Free Will & Testament

1.      EXT:    LATE NIGHT — SATURDAY, OCTOBER 30, 199?
NEW YORK CITY — 59th STREET/FIFTH AVENUE [59/5]
ABOVEGROUND AT THE MANHOLE: "POINT HOPE"

MANHATTAN SKY-LINE — Indian Summer rain subsides. Above, FULL MOON hangs in deep, black sky. Below, MANHOLE COVER glows in dark, asphalt heaven. Intersection is empty. Suddenly, a TAXI careens into sight, speeds over MANHOLE COVER. Distant SIREN WAILS.
CU — MANHOLE COVER wears an oil-slick rainbow. BRAKES SQUEAL (OFF).
A LIMOUSINE skids to a stop, parks mid-street, beside MANHOLE. Hesitant BEAT. Then, ALDOUS TATE steps out, clad in DEEP-BLUE TUXEDO. He carries KNAPSACK, and LONG, GIFT-WRAPPED PACKAGE. LIMOUSINE drives OFF. ALDOUS, at forty-something, exerts peculiar, sensuous allure. He is tall, refined, slimly athletic, and from old money. His weathered, haunted visage is in shadow, but we know already that this is a man accursed. He lifts MANHOLE COVER, nimbly descends into SEWER. Before closing COVER, he stops, looks around.
LOW ANGLE — ALDOUS' HEAD protrudes neatly from HOLE. A FEMALE REVELER LAUGHS (OFF). ALDOUS ducks down, pulls COVER over his head. CLANG!
HIGH CRANE ANGLE — Far below us, CLOSED MANHOLE COVER glows in the darkness.
SLOW ZOOM IN ON — MANHOLE COVER, as ALDOUS' FOOTFALLS (OFF) echo in labyrinth, decrescendo. He is faraway. SILENCE. Then, OVER EXTREME CU MANHOLE COVER, OCEAN THEME rises.

FADE TO BLACK; HOLD:

2.      EXT:    "LEGEND OF THE LAKE"
DREAM MONTAGE — UNDERWATER (WITH FX)

[Liebestod "Legend of the Lake" haunts protagonists' dreams on Motorcade Eve. It will be reprised in scenes to come. Based in mythology, founded in characters' experience, it is familiar to all.]
Black SCREEN. OCEAN THEME continues, as COLOUR and LIGHT infuse Image. We have risen from the sunless depths, and now hang suspended, beneath the waves. Above, on surface, TWO ANONYMOUS, NAKED SWIMMERS approach one another. They meet in passionate embrace; start sinking beneath the waves. Their lives are threatened by their love.
FOLLOW CLOSE ON — COUPLE, as they make love, and descend. In rapid, whirling montage, LOVERS change identities: BIANCA and AMILCAR become AMILCAR and UNA. COUPLE spins again: UNA and BIANCA; COUPLE tumbles downward: UNA and THE PEREGRINE; UNA and ALDOUS; ALDOUS and his UNCLE HECTOR; UNCLE HECTOR and BIANCA; UNCLE HECTOR and UNA; UNCLE HECTOR and AMILCAR; AMILCAR and MAGDALENA; MAGDALENA and UNA; MAGDALENA and BIANCA; BIANCA and ALDOUS; ALDOUS and JASON; JASON and UNA; JASON and THE PEREGRINE; THE PEREGRINE and ALDOUS; ALDOUS and AMILCAR; AMILCAR and THE PEREGRINE; THE PEREGRINE and BIANCA; And so on. All principal characters play a part in lethal pas de deux. Unrequited passion is realized; enemies unite; true lovers enact a familiar embrace; unspeakable desires surface. They consummate the inevitable, confront the obvious, reveal what's hidden, and realize the impossible. Transformations turn dizzying.
Follow — LOVERS into TOTAL DARKNESS of abyss. As Legend dictates, they choose to die rather than break their embrace. OCEAN THEME continues, OVER —

FROM BLACK; SUDDEN CUT TO:

3.      INT/EXT:    NIGHT
EVE OF MOTORCADE MONTAGE

[Each brief, dark Image features CHARACTER from "LAKE" DREAM, Scene 2. OVER MONTAGE — OCEAN THEME continues. NO OTHER AUDIO; NO DIALOGUE.]

EVE OF MOTORCADE: SAFEHOUSE BEDROOM — MANHATTAN:

UNA HORN, nude, awakens from turbulent dream. "RAINBOW DRESS," made of variegated strips of coloured silk, lies beside her, on bed.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: THE JUNGLE — SAN FEDERAL:

MAGDALENA, guerrillera from Central American nation of San Federal, awaits word from North America. Stares at her TRANSCEIVER. Crosses herself.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: SIMPLE, STYLISH LIVING ROOM — MANHATTAN:

THE PEREGRINE smokes, sitting in armchair, in the dark. JUNKIE COUPLE arrives: Customers. He gives them very large bag of DRUGS, refuses payment! JUNKIE COUPLE leaves, perplexed but happy.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: SAFEHOUSE BEDROOM (NOT UNA'S) — MANHATTAN:

AMILCAR, guerrilla leader from San Federal, sits at desk, poring over DOCUMENTS, some "Classified". .45 GUN lies on MAP of Fifth Avenue.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: ELEGANT BEDROOM IN TATE MANSION — VIRGINIA:

UNCLE HECTOR TATE, most eminent grise in DC, sleeps in monogrammed silk PAJAMAS. Tosses and turns. His cheeks are wet with TEARS. FRAMED PHOTO of nephew, ALDOUS, is at his bedside.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: IN MANHOLE AT 59th STREET/FIFTH AVENUE — MANHATTAN:

ALDOUS TATE, seated in sewer, wakes up suddenly, alarmed. Has he overslept? No. By his glowing WRIST-WATCH, it is 3:30 AM. ALDOUS takes his head in his hands.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: BEDROOM — HARLEM:

JASON, a nude Black man, sits on wrinkled BED. Holds his head in JAIL TATTOOED hands. A nude Black woman, AMANDA, rises from BED. Startles him. They kiss. Then both look at bedside ALARM CLOCK: 4:00 AM.

HARD CUT TO BLACK; SUDDEN CUT TO:

EVE OF MOTORCADE: YACHT STATEROOM, MOORED OFF LOWER WEST SIDE — MANHATTAN:

BIANCA PERALTA, de facto ruler of San Federal, is curled up in exotic ARMCHAIR amidst vulvular, "feminist" objets d'art. She smokes OPIUM PIPE. ZOOM IN TO EXTREME CU — BIANCA'S Mona Lisa smile. OCEAN THEME continues, OVER —

FADE TO BLACK; FADE UP TO:

4.      EXT:    LATE SAME NIGHT UNTIL DAWN — 59/5
ABOVEGROUND AT MANHOLE: "POINT HOPE"

EXTREME CU CLOSED MANHOLE COVER. OCEAN THEME continues. OPENING CREDITS appear, while dark, nighttime Image of MANHOLE COVER is gradually infused with grey light of DAWN. Hours pass in a moment; night becomes day. END OPENING CREDITS. OCEAN THEME fades out.

HOLD TO:

5.      EXT:    DAWN — THE NEXT MORNING
SUNDAY, OCTOBER 31, 199?
59/5 —ABOVEGROUND AT MANHOLE: "POINT HOPE"

CU MANHOLE COVER — It glistens in metallic light of daybreak. SOMEONE WHISTLES (OFF).
BLACK ARMOURED VEHICLE crawls up Avenue, crosses empty intersection, stops beside MANHOLE. DAPPER MAN gets out. He sports GRAPPLING HOOK. A second WHISTLE. THREE LARGE, WELL-BRED DOGS lope out of ARMOURED VEHICLE.
DAPPER MAN expertly uses GRAPPLING HOOK to lift MANHOLE COVER. DOGS check out HOLE; it's not suspect. (No sign of ALDOUS TATE.) TWO SHORT WHISTLES. DOGS bound back into idling ARMOURED VEHICLE. DAPPER MAN follows. ARMOURED VEHICLE moves on, lumbering Uptown. Now TWO PLAIN-CLOTHESMEN flank MANHOLE. STREET SIGN: FIFTH AVENUE & 59TH STREET. Sinister CIRCUS THEME [OFF], rises OVER —

DISSOLVE TO:

6.      EXT:    EARLY MORNING
110th STREET/FIFTH AVENUE — [110/5] — THE MOTORCADE STAGING AREA
COUNTDOWN: 51 BLOCKS TO "POINT HOPE"

STREET SIGN: FIFTH AVENUE & 110TH STREET. CIRCUS THEME (OFF) is louder, proximate. Source is ELDERLY, BLACK HURDY-GURDY PLAYER. Block might be site of bizarre carnival, just before opening time and running late. ONLOOKERS gawk. PRESS prepare for Big Event. PEDDLERS, BEGGARS, PICKPOCKETS suss out options. UMBRELLAS, TARPAULINS guard against drizzle. WALKIE-TALKIES SQUAWK (OFF). In storefronts, CENTRAL AMERICAN KITSCH shares space with HALLOWEEN ICONS. Merchants hawk "BIANCA PERALTA MASKS"; MASKS appear in the CROWD. LARGE BILLBOARD promotes popular TV series: "DON'T MISS NEXT EPISODE OF 'NEWS BEFORE THE NEWS' (A LEO FRIEDMANN PRODUCTION). UNA HORN'S TRUE STORY. WHAT REALLY HAPPENED TO MAJOR RON?" POLICE are active; BEGGARS are loaded into PADDY WAGON.

SECRET SERVICE MAN (VO)

Slippery when wet, Your Excellency. Watch your step

SECRET SERVICE MEN surround BIANCA PERALTA, Vice-President of Central American nation of San Federal. BUBBLE-TOP MERCEDES DIPLOMATIK LIMOUSINE waits nearby. BIANCA wears silken gown of many colours: "RAINBOW DRESS." She is patrician in bearing and markedly refined; delicate perversity shimmers in her eyes. BIANCA may have made attempts to lighten her natural skin tone. Her hair is rich auburn. At forty-something, or more, she has the sort of features that don't age. Tall and slim, she is an exceptionally striking woman.
BIANCA'S FACE is reflected in black hood of her MERCEDES. She looks at herself; doesn't smile. BIANCA'S REFLECTION DISSOLVES into UNA HORN'S REFLECTION. (Her resemblance to BIANCA is stunning.) BIANCA smiles at UNA'S REFLECTION: A sfumato smile. At once, UNA smiles too. BIANCA elegantly winks. Complicitous wink is returned by UNA'S REFLECTION.
CU — UNA HORN'S REFLECTION ripples. CIRCUS THEME is drowned out by crude MILITARY BAND (OFF), OVER —

DISSOLVE TO:

7.      EXT:    [FLASHBACK: JULY 7]
HIGH NOON
PLAZA DE LA RESSURECION — SAN FEDERAL

CU UNA HORN — The attractive, thirtyish American actress bears striking resemblance to BIANCA PERALTA. UNA faces blinding tropical sun; speaks into standing MICROPHONE. MILITARY BAND (OFF) interrupts her speech with awkward siss boom bahs. BIANCA (OFF) quickly translates UNA'S words into SPANISH.

UNA

...and Bianca Peralta, Vice-President of San Federal, is widely admired in the USA for her feminist leadership qualities. I want you — uh, native — women to know that American women sympathize with you and support your struggle against macho oppression.

Dusty, somnolent PLAZA is packed with frightened CHILDREN and sullen WOMEN. MILITARY POLICE surround CROWD. MILITARY BAND is QUARTET of Sergeant Pepperish PLAYERS.

UNA
(trying hard)

...You may know me from the movies.
Of course, I only appear in films that show that women don't lack anything that men have...

BIANCA stands next to UNA, at another MICROPHONE. She translates UNA'S innuendo. UNA waits for salacious laugh. Nada. Tough crowd. Impassive, handsome MILITARY POLICE COMMANDER is at Stage Left, in MIRRORED SHADES and dark, WELL-TAILORED SUIT. Small TANK is parked nearby, guarded by MILITARY POLICE.

UNA

...The supplies I bring to you today were bought by me, personally, with the money I earned working on my last film, "The Best Man Was a Woman." I have several thousand medical instruction manuals and supply kits here, containing those items particularly needed by women: vitamins, iron pills, hygiene products, and — contraceptives...

BIANCA translates. Suddenly, a HECKLER-WOMAN'S VOICE erupts from the crowd.

HECKLER-WOMAN (VO)

Señorita Gringa! What difference does it make if you kill our children
with bullets after they are born, or with pills before they are born?

BIANCA translates; UNA doesn't respond. UNA watches as BIANCA nods to COMMANDER: An attack order. This isn't "Liberal" BIANCA of her PR Image. UNA is shocked, but intrigued.
ON-STAGE, COMMANDER "conducts"; in PLAZA, MILITARY POLICE respond, move in on CROWD. It becomes clear who HECKLER-WOMAN is when CROWD comes to her defense. They lift her above their heads, pass her through air, her BODY floating on SEA OF HANDS. Then she dives UNDER THEIR FEET, crawls out of sight. CROWD closes ranks, BUFFETS against STAGE. Rickety structure SHAKES.
CU COMMANDER'S MIRRORED SHADES — A gringa's reflection: UNA.
UNA is transfixed by heightening riot. Suddenly, BIANCA embraces her, meaning to pull her to safety. Eyes meet. Awkward recognition. OCEAN THEME rises; NO OTHER AUDIO. UNA and BIANCA stare at one another as if they, mirror-images of each other, are only people in world. BIANCA is first to snap out of it. UNA remains petrified. BIANCA SLAPS her. ON SLAP, OCEAN THEME ceases; RIOTOUS NOISE returns.
BIANCA and UNA, hand in hand, descend short stairs, hit ground running, disappear into small TANK which waits nearby. TANK rolls OFF, followed by FIVE BIKER-COPS, TWO BLACK BRONCOS. COMMANDER takes Center Stage. Discretion is gone. He makes dramatic, decisive gesture. Freezes.
QUICK CU'S — MILITARY BAND stops playing. MILITARY POLICE aim GUNS and BAYONETS.
Now COMMANDER hurtles into wild DANCE OF DEATH. MILITARY POLICE respond, make bloody charge into CROWD. MILITARY BAND plays DISSONANT, WALTZ THEME. GUNFIRE. SCREAMS of WOUNDED.
QUICK CU'S — COMMANDER "conducting" ON-STAGE. MILITARY POLICE in PLAZA. WEAPONS. WOMEN. CHILDREN. THE DEAD. THE DYING. BLOOD FLOWS. A MASSACRE.

HARD CUT TO:

8.      EXT/INT:    [FLASHBACK: JULY 7]
MIDDAY
BIANCA'S "LIMOTANK" — SAN FEDERAL

Comfortable SILENCE. BIANCA and UNA sit together on cushy LOVE-SEAT. TANK is dressing-room and armed command post in one. Rack of elegant WARDROBE is nearby. Cubist PAINTING and push-pin covered MAP share a wall. BIANCA stands up, pours DRINKS at ready BAR.

BIANCA

I call this my limo-tank. Pernod?

UNA accepts the DRINK.

BIANCA

Do you want to return to the Hotel Hilton Libertad — or to come with me...?

UNA understands gravity of decision. She drinks, thinks.
EXT: CRANE ANGLE — TANK travels dusty road. BIKER-COPS and BLACK BRONCOS follow. CORTEGE has left city behind. TIME HAS PASSED.
INT: TWO SHOT — UNA sits on LOVE-SEAT; BIANCA stands nearby. UNA has drunk a few Pernods. She answers, at last.

UNA

To your place...

UNA has picked up the gauntlet. Takes a serious sip of PERNOD.

EXTREME CU — UNA'S WHITE-YELLOW PERNOD shakes in GOBLET.

DISSOLVE TO: