tampoco por amistad,
a agradecerte otra vez,
a echarte más flores,
No Rita, no vine por casualidad.
No, no, no
No Rita, I didn't come by chance
I didn't come either by friendship
To thank you again
To throw more flowers at you
But no Rita I didn't come by chance
No Rita, no vine por casualidad.
Puedes huir, correr, no te detengo,
Pero tal vez un día entenderás
lo que es cambiar de vida
y dejarlo todo atrás.
No Rita I didn't come by chance
You can hide, you can run, I won't stop you,
but maybe one day you'll understand
What it’s like to change life and to leave it all behind.
Vine a pedirte algo
I came to ask you something
RITA
¿No viniste a pedirme algo de
casualidad?
Did you come to ask me something by chance?
END 3M19 POR CASUALIDAD
EMILIA
Necesito que me lleves a mis hijos
a México.
I need you to take my children to Mexico.
RITA
Olvídalo.
Forget it.
CUT TO:
Ratings
Scene 26 - Unexpected Return
Lake Geneva. Behind it, the Alps.
JESSI (OFF)
¿México? ¿pero porqué regresaría
yo? A ver dime ¿quién se preocupó
por mí los últimos cuatro años?
¡Nadie!
Mexico? Why would I go back there? Tell me, who cared
about me for the last four years? Nobody!
In close-up, Jessi, blonde now, is on the phone, annoyed.
JESSI (CONT’D)
Y de la noche a la mañana una tía
caída del cielo nos dice que
regresemos ¿y resulta que tenemos
que regresar? ¿En dónde se ha visto
eso? Tengo toda la lana que quiero
y estoy muy bien aquí.
Sí… sí… y hazme un favor, porfis,
ya no me llames.
And overnight an aunt from the sky tells us to go back
and it turns out we have to go back? Where have you seen
that? I have all the money I want and I am very well off
here. Yes... yes... and do me a favor, please, don't call
me anymore.
She hangs up.
EXT. LAUSANNE VILLA - DAY
Two parked MINIBUSES, trunks and doors open. Five men come and
go, piling Vuitton suitcases and trunks into the back of the
minibuses. Ángel and Diego are now teenagers. Their hair is dyed
blond like their mother’s. They climb into the vehicles,
bickering.
Rita and Jessi discuss something a few meters away.
JESSI
¿Dónde vamos a vivir?
Where will we live?
RITA
En su casa, tiene una mansión en
la Colonia Roma.
At her place. She has a huge villa in the Colonia Roma.
JESSI
¿Tú conoces a esa Emilia Pérez?
You know this Emilia Pérez?
RITA
No, pero Manitas me había hablado
de una prima lejana suya con quien
podrían contar un día si le pasaba
algo. Ella sabía cómo localizarme
y, llegado el momento, fue ella
quien me dijo que los llevara.
No, but Manitas did mention a distant cousin you could
count on, if anything happened to him. She knew how to
reach me. And, when the time came, she was the one who
told me to take you guys.
Jessi walks to the cars.
JESSI
Yo no sabía nada de eso.
I knew nothing about this.
RITA
Nadie debía saberlo.
No one was supposed to know.
FADE TO BLACK.
CUT TO:
Ratings
Scene 27 - A Warm Welcome Home
An aerial pan shot of the Mexico City conurbation: its endless
sprawl, pollution, noise…
We hear the “Se compran” mantra from afar.
Title card:
Mexico City
EXT. EMILIA'S VILLA - DAY
Another pan shot. Tighter this time. We see a magnificent modern
villa clinging to a hillside. Luxuriant greenery, birdsong and
sprinkling systems:
WOMAN (O.S.)
¡Doña Emilia, Doña Emilia, ahí
vienen!
Mrs. Emilia, Mrs. Emilia, they’re here!
EMILIA (O.S.)
¡Ya voy!
I’m coming!
Car doors slam.
EMILIA (O.S.) (CONT’D)
¡Ay, los niños, Jessi, mi familia!
Oh, the children, Jessi, my family!
INT. EMILIA'S VILLA - DAY
The spacious ground floor with a staircase to the second floor.
Rita watches Emilia slowly go and take Jessi’s face in her
hands. She looks deep into her eyes. Jessi stands dumbstruck
with bated breath. Like a statue.
After a beat:
EMILIA
No nos conocemos ¿verdad Jessi, o
sí?
We've never met before, Jessi, have we?
Jessi is moved, dazed.
JESSI
… no, no creo, no…
No, I don't think so…
EMILIA
Tú eras la mujer de Manitas. Se nos
fue, descanse en paz… ahora tú eres
como mi hermana. Tú y los niños ya
están de vuelta y esta es su casa.
¿Entendido?
You were Manitas' wife. He's gone now, God rest his soul.
You're like my sister now. You and your children have
come home, and your home is here. Understand?
The two women hug and cry.
JESSI
Gracias señora.
Thank you, Madame.
EMILIA
(corrigiéndola) Emilia, por favor.
(correcting her) Emilia, please.
She looks over Jessi’s shoulder to exchange glances with Rita.
Rita sees Emilia kiss the children again and again. Emilia's
mouth on the children's cheeks. Then her thumb rubbing off
lipstick from their cheeks.
Rita sees how much Emilia’s effusiveness embarrasses the
children. Jessi looks surprised.
Emilia invites them to follow her upstairs.
EMILIA (CONT’D)
Pero deben estar cansadísimos…
Vengan, voy a enseñarles sus
recamaras. No dijiste Rita, ¿te
quedas con nosotros, no?
You must be exhausted… Come let me show you your rooms.
You’re staying here, Rita, right?
RITA
No, tomé un cuarto en el Four
Seasons. Tengo que trabajar y no me
queda mucho tiempo antes de volver
a Londres.
No. I took a room at the Four Seasons. I have to work and
I don't have much time left before I go back to London.
Rita watches them disappear upstairs.
Feet run up and down the stairs. Maids carry up suitcases.
Ratings
Scene 28 - A Night of Concern and Care
Rita in the entrance puts on her coat.
EMILIA
(en voz baja) ¿Cómo la ves?
(quietly) How do you see her?
RITA
¿...?
?
Emilia points the upstairs floor with her finger.
RITA (CONT’D)
Totalmente perdida. Vas a tener que
hacerte cargo de ella,
distraerla… Pero tú la conoces
mejor que yo, ¿no?
Totally lost. You're going to have to take care of her,
distract her... But you know her better than I do, huh?
EMILIA
La conocía antes, ahora me da la
impresión que ya no es la misma.
I knew her before. I get the impression she’s not the
same.
RITA
No vamos a insistir en los cambios
de los demás, ¿no?
We are not going to insist on others' changes, are we?
Emilia smiles.
EMILIA
Tienes razón.
You're right.
RITA
Ten cuidado con los niños.
And be careful with the children.
EMILIA
¿Por qué?
Why?
RITA
Deja de besarlos a cada rato. Jessi
no entiende por qué lo haces. Eres
su tía, no su madre.
Stop kissing them all the time. Jessi doesn’t understand.
You’re their aunt, not their mother.
Emilia nods. The two women kiss good night. Emilia holds Rita
back.
EMILIA
Rita, que Dios te bendiga por todo
esto.
Rita, God bless you for all of this.
CUT TO:
Ratings
Scene 29 - Morning Discontent at Emilia's Villa
The sun has risen. The weather is fine. Hoses chug-a-lug,
watering the grounds.
EXT. EMILIA’S VILLA - DAY
Three maids in uniforms prepare another breakfast while
chatting.
On the big table of the kitchen, the children take their
breakfast under the eyes of Emilia. They have their noses in the
bowls of cereals; they eat in silence trying to avoid eye
contact with Emilia.
EMILIA
¿Qué pasa? ¿No les gusta?
What's wrong? You don't like it?
Silence.
EMILIA (CONT’D)
¿Quieren otra cosa?
Do you want something else?
They shake their heads "no".
EMILIA (CONT’D)
¿No me quieren hablar?
Won't you talk to me?
DIEGO
¿De veras vamos a ir a la escuela?
Are we really going to school?
EMILIA
Sí… Los padres trabajan y los niños
van a la escuela.
Yes... Parents work and children go to school.
DIEGO
Mamá no trabaja.
Mom doesn't work.
ÁNGEL
¿Iremos a la escuela aquí?
Are we going to school here?
EMILIA
Sí.
Yes.
ÁNGEL
(comenzando a indisponerse) Pensé
que estábamos aquí de vacaciones y
nada más…
(Starting to feel uneasy) I thought we were here on
vacation and no more...
EMILIA
Las vacaciones eran en Suiza, aquí
es el regreso a clases…
The vacations were in Switzerland, here is the return to
school...
ÁNGEL
¡No quiero ir a la escuela aquí!
I don't want to go to school here!
DIEGO
¡Yo tampoco!
Me neither!
ÁNGEL
Es fea y huele mal...
It's ugly and smells bad...
EMILIA
Sale, no quieres ir a la escuela…
Okay, you don't want to go to school...
DIEGO
¡Ni yo!
Neither do I!
EMILIA
Bueno, no quieren ir a la escuela,
es fea y apesta… ¿entonces qué
quieren hacer?
Well, you don't want to go to school, it's ugly and it
stinks... So what do you want to do?
DIEGO
¿Nos podemos quedar con mamá?
Can we stay with mom?
ÁNGEL
Yo quiero esquiar.
I want to ski.
EMILIA
¿Qué?
What?
ÁNGEL
¡Quiero esquiar en la nieve!
I want to ski in the snow!
DIEGO
¡Yo también!
Me too!
EMILIA
(Entre los dientes) Híjole, va a
estar carbón.
(A la criada) Llévale el desayuno a
la señora Jessi.
(Between her teeth) Oh boy, it's going to be hard.
(To the maid) Bring breakfast to Mrs. Jessi.
A maid goes out with a tray.
EMILIA (OFF) (CONT’D)
¿En qué íbamos?
Where were we?
INT. EMILIA’S VILLA - DAY
A maid carries a tray upstairs. She walks down the corridor.
Ratings
Scene 30 - Haunted Melodies
In CU in the dark: a goose feather from the duvet quivers in
time with sleeping Jessi’s breathing.
Knocks at the door. It opens. The maid places the tray on a
table and goes to draw the curtains.
JESSI
Nooo!
The maid leaves.
Start 3M20 BIENVENIDA / Jessi
Still burrowing in her pillows, Jessi sings softly.
JESSI (CONT’D)
Bienvenida
a tu país amado
Bonita
a tu lujosa cárcel
Primita
(MORE)
JESSI (CONT’D)
donde todo es caro
Encantada
Y gracias a la familia
Bienvenida
Welcome
To your beloved country
My darling
To your luxury prison
My cousin
Where everything is worth a fortune
Welcome
And thanks to the family
Welcome
She sits up. Discovers a dark and empty space instead of her
room. In the dark, in the middle of the space, ghost-like
silhouettes thrash about. Let us call them “Jessi’s Dark
Thoughts”. The Dark Thoughts’ perfectly synchronized movements
are both frenzied and mechanical. Their choreography exists in
total contrast to Jessi’s song.
JESSI (CONT’D)
Bienvenida
sé amable, saluda
Querida
a tu tía
matrona Emilia
a las nuevas custodias
Primita
de tu jaula dorada
Welcome
Be polite, say hello
My darling
To your warden aunt
Emilia
And to the new guards
My cousin
Of your gilded prison
Jessi stands up. She sees a line on the floor, as straight as a
laser beam, separating her from the Dark Thoughts.
She carefully steps on the borderline, provoking a crescendo of
the brute music. She pulls back her foot. Tries again... to the
same effect.
JESSI (CONT’D)
Bienvenida
A tu trampa de hadas
Querida
de tu vida de sueños
Bonita
y en el tendedero
Pequeña
el dinero lavado
Welcome
To your fairy trap
My darling
Of your dream-life
My pretty
And look at the clothesline,
My child,
The laundered money drying
Querida
siente el aire corrupto
Primita
de tu vida de sueños
Bonita
y en el tendedero
Pequeña
el dinero lavado
My darling,
Breathe in the tainted air
My cousin
Of your dream-life
My pretty,
And look at the clothesline,
My child,
The laundered money drying
¡Bienvenida!
ve tus joyas esposas, tus collares cadenas
Welcome!
Look at your handcuff jewelry, your padlock necklaces
Primita
te sentirás tan cómoda
¡Tonta!
que nunca te fugarás
Cousin,
you’ll feel so good in all this comfort
Stupid!
So good that you’ll never run away!
Jessi leaps over the bright line to join the Dark Thoughts in
their frenzied dance.
JESSI (CONT’D)
Obedecí a mi muerto
en Suiza.
Yo cuidé a los niños
¡Basta!
Yo lloré a chorros.
¡Tonta!
Me ocupé todo.
I obeyed my dead man in Switzerland.
I took care of the children. Enough! I cried my eyes out.
You fool!
I took care of everything.
Bienvenida
Para servirle a usted
¡Me caga!
Ahora no me chinguen!
Primita
Brincaré la pared
(MORE)
JESSI (CONT’D)
Querida
Extinguiré mi sed
Bienvenida
Welcome
At your service
Fuck you!
Now don't fuck with me!
Dear Cousin
I'll jump over the wall Dear
I'll quench my thirst
Welcome
Back to the point of departure: Jessi lands on her bed with her
arms crossed, as if dropping from the ceiling.
End of 3M20 Bienvenida
Later...
Her forehead pressed against the window, Jessi blows smoke
rings. She looks pensive. At times her lips seem to form words.
Suddenly, like a flash: we are in a car and a billboard for a
real estate company passes over us. In the picture, a photo of a
handsome smiling guy with a name: GUSTAVO BRUN.
CUT TO:
Jessi on the phone. She’s leaving a voicemail.
JESSI (CONT’D)
No sé si esté llamando al número de
Gustavo Brun… Soy Jessi… si este
es tu número Gustavo, quería
decirte que la abogada esa, Rita
Mora… pues… la abogada me llamó
para decirme que ya podía regresar,
que ya no había peligro de que me
fueran a disparar bajándome del
avión… Y yo… yo le dije que México
me venía valiendo madres… Pero, voy
al grano, Gustavo: tú eres
la única persona por quien
volvería… hasta me duele la pinche
vulva nada más de acordarme de ti…
I don’t know if this is Gustavo Brun’s number… It’s Jessi
calling… If this is your number, Gustavo, I wanted to
tell you that the lawyer, Rita Mora… She called me to
tell me I could come back, that I no longer risk being
shot as I step off the plane… I… I told her I didn’t give
a fuck about Mexico… But, I'll cut to the chase, Gustavo:
you’re the only person I would go back for... My pussy
still hurts when I think of you…
Fade to black over Jessi’s face.
CUT TO:
Ratings
Scene 31 - Market Encounters: A Shift from Joy to Sorrow
A busy street. A market. The same taqueria as earlier. Rita
speaks with the owner and her daughter. They recognize each
other. The atmosphere is friendly. The owner calls the
surrounding shop owners to come say hello to Rita. Emilia
smiles, watching. Her bodyguard hangs back, discreet but
dissuasive.
Rita leaves apologetically with a bag of tortillas and tacos.
She offers some to Emilia who refuses, mimicking horror.
EMILIA
¡Cómo crees! ¡Diez minutos en la
boca y diez años en la lonja!
How dare you! Ten minutes in the lips, ten years in the
hips!
…/…
Emilia passes her arm under Rita's.
EMILIA (CONT’D)
¡Tengo una idea! ¿Y si te pago?
I have an idea! What if I pay you?
RITA
¿Para qué?
What for?
EMILIA
Para que te quedes.
For you to stay.
RITA
¿Y qué hago acá?
And what do I do here?
EMILIA
Nada, sólo estar.
Nothing, just hanging around.
Rita looks at Emilia, who mimics De Niro.
RITA
Es muy amable, pero no.
It's very kind, but no.
EMILIA
Mujer… por lo menos intenté.
At least I gave it a try.
A woman sings in the middle of the commotion. We see a woman
distributing flyers to the indifferent crowd. Rita looks at a
flyer. A photocopy, like a wanted poster: a young man's face,
a place, a date.
RITA
¿Quién es?
Who is he?
WOMAN IN BLACK
Octavio, mi hijo mayor, tenía
veinte años. Desapareció en el
2013, el 18 de noviembre en el
estado de Michoacán.
Octavio, my eldest son. He was 20. He disappeared on
November 18th, 2013 in Michoacán.
RITA
¿Para quién trabajaba su hijo?
¿Para una banda? ¿Para un cártel?
Who was your son working for? A gang? A cartel?
WOMAN IN BLACK
No, señora, él era estudiante.
Desapareció durante un viaje al
sur. Quería ser maestro de
primaria.
No, ma’am. He was just a student. He disappeared on a
trip down south. He wanted to be a teacher.
RITA
Lo siento mucho.
I’m so sorry.
Rita takes the photo. Emilia, beside her, says nothing.
The woman’s presence makes her feel awkward. She hails her
driver/bodyguard.
EMILIA
Ve a buscar el carro, te esperamos
allá.
Get the car, we’ll be waiting over there.
RITA
(en voz baja)¿No piensas de vez en
cuando en lo que hizo Manitas… en
todas sus barbaridades…?
(in a low voice) Do you ever think about what Manitas
did… all the horror?
Emilia’s face darkens.
EMILIA
Ya no sé quién es Manitas.(después
de cierto tiempo) Obvio que pienso
en eso, ¡cómo no!
I don't know who Manitas is anymore. (after some time) Of
course I think about it, of course!
A beat.
EMILIA (CONT’D)
Pásame la foto del estudiante.
Give me the student's photo.
Rita hands her the flyer. Emilia looks at it for a beat.
RITA
¿Qué te pasa?
What's wrong with you?
EMILIA
Ay no sé… (levantando la cabeza)
Puta madre, me estoy asfixiando,
aquí apesta a muerte. ¿Dónde está
el chofer?
I don’t know… (looking up) I’m suffocating. It reeks of
death here. Where is the driver?
Ratings
Scene 32 - Whispers of Memory
Emilia is home late. Exhausted.
She drops the photo of the young desaparecido on a table and
goes to the stairs.
We linger on the photo.
INT. EMILIA’S VILLA - NIGHT
She looks into the children’s room. She is about to turn a light
off when:
ÁNGEL
Tía Emi?
Aunt Emi?
EMILIA
Sí, mi amor. Duérmete.
Yes, honey. Go to sleep now.
ÁNGEL
No, no puedo.
No, I can't.
Emilia, on the side of his bed, strokes his hair.
EMILIA
Cierra los ojos.
Close your eyes.
He closes his eyes. She leans over and kisses him. He hugs onto
her. She can feel him breathing her in.
EMILIA (CONT’D)
¿Qué haces?
What are you doing?
ÁNGEL
Hueles como mi papá.
You smell like Daddy.
Start 4M24 PAPA - Ángel/Emilia duet
She shrinks back from her child.
EMILIA
… ¿por qué, no huelo bien?
... Why, don't I smell good?
ÁNGEL
No, a mí me gusta.
No, I like it.
Emilia tries to hold back her tears.
EMILIA
¿Te acuerdas de él?
Do you remember him?
The boy nods.
ÁNGEL
Papá papá papá papá
Hueles como papá
Papá papá papá papá
Daddy, daddy, daddy, daddy
You smell like daddy
Daddy, daddy, daddy, daddy
Hueles como papá
Hueles a las montañas
A cuero y café
Hueles a la comida
Picante picante
Hueles a azúcar
Al cordero en el fuego
Al olor del motor
You smell like daddy
You smell like dad
You smell like the mountains
You smell like leather and coffee
You smell like spicy food,
spicy, spicy
You smell like sugar
You smell like grilled lamb
You smell like the motor
Hueles también a Coca
Cola
Light
Con limón
Hielo
Y sudor
Hueles como papá
You also smell of Coca
Cola
Light
With lemon
Ice
And sweat
You smell like daddy
EMILIA
mm… ¿prefieres que me ponga perfume?
Mmm… do you prefer me to wear perfume?
ÁNGEL
Tía… me gusta tu olor pero no me gusta el
perfume que te pones
Auntie... I like your smell but I don't like the perfume
you wear on top.
EMILIA
¿Hasta el que huele a rosas?
Even the one that smells of roses?
Olía a piedrecitas
Calientes por el sol
Olía a yerbabuena
A mezcal y guacamole
Olía a los perros
En los viajes en carro
Olía a cigarro cuando nos abrazó
La última vez
La última vez
La última vez
La última vez
Daddy daddy daddy daddy daddy
You smell like daddy daddy daddy daddy daddy daddy
He smelled like pebbles
hot from the sun
He smelled of mint
mezcal and guacamole
He smelled of dogs
on car rides
He smelled of cigar when he hugged us
for the last time
For the last time
The last time
The last time
The last time
Papá papá papá papá
Daddy, daddy, daddy, daddy…
EMILIA (CONT’D)
Cierra los ojos… shh
Close your eyes… shhhh…
ÁNGEL
Papá papá papá papá
Papa papa papa papa
Emilia smiles and hugs him tight to hide her emotion. Like in
the desert long ago, they lie side by side and look at the
stars. Smiling.
End of 4M24 Papa
79/80 OUT
Ratings
Scene 33 - Confessions in the Shadows
The camera sweeps over an inscription on a wall, or the letters
scroll by: P-R-I-S-O-N
A man in clerical garb watches the car arrive. He waves.
Emilia’s car parks alongside him.
When the CHAPLAIN gets in the front seat, the driver/bodyguard
steps out to let him speak with Emilia. On the wall behind we
read in big letters: CENTRAL PRISON.
We see a mute discussion take place behind the closed windows.
INT. CENTRAL PRISON/CONFESSIONAL - DAY
A few religious symbols suggest a kind of parlor-confessional.
Lurid neon lighting. The din of a televised soccer game echoes
deep inside the prison.
The chaplain sits and waits, staring at his hands. After a beat,
a guard armed like Pancho Villa brings in a prisoner. A skinny
sicario, EL FLACO, sits across from the chaplain.
…/…
El Flaco confesses while staring at the photo of the young man:
EL FLACO
…no, ni madres, no reconozco su
cara… Chance y fue la vez que les
chingamos unos rehenes a los
Tiburones… se puso fea la cosa y
tuvimos que deshacernos de ellos en
la ciudad…
His face means nothing to me… Maybe it was the time we
stole hostages from the Tiburones… Things didn’t go well,
we had to dispose of them in town…
PRIEST
¿En dónde?
Where?
EL FLACO
En la antigua refinería de Ciudad
Juárez.
At the old Ciudad Juarez refinery.
The priest slips him a wad of dollars.
Ratings
Scene 34 - Echoes of the Disappeared
The priest leaves the prison and heads for the waiting
limousine. When he gets in the back seat, the driver steps out
to leave them alone.
We see them speak through the window.
EXT. ABANDONED REFINERY, CIUDAD JUAREZ - DAY
An abandoned refinery in Ciudad Juarez. Ten men dig.
Shovel after shovel. The repetitive sounds of scraping shovels
and laborers speaking.
Hands with rubber gloves. Remnants appear, tangled in the earth
and roots. Clothes, limbs, and then something that looks like a
skull.
CUT TO:
INT. HANGAR - DAY
In a lateral tracking shot: a black plastic body bag, then
another… ten body bags.
We pull back onto the surroundings: a vast open hangar. One side
dazzlingly bright, the other dark. Off to one side, Rita
watches. Standing in front of a body bag, against the light,
Emilia embraces the woman from the cemetery. The two women speak
softly.
In consolation and gratitude, the woman takes and squeezes
Emilia’s hand.
Start 3M22 LA LUCECITA
The woman’s lips on Emilia’s hands.
Softly at first, as if to herself:
EMILIA
Rita, Rita, oye Rita,
cuando la mujer de negro me besó las manos,
sentí sus lágrimas, y por primera
vez me amé a mí misma.
Rita, Rita, listen Rita,
when she kissed my hands,
I felt her tears, and for the first time
I loved myself.
EMILIA (CONT’D)
Rita, Rita, oye Rita,
¿Cuántos desaparecidos hay en este país?
Rita, Rita, tell me, Rita,
How many desaparecidos (missing people) are there in this
country?
Emilia joins Rita. She pushes a metal door into a corridor.
RITA
¿Emilia qué quieres decir?
Emilia, what do you mean?
EMILIA
Rita, Rita, dime, Rita,
¿Quién ahora va a ayudarlos?
Rita Rita, tell me Rita
Who will help them now?
RITA
No será la policía,
ni los politicos
It won't be the police or the politicians,
EMILIA
Corruptos hasta el cuello.
Rita Rita Rita
Corrupt to the bone
Rita Rita Rita
Another door, another corridor.
EMILIA (CONT’D)
Rita, Rita, Rita,
Encontré la táctica, ¡la táctica!
Rita Rita
Rita, Rita hey Rita
I found a tactic, the tactic!
Rita, Rita
Rita reconócelo, ¡nadie es más competente
que los narcotraficantes
Rita think about it, no one is more competent
than drug dealers
RITA
Emilia, Emilia, ¡ay Dios!
Emilia, Emilia, oh God!
EMILIA
Para Rita
Rastrear a los desaparecidos?
Rita!
To trace the desaparecidos!
RITA
A la gente que mataron?
The people they killed?
Another door, another corridor.
EMILIA
¡Sí, con sus propias manos!
Rita, Rita, Rita, Rita, Rita, Rita, Rita,
Rita
Yes, with their own hands!
Rita, Rita, Rita, Rita, Rita, Rita, Rita, Rita, Rita,
Rita, Rita, Rita
RITA
Emilia ¿es en serio Emilia?
Contactar a asesinos? Para ti es peligroso.
¿Y quién lo hará Emilia?
Emilia, are you serious?
Contact killers? It’s dangerous for you. Who will do it?
EMILIA
¡Tú!
You!
RITA
¡No!
No!
Another door, another corridor.
EMILIA
Rita, Rita, dime Rita, eres abogada, ¿no?
Rita, Rita, tell me, Rita, you’re a lawyer, no?
RITA
No, no, no. ¿ah sí?, ¿de verdad?, ¿en
serio?
Sin chantaje y sin violencia, dime ¡¿cómo
lo haría?!
No, no, no, no. Really? Emilia are you serious?
Without blackmail and without violence, tell me how would
I do it?!
EMILIA
Te ganarás su confianza
You’ll gain their trust.
RITA
¡¿Cómo se llama tu chingada cosa esa?!
And what's the name of your bloody thing?!
EMILIA
Lucecita, La Lucecita (x2)
Rita, Rita, Rita, Rita, Rita, Rita,
Rita, Rita, Rita
Lucecita, La Lucecita (x2)
Lucecita, La Lucecita (x2)
Rita, Rita, Rita, Rita, Rita, Rita, Rita, Rita, Rita,
Rita, Rita, Rita
Lucecita, La Lucecita (x2)
The chorus continues...
EMILIA (CONT’D)
Te voy a dar dos o tres nombres de
tipos que se salieron de los
cárteles a quienes podría
interesarles hacer el Bien.
I’ll give you the names of two or three guys who’ve
distanced themselves from the cartels. And who may be
interested in doing good.
Rita looks at her.
They reach a plastic double door. Behind it, silhouettes and
photo flashes.
EMILIA (CONT’D)
¿Qué pasa?
What’s wrong?
RITA
¿Y qué digo en la oficina de
Londres?
What do I tell the London office?
EMILIA
Yo qué sé… ¿Que te quedas un poco
más? ¿No?
I don’t know… That you’re staying a little longer, right?
She pushes the door open.
Ratings
Scene 35 - A Ray of Hope Amidst Scrutiny
Behind them, reporters, sound engineers and cameras.
REPORTER 1
¿Por qué La Lucecita?
Why the Lucecita?
RITA
En el nombre se encuentra el
objetivo: dar un poco de esperanza
a quienes ya no la tienen.
Our aim is in the name: a ray of hope to those who’ve
lost hope.
REPORTER 2
¿Con qué dinero se va a financiar
la asociación?
What money will be financing this NGO?
EMILIA
Con el mío, pero la gente
generosa que quiera participar
es bienvenida.
Mine, but the generals are more than welcome to join us.
They are about to leave.
REPORTER 3
Señora Pérez, señora Pérez, una
pregunta más…
Señora Pérez, Señora Pérez, one more question…
EMILIA
Sí…
Yes…
REPORTER 3
¿De dónde viene su dinero?
Where does your money come from?
The brutality of the question is disconcerting. Emilia
hesitates, is about to answer, when Rita interrupts:
RITA
La señora Pérez no tiene porque
rendirle cuentas a nadie. Pero no
se preocupen pues daremos toda la
información cuando entreguemos
los estatutos de la asociación.
Disculpen, nos están esperando
Mrs. Pérez does not have to justify herself. Don’t worry,
the information will be provided when we file the papers
to establish an NGO. Sorry, we have to go…
She pulls Emilia away. Entering the building, they pass by a
brass plaque. We read:
LA LUCECITA
Investigations in Family Interests
Ratings
Scene 36 - Diverging Perspectives
They are now in an empty building.
RITA
¡Ahí está, ya empezó el desmadre…
para qué te hago caso!
There it is, the madness has already started... why did I
listen to you!
EMILIA
No te preocupes, yo sé cómo son,
les encanta pasarse de listos pero
hasta ahí.
Don’t worry. They love to blabber on, but it’ll lead
nowhere.
RITA
Ajá, claro. ¿Y qué tal que sí pase
de ahí? No, tú no los conoces, yo
sí… van a hacer su trabajo.
Oh yeah? What if it leads somewhere? You don’t know them,
I do, they’ll do their job.
EMILIA
Sí… como todos: pues los compramos.
We buy them off, as usual.
RITA
¿Y nada más?
And then?
EMILIA
¿Cómo que “y nada más”?
What do you mean “and then”?
RITA
Yo voy a darles qué comer, veremos
si tu leyenda resiste…
I’ll feed them. We’ll see if your legend holds up…
EMILIA
¿Una leyenda? ¿Ya tan rápido?
A legend? Already?
RITA
No los subestimes Emilia, hay que
ser aguerrido para ser periodista
en este país.
Don’t underestimate them, Emilia, you need courage to be
a journalist in this country.
Emilia smiles.
They walk under a flat screen showing an institutional film.
Emilia is on screen, wearing dark glasses:
EMILIA
“Somos una ONG y actuamos
legalmente. No reemplazamos a los
poderes públicos ni nos
interponemos a sus labores, no los
juzgamos… estamos simplemente al
lado, somos libres de prestarle
servicio a quienes lo necesitan.
Ayudamos a las familias a encontrar
a sus seres queridos. Aquí no hay
culpables, no estamos para juzgar,
solo tenemos un objetivo: el
bienestar de las familias.
Ofrecemos un servicio de
eliminación de tatuajes para
quienes deseen borrarlos y
abriremos clases de alfabetización
para quienes deseen asistir.
Para empezar de nuevo, para buscar
nuevos horizontes: La Lucecita!”
"We are an NGO and we act legally. We do not replace the
public authorities, nor do we interfere with their work,
we do not judge them... we are simply on the side, we
freely provide a service to those who need it. We help
families to find their loved ones. Here there are no
culprits, we are not here to judge, we only have one
goal: the well-being of the families.
A tattoo removal service is offered on a voluntary basis,
and adult reading classes are available to those who
wish. For a new start, a new horizon: ‘La Lucecita’!”
Ratings
Scene 37 - Chorus of Hope and Redemption
Start 3M23, PARA, male/female chorus
In a lateral tracking shot: women of every age, some with
children in their arms. They are sitting in what looks like a
waiting room.
A DESAPARECIDO’S MOTHER, WIFE OR SISTER
Para saber dónde, cuándo, quién
y cómo pasó
Para poder contar el fin a los que él amó
Para que todos sus amigos le puedan llorar
So that I know where, when, who, and how it happened
So that I am be able to tell about the end to those he
loved
So that all his friends can mourn him
CHILD
Para saber donde los malos,¡ay!,la
escondieron.
We linger on the woman who is singing.
MOTHER SPOUSE OR SISTER OF A MISSING
PERSON
Para grabar ya una fecha
Aquí estoy
Para hablar del color de su cara
Aquí estoy
So that I know where the bad guys hid him.
So that we can engrave a date
Here I stand
So that I can speak of the color of his face
Here I stand
Still in a tracking shot, men of every age wait in line:
A REPENTANT HITMAN
Para aguantarme la mirada en el espejo
Para criar hoy a mis hijos con dinero
limpio
Para que haya una vida antes y una otra
después
So that I can look at myself in the mirror
So that I can raise my children with clean money
So that there is a life before and a life afterwards
We linger on the singer.
A REPENTANT HITMAN (CONT’D)
Para aprender a calcular que uno y dos son
tres
Para limpiar mi piel de tatuajes
Aquí estoy
So that I learn to calculate that one and two are three
So that I cleanse my skin of tattoos
Here I stand
Para ayudar con mis errores
Aquí estoy
So that my mistakes are of some use.
I am here.
The screen divides into twenty squares: in each one, the face of
a man or woman of every age. They look like photos taken in a
photo booth.
CHOIR OF CHILDREN
Aquí estoy
Aquí estoy
Aquí estoy
Aquí, aquí, aquí
¡Aquí estoy!
Here I stand
Here I stand
Here I stand
Here I stand
Here, here, here I stand!
WOMEN AND HITMEN
Para hacer reaparecer los desaparecidos
Para que el hijo y la madre estén de nuevo
juntos
Para mirar la pesadilla cara a cara
Para que haya en el fondo fuerza y
esperanza
So that the missing reappear
So that the child and the mother can be together again
So that we look at the nightmare face to face
So that there is strength and hope in the end
Para vengarnos de las burlas de la sociedad
Para acercarse al otro lado a encontrar el
mal
Para que nuestros corazones griten la
verdad
So that we avenge us of society's mockery
So that we change sides and fight evil
So that our hearts cry out the truth.
WOMEN AND HITMEN (CONT’D)
Para con la cara bien alta ir a caminar
Para comer, vivir y respirar
Aquí estamos
Para pedir perdón y perdonar
Estamos aquí
So that we can walk again with our faces held high
So that we can eat again, live again, breathe again
Here we stand
So that we can ask forgiveness and forgive
Here we stand
We abandon the photos. We return to La Lucecita, to a wide angle
shot on the crowd.
Ratings
Scene 38 - Reflections Under the City Lights
The lights of Mexico City, then Emilia’s villa. Through the bay
windows, we see Emilia’s silhouette dancing alone.
EXT. VILLA EMILIA - NUIT
Headlights at the gate. A car door opens. Jessi steps out.
Before shutting the door, she leans in to wish the driver good
night. We can tell that they are kissing. A long kiss.
She walks up the white gravel path, almost phosphorescent in the
night. Her shoes crunch on the gravel. The headlights sweep over
her legs. She turns around and smiles. Then she takes off her
shoes and continues walking. Smiling.
INT. EMILIA'S VILLA - NIGHT
Emilia continues to dance. Suddenly she sees Jessi, who
enters the room with her shoes in the hand. Emilia startles a
moment, stops, smiles and continues to dance amused.
EMILIA
¿Quieres tomar algo?
Would you like a drink?
Emilia pours herself a drink.
JESSI
Bueno.
Sure.
EMILIA
¿Te divertiste?
Did you enjoy yourself?
JESSI
Sí
Yes.
Jessi plops on the couch. She is high. Emilia hands her a glass.
EMILIA
¿Te puedo preguntar algo, bonita?
May I ask you a question, dear?
JESSI
Mmm.
Mm.
EMILIA
¿Cómo estabas con tu marido?
What was it like with your husband?
Jessi’s eyes are half shut.
JESSI
No sé.
I don't know.
EMILIA
¿Cómo no vas a saber? ¿Lo querías?
What do you mean you don't know? Did you love him?
A beat.
JESSI
Claro que lo quería… estaba bien
morra, fue el primero… estaba loca
por él…
Of course I loved him. I was young, he was my first… I
was head over heels in love with him…
EMILIA
Y él… te quería a ti?
And did he love you?
Jessi opens one eye.
JESSI
Psss no sé… Después tuve a los
niños y ya no fue igual.
Pff… I don’t know… After I had the children, it wasn’t
the same.
EMILIA
¿Para ti o para él?
For you or for him?
JESSI
Para él.
For him.
EMILIA
Y eso te puso triste.
And that made you sad.
Jessi shrugs her shoulders. No answer.
EMILIA (CONT’D)
Si no estuviera muerto ¿qué crees
que hubiera pasado?
If he were not dead, what do you think would have
happened?
JESSI
Quieres decir: ¿entre nosotros?
You mean: between us?
EMILIA
Sí.
Yes.
JESSI
No sé. Él habría hecho como los
demás: se habría encontrado otra
más joven, tenido hijos con ella y
a mí me habría mandado al diablo.
I don't know. He'd have done like other guys: found a
younger girl, had kids with her and dumped me.
A faint smile on her lips.
JESSI (CONT’D)
O tal vez habría sido yo la que
encontrara a otro tipo...
Or maybe I'd have found another guy…
EMILIA
¿Y entonces?
So?
Jessi gestures, as if the answer were obvious.
JESSI
¿Tú qué crees?
What do you think?
A beat.
EMILIA
¿Lo engañaste?
Did you cheat on him?
JESSI
Mmm.
Mmm.
EMILIA
¿Con quién?
With whom?
Emilia feels she was too abrupt.
JESSI
¿Por qué me preguntas eso?
Why are you asking me this?
EMILIA
No, por nada, así nada más.
No, no reason, just like that.
JESSI
¿Quieres saber "así nada más" si
anduve cogiendo con otro güey?
You want to know “for no reason” if I fucked another guy?
Emilia is worried.
EMILIA
¿Duró mucho tiempo?
Did it last long?
Jessi shakes her head “no”.
EMILIA (CONT’D)
¿Por qué?
Why?
JESSI
Era demasiado intenso… Ya no podía
pensar en nada más… nunca me había
pasado algo así.
It was too powerful… He was all I could think of… I’d
never experienced anything like it.
EMILIA
¿Y qué pasó?
And what happened?
JESSI
Pues, nada. Ahí le paré. Ya no
quise volverlo a ver.
Nothing. I called it quits. I didn’t want to see him
anymore.
EMILIA
¿Y no pensaron fugarse juntos?
And you didn't consider eloping together?
Jessi giggles in disbelief, baring her small pointed teeth.
JESSI
¿Conocías un poquito a tu primo o
para nada? ¿Veías las noticias de
vez en cuando?
Did you know your cousin or not at all? Did you ever
watch the news?
Emilia stiffens.
JESSI (CONT’D)
Hubiéramos podido ir a donde sea,
él nos habría encontrado, nos
habría destrozado y dado de comer a
los perros.
We could have gone anywhere, he would have found us, torn
us apart and fed us to the dogs.
Jessi finishes her drink.
JESSI (CONT’D)
Bueno, me voy a dormir, buenas
noches.
I’m going to bed. Good night.
She picks up her shoes and leaves.
EMILIA
¿Y volviste a ver al tipo ese?
And did you see this guy again?
Jessi smiles.
JESSI
Mmm.
Hmm.
EMILIA
… buenas noches.
Good night.
Emilia stops smiling when she hears Jessi’s footsteps in the
stairway.
Ratings
Scene 39 - Gala of Shadows
A crowd has gathered around the red carpet and the paparazzi.
Journalists brandish recorders.
REPORTER
¿Qué espera de esta velada?
What do you expect from this gala?
EMILIA
Simpatía y apoyo.
Sympathy and support.
REPORTER 2
¿Apoyo? ¿Quiere decir dinero?
Support? You mean money?
EMILIA
Ajá, una lana pues, si prefiere, un
buen varote.
Dough, if you prefer. Good old greenbacks!
Laughter.
REPORTER
¿Es cierto que encuentra
desaparecidos con la ayuda de
sicarios?
Is it true that sicairios help you find the remains of
the disappeared?
RITA
Así es, La Lucecita además de
acompañar a las familias de las
víctimas, da la oportunidad a los
arrepentidos, no de enmendar sus
actos porque nada podrá
enmendarlos, sino de hacer un poco
de bien a quienes hicieron daño.
Disculpe, nos están esperando.
That's right, La Lucecita, besides supporting the
families of the victims, gives the opportunity to those
who are repentant, not to make up for their actions,
because nothing can make up for them, but to do a little
good to those they have harmed. Excuse me, they are
waiting for us.
She walks away.
RITA (CONT’D)
Vi la lista de invitados… ¿Quién es
esa gente que añadiste?
I checked the guest list. Who are all the people you
added?
EMILIA
Puros hampones, narcos, corruptos…
¿Te molesta?
Just gangsters, drug dealers, corrupt people... Do you
mind?
RITA
Que La Lucecita vaya a buscar
dinero sucio, sí, me molesta.
La Lucecita going after dirty money, yes, I mind.
EMILIA
Mientras no conozca a nadie de la
corona inglesa, voy a seguir
invitando a los ricos que conozco.
As long as I don't know anyone in the English crown, I'm
going to keep inviting the rich people I know.
She looks at her.
EMILIA (CONT’D)
Rita, venimos a pedir dinero, no a
planear un asalto…
Rita, we’re here to ask for money, not to rob a bank…
RITA
¿Por qué me dices eso?
Why do you say that?
EMILIA
No denunciemos a nadie. ¡Cabrón, a
veces me parece que eres peor que
yo!
We’re not turning anyone in. Sometimes I think you’re
worse than me.
Emilia steps up onto the dais. Flashes and applause.
BERLINGER (OFF)
¡Rita!
Rita!
Rita turns around and sees Berlinger. He takes her hand and
kisses it. Rita observes the gesture in slow motion. His
mouth on her hand.
BERLINGER (O.S.) (CONT’D)
Ven a verme cuando tengas tiempo.
Come see me when you have time.
His face fades into the shadows.
Ratings
Scene 40 - Shaking Foundations
Emilia asks for silence and begins her speech.
EMILIA
Estimados ministros, estimados
diputados, estimados representantes
de la Cámara de Comercio, señor
Gobernador del Estado, Señoras y
Señores…(recorre la asamblea con la
mirada)¡Qué asamblea!¡Pero qué
asamblea!
Ministers, senators, representatives of the Chamber of
Commerce, Governor of the Province, ladies and gentlemen…
(looking around) What a crowd! What an impressive crowd!
She applauds. The assembly does too. She asks for silence.
EMILIA (CONT’D)
Ustedes me sacan ventaja: todo
mundo los conoce. A mí, nadie…
You have the one-up on me: you all know each other,
whereas I know no one…
The audience disagrees.
EMILIA (CONT’D)
…se los aseguro… o muy poco.
I mean it… Or very little.
Laughter.
Emilia continues. All eyes are on her. Rita walks up between the
tables. She speaks, sings, but the audience is listening to the
speech, and no one seems to hear her.
Start 5M27 EL MAL Rita
RITA
Miren al químico, químico
que lo nombraron Ministro de algo,
el químico, él hace poco mandó a
matar a su socio y familia, ¡a
chingar!,
y ¿qué hicieron con esos cadáveres?
¡Ácido!
Look at El Químico, the Chemist,
who was appointed Minister of …something,
the Chemist, he recently had his business partner and
family killed
All to the slaughter!
and what did they do with the corpses?
Acid!
Miren al juez Santos, mírenlo, no
le importa nada, sólo los niños.
Los narcos los raptan a tiros,
los llevan a fuera de todos sus
pueblos natales
A cambio de eso Santos reduce los
juicios a “falta de pruebas”
Look at Judge Santos,
look at him,
he doesn't care about anything,
only about little children.
The narcos kidnap them with guns,
take them away from their hometowns
In exchange Santos dismisses the trials
for “lack of evidence”.
X2 - Habla
Esta gente habla
Pero ahora lo van a pagar, a pagar,
a pagar
These people speak
But now
they will pay, they will pay, they will pay, they will
pay.
EMILIA
Ustedes me sacan ventaja, todo
mundo los conoce. ¡A mí nadie!
You have the advantage: everybody knows you.
Nobody knows me!
¡O sólo un poco! ¡Se los aseguro!
¡Soy Emilia Pérez!
(MORE)
EMILIA (CONT’D)
¡Una mujer mexicana! ¡Una mujer
como las demás!
I assure you! Or so little!
I am Emilia Pérez!
A Mexican woman! A woman like the others!
RITA
Miren al secretario de Educación
dizque Pública
Especialista en las empresas
fantasmas
Hoy sus contratos, sí, sí, son
reales
Pero las dizque escuelas no se
construyen
Ahora cuéntanos, Chucho, ¿de dónde
sacaste
Tu jet, tu alberca, tu hotel?
Look at the so-called Public Education Secretary
Specialist in phantom companies
Today his contracts, yes, yes, are real
But the so-called schools are not being built
Now tell us, darling,
where did you get your jet, your pool, your hotel from?
Miren al Gober-Gobernador
¿Quién votó por él
la gente o el Cártel
¡ay!... que compró, ay sí, uno a
uno los votos de los campesinos?
¡Pága-págale al Cártel!, bombón,
ya están sentados en tu pinche
trono.
Look at the Governor
Who voted for him, the people or the Cartel?
The Cartel who bought, oh yes,
one by one the peasants’ votes.
Pay the Cartel, you fool,
because they are already sitting on your own fucking
throne!
X2 -Habla
Esta gente habla
Pero ahora lo van a pagar, a pagar,
a pagar
These people speak but now
they will pay, they will pay, they will pay, they will
pay.
EMILIA
… pero gracias a dios, tengo a mi
lado a una mujer excepcional: Rita
Mora Castro! ¡Ella es la
inteligencia andando! ¡La
inteligencia andando!
You have the advantage: everybody knows you.
Nobody knows me!
RITA
Miren al Cojo
No eres cojo de nacimiento
En tu próximo puto retraso de pago
Acabarás en la silla de ruedas
Lo sabe bien el que perdió su mano
Sé muy puntual si eres corrupto
Look at El Cojo, The Lame,
You're not lame from birth, are you?
On your next fucking late payment you'll end up in a
wheelchair.
He knows it well, he who lost his hand:
Be very punctual if you're corrupt
Miren al querido Gabriel Mendoza
Ah con su nueva mujer
su nueva esposa
Muy joven
Muy rubia
¡Rubia!
Look at our dear Gabriel Mendoza
With his new wife
Very young
Very blonde!
X2 - Habla
Esta gente habla
Pero ahora lo van a pagar, a pagar,
a pagar
These people speak
But now
they will pay, they will pay, they will pay, they will
pay.
EMILIA
Perder a un ser amado es una
tragedia, perder sus restos ¡Es una
condena!
¡Es una condena!
¡Es una condena!
To lose a loved one is a tragedy,
to lose their remains is to be damned!
It's damned!
It's damned!
Suddenly a tinkling noise interrupts the hubbub. Chandeliers
sway. Their crystal prisms vibrate. An earthquake.
Someone yells: "¡Está temblando!”
Guests look up to the ceiling raise their glasses:
THE ASSEMBLY
¡Salud!
Cheers!
Men’s pixelated faces look up at the ceiling.
End 5M27 EL MAL
Ratings
Scene 41 - Confronting the Past
Morning. Emilia arrives at her office floor. She responds
distractedly to the greetings of those she runs into.
INT. LA LUCECITA TOILETS - DAY
A beautiful woman in her forties, simply but tastefully dressed.
She opens her bag and takes out a sheathed knife. She takes the
knife out of its sheath and replaces everything in the bag.
INT. LUCECITA WAITING ROOM - DAY
The woman returns to her seat in the waiting room.
INT. LUCECITA EMILIA’S OFFICE - DAY
Emilia is sitting at her desk.
A secretary enters and announces.
SECRETARY
La señora Epifanía Flores.
Señora Epifanía Flores.
Emilia looks up to see the woman we saw in the bathroom.
EMILIA
Siéntese por favor.
Please, have a seat.
Suspicious, EPIFANÍA looks over her shoulder before sitting
down.
EMILIA (CONT’D)
¿Qué puedo hacer por usted?
What can I do for you?
EPIFANÍA
Usted encontró a mi marido.
You found my husband.
Epifanía hands her a summons.
EMILIA
Ah sí.
Oh yes.
Close-up: a photocopy of a young tattooed man.
EPIFANÍA
¿Dónde está?
Where is he?
EMILIA
Por ahora, en la morgue.
For now, in the morgue.
EPIFANÍA
¿Y qué chingados hace en la morgue?
What the hell is he doing at the morgue?
EMILIA
(algo sorprendida) Está muerto.
(a little surprised) He's dead.
EPIFANÍA
¡¿No?! ¿Está segura de que es él?
No! Are you sure it’s him.
EMILIA
Sí, al 99.9%. Lo siento mucho…
Yes, 99.9% sure. I'm sorry…
EPIFANÍA
¿Es en serio? ¿De veras está
muerto?
You're not bullshitting me? He's really dead?
EMILIA
Sí.
Yes.
EPIFANÍA
¿Está segura?
And you're sure?
EMILIA
Ya me está haciendo dudar, pero sí,
totalmente segura.
You're making me hesitate now, but yes, absolutely sure.
Epifanía is at first stunned, but then bursts into laughter.
EPIFANÍA
…!Ah chingá!
...Fuck!
The laugh becomes a sob.
She stands up and goes to the window to hide her tears.
EPIFANÍA (CONT’D)
Discúlpeme…
Excuse me…
Emilia joins her.
EPIFANÍA (CONT’D)
Pensé que iba a estar aquí, me
moría de miedo.
I thought he was going to be here. I was scared shitless…
Epifanía sobs. Emilia takes her in her arms.
EPIFANÍA (CONT’D)
Me dejó en paz cinco años, ya lo
había olvidado y de repente usted
me manda ese papel. Me pegaba…
se llevaba mi dinero…
I had five years of peace, then I got your letter. He
used to hit me, steal my money.
Emilia can’t take her eyes off of her lips.
EPIFANÍA (CONT’D)
(entrecortada por los sollozos) …me
…me violaba… Tenía tanto miedo de
que regresara… si no estuviera
muerto… sería yo la que lo… hasta
agarré un cuchillo…
(sobbing) He… he raped me… I was so afraid he’d come
back. If he weren't dead… I brought a knife…
EMILIA
Shhhhh.
Shhh.
Emilia draws back as if to escape temptation.
Ratings
Scene 42 - Dark Humor in the Shadows
Emilia and Epifanía silently walk up a hallway. They part on the
stairs.
EMILIA
Hasta luego.
Goodbye.
EPIFANÍA
Hasta luego señora.
Goodbye, ma’am.
Emilia heads back to her office, but can’t help turning back
around. Just before Epifanía disappears:
EMILIA
¡Señora Flores!
Señora Flores!
INT. LUCECITA CORRIDORS - DAY
Epifanía looks up.
EMILIA
Hay algo que no me dijo, ¿qué
hacemos con el cuerpo de su marido?
You didn’t tell me: what do we do with your husband’s
corpse?
EPIFANÍA
Tírelo
Throw it away.
They laugh.
EMILIA
(murmurando fuerte) ¿De verdad
traía un cuchillo?
(whispering) Did you really have a knife?
Epifanía nods and surreptitiously takes the knife out of her
bag.
Emilia appreciates and surreptitiously takes out her Glock of
her bag.
Both ladies smile.
EMILIA (CONT’D)
¿Podemos volver a vernos?
Can I see you again?
EPIFANÍA
¿Volver a vernos? ¿Para qué?
See me again? Why?
EMILIA
Para nada en especial, así nada
más… para vernos.
No reason, just… to see you again.
EPIFANÍA
…sí.
...Yes.
Ratings
Scene 43 - A Morning of Connection
Early morning. Emilia is dressed. She finishes making coffee
in the kitchen-living room-bathroom in Epifanía’s tiny house.
She looks at the walls with their peeling blue paint and
religious imagery. StrÁNGELy ordered disorder, it is a cozy
kind of cave.
Emilia is happy. She feels at home. An “at home” that she never
had before. Out the window, she sees her neighbor open her
shutters. The two women greet each other from afar.
Noise behind her. Epifanía is coming out of her bedroom.
EPIFANÍA
¿Sí encontraste todo?
Dif you find everything?
EMILIA
Mm
Mm.
They kiss.
EPIFANÍA
¿Ya te vas?
Are you leaving?
EMILIA
Tengo que estar en la casa antes de
que los niños se despierten.
I have to be back home before the kids wake up.
EPIFANÍA
¿Tienes hijos?
You have children?
EMILIA
Sí, o más bien no… pero es lo
mismo.
Yes, well, no, but it’s the same.
Epifanía smiles.
EPIFANÍA
¿Cómo que es lo mismo?
What do you mean "it's the same"?
EMILIA
Su padre murió, yo soy su tía.
Their father died. I’m their aunt.
A beat.
EPIFANÍA
¿Vamos a volvernos a ver?
Can I see you again?
EMILIA
¿Quieres? (como sorprendida) ¿De
veras?
You want to? (surprised) Really?
Epifanía takes Emilia into her arms.
EMILIA (CONT’D)
Ámame, protégeme. Siempre quiero
eso …
Love me, protect me. I always want that...
The two women entwined.
Ratings
Scene 44 - A Song of Unspoken Love
Emilia begins to sing. Epifanía does not seem to see her
although they are in the same frame. She begins her day: washing
up, dressing, housekeeping. All her gestures are weighed down by
love.
Start of EL AMOR
EMILIA
Medio él, medio ella
Medio papá, medio tía
Medio rica, medio pobre,
Medio jefe, medio reina
Medio aquí, medio acá
Half He, half She
Half dad, half aunt
Half rich, half poor,
Half boss, half queen
Half there, half here
Medio muerto, medio viva
Medio dentro, medio fuera
Medio todo, medio nada
¿Quién soy?, no lo sé
Yo soy lo que siento
Y por primera vez,
Siento un sentimiento,
La vida sin amor
Fue como una caída
¡Ah! qué alegría
hacer el amor con amor
Half dead, half alive
Half inside, half outside
Half everything, half nothing
Who am I, I don't know
I am what I feel
And for the first time,
I feel a feeling,
Life without love
was like an endless fall
Oh! what a joy
to make love with love
Medio real, medio falsa
Medio tierna, medio dura
Medio malo, medio buena
Vacío, llena
Medio naco, medio gringa
Personaje y persona
(MORE)
EMILIA (CONT’D)
Medio flor, medio tumba
Caja fuerte y herida abierta
Half real, half fake
Half tender, half hard
Half bad, half good
Empty, full
Half peasant, half brash
Character and person
Half flower, half grave
Armor and open wound
Quién soy no lo sé
Yo soy una mentira
¿Cuándo, cómo decirle?
Sería una locura
La vida con un secreto
Es como una tortura
Quisiera amarla entera
Entera como el mundo
Who I am I don't know
I am a lie
When, how can I tell her? It would be madness
Life with a secret
Is torture
I'd like to love her entirely
as the whole world
EPIFANÍA
Emilia, Emilia
EMILIA
Epifanía
EPIFANÍA
Emilia
EMILIA
Epifanía
EMILIA (CONT’D)
Medio mí , medio ella
Medio dos, medio misma
Medio abajo, arriba
Al principio y al final
Half me,
half her
Half a couple, half alone
Half down, half up
At the beginning and at the end
¿Quién soy?, no lo sé
Nací hace un instante
Nací de su deseo
Nací de su vientre
La vida sin deseo fue como una montaña,
Ahora mi deseo
Me lleva a un río.
Estoy enamorada!
(MORE)
EMILIA (CONT’D)
Estoy enamorada
Enamorada
Enamorada
Who am I, I don't know
I was born an instant ago
I was born from her desire
I was born from her womb
Life without desire was like a mountain
Now my desire takes me to a river
I am in love! I am in love
In love
In love
EPIFANÍA
Emilia, Emilia
EMILIA
Epifanía
EPIFANÍA
Emilia
EMILIA
¡Estoy enamorada!
I'm in love!
End EL AMOR
Ratings
Scene 45 - Empowerment in the Office
The two women are in Emilia’s office. Emilia looks out the
window. La Lucecita is in full swing. Hustle and bustle in
the corridors. Women in waiting rooms. ÁNGEL and Diego are
having snacks in the cafeteria, etc... Emilia surprises Rita
looking at her.
EMILIA
¿Qué?
What is it?
RITA
Te admiro…
I admire you...
EMILIA
Ah mira, qué chingón.
Oh shit.
RITA
¿Dónde aprendiste eso?
Where did you learn all this?
EMILIA
¿…?
…?
RITA
Estás cambiando la vida de la gente
Emilia… No sólo la de ellos, la
mía, la de todos. Yo estudié toda
la vida ¿y qué hice cuando acabé?
Ayudar a los ricos a ser más ricos,
y a los puercos a ser más puercos.
You’re changing people’s lives, Emilia… Not only theirs.
Mine too. Everyone’s. I studied my whole life and what
did it get me? I helped rich people get richer and gross
people become grosser.
EMILIA
Rita ¿estás bien?
Rita, are you all right?
EMILIA (CONT’D)
Ya tengo cuarenta años Emilia… mi
vida amorosa es un desierto y mi
vida profesional una pinche cloaca.
I’m 40, Emilia… My love life is a disaster. My work life,
a sewer.
Emilia places her hand on Rita’s.
EMILIA (CONT’D)
¿Qué te puedo decir?
What can I say?
RITA
Nada.
Nothing.
A beat.
EMILIA
¿Qué esto no existiría sin ti?
That none of this would exist without you?
RITA
Gracias.
That’s kind.
EMILIA
Es cierto. Está es tu vida
profesional. Puedes estar
orgullosa… ¿A poco no?
It’s the truth. It’s your professional life. You can be
proud of it. Isn't that right?
Rita’s eyes are shining.
On a computer screen: a muted report on the Veracruz
excavations: the images of the mass graves, the body bags...
then, Emilia and Rita interviewed in front of the site.
Rita points to the screen.
RITA
Vamos a incomodar a muchas
personas. ¿No te da miedo ?
We may upset a lot of people. Doesn’t that scare you?
Emilia thinks.
EMILIA
Creo que me vale madres.
I don’t think I give a shit now.
Rita nods and smiles.
EXT. STREET - NIGHT
Rita walks alone in a busy street. She seems to know where she
goes and knows the door she pushes. It is the one of a night
bar.
Ratings
Scene 46 - Nightlife Revelations
Dark atmosphere, other music, another ambience.
Six men turn towards us, undressing us with their eyes.
Rita bellies up to the bar, next to a hot guy. She orders a
drink. When it arrives, she feels the guy’s hand run over her
body. She likes what she feels. And she doesn’t mind him
whispering in her ear.
Noise and laughter from another room. One laugh in particular.
Rita breaks free…
RITA
Espera aquí, ahora vuelvo.
Wait, I’ll be right back.
… and goes to the other room.
In the other room, at a table in the back, people are laughing
and drinking. Hugged to a thin man, Gustavo Brun, Jessi is the
queen bee. Their hands, loaded with jewels, join on the white
tablecloth. Jessi sees Rita. She calls to her:
JESSI
¡Ey, Rita!
Hey, Rita!
Rita approaches. Jessi introduces everyone:
JESSI (CONT’D)
Gustavo, mi amigo... y los otros.
My friend Gustavo... and the others.
RITA
Buenas noches... buenas noches “los
otros”.
Good evening... good evening, "the others".
JESSI
(presentándola) Santa Rita, mi
ángel de la guardia. (a Rita)
Siéntate un momento.
(introducing her) Saint Rita, my guardian ÁNGEL. (to
Rita) Sit down for a moment.
RITA
... tengo un amigo esperándome
abajo.
... I have a friend waiting for me downstairs.
She sits down.
JESSI
¿Estás en una misión o sólo
divirtiéndote?
Are you on a mission or just having fun?
RITA
Sólo me divierto.
Just having fun.
JESSI
¡¿Tú?! ¿divirtiéndote?
You?! having fun?
RITA
... Yo sé, hasta me suena raro
decirlo.
... I know, I hesitated before saying it.
JESSI
Pensé que te devolvías a Londres.
I thought you were going back to London.
RITA
Me estoy dando un tiempo. ¿Y tú?
¿qué tal el regreso a México?
I'm taking some time off. How about you? How is the
return to Mexico?
JESSI
De poca madre.
Awesome.
RITA
¿Y qué haces?
What are you doing?
JESSI
¿Esta noche? Aún no sabemos.
Tonight? We don't know yet.
She turns to Gustavo.
JESSI (CONT’D)
¿Qué hicimos ayer?
What did we do yesterday?
They kiss.
Start 4M26 MI CAMINO
It is as if Jessi and Gustavo were entering hyperspace: night
clubs, strobo lights, naked girls, men and women with
pixelated faces, extravagant outfits, flashing lights, night
stores, windows breaking, bills changing hands... Jessi and
Gustavo kissing, the image turning into a negative...
JESSI (CONT’D)
Si me caigo en la barranca
Es MI barranca
Si me doblo del dolor
Es MI dolor
Si me mando al séptimo cielo
Es MI cielo
Si me equivoco de camino
Igual
If I fall of a cliff
It’s MY cliff
If I double over in pain
It’s MY pain
If I go to seventh heaven
It’s MY heaven
If I go down the wrong path
Who cares?
Cuando salgo mucho de fiesta
Cuando me porto como una perra
Cuando soy la señora perfecta
Cuando digo “sí” para decir “no”
Quiero, quiero
When I party a lot
When I act like a bitch
When I’m the perfect woman
When I say “yes” to say “no”
I want, I want
Quiero quererme a mí misma
Querer sí mi vida
Querer sí lo que siento
I want to love myself
I want to love my life
(MORE)
JESSI (CONT’D)
To love what I feel
Quiero quererme a mí misma
Quererme así toda
Quererme así como soy
I want to love myself
To love myself fully
To love myself as I am
Quiero amar
A la niña que no me dejaron ser
Quiero amar
A la abuela en la que a lo mejor me
voy a volver
Quiero amarme cada día, cada hora,
cada segundo
Soy y eso me basta
Eso es ser una mujer, ¿no?
I want to love
The little girl that they wouldn’t let me be
I want to love
The old lady that I may become one day
I want to love myself every day, every hour, every
second
I am, and that’s enough
That’s what being a woman is, right?
Quiero amarme como quiero que me
amen
I want to love myself the way I want to be loved
Amén
Quiero quererme a mí misma
Querer sí mi vida
Querer sí lo que siento
I want to love myself
I want to love my life
To love what I feel
Quiero quererme a mí misma
Quererme así toda
Quererme así como soy
I want to love myself
To love myself fully
(MORE)
JESSI (CONT’D)
To love myself as I am
Si me caigo en la barranca
Es MI barranca
Si me doblo del dolor
Es MI dolor
Si me mando al séptimo cielo
Es MI cielo
Si me equivoco de camino
Igual
Es mi camino
If I fall of a cliff
It’s MY cliff
If I double over in pain
It’s MY pain
If I go to seventh heaven
It’s MY heaven
If I go down the wrong path
Who cares?
It’s my path
Quiero quererme a mí misma
Querer sí mi vida
Querer sí lo que siento
I want to love myself
I want to love my life
To love what I feel
Quiero quererme a mí misma
Quererme así toda
Quererme así como soy
I want to love myself
To love myself fully
To love myself as I am
Cuando salgo mucho de fiesta
Cuando me porto como una perra.
When I party a lot
When I act like a bitch
END OF 4M26 MI CAMINO
Ratings
Scene 47 - Morning Tensions
Emilia finishes having breakfast with the children, who are
playing Fortnite. A cheerful atmosphere. Emilia looks fulfilled.
Out the window, she suddenly sees a silhouette in the garden:
Jessi coming home from an interminable night out.
The two women’s eyes meet through window glass. Emilia
discreetly points to the children and shakes her head ‘no’.
Jessi disappears in the stairway.
EXT. EMILIA’S VILLA - DAY
Emilia accompanies the children out to the porch, where their
driver-bodyguard is waiting.
She hands them their school bags.
EMILIA
Hasta la tarde amores, vengo a
buscarlos a la salida.
See you this afternoon, my little darlings. I’ll pick you
up after school.
She gives them a kiss.
She goes upstairs. The corridor that leads to Jessi’s room seems
inordinately long.
She knocks. Since there is no answer she enters.
Ratings
Scene 48 - Confrontation in the Shadows
The room is dark. We hear Jessi through the bathroom door.
Jessi comes out in her bathrobe, drying her hair. She does not
notice Emilia watching her from the shadows.
A beat:
EMILIA
Jessi…
Jessi…
Jessi jumps.
JESSI
¡Ay güey! ¡Me espantaste!
Fuck, you scared me!
EMILIA
Toqué. Solo quería decirte: tú eres
libre de hacer lo que quieras,
pero…
I knocked. I wanted to tell you: you’re free to do as you
please, but…
JESSI
Sí, sí, ya sé, los niños…
Yes, I know, the children…
EMILIA
Sólo tener algo de cuidado…
Just be a little careful…
JESSI
¡Ya te dije que ya sé!
I already told you I know!
After a while, in a sudden way.
JESSI (CONT’D)
Me voy a casar.
I am getting married.
EMILIA
¿Qué? ¿Con quién?
What? With whom?
JESSI
Con Gustavo.
With Gustavo.
EMILIA
El tipo del que…
The guy who…
JESSI
Sí.
Yes.
Emilia looks at Jessi.
EMILIA
¿Estás segura? ¿No crees que te
estás precipitando?
Are you sure? You don’t think this is a little hasty?
JESSI
Hace cinco años que estoy
esperando.
I’ve waited for 5 years.
EMILIA
Bueno, adelante entonces. Si tú
eres feliz, yo también.
Well, go ahead then. If you're happy, so am I.
Emilia opens the arms, the two women hug each other.
EMILIA (CONT’D)
Y, ¿ya sabes dónde van a vivir?
Do you know where you're going to live?
JESSI
Estamos buscando una mansión en
Polanco.
We're looking for a villa in Polanco.
EMILIA
Ah, sí… ¿Y los niños?
Really. What about the children?
JESSI
¿Los niños qué?
What about them?
EMILIA
Se quedan aquí.
They stay here.
JESSI
Ah, no, ¿por qué? Van a vivir con
nosotros.
No. Why? They're going to live with us.
Beat.
Taking it upon herself.
EMILIA
¿Y dónde está esa mansión de
Polanco? ¿Al menos tiene jardín?
Where is this house in Polanco? Is there a garden?
JESSI
Sí, tiene todo lo necesario.
Yes, it has everything needed.
EMILIA
¿Y hay buenas escuelas en Polanco?
Are there good schools in Polanco?
JESSI
Todavía no vemos.
We haven’t looked yet.
A beat. Emilia’s gaze hardens.
EMILIA
Cuando dices “los niños van a vivir
con nosotros” ¿quieres decir: vivir
contigo y con tu padrote?
When you say "the children are gonna live with us", you
mean you and your pimp?
JESSI
¿Qué?
Excuse me?
EMILIA
Que tú vas a donde se te dé la gana
con tu pinche padrote, pero los
niños se quedan aquí.
Go wherever the fuck you want with your stupid pimp, but
the kids stay here.
JESSI
¡¿!Mi padrote!?! ¿Y tú quién
chingados te crees para decirme eso
pinche vieja lencha? ¿Quieres que
yo también te diga algo de tu
putita?
My pimp?! And who the fuck do you think you are, you
fucking old dyke? Do you want me to tell you something
about your little whore too?
Jessi tries to hit Emilia who pushes her on the sofa. Emilia
grabs a vase, hesitates to smash her skull, then shatters it
on the ground near Jessi.
EMILIA
¡Tú no tocas a mis hijos y punto!
You don't touch my children, period!
Emilia goes away.
JESSI
¿!¿Tus hijos!?! ¿!¿TUS HIJOS!?!
¿¡¿TE VOLVISTE LOCA O QUÉ?!?
¡SON MIS HIJOS!
Your children!?! Your children?!? Have you lost it or
what? They're my children!
Ratings
Scene 49 - Fractured Bonds
Two guys are beating up a third, who slips under a car to escape
the beatings. The camera passes under the car: we recognize
Gustavo Brun.
Once he stops moving, one of his assailants slips a fat wad of
money into his pocket and whispers into his ear.
HENCHMAN (O.S.)
Tienes 100 mil dólares en la bolsa
del pantalón. Te largas de la
ciudad y no te vuelves a acercar a
menos de 80 kilómetros. Si
desobedeces, te corto los brazos y
se los doy de comer a los perros.
¿Entendiste?
There’s a hundred thousand dollars in your pocket. Leave
Mexico City and never come back within 50 miles. If you
do, I’ll cut off your arms and feed them to the dogs.
Understand?
INT. EMILIA’S VILLA - DAY
Early morning. Followed by the maids, Emilia hurries from room
to room: the closets and drawers in both the children’s room and
Jessi’s have been emptied.
EMILIA
¿A qué hora se fueron?
At what time did they leave?
MAID
No sé señora, todo mundo estaba
durmiendo…
I don't know, ma'am. Everyone was asleep…
EMILIA
¿No dejó una nota?
She didn't leave a note?
MAID
No encontré ninguna, señora.
I didn't find one, ma'am.
Emilia calls Jessi. Straight to voicemail. She leaves a message:
EMILIA
(al teléfono) Soy yo Jessi… no
entiendo… no entiendo por qué
hiciste eso… tenemos que hablar,
llámame.
(On the phone) Jessi, it's me… I don't understand… I
don't understand why you've done this… We need to talk.
Call me back.
The screen splits in three: Emilia to the left, Jessi in her car
to the right and Rita in the middle at the Lucecita offices. The
three women speak and sing at the same time.
Start 5M28a Trio Emilia/Rita/Jessi
EMILIA (CONT’D)
Se fue con los niños
Con los míos y todas las cosas
A Polanco sin dudas
Con su chulo
No puede hacer eso
Sí, está bien, es su madre
¿Pero entonces qué soy yo?
¡No la dejaré hacer esto!
She ran away with the children
With my children and she took everything with her
She went to Polanco for sure
With her pimp
She can't do that
Okay, she's their mother
But what am I then?
I won't let her do that!
RITA
Cálmate
Tranquila
Calma
(MORE)
RITA (CONT’D)
Tranquilízate
Cálmate
Calm down
Easy
Calm down
Get a hold on yourself
JESSI
Me cortó los víveres
Me cortó la lana
Cerró la llave
No funciona ninguna tarjeta
Todas mis cuentas están bloqueadas
¿Entiendes algo tú?
¿Me quiere robar a mis hijos y ahora mi
lana?
She cut me off!
I don't even have enough to buy food
She took all my money
She turned off the money tap
No more credit cards working
All my accounts are frozen
Do you understand anything?
She wants to steal my children
and now she wants to steal my money?
RITA
Cálmate
Calm down.
EMILIA + JESSI
¡Me quiere robar a mis hijos!
She wants to steal my children!
RITA
Calma
Tranquila
Calma
Tranquilízate
Calma
Calm down
Calm
Control yourself
Calm down
EMILIA
¿Cómo pude casarme con esa perra?
¡¿Cómo pude casarme con esa
ingrata?!
How could I have married that awful pig?
How could I have married that ungrateful sow!
RITA
Lo hubieras pensado antes.
¡¿Qué crees?¡ ¿Que puedes manipular
a la gente a tu antojo?
¡Eso era en otra vida! ¡Ahora ya no
es lo mismo!
You should have thought of that before
What do you think?
That you can manipulate people as much as you want?
That was before?
Now it's not the same!
JESSI
¿Cómo pude vivir con esa cabrona ?
¿Cómo pude confiar en esa pendeja?
How could I live with that bitch?
How could I trust that slut?
RITA
Calma
No entiendo por qué hizo eso
Hablaré con ella
Lo solucionaré
Arreglaré las cosas
Calm down
I don't understand why she did this
I'll talk to her
I'm going to fix it.
It's going to be all right.
JESSI
Es la lana de Manitas
¡Mi marido!
¡La lana que me dejó cuando murió!
It's Manitas' money.
My husband!
The money he left me
when he died!
RITA
Calma
Take it easy
JESSI
¡Mi lana!
My money!
EMILIA
No puede hacerme eso
She can't have done such a thing
RITA
¿Cómo pudiste hacer eso?
¡Chingá!
¿ No pudiste habérmelo dicho antes?
And you, how could you do such a thing?
Shit!
Couldn't you have told me about it before?
JESSI
¿Cómo tiene acceso a mis cuentas?
How come she's got access to my accounts?
RITA
Cálmate
Tranquila
Fue la voluntad de Manitas, tu
marido
Quería protegerte
Calm down
It was in your husband Manitas' will
He wanted to protect you
EMILIA
¡Quiero a mis hijos!
I want my children!
RITA
Si quieres recuperar a tus hijos
Tendrás que apagar el fuego
If you want your children back
you'll have to put out the fire
EMILIA
¡Quiero a mis hijos!
I want my children back!
RITA
Hay que apagar el fuego
You have to put out the fire
End 5M28a Trio
Ratings
Scene 50 - Under Siege and Missed Connections
Emilia sitting in the back of her limousine. Her head churns
with ideas, like black clouds. She looks focused on the electric
wires that appear and disappear as they should. And then, as if
it were obvious:
EMILIA
Se va a morir.
She is going to die.
The driver’s screams wake her out of her daydream. The car
swerves. She sees two pixelated faces. Their automatic weapons
fire. The windshield shatters…
She lies on the back seat, opens her bag and sees her Glock
shining inside.
Inside the bag, the Glock, black.
Black.
EXT/INT LUCECITA WAITING ROOM - EVENING
Evening. Epifanía sits on a bench in the waiting room. She
watches the personnel leave, wishing each other “Good Night. See
you tomorrow.” Rita is in her office, putting away her things.
Just as she is about to leave, she sees a woman waiting on a
bench.
She opens her office window.
RITA
Las oficinas abren de las 9 de la
mañana a las 5 de la tarde, ya
estamos por cerrar. ¿Tenía cita?
The offices are open from 9 to 5. We’re closing. Did you
have an appointment?
EPIFANÍA
Sí… bueno, no, no aquí.
Yes… well, no, not here.
RITA
¿Le puedo ayudar?
May I help you?
EPIFANÍA
Tenía cita con la señora Pérez.
I had an appointment with Mrs. Pérez.
Rita looks at her closely. Bemused.
RITA
¿Su nombre es…?
What’s your name?
EPIFANÍA
Epifanía Flores.
Epifanía Flores.
RITA
¿Tú eres Epifanía?
You’re Epifanía?
EPIFANÍA
Sí, tú eres Rita, ¿no?
Yes. You’re Rita, right?
RITA
Sí, buenas noches.
Yes, good evening.
EPIFANÍA
Buenas noches.
Good evening.
The two women smile at each other for a beat. Slightly
embarrassed.
RITA
Bueno, ya está.
Well, it's done...
EPIFANÍA
¿Qué?
What is?
RITA
Al fin nos conocemos. Ya
era hora ¿Habían quedado de verse?
We’ve finally met. It was about time, wasn’t it? Had you
planned to see each other?
EPIFANÍA
Sí, pero como no llegó, me
preocupé.
Yes, but she didn’t show up, so I got worried.
RITA
Sube. (señala la escalera)
Me imagino que le habrás marcado,
¿no?
Come. (pointing to the stairs) I guess you called her?
Ratings
Scene 51 - A Disturbing Revelation
Epifanía has joined Rita, who is on the phone.
RITA
Soy yo, márcame cuando oigas
el mensaje. (tapa el auricular) ¿Le
digo que estás aquí?
It’s me. Call me when you get this message. (covering the
phone) Can I tell her you’re here?
Epifanía nods.
RITA (CONT’D)
Aquí está Epifanía, te espera
conmigo. Llama pronto.
Epifanía is here. We’re waiting together. Call back.
She hangs up.
EPIFANÍA
Ya le marqué cuatro veces.
I called her four times.
RITA
Tenía una cita antes, y nadie la
vio… quién sabe qué chingados
andará haciendo.
She had an appointment before, and she didn’t show up
either. I don’t know what the hell she’s up to.
They look at each other.
RITA (CONT’D)
Se me hace curioso eso de
conocerte antes de conocerte.
Emilia me habla mucho de ti.
It’s strange, I feel like I’ve already met you. Emilia
speaks so much about you.
EPIFANÍA
(sorprendida) ¿Habla de mí? ¿Qué
dice?
(surprised) About me? What does she say?
RITA
No te preocupes. Cosas de mujeres
enamoradas. Desde que se
conocieron, parece que tuviera
quince años. Una quinceañera,
efusiva.
Don’t worry. Woman-in-love stuff. Since you met, she’s
like a teenager. A 15-year-old girl took her place.
Smiles. A beat.
EPIFANÍA
A mí también me habla de ti.
She talks about you too.
RITA
¿Ah sí?
Really?
Epifanía hesitates.
RITA (CONT’D)
¡Ya dime pues!
Go on, spit it out!
EPIFANÍA
Que eres como su hermana. Que le
cambiaste la vida.
You’re like a sister. You changed her life.
Rita stiffens.
RITA
¿Qué vida?
What life?
EPIFANÍA
Ay, pues no sé, su vida…
I don’t know, her life…
RITA
¿Cuándo cambié su vida yo?
When did I change her life?
Epifanía is unsettled by Rita’s change of tone.
EPIFANÍA
¿…?
…?
RITA
¿Te habló de ella? ¿De su vida?
¿Qué te contó?
Did she speak about herself? What did she tell you?
EPIFANÍA
Nada… me habló de su familia,
de sus sobrinos que quiere mucho…
Me dijo que todo esto (apunta a La
Lucecita) es gracias a ti. Que tú
la habías vuelto inteligente y
generosa...
Nothing. She told me about her family, her nephews. She
adores them… She said that all this… (pointing to La
Lucecita) is thanks to you. That you turned her into
someone smart and generous…
Rita calms down.
EPIFANÍA (CONT’D)
¿Qué? ¿Metí la pata?
Did I make a mistake?
RITA
No, no, para nada. Perdón,
estoy muerta del cansancio. Es un
poco exagerado pero me conmueve,
sí, me conmueve. Creo que tú y yo
somos sus únicas amigas.
No, no, not at all. I'm sorry, I'm exhausted. It's a bit
of an overstatement but I’m moved, yes, I’m touched. I
think you and I are her only friends.
Rita’s phone rings. She answers.
RITA (CONT’D)
¿Sí…? Soy yo.
Yes? It’s me…
Epifanía looks at her.
RITA (CONT’D)
¿Usted dónde está?
Where are you?
She goes to the window. She sees flashing police lights and then
four police officers.
Epifanía is at the office window. She watches Rita speak with
the officers for some time. Suddenly Rita looks at Epifanía.
Rita has her hand clasped over her mouth, as if to hold back
tears or stifle a scream.
Ratings
Scene 52 - The Mysterious Delivery
Feet in sandals pressing pedals. The pedals spin. The bike
zigzags through traffic.
A package on a string swings left and right, depending on the
bike’s tilt.
Upright on the pedals of a bike too big for him, a poorly
dressed 12, 13 year old kid zigzags between cars and
pedestrians.
INT. LUCECITA BUILDING - DAY
He goes upstairs, passing by people weeping, consoling each
other… the atmosphere is funereal.
He finally finds who he was looking for: Rita Mora Castro.
KID
¿Señora Mora Castro?
Señora Mora Castro?
She turns around and sees the kid. He hands her a package
wrapped in newspaper.
KID (CONT’D)
Para usted.
For you.
She hesitates.
RITA
¿Qué es?
What is it?
KID
Me dijeron que se lo diera.
I was told to give it to you.
She takes the package. She is about to ask some more questions
but the kid is already gone.
Ratings
Scene 53 - A Gruesome Delivery
Shut up in her office, Rita slowly unwraps the package. The
newspaper is soaked in blood.
Inside: 5 fingers with Emilia Pérez’s nail polish.
She retches. Vomits into a trash bin.
She is interrupted by her vibrating telephone. On the screen:
EMILIA.
Rita answers.
Start music 5M29a Beatification Emilia/Rita/Gustavo
RITA
¿Emilia?
On the other end, man's spectral voice. A bit over-the-top.
GUSTAVO (O.S.)
No, no es ella.
¿ Recibiste el paquete?
No, it's not her
Did you get the package?
RITA
Sí
Yes.
GUSTAVO
¿Puedes contar con los dedos?
Can you count on her fingers?
Rita looks at the fingers in the newspaper.
RITA
¿Tres millones?
Three million?
GUSTAVO
Bueno
Good!
RITA
Quiero oírla
Quiero oír su voz
I want to hear her
I want to hear her voice
EMILIA
¿Rita?
Rita?
RITA
Sí, Emilia…
Yes, Emilia…
EMILIA
Haz lo que te dicen, ¿ ok?
Do as you're told, okay?
RITA
Sí,
Ya voy.
Yes,
I’m coming.
EMILIA
No estoy aquí por casualidad
I am not here by chance
RITA
El tiempo pasó...
Time went by...
EMILIA
Pasó muy rápido
It went by so fast
RITA
Bingo
BINGO
EMILIA
Eso lo digo yo, pendeja
That's what I say, idiot
CUT TO:
Ratings
Scene 54 - Descent into Darkness
Start 5M29b BEATIFICATION/DESEO 2
(At first just the music)
The building looks empty. Only one office on the second floor is
lit.
We approach. We discover a dozen men. EL PONCHIS is apparently
their boss. Rita speaks with him. We only see their lips move,
their hands gesture and their heads nod. Weapons being loaded.
INT. RITA’S CAR - EVENING
Rita drives, expressionless. On the passenger seat: two full
bags. On the dashboard, a crackling walkie-talkie.
EXT. RITA’S CAR + COUNTRY ROAD - EVENING
While Rita's car continues a straight trajectory on the deserted
road, two hundred meters behind three pickups follow. On the
platforms, armed men of La Lucecita; within the cab of the lead
pickup La Ponchis, a walkie-talkie in hand.
The convoy suddenly bifurcates: Rita to the left, the rest to
the right. The second truck dims its lights.
INT. GUSTAVO’S CABIN, KITCHEN - NIGHT
First, a half darkness, then, appearing in a dull light, the
silhouette of Emilia under a dirty and bloody sheet.
Exceeding the sheet, we discover her bruised hands packed in
rough cloths.
EMILIA
Jessi…
Jessi!
JESSI
¿Qué?
What?
EMILIA
Dame agua.
Give me some water.
Jessi goes to get a water bottle.
EMILIA (CONT’D)
¿Qué van a hacer conmigo?
What’re you gonna do with me?
JESSI
Recuperar la lana que me robaste,
culera.
Get back the money you stole from me, you bitch.
EMILIA
¿Y luego?
And then?
JESSI
¡Nos vales madre!
We don’t fucking care!
EMILIA
¿Me van a matar?
You’ll kill me?
JESSI
¡Cállate!
Shut up!
Jessi tears off the sheet, discovering the poor head of
Emilia. The water bottle against the lips of Emilia.
A dull light slowly discovers the back of the space in which
the men of Gustavo play cards while smoking joints.
In the opening of a walled window, Gustavo takes a look
outside. He looks at the time on his cell phone.
Gustavo’s POV: headlights in the distance.
GUSTAVO
¡Ahí viene!
She’s coming!
Ratings
Scene 55 - The Ambush at the Quarry
The face of La Ponchis appears in the frame. Followed by her
men, she slides behind the white rocks of the quarry. She
signals them to stop: a hundred meters below, Rita's pickup
arrives on the road to the cabin.
A panning shot leaves the faces of La Ponchis in combat
position and then sweeps the landscape with the hacienda in
the background and ends in close-up on the door that Rita
opens.
Rita gets down, puts the bag on the floor, arms her gun and
slips it behind her back.
INT. GUSTAVO’S CABIN BAR - NIGHT
Gustavo puts on a pair of night vision goggles.
GUSTAVO
(gritando)¡Apaga la luz!
(shouting) Turn off the light!
The light is turned off.
Gustavo’s POV through his goggles: the car arrives… blinding
headlights… Rita’s white silhouette, suitcases… a tracking shot
over the countryside… and back to Rita… blinding headlights…
GUSTAVO (CONT’D)
(a Rita) ¡Apaga tus faros!
(to Rita) Turn off your headlights!
Ratings
Scene 56 - Night of Tension
Two shots are fired.
Rita throws herself to the ground. The headlights are off.
Rita sees La Ponchis, who addresses a series of strategic signs,
mysterious but reassuring. Rita pretends to understand.
EXT. GUSTAVO’S CABIN + LANDSCAPE - NIGHT
Gustavo’s "night view" POV: the view examines the landscape
from left to right, returns to the shape of Rita on the
ground.
GUSTAVO
Párate y avanza.
Get up and move forward.
The white shape gets up, picks up the bag.
GUSTAVO (CONT’D)
¡Quiero ver tu mano izquierda!
I want to see your left hand!
A white hand rises. Rita moves forward.
Gustavo turns to Jessi:
GUSTAVO (CONT’D)
¡Llévala!
Take her!
Pointing to two of his men:
GUSTAVO (CONT’D)
Tú y tú vienen conmigo. (a los
demás) Ustedes nos cubren.
(a Rita)¡Hasta ahí, no te muevas!
You and you come with me. (to the others) You cover us.
(to Rita) That's it, stay there, don't move!
Gustavo’s "night vision" POV: panning left to right... right
to left... back to Rita and then slowly back to right...
movement of a clear shape behind the rocks...
GUSTAVO (CONT’D)
¡Pinche puta!
Fucking bitch!
He starts firing in bursts. The others follow. The bullets
fly and roll... the flashes of the weapons that strobe the
gestures and make the silhouettes on the walls move...
EXT. LANDSCAPE - NIGHT
Rita has taken shelter behind the pickup. She grabs her gun,
checks the weaponry. What Rita sees:
- La Ponchis waiting for her orders.
- The traces of the bullets above her.
- The cabin drowned in the thick smoke of the weapons.
Rita's eyes are attracted by the cloud of smoke that grows
above the cabin. Suddenly the phenomenon is reversed: instead
of continuing its rise, the smoke flows back to the house,
like water swirling around a sink. The smoke returns to the
house.
Ratings
Scene 57 - Shadows of the Past
A tongue of smoke slides on the ground, passes between the feet
of the men, on the shells which roll... crosses the room...
finds Jessi and Emilia lying on the ground... and slips into the
mouth of Emilia, who opens her eyes.
Emilia looks at Jessi, who protects herself as she can with her
arms on her head. Emilia puts her hand on Jessi's head.
Start PERDÓNAME
EMILIA
(unintelligible)Te conocí cuando
tenías catorce años.
I met you when you were fourteen years old.
JESSI
¿Ah?
Huh?
EMILIA
Te conocí cuando tenías catorce años.
Entonces yo andaba con Juanita, tu hermana
I met you when you were fourteen years old.
At that time it was with your sister, with Juanita, that
I was...
JESSI
¿Qué dices?
But what are you talking about?
EMILIA
Mi vida… Cuando andaba con Juanita era a ti
a quien miraba… entonces un día en la
Azucena en Jalapa, ahí te besé y fuimos a
hacer lo demás arriba.
My life... When I was with Juanita it was you that I
fancied and then one day,
it was in Azucena in Xalapa, I kissed you and we went to
do the rest upstairs
JESSI
Tú… ¿tú me besaste?
You... you kissed me?
EMILIA
… fuimos a hacer lo demás arriba…
...and we went to do the rest upstairs...
JESSI
¿Quién te contó esto?
Who told you that?
Suddenly in the distance: shouts, orders, gunfire. Bullets
pierce the walls and send plaster flying around the two women,
who drop to the floor. Their faces are now very close. Behind
them we see Gustavo return alone to shoot. Flames of detonating
guns, smoke, dust, impacts.
EMILIA
Cuando nos casamos te regalé dos collares.
Me dijiste...
When we got married I gave you two necklaces.
You told me...
JESSI
¡Cállate, cállate!
Shut up, shut up!
EMILIA
... que un día tú perdiste uno. Yo sé que
se lo diste a Juanita para hacerte
perdonar.
That one day you lost one. But I know you gave it to
Juanita to make up for it...
EMILIA (CONT’D)
El día de la boda tu familia te daba tanta
vergüenza que, para no verlos, los pusiste
al fondo de la iglesia.
On our wedding day you were so ashamed of your family
that, in order not to see them, you put them
at the back of the church.
JESSI
¿Quién eres?
¿Quién eres?
Who are you?
Who are you?
EMILIA
… Emilia
Emilia
JESSI
Manitas
Manitas
EMILIA
…
…
JESSI
No, ¡ay no dios!, ¿qué nos pasó?!
No, my God, what happened to us?
EMILIA
¡Jessica!
Jessica!
JESSI
¡No!
No!
EMILIA
¡Perdóname! ¡Perdóname!,
Forgive me! Forgive me!
End PERDÓNAME
Gustavo’s cowboy boots enter the frame.
GUSTAVO
¡Párate, nos largamos!
Stand up, we're leaving!
He has already seized Emilia by the scruff of her neck.
Emilia shakes her head "no".
EMILIA
No...
No…
The boot then crushes the bandaged hand of Emilia. A puddle
of blood comes out of the bandage like a sponge.
…/…
Traveling on: a trace of blood on the ground... we go up it
until...
Ratings
Scene 58 - Desperate Struggle
...Emilia is dragged in the trunk of the car of Gustavo.
When the trunk of the car is going to be closed on her, Emilia's
eyes meet Jessi's.
EMILIA
(inaudible)¡Jessica!
(inaudible) Jessica!
JESSI
¡No!
No!
The trunk is slammed shut.
JESSI (CONT’D)
(balbuceando, confundida) ¡Dios
mío!, qué hemos hecho…
(mumbling, confused) My God, what have we done?...
GUSTAVO
(a Jessi) ¡Anda, muévete!
(to Jessi) Come on, move!
INT. GUSTAVO BRUN’S CAR - NIGHT
Gustavo Brun turns on the headlights and the turbo.
GUSTAVO
¡Perros hijos de su puta madre!
Those fucking motherfuckers!
On his side, Jessi is lost.
JESSI
En la cajuela…
In the trunk...
GUSTAVO BRUN
¿En la cajuela qué?
What? In the trunk?
JESSI
En la cajuela, está Manitas.
In the trunk, it's Manitas.
GUSTAVO BRUN
¡¿Eh?!
What?
JESSI
Mi marido… ¡es Manitas está en la
cajuela, es mi marido! ¡Frena!
¡Para!
In the trunk, it's Manitas, my husband. Stop! Stop!
She grabs the wheel to force Gustavo to stop.
GUSTAVO
… ¡Eh!
Hey!
He yanks it back. Her again. He punches her. He sends her flying
into the windshield…
Jessi opens the glove compartment in front of her. She grabs a
gun. Aims it at Gustavo. He looks at the gun. Shakes his head,
as if he has had enough.
GUSTAVO (CONT’D)
Ajjj…
Pfff…
JESSI
¡Detente!
STOP!
Gustavo hesitates, slows down, and looks in the rear view
mirror. He slams on the brakes. Jessi flies forward. He tries to
grab the gun. She resists. He accelerates again. A gun goes off.
Shattering Gustavo’s windshield. Another burst of gunfire. This
time through the roof…
EXT. GUSTAVO BRUN’S CAR - NIGHT
The car arrives towards us zigzagging. Its race is punctuated by
the detonations and the shots flashing the interior.
Suddenly the car swerves and flies down the embankment.
The camera closes in on the edge of the ravine.
EXT. GUSTAVO BRUN’S CAR - NIGHT
The car has crashed a hundred meters below.
EXT. GUSTAVO BRUN’S CAR - NIGHT
The camera slowly moves in on the trunk of the car. We hear
twisting metal, the radiator whistling, other unpleasant noises,
like creaks and groans.
Then suddenly, the car explodes in flames.
EXT. MOUNTAIN - NIGHT
Down in the ravine, the car is a blazing inferno.
Pulling back, we see Rita watching the car burn. Powerless.
The red flames reflected on her face.
Ratings
Scene 59 - Echoes of Loss
Start 5M30 Las Damas
A window framed from the outside, it's an empty frame. Then a
voice:
HOUSEMAID (OFF)
Ahí vienen señora Rita.
Here they come, Mrs. Rita.
Rita appears behind the window. She is dressed in black, her
face defeated. In the reflection of the glass appear the
small silhouettes of Diego and ÁNGEL. They are escorted by
two policemen.
RITA
Mis hijos, mi familia.
My children, my family.
EPIFANÍA (O.S.)
Dedico este poema
A la que fuera tan amada
Durante fugaces instantes
I dedicate this poem
To the one who was so loved
During these fleeting moments
A la mujer de mis noches
A la que se iba al alba
To the woman of my nights
To the one who left at dawn
EPIFANÍA (CONT’D)
A quien bebió de mis fuentes
Y cuyo misterio me falta
Como una estrella lejana
A quien me dejó ser libre
Y tan libre como el aire
Tan libre como su perfume
To the woman of my nights
To the one who left at dawn
Without ever telling me about her
To the one who drank from my spring
And whose mystery I miss
Like a distant star
To the one who let me free
Free as the air
Free as her perfume
CHORUS
A quien en un segundo
Abriendo sus cálidos brazos
Atravesó nuestro camino
To the one who within a second
Opening her warm arms,
Crossed our path.
Ratings
Scene 60 - A Song of Remembrance
Epifanía in mourning walks and sings.
EPIFANÍA
A quien hizó el milagro
De cambiar el plomo en oro
Volviendo a soñar este mundo
To the one who accomplished the miracle
Of changing lead into gold
And enchanted the world again
EPIFANÍA (CONT’D)
A quien izo a nuestro lado
Al lado de los condenados
La bandera de la verdad
To the one who raised the flag of Truth
At our side, the damned
She is joined by a group of people who sing with her.
In low angle: a statue fills the entire screen, swaying in
front of us to the rhythm of the people carrying it. It is a
naive statue of Emilia. Hands slightly apart, she seems to
show the three fingers that are missing.
Below and behind a brass band with drummers. Behind a line of
mourners. Copper faces, poorly clothed, feet and dust..
A quien, ardiente figura,
Por su gracia maravillosa,
Nos llenó de felicidad
To her who, fiery figure, filled us,
Thanks to her wonderful grace,
with happiness
A la que nunca regresará
A la que guardó su enigma
Que quizás conocen ustedes
To the one who will never return
To the one who will keep her secret forever
The secret you might know
A la que no acabé de amar
Con quien no terminé de bailar
Ofrezco un ramo de flores
To the one I will never finish loving
With whom I will never finish dancing
I offer this bouquet of flowers
Under and behind a brass and drum band. Behind a line of
processionals. Copper faces, poor people's clothes, feet and
dust.
The music and the sound stop before the images: silent
orchestra, silent faces, silent crowd. Just movement and
colors.
THE END.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
rita |
|
Rita's character arc is compelling, showcasing her growth and resilience in the face of adversity. However, the arc could benefit from clearer stakes and more defined moments of transformation. While her internal struggles are well-articulated, the external conflicts could be more pronounced to enhance the tension and urgency of her journey. Additionally, her relationships with other characters could be further developed to provide more depth and complexity to her interactions. | To improve Rita's character arc, consider introducing more significant external conflicts that challenge her beliefs and force her to make difficult choices. This could involve high-stakes legal battles or personal sacrifices that heighten the tension. Additionally, deepen her relationships with supporting characters, allowing for more nuanced interactions that reveal different facets of her personality. Incorporating moments of vulnerability and connection with others can enhance her emotional journey and make her eventual growth more impactful. |
rita mora castro | Rita's character arc begins with her as a dedicated defense attorney, struggling to balance her professional and personal life. As she confronts moral dilemmas and the complexities of the cartel, she experiences significant emotional turmoil that challenges her beliefs and values. This journey forces her to confront her fears and insecurities, leading to a transformation where she becomes more assertive and confident in her abilities. By the end of the screenplay, Rita emerges as a successful executive in London, having navigated the treacherous waters of her past while maintaining her commitment to justice and social responsibility. Her arc emphasizes growth, resilience, and the importance of staying true to one's principles in the face of adversity. | Rita's character arc is compelling, showcasing her evolution from a principled lawyer to a successful executive. However, the transition could benefit from more depth in her internal struggles and the consequences of her decisions. While her determination and resourcefulness are evident, the screenplay could explore the emotional toll of her experiences more thoroughly, allowing the audience to connect with her on a deeper level. Additionally, the motivations behind her transformation could be more clearly defined, as the leap from a defense attorney to an executive may seem abrupt without sufficient context. | To improve Rita's character arc, consider incorporating more scenes that delve into her internal conflicts and the impact of her choices on her personal life. This could include flashbacks or moments of reflection that highlight her past experiences and how they shape her current decisions. Additionally, introducing a mentor or a pivotal relationship could provide guidance and challenge her beliefs, further enriching her journey. Finally, ensure that her transformation feels organic by gradually revealing her motivations and the stakes involved in her decisions, allowing the audience to witness her growth in a more nuanced manner. |
manitas | Manitas begins as a hardened cartel leader, entrenched in a life of crime and power. As the story unfolds, he confronts the consequences of his actions and the toll they take on his soul. His journey is marked by a desire for redemption and a struggle to redefine his identity beyond the criminal world. Through pivotal interactions and self-reflection, he gradually embraces his vulnerabilities, leading to a transformative realization that true strength lies in authenticity and connection. By the end of the feature, Manitas must make a critical choice: to continue down the path of violence or to seek a new life, ultimately choosing the latter, symbolizing his growth and desire for a better future. | While Manitas is a richly developed character with a compelling internal conflict, the arc could benefit from clearer stakes and more defined turning points. The transition from a hardened leader to a more introspective figure may feel abrupt without sufficient buildup. Additionally, the emotional depth of his character could be enhanced by exploring his relationships with other characters more thoroughly, allowing for greater contrast between his past and his aspirations. | To improve Manitas' character arc, consider introducing earlier moments of doubt or vulnerability that foreshadow his eventual transformation. Incorporate key relationships that challenge his worldview and push him toward self-discovery, such as a mentor figure or a love interest who embodies the life he desires. Additionally, ensure that each act of the screenplay highlights specific turning points that propel his journey forward, culminating in a climactic moment where he must confront his past directly before making his final choice. This will create a more cohesive and impactful character arc. |
jessi | Jessi's character arc follows her transformation from a vulnerable and desperate woman caught in a web of fear and betrayal to a more empowered individual who learns to confront her past and reclaim her agency. Initially, she is overwhelmed by her circumstances, leading to impulsive and defensive reactions. As the story progresses, Jessi begins to confront her emotional turmoil, seeking solace in her relationships and gradually finding her voice. Through moments of introspection and connection with Emilia, she learns to balance her fierce protectiveness with the need for trust and vulnerability. By the climax, Jessi embraces her inner strength, making decisive choices that reflect her growth and resilience, ultimately leading to a resolution where she prioritizes her children's safety while reclaiming her sense of self. | While Jessi's character arc is compelling, it risks becoming overly reliant on emotional turmoil without sufficient development of her agency. The oscillation between vulnerability and strength can feel inconsistent if not carefully balanced. Additionally, her motivations may need clearer articulation to ensure the audience fully understands her journey and the stakes involved. The emotional depth is present, but there may be moments where her impulsiveness overshadows her growth, making it challenging for viewers to connect with her evolution. | To improve Jessi's character arc, consider incorporating more moments of reflection that allow her to process her emotions and decisions. This could involve scenes where she actively seeks guidance or mentorship from other characters, helping to ground her in her journey. Additionally, providing clearer stakes and motivations for her actions can enhance the audience's investment in her growth. Introducing a pivotal moment where Jessi must choose between her past loyalties and her children's safety could serve as a powerful catalyst for her transformation. Finally, ensuring that her moments of strength are equally highlighted alongside her vulnerabilities will create a more balanced and relatable character. |
emilia | Emilia's character arc follows her journey from a state of emotional turmoil and guilt over her past actions to a place of self-discovery and empowerment. Initially, she is portrayed as a vulnerable figure, struggling with her identity and the consequences of her choices. As the story progresses, Emilia confronts her fears and insecurities, ultimately finding strength in her connections with others, particularly through her relationships with Rita and the children she cares for. By the climax, she stands up against corruption and injustice, using her voice to advocate for those who cannot. In the resolution, Emilia emerges as a more confident and self-assured individual, having reconciled her past and embraced her role as a leader and protector. | While Emilia's character arc is rich and multifaceted, it may benefit from clearer milestones that mark her emotional growth. The transitions between her various emotional states can sometimes feel abrupt, making it challenging for the audience to fully grasp her development. Additionally, while her relationships with others are central to her journey, there could be more emphasis on her internal conflicts and how they specifically influence her decisions throughout the screenplay. | To improve Emilia's character arc, consider incorporating specific turning points that highlight her emotional growth, such as pivotal moments of choice that force her to confront her past. These moments could be tied to her interactions with key characters, allowing the audience to witness her transformation more clearly. Additionally, integrating flashbacks or internal monologues could provide deeper insight into her struggles, making her journey more relatable and impactful. Finally, ensure that her relationships evolve in tandem with her personal growth, showcasing how her newfound strength influences her connections with others. |
epifanía | Epifanía's character arc begins with her as a guarded and traumatized woman, struggling to cope with her husband's death. As she confronts her past and the pain associated with it, she gradually opens up, revealing her vulnerabilities and longing for connection. Through her interactions with Emilia and others, she learns to embrace her emotions and find strength in vulnerability. By the climax of the feature, she transforms into a figure of hope and resilience, leading a musical tribute that symbolizes her acceptance of loss and her ability to connect with others. This journey culminates in her embracing her poetic nature, allowing her to express her emotions fully and find solace in community and remembrance. | While Epifanía's character arc is compelling, it may benefit from more distinct turning points that highlight her transformation. The progression from guardedness to openness could be more pronounced, with specific events or interactions that catalyze her emotional growth. Additionally, her relationship with Emilia could be further developed to showcase how it influences her journey, providing a clearer contrast between her initial state and her eventual acceptance of vulnerability. | To improve Epifanía's character arc, consider incorporating key moments that challenge her defenses and force her to confront her past more directly. For instance, a pivotal scene where she must choose between retreating into her shell or reaching out for support could serve as a significant turning point. Additionally, deepening her relationship with Emilia through shared experiences or conflicts could enhance the emotional stakes and provide a clearer trajectory for her growth. Finally, integrating more of her poetic nature throughout the screenplay, rather than reserving it for specific moments, could enrich her character and reinforce her introspective qualities. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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High Dialogue Scores Correlate with High Overall Grade and Concept Scores | Scenes with dialogue scores of 8 or higher tend to also receive high overall grades (8 or higher) and concept scores (8 or higher). This suggests that strong dialogue is a key driver of overall scene quality and the effectiveness of the central idea. Consider if this is a conscious stylistic choice or something that could be leveraged more consistently across all scenes. |
Tense Tone Leads to High Conflict and High Stakes | Scenes with a 'Tense' tone frequently achieve high scores in 'Conflict' and 'High Stakes'. This indicates that your use of tension is effective in raising the stakes and creating conflict, but check for a possible overreliance on tension to generate excitement. Consider if other tones could create similar impact. |
Emotional Impact and Character Changes: A Complex Relationship | While many highly rated scenes have high emotional impact and character change scores, some scenes with high emotional impact have lower character change scores (e.g., scenes 32 and 60). Conversely, several high 'Character Change' scenes (e.g., 8, 9, 33) do not achieve the highest emotional impact. Explore whether this reflects intentional pacing or a place where emotional impact could be enhanced to better reflect character arcs. |
Reflective Tones and Lower Emotional Impact (but High Character Development) | Scenes employing 'Reflective' tones (frequently in combination with other tones) often have lower 'Emotional Impact' scores, but show reasonably consistent high scores in character development. This suggests your reflective scenes may excel at building characters, but the emotional impact on the audience might require more direct attention. Consider exploring methods to heighten emotional resonance within introspective moments. |
Intimate Scenes Present a Unique Challenge | Scenes classified as 'Intimate' (scenes 43, 44, 45, 46, 47) show high concept and character scores but often have lower emotional impact scores. This points to a potential disconnect between the intended intimacy and the actual emotional effect. Analyze why these scenes might not resonate emotionally as strongly as others and explore ways to improve their impact. |
Plot and Concept consistency is strong | Most scenes maintain high scores in Plot and Concept, indicating consistent storytelling and thematic development. This is a positive aspect of the screenplay. |
Emotional Impact Dips in the Climax and Resolution | The emotional impact scores decline significantly in scenes 23, 27, 32, 44, 47, and 60. Considering that scenes 23 and 60 bookend the narrative, this indicates a possible weakness in conveying emotional closure. Review this section of the story to make sure the emotional trajectory of the characters is satisfyingly resolved. |
Potential for Stronger Climax | While the screenplay consistently uses tense tones and high stakes, the climax (scenes 53-58) although well-executed in terms of tension and conflict, shows variability in emotional impact. Scene 53 has a significantly higher emotional impact than those surrounding it, suggesting a potential opportunity to make the overall climax more consistently emotionally resonant. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in creating emotionally resonant scenes with compelling characters and engaging dialogue. The writer displays a talent for crafting tension, suspense, and atmospheric settings. However, there's room for growth in consistently developing character arcs, strengthening narrative structure, and refining dialogue techniques to maximize impact and clarity. The writer shows promise in exploring diverse cultural elements and complex themes, but consistency in applying these strengths across all scenes is needed.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
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Book | 'Save the Cat! Writes a Novel' by Jessica Brody | This book provides a comprehensive guide to structuring narratives and developing compelling characters, addressing both character development and narrative structure weaknesses identified in the scene analyses. |
Book | 'The Anatomy of Story' by John Truby | This book offers in-depth insights into crafting compelling characters and plots, focusing on the underlying motivations and desires that drive characters and shape the story, directly addressing a recurring need for deeper character development. |
Screenplay | Study screenplays by Aaron Sorkin (e.g., 'The Social Network', 'A Few Good Men') and Guillermo Arriaga ('Babel') | Sorkin's screenplays offer examples of sharp, engaging dialogue that drives character development and plot, while Arriaga's work showcases complex narratives and intricate character dynamics, addressing both dialogue and character development improvements. |
Video | Masterclass courses on screenwriting (e.g., those taught by Shonda Rhimes or Aaron Sorkin) | These courses offer a structured learning environment, combining practical advice with insights from established screenwriters. This will support overall improvement across multiple aspects of screenwriting. |
Exercise | Rewrite existing scenes, focusing on tightening dialogue and sharpening character motivations.Practice In SceneProv | This practical exercise forces the writer to reconsider their choices and make more deliberate decisions regarding dialogue and character arcs. The process of revision strengthens understanding and improves the writer's craft. |
Exercise | Write scenes with contrasting viewpoints or hidden agendas, focusing on using subtext to build tension and reveal character.Practice In SceneProv | This exercise directly addresses the need for more nuanced dialogue and complex character interactions. It encourages the writer to move beyond surface-level communication and develop characters with greater depth. |
Exercise | Practice outlining screenplays before writing, focusing on clearly defined character arcs and plot points.Practice In SceneProv | This exercise will help the writer solidify their understanding of narrative structure and pacing, addressing the need for a more consistent and cohesive storytelling approach. |
Stories Similar to this one
Story | Explanation |
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The Night Of | This HBO miniseries explores the complexities of the criminal justice system through the story of a young man accused of murder. Similar to the screenplay, it delves into themes of violence, societal issues, and the impact of media on public perception, while also featuring a strong focus on character development and moral ambiguity. |
Roma | Alfonso Cuarón's film captures the life of a domestic worker in Mexico City during the 1970s, highlighting themes of class struggle, personal sacrifice, and the intersection of personal and political turmoil. The vibrant depiction of Mexico City and the exploration of women's roles resonate with the screenplay's setting and character dynamics. |
The Handmaid's Tale | This dystopian series portrays a society where women are oppressed and their rights are stripped away. The protagonist's struggle against a violent and patriarchal system mirrors Rita's fight for justice and her navigation through a male-dominated legal and societal landscape. |
The Godfather | Francis Ford Coppola's classic film about organized crime explores themes of loyalty, family, and the moral complexities of power. The interactions between Rita and the cartel leader, as well as the exploration of identity and transformation, echo the intricate relationships and moral dilemmas faced by characters in The Godfather. |
The Kite Runner | Khaled Hosseini's novel deals with themes of guilt, redemption, and the impact of personal choices against a backdrop of societal upheaval. The emotional weight of the characters' pasts and their struggles for justice and identity resonate with Rita's journey and the screenplay's exploration of violence and love. |
Narcos | This series chronicles the rise of drug cartels in Colombia and the law enforcement efforts to combat them. The depiction of the drug trade, violence, and the personal stories of those involved, including lawyers and victims, parallels the screenplay's exploration of the cartel's influence and the legal battles surrounding it. |
A Streetcar Named Desire | Tennessee Williams' play features themes of desire, violence, and the fragility of human relationships. The emotional struggles of the characters and the tension between personal aspirations and societal expectations reflect Rita's internal conflicts and her interactions with others in the screenplay. |
The Invisible Man | This novel by H.G. Wells explores themes of identity, isolation, and the consequences of unchecked power. The protagonist's struggle with their identity and the societal implications of their actions resonate with Rita's journey of self-discovery and her fight against oppressive forces. |
The Girl with the Dragon Tattoo | Stieg Larsson's novel features a strong female protagonist who navigates a world filled with violence, corruption, and personal trauma. The themes of justice, revenge, and the exploration of dark societal issues parallel Rita's experiences and her quest for truth in the screenplay. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
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The Fall | The scene opens with a violent struggle culminating in a woman being thrown from a high window. | This trope often symbolizes a dramatic turning point or a moment of irreversible change. An example is in 'The Dark Knight' when Rachel Dawes falls to her death, impacting Bruce Wayne's character arc. |
The Unheard Hero | Rita delivers a speech in court, but no one pays attention to her. | This trope highlights the struggle of a character whose voice is ignored despite their importance. An example is in 'Erin Brockovich' where Erin's efforts are initially overlooked. |
Crowd as Character | Rita is swept along by a dense crowd that echoes her words about violence and love. | This trope uses a crowd to reflect the protagonist's emotions or themes of the story. An example is in 'Les Misérables' where the crowd embodies the revolutionary spirit. |
The Mentor | Rita seeks guidance from Berlinger, her boss, during the trial. | The mentor trope involves a character who provides wisdom and guidance to the protagonist. An example is Mr. Miyagi in 'The Karate Kid.' |
The Call to Adventure | Rita receives a mysterious call offering her a chance to take control of her fate. | This trope signifies the moment a character is invited to embark on a journey. An example is in 'The Hobbit' when Gandalf invites Bilbo on an adventure. |
The Femme Fatale | Rita navigates dangerous situations involving powerful men and cartel leaders. | This trope features a seductive woman who leads men into dangerous situations. An example is Catwoman in 'Batman.' |
The Tragic Backstory | Rita reflects on her struggles and the violence surrounding her clients. | This trope provides characters with a past that explains their current motivations. An example is Batman's backstory of witnessing his parents' murder. |
The Power of Friendship | Rita and Emilia support each other through their struggles. | This trope emphasizes the strength found in friendships. An example is in 'Thelma & Louise' where the bond between the two women drives the narrative. |
The Final Confrontation | Rita faces off against Gustavo in a tense showdown. | This trope represents the climax where the protagonist confronts the antagonist. An example is in 'Star Wars' when Luke faces Darth Vader. |
The Redemption Arc | Characters like Manitas seek transformation and redemption. | This trope involves a character seeking to atone for past mistakes. An example is in 'A Christmas Carol' with Ebenezer Scrooge. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Corruption and the Cycle of Violence | The screenplay depicts the pervasive corruption within Mexican society, from the cartel's brutality to the complicity of legal and political systems. The cyclical nature of violence is shown through generational trauma and the perpetuation of harmful power dynamics. | This theme explores how power corrupts, leading to violence and exploitation. It also illustrates how the consequences of past violence continue to affect future generations. | ||||||||||||
Strengthening Corruption and the Cycle of Violence:
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Justice and Redemption | Rita's work as a lawyer, initially focused on individual cases, evolves into a broader fight for justice. Emilia's actions, while morally ambiguous, stem from a desire for redemption and societal change. | This theme explores the complexities of achieving justice in a corrupt system and the possibility of finding redemption even after engaging in violence. | ||||||||||||
Identity and Transformation | Manitas' gender transition serves as a powerful metaphor for the transformative potential of agency, even within a restrictive environment. Emilia's own transformation, from victim to activist, mirrors this theme. Rita's professional and personal evolution also reflects this. | This explores the complexities of personal identity, the search for self-acceptance, and the ability to reinvent oneself despite challenging circumstances. | ||||||||||||
Love and Loss | The screenplay portrays various forms of love – romantic, familial, and even a twisted form of loyalty within the cartel – and the devastating impact of loss, both personal and societal. | This theme provides emotional depth, highlighting the human cost of violence and the enduring impact of trauma. It explores the strength of human bonds despite adversity. | ||||||||||||
Female Agency and Resistance | The female characters, despite facing immense challenges, demonstrate resilience and agency in confronting patriarchal structures and systemic corruption. They resist oppressive forces in various ways – through legal action, activism, and even acts of violence. | This theme explores the strength and resilience of women in the face of adversity, showcasing their capacity for resistance and agency within a patriarchal society. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by a potent blend of gritty realism and poetic introspection. The narrative seamlessly weaves together vivid imagery, intense action sequences, and emotionally resonant dialogue, often incorporating Spanish to enhance authenticity and cultural depth. The writer displays a keen eye for detail, capturing both the chaotic energy of Mexico City and the quiet, internal struggles of the characters. There's a recurring theme of juxtaposing violence and beauty, celebration and despair, creating a compellingly complex and morally ambiguous world. |
Voice Contribution | The writer's voice contributes to the script by creating a richly textured and atmospheric experience. The blend of realism and poetry elevates the themes of justice, identity, and survival beyond simplistic portrayals, adding layers of meaning and emotional depth. The use of Spanish adds authenticity and a unique cultural flavor, while the vivid imagery and intense action sequences heighten the dramatic tension and keep the audience engaged. The morally ambiguous characters and situations force the viewer to grapple with complex ethical dilemmas, prompting deeper reflection on the themes explored. |
Best Representation Scene | 3 - Echoes of Love and Violence |
Best Scene Explanation | This scene is the best representation because it encapsulates the writer's signature style most effectively. It masterfully combines the visceral imagery of street violence with Rita's introspective narration, showcasing both the external chaos and internal conflict that define the screenplay. The seamless transition between the quiet contemplation and the erupting chaos perfectly mirrors the unpredictable nature of the world the characters inhabit, highlighting the writer's ability to create a powerful emotional impact through carefully crafted juxtapositions. |
- Overall originality score: 9
- Overall originality explanation: The screenplay showcases a high level of originality through its unique blend of cultural elements, complex character dynamics, and innovative narrative structures. The incorporation of themes such as violence, justice, identity, and societal issues, particularly within the context of Mexico City, adds depth and authenticity. The use of bilingual dialogue, the exploration of personal and professional struggles, and the integration of music and poetic elements further enhance its originality. Each scene introduces fresh perspectives and unexpected twists, making the screenplay stand out in its genre.
- Most unique situations: The most unique situations in the screenplay are the portrayal of a lawyer navigating the complexities of the legal system while grappling with personal trauma, the use of a mysterious package containing severed fingers as a plot device, and the emotional depth explored through musical expressions of identity and loss. Additionally, the dynamic between characters involved in crime and those seeking justice creates a compelling tension that is rarely seen in traditional narratives.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The screenplay maintains a strong sense of unpredictability through its intricate plot twists and character developments. The intertwining of personal relationships with criminal elements keeps the audience guessing about the characters' fates and motivations. The unexpected shifts in tone, such as the transition from moments of levity to intense drama, and the introduction of shocking elements like the violent confrontations and the emotional revelations contribute to a narrative that defies conventional expectations. This unpredictability is further enhanced by the complex moral dilemmas faced by the characters, making it difficult to anticipate their choices.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist, Rita, experiences a profound evolution of internal goals throughout the screenplay. Initially focused on survival and escaping the violence she faces, her journey reflects a growing desire for safety, justice, and identity. She wrestles with frustration regarding the corrupt legal system and her disillusionment with societal expectations. Eventually, her goals extend to impactful advocacy and striving for compassion amid chaos. |
External Goals | Rita's external goals are shaped by her circumstances, evolving from navigating immediate threats to actively representing clients and fighting against systemic injustices. Her role transitions from a passive observer of violence to a proactive force for change, advocating for marginalized voices and striving for social justice amidst chaos. |
Philosophical Conflict | The overarching philosophical conflict centers around Justice vs. Corruption. Rita's journey illustrates the struggle between the desire for justice amidst a corrupt system and the moral complexities that often accompany advocacy work. |
Character Development Contribution: The evolution of Rita's internal and external goals significantly contributes to her character development, as she transitions from a frightened individual seeking escape to a courageous advocate driven by compassion and justice.
Narrative Structure Contribution: These conflicts and goals create a narrative arc that emphasizes the stakes surrounding Rita's experiences, driving the story forward as she navigates complex relationships and societal challenges, leading to heightened tension and eventual resolution.
Thematic Depth Contribution: The exploration of goals and conflicts enriches the thematic depth of the screenplay by addressing critical societal issues such as corruption, identity, and the quest for justice, ultimately leading to broader reflections on human resilience and compassion in the face of adversity.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay's physical environment spans a wide range, from the vibrant, bustling streets and luxurious apartments of Mexico City to the desolate Chihuahua Desert, a crowded market in Chapultepec, a sterile Bangkok clinic, a snowy Swiss villa, and even a gritty prison in Mexico. Specific locations include 7-Eleven stores, courthouses, women's restrooms, newsstands, trailers, compounds, haciendas, and a rural quarry. The contrast between opulence (villas in Mexico City, Lausanne, and London) and stark poverty and danger (desert compounds, the refinery, prisons) is a key feature.
- Culture: The dominant culture is Mexican, vividly portrayed through the Spanish language, the presence of street vendors, taquerias, narco-corridos, religious imagery, and traditional mourning rituals. However, the screenplay also incorporates elements of other cultures: American (through English dialogue, 7-Eleven, and references to American TV shows like 'The Sopranos'), Israeli (Tel Aviv settings, Hebrew dialogue), and hints of Dominican and other Latin American cultures. The blend of cultures reflects the globalized nature of the drug trade and the characters' movements across international borders.
- Society: The societal structure is complex and multi-layered. A stark class divide is evident between the wealthy elite (Mendozas, Emilia, Jessi after her transformation) and the impoverished masses, with the drug cartels forming a powerful, criminal underworld operating parallel to, and often influencing, the legitimate legal and social structures. Gender roles are challenged, particularly through Manitas' gender transition and Emilia's empowerment. The justice system is shown as imperfect and potentially corrupt, while the NGO, La Lucecita, represents an attempt to address social injustice and provide support for victims of the drug trade and missing persons cases. The societal pressures on women are explored through Rita's professional and personal struggles.
- Technology: Technology plays a varied role, ranging from advanced medical technologies used in gender reassignment surgeries to mundane elements like computer screens, video surveillance, cell phones, and walkie-talkies. The use of drones, night vision goggles, and automatic weapons highlights the technological sophistication of the criminal underworld. The contrast between the high-tech medical procedures and the primitive conditions in the desert compounds underscores the disparities in access to resources and opportunities.
- Characters influence: The world's unique elements directly shape the characters' experiences and actions. Rita's legal career is intertwined with the realities of violence and corruption in Mexico, constantly testing her morality and pushing her to make difficult choices. Manitas' desire for gender reassignment is a direct response to the violent and restrictive environment of the cartel. Emilia's wealth allows her to attempt to counteract the damage caused by the cartels, but her personal life is significantly impacted by the consequences of her actions. The characters' motivations and choices are constantly informed by their environment.
- Narrative contribution: The world-building significantly contributes to the narrative by establishing stakes and creating suspense. The contrasting settings heighten the drama, while the cultural details add authenticity and depth. The constant shifting between high-society events and dangerous criminal encounters drives the plot forward and keeps the audience engaged. The juxtaposition of the mundane (7-Eleven) with the extreme (desert corpses) creates a powerful sense of unease and underscores the pervasive nature of violence.
- Thematic depth contribution: The world elements contribute to the thematic depth by exploring several complex themes: the corrupting influence of power and wealth; the struggle for identity and self-acceptance; the pervasiveness of violence and its impact on individuals and society; the search for justice and redemption; and the complexities of family relationships in challenging circumstances. The contrast between luxury and squalor, between hope and despair, enriches these themes and adds layers of meaning to the narrative. The screenplay uses the setting to explore the complex interplay between personal struggles and larger societal issues.
central conflict
The central conflict revolves around the struggle for justice and identity amidst a backdrop of violence, corruption, and personal trauma, particularly focusing on Rita's and Emilia's efforts to navigate their roles in a society plagued by crime and loss.
primary motivations
- Rita's desire to advocate for justice and support her clients.
- Emilia's quest for self-identity and redemption after her traumatic past.
- Jessi's struggle for stability and safety for her children.
- The community's need for closure regarding their missing loved ones.
catalysts
- The violent act against Gabriel Mendoza that sets off the legal battle.
- Rita's involvement with the cartel leader Manitas, which complicates her moral standing.
- The formation of the NGO La Lucecita, aiming to help families of the disappeared.
- The personal relationships and conflicts between Rita, Emilia, and Jessi that drive the narrative forward.
barriers
- Societal and systemic corruption that undermines the pursuit of justice.
- Personal trauma and emotional baggage that hinder character development.
- The threat of violence from criminal elements that complicates their efforts.
- Conflicting motivations and loyalties among the main characters.
themes
- The impact of violence on personal identity and community.
- The quest for justice in a corrupt society.
- The complexities of love and familial bonds in the face of adversity.
- The struggle for self-acceptance and transformation.
stakes
The stakes include the safety and well-being of the characters, the potential for justice for victims of violence, and the emotional and psychological healing of those affected by trauma.
uniqueness factor
The story uniquely intertwines legal drama with elements of crime thriller and social commentary, exploring the intersection of personal and societal issues in a vibrant yet dangerous setting.
audience hook
The main audience hook lies in the intense emotional journeys of the characters, the suspense of their legal battles, and the moral dilemmas they face in a world rife with corruption and violence.
paradoxical engine or bisociation
The paradoxical engine is the juxtaposition of Rita's legal aspirations against the backdrop of her involvement with the criminal underworld, creating tension between her professional ethics and personal survival.
paradoxical engine or bisociation 2
A second bisociation could be the contrast between the hope embodied by the NGO La Lucecita and the despair of the families of the disappeared, highlighting the struggle between optimism and the harsh realities of their circumstances.
Engine: Claude
Consider
Executive Summary
The screenplay for 'Emilia Perez' is a complex and ambitious story that explores themes of identity, love, and the impact of violence in Mexico. The narrative follows the intertwining lives of several characters, including Emilia Perez, a transgendered woman, and Rita Mora Castro, a lawyer who becomes involved in Emilia's life. The screenplay delves into the challenges faced by marginalized individuals, the complexities of family dynamics, and the corruption within Mexican society. While the script showcases strong character development and thought-provoking themes, it also exhibits some areas for improvement in terms of pacing, clarity, and cohesion. Overall, the screenplay has the potential to be a compelling and impactful feature film, but would benefit from further refinement and polishing.
- The opening sequences effectively establish the tone, setting, and central themes of the screenplay, drawing the audience into the complex and often chaotic world of Mexico City. high ( Scene 1 (EXT. MEXICO CITY - NIGHT) Scene 2 (INT. 7-ELEVEN MARKET - EVENING) )
- The '1M13 Chiaroscuro' sequence is a visually striking and atmospheric depiction of the cartel's world, using a mix of lighting, music, and choreography to create a mesmerizing and unsettling sequence. medium ( Scene 17 (EXT. MANITAS' COMPOUND - NIGHT) )
- The character arcs of Emilia Perez and Jessi are well-developed, providing insight into their motivations and the profound impact of the events in their lives. high ( Scene 24 (INT. ROOM HICHILOV HOSPITAL - DAY) Scene 30 (INT. JESSI'S VILLA - DAY) )
- The pacing in these sequences feels uneven, with some scenes dragging while others feel rushed. A more consistent and engaging rhythm would improve the overall narrative flow. medium ( Scene 9 (EXT. NEWSSTAND - NIGHT) Scene 10 (EXT. CHIHUAHUA DESERT - NIGHT) )
- The subplot involving the search for the missing persons is not as well-integrated into the overall narrative as it could be, and the transitions between these scenes and the main storyline feel jarring at times. medium ( Scene 33 (EXT. CENTRAL PRISON - DAY) Scene 34 (EXT. ABANDONED REFINERY, CIUDAD JUAREZ - DAY) )
- While the screenplay explores the complexities of gender identity and the challenges faced by marginalized individuals, a more explicit examination of the transgender experience and the societal attitudes towards it could strengthen the narrative and make it more impactful. medium ( Scene N/A (N/A) )
- The screenplay could benefit from a more cohesive and compelling through-line that ties all the various storylines and themes together, providing a stronger sense of narrative unity. high ( Scene N/A (N/A) )
- The use of magical realism, particularly in the surreal and dreamlike sequences, adds a unique and captivating quality to the screenplay, evoking the rich cultural and spiritual traditions of Mexico. high ( Scene 4 (EXT. STREET IN CHAPULTEPEC - NIGHT) Scene 17 (EXT. MANITAS' COMPOUND - NIGHT) )
- The creation of the 'La Lucecita' organization and its mission to help the families of the disappeared provides a compelling and socially relevant backdrop to the narrative, showcasing the screenplay's engagement with important issues facing Mexican society. high ( Scene 36 (INT. LA LUCECITA HEADQUARTERS - DAY) Scene 37 (INT. LUCECITA HEADQUARTERS - DAY) )
- Lack of clear protagonist The screenplay does not have a singular, clearly defined protagonist, as the narrative follows the intertwining stories of several characters, including Emilia Perez, Rita Mora Castro, Jessi, and Epifanía. While this approach allows for a more nuanced and multi-faceted exploration of the themes, it may also cause the audience to struggle with identifying a clear central character to invest in and root for. medium
- Uneven pacing As noted in the areas of improvement, the pacing of the screenplay is uneven, with some sequences feeling dragged out or rushed. This could make it challenging for the audience to maintain engagement and follow the narrative effectively. The writer may need to closely examine the pacing and tempo of the script to ensure a more consistent and compelling rhythm. medium
- Dialogue exposition In some instances, the dialogue feels overly expository, with characters providing too much information or background that could be conveyed in a more natural and organic way. For example, in Sequence 4, the dialogue between Rita and Jessi at times feels forced and heavy-handed in its attempts to explain the characters' relationships and backstories. medium
- Underdeveloped secondary characters While the main characters of Emilia, Rita, and Jessi are well-developed, some of the secondary characters, such as Berlinger and Gustavo Brun, feel underdeveloped and one-dimensional. Fleshing out these supporting characters and giving them more distinct voices and motivations could help strengthen the overall narrative and make the world of the screenplay feel more fully realized. medium
Engine: Gemini
Consider
Executive Summary
Emilia Perez is a bold and ambitious screenplay with a unique premise and strong female characters. The narrative is driven by a compelling mystery and explores complex themes of justice, identity, and redemption. While the screenplay demonstrates originality and stylistic flair, some areas require further development to achieve a more cohesive and emotionally resonant narrative. Specifically, refining the pacing, tightening the plot, and deepening character relationships would significantly enhance the overall impact.
- The use of recurring motifs like the "up and down" chant and the crowd's repetition of key phrases creates a powerful, hypnotic rhythm and underscores the cyclical nature of violence and justice in Mexico. This stylistic device successfully enhances the thematic resonance. high ( Scene 3 Scene 4 Scene 8 )
- The character of Rita Mora Castro is compelling and complex; her journey from a disillusioned lawyer to someone who facilitates Manitas' transformation and then embarks on her own path of social justice is well-defined. Her moral ambiguity makes her relatable and interesting. high ( Scene 11 Scene 13 Scene 14 Scene 20 )
- The screenplay explores the themes of identity, transformation, and the complexities of gender in a nuanced and thought-provoking manner. Manitas' desire to transition provides a unique emotional core to the narrative, moving beyond typical genre tropes. medium ( Scene 11 Scene 13 )
- The screenplay’s setting in Mexico and the incorporation of Mexican culture, language, and music create a rich and authentic atmosphere, enhancing the story’s emotional resonance and giving it a unique flavor. medium ( Scene 23 Scene 24 Scene 25 Scene 26 Scene 27 Scene 28 Scene 29 Scene 30 Scene 31 Scene 32 Scene 33 Scene 34 Scene 35 Scene 36 Scene 37 Scene 38 Scene 39 Scene 40 Scene 41 Scene 42 Scene 43 Scene 44 Scene 45 Scene 46 Scene 47 Scene 48 Scene 49 Scene 50 Scene 51 Scene 52 Scene 53 Scene 54 Scene 55 Scene 56 Scene 57 Scene 58 Scene 59 Scene 60 )
- The pacing feels uneven. Some sections, particularly those involving Rita's travels and surgical procedures, could be condensed. Others feel rushed, lacking the emotional weight they deserve. high ( Scene )
- The plot could benefit from more focused development. Certain subplots, particularly those involving some of the secondary characters, feel underdeveloped and could be removed or better integrated into the main narrative. high ( Scene )
- While the female characters are strong, their relationships could be deepened. Exploring the nuances of Emilia and Rita's bond, as well as Emilia's relationship with Jessi, would add emotional depth and complexity. medium ( Scene )
- The ending feels abrupt and lacks a satisfying sense of closure. The final scenes could be revised to provide a more emotionally impactful and thematically consistent conclusion, resolving the audience's expectations. high ( Scene 53 )
- The dialogue is sometimes overwritten, particularly during emotionally charged scenes. Streamlining the dialogue and focusing on subtext would heighten the emotional impact. medium ( Scene )
- A more developed backstory for Emilia would add depth and context to her motivations and actions. Her sudden transformation into a social justice advocate needs more groundwork. medium ( Scene )
- The screenplay lacks clear stakes for the characters. While there are threats of violence, their immediate consequences are not always fully developed or explored. medium ( Scene )
- The motivations of some secondary characters, especially some of the cartel members, remain unclear, impacting the overall narrative's coherence. low ( Scene )
- The opening scene is visually striking and immediately establishes the film's tone and atmosphere. The juxtaposition of the city's glittering facade and the brutal violence sets a strong foundation for the narrative. high ( Scene 1 )
- The depiction of the surgical procedures, while potentially graphic, could be a powerful and visually striking element. The repetitive nature of the procedures further enhances the thematic elements. medium ( Scene 13 )
- The use of counterpoint dialogue during Emilia's fundraising speech effectively comments on the hypocrisy and corruption within society. high ( Scene 40 )
- The climactic scene's use of smoke and the gradual reveal of Emilia's past adds to the emotional intensity and the thematic exploration of identity. high ( Scene 57 )
- Cultural Nuances The screenplay, while attempting to portray Mexican culture, might oversimplify or stereotype certain aspects. More research and consultation with cultural experts could add depth and authenticity, preventing potentially offensive generalizations. high
- Plot Holes The screenplay contains several inconsistencies and plot holes that need to be addressed. For example, the sudden appearance and disappearance of characters, and the lack of clear consequences for certain actions, create moments of disbelief and weaken the overall narrative. high
- Overwritten Dialogue The dialogue often feels expositional and lacks natural flow. In several scenes, characters deliver long speeches that would be more effective if conveyed subtly through actions and interactions. medium
Engine: GPT4
Recommend
Executive Summary
The screenplay of 'Emilia Perez' presents a compelling narrative that intertwines themes of identity, love, and the complexities of human relationships against a backdrop of violence and societal issues in Mexico. The character arcs are well-developed, particularly that of Rita, who evolves from a lawyer focused on her career to someone deeply involved in the lives of her clients. The screenplay's strengths lie in its rich dialogue, unique stylistic choices, and the emotional depth of its characters. However, there are areas for improvement, particularly in pacing and clarity in certain plot points.
- The screenplay opens with a strong visual and auditory impact, immediately immersing the audience in the setting and tone of the story. high ( Scene Sequence number 1 (Opening scene) Scene Sequence number 6 (Rita's phone call) )
- Rita's monologue effectively captures the themes of violence, love, and societal suffering, resonating with the audience and establishing her character's motivations. high ( Scene Sequence number 3 (Rita's speech in the crowd) )
- The character development of Emilia is profound, showcasing her journey from a victim to a powerful figure, which adds depth to the narrative. high ( Scene Sequence number 24 (Emilia's transformation) )
- Emilia's speech at the gala is a powerful moment that encapsulates her character's growth and the screenplay's central themes, effectively engaging the audience. high ( Scene Sequence number 39 (Emilia's speech at the gala) )
- The climax is intense and emotionally charged, effectively tying together the character arcs and thematic elements established throughout the screenplay. high ( Scene Sequence number 58 (Climactic confrontation) )
- Some scenes, particularly in the middle of the screenplay, feel rushed and could benefit from more detailed exposition to enhance character motivations and plot clarity. medium ( Scene Sequence number 10 (Desert scene) )
- The pacing in certain sequences can be uneven, leading to moments where the audience may feel disconnected from the characters' emotional journeys. medium ( Scene Sequence number 22 (Rita's taxi scene) )
- While the themes are strong, some plot points regarding the NGO's funding and operations could be clearer to avoid confusion. medium ( Scene Sequence number 35 (Emilia's NGO launch) )
- Jessi's motivations and actions could be better developed to provide a clearer understanding of her character's arc and relationship with Emilia. medium ( Scene Sequence number 47 (Jessi's return) )
- The transition between scenes can sometimes feel abrupt, which may disrupt the flow of the narrative and the audience's engagement. medium ( Scene Sequence number 53 (Rita's package scene) )
- There is a lack of background information on the legal system and how it operates within the context of the story, which could enhance the audience's understanding. medium ( Scene Sequence number 5 (Courtroom scene) )
- More exploration of Rita's professional life and her relationships with colleagues could provide additional depth to her character. medium ( Scene Sequence number 12 (Berlinger's office) )
- The motivations of secondary characters, such as Manitas, could be further developed to create a more nuanced narrative. medium ( Scene Sequence number 14 (Manitas' trailer) )
- The cultural context of the characters' actions and decisions could be more explicitly addressed to enhance the story's authenticity. medium ( Scene Sequence number 19 (Desert party scene) )
- The emotional stakes for Emilia could be heightened by including more internal conflict regarding her past and her current actions. medium ( Scene Sequence number 41 (Emilia's office) )
- The opening scene sets a powerful tone for the screenplay, establishing the themes of violence and societal issues that resonate throughout the narrative. high ( Scene Sequence number 1 (Opening scene) )
- Emilia's transformation is a significant point in the screenplay, showcasing her evolution and the impact of her experiences. high ( Scene Sequence number 24 (Emilia's transformation) )
- The gala scene serves as a pivotal moment for Emilia, highlighting her growth and the stakes involved in her journey. high ( Scene Sequence number 39 (Emilia's speech at the gala) )
- The climactic confrontation is a powerful culmination of the character arcs and themes, delivering an emotional punch. high ( Scene Sequence number 58 (Climactic confrontation) )
- The ending leaves a lasting impact, tying together the narrative threads and providing a poignant conclusion to the characters' journeys. high ( Scene Sequence number 60 (Finale) )
- Character motivations Some characters' motivations, particularly secondary ones, are not fully explored, which can lead to confusion about their actions and decisions. For example, the motivations behind Manitas' actions could be clearer to enhance the narrative. medium
- Pacing issues Certain scenes feel rushed or unevenly paced, which can disrupt the flow of the narrative. For instance, the transition between Rita's courtroom scenes and her personal life could be smoother to maintain engagement. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
14 | Rita: Changing the body, changes Society. Changing Society, changes the soul. Changing the soul, changes Society. Changing Society, changes it all. |
17 | Manitas: I was entitled to another life, a life of my own. |
20 | MANITAS: No me falta el cielo, no me falta el mar, no me falta la voz, pero me falta cantar. |
4 | Rita: Vengan, todos, abran las Puertas del Tribunal de su Conciencia ¡Oigan, respondan mi pregunta! ¿Podrían dar a mi cliente, el señor Gabriel Mendoza, el derecho de amar a su esposa? |
5 | Berlinger: I ask purely and simply that the case against my client Gabriel Mendoza be dismissed… |