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ARRoGANT CoURiERS WiTH ESSaYS
Grade Level: Type of Work Subject/Topic is on:
[ ]6-8 [ ]Class Notes [Screenplay for "Life ]
[ ]9-10 [ ]Cliff Notes [is for the Living" ]
[ ]11-12 [ ]Essay/Report [ ]
[x]College [x]Misc [ ]
Dizzed: o4/95 # of Words:16677 School: ? State: ?
ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>Chop Here>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ
Life is for the Living
A Screenplay by
Robert Armstrong and Srinivas Krishna
(c) Copyright 1991 Robert Armstrong & Srinivas Krishna
The following text is fully protected by copyright law. It is offered
solely to the members of the Bulletin Board "Powder Keg" as an example of a
screenplay, and in search of critical commentary. All comments should be
addressed to Robert Armstrong care of "The Powder Keg". Please do not
distribute this work in any form, electronic or other. It won't do you any
good, anyway.
Life is for the Living
1. INT. PRISON - DAY
In the harrowing darkness, rows of prison bars streak past. The
occasional flash of light splashes across a haunted face. A section of
bars swings away, and a lean twenty- eight year old man, LEWIS LAZULI,
alias LOPI, steps forth. In his threadbare jacket and ill-fitting pants,
Lopi and the Prison WARDEN stride down the corridor. The Warden offers
Lopi a cigarette as sullen INMATES stare at their departing comrade.
WARDEN
I know it's competitive out there. But don't think of
thieving.
With his dark eyes, Lopi flashes a quick glance at the Warden. He
leans over to accept a light.
WARDEN
Do anything you want. Doesn't matter if it's immoral, just
as long as it's not illegal.
2. EXT. PRISON GATES - DAY
From the deep shadows of the towering gateway, LOPI emerges. The gate
ATTENDANT snickers.
ATTENDANT
Welcome to the free world, mate.
Lopi ignores the Attendant and ventures into the pouring rain. He
pauses and turns his marked face expectantly to the sky. With trembling
fingers, he lifts the sodden cigarette and takes a deep, long drag.
3. EXT. CITY - DAY
Beneath a brooding sky, a train thunders out of the city.
4. INT. TRAIN - DAY
There sits LOPI, cowering beside the window, his hands clutching his
shivering shoulders. His eyes twitch across the shimmering city as it
steps down to the flat horizon of the country.
5. EXT. VILLAGE STREET - DAY
LOPI drifts through the mist that envelopes the desolate village and
pauses before a delapidated bungalow. He pushes open the small gate. It
collapses at his feet. Stepping over it, Lopi walks past the unkempt
garden and raps loudly on the front door. He waits. Impatiently, Lopi
lifts the mat and picks up a key.
6. INT. BUNGALOW - DAY
Lopi's MOTHER, a frail, old woman, sits in the grey light by the
kitchen table drinking a cup of tea. Unseen by her, LOPI closes the front
door. He glances into the parlour. On the chesterfield sits a frail,
ancient man, Lopi's DEAD FATHER. He chain smokes. As Lopi appears in the
doorway, the Dead Father raises his hand and waves. Lopi smiles weakly and
nods.
MOTHER
There's no money left, Lewis.
Lopi enters the kitchen.
LOPI
How did you know it was me, mum?
MOTHER
I could smell you.
Lopi kisses her.
LOPI
You look old.
MOTHER
I'm tired and lonely. I want to die and join your father.
In the parlour, the Dead Father nods emphatically.
MOTHER
Would it be too much trouble?
LOPI
I can't pay for your funeral. I need a job.
She caresses his cheek tenderly.
MOTHER
You tried, Lewis. But you'll never have money. Go speak to
Michael.
LOPI
I'll look after you, mum.
MOTHER
I want to see your brother.
Lopi hesitates.
LOPI
He doesn't want to see you.
MOTHER
That's not true! It's just that he can't afford to visit.
Do you know how hard it is to get by in the city?
Lopi considers his mother for a moment.
LOPI
You've never been to the city.
The woman begins to cry.
MOTHER
I want to see my children.
Lopi cradles his Mother as she weeps.
7. INT. MICHAEL'S APARTMENT - DAWN
Perched by the window of his well-appointed apartment, his narrow
features softened by his mid-thirtyish age, MICHAEL looms over the vista of
the city. Hurriedly, he gulps his morning cup of tea.
8. INT. CRAMPED OFFICE - DAY
His tie loosened, MICHAEL runs a manicured finger down a ledger and
with his other hand rapidly punches numbers into a desk calculator. A
ribbon of adding tape spools forth. The telephone warbles. Michael picks
it up.
MICHAEL
What?
Michael listens.
MICHAEL
You're being uneconomical.
9. INT. CORRIDOR - MOMENT LATER
Closing his office door, MICHAEL bumps into a gurney in the corridor.
On it, under a white sheet, lies the form of a BODY. A DRIVER lounges
nearby in a long black coat, chair tilted back against the wall.
MICHAEL
Why are you still here?
DRIVER
The school of anatomy doesn't want it.
MICHAEL
You should check that before you claim a body, shouldn't
you?
DRIVER
It's not my fault. They changed their minds.
MICHAEL
Then take it back.
The Driver stands.
DRIVER
No one wants it.
MICHAEL
Who's the next of kin?
Michael checks the toe tag.
DRIVER
There's isn't any.
Michael glares disdainfully at the Driver, then moves down the
corridor.
MICHAEL
Then get it into cold storage. We'll have to pay for this
too.
10. INT. INNER OFFICE - MOMENTS LATER
SEXTON DRING, a cherubic man greying into interminable middle-age,
leans over his dictaphone. From his pursed lips issues forth a miraculous
stream of bird whistles. A human skeleton dangles from the coat rack
behind him. MICHAEL steps through the door.
DRING
We're going out of business, Michael. We didn't get the
contract.
Caught off guard, Michael carefully lowers himself onto a chair.
MICHAEL
What about your friends on city council?
DRING
We're just a taxi service for corpses. It's very
competitive.
MICHAEL
How are we going to meet the payroll?
DRING
We need some fresh ideas. Got to be innovative!
Dring pins Michael with an expectant glare.
MICHAEL
I don't know. I'm just the accountant.
DRING
This business, it's like taking care of a family. Sometimes,
the family can't stay together. The children have to get
out on their own. Even if you love them.
Dring levels his gaze at Michael. Michael twitches.
DRING
Time for lunch.
11. EXT. ALLEYWAY - MOMENTS LATER
LUCKY, a pudgy man in his early forties, stands next to his "Lucky's
All-Beef Doner Kebab" truck, serving hot chunks of spitted meat to several
DRIVERS. DRING and MICHAEL appear on the loading dock beneath a sign,
"Sexton & Sons".
LUCKY
Morning, boss. My wife made something special for you.
Dring hurries down the loading dock to the alley. Lucky lifts a
sticky-sweet pastry from a tray and aims it at Dring. Dring crams the
pastry into his mouth.
MICHAEL
It'll make you diabetic.
DRING
People need their pleasures.
Lucky hands Michael a cup of tea.
LUCKY
Why don't you come around sometime, see your old mates?
Michael hands Lucky some change.
MICHAEL
No.
Michael takes the cup and disappears into the loading dock. Lucky takes
a sandwich from the truck and wolfs it down.
DRING
You're eating your profits, Lucky.
LUCKY
I've been thinking about my profits, Mr. Dring.
Lucky glances sideways at Dring.
LUCKY
I have to drop you from my route.
Stunned, Dring begins to whistle. Lucky gestures to the building.
LUCKY
You're just not big enough.
12. INT. SUBWAY - NIGHT
MICHAEL hunches down in his seat, his eyes closed. The train rattles
back and forth, and he sways with the motion. Michael opens his eyes. A
young INDIGENT COUPLE neck furiously in the seat before him, surrounded by
their bagged possessions. Provocatively, they intertwine their tongues.
Michael shuts his eyes and slinks deeper into his seat.
13. EXT. STREET - NIGHT
MICHAEL ambles along the sidewalk, past mounds of garbage awaiting
removal. A FIGURE lurking in the mouth of an alley beckons to Michael.
FIGURE
Looking for a friend?
Michael glances toward the alley and quickly moves on.
14. EXT. CAFE - NIGHT
Behind a plate-glass window front, MICHAEL slops his coffee as he
claims an empty table. An Indian SAILOR, dressed in a threadbare coat and
clutching a stained cap, stands on the sidewalk and peers through the
window. He locks eyes with Michael.
15. INT. CAFE - NIGHT
MICHAEL tries to look away as the SAILOR hurries into the cafe.
SAILOR
You are gentleman, are you not?
MICHAEL
Go away. I'm busy.
The Sailor produces three brightly-coloured balls and begins to juggle,
much to Michael's consternation. With an elaborate flourish, the Sailor
finishes by placing them on the table. He bends toward Michael.
SAILOR
Ship has left and we have not.
The Sailor offers his hat.
SAILOR
Nice country, no food.
Michael catches the eye of a WAITER. The Sailor follows his line of
vision.
SAILOR
Please, sir, you are gentleman!
The WAITER intercedes and hustles the Sailor to the door. Michael sips
his coffee.
16. EXT. APARTMENT BUILDING - NIGHT
MICHAEL warily climbs from the dark shadows of the street toward the
weak light of the foyer's entrance.
17. INT. ELEVATOR - NIGHT
As the elevator doors slide together, MICHAEL slips between them. He
comes face-to-face with VERA, an alluring woman of twenty-four years. She
appears absolutely furious. Apologetic, Michael backs away from her into
the corner. Vera's boyfriend, RUPERT, a handsome man in expensive clothing,
gives Michael a supercilious inspection, and places a strong grip on Vera's
arm. She immediately shrugs him off and stares straight ahead.
Determined, Rupert reaches for her again, but Vera steps away, forcing
Michael to shift to the other corner.
RUPERT
Vera.
Michael flicks his gaze from Vera to Rupert, then drops it to the
floor. Aggressively, Rupert steps between Michael and Vera. Michael
sidles deeper into the corner. Rupert tries to caress Vera's hair but she
pushes his hand away and flattens her back against the wall of the
elevator. Vera and Rupert stare at Michael. He clears his throat and
regards the floor. The elevator softly pings.
18. INT. APARTMENT HALLWAY - NIGHT
The elevator doors open and MICHAEL steps into the hall. He marches
toward his door, followed by VERA and RUPERT. Vera reaches into her bag
for her keys as Rupert peers over her shoulder. Vera whirls on him.
VERA
Go away!
RUPERT
I love you.
VERA
What do you know about love?
Rupert appears hurt.
RUPERT
I've got money.
Vera turns back to the door. Michael glances back down the hall.
Grabbing Vera's arm, Rupert wrenches her around and forces her against the
wall.
RUPERT
Listen when I'm talking.
VERA
You think you can buy everything.
Rupert strengthens his grip. Michael comes back down the hall toward
them. Rupert gesticulates wildly with his free hand.
RUPERT
Are you suggesting I'm trying to buy you? My father did not
buy his peerage. I did not buy my partnership as attorney
at law. And I could never buy you because...
Rupert caresses her hair.
RUPERT
I love you, Vera.
Vera slaps him.
VERA
Hands off!
Rupert's face contorts with fury. He pins Vera against the wall.
RUPERT
You never let me finish talking!
Michael punches the elevator button.
MICHAEL
She said hands off, mate.
RUPERT
Go away!
Michael grasps Rupert by the shoulder as Vera struggles free. The
elevator arrives with a ding.
MICHAEL
I think you should leave.
Rupert swings at Michael, missing. With a short, brutal blow, Michael
drives his fist into Rupert's solar plexus, then hustles the winded Rupert
into the elevator, dumping him on the floor. Michael presses the "lobby"
button and deftly steps out between the closing doors. Vera smoothes her
jacket.
VERA
I can take care of myself.
Michael nods, and walks toward his apartment. Vera slips a key into
her door. Inside her apartment, a telephone RINGS. She removes the key,
and listens. Vera hurries to Michael's door. Hesitant, she knocks.
Michael opens the door.
VERA
Thanks for helping me.
Michael stares at her for a moment. Vera glances toward the elevators.
VERA
May I use your phone?
MICHAEL
Why certainly!
With expectant smile, Michael remains blocking the doorway.
VERA
I'm worried about staying in my apartment. I made the
mistake of giving Rupert a key.
MICHAEL
Well, do come in.
Vera quickly steps through the door.
19. INT. MICHAEL'S APARTMENT - NIGHT
Surreptitiously following her with his eyes, MICHAEL closes the door.
MICHAEL
Is there anything else I can do for you?
VERA
Oh, please... just the phone is enough.
Michael motions to a chair beside the telephone. Vera picks up the
telephone and dials.
MICHAEL
But surely... would you like a drink?
He goes to the sideboard, and returns carrying a bottle of brandy.
VERA
I'd rather have water.
MICHAEL
Good choice, considering the circumstances.
Receiving no answer, Vera sets the telephone back in its cradle.
Michael places a glass down before her.
MICHAEL
No one home?
VERA
Friends are never home when you need them.
Michael eases himself down close beside her.
MICHAEL
Who needs friends?
A fist POUNDS loudly at the front door. Michael and Vera share a quick
glance. She puts her finger to her lips and hurries into Michael's
bedroom. Michael warily approaches the front door and opens it. From the
darkness of the hall, LOPI looms, his eyes flashing.
MICHAEL
Lewis.
LOPI
Michael.
MICHAEL
Lopi...
Lopi locks Michael in a powerful embrace.
LOPI
It's good to see you.
MICHAEL
What are you doing here?
Still holding his shoulders, Lopi regards Michael warily.
LOPI
I have a message from Mum.
He brushes past Michael and strides into the apartment. He surveys the
ordered luxury.
LOPI
Life has treated you well.
MICHAEL
We all get what we deserve.
LOPI
You will, one day.
MICHAEL
What does Mum want?
From the bedroom, Vera eyes the visitor. She steps into the living
room. Michael glances nervously at her.
MICHAEL
Vera... what a pleasant surprise! Meet my brother, Lopi.
VERA
Lopi? Hello.
MICHAEL
Vera's a friend.
Lopi glances back at Michael.
LOPI
I like meeting Michael's friends.
MICHAEL
Lopi's just returned from a sojourn in the country.
VERA
I've never been to the country. It must be beautiful.
Lopi sits down, testing the softness of the cushions.
LOPI
You get used to it.
MICHAEL
Where are you staying, Lopi?
Lopi looks hard at his brother.
MICHAEL
Vera's in a bit of a spot at the moment, you see. I'm
putting her up tonight.
Vera stares at Michael.
VERA
No, no, don't put yourself out. It would be so much
trouble.
MICHAEL
Trouble? This is an honour! Isn't it Lopi?
LOPI
That's what Mum taught us.
MICHAEL
Lopi has lots of friends he can stay with.
Lopi stands and approaches Michael.
LOPI
Mum wants to see you.
Michael sighs.
MICHAEL
I cannot afford to drop everything and come running every
time she beckons.
LOPI
She's dying.
VERA
Oh God...
Michael drops his head, then looks up at Vera with a small smile.
MICHAEL
She's said that many times before.
Michael turns to find his brother glaring at him. Breaking into a loud
laugh, Lopi moves toward the door. Michael relents.
MICHAEL
I'll have to arrange something at work. In the meantime, if
you need anything, feel free to call.
Lopi pauses in the doorway and looks back at Michael.
LOPI
I'll do that, Michael. I'll do that.
Michael firmly shuts the door. He turns and smiles at Vera
enthusiastically.
20. EXT. STREET - NIGHT
LOPI passes Lucky's doner kebab truck, parked against a mound of
garbage and splintered crates. Broken glass sparkles on the greasy
pavement. Lopi pauses before a door. He knocks. No answer. He knocks
louder. Still no answer. He tries the door. It opens, revealing LUCKY and
his sprightly Philippino wife, ROWENA, locked in a passionate kiss. Lucky
turns to Lopi.
LUCKY
Lopi! You're just in time.
Lucky resumes kissing Rowena. Lopi waits patiently outside. Finally,
Lucky desists.
LUCKY
Rowena, could you please make up the extra bed?
Rowena flashes a wicked smile.
ROWENA
Good idea. I'm tired of sleeping with you.
LUCKY
No, we have a guest.
Rowena regards Lopi innocently.
ROWENA
Oh, I sleep with the guests now?
LUCKY
This is not the third world, love. This is England.
ROWENA
So we're all going to sleep together?
Lopi shifts uncomfortably in the doorway.
LOPI
I'll sleep on the sofa.
Lucky chucks Rowena under the chin.
LUCKY
Rowena, show some respect.
He bends forward and kisses her again.
21. INT. LUCKY'S TRUCK - NIGHT
With rapt attention, LUCKY races the truck through the empty streets.
LUCKY
Don't look so glum.
LOPI
This is illegal.
Wheels slipping on the wet pavement, the truck skids to a halt. A
huge, completely bald man, NIGEL, crams himself into the cab beside Lopi.
LUCKY
You remember Nigel?
Lopi nods his greeting. Nigel grunts.
NIGEL
Life is hard.
LOPI
Only for the living.
22. EXT. BACK ALLEY - NIGHT
NIGEL fumbles with a ring of keys, trying to open the lock of a grey
door. LOPI glances about uneasily. Nearby, Lucky's truck softly idles.
LUCKY motions them to hurry up. Lopi looks at Nigel who shrugs helplessly
and resumes his attempt. Lopi pushes him aside. He slides a thin pick
into the lock and clicks it open.
NIGEL
Now we're in business.
Nigel disappears through the door, and a moment later emerges carrying
a side of beef. He dumps it on Lopi's shoulder and returns inside.
Surprised, Lopi staggers to the back of the truck and shoves the beef
inside. Nigel joins him, and together they cram a second side of beef on
top. They climb in behind and the truck zooms away.
23. EXT. KING KEBAB - NIGHT
Lucky's truck rounds a corner and stops before a small shish-kebab
restaurant. A great mound of cooked beef hangs on a spit behind the greasy
window, in which hangs a sign announcing: "Cheapest Kebabs Going!
Revolutionary Pricing Policy!" A line of raggedy INDIGENTS queues out the
door and along the sidewalk. After a quick glance up and down the street,
NIGEL and LOPI hustle the beef through the parting queue and into the shop.
LUCKY follows behind.
24. INT. KING KEBAB - MOMENT LATER
In the tiny shopfront, LOPI and NIGEL pass behind the short counter
into the kitchen. They disappear through a door at the back. LUCKY
follows.
LUCKY
You went home?
Straining under the weight of the beef, Lopi nods.
LUCKY
Anyone left?
LOPI
They're all here in the city
now.
The three men lug the carcasses through the kitchen prep area, toward a
large walk-in freezer, beside which rests a massive band saw. Nigel
deposits his side of beef on the saw and triggers it to life. Lucky helps
Lopi hang the other in the freezer.
LUCKY
How's your mother?
LOPI
She's given up.
LUCKY
You can't give up. If you
want to live, you have to stay
competitive.
Nigel rams the beef through the blade. Tiny flecks of meat spit
through the air.
25. INT. BUTCHER'S CLUB - NIGHT
In the dimly-lit room, MEN play cards with quiet gusto. The Indian
SAILOR circulates through the crowded tables, serving drinks. A
weasel-faced MAN leans back in his chair, and up- ends the Sailor's tray.
The Sailor scuttles to pick up the broken glass. The other MEN break into
snickering laughter at the sight. Behind the bar at the far end of the
room, a door opens, spilling bright light from the kitchen. NIGEL walks
through the door, wiping his bloody hands on a rag. LOPI and LUCKY follow
him.
26. INT. BACK OFFICE - A MOMENT LATER
Behind a large table, beneath various pictures of naked women, reclines
an impish, mustached KINGSLEY. Beside him, an edgy, sharp-faced man in a
business suit, ATTILAH, sits with his elbows on his knees, his hands
cradling a glass. NIGEL and LUCKY usher LOPI into the room. Kingsley waves
his hand.
KINGSLEY
You found us. At last. Sit.
Lopi takes a seat. The SAILOR pours a drink and hands it to Lopi.
KINGSLEY
So good to see you. You bring back... memories.
LOPI
Bad memories.
KINGSLEY
Then you should drink and forget.
LOPI
Better bad memories than no memory at all.
LUCKY
I remember only good times!
NIGEL
You're an idiot.
LUCKY
No, don't you remember when we were drinking with Michael
and he told us the story about his father who --
ATTILAH
Lopi's brother is a ghost.
They all turn to Attilah. He smiles back at them. Apologetically,
Nigel nods his head.
NIGEL
For us, he is dead.
KINGSLEY
Dead but still moving.
LUCKY
Michael's a very intelligent man! KINGSLEY (to Lucky) You
drink too much coffee.
ATTILAH
Your belly is squeezing your brain.
LUCKY
Better than my hand squeezing your throat.
ATTILAH
Your hand's too busy squeezing your cock!
LOPI
You're talking about my brother.
The table stops its chatter and turns to Lopi. He draws a knife from
his coat and places it on the table.
LOPI
Who wants to die?
Attilah stands up.
ATTILAH
Okay.
KINGSLEY
Good, good, good. This is good. I will watch.
Lucky stares at Kingsley in horrified silence. Kingsley picks up his
glass.
KINGSLEY
Drink. Be civilized.
Attilah and Lopi each tensely raise a glass. They quickly shoot back
their drinks, and set their glasses down. Lopi picks up his knife and
falls into a practiced stance. Attilah begins to giggle.
LOPI
Where's your knife?
Still giggling, Attilah pulls out a pistol from inside his jacket. He
admires it.
ATTILAH
I live in the city now!
Lopi lunges, his blade gleaming. Nigel seizes Lopi by the neck and
drives him back against the wall. The knife clatters to the floor.
Attilah point the gun at Lopi's head and giggles uncontrollably. He pulls
the trigger. The hammer clicks on an empty chamber.
ATTILAH
I have no money for bullets.
KINGSLEY
But even an empty gun is a market force!
Kingsley gestures to the Sailor, and another round of drinks appear.
Lopi resumes his chair.
KINGSLEY
What do you want? You wouldn't visit me simply for
pleasure.
LOPI
I want to live.
KINGSLEY
Business. Everyone comes for business. It's very
competitive.
Kingsley raises his glass to Lopi.
KINGSLEY
To business.
LOPI
I don't want to be a thief anymore.
Kingsley stares at Lopi, then shrugs.
KINGSLEY
You have no capital, Lopi.
How do you plan to acquire surplus value?
27. INT. BUTCHER'S CLUB - NIGHT
While MEN continue their card games around the crowded tables, the
SAILOR sings a sad, very sad song.
28. INT. MICHAEL'S APARTMENT - LIVING ROOM - MORNING
Cheerless morning light suffuses the room. From beneath a tangled
clump of bedsheets, MICHAEL emerges on the sofa.
29. INT. MICHAEL'S APARTMENT - BEDROOM - MORNING
Fully dressed, MICHAEL sits on the corner of the bed and spies on the
sleeping VERA, her hair fanned across the pillows. Vera rouses,
momentarily confused by Michael's presence.
MICHAEL
Will you be here when I get back?
Disconcerted, Vera pulls up the covers.
VERA
I have a busy day.
Michael pauses, his gaze lingering.
MICHAEL
Then you'll need the key.
He stands and drops a key on the night table. Vera picks it up, and
smiles warmly.
VERA
Thanks.
MICHAEL
You should change your locks.
He strides toward the door. Vera considers his departing back.
30. EXT. APARTMENT BUILDING - DAY
MICHAEL hurries away, down the street. From the other direction,
Lucky's truck pulls up to the curb.
31. INT. MICHAEL'S APARTMENT - BATHROOM - DAY
Before the bathroom mirror, VERA pats dry her face with a towel. She
stops, listening.
32. INT. APARTMENT HALLWAY - SAME TIME
LOPI slides a thin pliable wedge into the door of Michael's apartment.
He jiggles it expertly. Suddenly, he steps back. The door opens, and VERA
peers out suspiciously over the safety chain. Lopi regards her with
surprise.
LOPI
Hello.
Vera opens the door. Lopi steps through.
33. INT. MICHAEL'S APARTMENT - MOMENT LATER
VERA
Michael's at work, you know.
LOPI watches Vera collect her coat. She smiles at him.
LOPI
I'll wait.
Vera shoulders her bag.
VERA
Tell him I'll call.
LOPI
You like Michael?
Vera turns in surprise.
VERA
He's a nice guy.
Lopi extends his hand to her.
LOPI
That's good.
Vera reaches to shake his hand, but Lopi turns his palm up.
LOPI
The key?
Vera laughs nervously, and hands over the key. As Lopi watches, she
closes the door behind her. Lopi walks into the bedroom. He re-emerges a
moment later, shrugging himself into a sport jacket and counting some
money. Lopi admires himself in the hall mirror.
34. EXT. APARTMENT BUILDING - DAY
LOPI crosses the street and hops into Lucky's truck. LUCKY starts the
engine, shooting a glance at the jacket.
LUCKY
I thought you weren't going to steal anymore?
LOPI
He's my brother.
The truck pulls away.
35. INT. STUDIO - DAY
From between the breezing interplay of flowing fabric, emerges VERA.
Bright light flashes across her arrogant features. She strikes a pose,
then another, her long elegant limbs scything the air. The PHOTOGRAPHER, a
bald, sagging man, moves in close, the aperture on his camera flickering
open and shut.
PHOTOGRAPHER
You need a fuck.
Vera curls her lips and sneers. Click.
36. INT. HOME FOR THE AGED - DAY
VERA sits primly on a hard-backed chair. A NURSE spoons food to Vera's
MOTHER, who reclines on a bed. Between swallows, her Mother takes oxygen
from a mask draped over a tank nearby. Vera's FATHER, a big man collapsed
with age, perches precariously on the edge of the other bed.
FATHER
Mother's fine.
VERA
Good.
The Father glances out the window at the under-foliaged tree. The
Mother takes another gulp of oxygen.
FATHER
But it's cold.
He turns back to Vera.
FATHER
Mother's been asking about Rupert. How is he?
Vera glances uneasily at her hopeful Mother.
VERA
I don't know. I'm pretty busy right now.
Her Father cocks an eyebrow and nods thoughtfully.
FATHER
Should always keep busy.
The Mother glares sourly at Vera. The Nurse pauses to pat the Father
on the head, and then leaves. Her Father appears quite shrunken.
FATHER
Don't know how much longer you'll need to make these visits.
VERA
Don't say that.
A sly grin spreads across her Father's wrinkled face. From beneath the
bed, he procures a matching set of cowboy hats.
FATHER
Let's wrestle.
VERA
I'm too old for that.
FATHER
Come on. Just for me.
Her Father draws a chair up to the table, and enthusiastically motions
for Vera to follow suit. He hands Vera one hat and perches the other on
his own head.
VERA
Must we wear the hats?
FATHER
Yes!
Settling the cowboy hat carefully over her hair, Vera takes her
Father's gnarled hand in her own slender grip. They plant their elbows on
the table and lock wrists. Her Mother grips the oxygen mask, and regards
her husband with worry.
FATHER
You want a head start?
VERA
No.
FATHER
Okay.
Her Father tilts his arm backwards, giving Vera a head start. He then
throws himself into the wrestling, pushing her hand well over. Vera
recovers and slowly forces his knuckles toward the table. He struggles,
then gives up. Vera removes the hat and rests her hands in her lap.
VERA
Where's my umbrella?
His eyes closed, her Father nods slowly, apparently asleep. Vera rises
and plants a kiss on his forehead. She approaches her Mother, who purses
her lips in anticipation. Vera removes the oxygen mask and touches her
Mother's cheek with her lips. They exchange a glance barren of affection.
VERA
Good bye.
Her Mother takes a deep gulp from the mask.
37. EXT. OXFORD CIRCUS - DAY
Jostling through the crowd, VERA catches an advertising placard
displaying her image in a store-front window. She stops and approaches the
window. On the poster, her conspiratorial grin exposes impossibly white
teeth. Pent-up breasts cradle a jar of coffee-whitener. Distraught, Vera
moves closer to the glass-shielded placard. After a moment, she turns away
and daubs her weeping eyes.
38. INT. SEXTON & SONS - CRAMPED OFFICE - DAY
With one hand, MICHAEL hurriedly sifts through a tangled clump of
papers. His other hand moves toward the calculator, upsetting his tea cup.
He inhales sharply.
MICHAEL
Shit!
Looking up, Michael sees DRING step lightly past the doorway, a WOMAN
in a business suit holding his arm.
39. EXT. SEXTON & SONS - FRONT DOOR - DAY
DRING smiles charmingly and shakes the WOMAN'S hand. As she climbs in
her car, Dring lifts an imaginary telephone receiver to his ear, and with
his right index finger dials an imaginary number. Giddy, he laughs and
waves at her, then hesitantly blows a kiss to her departing car. Lucky's
truck rolls past.
40. EXT. SEXTON & SONS - ALLEYWAY - DAY
LUCKY opens the side of the truck and pours coffee. A few DRIVERS
crowd around. LOPI walks around from the other side. Dring arrives on the
loading dock.
LUCKY
Morning, boss.
DRING
Don't give up on us yet! We have a new lease on life.
Dring descends to the alley.
DRING
Once I contract a supplier, I shall expand.
Lopi pats Lucky on the stomach.
LOPI
Lucky's always expanding.
LUCKY
This is Lopi. He's Michael's brother.
Lopi thrusts his hand out. Dring takes it.
DRING
Michael never mentioned family.
LOPI
Well, we're very proud of him.
DRING
I could use another Michael. Industrious, hard-working,
honest.
LUCKY
Lopi only works for himself.
LOPI
That's not true. What do you need?
DRING
What have you done?
LOPI
Oh, many things. Automobiles, televisions... beef.
DRING
Wholesale or retail?
LOPI
Both. You have a big place.
DRING
Big?
Dring turns and looks at his facilities. He turns back to Lopi.
DRING
Pretty big.
41. INT. SEXTON & SONS - CORRIDOR - DAY
DRING leads LOPI through the decrepit, squalid premises towards his
office.
DRING
This will be a growth industry. We have the equipment to
handle our end. I'm looking for a specialist to handle the
supply end.
LOPI
I've always wanted my own business.
A gurney blocks their path. Dring opens a door and hurls it into
Michael's office. MICHAEL looks up in shock. Dring smiles benignly at
him. He and Lopi continue down the corridor.
DRING
You've come at a very propitious time.
Lopi stops Dring.
LOPI
You still haven't told me what you need.
42. INT. SEXTON & SONS - INNER OFFICE - AFTERNOON
LOPI
Are you sure it's legal?
DRING purses his lips.
DRING
Absolutely. Your trick is to get people to sign a
contract. Then think of yourself as a... collection agency.
LOPI
And this is entirely proper?
DRING
How long have I been doing this?
Lopi searches for an answer.
DRING
Three generations. I think I know what's proper.
LOPI
Very good.
Dring picks up his telephone.
DRING
I want to introduce you to someone you already know,
Michael.
He replaces the receiver and locks eyes with Lopi.
DRING
This is a new business. We are new people. Cutting edge.
MICHAEL enters the tawdry office warily. Dring smiles at him.
DRING
I didn't know you had such a talented family.
Michael eyes Lopi.
MICHAEL
It all depends on the talents you need.
Dring indicates Michael should shake Lopi's hand.
DRING
We have hope, Michael. Sit down and I'll tell you why.
43. INT. MICHAEL'S APARTMENT - NIGHT
LOPI picks through the liquor cabinet as MICHAEL closes the door and
hangs his coat in the closet.
LOPI
Nice brandy.
Lopi pours a glass and savours the taste.
LOPI
Things'll be nice for me soon. How about a toast, Michael?
Lopi reclines comfortably into a chair. Michael approaches Lopi and
fingers the lapel of his jacket.
MICHAEL
Nice suit, Lopi.
LOPI
The best.
MICHAEL
Have you ever been in a condominium?
Lopi shakes his head.
MICHAEL
Hot water, shag carpet, it's warm in the winter... and there
are no thieves.
Michael shakes his head in mock disappointment.
MICHAEL
You're still a thief, Lopi.
LOPI
No I'm not. I'm in business now.
MICHAEL
Not after I acquaint Mr. Dring with your history.
LOPI
And put yourself out of business? No you won't.
Lopi produces some money and approaches Michael.
LOPI
You remember Mum, don't you? I took it for her funeral. But
I won't be needing it now.
Michael puts out his hand but Lopi drops the money to the floor.
Michael collars Lopi and slams him against the wall. He presses his face
close to Lopi and shouts. Through clenched teeth, Lopi shouts back.
MICHAEL
When did you get out of prison?
LOPI
How did I get there?
MICHAEL
Don't play that trick on me, Lopi! I had nothing to do with
it.
LOPI
You were too busy here in the city, weren't you?
MICHAEL
I'm a self-made man!
LOPI
With Mum's money.
MICHAEL
That was for my education.
LOPI
You never gave anything back!
Michael releases Lopi. He collects himself and pours a drink. Lopi
rubs his bruised shoulder.
MICHAEL
I don't have any money.
He waves to the apartment.
MICHAEL
It's all tied up in equity.
Lopi stares at Michael, then plucks the bottle from the table and
refills his glass.
MICHAEL
Leave me alone, Lopi.
Lopi continues to stare.
LOPI
We're partners now, Michael. I'm going to keep you in
business. Remember that.
44. INT. APARTMENT HALLWAY - NIGHT
The elevator doors open before LOPI, and VERA steps out.
VERA
Hello. Did you meet Michael?
LOPI
Face to face.
Lopi steps into the elevator.
LOPI
It's your turn now.
Lopi's face disappears as the doors slide together.
45. INT. MICHAEL'S APARTMENT - NIGHT
MICHAEL
Would you like a drink?
He procures clean glasses from the sideboard and pours.
MICHAEL
Keep the key as long as you need it.
VERA
Oh, Lopi didn't return it?
Michael stiffens.
MICHAEL
Lopi?
He feigns a feeble smile.
MICHAEL
I'd love to love my brother, but he makes it so difficult.
VERA
I'm sorry. I didn't realise.
MICHAEL
Sometimes family can be so... distressing. Do you know what
I mean?
VERA
Especially when they're dying, it's very distressing.
Michael flinches.
VERA
My mother's dying.
MICHAEL
Oh dear. I'm sorry.
VERA
Makes me wish I'd gotten along with her better.
MICHAEL
Yes.
VERA
She's never liked what I do. She calls it whorish. She's
going to die thinking that. Maybe it's not too late to make
amends. Got to try.
With an eager smile, Michael nods vehemently in agreement.
MICHAEL
Yes, I know. That's why I've rented a car. I'm going to
the country tomorrow to make amends with my mother.
VERA
Tomorrow? I wanted to repay your kindness with dinner
tomorrow night.
MICHAEL
Perhaps I can postpone my trip!
VERA
No, no, you mustn't do that.
Michael searches desperately for an answer.
MICHAEL
But you see... well... you're right. But I can be back for
dinner. Country food is terrible, you know.
Vera smiles and rises.
VERA
Good. You can meet me at my photo shoot. See me in action.
MICHAEL
I'd like that!
She kisses him goodnight. Caught off guard, Michael gawks as Vera
disappears into the hallway.
46. INT. LUCKY'S FLAT - NIGHT
LOPI, LUCKY and ROWENA sit around a small table in the kitchen. All
three laugh with such force that their gaping mouths emit no sound.
Several bottles of beer litter the table top.
LOPI
I love your wife, Lucky.
LUCKY
Go dip your wick elsewhere, Lopi.
ROWENA
I need more than a wick.
LUCKY
That's why she married me. I have a Roman candle!
LOPI
(to Rowena)
Well, aren't you lucky!
LUCKY
I'm Lucky!
ROWENA
No you're not. You just have a job.
LUCKY
That's more than Lopi.
LOPI
That's not true. I have an opportunity.
ROWENA
I'd give Lopi an opportunity.
Rowena appraises her husband.
ROWENA
I have to learn from my mistakes.
Lucky appeals for Lopi's sympathy.
LUCKY
I paid good money to put up with this! But I love her.
ROWENA
He loves me. He found love with a mail order bride!
LUCKY
Rowena, I rescued you.
ROWENA
And that's how I made it to the big city.
Lucky snatches a kiss from her.
LUCKY
Which is why I treat her like my mother.
Rowena and Lucky laugh. Lopi remains sober. Lucky slaps Lopi on the
shoulder.
LUCKY
Laugh, Lopi, laugh. This is your party!
LOPI
She's going to die alone.
Lucky blinks.
LOPI
I want to bring my mother to the city. Now.
LUCKY
Now?
LOPI
I need your truck for tonight.
LUCKY
Lopi... no. That's my capital. I have to work tomorrow.
To support Rowena.
Lucky smiles lovingly at Rowena.
ROWENA
Lucky, go.
Lucky and Rowena exchange sharp glances.
ROWENA
He's your friend.
47. EXT. MOTORWAY - NIGHT
Lucky's truck tears past on the dark wet pavement, charging from the
high glittering lights of the city toward the low black expanse of the
countryside.
48. INT. LUCKY'S TRUCK - NIGHT
In the darkness of the cab, LOPI's face appears frozen, his lips drawn
tight across his teeth. LUCKY tests the tension on his seatbelt.
LUCKY
It's true. You should always love your mother.
Lucky casts a sidelong glance at Lopi.
LUCKY
Business is like motherhood. You nurture it, help it grow,
knowing one day it will be sold.
Lucky looks out the windshield for a moment.
LUCKY
You love your mother, don't you?
LOPI
Shut up.
49. EXT. VILLAGE STREET - NIGHT
LOPI parks the truck up on the curb. Lucky walks to the centre of the
street and looks at his surroundings. He performs a small jig step.
LUCKY
Hallooo! I'm back!
The deserted streets remain silent. Lucky follows Lopi across the
broken gate to the front door. Lopi knocks. The two men regard each other
for a moment, then Lopi stoops and retrieves the key from under the mat.
They enter the house.
50. INT. RUN-DOWN BUNGALOW - NIGHT
On the kitchen table, a spoon rests on the saucer of a soiled teacup.
Down the hall, LOPI and LUCKY close the door and peer about. They enter
the kitchen and Lopi examines the table. Lucky lifts the tea cozy and
touches the pot. He pours himself a cup of tea. Lopi suddenly turns and
strides back down the hall. He disappears up the stairs.
51. INT. RUN-DOWN BUNGALOW - BEDROOM - MOMENT LATER
LOPI kneels next to the bed. Her eyes open, his MOTHER lies with her
hands resting on top of the coverlet. Lopi reaches out and covers her
hands with his. LUCKY comes into the room.
LUCKY
Would you like some tea?
Lucky stops at the foot of the bed. Lopi turns and shakes his head.
LOPI
Get a doctor.
Lucky steps backward, staring at the Mother, until he bumps into the
door frame. Then he slips away down the stairs. Lopi rests his head on his
Mother's breast. He closes his eyes. For a time, he remains quiet.
52. INT. RUN-DOWN BUNGALOW - PARLOUR - NIGHT
LUCKY perches on the faded material of the sofa, facing an UNDERTAKER,
a young man already running to fat. At the desk, a DOCTOR, an elderly man
with a waxy complexion, slowly fixes his signature to several forms.
UNDERTAKER
Then the Morgan factory closed down and burned.
LUCKY
It was after that I left.
UNDERTAKER
The village is rather dead now. Not much hope for us.
LUCKY
Business seems good for you.
Lucky looks up and they rise as LOPI comes down the stairs. Lopi takes
the papers from the Doctor and signs. The Undertaker offers his hand in
condolence.
UNDERTAKER
Difficult times make for difficult decisions. When would
you like the service?
LOPI
There's no money.
The Undertaker smiles sadly.
UNDERTAKER
The body cannot remain in the house. Health regulations.
LOPI
I'm taking it.
UNDERTAKER
Back to the city? You need a permit.
Lopi produces some papers from his jacket and hands them to the Doctor.
The Undertaker peers over his shoulder.
UNDERTAKER
Sexton and Sons? You work for them?
LOPI
I work for myself.
The Doctor appears surprised but signs the papers, then hands them back
to Lopi.
53. EXT. RUN-DOWN BUNGALOW - DAWN
Observed by the UNDERTAKER, LOPI and LUCKY shoulder the sheet-wrapped
body of the MOTHER from the front door to the back of the truck.
UNDERTAKER
Give her a proper burial. For God's sake, she's your mother.
Lopi and Lucky pull away.
UNDERTAKER
You'll put us all out of business!
54. INT. LUCKY'S TRUCK - MORNING
LUCKY dozes fitfully as LOPI drives. The truck slows, and Lopi draws
off onto the side of the road. Lucky blinks at their pastoral
surroundings.
LOPI
Take over, mate.
Suddenly a heaving sob wracks Lopi. To the astonishment of Lucky, Lopi
leans forward against the steering wheel and cries. Uncertain what to do,
Lucky flutters his hands slightly.
55. EXT. MOTORWAY - MORNING
In the widening light of the day, Lucky's truck stands parked on the
shoulder. From the city, a small car approaches.
56. INT. RENTAL CAR - MORNING
Opera music fills the interior of the car. Singing along as loud as he
can, MICHAEL cruises down the motorway toward the country. Intent on the
music, Michael fails to see Lucky's truck.
57. EXT. VILLAGE STREET - DAY
Shutting off the car's wiper blades, MICHAEL parks the rental car on
the empty street before the house. He surveys the delapidated fence
through the drizzle, and shakes his head as he moves to the door. Michael
knocks. After a moment, he tries the door. It opens.
58. INT. RUN-DOWN BUNGALOW - DAY
MICHAEL walks through the door, closing it behind him. He looks
around.
MICHAEL
Hello?
Michael peeps into the empty parlour, then wanders down the hall to the
kitchen. Finding nothing, Michael returns to the stairs and calls up.
MICHAEL
Mum? Hallooo?
He goes up the stairs. At the top, he glances into the bathroom, then
into his childhood bedroom. For a moment, Michael surveys the few
surviving relics of his youth, neatly displayed on the dresser. Then he
wanders into the master bedroom. Stripped of its sheets, the bed lies
empty. Puzzled, Michael returns downstairs and stands alone in the hall of
the empty house.
59. EXT. VILLAGE STREET - DAY
MICHAEL passes his car, and walks down the centre of the street. The
houses lean together, weatherbeaten and unkempt, their darkened windows
unshuttered. In the centre of the village, a heavy chain rests across the
door of the public house. The grocery store boasts a "To Let" sign propped
up in the unlit window. Michael lifts his collar against the drizzling
rain. Under a sign, "Afterbury Funeral Parlour", a weak light fixture
burns. Michael enters the funeral home.
60. INT. FUNERAL HOME - DAY
MICHAEL shifts uncomfortably in the pastel waiting room. A spray of
flowers stands on a low table at one end. A moment later, the UNDERTAKER
enters, stretching out his hand in greeting. Michael offers the Undertaker
his business card.
MICHAEL
I'm looking for my mother.
UNDERTAKER
Sexton and Sons?
The Undertaker eyes Michael suspiciously and hands the card back.
UNDERTAKER
I'm afraid I can't help you. She's dead.
Stricken, Michael blanches.
MICHAEL
Let me see her.
UNDERTAKER
You can't.
MICHAEL
Why not?
UNDERTAKER
She's not here.
MICHAEL
You're the only funeral home in town.
The Undertaker leans toward Michael, glowering.
UNDERTAKER
That doesn't mean I get all the business. Some people
prefer to handle these things on their own these days.
People will do anything to make a fast buck.
MICHAEL
Yes, it's true.
Deeply worried, Michael nods his thanks and departs. A spasm of rage
seizes the Undertaker.
UNDERTAKER
You shameless city bastard! Think you can sell anything!
61. EXT. MOTORWAY - DAY
The rental car surges from the desolate countryside toward the menacing
towers of the city, rising in the distance.
62. INT. SEXTON & SONS - LOADING DOCK - DAY
LOPI
What happens now?
LOPI and DRING stand before a sheet shrouded gurney deep in the shadows
of the loading bay. In the alley behind, LUCKY dispenses refreshments and
kebabs to the workers.
DRING
Brain, heart and liver go for research. Pituitary, ovaries,
and the remaining organs go for drug extraction. The
skeleton, if we keep it intact, is worth a lot of money. We
shear the hair, and sell it to the wig-maker.
Lopi blinks, then shakes his head sadly.
LOPI
No waste?
DRING
No waste.
Lopi holds out his hand.
LOPI
I need the money now.
DRING
Lopi... this is your mother.
Dring peels back the sheet, and together they look down at the quiet
face of the MOTHER.
LOPI
Life goes on.
DRING
What's Michael going to say?
LOPI
He doesn't care.
DRING
I can't accept this.
Dring attempts to hand the papers back to Lopi. Lopi cuts him off with
a gesture.
LOPI
I need the capital, Mr. Dring.
Lopi gazes down at his mother.
LOPI
I can't make more deliveries unless you pay me.
As Lucky approaches, Lopi gently slips the wedding rings off his
Mother's finger. He holds them tightly in his hand. Lopi looks up at
Lucky, who shakes his head.
LOPI
She isn't there anymore.
Dring looks at the rings Lopi holds.
DRING
But it's good to keep something.
63. EXT. SEXTON & SONS - ALLEYWAY - DAY
Lucky's doner kebab truck pulls out of the alley way into traffic.
Turning in from behind the truck, Michael's rental car drives into the
now-vacant parking spot.
64. INT. SEXTON & SONS - LOADING DOCK - DAY
DRING
I'm sorry. That's a terrible tragedy.
Standing next to the gurney bearing his Mother's sheet- covered body,
MICHAEL begins to cry. Dring purses his lips to whistle, then changes his
mind. Taking Michael by the arm, Dring leads him away from the gurney.
DRING
Perhaps you should take the rest of the day off.
Michael continues to sob. Dring appears increasingly at a loss.
MICHAEL
I'm sorry.
DRING
Do you have a friend who can stay with you?
Michael shakes his head, weeping, as he goes out the door.
65. EXT. ALLEYWAY - AFTERNOON
MICHAEL, his features once again composed, steps around a mound of
garbage and approaches a door bearing the hand- lettered sign, "Butcher's
Club." He tries the door but it refuses to open. Michael stands back,
then walks to end of the alley, and rounds the corner.
66. EXT. KING KEBAB - AFTERNOON
MICHAEL walks alongside the queue of raggedy INDIGENTS stretched out
the door of the shish-kebab shop. The queue blocks the doorway. Michael
raps on the window, attracting Nigel's attention. NIGEL looks away.
Michael bangs harder. Finally, Nigel presses his way outside. From inside
the shop, impatient and hungry Indigents shout as Michael explains
something to Nigel. Nigel reluctantly nods his head, and clears a path for
Michael to enter the shop. He leads Michael to a door at the back of the
kitchen.
67. INT. BUTCHER'S CLUB - AFTERNOON
LOPI, LUCKY, KINGSLEY and ATTILAH sit and drink around a table in the
deserted club room. Attilah cleans his gun while the SAILOR mops the
floor. Lopi rolls his Mother's two wedding rings in his right hand.
LOPI
We must remember the dead.
Kingsley raises his glass.
KINGSLEY
To your mother's memory.
Lucky too raises his glass. The door opens. The men turn to see NIGEL
lead MICHAEL into the room. Lopi clenches his fist over the two rings.
Attilah springs to his feet.
KINGSLEY
Be civilized.
Slowly, Attilah resumes his seat. Michael arrives at the table, his
gaze locked on Lopi.
MICHAEL
Mum's dead.
LOPI
How do you know?
MICHAEL
I was just there.
Lucky eyes Lopi uneasily. Lopi keeps his eyes fixed on Michael.
MICHAEL
I couldn't find her body.
LOPI
Fine time for you to be concerned, now that she's dead.
KINGSLEY
Please, no angry words.
Kingsley motions to an empty seat. He fills a glass and offers it to
Michael. Michael regards the others seated at the table. After a moment,
he accepts the drink and sits. They raise their glasses and drink. Michael
looks at Lopi.
MICHAEL
I shall miss her.
KINGSLEY
Lopi, just tell him.
LOPI
Tell him what?
KINGSLEY
Where you buried her.
MICHAEL
You were there too?
LOPI
I only got there after she died.
MICHAEL
Where is she?
LOPI
I don't know. I had no money for the funeral.
KINGSLEY
Why didn't you ask Michael?
Lopi raises his eyes and stares at Michael. Michael casts a miserable
glance at the men. He hangs his head in shame. Kingsley looks gravely at
Michael.
KINGSLEY
A pauper's grave.
The Sailor refills the glasses.
LUCKY
She didn't deserve this!
Lopi fixes him with a sharp look. Fidgeting, Lucky backs off.
LUCKY
It's sacrilegious.
SAILOR
What need has the seed for the shell?
Tears roll down Michael's face. Kingsley shakes his head ruefully.
Michael empties his glass. He pushes back from the table and rises.
MICHAEL
I have to go.
The other men stand. Michael rounds the table and gives Lopi a
powerful hug. Awkwardly, Michael disentangles himself.
MICHAEL
I'm sorry. I should have listened.
He steps back, nods to the men, and leaves. Lopi opens his hand and
gazes down at the rings. Attilah snaps the chamber of his pistol back into
place. Squinting an eye, he aims the gun at Michael's departing back. He
fires the empty gun.
ATTILAH
The dead are quickly forgotten.
68. INT. STUDIO - MAKE UP ROOM - EVENING
VERA sits in a tall chair before a row of make-up mirrors. Cooing, the
hyperactive STYLIST rapidly brushes a new look with broad sure strokes. In
an immaculate white suit, Vera's AGENT paces behind, furtively puffing on
his cigarette.
AGENT
You need an edge. We need a hook.
STYLIST
Hook me, baby, hook me!
AGENT
Colour contacts, a little henna, no surgery this time. We'll
call you Virago. Simple, exotic, sexy.
STYLIST
You'll love it, darling.
VERA
I like the way I am.
AGENT
And you'd like to have a job.
The Agent leers at Vera.
AGENT
It's only image, Virago. Your body's your capital.
STYLIST
And you do have a capital body.
Vera considers for a moment.
VERA
You change my body, you change me too. No, it's not that
simple.
AGENT
The world's a simple place. We all want simple things.
Money, a home, but mostly sex.
STYLIST
I love sex.
AGENT
Simple economics is always good advice.
69. INT. STUDIO - NIGHT
Before a painted backdrop of the Kremlin, VERA remade as the new VIRAGO
poses in a black cocktail dress. MICHAEL quietly steps into the studio and
observes.
PHOTOGRAPHER
Your hair's rubbing against my chest. Go down on me, down!
She twirls, and the fan-blown air catches the hem of her dress. It
rises up her legs. The Photographer draws closer.
PHOTOGRAPHER
Lips. They're wet. They drip. Lick me.
Virago runs the tip of her tongue along her lips. Michael eyes the
Photographer uneasily, who stops clicking his camera. Virago stops her
posing.
PHOTOGRAPHER
You bore me. You don't put out. You just don't put out.
The Photographer turns to two COSSACKS who lounge nearby.
PHOTOGRAPHER
Boys, teach Virago a lesson.
The two Cossacks lumber toward Virago. One falls to his hands and
knees. The Second Cossack seizes Virago, and places her across the First
Cossack's back. He begins to spank Virago, whose face assumes the
immaculate conception of a cry-baby. The Photographer starts clicking
pictures.
PHOTOGRAPHER
I love it. The virgin's a magdelana wannabe! But only for
tonight.
Michael grabs the Second Cossack by his collar.
MICHAEL
I'll teach you a lesson.
Michael begins to slap the man across the face repeatedly.
PHOTOGRAPHER
Oh, a knight errant!
The Photographer rushes in for several close ups. The First Cossack
receives the back of Michael's hand on his face. Virago tries to pull
Michael off. The Photographer clicks wildly.
PHOTOGRAPHER
I love it! Beatific. This is simply beatific!
Michael clutches the First Cossack's beard. It pulls away in his
hands. Michael stares at it, dumbfounded.
VERA
Michael!
The Second Cossack whirls on Michael. He speaks with an extraordinary
upper class accent.
SECOND COSSACK
This is the city, man! Here we do not resort to fisticuffs!
As Michael edges off the set, the Photographer continues to shoot film.
MICHAEL
Sorry. I'm very, very, truly sorry.
Michael offers the beard back to the First Cossack, who fixes Michael
with a wounded stare of disgust. The First Cossack slaps Michael full on
the face.
FIRST COSSACK
Back to the country with you. Go!
VERA
I'm sorry.
MICHAEL
No, no, I'm sorry. It's my fault.
VERA
(shouts)
Yes, it's your fault!
70. INT. MICHAEL'S APARTMENT - NIGHT
VERA, her make-up now removed, sits on a chair.
VERA
I can't believe you thought it was real. I thought you were
more sophisticated.
MICHAEL
I'm sorry. I've said that already. I'm sorry, I'm sorry,
I'm sorry.
Michael sits heavily on the chesterfield.
MICHAEL
My mother's dead.
VERA
Oh dear. I'm so sorry.
MICHAEL
I didn't get there in time. I never had a chance to speak
to her.
Vera searches for words. She sits next to Michael.
VERA
Come here.
Michael leans against Vera. With maternal affection, she strokes his
head and kisses him on the brow.
VERA
Poor Michael.
Michael raises his sorrowful eyes to her. Vera kisses him again.
Michael responds, with ardour.
71. INT. MICHAEL'S APARTMENT - BEDROOM - NIGHT
Michael's sock-clad foot emerges from under the bedsheets. Vera and
Michael make love. Michael opens his excited eyes. In the corner, he sees
the grinning faces of his dead MOTHER and his emaciated FATHER. Michael's
pace begins to slow.
VERA
Kiss me.
Michael closes his eyes. He kisses her, his desire returning.
MICHAEL
Oh yes!
He opens his eyes again. Entwined beneath the sheets beside him, he
sees his dead parents. They too make love, slowly, tenderly, their faces
frozen in a rictus of grinning ecstasy.
DEAD MOTHER
Life goes on.
His Dead Father nods emphatically. Michael abruptly sits up and rolls
off Vera.
VERA
What's wrong?
Michael remains silent for a while.
MICHAEL
Grief, I suppose.
Vera pulls him down beside her and cradles him.
VERA
Life goes on, Michael.
72. INT. BUTCHER'S CLUB - NIGHT
In a corner of the Club, LOPI stares into a pint glass. The SAILOR
croons the last few bars of a pop song. He picks up his tray and winds his
way over to Lopi with a fresh glass. Lopi points to an empty chair. The
Sailor sits, and turns his sad eyes toward Lopi. Lopi sizes him up.
LOPI
What's the matter, mate?
SAILOR
I want to see my family.
LOPI
So go home.
SAILOR
Home is far away.
The Sailor begins to rise from his chair.
SAILOR
Work is money. Money gets me home.
Lopi grasps the Sailor by the arm and pulls him back to his seat.
LOPI
You'll never get out of here. You want to go home? Come
work for me. I'll get you home.
The Sailor casts an apprehensive glance around the club. Then, he turns
to Lopi and breaks into a joyous smile.
SAILOR
Thanks, mate.
The Sailor's smile fades as Lopi starts to weep. He rests a comforting
hand on Lopi's shoulder. Lopi shudders with spasms of grief.
SAILOR
God is dead, my friend. We are few.
73. EXT. STREET - DAY
LOPI, still wearing the jacket he stole from Michael, marches down the
street with a determined expression.
74. INT. NURSING HOME OFFICE - DAY
A HEAD NURSE stares impassively as LOPI displays his contracts on the
counter. Beside him appears a burly ORDERLY, who taps him on the shoulder.
They exchange a glance. Lopi gathers his papers together.
75. INT. HOME FOR THE AGED - OFFICE - DAY
A middle-aged MANAGER, his weak chin coiled with fleshy jowls, slowly
shakes his head. Across the desk, LOPI leans forward in earnest
explanation. With increasing fervour, the Manager shakes his head until
his jowls swag and quiver with the violence of his rejection.
76. EXT. PARK - DAY
Dejected, LOPI rests on a bench. Pigeons flutter about him.
77. INT. HOME FOR THE AGED - DAY
An OLD WOMAN, her poorly dyed hair trussed under a hair net, lies
propped on her bed. Lopi's head appears in the doorway. He waves. The
Old Woman waves back. LOPI waves again. The Old Woman beckons him into
the room. Lopi checks up and down the corridor, then ducks into the room.
He pulls up a chair. The fleshy-jowled Manager enters the room, scowling.
The Old Woman points toward the door and shouts at the Manager.
OLD WOMAN
Fuck off!
The Manager beats a hasty retreat. Lopi turns to the Old Woman and
smiles charmingly.
78. EXT. STREET - DAY
LOPI inspects a display of flowers. The VENDOR winks at him. Lopi
smiles sheepishly. He selects a bouquet of roses and hands her some money.
79. INT. HOME FOR THE AGED - DAY
The OLD WOMAN takes the roses and sniffs them.
OLD WOMAN
You won't forget me, will you?
LOPI
No, of course not.
The Old Woman smiles at LOPI. She signs some papers and hands them to
Lopi.
OLD WOMAN
Good. Now get some proper clothes and brush your teeth.
80. INT. SHOP - DAY
Wearing a new, jaunty jacket, his hair neatly cropped, LOPI sits in a
throne-like chair. A crotchety OLD MAN shines his shoes.
81. INT. PALLIATIVE CARE WARD - DAY
LOPI
The money goes into trust immediately, and becomes part of
your estate.
Lying in bed, a middle-aged WOMAN with a pallid demeanour peruses the
papers Lopi hands over to her. Her small, mousy HUSBAND sits nearby, a
resigned expression on his face. The SAILOR stands by the door, watching
the Husband.
HUSBAND
What about a proper burial?
The Husband twists at his wedding ring.
LOPI
Proper? Isn't it proper to return some good to society?
The Husband stands and advances on Lopi. The Sailor touches the
Husband on the arm. He turns, menacing the Sailor. The Sailor produces a
lollipop, and offers it kindly to the Husband. Stunned, the Husband
sheepishly accepts it. He turns to Lopi. Lollipop protruding from his
mouth, the Husband shakes Lopi's hand.
82. INT. MEDICAL OFFICE - DAY
DOCTOR
I don't do house calls.
A DOCTOR, his thinning hair slicked fast against his round skull, tugs
at his waistcoat. On the wall behind him hangs a poster of the human
anatomy. Near the door behind LOPI stands the SAILOR, his hands clasped
shyly.
DOCTOR
The city has ambulances for that sort of thing, my dear boy.
The Doctor lets loose a high-pitched cackle. The Sailor giggles at the
Doctor. With a scowl, Lopi silences the Sailor. He turns to the Doctor
and leans forward in his chair.
LOPI
But if you could set the rate, what would you charge for a
house call?
DOCTOR
It all depends on what I have to do.
The Sailor nods in sympathy.
LOPI
For example, to sign a death certificate.
DOCTOR
As much as possible.
The Doctor lets loose another trill of laughter. The Sailor giggles
again.
LOPI
Four hundred pounds?
The Doctor blinks.
DOCTOR
Five.
LOPI
Done.
83. INT. HOME FOR THE AGED - DAY
The jowl-cheeked MANAGER guides LOPI down the marble corridor. He
turns back to witness Lopi disappearing through a doorway. He waddles
quickly to the door. In the room, the OLD WOMAN, with her mass of
poorly-dyed hair, warmly welcomes Lopi. She caresses his cheek tenderly.
Lopi takes her hand in his and bends to kiss it. Through the open door
behind the oblivious Manager, the SAILOR cruises past, merrily pushing a
gurney bearing a CORPSE.
84. INT. HOME FOR THE AGED - NIGHT
The SAILOR approaches the narrow bed, on which, under the drawn up
sheets, lies a human figure. He glances at the family photos arrayed on
the top of the dresser: the grandchildren's graduation photos, the family
outing snapshots, and the yellowing black and white portrait of a bride and
groom in the fashions of fifty years ago. The Sailor draws back slowly,
his sad eyes looking at the floor. The DOCTOR appears in the door behind
him, holding an invoice.
DOCTOR
Six hundred pounds! Surcharge for midnight calls!
The Doctor emits a piercing cackle.
DOCTOR
My boy, what are you waiting for? The dead to wake?
Gingerly, the Sailor reaches out and removes the sheet covering the
male CORPSE. He touches the corpse's cheek, then touches his own cheek.
SAILOR
You are gentleman.
The Sailor covers the face of the Corpse.
85. INT. TAILOR'S SHOP - DAY
In a new suit, LOPI admires himself before a mirror as the TAILOR
checks the hem on the pant leg.
86. INT. PALLIATIVE CARE WARD - DAY
LOPI flees from a room, under the well-aimed blows of an
umbrella-wielding WIDOW. Nearby, the SAILOR waits with a gurney. A moment
later, the DOCTOR flees the Widow as well. Lopi and the Doctor look at the
Sailor. The Sailor enters the room. A moment later, he emerges carrying a
sheet- wrapped body by the legs. The Widow follows proudly, clutching her
dead husband's head. They place the body on the gurney and the defiant
Widow pushes it down the hall.
87. INT. HOME FOR THE AGED - DAY
LOPI, appearing quite refined now, stands sadly before the bed of the
OLD WOMAN. She lies arranged beneath the covers, dead. Lopi looks at her,
mournful. The SAILOR touches Lopi, gently. Lopi steps aside with a nod,
then turns his back as the Sailor takes the Old Woman's corpse away.
88. INT. RECTORY - DAY
A tremulous Anglican RECTOR reclines on a day bed, receiving last rites
from a PARSON. LOPI hands him a contract. As the rites drone in the
background, the Rector signs it. The Parson stares with consternation at
the dying Rector.
RECTOR
The money, father. The money.
The Rector quietly expires. The DOCTOR steps up, and checks for vital
signs. With a sad shake of his head, the Doctor signs the death
certificate. Lopi hands a cheque to the Parson. The Parson reads the
figure and gasps. The SAILOR carefully wraps the Rector in a shroud, and
transfers him onto a waiting gurney. The Parson looks up in time to see
the backs of Lopi, the Doctor and the Sailor as they disappear through the
door. The Parson remains where he stands, clutching the cheque before his
gaping mouth.
89. INT. SEXTON & SONS - LOADING DOCK - DAY
Standing on the loading dock, DRING observes the SAILOR and LOPI
approach in a delivery truck.
DRING
Now, we're in business.
Flat on his back, with eyes closed and grinning exultantly, Dring rides
the newly-installed conveyor belt. In the midst of the completed
renovations, near a stainless steel dissection table, MICHAEL stands
admiring an elegant ring mounted in a small black velvet box. The Sailor
opens the back of the van, revealing several CORPSES, as Lopi comes round
the side. In his fingers, he rolls his Mother's wedding rings. Seeing
Michael, he quickly pockets them. Seeing Lopi, Michael snaps the ring box
shut and stuffs it in his jacket.
MICHAEL
You look good, Lopi.
LOPI
I've been working hard, keeping you in business.
Lopi reaches out and fingers the lapel of Michael's jacket.
LOPI
We should go shopping for you sometime. You can afford it
now, partner.
MICHAEL
Things have certainly changed since Mum died.
LOPI
All for the better.
Dring glances toward them. Lopi shifts nervously.
LOPI
There's something I want to tell you.
Michael grins giddily.
MICHAEL
And there's something I want to tell you, too.
Dring's grin fades.
DRING
Michael! We have business to do! Come here!
As Dring watches Michael approach, he purses his lips. Bird whistles
fill the loading bay.
90. INT. STUDIO - MAKE UP ROOM - EVENING
VERA gathers her belongings. The lanky STYLIST waves to her.
STYLIST
Goodnight, Virago!
Vera regards him sourly for a moment, then steps out the door.
91. EXT. STREET - EVENING
Exiting the photo studio, with a stylish sports bag slung over her
shoulder, VERA hurries down the street. It begins to rain. The window of
the only open shop in the vicinity displays sexy underwear, "Flame of Love"
massage oils and erotic "how-to" manuals beneath a sign that flashes "HOT
SEX!! -- get it while you can!" Shivering and drenched, Vera enters the
shop.
92. INT. SEX SHOP - EVENING
VERA checks a rack of posters depicting semi-clad women in maid
outfits, nurses' uniforms and house gowns. The CASHIER, a young man,
appears at her elbow.
CASHIER
The prostitutes like those. To hang on the wall, you know. I
guess it gets the punters excited.
The CASHIER points to a glass display case near the cash register.
CASHIER
The housewives prefer the hardware.
Curiousity draws Vera to the display. A full array of vibrators takes
up the interior. She notices a box of pens lying beside the till. She
holds one up. Karl Marx, clothed in a funeral suit, his arms folded across
his dishevelled beard, floats in the transparent pen top. She inverts the
pen. The clothes disappear to reveal a naked, muscular Marx, phallus
erect, his beard raging around his grinning face.
CASHIER
Each one's different.
VERA
How do you know?
CASHIER
It's very competitive out there. Everyone wants something
special.
He picks up a vibrator.
CASHIER
That's why I'm in niche marketing. I'm after women. They
say there's only two kinds. Housewives and whores.
Vera takes a long look at the CASHIER.
VERA
I'm neither.
CASHIER
Then, why are you here?
Vera points outside.
VERA
I forgot my umbrella.
CASHIER
You should find a man. He'll help you.
The CASHIER tilts his head toward Vera and smiles suggestively.
CASHIER
I'm a man.
Vera sizes him up.
VERA
Congratulations.
93. INT. BUTCHER'S CLUB - NIGHT
Dressed in his fine suit, LOPI slips in the back door of the empty
club, followed by the SAILOR. Grim-faced, ATTILAH eyes Lopi for a moment,
then allows him to pass. Attilah stops the Sailor.
ATTILAH
Where have you been?
SAILOR
Business, everyone has business.
Slowly, Attilah holds out his hand, rubbing together his forefinger and
thumb. The Sailor regards this gesture for a moment, then hands Attilah
some money. Attilah allows the Sailor to pass. From a table in the
corner, KINGSLEY raises a hand in greeting.
KINGSLEY
How good of you to visit.
Lopi sits next to Kingsley, who reaches out and fingers the material of
Lopi's suit.
KINGSLEY
How's business?
LOPI
Good, very good.
KINGSLEY
I've been thinking of diversifying.
LOPI
Tired of beef?
KINGSLEY
Even a thief gets tired of stealing.
The Sailor sits at the table as well. Surprised, Kingsley glances
toward Attilah, who stares at the Sailor.
ATTILAH
We need drinks here.
Lopi and the Sailor look at Attilah.
ATTILAH
Don't we, Lopi.
Lopi follows his gaze to the Sailor, whose eyes shift uneasily between
the three men. After a moment, the Sailor rises and walks toward the bar.
Attilah sits down in the Sailor's chair. Kingsley and Lopi watch the
Sailor pour some drinks.
KINGSLEY
The revolution needs an underclass.
The Sailor returns with a tray of glasses.
KINGSLEY
Have you considered expanding your work force?
LOPI
Remember, Kingsley. I work inside the law.
KINGSLEY
All the law does is turn crime into taxable profits.
Attilah points to the corner, where rests a mop and bucket. The Sailor
looks blankly at Attilah.
KINGSLEY
Gives me heartburn.
LOPI
Go straight, then.
KINGSLEY
No, I enjoy the torment. If I suffer long enough, I will
achieve martyrdom. Oh, to be canonised, to rise above my
state and join the celestial chorus of yesterday's heroes
and martyrs, we all remember so fondly.
LOPI
They'll just put you in jail.
Attilah snaps his fingers at the Sailor.
ATTILAH
What are you waiting for?
The Sailor hesitates, then moves to the corner and picks up the bucket
and mop.
LOPI
Sit down.
The Sailor turns and looks back at the table.
LOPI
You don't work here anymore.
Kingsley and Attilah stare at Lopi. Lopi stares back. Kingsley cocks
an eyebrow.
KINGSLEY
Oh, he only works for you?
Lopi nods curtly. Attilah glowers.
KINGSLEY
And what, exactly, is it that you do, Mr. Lazuli?
94. EXT. KING KEBAB - NIGHT
While dishing up an order of doner kebabs, NIGEL notices a commotion in
the QUEUE outside. A uniformed POLICEMAN wrestles a doner kebab from a
raggedy INDIGENT. He raises the kebab to his nose and sniffs. Nigel,
seeing trouble, collects the proceeds from the till, then hastens toward
the club room.
95. INT. BUTCHER'S CLUB - MOMENT LATER
LOPI
I run a legitimate business.
KINGSLEY stares hard at Lopi.
SAILOR
And we make money. Money is honoured, and so is its
possessor.
His hair on edge, his eyes unblinking, the ever-alert ATTILAH wheels
and aims his pistol at NIGEL, who closes the door behind him.
NIGEL
Shoot me.
KINGSLEY
Put that toy away!
Attilah resumes his seat. Nigel motions to Kingsley.
NIGEL
The police.
Through clenched teeth, Kingsley inhales sharply.
KINGSLEY
Shit!
Kingsley rises and follows Nigel to the front shop. Lopi bolts for the
back door. He turns to the Sailor.
LOPI
Come on!
The Sailor hands the bucket and mop to Attilah and hurries after Lopi.
96. EXT. KING KEBAB - NIGHT
INDIGENT CROWD
Please, sir! Have pity on us! Leave us our doner kebabs!
Bird-like, the Policeman's head pivots. A coughing INDIGENT jostles
the POLICEMAN. Another INDIGENT bumps the Policeman from behind. The
Policeman pushes back in panic.
97. INT. KING KEBAB - NIGHT
With gleeful calculation, KINGSLEY surveys the impending riot outside.
He ventures forth. NIGEL watches Kingsley admonish the crowd, and gently
steer the POLICEMAN back into the shop. Once inside, the Policeman turns
and looks out at the raucous mob of INDIGENTS. He turns back to Kingsley,
who fixes him with a polite, expectant smile.
POLICEMAN
I know this is illegal! I just can't prove it.
Kingsley gestures to the shop.
KINGSLEY
Please. Look about. You'll find nothing untoward here.
98. EXT. KING KEBAB - NIGHT
Outside the shop, Lucky's truck pulls up to the curb. Leaning over the
wheel, LUCKY takes in the unruly, jostling crowd. He spots the POLICEMAN
inside the shop. Quickly, Lucky drives away.
99. INT. LUCKY'S FLAT - NIGHT
LOPI enters the kitchen, shrugging out of his jacket. He hangs it on
the back of a chair. Producing some money, he hands it to ROWENA. She
gives him a quick kiss. Lopi's gaze follows Rowena as she closes the oven
door.
ROWENA
You're so good to us.
LOPI
You're my friends.
ROWENA
This may be your home, but we're not your family.
LOPI
I don't have family anymore.
ROWENA
You've forgotten them already?
LOPI
No.
ROWENA
That's not the way you act.
Lopi sits down and reflects.
LOPI
I'm finally safe.
He looks up at Rowena and smiles.
LOPI
Things will only get better.
Rowena places the money on the table. She combs his hair with her
fingers.
ROWENA
That doesn't make us your family.
They hear LUCKY close the front door. Rowena stills her hand. Lopi
looks at her apprehensively. As Lucky's footsteps draw near, Rowena
resumes caressing Lopi's hair. Lucky walks in. Rowena smiles at him.
Lucky takes her by the arm and leads her to the counter. He presses his
mouth firmly against hers. As they engage in their prolonged kiss, Lopi
sits in his chair and watches. He rises and turns on the television. He
returns to his chair and watches the news. Lucky loosens his grip on
Rowena and turns to Lopi.
LUCKY
Do you mind?
Lucky resumes kissing Rowena.
LOPI
Sorry, mate.
He plucks his jacket from the back of the chair and departs. When Lucky
hears the front door close, he steps back.
LUCKY
Is he after you?
Rowena smiles blithely.
ROWENA
I'm after him.
Lucky snorts.
ROWENA
Lopi works hard.
LUCKY
So do I.
ROWENA
He's paid the rent for the last two months.
LUCKY
He owes it to me.
ROWENA
Lucky, he's your friend. And you are lucky to have a friend
who isn't stingy.
LUCKY
If I made money the way he does, I'd want to get it off my
hands too. And I am not stingy!
ROWENA
You're right. You paid good money for me. I'm still amazed
when I think of it.
Lucky looks at her reproachfully.
LUCKY
Rowena, I love you.
ROWENA
You love me, do you? I'm from the third world and look
where I am now.
Rowena takes in the squalid flat. Lucky follows her gaze.
ROWENA
Lopi's from the country. And look where he is now.
Lucky's expression sours.
ROWENA
But look at you. But you're still a miserable country
bloke, just stuck in the city.
Lucky glares at Rowena. A loud knock sounds at the front door. Lucky
goes to answer it. On the television appears a shot of the queue of
raggedy INDIGENTS outside KING KEBAB. They jostle together, attempting to
elbow their way into the shop.
ANNOUNCER
(voice-over)
An admirable example of niche marketing, this shop caters to
the unemployed and down-on- their-luck.
Lucky opens the front door. The Police SUPERINTENDENT steps into the
hall, flanked by two very large POLICEMEN.
SUPERINTENDENT
Are you Lucky?
LUCKY
No.
SUPERINTENDENT
Good. Come with us.
They hustle him out the door. Back in the kitchen, Rowena lights a
cigarette. Alone, she breathes deeply and sadly. On the television,
KINGSLEY poses behind the counter of the shop.
ANNOUNCER
(voice-over)
How does King Kebab do it?
Kingsley beams at the camera.
KINGSLEY
Philanthropy. I just love humanity!
100. INT. INTIMATE CLUB - NIGHT
Behind a crowd of dancers, VERA and MICHAEL sit at a table holding
hands. Vera watches Michael while he stares at the dancers. A champagne
bottle pops, startling Vera. The WAITER pours them some champagne as
Michael and Vera share a laugh.
MICHAEL
Shall we dance?
Among the throng of dancers, to the brassy music of a tired big-band
ensemble, Michael waltzes out of time with Vera. Michael nods his greetings
to the other dancers while Vera stares at the ceiling.
101. INT. MICHAEL'S APARTMENT - NIGHT
In the darkened apartment, LOPI paces before the balcony door, gazing
out over the city. He sits down and lightly punches his fist into the palm
of his other hand. Lopi reaches into his pocket and fishes out his
Mother's wedding rings. Ruefully, he turns them in his fingers. After a
while, he sets them on the table. He sighs.
102. INT. ELEVATOR - NIGHT
MICHAEL and VERA step into the elevator. Vera presses the twelfth
floor button and the doors close. Michael catches her in an embrace and
she kisses him. With his other hand, Michael reaches out and pushes the
"STOP" button. Vera looks up in surprise as the elevator comes to a sudden
halt between floors.
VERA
What are you doing?
MICHAEL
Remember? This is where we met.
Michael drops to one knee.
VERA
Oh my god.
He produces a small, black velvet box.
MICHAEL
Will you marry me?
Michael looks up at her and flips the box open, displaying an
engagement ring. Vera looks at him in utter surprise, then casts her
glance around the elevator.
VERA
Michael...
MICHAEL
I want to have a family. I want you to be my wife and the
mother of my children.
VERA
Michael --
MICHAEL
And I love you. I very, very, truly do.
Vera puts her back to the wall and slides to the floor.
VERA
Michael, how do we get out of here?
MICHAEL
I thought this would be romantic.
Vera looks at him, dumbfounded.
103. INT. APARTMENT HALLWAY - NIGHT
LOPI presses the elevator button and waits. Nothing happens. Finally
he turns and walks to the stairs at the far end of the hall. As the
stairwell door closes behind Lopi, the elevator door slide apart, and out
step VERA and MICHAEL.
VERA
I just need some time to think about it, Michael. That's
all.
She kisses him and proceeds to her apartment door. She waves to
Michael and disappears into her apartment.
104. INT. MICHAEL'S APARTMENT - NIGHT
MICHAEL sits heavily on the sofa. He sees the wedding rings on the
table. He leans forward and picks them up. As he turns them in his
fingers, Michael looks about the room in bewilderment.
105. INT. HOME FOR THE AGED - DAY
VERA bends and plants a brief kiss on her Mother's cheek. Behind her,
her FATHER slips into a coat, then sits on the bed beside the MOTHER.
FATHER
Don't worry, don't worry. We won't forget you.
Her Mother produces a change purse from beneath the sheets and stuffs a
few notes into her husband's hand. The Father kisses her gently. He hands
the money to Vera.
FATHER
You're young. This won't weigh you down.
Vera leads her Father out of the room. He pauses to wave good-bye to
the Mother. Weakly, she returns the gesture.
106. EXT. OPEN AIR MARKET - DAY
VERA and her FATHER peruse a table of cigarette lighters, quill pens,
post cards and other antique memorabilia. The crowd swirls around them:
Japanese TOURISTS, viewing the world through their video cameras; CHILDREN
plucking items from the tables in the view of their scolding PARENTS;
fashionable ADOLESCENTS seeking new accessories. Across the table, the
VENDOR stares at Vera and her Father sullenly.
VENDOR
These antiques are valuable.
Vera looks up.
VENDOR
There's no free lunch here. You want it, you buy it. I've
got to eat too, you know.
FATHER
Good, good. Keep up your strength.
The Father eyes an ornate silver cigarette case. The Vendor picks it
up and displays the inscription.
VENDOR
He's dead now. Doesn`t need this anymore. It's a big
question. What do you need when you're dead?
Vera presses her Father's arm.
VERA
Let's go.
The Father slips his hand into Vera's, and ambles off.
107. INT. FASHIONABLE RESTAURANT - DAY
Surrounded by well-dressed young city people, VERA and her FATHER drink
tea. A WAITRESS clears the remains of a meal from the table.
VERA
He likes quiet evenings at home, his place is large enough
for both of us, and he's very sweet to me.
FATHER
Rupert's a very nice man.
VERA
Not Rupert -- Michael.
FATHER
He's very nice too.
VERA
You haven't met him.
The Father gazes at Vera.
FATHER
Do you want to be a mother?
VERA
I don't know.
FATHER
I like small children. Must perpetuate the race, in
perpetuity.
Vera sets her tea cup down.
VERA
Should I marry him?
Her Father drains his tea cup and considers the question. From his bag
beneath the table, he produces the matching set of cowboy hats.
FATHER
Let's arm wrestle.
Vera darts a glance at a well-heeled COUPLE sitting at a table nearby.
FATHER
If I win, you marry him. If I lose, you go free.
Vera glares at her Father. She resolutely plants her elbow on the
table. Her Father leans forward, and plants a cowboy hat on her head, then
dons one as well. He rolls up his sleeve and clutches Vera's raised hand.
The wrestling begins. Gripping his teeth with his lips, the Father strains
mightily. Her eyes locked on her Father, Vera struggles bravely. Slowly,
her knuckles approach the table. The Father flashes a toothy, triumphant
smile. Vera loses.
FATHER
I've been practising with your mother.
108. EXT. HYDE PARK - DAY
VERA and her FATHER stroll through the park, past PEDESTRIANS, and
perambulators, admiring the gardens. At Speaker's Corner, an old,
shirtless man, Michael and Lopi's DEAD FATHER plunks down an ancient butter
box. He addresses the PEOPLE, who pass by oblivious and unhearing. He
waves his hands in the air while the DEAD MOTHER stands behind him,
nodding.
DEAD FATHER
Thank you for this opportunity, ladies and gentlemen. Happy
to be here! Happiness requires a complete lifetime, and your
life is not complete until you're dead. Now that I am dead,
I can tell you the complete story of my life!
Vera and her Father come upon a distinguished GENTLEMAN in a top hat,
who tosses bread crumbs from a park bench.
DEAD FATHER
On a dark and stormy country night in October, 1917, I was
born, a second class citizen in the First World.
Pigeons swarm down onto the feed.
FATHER
My. It's very competitive.
Vera's Father purchases a bag of bird feed from a vending cart. They
wander toward a bench, and sit.
DEAD FATHER
I would like to introduce you to my wife. I want to thank
her, because when I wedded her, I wedded myself to Marxism.
Vera's Father tosses the bird seed into the air, which suddenly grows
thick with pigeons.
DEAD FATHER
Having been poor all my life, I learned something about the
free market. Fortune is just an accessory to life. It
doesn't care whether you're happy or not, and you can't take
fortune with you. But you can take happiness with you.
Look at me. I'm happy. I'm dead!
Vera looks at her father, worried. He sits rubbing his stomach.
FATHER
Heartburn.
He sighs.
FATHER
I think it's time to go home.
He climbs to his feet and follows Vera to the curb. She flags for a
taxi. On his soap box, the Dead Father madly gesticulates, flecks of
spittle flying through the air.
DEAD FATHER
For those of you whose story begins after the end of mine, I
have a question. Are the crimes and horrors I have
perpetrated part of your plot?
The Dead Father shrugs.
DEAD FATHER
No matter. Life goes on. You've forgotten us. Carry on!
Carry on!
Vera assists her Father into the back of a taxi, climbs in behind and
slams the door. The taxi slips back into the flow of traffic.
DEAD FATHER
As you can see, I'm still here. I could tell you what the
story is about, but it's not over yet. So, until we meet
again, a little parting advice. Call no man happy until
he's dead. Marx is dead. Long live Marxism!
109. INT. TAXI - DAY
Vera's FATHER groans with distress. He closes his eyes and slumps his
pallid, greenish face against Vera's shoulder. She shakes the shoulder of
the driver.
VERA
Hurry up, hurry up!
110. EXT. HOME FOR THE AGED - MOMENT LATER
The taxi stops, and VERA hurries around the car to help her FATHER up
the stairs. Behind her, the DRIVER counts the fare.
111. INT. HOME FOR THE AGED - MOMENTS LATER
VERA deposits her FATHER on his bed. The MOTHER peers over her oxygen
mask anxiously.
VERA
Lie down, lie down. I'll be back in a moment.
Her Father reclines onto the pillows. He looks over weakly at his
wife, then closes his eyes. The Mother struggles to rise, but only
succeeds in sitting up. The Father's features relax with a smile. The
Mother stares across the room at him. Vera returns, followed by the
DOCTOR. He kneels beside the Father and checks for a pulse at the wrist,
then at the neck. The Doctor fumbles with the buttons on the Father's
shirt.
VERA
Is he alright?
The Doctor places his stethoscope over the Father's heart. He listens
for a moment, then turns toward Vera.
VERA
Oh no.
She sits on the edge of the chair. The Doctor rises and rests a
comforting hand on her shoulder.
DOCTOR
I'm sorry.
She brushes his hand away and looks at her Mother. Her Mother clutches
the oxygen mask to her face.
112. INT. HOME FOR THE AGED - LATER
The FATHER lies reposed on his bed, his shirt done up, his tie
carefully arranged, his hand folded artificially across his chest. VERA
holds her Mother's hand, perched on the bed opposite. Her MOTHER appears
to be asleep as Vera reaches out and brushes away a stray lock of her
Mother's hair. A noise startles her. She looks up to see the SAILOR
standing in the doorway with a gurney.
SAILOR
Very sorry. Very sorry.
Vera stares at the gurney.
SAILOR
You wish to wait outside, miss?
VERA
I haven't made any arrangements yet.
The Sailor smiles reassuringly.
SAILOR
Your father was a well-prepared man.
VERA
Who are you?
SAILOR
Sexton and Sons.
VERA
You work for Michael?
SAILOR
No, Lopi.
VERA
What do you want?
SAILOR
I want nothing. I just do what your father wanted.
The Sailor moves the gurney into the room.
VERA
What do you think you're doing?
Vera rises and tries to push the gurney back out of the room. The
Sailor flails backwards. LOPI appears beside him.
LOPI
Is there a problem?
VERA
Yes there's a problem. You're not taking my father!
Vera continues to push the gurney. Lopi hesitates.
LOPI
Vera.
VERA
Go away!
Lopi squeezes into the room and places his hand on Vera's shoulder.
LOPI
Please, Vera, stop.
Vera glares at him, panting.
LOPI
Your father and I have an agreement.
VERA
You don't know anything about my father.
Again, Lopi hesitates. In the doorway, the Sailor covers his eyes with
his hands.
LOPI
He didn't tell you? I thought you knew.
Defiantly, Vera shakes her head. Her Mother watches closely from the
bed, nodding.
VERA
I know what you're going to do. He's not just anyone. This
is my father!
LOPI
(softly)
Yes, I know.
Lopi points the Sailor toward the door.
LOPI
I'm sorry about your father.
Lopi begins to leave. Vera's Mother removes her oxygen mask and
struggles to raise herself on her elbows. Her voice strains, raspy with
disuse.
MOTHER
No... wait.
Vera and Lopi spin about and stare at her in mute surprise.
VERA
Mother...
MOTHER
We have a contract, Mr. Lazuli. Honour it.
Lopi gapes, speechless.
MOTHER
You must, or I'll sue you.
Vera stares at her Mother in shock.
MOTHER
We're doing it for you, Vera. Look at me. No one can help
me. Let me help you. I don't want you to become like me.
The ailing Mother subsides back onto the bed. She motions Lopi to draw
near. Lopi quietly approaches her bed. She looks at him sharply and tilts
her head toward Vera. Lopi casts a nervous glance at his client's
daughter. He reaches into his pocket and produces a chequebook. He fills
it out and hands the cheque to Vera.
MOTHER
We want you to have an inheritance.
Vera sits next to her Mother and strokes her face.
VERA
Do you remember the story you told me about the boy who
couldn't shudder? He had no memory of his dead father. He
would collect bones from the graveyard and set them up as
pins. And then he used his father's skull as a bowling
ball. Everyone hated him, and he didn't know why. He
wandered the country, and everywhere he went, people locked
their doors. One day he met a ghost, and the ghost spoke to
him. I'm your father, said the ghost, have pity on me. The
boy shuddered. That day, he went home and buried his
father's bones. And after that he would always remember his
father.
The cheque flutters in Vera's hand.
VERA
Have some pity, mother. Let me bury him.
MOTHER
We should pity the living, not the dead.
The Mother gestures to Lopi to take the Father's body. Eyes averted,
Lopi helps the Sailor guide the gurney into the room. He helps the Sailor
hoist the Father's body onto the gurney. Still holding the cheque, Vera
watches as they disappear out the door.
113. INT. MICHAEL'S APARTMENT - EVENING
MICHAEL
You've decided?
Michael looks hopefully at VERA as she rushes into his apartment.
VERA
My father's died.
MICHAEL
Oh, I'm very, very, truly sorry.
Michael places the engagement ring on the table and hurries to puts his
arm around Vera. He leads her to the sofa.
MICHAEL
Perhaps you'd like to lie down for awhile.
VERA
Your brother's taken his body. I want it back.
MICHAEL
Lie down first and take a deep breath.
VERA
No, there's no time. I want to give my father a decent
burial. You have to do something fast, or it will be too
late.
MICHAEL
Me? I can't do anything. It's Lopi's business.
VERA
This is immoral.
MICHAEL
It can't be. It's perfectly legal.
Vera picks up the engagement ring from the table. Michael's face
expands with joyous hope. His voice chokes with feeling.
MICHAEL
Darling... we'll be happy.
She hurls the ring at his head. Michael ducks.
MICHAEL
But darling, I love you!
Vera slaps him full across the face.
VERA
Go to hell.
She spins on her heel and storms out of the apartment. Michael touches
his cheek and gawks helplessly at her departure.
114. EXT. CAFE - EVENING
Through the plate glass window, VERA leans across a cafe table,
explaining her predicament to RUPERT. His face contorts with righteous
indignation. He waves his arm for emphasis as he expounds to Vera. She
plants her elbows on the table and begins to cry. Rupert stutters and
blinks. Vera sobs. He scrapes his chair around to her side of the table,
and throws a condoling arm across Vera's shoulder. With the other hand, he
holds out his handkerchief and daubs at her tears. Rupert leans close and
whispers something in her ear. Abruptly, Vera looks up at him.
115. INT. MEDICAL OFFICE - EVENING
RUPERT
I think you have an obligation to oblige the lady.
The DOCTOR lets loose his high-pitched laugh.
DOCTOR
A contract's a contract. It's all for science. Perfectly
ethical.
VERA stares horrified across the desk at him. After a quick glance at
Vera, Rupert stands. He paces back and forth before the desk, punctuating
his questions with jabbing arm gestures.
RUPERT
But this Lopus Lazuli pays you, doesn't he?
The Doctor hesitates. Vera glances back and forth between them.
DOCTOR
It's very competitive.
Rupert pauses, as though thinking.
RUPERT
The question at hand, Doctor, is one of competence!
Rupert shifts his gaze to Vera.
RUPERT
Have you considered a lawsuit?
Nervously, the Doctor trills with laughter. Rupert eyes him carefully.
The Doctor blinks.
DOCTOR
We can negotiate.
RUPERT
Then do you agree that her father was mentally incompetent
to sign business contracts?
DOCTOR
Incompetent? A bit hard of hearing, perhaps.
RUPERT
Vera, tell him.
Vera hesitates.
VERA
You tell him.
RUPERT
I don't know. You're his daughter.
VERA
I can't.
RUPERT
You must... if you want him back.
Impatiently awaiting an answer, they stare at her.
VERA
My father, he liked to arm wrestle... with me... in a cowboy
hat.
Simultaneously, the Doctor and Rupert unleash a hurricane of laughter.
DOCTOR
Cowboy hat? That's rather demented!
Vera sits tensely. She rises and, unnoticed in the echoing laughter,
leaves the room.
116. EXT. SEXTON & SONS - ALLEYWAY - NIGHT
LOPI waits in the alley. The SAILOR emerges onto the loading dock.
Lopi hands the Sailor a wad of bills.
LOPI
Here, mate. Go home. You don't have to do this any more.
The Sailor takes the money. He embraces Lopi.
SAILOR
We forget. Home is far.
LOPI
I won't forget you. Come on, I'll buy you a farewell drink.
They saunter down the alley.
117. INT. BUTCHER'S CLUB - NIGHT
LOPI shields the SAILOR from an outraged ATTILAH.
ATTILAH
How are we going to get by now, mate?
LOPI
Find yourself a new servant.
KINGSLEY wags his finger, perturbed.
KINGSLEY
Money can never create true emancipation, Lopi.
Attilah towers over Lopi.
ATTILAH
You think you can buy his way out?
LUCKY
You're messing up our nice little family.
KINGSLEY
Your belly's getting to big.
ATTILAH
You think you're better than us.
MICHAEL walks into the middle of the argument. Attilah wheels and
produces his gun. He points it at Michael's face.
ATTILAH
Go away.
Michael brushes Attilah aside, and advances on Lopi.
KINGSLEY
Why can't you keep the riff raff out?
Still clutching his gun, Attilah glowers at Michael.
MICHAEL
Lopi, Lopi, please.
Lopi rises. Attilah aims his gun at Michael.
MICHAEL
Don't do this to me. Vera will never speak to me again.
LOPI
I had no choice.
MICHAEL
I love her!
Kingsley rolls his eyes.
KINGSLEY
Love? Is it better to be loved than feared? On the
contrary!
MICHAEL
You can change your mind.
LOPI
Too late. Sexton and Sons already has him.
MICHAEL
You sold my fiancee's dead father!
Surprised, everyone looks at Lopi.
MICHAEL
How could you?
LUCKY
He did it to your mother.
Michael swings on Lucky, aghast.
KINGSLEY
What!
Lucky shrugs blithely.
LUCKY
He sold his dead mother.
Kingsley rises from his chair.
KINGSLEY
Selling bodies?
Attilah's gun shifts to Lopi. Lopi drops his face in his hands.
MICHAEL
You took her body? You didn't bury her?
Michael hammers Lopi with his fist. Attilah's gun shifts back to
Michael.
MICHAEL
You're a thief!
Lopi staggers backwards out of his seat. Michael launches himself at
Lopi. He collars Lopi, and they fall into a struggling mass. Lopi
headbutts Michael. Screaming, Michael falls back, clutching his bleeding
nose. Lopi breaks away. Holding his hands up to seperate the brothers,
the Sailor steps in between.
SAILOR
Please, please, stop! We are family.
Attilah swings his gun back and forth, with the Sailor in the middle.
SAILOR
Business is good. And necessary. I'm not going home. I
will stay. I would rather be a second class citizen in the
first world than a first class citizen in the third world.
Attilah fires the gun. The Sailor staggers backwards in surprise, red
blood blossoming on his white shirt. Kingsley snatches the gun away from
Attilah.
KINGSLEY
Idiot!
The men watch in horror as the Sailor collapses to the floor. Lopi
kneels beside the Sailor. As he cradles the dying Sailor in his arms,
outside police sirens WAIL.
118. EXT. KING KEBAB - NIGHT
A line of police cars roars toward King Kebab. They slide to a halt
before the doors. POLICE scramble out of their cars. NIGEL's head appears
in the window. He sees the queue of INDIGENTS turn and rush at the police.
He flees, trembling, into the rear of the shop. Police, shielded by riot
gear and wielding truncheons, charge the Indigents.
119. INT. BUTCHER'S CLUB - SAME TIME
NIGEL rushes into the room.
NIGEL
It's a raid!!
KINGSLEY bobs his head in terror, and darts toward the back door. The
men plunge after him. LOPI stays kneeling by the SAILOR. MICHAEL grasps
him by the shoulder. Lopi turns toward him.
LOPI
He's dead.
120. EXT. ALLEYWAY - NIGHT
From the rear of KING KEBAB, MICHAEL rushes out. He bolts across the
alley, followed by KINGSLEY and his cronies. They scramble up the loading
dock, and through the back door of SEXTON & SONS.
121. INT. SEXTON & SONS - NIGHT
MICHAEL charges through the corridor and into Dring's office. Michael
leans over the desk and lifts DRING by his lapels.
MICHAEL
You took my mother! And you didn't even tell me.
DRING
Oh dear! Didn't Lopi tell you? I'm very sorry!
MICHAEL
Sorry isn't good enough!
Dring rolls his head helplessly.
DRING
We had to stay in business somehow. You want a job, don't
you?
Through the window, they see police cars careen to a halt. With the
SUPERINTENDENT and RUPERT at the lead, a squad of POLICEMEN marches toward
them.
DRING
Michael! We're being raided! Like some illicit back-room
gaming club!
RUPERT
(off-screen)
This is worse than a brothel!
They turn to find Rupert's imperious finger aimed at them. Policemen
crowd the door.
SUPERINTENDENT
We have reason to believe that you have stolen property on
your property!
The Superintendent hands Dring a search warrant.
122. INT. SEXTON & SONS - LOADING BAY - NIGHT
SUPERINTENDENT
What is this?
DRING and MICHAEL follow hard on his heels.
DRING
Shipping and receiving.
RUPERT and the POLICE squad pushes in behind. The men's eyes circle
the space and converge on the four, sheet- enshrouded figures lying on the
conveyor belt.
SUPERINTENDENT
Are these all the corpses in stock?
Dring and Michael gawk at the corpses with trepidation. They nod
helplessly.
SUPERINTENDENT
Apparently, you have been contracting people to donate their
bodies to your cause, people who are not quite in their
right minds.
Rupert steps forth aggressively.
RUPERT
I have here a certificate of mental incompetence!
Rupert's forefinger alights on Michael's horrified face.
RUPERT
Arrest that man! He is the ringleader!
Michael points at Dring.
MICHAEL
He's the owner!
Dring blinks repeatedly.
DRING
I'm just a businessman! My supplier handles the contracts!
SUPERINTENDENT
Who is the supplier?
Rupert holds Michael with a fixed stare. Michael stammers.
MICHAEL
Lewis Lazuli.
SUPERINTENDENT
Where is he?
DRING
I don't know.
SUPERINTENDENT
Is he here?
Dring searches the room.
DRING
I don't think so. Maybe not. I don't know.
The Superintendent pins Michael with an accusatory stare.
MICHAEL
He's next door.
The Superintendent turns to his men.
SUPERINTENDENT
Search the premises, from head to toe!
The POLICEMEN fan out through the building. Rupert marches up to the
conveyor.
RUPERT
What an affront!
Rupert flicks on the conveyor belt.
RUPERT
This is the city, man! You can't ship dead people around
like oranges!
The CORPSES float along the humming conveyor belt. A POLICEMAN lifts
the sheet off one of the corpses, revealing NIGEL. Michael stares, then
chokes. Uncovered, ATTILAH and KINGSLEY roll past on the conveyor. The
Superintendent advances to the conveyor belt and lifts a sheet, revealing
LUCKY. The Superintendent leans close to his face and sucks in his
breath.
SUPERINTENDENT
Lucky!
Lucky blinks.
SUPERINTENDENT
We have a deal!
LUCKY
It's very competitive.
Lucky sits up on the moving conveyor belt.
LUCKY
They're not dead.
KINGSLEY
No, I am not dead! I'm merely waiting. Sooner or later you
too will succumb to the iron law of history! It's
inevitable, and you know it.
SUPERINTENDENT
Arrest them!
Kingsley bolts for the door. A Policeman apprehends Attilah. Attilah
punches him in the face. Other Policemen produce truncheons and dash after
Kingsley. Nigel and Attilah move to shield him. Lucky watches impassively
as police truncheons rain heavy blows on his friends.
KINGSLEY
Oppression! Definitely oppression!
Kingsley fumbles in his pocket and produces the gun. He aims it at
Lucky.
KINGSLEY
Turncoat! Heretic! Counter- revolutionary! Worry not! Our
time will come! This is but a minor set-back!
A truncheon cracks across his head. Kingsley totters back against the
wall, the gun falling from his nerveless hand.
123. EXT. KING KEBAB - NIGHT
POLICE in riot gear mop up the last pockets of INDIGENT resistance.
Hollow cheeked indigents watch from the back of paddy wagons as burly
POLICEMEN confiscate whole sides of beef from the darkened interior of the
shop.
124. INT. KING KEBAB - NIGHT
Diligent POLICEMEN dust the counters for fingerprints. One POLICEMAN
reaches around the spitted haunch of meat, hanging in the window, and
unhooks the "Revolutionary Pricing Policy" sign. The SUPERINTENDENT stalks
through the door. He rotates his head, inspecting the premises. He walks
toward the back.
125. INT. BUTCHER'S CLUB - NIGHT
LOPI crouches beside the SAILOR. The Sailor's eyes stare unblinking.
Lopi reaches out and closes them. Defeated, he drops his head. The
SUPERINTENDENT appears beside him.
SUPERINTENDENT
So, you're Lewis Lazuli, are you?
Lopi looks up tremulously.
SUPERINTENDENT
I'm surprised you're still here.
LOPI
There's nowhere to go.
126. INT. PRISON - NIGHT
The WARDEN guides LOPI down a long hallway of prison cells. Shaking his
head, he casts a sidelong glance at the returning inmate.
WARDEN
I always wanted to like you, Lopi. But I can't anymore.
He ushers Lopi into a cell. The door closes and the lock rasps into
place. Lopi squats and looks about at the familiar surroundings: the
narrow bed; the open toilet; the hard bench. Perched beside him, his dead
MOTHER and his dead FATHER turn to each other. They exchange a glance of
profound resignation. Lopi purses his lips, then sighs.
THE END
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