Blueprint for love
By
©del Script: Joan Guerola
Pseudonymous:
John Mcbride.
SC 1- INSIDE / CLASSROOM – FURTHER EDUCATION COLLEGE / AFTERNOON.
A shabby looking classroom in a Further Education College which is in a state of collapse. Through the windows a small enclosed garden can be seen, with plants and flowers, which cheer up the rainy afternoon. Between classes some students chat while others, such as Rivero, who is boastful and conceited, and has a limp, persists in annoying Borja, a timid individual who always tries to pass unnoticed within the group.
BORJA
Leave my things alone!
Rivero’s face is expressionless.
BORJA (again)
For Christ sake, leave me in peace, will you!
As Borja can’t get peace to finish copying out his notes, he runs off and grabs some chalk.
BORJA (again)
(To Rivero) Clear off, you bastard!
RIVERO
Don’t, Borja, don’t!
His warning comes too late as Rivero crouches down and the chalk hits Carme Darnius in the face as she enters the room. Carme is elegant and attractive.
CARME
Who’s responsible for this, then?
She sees Borja with the chalk in his hands.
CARME (again)
(Astonished) Borja! Borja! What do you think you are doing at your age, throwing chalk? (Sternly) The pupils sit down. Carme takes out her register and begins to call out their names. When she reaches Rivero’s, she stops.
CARME (again)
(To Rivero) You weren’t at your last class, were you?
RIVERO
(Insolent and without thinking) That idiot who takes us then really has it in for me.
CARME
If you’ve been marked absent it’s because you weren’t in class.
RIVERO
Yes, I was. I arrived five minutes late. I couldn’t get there any sooner. The Maths teacher never believes anything I tell him….
CARME
Fine. Discuss the matter with him then.
CARME (again)
Last day we talked about microbes. Today we’re going to talk about amaobae.
She looks over to where Rivero is sitting and takes out a slide showing amoeba and protozoa.
While Carme talks, some of the students listen. Others take notes on desks scratched with drawings of phallic symbols or couples engaged in sexual intercourse. As Carme turns round to write on the board, a girl seizes the opportunity to collapse onto the lap of Mas, a loud and arrogant young man with bad acne, who sets about fondling her breasts. While all this goes on, Borja, as if in a trance, continues to gaze at Carme.
GIRL
(Whispers to Mas) Not here, for heaven’s sake!
The girl sits up properly and lowers her head. Through the windows, you can see the rain falling more heavily. The lesson continues, with the students showing little interest, until the bell rings.
CARME
For tomorrow I want you to read over the work we covered today, so we can go on with some written work.
Some students go out and others remain, standing about. Carme gathers her books together and leaves. Borja’s gaze follows her.
BORJA
(To Rivero) Why the hell did you speak to the teacher like that for?
RIVERO
What’s it to you!
BORJA
What do you care?
RIVERO
(Contemptuously) You creep, you should be thrown out for throwing chalk at her.
BORJA
How much longer do I have to put up with you!
RIVERO
(Smirking) Forever!
SC 2 – OUTSIDE / IN THE STREET/ EVENING // INSIDE A CAR.
It is raining heavily. Sheltering as best he can from the rain with his anorak collar up, and protecting his books with his arms, Borja walks along the pavement, keeping close to the wall. An Audi draws up beside him. Someone speaks to him from inside the car.
CARME
(To Borja) Can I give you a lift home?
BORJA
Oh, thanks! If you drop me off on the way, that would be fine…
CARME
Not at all, I’m going your way; get in.
Borja tries to open the door, but he is nervous and can’t get it open. Finally he opens it and get in.
Borja sits down. Carme looks at him and smiles. Borja, ill at ease, realises that his anorak is wet and he takes it off clumsly. The car starts to move off. Borja is embarrassed and watches Carme from the corner of his eye.
CARME
How come you’re on your own? Aren’t the other students going home as well?
BORJA
I think… that they’ve maybe gone to the bar, or to the pool hall.
CARME
Ah!
Silence. A car behind them sounds its horn.
CARME (again)
Has something happened to Vidal? It’s ages since he came to class.
BORJA
Well, I know his mother has diabetes and he has to look after his brother; his dad is a lorry driver so he’s always out.
He stumbles over his words and the sound of his voice merges into the drumming of rain on the car.
CARME
I thought it was something like that.
BORJA
Look at the rain!
CARME
And what about you? How are your studies going?
BORJA
I’m struggling with Spanish. And the teacher’s not very sympathetic.
Carme pulls a face and then turns serious. She stops the car.
BORJA (again)
Thanks. If it wasn’t for you…
Borja is going to get out when he realises that his trousers are wet. Both of them look, and laugh. Borja, embarrassed, but happy, opens the door.
BORJA (again)
See you… tomorrow.
A squall of rain blows through the open door.
CARME
(Laughing) Close the door!
SC 3 -INSIDE / BORJA’S FLAT: BEDROOM / NIGHT
A medium sized room, 1970s style wallpaper in warm pastel tones with lines and flowers; the walls are slightly damp. The furniture consists of a fitted wardrobe, a small desk, bookshelves with textbooks on electricity and novels, a chair, a bed with an antique, rather worn looking bedside table, on which there’s a sepia tinted photograph of a peasant couple, and alighted lamp. There’s a crucifix on the wall above the bed. The atmosphere of the room contrasts with the bright colours of the quilt covering Borja. He is lying down with his head on the bolster, and resting on one hand. His eyes are open and he is gazing up at the ceiling.
SC 4 – FLASHBACK: INSIDE A CAR / EVENING
As Borja watches Carme driving, he notices, the delicacy of her hands, and how they control the steering wheel gently and decisively. She is wearing a wedding ring on the ring finger of her left hand. Carme speaks but nothing can be heard. Borja sees her lips move and how she looks at him with interest and he looks away. He tries to see more details until he falls asleep.
SC 5 – INSIDE / CORRIDOR IN THE SCHOOL / AFTERNOON.
Christmas decorations being put up in the corridor by some students while others, supervised by a teacher, are setting up a nativity scene. Borja comes in and smiles with satisfaction at the scene. He’s happy. He’s heading for the classroom but he stops when he sees Carme chatting to a young male teacher. She is very animated. Meanwhile Borja finds a spot from where he can spy on what they are doing.He edges out carefully and when he thinks he can be seen, he conceals himself . When he realises that Carme is leaving, he runs towards the classroom. He hides his agitation when he joins the others students, but his lower lip is trembling.
SC 6 – INSIDE / SITTING ROOM / DAY
The room is painted white, with little furniture: a dilapidated sofa that has been cheered up with an Indian durrie, a small TV in one corner and beside it a trunk with a telephone on it, a small music centre and an antique , rather battered, kitchen table. On the walls there are works of modern art. One of them is a portrait of Borja in oils. Borja comes in, drops his books on the table, picks up the telephone, dials, and when he hears it ring for the second time at the other end, he hangs up. He hesitates, dials again, and again hangs up, uncertainly. He sits on the sofa and speaks to someone who is present only in his mind.
BORJA
“This is someone from the college calling to wish you a happy Christmas!” No, that won’t do. “I’m Borja, just calling to wish you a merry Christmas and a happy New Year”.
He picks up the phone again. He is struck by doubt and puts the phone down for the last time. He gets his books, pulls out some postcards, chooses one, and writes “Dear Carme, I am writing to wish you a Merry Christmas…” He is angry with himself for having addressed her so formally. He chooses another postcard and in nervous handwriting, with words corrected, he puts, “I hope Christmas is soon over so we can see each other again.”
BORJA (again)
(Pleased with what he has written, reads out loud) I hope Christmas is soon over so we can see each other again.
The door opens and Elisenda comes in.
Elisenda has a good figure. She is a few years older than her brother Borja. Elisenda is laden with bags of groceries.
ELISENDA
(To Borja) Don´t just sit there, help me! Can’t you see I’m going to drop something?
Borja gets up and takes two bags.
ELISENDA (again)
Oof, what a day. Christmas is horrible. The shops are packed
As she passes, Elisenda looks at the postcard Borja is writing.
BORJA
(Covering the postcard with a book) Don’t be nosy!
ELISENDA
(Archly) Aha! Say no more!
SEC 7 – INSIDE / KITCHEN / DAY
A long, narrow kitchen, opening onto a small balcony 70s style, but well-maintained, very clean and tidy.
Elisenda, dressed elegantly, is serving the turkey.
ELISENDA
(Calling) Dinner’s served!
BORJA (offstage)
I’m coming!
SC 8 – INSIDE / SITTING ROOM WITH DINING ROOM / DAY
Borja and Elisenda are finishing their meal. Borja gets up and takes the plates through to the kitchen. Elisenda takes the opportunity to place a small gift on the table where he was sitting. Borja arrives bringing his gift . The two exchange a look, they smile at each other, and open their gifts. Her gift is a bottle of cologne and Borja wraps a multicoloured scarf round his neck. They kiss one another.
BOTH
Thank you!
They burst out laughing.
ELISENDA
(She looks at her brother). You’re so handsome… You look so like Mum…
SC 9 – THE MASIA’S DINING-ROOM / INSIDE / NIGHT (FLASHBACK)
Christmas dinner. There’s a big fire lit in the dining-room. At the table, the same table as before, are seated three children and the elderly couple seen earlier in the photo. The woman is serving steaming plates of soup. The children are wearing brightly coloured scarves, before eating the home-made turrón and other sweets.
SC 10 – INSIDE / END OF LESSON / AFTERNOON
After the Christmas holidays, the students are seated in class, half asleep, in unaccustomed silence, paying no attention to the teacher who is clumsily reciting a poem by Quevedo…”There was once a man with a big nose…” The bell rings. The teacher leaves, the pupils get up and disorder takes over. The girls show each other their sweaters and new anoraks while Borja takes out a science texbook and puts it on his desk. Rivero appears from behind; first he pushes one of the girls and then he heads for Borja.
RIVERO
Hey, so how many birds did you score?
Rivero still has the stamp on the side of his wrist from the last disco he went to.
BORJA
None. I don’t know why you ask me things like that.
RIVERO
Oh, yea? So what have you been up to? (Challenging)
BORJA
Don’t be such a pain!
RIVERO
Christ, you mean you didn’t pull a single one!
BORJA
You bastard. Why don’t you eff off and mind your own business!
RIVERO
Alright, alright, I get the idea. Unlike you, I showed three girls a good time with this.
Rivero gestures to his genitals.
BORJA
So?
RIVERO
What do you mean, so? Even you would enjoy…
BORJA
Personally, I don’t like your lifestyle, nor do I like the way you brag about your conquests.
RIVERO
Come on! Why can’t you drink a few whiskies and get off with a bird? What are you? A poof or something?
BORJA
Me? It’s you that’s queer, hanging round that literature teacher all the time.
Rivero, furious, grabs Borja’s science textbook and hurls it to the ground in a fit of almost childish rage. Borja laughs at him.
RIVERO
Why don’t you go and rot in hell with your money, you tight-fisted bastard!
Borja continues to laugh. Rivero, with a bilious expression on his face, picks up his leather jacket and leaves the classroom.
SC 11 – INSIDE / TOILETS OF INSTITUTE / DAY
Borja is in the toilets. Everything is filthy. He urinates with obvious disgust, holding his breath. He reads the obscene graffiti written by his fellows students. He washes his hands, and in the space where there used to be a mirror, there are now only fragments, a stain of blood and shards of glass scattered on the floor. Borja reads some freshly written graffiti bearing the words “Borja is a bastard”.
BORJA
(To himself) Rivero!
SEC 12 – INSIDE / CORRIDOR / DAYTIME
Borja comes out of the toilets. He is visibly upset. He bumps into Carme who is heading towards the classroom.
CARME
Borja! How was the Christmas break?
BORJA
(Serious) Fine, fine!
CARME
What’s the matter? Was there a monster in the toilets?
BORJA
Actually, there was.
Carme smiles, without getting the joke.
SC 13 – INSIDE / CLASSROOM / DAY
Carme is the first to come into the classroom. Borja follows her. Carme teaches her lesson on the rat. Borja watches her, lost in himself. Riera rolls up a pellet of paper and throws it at Borja’s back. Borja neither feels it, nor shows any sign of what he is feeling. The bell goes. They all troop out.
SC 14 – OUTSIDE / MOUNTAIN “DELS ANGELS” / AFTERNOON and EVENING
Borja and Carme are standing on the promenade beside the church. They gaze at a scenery characterised by the blue of the Mediterranean, with the bay of Roses, the Medas Islands and the string of coastal towns, and the snow on the Canigó and the rest of the Pyrinees. Then they play in a fountain, throwing water at each other, jumping about crazily, bumping into, and then separating from, one another. They sit down on a bench next to a pine tree. Carme sighs. Borja looks at her. He is on edge.
CARME
I like being with you.
BORJA
Great! I like being with you too!
CARME
The down side is… is having to go back home.
BORJA
Why?
CARME
I don’t like being closed in. It makes me feel small. And empty. It depresses me.
BORJA
I preferred living in the country…
CARME
Who do you stay with?
BORJA
My sister.
CARME
What’s she like?
BORJA
She’s very straightforward and intelligent. She’s taken up painting now. I’m sure she’ll be a great artist. We’ve always been together. When we were little, we lived in the country. We used to catch birds with limed twigs. In the summer we used to catch frogs in streams and ponds. My sister also used to help my mother wash the clothes in the stream and she used to beat the washing against rocks.
CARME
What was your home like then?
BORJA
Everything was pretty basic, there were no frills. Our mother used to tell us to keep an eye on the house in case tramps and down-and-outs came by, with their bundles and baggy trousers. So that’s what we did, while the adults worked in the fields and our mother kept house.
CARME
Come on, lets gather some herbs. You know all about the countryside and as for me… well I’m biologist.
They get up. They disappear into the pine trees. They start to gather basil and rosemary. Evening begins to fall.
SC 15 – OUTSIDE / ROAD / DUSK
On their return home, they get a puncture. Borja gets nervous and on edge, but doesn´t explain why. He calms down and takes the opportunity to demonstrate his practical skills while he changes the wheel. This establishes Borja, as the hero, in the dominant role, with Carme’s tacit acceptance. To get back home quickly, they take the Saint Daniel road, and when they arrive, night has already fallen.
SC 16 – INSIDE / CARME’S FLAT / NIGHT
A smart flat. The sitting room is painted white, with designer furniture and modern paintings on the walls. Borja’s clothes are dirty and his hands are black. Carme looks at him from head to foot.
BORJA
Right, I’m off.
CARME
Have a shower here. You can’t go in that state.
BORJA
And what if your husband turns up?
CARME
Don’t worry. I’ll sort that out.
Carme gazes at him tenderly.
CARME (again)
While you’re having a shower I’ll clean your clothes.
SEC 17 – INDOORS / BATHROOM / NIGHT
A modern, superclean bathroom, brightly lit, with a huge bathtub, a big mirror, jars filled with little balls of bubble bath and expensive soaps. Borja takes everything in.
CARME (off stage)
Leave your clothes outside.
Borja takes off his shirt and trousers, opens the door a fraction and drops them outside. He closes the door and slides the lock into place. He finishes undressing while he notes Carme’s husband’s swanky razor.
SC 18 – INDOORS / SITTING ROOM, CARME’S FLAT / NIGHT
Borja, just showered, comes into the sitting room. Carme is laying the table for two, and on it places a bowl of salad.
CARME
Are you in a rush? I mean, are you meeting someone?
BORJA
No. Why?
CARME
Well, why don’t you stay and have dinner with me? Otherwise I’ll just have to eat on my own.
BORJA
(Edgy) Stay and have dinner? Right now? What about your husband?
CARME
He left a message on the answer machine. He won’t be back till very late. He says I’m not to want up for him.
BORJA
O.K. I’d love to.
They sit down.
SC 19 – INDOORS / SITTING ROOM, SOFA / NIGHT
Borja and Carme are sitting on the sofa. Carme pours two cups of coffee which are on a little table. They are watching a film, but when Borja goes to get the sugar, he places his hand on Carme’s arm. Embarrassed, he quickly removes his hand.
CARME
(She gestures with the spoon) Two spoonfuls?
BORJA
(Stupidly) Um… yes… no… just one.
Borja hears a noise and starts. On the TV screen the inside of a church can be seen. A little girl is making her first holy communion. The little girl gazes rapturously and with great faith at the priest.
CARME
That’s what I was like when I was a child. Now I only go to church when I’m really down, because there’s peace there to think… Of course I go when someone gets married.
BORJA
I do go to church but not very often. Do I seem a bit old- fashioned?
CARME
It’s a free world. I’m not a religious person myself, but I respect other people’s religious convictions.
There’s a long silence, with a mood of seduction. The only sound is from the voices of the actors in the film.
SC 20 – INDOORS / BORJA’ S FLAT / DAY
Borja is stretched out on the sofa, bored and fed up. He is starving up at the ceiling with a science textbook opened, but unread, on his chest.
ELISENDA
(As she sets the table) Well, you look really fed up. What’s the matter?
Borja looks at her impassively.
ELISENDA (again)
With a face like that, you must have a heavy date planned.
Borja looks at her with disgust, but says nothing.
ELISENDA (again)
O.K. Suit yourself then.
SC 21 – INDOORS / INSIDE THE CLASSROOM / AFTERNOON
Interval between lessons. Borja is cheerful. Inside the classroom a discussion on politics and military service is taking place. Borja, Rivero, Riera , Mas and other students are in a group, engaged in heated debate. Around them the other students are chatting, laughing or simply messing about.
RIVERO
All politicians want to do is syphon off money into their bank accounts. They’re all the same, whatever side they’re on.
Nearly all the students in the group agree with this, in spite of the fact that they are not interested in politics.
RIVERO (again)
I don’t want to do my military service.
BORJA
I agree with you. It’s a waste of time.
MAS
Well I’m in favour. I want to do it so I can get into the Civil Guard afterwards.
RIVERO
Sounds like you’re turning into some kind of fascist!
BORJA
(to Mas) Mas, look before you leap. Why don’t you aim for college?
MAS
Everyone in my family says that the army will make men of us.
(He picks his nose)
RIVERO
That’s a bit extreme!
RIERA
And after you’ve done your Military Service, then what? The Civil Guard? You must be off your head. I never knew you were so keen on uniforms.
MAS
(Shouting at he top of his voice) I’m fucking doing my military service, O. K.!
They haven’t noticed that Carme has just come into the classroom. Mas goes to his seat as do the rest of the students.
CARME
Right, you all seem a bit over-excited. Everyone is entitled to their own opinion and to their own choices in life.
(To Mas) Although I do think you should look into other alternatives.
While she speaks, Borja blushes visibly, is obviously upset , and keeps his head lowered. At the same time he clicks his pen frenetically. The class starts a few moments later.
SC 22 – INDOORS / INSIDE THE CAR / EVENING
A bright afternoon. There’s a strong wind outside, blowing off the Pyrinees . Carme and Borja’s hair is windswept, Carme struggles to keep her skirt down in the wind, they are struggling against the wind, and get into the car. Once inside, they tidy their hair and clothes, and shiver from the cold.
CARME
Have you seen the film “Pretty Woman”?
BORJA
He starts to hum the theme tune.
We sing it to the words “Silly Woman”. The actress is very pretty.
Borja laughs. Carme joins in.
CARME
She is, isn´t she? I think all the actresses are pretty. Though the lead actor is good-looking as well, and he’s a really good actor. (Her eyes are half-closed when she speaks).
SEQUENCE :
Borja, dressed as the lead actor of “Pretty Woman”, embraces and kisses Carme.
Carme’s voice, the voice of his dreams, brings Borja back to reality.
CARME
I went to see the film on my own. My husband doesn’t like cinema- one’s man meat is another man’s poison.
(Borja says nothing and tries to conceal his surprise).
CARME (again)
Do you like classical music? Do you fancy coming to a concert with me?
BORJA
I don’t know. Do you think I would enjoy it?
CARME
Of course I do. Let’s go after Easter. ( Borja nods in agreement).
BORJA
O.K. (He looks at her and smiles).
CARME
Do you go to the theatre?
BORJA
Not much. I like River Dance. They’re excellent artists. They must work out a lot in the gym.
CARME
I work out as well. Do you?
BORJA
Well, all I do really is watch the tennis on T V!
While he is speaking Borja notices Laia Casadevall passing by close to the car. Laia looks at him and then avoids his gaze. Borja is upset. Carme notices this but says nothing. A red car draws up near them and Martínez gets out.
CARME
(Carme grimaces desperately) What can this bore want?
(Martínez parks beside them. He lowers his window and speaks to Carme over Borja’s head.)
MARTÍNEZ
I’ll see you tonight?
CARME
I’m sorry, I can’t. I’ve got people coming over.
MARTÍNEZ
What are you doing here?
CARME
That’s nothing to do with you.
MARTÍNEZ
What’s this babe-in-arms doing in your car?
Borja is mortified and feels belittled.
CARME
I’m going to start the car. Get out of the way.
Martínez is furious and does not move.
She starts the car and tries to move off. Martínez then gets out of the way, but as her car moves off, he follows her in his car. A car chase follows : Carme tries to lose him in the streets of the city. They manage to shake Martínez off. They return via the Main Park, where they stop and Borja collects his belongings together and leaves for his house with his books under his arm, singing “All my loving” under his breath. The street lights in the city light up. It is still windy, it is getting ever colder and the pealing of the Cathedral bells can be heard quite clearly in the Main Park, which is an oasis of peace far from the bustle of the the city centre. The park is almost deserted, except for a few youths in ripped jeans who are annoying passers-by.
SC 23- A BAR IN POETA MARQUINA SQUARE / INSIDE / NIGHT.
Borja is in the “Nuria” in Poeta Marquina Square. The square, which opens on to a busy street, Barcelona street, is broad, with rows of plane trees, the branches of which are usually full of birds, especially starlings. There are so many birds that the air is filled with their chirping and the parked cars are covered with bird droppings. Borja listens idly to a pop song which some youths are singing along to while they drink their beer. Borja drinks Coca-Cola. A woman puts her hands over his eyes. It is Laia, slim and slightly built, with narrow lips and lively eyes. Borja feels her hands with his, and she laughs.
BORJA
Laia!
Laia removes her hands. They kiss each other and Borja is frightened and nervous.
LAIA
Don’t you like surprises?
BORJA
What surprises? What surprise are you referring to?
LAIA
(Mischievously) All sort of surprises! I’ve got a new surprise waiting for you every day.
BORJA
So, how’s everything? O.K. , I hope?
LAIA
My course is going terribly, and I’m not allowed to repeat anything. The teachers are being really bad to me.
BORJA
So what are you going to do?
LAIA
I’m no good at anything. There’s no point in starting anything. I don’t see a future for myself anywhere: I don’t want to study or to work.
(She takes another drink from her beer)
LAIA (again)
And, besides, I don’t get on with my father. We’re always arguing. My mother tries to keep the peace. She’s the only one who wants us all to get on together as a family, and, if she can, get us a bigger flat.
Borja looks at her absently, without paying attention to what she is saying.
FLASHBACK 1
THE HOUSE CALLED “SULTANA” / DINING ROOM / INSIDE / AFTERNOON.
The dining room is in a mess. Antoni (Borja and Elisenda’s father) is very angry and is beating Elisenda, 14, with a shoe; Elisenda is weeping in terror. Borja, 11, is crouched in a corner, covering his ears.
FLASHBACK 2
OUTSIDE / THE EXIT OF THE LOCAL SCHOOL / AFTERNOON.
Elisenda holds Borja’s hand. They separate from the group coming out, and they turn down a road.
BORJA
Hey, Elisenda, this isn’t the way we usually go home.
ELISENDA
We’re not going home. We’re running away.
BORJA
(Fearfully) I don’t want to.
Borja lets go of her hand.
ELISENDA
Come on, let’s go, stop crying. Do you want me to hit you as well?
BORJA
But I’m frightened!
ELISENDA
Well, I’m off. You can do whatever you want.
Elisenda sets off. Borja hesitates, follows her, and takes hold of her hand.
FLASHBACK 3
INSIDE, OUTSIDE / DERELICT HOUSE / NIGHT
Night is falling far from the town. They enter a derelict house. They try to sleep on the straw in spite of the noise from the mice which stops them sleeping. They are afraid. However, as they are tired, they sleep until the barking of a dog wakes them up.
FLASHBACK 4
OUTSIDE/ TOWN / DAY
They reach the next town at midday. They go into a shop. They steal bread and a tin of sardines. After they have eaten they don’t know what to do. They are dirty and too tired to go on. Suddenly they look up and see their father standing in front of them, looking at them threateningly. Elisenda places a protective arm round her brother. They set off with their father behind them.
LAIA
(The flashback ends by merging into Laia’s conversation).
… and my dad says I’ll have to get on with my life without any help from them, but my mother is against it. As for me, I’m happy with the telly and a few beers.
BORJA
That’s not true. You know that’s not what you want.
LAIA
Do you think so?
BORJA
You’re not like that. (Pause) What’s your brother up to? I haven’t seen him for ages.
LAIA
Him! He’s more into drugs every day. Sometimes over a week goes by before he shows up at the house. My mother’s beside herself with worry and whenever she hears someone’s died from an overdose, she just about collapses.
BORJA
I had no idea. That’s terrible!
LAIA
My dad tries to use me to control my brother. He interrogates me about him. Sometimes I tell him lies so as not to upset my mother. It’s hell. My home has become hell.
BORJA
I remember your brother being great at sport.
Laia looks at him sadly. She finishes her drink.
SC 24 – INSIDE / BRIDGE AND GIRONA CATHEDRAL / DAY
Carme and Borja, very smartly dressed, cross Gómez Bridge and head for the old part of Girona. Borja takes off his anorak and walks on, in his salmon coloured shirt and waistcoat with horizontal stripes. As they walk up the steps leading to the Cathedral, now out of breath, they start to hear the orchestra tuning up. When they enter the Cathedral, Borja puts on his anorak. The concert is Schubert’s 8th Symphony, the first movement, followed by his Mass in G major.
Borja is amaze. Carme looks at him with barely concealed tenderness, and the concert ends. Borja, moved, applauds, Carme looks at him. She also applauds with enthusiasm.
SC 25 – INSIDE / SITTING ROOM / NIGHT
Borja comes in. Elisenda is sitting on the sofa watching T.V. . When she sees Borja, she switches it off.
ELISENDA
We’ve got to talk.
Borja sits down. She adopts an air of certainty that is almost comical.
ELISENDA (again)
Borja, I don’t want to be interfering, but I would like to know something about the woman you are going out with.
BORJA
Today we went to a classical music concert and it was marvellous. It was in the Cathedral and…
ELISENDA
(Interrupting him) You’ve got to think about the fact she’s an older woman and could be married.
BORJA
She is married. We’re only friends. She’s just someone who needed…
ELISENDA
You, I suppose.
BORJA
And besides, she knows so much! The theatre, films, music. She’s incapable of hurting anyone. Least of all me.
ELISENDA
I don’t want you to stop seeing her if you like her so much. I’m just frightened you’ll be let down.
BORJA
Don’t worry. (Pause) What have you been painting today?
Elisenda shows him a canvas of nude models walking down a catwalk while below, as the public, there are doves and seagulls applauding. Borja tells her that he doesn’t know where she gets her imagination from and that he could never be an artist.
SC 26 – INSIDE / CORRIDOR IN THE F. E. COLLEGE / AFTERNOON.
The college is half empty. It is exam time. Today there is a difficult exam on, although for these students, all exams are difficult. Borja and Rivero meet in the corridor.
RIVERO
I’ve lost all my notes and my Biology textbook. I need you to help me to do a Biology assignment…
BORJA
(Gravely) I’ll think about it.
RIVERO
(Threateningly) Don’t try and tell me you don´t know how to do it. You get good marks. Don’t try and wriggle out of it or I’ll…
BORJA
Or what?
RIVERO
Or I’ll put the word around about a little secret of yours. About Martínez seeing you in the Science teacher’s car.
BORJA
You better shut up!
RIVERO
You better help me!
BORJA
And you keep your trap shut!
RIVERO
Well help me then!
BORJA
O. K. , O. K. !
Borja goes off very angry.
SC 27 – OUTSIDE / CLASSROOM F. E. COLLEGE / MORNING
Through the windows can be seen the lime trees whose perfume fills the grounds of the college. The female students are wearing miniskirts and the males are in short sleeves. The teacher, Martínez, is handing out the reports to the students. Mas pulls a long face as he has failed severals subjects. Meanwhile Rivero jumps for joy. Borja looks at him distrustfully, in spite of his having passed everything.
SC 28 – OUTSIDE / IN FRONT OF A KIOSK / DAY: AFTERNOON.
That afternoon Borja is dressed in his best clothes, and has gone to a lot of trouble over his appearance, and is possibly waiting for Carme with a bunch of flowers in front of their usual kiosk. She arrives. They greet each other by exchanging a kiss.
BORJA
(Looking at the election posters. Posters are hanging from lamp posts and others are posted on to every available space) What bores! You know they could get blood from a stone if they had to.
CARME
I’m against so much money being spent on campaigning but you can’t tar them all with the same brush.
(A van goes past with its loudspeaker announcing a political meeting)
BORJA
It seems as if they want to mislead us, rather than keep us informed. I’m not planning to vote. My father used to say that in his day some peasants were Falangists because it was the thing to do, it was the fashion.
CARME
Now everything’s different. I’m planning to vote. Possibly for whoever represents the interests of women and the environment.
They arrive at Sant Gregori, walk through fields of wheat and marigolds, with the air filled by the chirping of swifts and swallows which fly happily about, skimming the ears of wheat.
(INSERT: … An image passes through Borja’s head of the two of them kissing and caressing each other. Borja dressed like Richard Gere and Carme like Julia Roberts)
CARME (again)
We’ve enjoyed this course.
BORJA
Yes, we have!
CARME
I expect we’ll see each other next session. I do wish things could be different.
BORJA
What do you mean, different?
CARME
We’ll see.
BORJA
It’s going to be a long summer! I’m afraid I won’t see you again. I don’t want to hurt you either.
CARME
It’ll fly past without you noticing.
Everything is calm between them until the moment comes for them to embrace and say goodbye until the next session. Carme goes away and Borja is left distressed.
SC 29 – OUTSIDE / STREET / NIGHT
Borja is walking, alone and disorientated. He sees Laia coming, Borja takes her by the arm, to her surprise.
BORJA
Fancy meeting you here! I wanted to talk to someone.
LAIA
(Laia pulls a face) Me too.
BORJA
Has something happened to your brother?
LAIA
Daniel’s been arrested.
BORJA
What for?
LAIA
Because he robbed a chemist’s. He was arrested in the “Oliva”.
BORJA
How did he end up in that mess?
LAIA
Well, first of all because he’s never got on with my parents. Then, the girl he was going out with left him, then he failed all his exams and he was chucked out of college, and the bottom line is, he’s so weak…
BORJA
But Daniel was doing so well in Primary. And he was a great basketball player in the school team at Santa Eugenia’s.
LAIA
Well now you can see how he’s ended up. He always seemed angry, every day he was away from home more and more. When he was arrested my mother had a heart attack and was in hospital for two days.
BORJA
You must have had a really tough time.
LAIA
It wasn’t so much me. My father’s had to take charge of everything. I wasn’t at home. I was with some friends. When I got back I found out everything. The doctor says that she’s better but she’s to take a lot of pills. My father said to me that we hadn’t talked enough to one another and that his great mistake was that he had spent all his time earning money so we wouldn’t have to go without.
BORJA
Look, do you know what your problem is? Both you and your brother are a pair of self-indulgent and spoiled children. My father would never have put up with all that. You really have gone out of your way to make your parents unhappy.
LAIA
With friends like you who needs enemies.
She walks away.
BORJA
(To himself) That’s all I needed today.
SC 30 – OUTSIDE / CAMBRIDGE / DAY
Borja and Elisenda are in England. Elisenda is busy taking notes of the new scenery and is sketching continually. They attend a concert of chamber music in Cambridge. They visit some of the colleges. They rest on the grass by the river Cam which flows gently and soothingly by.
ELISENDA
(Looking at a courting couple) When I see a couple kissing and canoodling like that, I really miss having a boyfriend.
BORJA
You’re very attractive, you know. If you were Carme I would kiss you all over.
Borja and Elisenda play light heartedly with one another’s hands.
ELISENDA
But I’m not. I can see she’s really got under your skin.
BORJA
Lets go punting.
They hire a boat, passing under bridges, with the punt swerving from one side of the river to the other, bumping into other punts on the way. Borja digs the pole into the riverbed and falls into the water. They laugh. They continue on their boat ride until the end when Borja falls in again when he bumps into a wall that he didn’t see. They laugh again.
SC 31 – INSIDE / PUB / DAY
ELISENDA
I never imagined you would be able to get girlfriend so quickly, with you being so timid.
She takes a drink from her pint of heavy.
BORJA
The truth is she made it easy for me. I’m still too shy to look into a girl’s eyes. Now I can’t forget her.
(Borja takes a sip from his lager. He is still wet from falling into the river.)
ELISENDA
I don’t want you to go from one extreme to another.
BORJA
What do you mean?
ELISENDA
I mean from hardly daring to look at a girl in the face to having your heart broken. I’m just afraid you’re not going to see her again.
BORJA
Don’t be such a pessimist. Of course I’ll see her in September.
ELISENDA
(Stands up) Lets go to the hotel. You’re all wet.
BORJA
(Firmly) No, you go. I’ll come in a minute.
Elisenda goes off disgusted.
SC 32 – INSIDE / AT THE F. E. COLLEGE / DAY
Fisrt day back after summer. Borja walks nervously, looking for Carme. He meets a teacher.
BORJA
Do you now if we’re going to have Mrs Darnius this year?
TEACHER
I’m sorry, I don’t. I seem to recall having heard that she asked for a transfer.
(The colour drains from Borja’s face. His world has collapsed.)
BORJA
(Overcoming his natural timidity, he heads straight for the college principal’s office)
I’m sorry to trouble you sir, but I was wondering whether Mrs Darnius, my Science teacher… I’ve still got an assignment for her… she told me to give it to her in September…
PRINCIPAL
(Interrupts Borja) Mrs Darnius is not going to be teaching in the college this year. She is going to be off work for some time.
The principal looks at Borja in surprise.
BORJA
(Nervously) That’s a pity. Both my fellow students and I enjoyed being taught by her.
Borja goes away. He sits down with a group off his fellows students. Rivero comes up to him.
RIVERO
Your studies won’t be so easy this year now you don’t have your beloved Science teacher.
(His jocular manner fails to conceal the mockery in his voice.)
BORJA
Don’t be so stupid! Stop sniping at me and say what you mean. Get this straight, nobody helped me.
CLASSMATE
But Borja, we all saw how in love you were with the Science teacher.
(The other girls laugh, in on the joke.)
BORJA
Look, Rivero, I’ll get good marks without her.
(To the girls) When Rivero isn’t the centre of attention, he gets eaten up with jealousy.
RIVERO
Me, jealous? Rubbish, man. You sucked up to her shamelessly.
(He speaks with venom and a snigger escapes from him.)
JOSEP RIERA
Come on, calm down, is not such a big deal! Rivero, you always exaggerate. Besides, you’re one to talk. What about what you were doing with Mr Martínez?
RIVERO
Why don’t you fuck off and mind your own business.
They continue arguing until the teacher enters. The Science lesson begins. The teacher lays out an overhead. Borja is distressed and very downcast.
SC 34 – INSIDE / INSIDE BORJA’S FLAT / NIGHT.
ELISENDA
(Dressed in slippers, leggings and cardigan) You’re very pale. What’s the matter?
BORJA
(In a bad mood) Nothing’s the matter!
ELISENDA
Are you depressed? Are you still seeing that teacher?
BORJA
No!
ELISENDA
Doesn’t she teach you any more?
BORJA
(Bitterly) No. I haven’t seen her since last summer.
ELISENDA
You poor thing. You’ll soon forget her. Look, why don’t we go out and see a film, something funny, or anything else you fancy?
BORJA
Well… I don’t know… alright. I’ll come.
(He speaks with his eyes half closed)
Elisenda comes up to him, hugs him and they remain in the embrace for an instan . Borja rests his head on her shoulder and presses his sister to his body, in an embrace that takes on an erotic element. Borja desires her. Then he pushes her away from him, rather brusquely.
(To Elisenda) I’m going for a walk before I go to bed.
SC 34 – INSIDE / BAR / NIGHT, OUTSIDE / STREET.
Borja is playing a games machine. The first ball drops into place straight away. Between the second and the third he sees a long queue of cars waiting at the lights and ( FLASHBACK: he recalls what Carme said to him about pollution) He finishes his Coca-Cola and leaves. In the streets he seems to see Rivero and Martínez together, he hides round a corner to avoid them, but when he looks again he sees them speaking to people of questionable character.
SC 35 – OUTSIDE / FRONT OF THE F. E. COLLEGE / AFTERNOON.
Borja and some of his friends pass some young African women, each one accompanied by two or three children. They are tall and dressed in clothes of striking colours.
RIVERO
Look at the arses on those bitches. Let’s give them a fright.
(Borja shakes his head)
JOSEP RIERA
We should help them, not scare them. They’ve come from far away countries and have to integrate with us.
RIVERO
They take our jobs. Immigration should be tightened up. All these wogs and towel-heads make me sick. They should be thrown out of the country.
CLASSMATE
I’m not racist with the blacks, but the Arabs are rotten to the core. They don’t work and only cause problems.
RIVERO
(To Borja) What would you do if your sister was raped or attacked by an immigrant?
BORJA
Hang on… do you think we Spanards are saints?
RIVERO
What the hell are you going to do about us Spanards? Any problem, we get sent to prison, and that’s it. We have to put up with our own troublemakers. On the other the immigrants aren’t from here so why should we have to put up with them?
JOSEP RIERA Look, if someone is raped, it doesn’t matter where the rapist come from. According to the Church’s teaching, we’re all equals.
RIVERO
I don’t give a damn what the Church says. What do you expect? Everyone has their own way of thinking.
BORJA
Anyone listening to you would think you were a Nazi.
RIVERO
Fine.Those bitches have gone anyway, haven’t they?
(Gesturing to his new motorbike) Well, what do you think of it? Swanky, eh?
JOSEP RIERA
And how did you get hold of that?
RIVERO
(To everyone) I’m paying it off with the money from my job at the restaurant.
BORJA
(Raising his voice) I thought you said they were taking all our jobs? What are we studying for?
CLASSMATE
To go on the dole.
JOSEP RIERA
(To Rivero) Cars are safer than motorbikes.
RIVERO
Dickhead! Cars crash as well you know.
JOSEP RIERA
Just watch what you say, Rivero. I’ve had as much as I can take from you.
BORJA
I like cars and so on, but I don’t get carried away.
They are gradually forming a group around Rivero and his motorbike when he starts to talk about girls.
RIVERO
I expect they check something is missing… (He is almost shouting, arching his eyebrow and his eyes rolling.)
JOSEP RIERA
You’re a swine… I would chat them up and that…
RIVERO
You’re a fool. That’s all a waste of time. I like them hard as nails, hot and ready to give you a blow job. Forget about schoolgirls and brains, that just makes them touchy.
A CLASSMATE
Well I “pass” as far as girlfriends go.
BORJA
Me too.
RIVERO
(To Borja) Are you queer, or what?
BORJA
What, like your Dad, you mean?
RIVERO
I’ve no time for poofs. Some people say that they’re sensitive and intelligent, but I think most of them are wankers and scheming bastards.
A CLASSMATE
I wouldn’t mind getting my end away once in a while. My girlfriend won’t let me touch her. I think the best arrangement’s a steady squeeze with plenty on the side.
They all laugh.
SC 36 – INSIDE / PUB / NIGHT
Borja and Riera are sitting at the bar. Riera is watching the girls. Borja is downcast.
RIERA
A penny for your thoughts. Look at me, Michelin man and all that, I can’t be too choosy with the girls, but look at your luck, man. Carme…
BORJA
(Interrupts him) I don’t want to talk about her. I haven’t seen her for ages.
Their conversation founders completely. They go to the toilet where a man makes a pass at them.
SC 37 – INSIDE / TOILET, PUB / NIGHT
While they relieve themselves a man leans over towards their urinals in order to look at their genitals. Borja is not aware of this until Riera gives him a nudge which causes his stream of urine to swerve sideways.
JOSEP RIERA
(To Borja) Lets get out of here before he tries to give us a hand job.
BORJA
You can’t move for them!
JOSEP RIERA
They’re as sex-starved as we are.
BORJA
Only we’re after women.
JOSEP RIERA
Did you notice he had breasts?
BORJA
Come off it!
RIERA
Man, you’re in a dream
BORJA
All I saw was that he had a ponytail and an earring.
RIERA
These guys are all over you when you least expect it. They’re hard to get rid of and really know how to take advantage of you if you’re naïve.
SC 38 – INSIDE / TABLE IN A PUB / NIGHT
The pair meet Laia and a friend of hers.
LAIA
(To Borja) Having a drink?
BORJA
We’re pretty much in need of company.
LAIA
We’re heading off home, now. I’m tired and it’s late. I’ve got work tomorrow.
BORJA
(To Laia) Fine. See you around.
The boys try to talk to other girls, but they don’t want to know. Josep takes it badly and starts drinking heavily, while Borja, who continues his efforts without drinking, has to take him home in a taxi.
SC 39 – INSIDE / BORJA’S FLAT / NIGHT
Once he has dropped him off, when Borja gets home, he sees the light on in his sister’s bedroom and finds her in a lot of gynaecological pain. Borja comforts her and tells her that he’ll take her to hospital. Elisenda doesn’t want to go. Borja sticks to his guns.
SC 40 -INSIDE / HOSPITAL / DAY
Elisenda is under observation in a hospital. The doctors are discussing the possibility of something serious being the matter. Borja spends hours by her bedside. The woman in the bed next to Elisenda’s, a rather older woman, and clearly very ill, moves in her bed and groans. Borja feels pity and repulsion for a woman who is unlikely to live. On the other hand his sister’s strange hospital attire allows him to see her breasts and Borja adjusts his position so he can see them better.
SC 41 – INSIDE / INSIDE BORJA’S FLAT / DAY
Elisenda is in bed unwell, and very weak. Borja, at her bedside, reads her a poem.
“Eyes of desire, little wings of wetness
that, tremulous, between smiles speak,
and, tenderly, drown in the path of looks exchanged.
On the surf of a warm breath, the desire
crosses the oleander valleys of my neck
inviting one to drink the emotion of life.” ELISENDA
Will you give me a massage? The almond oil is in the bathroom.
BORJA
O.K. Whereabouts? You’ve got so many little pots…
ELISENDA
(Mockingly) In the bathroom, beside my aquamarine wash bag.
(Undressing while Borja goes to look for the oil)
Can’t you find it? You can never find anything.
BORJA
Don’t shout, I’m coming.
When he returns he finds her lying on her stomach with her back bare. While he massages her, Borja once again feels aroused by his sister. His face shows a mixture of satisfaction, fearfulness and doubt.
SC 42 – INSIDE / CORRIDOR IN THE COLLEGE / AFTERNOON.
RIVERO
Why don’t you ask that neighbour of yours to come in and help, then you can get on with looking after your sister?
BORJA
But she’s away at the moment. And I…
RIVERO
So you just got your pinny on and the feather duster out! No way would you catch me doing women’s work.
BORJA
You’ve gone mad. And mind your own business.
RIVERO
I’ll tell you again. I wouldn’t give the chance to take the mickey. Waken up and let people help you. You’re an electrician, not a housewife.
BORJA
Look, she’s my sister. I’d do it again, right now, if I had to.
SC 43 – INSIDE / INSIDE THE FLAT, IN ELISENDA’S STUDY / DAY
Elisenda, in a very baggy smock and a sleeveless shirt, paints a new picture. She is obviously weak but enthusiastic and very focused in her work. Borja comes in, bringing her a sandwich and a cup of tea.
BORJA
(Laughing) Here you are. And I’m not leaving until you’ve eaten it all.
ELISENDA
(Without stopping her work) Alright, alright. I’m just coming.
Borja sees her bare arms, moving nimbly, he sees the nape of her neck which is also bare, and the picture she is painting.
BORJA
I like it.
Borja embraces her from behind, she drops her brushes and he gives her a kiss on the back of her neck. She laughs, with a little shiver. Borja repeats the gesture. Elisenda moves away from him.
ELISENDA
Borja, we’re grown-ups now. We’re not living on the farm anymore. What you want’s impossible.
Borja stands there looking at her with a hurt expression. She goes on painting. She is confused.
SC 44 – INSIDE / LAIA’S FLAT / DAYTIME
Laia and Borja are at Laia’s. Her home life is complicated. Her parents are in Barcelona today, with her brother Daniel. Their flat is big and very light, and airy. There’s a newspaper on the table.
LAIA
Look at this headline -it says that farmers have emptied milk onto the street- what with the people there are starving from hunger.
BORJA
They must be protesting about something. Agricultural workers are very badly paid.
(He is drinking an orange juice)
LAIA
They are always complaining about something.
(She’s drinking a beer and smoking)
BORJA
Have you any idea how hard life is on a farm?
LAIA
So, all I know is what I can see from the car window? What I do know is that I don’t like their way of protesting.
BORJA
They must have tried other ways but no one paid them any attention.
LAIA
What do you want me to say? I still don’t agree.
They suddenly fall silent. They both feel attracted to one another. Laia puts her arms round the back of Borja’s neck, who, to his own surprise, abandons his usual low spirits and acquiesces to the embrace. They are so close that Borja can see Laia’s freckles. They start kissing, caressing etc; however Borja is both tense and happy.
SC 45 – OUTSIDE / IN THE ENTRANCE TO THE FLATS WHERE BORJA LIVES / DAY Borja finds a letter from Carme in the letter box. He doesn’t know what to do, whether to open it or put it in the box for the return mail. He ends up throwing it into the latter.
SC 46 – INSIDE / FLAT / DAY
Borja, comes into the flat, in a bad mood. Eats hungrily. Pushes his plate away with food still on it. Starts to swear.
SC 47 – OUTSIDE / IN THE ENTRANCE TO THE FLATS WHERE BORJA LIVES / DAY
He excitedly pulls the letter from the return mail box using his sister’s tweezers. He hurts his fingers in his efforts to rescue the letter.
SC 48 – INSIDE / FLAT / DAY
Borja reads the letter. Carme opens by telling him that she hasn’t forgotten him, that she has had serious family problems and very painful times, that she was confused and wanted to get her life in order, and that things were now all a bit better.
SC 49 – INSIDE / CAFÉ / DAY
Borja and Carme are in the café in the Vi Square. Borja is very nervous and can hardly dare look her in the eyes. In a trembling voice, he cannot bring himself to reproach her or ask her embarrassing questions.
CARME
(A glimpse of the disillusion she feels can be seen to cross her face) I got divorced.
CARME (again)
I took time off work because it was impossible for me to go on teaching normally while I was going through the divorce.
(Borja listens amazed. He is happy but tries to conceals it.)
CARME (again)
I was alone but apparently in a relationship. I felt suffocated. Now I’m free.
BORJA
I thought your husband was a good man.
CARME
He’s not a bad person, but money was more important to him than anyting else. Including me.
BORJA
I’m really sorry. I’m on your side and I want to help you.
CARME
Thanks. It wasn’t that I didn’t want to see you but I had to go through it all on my own.
Borja nods agreement to what she says. They exchange looks of trust and affection. Borja is about to touch her face but doesn’t dare to.
SC 51 – OUTSIDE / CAMPING SITE IN LLAFRANCH / DAY
Towards the end of Spring. The camping site is almost deserted. Outside a Mobilehome Carme and Borja prepare a salad on a little folding table.
CARME
I got married when I was very young without realising what I was getting into. When I married there were lots of people to celebrate, but when we split up, I was on my own.
(She tells her story with her head lowered a little, speaking slowly and swallowing with difficulty)
BORJA
I don’t like seeing you like this…
CARME
The truth is I was surprised as well by the change in my husband. He was obsessed with getting on and climbing the corporate ladder. We always talked about the same thing, boring things or other people. What did I mean to him?
BORJA
(While putting tomato in the salad) I’m really sorry about everything you’ve been through. I missed you. I love you and without you my life is pointless.
CARME
What you say fritens me, Borja. I like having you as a friend but don’t go and fall in love with me.
BORJA
It’s just that… It’s just that I…
(Looking at the salad) Is that enough tomato, do you think?
CARME
I really appreciate what you’ve said, but I don’t want to be hurt again by anyone, and I wouldn’t want to hurt you either.
BORJA
I won’t hurt you.
CARME
Borja, life is very complicated, and love is as well.
BORJA
(Borja persists with the discussion) I believe that love must be very beautiful. And I’m not changing the way I think because it hasn’t worked out for you. Why shouldn’t it work out for us?
CARME
What is beautiful is the nightfall. (As Carme is speaking, Borja becomes increasingly serious. He is afraid.) Shall we eat? (Together they light a camping gas light)
CARME (again)
Look at the stars. And the moon. Even the light from the Sant Sebastian lighthouse is more beautiful than some stages life has to offer.
They eat and do not mention Carme’s ex-husband again. When they finish eating they go for a walk under the pine trees. A short while later Borja is awake looking in the direction where Carme is sleeping. He sees a light from under the door. Borja gets up but does not go over to her door. Then he opens a window and gestures with anger.
SC 51 – OUTSIDE / BEACH / DAY
Carme, wearing sunglasses, is lying face down on a towel. Borja is seated next to Carme looking at her body. Borja puts on his walkman, looks towards the village, sees the pallid tourists walking under the pine trees lining the street. Then he watches a child chasing a seagull close to the water’s edge, he watches the boats rocking on the water, and all the lovely bodies of those girls of his age who only have the bottom half of their bikini on: their breasts are beautiful and they have lovely figures.
CARME
(Looks at Borja and wakes him from his contemplation) Do you fancy a swim?
He follows Carme to the water’s edge, trying not to step on anyone. Borja drives into the water rather clumsily while Carme swims very well, and with enjoyment. They go back to their towels and stretch out, their bodies covered in drops of salty water while Borja looks at the red line made by Carme’s swimsuit on her buttocks. They wrap themselves in their towels, and dry each other.
SC 52 – OUTSIDE / CAMPSITE / DAY
Carme puts cream on Borja, especially his back, which is very red. He is tense.
SC 53 – OUTSIDE / COUNTRYSIDE / (INSIDE, CAR ) / DAY
Carme and Borja, in the car, which is climbing up narrow roads towards Begur and Pals. They can see enchanting countryside with the sea forming the background. They are both happy.
SC 54 -TELEPHONE KIOSK ON SEAFRONT / INSIDE / DAY
Borja makes a telephone call. Breathes deeply.
BORJA
(From a kiosk) Listen, Riera. I’m not coming to class because I’m sick.
JOSEP RIERA (voice off stage)
The usual issues: discrimination against Catalan, University fees… It won’t resolve anything, of course.
Borja sighs with relief. He smiles.
SC 55 – INSIDE / DANCE HALL / NIGHT.
Located in front of the Devesa (large wood of enormous trees). Up a small stair. The dance floor, in the centre, is square in shape. At the back is a stage where the orchestra is playing, while the rest is separated off by rails behind which are areas which are lit up with blue chairs and tables fixed to the ground. Everything is in semi-darkness without the flashing lights and oppressive discoteque atmosphere. There are two bars against the wall, one on one side, and the other against the wall opposite, lit with lamps inside paper cones. Adults only.
The atmosphere is excellent and there is a live orchestra playing. Borja and Carme are sitting at one of the tables. A waitress approaches.
WAITRESS
What would you like?
BORJA
A peach juice with ice.
CARME
A rum and coke.(To Borja) Can I have this dance?
BORJA
You may regret this when I step on your feet. Let’s go.
They dance very close together to Frank Sinatra’s “Cheek to Cheek”. Borja steps on Carme
frequently which she finds funny, and she enjoys being with him. As the evening wears on, the hall fills up. They leave.
SC 56 – INSIDE / CAR / NIGHT.
They get in the car, put on a Bruce Springsteen tape, playing “The River”. They head for the old part of Girona. The car climbs the narrow streets close to the Cathedral. Carme drives the car a little too carelessly for Borja’s liking. She stops the car in a rather dark spot close to the Cathedral. Borja is nervous, but seeks Carme’s gaze. A moment later Carme runs her hand through Borja’s hair.
CARME
Are you as frightened as I am?
Borja agrees and they both laugh nervously.
Carme shifts her position to face Borja. She takes Borja’s head in her hands, draws it towards her and they kiss. Borja acquiesces, they kiss again, and after a minute he puts his fingers in Carme’s hair while she unbuttons his shirt and she runs her hand over his neck, shoulders and the hairs on Borja’s chest, who lets her do whatever she wants. Then he unbuttons her blouse. He is surprised when he sees her taking his hand to guide it into caressing her breast. Outside the car the wind off the Pyranees whistles and the sky is full of stars.
CARME (again)
Goodness, for someone so shy you’re a terror once you get started!
They laugh again. She caresses his chest. The car rises up unaided. They are both floating when the car drops noisily. Three thugs lift it up from behind, shake it and smash a window with an iron bar.
SC 57 – OUTSIDE / STREET / NIGHT
Borja gets out to shout at them when the three of them jump on him and start kicking and punching him, leaving him lying on the ground with his face covered in blood. They then start on Carme ; two hold her down while the third rips her clothes off. She screams when she hears the siren of a police car. Carme goes over to Borja and she steps back, shaking with fear when she sees the blood.
SC 58 – INSIDE / ACCIDENT AND EMERGENCY / NIGHT
They are taken to Accident and Emergency where they receive medical attention.
POLICEMAN
It’s all over now.
CARME
But I’m frightened.
POLICEMAN
You’ve been very lucky.
CARME
Why?
POLICEMAN.
You could both be dead by now if it hadn’t been for a neighbour who heard your screams and called the police.
CARME
My God! How awful!
POLICEMAN
As well as that you were lucky there was a police station close by. I don’t know how things would have turned out otherwise. They must have been hired to assault you…
SC 59 – INSIDE / CARME’S HOUSE / DAY
Borja is at Carme’s who is caring for him tenderly as a mother would.
CARME
I’m afraid.
BORJA
Have you started having nightmares again?
CARME
Yes, but that’s not the reason why. I’ve got this suspicion that it wasn’t accidental. Those men followed us. It seems like someone is out to get us.
BORJA
But who can want to harm us?
CARME
Borja, you must make sure no-one at the College finds out.
BORJA
Of course, you’re a teacher and I’m…
CARME
(Interrupting him) It’s not because of that. It’s because it could happen again. They didn’t achieve their objective.
Carme squats beside him and he embraces her lovingly.
SC 60 – INSIDE / COLLEGE / DAY
Martínez’ office. Borja is seated opposite him.
BORJA
I’d like to see my exam paper. I want to know why I have failed.
MARTÍNEZ
If you’ve failed the exam it’s because you deserved to.
BORJA
I’ve the right to see my exam papers.
MARTÍNEZ
(Looking at his watch) Another time. Right now, young man, I don’t have time.
BORJA
When?
MARTÍNEZ
I don’t know. And how did you get on in Science?
They look at each other with loathing. Borja leaves, slamming the door behind him.
SC 61 – INSIDE / COLLEGE / DAY
RIVERO
(Sneering at Borja) I thought you said that you were such a good student? How come you’ve failed so many subjects? Now what have you got to say?
BORJA
(Trying not to get drawn into an argument with him) Nothing.
RIVERO
So, if you don’t get help, you get nowhere.
BORJA
Look at who’s talking! If you didn’t work you would get nowhere, so I suppose you must be pulling strings, otherwise…
RIVERO
You really haven’t a clue, have you?
BORJA
What do you mean?
RIVERO
Those with friends get on, and those that don’t…
BORJA
You’re involved in some dodgy business, aren’t you?
RIVERO
Oh, up yours. I’m sick of rules and boring farts like you.
BORJA
Leave me alone, won’t you.
They leave.
SC 62 – OUTSIDE / GARDEN / DAY
Borja and Carme are in the Kurrl Garten Botanic Gardens, sitting together at a table under plane trees and willows. They are having a coffee. Carme is glancing at a newspaper.
CARME
The economic situation won’t improve if business people don’t make bigger profits. After all they are the ones that have to take the biggest risks.
BORJA
Don’t try and convince me that everything will improve if the workers’ salaries are kept down. Besides it’s only natural for them to go on strike if they want to protect their interests.
CARME
My parents had a small textile business and because of a prolonged strike, production fell so much that they had to close down. I don’t trust trade unionists.
BORJA
Not all trade unionists are the same.
CARME
I know a trade unionist who treats his teaching job as a sinecure. When he has to carry out his trade union duties, either he turns up three hours late or he doesn’t come at all.
BORJA
I’m sure he’s an exception.
CARME
Business people have to make a profit…
BORJA
I don’t like the way you think…
CARME
Who are you to tell me how to think?
They are angry.
SC 63 -INSIDE / FLAT / DAY
Through the window, Borja sees girls walking past wearing very short miniskirts and he clearly enjoys looking at their legs. Borja is trying to study. He finds it difficult to concentrate. He is angry with himself.
SC 64 – INSIDE / THE COLLEGE / DAY
Borja, Rivero, Riera, with a group of friends are looking at the results on the notice board.
RIERA
(Happily) I’ve passed!
RIVERO
(Unenthusiastically, murmuring to himself) Rivero, you need never put foot inside this place again. You’re brilliant!
BORJA
(Happy) I’ve passed Spanish.
(To an imaginary person, making a rude gesture) Go stuff yourself!
The three move away from the notice board and sit on a bench.
JOSEP RIERA
Congratulations, you guys. Guess what? I’m thinking of starting a small business.
RIVERO
Don’t get big ideas. The way things are these days, it’s too risky. The taxes will skupper you.
JOSEP RIERA
It’s a way of earning money for myself and not for other people. Besides, if everything goes well, I’d be creating jobs for others.
BORJA
I’ve got an interview today for a job with Gruart in the maintenance section.
RIVERO
I had one yesterday. I hope I get the job. I’m sick of the restaurant.
SC 65 – OUTSIDE / CEMETERY / DAY
Carme asks Borja to go with her to the cemetery in All Saints Day. The town is deserted as they cross Emili Grahit street, towards the Costa Brava Road. Once in the cemetery, Carme bends down to lay chrysanthemums on her mother’s grave while Borja first looks at the cypresses and then at the long, red clouds. Carme does not cry, he looks at her and notices she looks more cheerful. Carme takes Borja’s hand and tells him that she needs him.
SC 66 – INSIDE / CARME’S FLAT / DAY
The city’s Sant Narcís celebrations are in full swing. Borja and Carme watch the town from Carme’s balcony. He starts to caress her and she lets him. They go into the house and collapse onto the sofa. Carme undresses Borja and viceversa. Borja is aroused by Carme’s physical charms. They make love.
SC 67 – OUTSIDE / STREET / DAY
Borja meets Laia in Santa Eugenia Street.
LAIA
I can see you’re very happy.
BORJA
It’s because… you know. I don’t have to do my military service. My name wasn’t called up.
LAIA
Lucky you. Is there something else?
BORJA
(He falters) Nothing else.
LAIA
Oh yes? Not that I believe you. I can see from your face you’re in love.
BORJA
How can you be so sure?
LAIA
(Jealous) She’s older than you. Be careful.
BORJA
(Angry) I don’t care about her age or what you think.
LAIA
Time will tell who’s right.
BORJA
That’ll definitely be me!
They each continue on their way.
SC 68 – INSIDE / OPTICIAN’S / DAY
Elisenda, in a white tunic puts a pair of glasses on a Lady in a luxurious and spacious Optician’s with big windows.
ELISENDA
(To the custumer) Oh, this pair really suits you!
CUSTOMER
Do you think so? Would you show me…
(A huge pile of glasses can be seen on the table)
ELISENDA
This last pair suits you perfectly. I don’t have any more models.
CUSTOMER
I don’t know… this pair seems to dig into me behind my right ear. Aren’t there any others? You don’t stock a wide selection.
ELISENDA
Look, if these glasses don’t suit you, we can have them adjusted, but we can’t perform miracles.
(The custumer’s face registers the insult)
SC 69 – INSIDE / BORJA AND ELISENDA’S FLAT / NIGHT.
Elisenda returns home when she finishes work and meets her brother.
BORJA
Hi, how was your day?
ELISENDA
It was horrible. (She mimics herself, sarcastically: “Madam, don’t worry, we can adjust your ears”. “This pair really does suit you, sir, doesn’t it?. They cover up the wart on your nose…” BORJA
Don’t ridicule people like that. All work requires commitment.
ELISENDA
I’m suffocating.
BORJA
(Warningly) Elisenda, Elisenda, control yourself!
ELISENDA
(Sharply) There’s no way I’m going back to the Optician’s.
BORJA
(With interest) So what are you going to do?
ELISENDA
Paint. It’s the only thing I’m happy doing.
BORJA
But we need money.
ELISENDA
We’ll find it. You’ll see.
BORJA
That’s it. We’ll see. We can’t live on air.
ELISENDA
(On hearing the noise of the shower)
What the heck is that?
Borja adopts a non-commital expression as Carme emerges in Elisenda’s bathrobe.
ELISENDA (again)
Who are you? And in my bathrobe!
BORJA
Elisenda, this is Carme, my girlfriend.
CARME
I’m sorry, it was all I could find when I came out of the shower.
ELISENDA
(In a voice of reproach rather than as a question. Annoyed) Have you two nowhere else to go?
BORJA
(Gently) Of course we have! But… this house is mine as well, you know.
CARME
It’s nothing to get upset over. It’s not as if we’ve done anything wrong.
ELISENDA
Oh, well… I suppose, but you should respect the fact that I live here as well.
CARME
You’re not very accommodating towards your brother!
ELISENDA
(Pointedly) Darling, I’m only defending my territory.
CARME
(Sorrowfully) I thought you would be different. I’ve made a mistake. I thought you would be tolerant and open-minded.
ELISENDA
There are some things which I can’t take, such as you, someone I’ve never met before, having a shower in my house and using my bathrobe.
CARME
(She takes off the bathrobe, furious, remaining naked: the camera does not focus completely on her body)
There! Keep your blessed bathrobe. Now I hope you’re satisfied.
She goes into the bedroom.
ELISENDA
(There are glasses of champagne on the table)
Where did you get these glasses from? I bet you’ve drunk the champagne I was keeping for a friend!
BORJA
(Sorrowfully) I thought I could use it if I wanted to!
ELISENDA
(To Carme) You could have had the decency to leave me some.
BORJA
Don’t get angry over such little things. I’ll buy you another bottle.
ELISENDA
(To Borja, but intended for Carme) And another thing, why don’t you pick on men who are more your own age, instead of boys?
CARME (voice from offstage)
It’s nothing to do with you!
ELISENDA
Oh, yes it is. He’s my brother and you’re using him.
CARME
(Comes out, dressed) Look, love, I’m not using anybody. We love each other, and that’s all there is to it.
BORJA
(To Elisenda) What do you think you’re doing? What right have you to stand judge and jury over our feelings?
ELISENDA
I’m your older sister. And this is my home.
BORJA
(Furious) Well, you can keep it then! I’ll be back to collect my things.
They leave holding hands, without saying goodbye.
SC 69 A-
Borja tells Elisenda that he is leaving to live with Carme. Carme and Borja start to live together. Borja proves to be insecure and dependent on Carme. He is also happy.
SC 69 B-
Borja working. He enjoys his work. He has spent the morning installing gas boilers and radiators; in fixing leaks in the bathroom and the kitchen. That afternoon he starts to intall the air conditioning.
SC 69 C-
Borja and Carme, fixing their house. They are painting and carrying out repairs.
Borja and Carme are finishing painting a wall.
BORJA
I would put two leather sofas in the sitting-room with a small, round marble-topped table.
CARME
That, the big table and the sideboard for the tableclothes and crockery, and the sitting cum dining-room will be just right.
BORJA
And what about a unit for the T.V.?
CARME
I’d rather to put a plant in a plant pot there.
BORJA
Let’s leave this for later.
CARME
(Sitting down, she inspects their handiwork) No, we’ve got to make some changes to this place, to make it ours.
BORJA
What changes would you like to make?
CARME
Well, I don’t know… we should go for a warmer atmosphere. Maybe put down some parquet and an angle-light over a picture.
BORJA
Fine, that’s a good idea.
SC 70 – INSIDE / ART GALLERY / NIGHT
Elisenda is putting on her first exhibition of paintings. Elisenda is talking to the director of the director of the gallery and an art critic. CRITIC
(To Elisenda) I’m very interested in your subject matter. Where do you get it from?
ELISENDA
I don’t know. It’s my world. The things that I think about a lot.
DIRECTOR
I’m very happy with your work, Elisenda. It’s forceful and original.
Elisenda smiles. Borja walks past. Elisenda draws him into the group.
ELISENDA
I’d like to introduce my brother.
BORJA
Pleased to meet you! (He shakes them by the hand)
ELISENDA
He’s the most important part of this world I paint.
Rivero listens to this phrase and comes up putting his arm round Elisenda’s waist.
RIVERO
And what about me, darling?
ELISENDA
(Alarmed) This is Rivero, a friend.
RIVERO
(Shakes his head and makes a rude sound with his mouth) And a lover!
Borja is surprised, the Director and the Critic laugh.
BORJA
Rivero, come with me.
RIVERO
Why?
BORJA
Come along, I think the wine has gone to your head.
RIVERO
(Laughs) The wine? What are you on about?
The Art Gallery Director and the Critic move away with diplomatic smiles.
BORJA
(Mutters to himself) The bastard is into everything!
Elisenda is furious.
ELISENDA
(To both of them) You pair of imbeciles. You wankers!
BORJA
But Elisenda, I only wanted to get this bore off your back.
ELISENDA
Rivero hasn’t said anything against you. Borja, in the art world, everything, or nearly everything goes.
BORJA (angry)
Well, listen to what I’ve got to say. Stuff your art world. I’m not part of it. And I’m off home. Of course, you could have phoned Carme to invite her. It would have been a good opportunity to make up with her.
ELISENDA
(To Rivero) How awful when people stop being themselves so they can be what their partner wants them to be!
BORJA
(Very angry and sarcastic) That seems a bit like the pot calling the kettle black! You can’t always see what lies in store for you…
Borja without giving either of them time to reply, hurriedly leaves the exhibition.
SC 71 – OUTSIDE / ROAD / NIGHT
Borja, tired, reaches his house, takes out his keys but steps back, sits on the pavement and lashes out with his foot in anger.
SC 72 – INSIDE / ROOM / NIGHT
Borja enters the darkened room trying to make as little noise as possible. The sound of the sleeping Carme breathing can be heard. Borja undresses, places his clothes on a stool, puts on his pyjamas and gets into bed, curling up close to her.
SC 73 – INSIDE / WORKSHOP / DAY
Borja is mounting panels and putting electric cable into tubes fitted into walls. Afterwards he puts in fittings such as switches, sockets, a bell. He finishes his work and starts to put his tools away.
SC 74 – INSIDE / HOUSE / NIGHT
Borja arrives home and Carme insists on running him a bath with relaxing herbal infusions.
CARME
(Surprising him) You’ve stopped me feeling as if my life was over.
BORJA
I’m amazed by you saying that, and it makes me happy.
Carme takes off his clothes. When he is in the water she busies herself washing him. Once Borja feels better, Carme takes off her clothes and gets into the water. They scrub each other’s bodies, dry one another, apply lotions, and kiss each other stretched out on the bed. Borja buries his face in Carme’s breasts. She caresses his legs with kisses. Music. Rapid tumult of movement in time to the music, which is in keeping with the rhythm of the couple’s lovemaking.
SC 75 – INSIDE / KITCHEN / NIGHT
Borja appears in the kitchen with his face full of sleep. He opens the fridge and takes food out.
BORJA
(Reflects to himself) Oh, Elisenda, you are a fool!
CARME
(Appears half-dressed with her face sleepy) Are you talking to yourself? I heard you. I’m hungry as well. Who’s a fool?
They sit down and eat.
BORJA
Rivero was with Elisenda on the opening day of her exhibition. He became offensive, we argued and, do you know what my sister did? She backed him up. That Rivero is a bastard.
CARME
He was already offensive when he was at the College.
BORJA
Well, you can’t imagine what he’s like now. I don’t know what Elisenda sees in him.
CARME
Your sister is grown-up now. She’s trying out new things. Don’t be obsessed.
BORJA
It’s just we’ve always been so close. I’m all the family she’s got.
Carme shrugs her shoulders. Standing up, they continue eating the rest of the food from the day before. Borja serves her a glass of wine. SC 76 – INSIDE / ELISENDA’S FLAT / DAY
Elisenda is cleaning the house which is very untidy. Someone is at the door, she opens it and is surprised to see Rivero.
RIVERO
Yes, it’s me. I’m not a ghost. Can I come in?
Elisenda lets him in. Rivero looks around, nosily.
RIVERO (again)
Elisenda, I’ve come because… because… I want to apologise about what happened the other day.
ELISENDA
I was worse. I lost my temper with my brother.
RIVERO
Don’t blame yourself. Borja got very stroppy.
ELISENDA
That’s not it. The thing is, he really loves me. And he’s the only family I’ve got.
RIVERO
Look, to show there’s no ill-feeling between us, I’ve come to offer my services. Do you need any help?
ELISENDA
(Points to a broken window) Yes, I do. Look over there.
Rivero freezes when he sees all the work that needs to be done.
Elisenda brings him the toolbox. Rivero tries to fix the window, but he is very clumsy. They both laugh.
RIVERO
I don’t know what you see in my company. We’re so different.
ELISENDA
You’re not at all the way society would have us be. That’s why I enjoy your company.
RIVERO
You’re a strange girl. But I like you. Come over here.
Elisenda goes over to him. Rivero puts down his tools and lifts her up bodily. Clapsed in each other’s embrace they almost fall over. They laugh. They kiss each other sensually.
SC 77 – OUTSIDE / STREET / DAY
There’s a demostration against nuclear power stations. A busy street full of people with banners, journalists, cameras. People chant anti-nuclear slogans. Borja and Carme are in a side street.
BORJA
(Doubtful) I’ve never been on a demo before.
CARME
We should be socially aware and more politically active.
BORJA
Do you think this will achieve anything?
CARME
Don’t you realise that it’s an ever more real danger? Look what happened at Chernobil.
BORJA
Do you think a demostration will change what Governments do?
CARME
Not always, but occasionally it makes them nervous when there’s enough pressure put on them.
BORJA
Yes, maybe so…
CARME
One demo isn’t enough, on its own. We have to keep up the struggle, like GREENPEACE does.
BORJA
One thing’s for sure. Politicians have the unfortunate habit of taking action only after a tragedy has happened.
CARME
That’s true. Deaths from cancer and leukaemia are increasing in Russia.
The demonstration proceeds uneventfully along the streets with people shouting slogans in favour of dismantling nuclear power stations. Although sceptical, Borja is happy to be with Carme.
SC 78 – INSIDE / HOUSE / DAY
Borja appears cleaning the floor. He does it quickly, without squeezing out the mop properly so the floor ends up wet and slippy, with too much water on it.
CARME
(Sorrowfully) Put newspapers down or it’ll get all muddy.
BORJA
(A bit annoyed) You’re never happy with me. I don’t see the point in doing things when you go and do them again.
CARME
You don’t do things properly because you’re not interested.
BORJA
That’s not true. Besides, everyone’s better at some things than others. CARME
If something isn’t done properly, it just has to be done again. You have to learn to take responsability, to be self-sufficient.
BORJA
(He doesn’t understand her, but as on other occasions, he prefers to drop the subject rather than continue with the argument) Well, now we’re arguing, why don’t we just get married?
CARME
Are you serious?
BORJA
I would like to get married.
CARME
(Reproaches him kindly) I thought you’d got over your religious past.
BORJA
(Pointedly) I don’t go to church any more.
SC 79 – OUTSIDE / WORK / DAY
Borja is working away at the wiring in the foundations of a new building. He is taking great care with the copper cables and he has to make sure the welding is strong. (INSERT: Borja remembers making love with Carme). He has to use the pick and the shovel to prepare the ground chemically. He receives a call from Carme informing him that she is pregnant and Borja is surprised; he is both happy and very excited.
SC 80 – INSIDE / HOUSE / DAY
Carme is seven months pregnant. Borja is listening to the baby kicking and he is happy and looking forward to the birth of their child.
SC 81 – INSIDE / HOSPITAL, LABOUR ROOM / DAY
Carme is in labour on the bed in the Labour Room. Borja takes Carme’s hand, and with his other hand he lifts up her head, speaking to her tenderly. Meanwhile the doctors are monitoring the foetal heartbeat and maternal blood pressure. The birth is slow. When the moment of truth comes, the intensity and nervousness increase. First the head appears facing upwards and they ease it out, then they ease out the shoulders so that they emerge in the same position as the head. Once the baby is out, they place her with her birth cord hanging on Carme’s stomach, and then Carme gently strokes the baby which is still all wet from the amniotic fluid, and the baby settles. Borja is deeply moved by what he has just experienced.
SC 82 -INSIDE / HOUSE / DAY
Borja is feeding Isabel, who is nearly a year old, and who throws the food on the floor. Borja is at the end of his tether. Carme comes in. She kisses Isabel and Borja. She laughs when she sees what the baby is doing.
CARME
(Puts her things down and sits beside them)
Borja, I would like Elisenda to come on Isabel’s birthday.
BORJA
I don’t know, do you think she’ll come?
CARME
She is her niece, and besides, she likes children, although she hasn’t come to see her much.
BORJA
Yes, yes, alright… I find it hurtful, but I understand her.
CARME
You’re always defending her. Why don’t you go and see her and have a chat with her?
BORJA
I’ll do that, gladly.
CARME
(Gently) I knew you would.
SC 83 – INSIDE / ELISENDA’S FLAT / DAY
Borja is in the room which serves as the studio and is full of drawings, junk and pots of paint. Elisenda is sketching on a canvas on which appears the naked body of a woman lying on her side, with a dove flying up from her belly. The painting is in blue on a white background.
BORJA
(Gazing at it) It’s sad how artists live so badly and then their paintings are sold for exhorbitant prices.
ELISENDA
That only happens to a very few painters. The rest never manage to sell their sellings.
(Pause. Elisenda continues painting)
BORJA
Why don’t you visit us more often? Are you angry with us?
ELISENDA
No. I’m pregnant.
BORJA
You’re joking.
ELISENDA
No, I’m not. I really am!
BORJA
You must be happy. And who is the father?
ELISENDA
I’m not sure. I think it may be Rivero, which worries me.
BORJA
Rivero!
ELISENDA
Why not? If you can live with the woman you love and have children etc. , why can’t I? And you still have the nerve to ask me if I’m angry with you.
BORJA
We always end up discussing Carme.
ELISENDA
The truth is I’m jealous of your finding hapiness with Carme and now with the baby. I feel hurt by the distance that has grown between us.
BORJA
Everything’s the same as it always was between us.
ELISENDA
That’s not true. I realise that sooner or later it had to happen, but don’t worry. I’ll come to Isabel’s birthday party.
SC 84 – INSIDE / HOUSE / DAY
Isabel, wearing a pale blue dress is seated playing in her playpen, after a short time she gets up and then sits down again. Elisenda makes a quick sketch of her while she plays and Borja lays the big table for dinner. After a while Carme arrives. She greets everyone after giving the baby a kiss. When she reaches the dining-room she finds Elisenda playing with the baby and exciting her too much which does not please the mother, who says nothing, however.
ELISENDA
Why these curtains? I liked the others better.
CARME
(Feigning deafness) The baby’s already eaten. She must be wondering what’s going on today with all of this and us eating so late and her still up.
ELISENDA
I would find it more normal if she was at the nursery because today they would have put a little party on for her and she would have felt like a queen.
BORJA
She’ll go next year.
Borja is concerned about what Elisenda will say next. A certain tension can be seen in the way he looks at them and in how he eats.
They finish their meal, take out the cake and Isabel, with everyone else, blows out the simple candle. She laughs. She is given a rag doll. She is happy.
CARME
Congratulations, Borja told me everything. How are you? Have you been to the gynaecologist yet. I can recommend you a very good one.
ELISENDA
(A little brusquely) Please don’t look at me like that. You’re making me nervous.
CARME
I’m looking at you normally and don’t make things up.
ELISENDA
I feel like you want to condemn me to death. Besides, there’s no need to go to the trouble of taking me to a gynaecologist because I had an abortion when I found out the father was Rivero.
BORJA
(Taken aback, and freezing) An abortion! But Elisenda, you could have said something earlier, couldn’t you?
ELISENDA
Oh, leave me alone. Don’t you think I’ve got enough problems?
Elisenda gets up and goes off to play with Isabel.
ELISENDA
(To Carme) Isn’t she a bit thin?
CARME
Probably.
ELISENDA
You shouldn’t cosset her so much. Make her eat more.
CARME
You don’t exactly have a wide experience of children, do you?
ELISENDA
Ask any paediatrician.
CARME
Well, thanks for the advice, anyway, but it’s nothing to do with you. BORJA
She’ll fill out bit by bit.
ELISENDA
If you fancy some time off, why don’t you let me know and I’ll babysit for you?
BORJA
Well… Actually, that’s not a bad idea, is it, Carme?
CARME
Well, I’m a bit taken aback, if you must know.
ELISENDA
This is getting beyond a joke. (Looks Carme in the face) Beside, the child has to get to know people apart from her parents.
CARME
O.K. We’ll take up your offer.
Elisenda is holding the baby in her arms. Borja looks at the three of them, with satisfaction.
SC 84 – OUTSIDE / THE STREET BETWEEN THE MUSIC CONSERVATORY AND “THE VI” SQUARE / NIGHT.
The night Borja and Carme go out, they bump into Rivero and Martínez on their way home.
MARTÍNEZ
(Energetically) Well, well… The happy couple.
Martínez’ mouth turns down in two small creases at the corners and his upper lip is narrow and does not turn outwards
BORJA
(To Rivero and Martínez) We’re in a hurry.
(To Carme) Lets go!
RIVERO
Why? Wouldn’t you like to come for a drink with us?
MARTÍNEZ
We’re collegues. You two were students together and Carme and I… don’t remember Carme?
Carme is furious. She takes Borja by the arm and gestures to him that they leave.
BORJA
We’re not at the College any more. You can’t bully me now, Martínez. If you meddle with her. I swear I’ll…
CARME
Come on, Borja!
RIVERO
You watch your step with us, mate.
Borja takes Carme by the arm and they go off.
MARTÍNEZ
(Shouting after her) Carme Darnius, you and I are going to meet again!
Borja makes to go back after him, but Carme stops him.
CARME
(To Borja) Leave him. He’s dangerous. Really, he is, Borja.
SC 85 – INSIDE / HOUSE / NIGHT
They find Elisenda with Isabel asleep on top of the sofa.
ELISENDA
She didn’t want to go to her cot alone. She cried and cried, but she’ll get used to me. It was her first time with me.
BORJA
(To Elisenda) We bumped into Rivero. Are you still seeing him?
Elisenda remains silent.
BORJA (again)
Think about what you’re doing!
ELISENDA
I am!
CARME
He’s always involved in some dirty business, Elisenda. I’ve known him for a long time.
ELISENDA
What can I do about it? That’s just the way he is.
CARME
(Insistent) He’s a very dodgy character.
ELISENDA
(She defends herself, seeing that she is under attack) Someone must be manipulating him. Besides, and I wouldn’t say this to anyone else, but there are not many men as good in bed as he is.
CARME
Is he so good it’s worth running the risk of moving in such sordid and dangerous circles?
ELISENDA
Alright! Alright! I am being very careful, you know.
(She gives them a drawing she has made of the baby sleeping. She gets ready to leave.)
BORJA
I’ll come with you.
SC 86 – OUTSIDE / STREET / NIGHT
Borja and Elisenda walking.
BORJA
(Warns her) Watch what you do!
ELISENDA
(Annoyed and energetically) And don’t you be so hen-pecked by Carme!
BORJA
Try to make your peace with Carme. She does appreciate you, even though you don’t think so.
They say goodbye each other.
SC 87 – INSIDE / ROOM / NIGHT
BORJA
(To Carme) What exactly was there going on between you and Martínez?
CARME
Nothing. Nothing important.
BORJA
(Persevering) Did you know him well?
CARME
Actually, yes, the truth is we went out together.
BORJA
Now that is a surprise.
CARME
Now I realise he’s a nasty character but at the beginning he was good fun.
BORJA
I get the impression you were very much on the look -out for company so you wouldn’t have to be with your bore of a husband.
CARME
Look, you’re not gaining anything from raking all this up. O.K., he was fun, but he got ever more selfish and was always out for himself.
BORJA
(Insistent) Did you fall in love with him?
CARME
(Mimics Borja’s question in a voice with a hint of mockery) Did you fall in love? You do come up with them all! Of course not!
SC 88 – INSIDE / SURGERY / DAY
Carme takes her child to the specialist who puts her on a special diet of lactose-free milk, with all the food boiled or grilled, and the only fruit being apples and bananas.
SC 89 – INSIDE / HOUSE / DAY
Carme arrives home. Borja is putting up a new lamp and is up the ladder.
CARME
Hi!
BORJA
Do you like it?
CARME
Where’s Isabel?
BORJA
I asked Elisenda to take her out so I could get on with this.
CARME
Whaaat? Took her out? Where?
BORJA
I don’t know where they’ve gone.
CARME
(Screams) You’re so irresponsible!
BORJA
How come? Harping on about this again, are we? Elisenda is very responsible. She looked after me.
CARME
(furious) That was then. Now she hangs out with a different class of person. What if they’re with them now?
Borja gets down from the ladder.
BORJA
Don’t get like that. Do you want me to go and look for her?
CARME
I’m afraid, Borja. Martínez hates me, hates you and could make Isabel pay for it.
BORJA
Don’t be over-dramatic!
CARME
I don’t even want my daughter to be near those people. If Elisenda wants to see her, it will be within these four walls or with us there.
BORJA
But…
CARME
I’m serious. Next time she comes I’ll take her with me.
SC 90 – INSIDE / HOSPITAL / DAY
Carme and Borja are at their daughter’s bedside looking sad and serious. Isabel is being fed intravenously through a needle inserted closed to her wrist. She is lying on the bed with her arm immobilised by a small wooden board. The doctor appears.
DOCTOR
Your daughter has gastroenteritis. The diarrheoa has made her dehydrated.
Carme and Borja are very distressed because of the alarming frequency with which their daughter suffers from this illness.
SC 91 – INSIDE / HOUSE: KITCHEN / DAY
The child plays and runs about the house, touching everything. Borja is getting ready to feed her. He turns his head and can see all of the kitchen with Carme there. With a resigned gesture, he gazes at her.
CARME
(Bored) Damn! I’m fed up with having to follow this diet.
BORJA
(Violently) I’m fed up as well with this life, but we have to do everything we can for the child.
CARME
Actually, you do nothing.
BORJA
I’ve given up lots of things as well.
CARME
Such as?
BORJA
My friends, my ambitions.
CARME
We didn’t expect this to happen. Maybe she gets her allergies from you.
BORJA
Don’t even think it. So now it’s my fault?
Driven to desperation he kicks the table and a glass fish-tank falls to the floor where the fish die. Isabel bursts into tears.
BORJA (again)
Now look what you’ve done with your argumentativeness…
Carme remains silent.
SC 92 – INSIDE / HOUSE / DAY
Lying in bed after making love, Carme tells him a story about her with her mother.
CARME
(Tired of speaking) Now tell me about your mother. You never speak of her.
BORJA
I’m ashamed to talk about my mother because it doesn’t give me the same pleasure it gives you. Being a peasant woman was a punishment for my mother. She had to do the laundry by hand in a stream, beating each piece of a laundry on a rock. And the poor woman took her frustrations out on us.
CARME
(Sceptically) I’m afraid the same thing might happen to me, that is, be unhappy and make my daughter unhappy.
BORJA
Look, apart from the problem of Isabel, we are much luckier. SC 93 – INSIDE / FURTHER EDUCATION COLLEGE / DAY
Carme goes to the toilet and hears the voices of Martínez and Rivero from the adjoining toilet.
MARTINEZ (voice offstage)
Did anyone see you? Did you keep a good look out?
This phrase sounds very familiar to Carme, whose heart starts beating fast.
MARTINEZ (voice offstage)
(Insistently) Are you sure no one saw you?
Martínez turns on the tap so no one can hear him.
RIVERO
I’m sure. (He hands him a small package)
MARTÍNEZ
Come on, lets get down to business. Look, the day after tomorrow I’ll bring you the stuff you have to distribute. We’ll meet here and you bring me the money.
At this point he smells Carme’s perfume, which he knows only too well.
MARTÍNEZ (again)
That perfume…
RIVERO
What?
MARTÍNEZ
That bitch can’t be very far away.
SC 94 – CORRIDOR IN COLLEGE / INSIDE / DAY
Martínez and Carme meet.
MARTÍNEZ
What’s the matter? Why are you looking at me like that?
CARME
No reason.
MARTÍNEZ
Why do you get in my way like this when you’ve already told me that you don’t want to have anything to do with me? You’re playing with fire.
CARME
I’m not frightened by your threats. Besides, I’ve other problems to worry about.
SC 95 – INSIDE / HOUSE / DAY
Carme and Borja chat after breakfast.
BORJA
Carme, I think it would be an idea for my sister to come and look after Isabel for a few days while we go on a small trip. You’re very tense and we need to be on our own.
CARME
You know I don’t like the company your sister keeps.
BORJA
But you’ve seen how it hasn’t led to any problems. Elisenda is very responsible. And Isabel adores her.
CARME
But you must speak to your sister and explain all about Isabel’s diet and above all that she must keep Isabel away from her friends.
SC 96 – OUTSIDE / A STREET IN VITORIA / DAY
Holding hands, they walk along streets lined by historical houses.
CARME
I can’t stop thinking about Isabel. Do you think she’ll be alright?
BORJA
We phoned yesterday. I’m sure Elisenda is taking good care of her.
CARME
Borja, why are you so dependent on your sister? It seems you can’t live without her.
BORJA
Don’t say that or you’ll hurt me. Besides, your family offer to help us even less.
CARME
Yes, that’s true. I can’t rely on my sister at all.
BORJA
Elisenda is going through a rough patch, but she’s a marvellous person.
CARME
Would you go so far as to say that you’re in love with her?
BORJA
Of course I’m not. And what if I was?
CARME
You’d have to choose between us.
BORJA
Don’t say such stupid things. You never used to talk like this.
CARME
Living with a sick child is very difficult. It’s the last thing we expected.
BORJA
As soon as we get back, we’ll phone them again.
SC 97 – INSIDE / ROOM IN THE HOTEL / NIGHT
They each go to different places in the room: she stays on the sofa. Borja comes into the room, opens the window and closes it again because of the cold. He drops onto the bed, confused. He falls asleep. When he wakes up, he goes over to the sofa. Carme isn’t there, but he finds a note from her which tells him that she has gone out for a walk to see the Cathedral again. Borja takes this opportunity to make a phonecall to his sister from their room to find out how his daughter is getting on.
BORJA
Elisenda, how are things going?
A WOMAN’S VOICE ( offstage)
I’m not Elisenda.
BORJA
(Taken aback) I must have dialled the wrong number…
A WOMAN’S VOICE (offstage)
No, you haven’t got the wrong number.
BORJA
Who are you? What are you doing in my house? Where are my sister and my daughter?
A WOMAN’S VOICE (offstage)
Look, Elisenda has had to go out on some business. I don’t know what it’s about. She asked me to look after the child. Don’t worry.
BORJA
O.K. Please take good care of the child.
A WOMAN’S VOICE (offstage)
Don’t worry.
Borja is annoyed with his sister, but thankfully it wasn’t Carme who took the call, he says to himself, putting his hands to his face. Borja speaks to himself out loud, “I wonder where she had to go. I don’t understand why she took on the responsibility, only to let us down!”
SC 98 – OUTSIDE / STREETS IN THE SAME CITY / NIGHT
Borja is looking for Carme. He gets into a bus to go to the city centre, gets off at the wrong stop, and gets onto another. He has to get off because it is now time for nearly all the buses to stop for the night. He takes a taxi which takes him to near the Cathedral. Finally he takes a walk only around the old part of the city as the rain lightly drizzles. He doesn’t find her. He returns, frustrated, to the hotel.
SC 99 – INSIDE / HOTEL / NIGHT
The receptionist doesn’t have a message for him. Nor is the key to the room there. He goes upstairs.
BORJA
(Embraces her) Where were you? You gave me a fright.
CARME
There’s no need to get like that!
Carme takes off her wet dress and stands there in bra and pants. Borja can’t resist the urge to touch her legs.
BORJA
I’m sorry. I’ve been so upset!
Carme gives him an explanation.
SC 100 – FLASHBACK
CARME
When I reached the old part of the city, I noticed that two men were following me. I went into a large department store and locked myself in the toilets for some time. I think I managed to throw them off. Then I was caught by the rain and I got a bit lost and that’s why I was so long getting back to the hotel.
They embrace.
SC 101 – INSIDE / ROOM IN THE HOTEL / NIGHT
BORJA
You could have telephoned.
CARME
(Naked, although her body is not seen completely, and about to get into the shower) I didn’t have any money with me.
Meanwhile Borja drops onto the sofa, tired out. He doesn’t want to say anything to her about the disappointing phone call home when he asked about their daughter, unless she asks him specifically. Carme comes out of the shower drying herself in front of Borja who gets up and takes hold of her round her waist. The end up making love on the bed.
SC 102 – OUTSIDE / ROAD / DAY
They return home via the Zaragoza and Lérida motorway. They come off the motorway. Along a local road in the Lérida province the oil level warning light on the car’s control panel lights up. They stop the car and park on the hard shoulder. Borja opens the bonnet. He takes out the oil-stick and realises that the oil-level is below the minimun level. He bends down to see under the car, and finds a patch of oil and a streak line.
BORJA
How strange! I checked it before we set out!
CARME
What shall we do?
BORJA
I can’t sort it out. We’ll have to find a call box and phone for help.
CARME
(Annoyed, gets out of the car) That’s the last thing we needed!
Borja doesn’t answer.
They walk along and it starts to rain. Borja is hit on the back of his neck by a stone.
BORJA
My God, what was that?
CARME
What was what?
Three men in balaclavas can be seen.
CARME (again)
(Shouts) Borja! Run!
The three men pursue them. They catch them. They take hold of Carme. They threaten them by holding knives to their necks. One of the assailants strikes Borja on the head and falls to the ground. From the ground, as one of their attackers points a gun at him, he can see Carme being raped by the other two. She puts up a struggle, one of the men strikes her violently and she loses consciousness. In the midst of the confusion Borja gets up and he strikes one of the men with a rock and leaves him lying on the ground. The other two flee. Borja goes over to Carme, he helps her but realises that her body is lying in blood. He weeps amidst the blood and rain. The lights of a car can be seen.
SC 103 – INSIDE / HOSPITAL / DAY
Carme is in Intensive Care. Borja can see the doctors and nurses doing everything possible to save her. He is overcome with grief. He is approached by a plain clothes detective.
POLICEMAN
Excuse me, I don’t know if you feel able to speak to me about what happened.
BORJA
Are you going to find them?
POLICEMAN
We will do what we can. I’m Inspector Hernández.
BORJA
Carme… (His eyes fill with tears) I don’t know, I don’t know what happened. Everything happened so quickly.
POLICEMAN
Leave it for now. Of course, as soon as we have information, we’ll take action immediately.
BORJA
I’ve already told everything to the other policeman. There were three of them. One held a knife to me and the others…
POLICEMAN
(Interrupts) The one who held the knife to you, is he the one who was killed?
Borja nods.
POLICEMAN (continues)
What were the circumstances in which you struck him with the rock?
BORJA
They raped my wife in front of me. Maybe they’ve killed her and you question me like that? I’ll only speak with a lawyer present.
The policeman, ashamed, lowers his gaze.
POLICEMAN
I understand. Accept my apology. This is not the proper time for this.
A doctor arrives.
DOCTOR
Mr Pla, I need to speak to you…
SC 104 – OUTSIDE / CEMETERY / DAY
Borja in front of Carme’s grave. He lays down white flowers.
BORJA
(Speaks to himself) I miss you so much!
SC 105 – INSIDE / HOUSE: THE CHILD’S BEDROOM / NIGHT
Borja, looking exhausted, is sitting in a chair beside the child’s bed. He reads her a story. The child is nearly asleep with Borja’s hand held in hers.
Borja leaves the room.
SC 106 – INSIDE / HOUSE: DINING ROOM / NIGHT.
Borja leaves Isabel’s room and sits down at the table which has been laid. Elisenda comes in with a large platter of food. Without speaking, they sadly begin to eat…
SC 107 – FLASHBACK
Borja and Elisenda can be seen on Sultana Farm (it should be located anywhere with wheat fields, fields with poppies, woods of poplar trees) half an hour before the sun sets one day in May, playing at hide-and-seek. Borja, aged nine and in short trousers, hides by lying flat on the ground in the middle of a field of poppies. Elisenda runs and looks for him in the wheat gilded by the sun but she does not find him. She climbs a nearby tree but she does not find him there either.
ELISENDA
I can’t find you, where’ve you hidden yourself?
BORJA (offstage)
Cooee! You won’t find me!
That’s enough for Elisenda to locate him. After a minute she has found him. They roll and tumble through the red and green of the countryside. They get up with their hair all messed and their clothes stained from the poppies.
SC 108 – INSIDE / ELISENDA’S FLAT / DAY
Elisenda bathes Isabel who plays continually with the water making puddles on the floor.
ELISENDA
(Gently, but firmly) Let’s dry you now! It’s time to go to sleep.
ISABEL
I want to see Daddy.
ELISENDA
He’ll be late back, as always… Besides, you’ve got to go to school tomorrow.
SC 109 – INSIDE / ELISENDA’S FLAT / DAY
Elisenda is watching T.V. When Borja arrives.
ELISENDA
(Resentful) You’re always back late. You’re the last word. What were you doing till this hour?
BORJA
(Gently) What do you think I was doing? I was working…
ELISENDA
(Reproachful) At this time?
BORJA
(Reveals details) I’m… I’m working on the investigation.
ELISENDA
(With intention) Ah, that’s it? Is it more important to know who killed Carme than to attend to your daughter?
BORJA
There’s no need to get so upset. Don’t exaggerate!
ELISENDA
Isabel wants you. She asks for you.
BORJA
Fine, fine. I’m here now for her… (pause) Are you sure you’re not seeing Rivero?
ELISENDA
He’s disappeared. Why don’t you find out where he is?
SC 110 – OUTSIDE / BEACH / DAY
It is summer. The scene opens on a beach close to S’Agaró. Elisenda and Isabel are walking along the water’s edge where the surf is breaking. They are clearly happy throwing water at each other. Borja is lying on his towel on a rock. He watches them and feels happy. However when he looks at the sea he remembers…
SC 111 – FLASHBACK
Borja recalls his time at the beach at Llafranch with Carme: he can see Carme’s body coming out of the water dressed in her bikini radiant with happiness and throwing water at Borja.
Carme walks along the water’s edge with Isabel. They both walk with the same rhythm and in an identical way. Borja smiles. Carme’s image mixes with Elisenda’s, who, on the other hand, is very different from Isabel.
SC 112 – OUTSIDE / STREET / DAY
One Sunday Borja is walking with Isabel under the trees in the central park.
BORJA
(When tears start to fill his eyes) Off you go and play.
ISABEL
Go and play?… (Pause) What’s the matter?
BORJA
Nothing, nothing. Look at those swings! Off you go and play and I’ll wait for you here on this bench.
He watches her and weeps. The child returns.
ISABEL
Daddy, I want to see Mummy as well.
Borja embraces her.
SC 113 – OUTSIDE / DIFFERENT PLACES / DAY
Borja starts the car, and drives at top speed along the motorway gripping the steering wheel. He overtakes lots of cars, and continues at high speed till he reaches the place where Carme died.
He goes to a service station. The female attendant fills the tank of his car.
BORJA
Fill it up. (Pause) There was a strange incident here, wasn’t there? A murder?
ATTENDANT
I don’t want any trouble.
BORJA
She was my wife. We had a daughter.
ATTENDANT
The only thing people have mentioned is that one of the assailants walked with a slight limp.
BORJA
Do you know anyone I could speak to?
(Borja showes her a note)
ATTENDANT
No, it’s not because of that. It’s just I don’t know anything else. That’s the truth.
Borja starts the car and parks in the same place where Carme was killed. He cries angrily.
SC 114 – OUTSIDE / STREET / DAY
One afternoon when he is working on an electrical job (laying cables, mounting switches and boilers) Borja has a dizzy attack, loses control and falls to the ground.
SC 115 – INSIDE / FLAT / NIGHT
Elisenda is alarmed when at midnight she sees Borja struggle for breath with foam coming from the corners of his mouth while he sleeps. Elisenda gives him more medication.
SC 116 – INSIDE / COMPANY OFFICES / DAY
Borja is meeting with the Company director.
COMPANY DIRECTOR
You have always been a loyal and conscientious worker… (the director speaks with the false kindness which some people adopt when they have bad news to deliver). As I said, you have always been a conscientious worker, however, Management think it better that you think about your future.
BORJA
(Suspicious of such false kindness). I don’t understand what you’re trying to tell me!
COMPANY DIRECTOR
Look, the best thing for both sides is that you stop working as an electrician because you could have another accident and die.
BORJA
(Angry) You want to sack me? Don’t I do my work well?
COMPANY DIRECTOR
It’s not that!
BORJA
What is it, then!
COMPANY DIRECTOR
Will you please listen!
BORJA
Sacking me is a dirty trick. I need the money for my family. I have a little girl.
COMPANY DIRECTOR
If you leave your work, the company will make you a redundancy payment.
BORJA
(He realises intuitively that arguing will get him nowhere) Alright.
Borja leaves devestated.
SC 117 – INSIDE / OFFICES OF ANOTHER COMPANY / DAY
Borja, who has a lot of free time, is making enquires about people he suspects to be involved in Carme’s death. He starts to spy on Rivero. He waits for him outside his house, he follows him until he goes into business premses near Vilablareix, once past the South Girona slip-road onto the motorway. That afternoon, he is back on his trail. Once the workers have left he speaks with the head of personnel.
HEAD OF PERSONNEL
(Suspicious) With regard to your request, we don’t usually pass that information to anyone who is not authorised.
BORJA
I understand. But this is a matter of utmost importance to my family and myself.
HEAD OF PERSONNEL
I don’t know what to say. Fine. But not a word to anyone. This could create problems for me with Management.
BORJA
Don’t worry! Trust me.
Borja gives him money.
HEAD OF PERSONNEL
What dates are you interested in?
BORJA
Around the last week of April?
HEAD OF PERSONNEL
Rivero didn’t come to work on the 23th, 24th, 25th and 26th of April. Here are his medical lines.
Borja gives his thanks and says goodbye.
SC 118 – INSIDE / FLAT / DAY
With a pile of folded washing, Elisenda passes in front of her brother, who is seated on the sofa. Signs of tension simmer beneath Borja’s apparent tranquillity.
ELISENDA
(Sceptically) Rivero doesn’t seem like a murderer.
BORJA
Maybe he’s not a murderer but his days off coincide with the murder.
ELISENDA
(Annoyed) And what are you going to do?
BORJA
The next step is speak with Laia’s brother.
ELISENDA
Do you think it’s worth it?
BORJA
The truth is I don’t know. Perhaps you’re right and I should drop the whole matter. But I’m going to persist for a bit longer. And Laia’s brother may clear up some things for me.
ELISENDA
Don’t you think Isabel needs you more?
BORJA
Give me time.
SC 119 – INSIDE / ISABEL’S SCHOOL / DAY
TEACHER
Your daughter seems very distracted. She only focuses on the details of my explanations.
BORJA
(Nods) I understand.
TEACHER
She doesn’t like to write much. She prefers talking and this often leads to her interrupting the lesson with impertinent remarks.
BORJA
She’s nervous. She’s the same at home.
TEACHER
She gets impatient when she has to listen to an explanation of any length (Pause). Look, at times she gives me the impression that she is more interested in adults’ problems rather than those of her own age.
BORJA
Yes. She has had a difficult childhood. Her mother was killed and things have always gone against her.
TEACHER
As well as being absent-minded, she is becoming very cheeky.
BORJA
(Murmers aloud) Perhaps I don’t spend enough time with her.
TEACHER
Things can’t go on like this…
The meeting ends and Borja leaves crushed by yet another problem.
SC 120 – INSIDE / A BAR IN “PEDRET” IN GIRONA / DAY
Daniel, ex-junkie and Laia’s brother, and Borja meet in a bar in Pedret from which Rivero’s house can be seen.
BORJA
I know it must be horrible to have to relive that time when you were hooked on drugs.
DANIEL
It was terrible.
BORJA
All I want is for you to help me identify me one of the people that I believe used to sell you drugs.
(While they talk, they do not see Rivero approach them)
Do you remember that guy who had a slight limp?
DANIEL
That bastard is Rivero. He had quite a talent for selling drugs.
RIVERO
(Patting Borja on the shoulder) What serious faces! How are things, you guys? Don’t I look cool today?
DANIEL
We’re not interested in your stupid remarks. Our faces reflect the way we feel.
(Borja looks at Rivero with hatred. Rivero lowers his gaze)
RIVERO
(To Daniel) I’ve got stuff that’s just arrived. Top quality.
DANIEL
I’m not interested. Because of people like you, there are people in a very bad way. Why don’t you stick it up arse and clear off.
(Rivero goes away)
BORJA
(Shouts after him) I won’t stop until Carme’s murderers are locked up.
DANIEL
If I were you, there are some places I wouldn’t go near. They are too violent.
BORJA
And what would you do, Daniel?
DANIEL
What? Do you mean, if I were in your place?
BORJA
No, I mean what would you do in your position.
(Daniel looks at Borja as if saying “That is the last thing I expected!”)
DANIEL
Do you mean you’re going to get mixed up with drugs, criminals, and all that shit so as to confront Martínez? Don’t even consider it.
SC 121 – INSIDE / FLAT / DAY
Borja arrives and finds Rivero in his sister’s bedroom.
RIVERO
Hi, Borja! What wind blew you in?
BORJA
What are you doing here?
ELISENDA
Borja, this is my house as well, you know.
BORJA
Elisenda, tell this creep to clear off.
RIVERO
Be realistic! She wants me to stay here.
(Borja throws him a sarcastic look as if to say “you’re the joker in the pack!”)
BORJA
You’ll pay me for this, you bastard!
RIVERO
(With an expression as if saying I can do what I want when I want)
Have you got a problem with me?
BORJA
You know full well. And I’m not the kind to stand with my arms folded after my nearest and dearest has been murdered.
RIVERO
I don’t give a fig what you do or think.. I did nothing to you. And don’t spy on me.
BORJA
We’ll see. (He makes to leave) I’ll leave you on your own.
RIVERO
(Angrily) Look mate, why don’t you spend your time on something more profitable, like looking for work or getting a bird. (Threatening) I won’t tell you again. Clear off!
He punches the wall twice, runs off and punches the wall hard outside on the stair.
SC 122 – FLASHBACK : OUTSIDE / STREET / NIGHT
Borja as a youth, Rivero, Mas, Riera and other companions are eating slices of pizza. As they are about to go into a pub, a red sports car appears.
RIVERO
That’s Martínez’ car.
JOSEP RIERA
But he always walks to the college!
RIVERO
He’s a guy who’s totally different outside the college from what he is inside.
MAS
Dr Jekyll and Mr Hyde!
They go into the pub. They come out of the pub. They are all drunk except Borja. Mas is covered in bruises and his clothes are in disarray.
RIVERO
You fool, Mas! Why the hell did you get involved in the fight when it had nothing to do with you?
MAS
All I know is that someone trod on my foot… I honestly don’t know how I got involved.
RIVERO
I don’t know. I don’t know. You’re an imbecile!
MAS
Before I knew it. I was throwing punches left and right. And receiving them! Christ!
Borja sees a young woman who is looking at him intensely as if she wants to tell him something he can’t decipher. She looks at him again and when she goes to speak to him, a man with his face well covered up forces her to walk towards the red car which drives off making the tyres squeal on the asphalt. Borja moves away from the group and follows the direction of the car. When he turns into the next street, he finds a body thrown onto the road, he goes towards it and in the light from the street lamp he sees that it is the girl from before.
BORJA
Are you alright?
GIRL
Who are you?
BORJA
Can I help you?
GIRL
(Angry) Shut up and mind your own business. The bastard threw me out of his car when it was going fast.
BORJA
But, why?
GIRL
I don’t know and it’s better you don’t get involved. Just help me get to a taxi.
BORJA
Do you want me to come with you?
The girl tells him no, but she is unable to walk. Borja stops a taxi and they get in.
SC 124 – OUTSIDE / IN FRONT OF THE BUILDING IN BARCELONA WHERE THE GIRL HE IS LOOKING FOR LIVES / DAY
Borja pulls an anxious face. He presses with his finger a small beige coloured button next to the name: Susi Trias.
Close-up of the entry phone.
SUSI
Who is it?
Borja stoops to speak into the entry phone.
BORJA
I’m Borja, a friend of yours from Girona… Yours neighbours gave me your address.
SUSI (voice offstage)
From Girona? I don’t know anyone there.
BORJA
(Insistent) You do know me. Besides, you’ve no reason to be afraid of anything. Don’t you remember the guy who found you the day you were dumped out of the red car? That’s me.
SUSI
(Doubtfully) Alright, come in.
The buzzer sounds, opening the main door to the flats.
SC 125 – INSIDE / VIEW OF THE FLATS WHERE SUSI LIVES / DAY
Borja closes the lift door. He walks along the corridor and finds the door to Susi’s flat. He rings the bell. The door opens and Susi appears, dressed in the clothes she wears around the house.
SC 126 – INSIDE / SUSI’S FLAT / DAY
BORJA
Hello, I’m sorry to bother you like this…
Susi looks over Borja’s shoulder, fearfully.
BORJA (again)
There’s no one with me. Can I come in?
SUSI
Well hurry up and come in.
She closes the door with a bang.
SUSI (again)
What have you come about?
BORJA
I think we have an enemy in common: Martínez.
SUSI
Look, I don’t want to know anything about that man.
BORJA
So why were you with him?
SUSI
That’s got nothing to do with you. All I want to know about him is that he’s at the other end of the world. And perhaps not even that.
BORJA
He can’t go away because he’s in prison.
SUSI
It’s strange how a big fish in the drug world gets caught. And if he’s in jail now, what would you want with him?
BORJA
I think he’s something to do with my wife’s death.
SUSI
Look, I’ve nothing to do with your wife’s death.
BORJA
It’s not that. He wasn’t directly responsible -he hired her killer. Who is Martínez?
SUSI
He’s a murderer capable of killing a teacher off work through illness. The real Martínez was a man about his age, without a family, who looked very like him. Besides he had plastic surgery done and he was really good at forging signatures.
BORJA
How did he manage to go back to work as a teacher if the real Martínez was dead?
SUSI
He didn’t do anything. Everyone believed he was the previous teacher. No one rumbled him.
BORJA
Except Carme. She knew! And he was blackmailing her!
SUSI
And that’s why he had to kill her. (She lights a cigarette and draws on it heavily. She continues speaking). Have you got any children? Have you got money to finance the investigation? You can buy everyone with money.
SEC 127 – INSIDE / ELISENDA’S FLAT / NIGHT
Isabel arrives.Elisenda is sitting on the sofa having a drink with Rivero.
ISABEL
Where’s my dad?
ELISENDA
Your father’s the limit.
ISABEL
Where is he today?
ELISENDA
He’s in Barcelona. He told me he was going to see a lady friend of his.
ISABEL
I want him to come back before I go to sleep.
RIVERO
(To Elisenda) Excuse me while I make a phone call.
Rivero takes out his mobile phone and moves away from them. He moves off to the balcony where he is sure that no one can hear him.
SEC 126 BIS (CONTINUATION OF 126)
SUSI
And would you go so far as to sell your house? Perhaps you would lose everything…
BORJA
I don’t know. Can I rely on you? (He smiles) Not for the money.
SUSI
(She states firmly) I owe you it. If it hadn’t been for you…
SEC 128 – OUTSIDE / STREETS OF GIRONA / NIGHT
As he comes out of Girona Station. Borja is accosted by four skinheads.
ONE SKIN
Hey, where are you off to, mate? Don’t you remember me, Jorge, from the College? BORJA
I’m in a hurry. I’ve got to go.
(He sees the threatening looks and gestures of the skinheads and races off)
ONE SKIN
Don’t let him get away, get him.
Borja runs in terror. They are close behind him. A flickknife gets him in one arm. Borja, holding his arm, reaches the army barracks further up and loses them in an alley. He is leaning against a telephone kiosk when he notices that he is having a dizzy spell. He puts a Tegretol tablet in his mouth and swallows it. He recovers and makes a telephone call. He hears the answermachine at the other end.
BORJA
Susi I hope you’re well. Take care. They’re following me. Phone me at home to let me know you’re alright.
SEC 129 – INSIDE / BORJA’S FLAT / NIGHT
Borja arrives, clearly upset. He sees Elisenda with Rivero. The latter is surprised when he sees Borja come in.
ELISENDA
What’s happened? What did they do to you? Who was that woman from Barcelona?
(Borja looks at her. Then he looks at Rivero)
BORJA
How long has he been here?
ELISENDA
Borja, please.
BORJA
Four men were waiting for me at the station. If I hadn’t run like hell, I wouldn’t be here to tell the tale.
Elisenda looks at Rivero.
RIVERO
I’ve been here all the time!
ELISENDA
Why don’t you and your friends go to hell!
(She leaves)
Borja goes to hurl himself at Rivero, but the latter wards him off with his arm.
RIVERO
Calm down. Think about your daughter.
Elisenda comes back.
ELISENDA
(To Rivero) You clear out and don’t come near any of my family again!
Rivero pulls a sneering face and leaves.
Elisenda and Borja look at each other. Elisenda goes to him and embraces him.
ELISENDA
Forgive me.
BORJA
Now we must take care of ourselves. Never leave Isabel on her own.
ELISENDA
Borja, what happened today isn’t the worst of it.
BORJA
What are you hiding from me?
ELISENDA
Rivero knew you were in Barcelona.
BORJA
And did he also know that Carme and I had gone on a trip?
Elisenda, tearful, nods agreement.
BORJA ( continues to speak)
Did he know we were in Vitoria?
ELISENDA
I’m sorry. Yes, he did.
Elisenda bursts into tears.
BORJA
(Borja sits her on his knees and tries to comfort her)
There’s nothing we can do about it now!
ELISENDA
(Feeling guilty, she begs him to believe her)
I didn’t mean to do you any harm!
© del Script: Joan Guerola
*********
2 REJOICE IN THE LAMB
Benjamin Britten
Versió catalana a cura de Joan Guerola
©de la traducció: Joan Guerola,
Text
from JUBILATE AGNO by Christopher Smart
Rejoice in God, O ye Tongues; give the glory to the Lord, and the Lam b. Nations, and languages, and every Creature, in which is the breath of Life. Let man and beast appear befare him, and magnify his name together.
Let Nimrod, the mighty hunter, bind a Leopard to the altar, and conseaate his spear to the Lord.
Let Ishmael dedicate a Tyger, and give praise for the liberty in which the Lord has let him at large.
Let Balaam appear with an Ass, and bless the Lord his people and his creatures for a reward eternal.
Let Daniel come forth with a Lion, and praise God with all his might through faith in Christ J esus.
Let lthamar minister with a Chamois, and bless the name of Him, chac cloatheth the naked.
Let Jakim with the Satyr bless God in the dance.
Let David bless with che Bear – The beginning of victory to the Lord – to the Lord the perfeaion of excellence – H allelujah from che heart of God, and from the hand of the artist inimitab le, and from che echo of the heavenly harp in sweetness magnifica! and mighty.
TREBLE SOLO
For I will consider my Cat J eoffry.
For he is the servant of the Living God, duly and daily serving him.
For at the first glance of the glory of God in the East he worships in his way. For chis is done by wreathing his body seven times round wich elegant quick ness.
For he knows that God is his Saviour.
For God has blessed him in the variety of his movements. For there is nothing sweeter than his peace when at rest.
For I am possessed of a cat, surpassing in beauty, from whom I ta e occasion to less Almighty G od.
ALTO SOLO
For the Mouse is a creature of great personal valour.
For – this a true case – Cat takes female mouse – male mouse will not depart, but stands threat’ning and daring.
…If you will let her go, I will engage you, as prodigious a creature as you are. For the Mouse is a creature of great personal valour .
For the Mouse is of an hospitable disposition.
TENOR SOLO
For che flowers are great blessings.
For che ílowers their angels even che words of God’s Creation. For che ílower glorifies God and che root parries che adversary. For there is a language of ílowers.
For ílowers are peculiarly che poetry of Ch rist.
CHORUS
For I am under che same accusation with my Saviour For they said, he is besides himself.
Fot the officers of the peace are at variance with me, and che watchman smites me with his staff.
For Silly fellow! Silly fellow! is against me and belongeth neither to me nor to my family.
For I am in twelve HARDSHIPS, but he that was born of a virgin shall deliver me
out of all.
RECITATIVE (BASS SOLO) ANO CHORUS
For H is a spirit and therefore he is G od. For K is king and therefore he is God.
For L is love and therefore he is God.
For M is musick and therefore he is God. For che instruments are by their rhimes.
For the Shawm rhimes are lawn fawn moon boon and the like. For the harp rhimes are sing ring string and the like.
For the cymbal rhimes are bell well toll soul and the like. For che flute rhimes are tooth youth suit mute and che like. Fot hte Bassoon rhimes are pass class and che like .
For the dulcimer rhimes are grace place beat heat and the like. For the Clarinet rhimes are clean seen and the like .
For the trumpet rhimes are sound bound soar more and che like .
For the TR UMPET of God is a blessed intelligence and so are all che instruments in H EAVEN .
For GOD che father Almighty plays upon . the HARP of stupendous magnitude and melody.
For at that time malignity ceases and the devils themselves are at peace.
For this time is perceptible to man by a remarkable stillness and serenity of sould.
CHORUS
Hallelujah from che heart of God, and from che hand of che arcist inim itable , and from the echo of the heavenly harp in sweemess magnifica! and mighty.
REJOICE IN THE LAMB (alegreu-vos amb l’anyell)
COR
Alegreu-vos amb Déu, oh sí, llengües; glorifiqueu Déu i l’ anyell. Nacions, i llenguatges, i cada criatura en la qual hi ha l’ale de la vida.
Deixeu que l’home i la bestia apareguin davant seu i que magnifiquin el seu nom JUnts.
Deixeu a Nimrod, el poderós ca\ador, que ofereixi un Lleopard a l’altar i que
consagri la seva llan\a al Senyor. ·
Deixeu que Ismael ofereixi un Tigre i 1101 el Senyor que ha tingut abé de deixar-lo lliure.
Deixeu que Balaain aparegui amb un Ase i que el Senyor beneeixi la seva gene i les seves criatures per a la recompensa eterna.
Deixeu que Daniel s’avanci amb un Lleó i alabi Déu amb tot el seu poder a través de la fe en Jesucrist.
Deixeu que comparegui el ministre lthamar amb un Isard i que beneeixi el nom
d’ Aquell que ha vestir el despullar.
Deixeu que Jakim amb el Satir beneeixi Déu amb la dansa.
Deixeu que David amb l’Os beneeixi en el Senyor -en el principi de la viaoria de Déu- la perfecció i la seva exceHencia.
AHeluia des del cor de Déu, i des de la ma de l’artista inimitable, i des del ressó de
l’arpa celestial, amb una magnífica i poderosa dolcesa.
SOLO DE SOPRANO
Jo valoro el meu gat Jeoffry per molts motius:
Perque és el servent de Déu Vivent al qual serveix sempre obedientment. Perque al primer esclat de la gloria de. Déu, l’adora voltant el seu cos set vegades amb elegant llestesa.
Perque sap que Déu és el seu Salvador.
Perque Déu li ha atorgar la gran varietat dels seus moviments. Perque no hi ha res més dol\ que la pau que despren quan descansa.
Perque jo posseeixo un gat d’una bellesa incomparable, perla qual cosa jo beneeixo el Déu totpoderós.
SOLO DE CONTRALT
La rata és una criatura de gran valor personal:
Perque -és un relat verirable- quan el gat agafa la rata femella, la rata mascle no marxa sinó que roman dreta, amena\adora i auda\.
…Si permets que ella marxi, jo m’ocuparé de tu, és una criatura tan prodigiosa com ets ru.
Perque la rata és una criatura de gran valor personal.
Perque la rata .té un taranna hospitalari.
SOLO DE TENOR
Les flors són una gran benedicció:
Perque les flors igualen els angels en la seva grandesa, segons les paraules del Senyor.
Perque la flor glorifica Déu i l’arrel deté l’adversari.
Perque hi ha un llenguatge de les flors.
Perque les flors són propies de la poesia de Crist.
COR
Jo estic sota la mateixa acusació que el rneu Salvador:
Perque varen dir que és un dement.
Perque els dignataris de la pau estan en desacord arnb mi i el guardia em colpeja amb el seu bastó.
Perque aquest imbecil!, aquest irnbecíl!, esta contra mi i ni és amic meu ni de la meva família.
Perque jo pateixo dotze inforrunis, pero el que ha nascut d’una verge me’n deslliu
rara.
RECITATIU (SOLO DE BAIX I COR)
Perque H és un esperit i, per tant, és Déu. Perque R és rei i, per tant, és Déu.
Perque A és amor i, per tant, és Déu. Perque M és música i, per tant, és D éu.
Perque tots els instruments posseeixen els seus sons:
Perque els sons de la dol aina són “lawn, fawn, moon, boon” i altres de semblants.
Perque els .sons de l’arpa són “sing, ring, scring” i altres de semblants. Perque els sons del címbal són “bell, well, toll soul” i altres de semblants.
Perque els sons de la flauta són “rooth, youth, suit, mute” i altres de semblants. Perque els sons del fagot són “pass, class” i altres de semblants.
Perque els sons del saltiri són “grace, place, beat, heat” i altres de semblants. Perque els sons del clarinet són “clean, seen” i altres de semblants.
Perque els sons de la trompeta són “sound, bound, soar, more” i altres de semblants.
Perque la trompeta de Déu és una perfecta harmonia i per aixo tots els instruments tenen cabuda en el cel.
COR
AHeluia des del cor de Déu, i des de la ma de l’artista inimitable, i des del ressó de
l’arpa celestial, amb una magnífica i poderosa dolcesa.
© de la traducció: Joan Guerola
******
