You+make+me+real

YOU MAKE ME REAL
by
Olga M. Petrof
I really want you really do
Really need you baby
God knows I do
'Cause I'm not real enough without you
Oh
What can I do
You make me real
You make me feel like lovers feel
You make me throw away mistaken misery
Make me free
Love
Make me free
Jim Morrison

1.
FADE IN:
THE MOVIE ACTION TAKES PLACE IN NYC.
1 INT. METROPOLITAN OPERA THE SPECTACLE 1
The auditorium is filled to the last seat. On the stage
the finale of "INCENTIVE" in the original choreography of
the famous soloist dancer Michael LAYTON, and the music of
the young, talented composer who Michael met after one of
his concerts.
RETROSPECTION
A view of the concert hall. Michael and Lucille are
sitting in the lodge. Symphony orchestra conducted by a
young composer. Michael listens to the music in
concentration, but Lucille is a little bored, yawns
discreetly. After the end of the concerto, Michael claps
like a madman. They go with Lucille backstage. Michael
presses forward, holding Lucille's hand. In front of the
dressing-room stands a guy.
MICHAEL
I'm Michael Layton. I'd like to
talk for a moment with the
composer, if it's not a problem.
GUY
Please wait a moment.
The guy disappears behind the door.
Cameraman's shot in the interior of the dressing-room.
GUY
Guess who's behind the door,
Jose?
JOSÉ
Well, who ..?
GUY
Michael Layton, can you
imagine..he wants to talk to you.
JOSÉ
You're kidding me..! Let him in,
right now!
The guy comes out of the dressing-room and looking
around, picks out Michael and Lucille, among the waiting
guests. He walks up to them.
GUY
I invite you to come inside.
Please, follow me.
(CONTINUED)

2.
CONTINUED RETROSPECTION
The man goes ahead, and Michael follows him with Lucille.
He opens the door. They go inside, and he goes out,
closing the door behind him.
Michael walks over to the young composer, with a smile and
an outstretched hand.
MICHAEL
I'm Michael Layton..
The young man greets Michael, who presents Lucille.
JOSÉ
Of course I know who you are, Mr.
Layton. My name's José Martinez.
MICHAEL
My girlfriend, Lucille.
JOSÉ
I am pleased to..
MICHAEL
The concert was sensational. This
kind of music is right up my
street.
JOSÉ
Thank you. Maybe I'll say a
few words about it.
Michael nods.
JOSÉ
My music incorporates a wide
range of influences from
Colombian folk. I use it to
compose avant-garde art music.
There's also bits of heavy
metal, progressive rock and
electronica in it. I try to
create a personal palette of
sound. At the moment my works
cover pieces for a variety of
ensembles including an
orchestra, string quintet,
saxophone quartet. . Well,
that's all. I hope I didn't bore
you, to tears!?
(CONTINUED)

3.
CONTINUED RETROSPECTION
MICHAEL
Absolutely not. This music of
yours is genuinely avant-garde
and sounds just perfect.(Pause)I
have a kind of suggestion for
you. Can we talk about this, in
quieter circumstances?
JOSÉ
Please don't keep me in suspense
Mr Layton..
MICHAEL
Maybe you want to compose
something for me, in the new
season?
JOSÉ
Right away I say..yes!, but I
really should discuss the finer
points with a calm head.
MICHAEL
For the time being, we should
just stick with the idea . We'll
be in touch, and I'm already
looking forward to our future
cooperation.
JOSÉ
And for me, it's a real honor, Sir.
MICHAEL
(smiles)
Just call me Michael..
JOSÉ
(shyly)
Michael..
MICHAEL
See you soon.
JOSÉ
Yes, not before long. I hope.
Michael and Lucille then say goodbye, and go out.
THE END OF RETROSPECTION
(CONTINUED)

4.
1 CONTINUED 1
He dances as the famous soloist Michael Layton. Age 36.
Height 175-178. Very slim, muscular, physique typical for
a dancer. Longish dark hair tied back. Extremely handsome,
with a slightly camp look. Dressed in a black shiny
costume. On the left arm and right leg, a decorative
design extends, in navy blue and blue rhombuses with white
contours. The same is on the left arm, and this encroaches
slightly on his neck, and on the right thigh, and this
encroaches partly on the abdomen and back.
The performance has ended. The audience claps wildly,
people get up from their seats. Applause continues.
Flowers are raining on the stage. The main transition,
girls are running, putting baskets of flowers on the
proscenium. All the spectators chant:
-Mi-cha-el Mi-cha-el Mi-cha-el !!
The curtain rises.
Michael Layton comes out on stage, and bows to the
audience, the applause intensifies.
A couple of girls are running towards the stage. One of
them reaches out her hands in his direction, almost
crying:
-Michael !! I love you!- Michael !!
The dancer approaches the girl, squats, and strokes her
cheek, causing a light outburst of hysteria.
He bows again, and disappears behind the stage.
2 INT. METROPOLITAN OPERA - DRESSING ROOM - NIGHT 2
Michael Layton enters the dressing-room and sinks into an
armchair.
His current girlfriend Lucille enters and kisses him
lightly on the lips.
A not particularly tall blonde girl, slim, age 30. In
evening gown. A little too intense.
LUCILLE
Tired? You were brilliant,
but that's not all for today.
The mayor's wife is waiting, and
that writer, Burns..
MICHAEL
OK baby, let's get this over
with.
She walks over, opens the door, and behind it, a crowd of
famous people, all hoping for a conversation and maybe
for Michael to accept an invitation to dinner or a party.
(CONTINUED)
(CONTINUED)

5.
2 CONTINUED 2
The first is the mayor's wife. Middle-aged woman. Very
neat, in an expensive evening creation. Long hair in a
natural color, piled high in a complicated pyramid. In
her ears diamond earrings, a necklace, making up a set.
MAYOR'S WIFE
You were simply peerless, what a
brilliant interpretation. Ah!
Delightful as always, but today
you really were king of this
stage!
Michael receives the compliments, sprawled in an armchair,
bored, with the air of an impatient child. The girlfriend
kisses him again and again, which makes him just a little
happier, so he slightly leans parts of his face to the
kisses. Meanwhile, he removes his make-up. Changes his
clothes. They come out of the theater.
CUT TO:
3 EXT. IN FRONT OF METROPOLITAN - THE SAME NIGHT 3
Limo pulls up with a chauffeur, and in the open window
appears a young man's head.
A man who looks around 35 years old, handsome, accustomed
to luxury. His quite long wavy blonde hair, hangs down
carelessly. However, it's a well-groomed hairstyle of a
trendy stylist. In the chic, costly clothes of a famous
designer.
OLIVIER
Hey y'all..jump in..As always
I've something good to drink,
and a bit of haze. Are we
going to some club?
4 INT.OLIVIER'S LIMO - THE SAME NIGHT 4
MICHAEL
(Approaching the limo with Lucille)
No, this time we're going to my
place. A couple of VIPs have
invited themselves.
They get into the limo of Olivier Burnett II, a man with
family connections from the old country. A rich celebrity,
a raver and a heart breaker.
He has been friends with Michael for a long time.
OLIVIER
Lucille, how are you, darling?
If you want to abandon him..I'm
immediately at your disposal.
(CONTINUED)

6.
4 CONTINUED 4
MICHAEL
Olly, would you be so kind, and
not hit on her, at least in my
presence.
LUCILLE
I never had any delusions that
Mickey treated this even
slightly more seriously.
They reach the destination, and get out.
CUT TO:
5 INT. MICHAEL'S HOME - HIS APPARTMENT - NIGHT 5
MICHAEL
I have to go upstairs to Carl.
Let him refill us, as always.
Carlos, the dark-haired Southerner. He has slightly longer
straight hair slicked-back. Age: looks around 27.
Handsome, kind of macho. He dresses in fancy, a little too
colorful, patterned shirts. He's an actor and moonlights
as a bartender, living on the top floor.
MICHAEL (CONT'D)
(He knocks loudly, real thumps)
Carl, you're there, bro..open up..
(You can hear, that someone
is walking down the hall)
Carlos opens the door.
MICHAEL
Hi, will you prepare us drinks
tonight, baby..
CARLOS
Oh, it's always at the last
minute. Okay, I'm just about free.
MICHAEL
So come down quickly, cause in my
studio there's already a mass of
people.
Regulars and guests, at quick tempo, fill up Michael's
loft on the North 7th.
Very large interior. Michael bought the furniture and
accessories in antique shops, at closeouts and flea
markets.
At first glance, the whole interior is an impressively
motley collection.
(CONTINUED)

7.
5 CONTINUED 5
But everything is decorated with taste and style. With a
bedroom separated by a fancy screen, and a kitchen and a
bathroom in separate locations. At the rear, there is a
small guest-room.
Buddies and friends look after themselves. Pouring drinks,
they rule in the kitchen.
Michael doesn't care too much for it all. He's looking
around, he searches for new faces. Then a young guy falls
into his eye line, about 22, with big blue eyes. He nods
at him, and almost runs over..
MICHAEL
What's your name blue-eyes? Come
sit with me.
BOY
I'm Andreas.
MICHAEL
Drink a Martini with me, Andreas!
Michael gets up, walks over to his girlfriend, hugs her
and goes to the kitchen.
MICHAEL(CONT'D)
Prepare us two Martinis sweetie,
please..
Lucille does not protest, she's accustomed to similar
situations. With a smile she goes to the table full of
bottles.
LUCILLE
Sure, two Martinis. Already
done, honey.
Michael returns to the boy. After a while, Lucille brings
drinks and Michael gives the boy a glass of Martini. He
encourages him to drink, and then hands him a joint,
which he had just rolled himself and had already taken
two drags from.
MICHAEL
Have a smoke of this. Do you
like the Martini?
The boy just nods, takes the joint, and at the same time,
he's drinking from a glass and one can see, that this is
nothing new for him.
Mike gets him a little drunk, and without further ado,
pulls him into the other room, to which Andreas agrees
without much protest.(Indicating that Michael is bisexual)
CUT TO:

8.
6 INT. ANOTHER DAY MIKE'S APP. - MORNING 6
Last night Michael drank too much. As usual the anguish of
a hangover. Aching to be in better condition.
CUT TO:
7 INT. SAME DAY - PRACTICE HALL SCHOOL BALLET - MORNING 7
Dancing (showing a fragment of dance from the final scene.
Take into account the actor's capabilities). He has a
break and rests, and at this point girls from the School
of Ballet run up to him. Each of them has Mike's photo.
Squealing and giggling, they beg for autographs.
GIRLS
For Alison! Yes..yes and for
blonde.Sylvie! Maybe me..as well
?..for Martha! Thank you, Sir!
Michael is smiling. The girls run out, in their training
tights and short stiff skirts. Behind the glass door
stands an older girl of about 26 years, very beautiful
Michael nods at her and she enters.
MICHAEL
Do you want an autograph too?
What's your name?
GIRL
Adela..Carew no, I was just
watching, how to dance at the
highest level.
MICHAEL
Are you a student?
She looks around and laughs softly.
ADELA
No, I no longer have a contract
with the theater. I finished
school quite some time ago. From
now on, I'll give classes to the
youngest students. I’ll earn a
bit of money, I hope.
MICHAEL
I was leading a class in Modern
dance here,. You're starting
work, and just a few days ago, I
gave up. This is taking up too
much time. I think that as of
yet, you're not going to throw
me out.(laughs)
(CONTINUED)

9.
7 CONTINUED 7
ADELA
Oh, I also hope that you'll be
here as long as possible. Do you
know how many fans you have here?
When are the final rehearsals?
Because hardly anyone of us can
afford a ticket to the
Metropolitan.
MICHAEL
Adela, would you like to come to
my party?
ADELA
You're inviting me, to a party?
Sure, I'll come, with pleasure
MICHAEL
Great!..
On the piano there is an open newspaper.
MICHAEL
I just read the reviews. They're
pretty good.
ADELA
You..with weak reviews..
Michael walks up to the bag lying on the ground against
the wall, pulls out a cell phone and gives it to Adela
MICHAEL
Give me your phone number.
She punches out her number, and gives him back the phone.
ADELA
So long.!
She smiles and goes out.
MICHAEL
See you..I'll call you back!!
She turns at the door and waves her hand. He's still
training (short scene)
CUT TO:

10.
8 CLUBBING - NIGHT BY NIGHT 8
With friends, he wanders around clubs most often in
Williamsburg, where he lives. The district has become
fashionable. More and more artists are buying lofts and
studios there. Michael recently met some new friends. The
known painter, Cuba and a playwright, nicknamed Dodo,
whose plays are performed at Off-Broadway. Michael
participates in many clubbing escapades. Coke and weed,
seasoned strongly with alcohol, are dominant here.
DODO
Enough, for today. I'll go get
some sleep, because I'm flaking
out right now.
MICHAEL
Don't leave us sunshine..until
the far away morning.
CUBA
You're a professional dancer,
you've got the constitution of
an ox. Not like us weaklings.
Besides, girls don't interest
me, not in that way. You've been
off form lately, man! There's
usually a trail of cute boys
from school dragging behind
you..
MICHAEL
I'll shape up, next time..
It's approx. 3 am. Everybody's starting to move around
unsteadily, yawning.
9 INT. MICHAEL'S APP. - NEXT MORNING 9
Next morning, Michael is not feeling well, in order to be
in a better condition he snorts a line. During a jump, he
lands badly, and strains a tendon. With his face contorted
with pain, he returns to the dressing room, and after a
few failed attempts restores his foot to a condition in
which he can continue training, he gives up and drives to
a therapist friend.
10 INT. MASSAGE PARLOUR - LATTER 10
Sergei, a Russian fugitive, a former therapist and masseur
for the Soviet National Athletics Team. Man who looks 50
ish, balding, not very tall, but heavily muscled.
MICHAEL
Sergey, help! I hope that it's
not a ruptured Achilles tendon
on my right side, it hurts more
than usual.
(CONTINUED)

11.
10 CONTINUED 10
SERGEY
I'll take a look at it, but what
happened yesterday to our
champion, that affects our
little injury today
MICHAEL
You don't have to philosophize,
just do something about it.
CUT TO:
11 INT. MICHAEL'S CAR - LATTER 11
Michael puts on earphones, and calls Olivier.
MICHAEL
Hi Olly, for a few days I'm out
of circulation. They will put
something else on the poster,
until my knee injury has healed
I have some time off. I want to
invite Adela to my place..
OLIVIER
Two questions sweetheart..what
is this knee injury and who is
this Adela? Did you catch a
fresh birdie?
MICHAEL
Injury, well..by and large
nothing dangerous. Achilles in
the right leg. And when it comes
to Adela..yes. The freshest
birdie possible. I met her a few
days ago at the school. Olly, I
want to organize a party at my
place. This time..no VIPs. Only
friends and buddies. You have a
special invitation.
OLIVIER(O.S.)
Thanks man, and when..?
MICHAEL
Well..I would do it this evening.
(
OLIVIER(O.S.)
In a hurry ?
MICHAEL
You guessed it! Will you come?
(CONTINUED)

12.
11 CONTINUED 11
OLIVIER
Absolutely! I can't miss out
on this event.
MICHAEL
So, see you in the evening.
OLIVIER(O.S.)
Evening wear obligatory.
MICHAEL
As far as I'm concerned, you
can come naked.
OLIVIER
He..he, don't tempt me..Bye,
sweetie.
They disconnect. Michael makes a call to Adela. She sees
an unknown number in the cellphone and hesitates for a
moment. Finally she picks up.
MICHAEL
Adela hello. It's Michael here.
I thought that you weren't going
to answer.
ADELA
Unknown numbers, I get
indecisive ..
MICHAEL
Sure, this wasn't exactly
thought through. Also, you
should add my phone number.
ADELA
Yes.. you're right.
MICHAEL
Will you come to my place
tonight Adela ? Forgive me for
calling so late. Maybe you have
some plans for tonight?
At the other end of the phone, the silence lasts a long
time, until finally..
ADELA
Yes I'll come. Sure. Thanks for
the invitation.
MICHAEL
I'll send you an MMS map, because
it's a bit out of the way. East
Williamsburg. Beginning at 9 pm.
(CONTINUED)

13.
11 CONTINUED 11
Michael drives up under the house, open the gate and runs
up two stairs at a time.
12 INT. MICHAEL'S APP. - LATTER 12
Carlos, unusually, has been informed about the plans
earlier, and is already bustling around the kitchen,
preparing snacks.
MICHAEL
(he laughs, entering)
Fall over yourself tonight,
Carl.!
CARLOS
(sarcastically)
In advance, my dear master calls.
Can he get the full service, and
will there also be someone
special today? I see the usual
suspects, so it must be about a
girl? am I right? Or is it
someone without tits ?
MICHAEL
Indeed, it's about boobs, pal.
CARLOS
Well then..who's your catch this
time?
Today, no fuss. Part of the furniture, dressed casually.
Men in blue jeans, women much more elegant, cocktail
dresses and fancy blouses. Visitors know where they should
put their glasses, someone pulls out a container with ice,
chattering, pouring drinks, generally relaxed and friendly
atmosphere.
Michael walks slowly among friends, responds to taunts and
jokes and waits impatiently for her.
GUEST 1
Mickey..You're shifting from one
foot to the other
GUEST 2
If she doesn't get here soon, in
all probability he'll explode.
Michael just smiles and rolls his eyes, as though
disapprovingly.
(CONTINUED)

14.
12 CONTINUED 12
In the end..the doorbell rings and Adela stands in the
doorway. She's wearing a short flared skirt and a tight
blouse with a round neck, emphasizing her curves. It's a
sexy and quite provocative outfit.
MICHAEL
(he opens the door widely)
Hi! come in please. I hope that
you found your way without any
problem?
ADELA
(she laughs, enters)
Hi, actually there were
problems. A novice taxi driver,
wasn't too good a situation. We
drove around and around..
MICHAEL
(gently touches her hair)
You look great!
She blushes slightly, and Michael passes to a full
frontal attack and oozes all his charm. He shows his
teeth in his smile, slightly tilts his head and a dark
lock of hair falls down onto his forehead.
MICHAEL(CONT'D)
(accusingly)
I've been waiting so long.
What a torment..You're late!
ADELA
Ah..it's because of this taxi
driver.
MICHAEL
(embraces her waist and pulls
them slightly toward each other)
Come with me, you can meet a few
of my friends. I have plans for
you, baby..
He whispers, touching his lips to her
ear.
Adela feels the thrill. She can't contain herself, which
has been noticed, and brings a slight smile to his lips.
ADELA
(speaks a little unconsciously)
Plans..what plans?
(CONTINUED)
(CONTINUED)

15.
12 CONTINUED 12
Most people are gathered, as usual, near the watering
hole, in other words, in the kitchen. Someone is asking
Carlos about the next round of drinks. People sit wherever
they can, even on the table. Their babbling can be heard
one to another. Michael enters with Adela.
MICHAEL
Listen up everybody! (raises his
hand) Hello !!
A few people finally react, raising their heads up from
their glasses.
MICHAEL
(raises his voice significantly)
This is my new friend Adela. Now
she is my only friend..folks.
She's a ballerina, imagine..
A murmur of appreciation extends around the room. In
actual recognition, or to ingratiate themselves with
Michael. Some smile to themselves , the insincerity
significant. Two guys are standing by the wall,
commenting:
GUEST 1
Easy prey, how many before her
and how many after her..
GUEST 2
Yes, Mick is so fickle with his
feelings. Lucille is crazy about
him, and look how he treats her.
Recently, in front of her, he
went to bed with a boy.
GUEST 1
It doesn't matter, boy or girl,
what's essential is a pretty face,
and the rest...
GUEST 2
(chuckling ironically)
Yep..but what he uses for
himself, is his. Look at this
girl, damn..the guy has great
taste.
GUEST 1
Uh..the girl is really hot, and
well..she's a dancer. Imagine
what such a supple girl can do
in the sack?
(CONTINUED)

16.
12 CONTINUED 12
Both guys more or less Michael's age, quite handsome.
Dressed a little gaudily in expensive clothes, which
attract attention, hungrily glancing at Michael's new
prey.
MICHAEL
Will you have a drink with me,
Adela? Let's talk about you,
about your roles and where
you're dancing now.
ADELA
Now in DON QUIXOTE.
MICHAEL
Oh no.!you're dancing Kitri!
ADELA
(nods and smiles)
Yes..
MICHAEL
Impressive, I have to admit. As
you probably know, I recently
changed my repertoire to modern?
For me, after so many years, the
classics are boring.
ADELA
Sure, I would love to start
dancing something modern. All of
it! If I could just get the
offers.
MICHAEL
And where do you have a
contract?
ADELA
At the NYC Ballet..
MICHAE
Well..Well, our little girl,
she's making a career!
They sit on the couch and at this point, Mike decides to
proceed to the second phase. He approaches her. He covers
her head and snuggles his face to her cheek, his lips to
her ear, softly bites and licks, then draws his face
towards her face and kisses her on the lips, gently at
first, then slips in his tongue. He feels blood pulsating
in her veins, a fast heartbeat.
MICHAEL
(between kisses, mutters)
You have a strong heart, baby.
(CONTINUED)

17.
12 CONTINUED 12
Adela, despite the initial resistance, this time
capitulates completely and in sight of his buddies,
licking their lips, they kiss madly. At Michael's parties
excesses occurred and long time regulars had got used to
this, even Lucille, but this flash of passion gave food
for thought.
MICHAEL
(in the end takes away his lips)
Adela..oh..I see that you're
embarrassed. Maybe I shouldn't
do this in front of everybody.
What would you say to a moment
of intimacy?
Michael gets up. Takes her by the hand, and leads her
behind him. Adela is aware of what's going to happen, but
doesn't react and permits herself to be tugged to the next
room. On a wide bed there's a quite large pile of elegant
furs. Michael pulls Adela there. He slips his hand under
her skirt. Adela opposes weakly this time.
ADELA
(removes his hand)
Mick don't..! You have a
girlfriend..
MICHAEL
(more and more excited)
Sweetie don't worry about it,
please. A bit of caressing.
He becomes more insistent, however, he has a misty gaze
and kisses her on the forehead. Despite this he raises
her blouse and moves his tongue over her belly. Adela
responds to the caresses, but when he starts to take off
her panties, she suddenly breaks it up and without a
word, runs out of the room. While running, she grabs her
bag and slams the door, already she's gone. Michael is
speechless, sitting on the pile of furs and can't believe
what just happened. After some time however, he returns
to the guests. Vodka and coke in more quantities than
usual. After two hours he is almost unconscious.
CUT TO:
13 INT. BALLET SCHOOL - NEXT MORNING 13
Still not completely cured from the injury, after a hard
night of partying, Michael tries to practice, but can see
that he is protecting the leg. The vigour leaves him
sooner than he expects, so he shakes his head
disapprovingly. He ends his attempt and leaves, and his
thoughts. revolve around a single topic..Adela.
MICHAEL
(mutters to himself)
Oh..Adela..why ?
CUT TO:

18.
14 INT. MICHAEL'S APP. - DAY - EVENING 14
Mike returns to his place and sleeps most of the day. In
the evening, the phone wakes him. Calling screen. Michael
gets up and looks for his cell, under a pile of clothes.
Finally he picks up.
OLIVIER
Hi Mike, I hear your trembling
voice.. Tough day?
MICHAEL
Permit yourself to mock. Don't
worry about a thing, if you
would please be so kind!
OLIVIER
Oops..that bad.! I saw that the
birdie ran away from your
clutches, just before being
consumed, hah..hah. It seems
that she's a delicate creature.
Do I have to tell you, how to
deal with women..sweetheart?
MICHAEL
Well..to get the weight off my
mind and now let's move to the
good points. What is the problem?
OLIVIER
Can we pop in to the club this
evening..sweetheart? And some
friendly advice. You must beg
her, maybe she'll go with us.
MICHAEL
Okay, I'll try then call you
back, bye..sweetheart.
Olly hangs up, and Michael calls Adela.
MICHAEL
Hi Adela, yesterday you left so
suddenly. Maybe for you it's too
fast a pace but you're so sexy,
baby. I just couldn't control
myself. What would you say to
visiting a club tonight. You
have to agree, or I'll howl like
a wounded wolf (his voice is
soft and velvety)
On the other side the silence lasts a pretty long time,
unfortunately their conversation goes in a bad direction,
so he starts from the beginning
(CONTINUED)

19.
14 CONTINUED 14
MICHAEL(CONT'D)
Have a drink with me Adela,
we'll talk. Let's start from the
beginning. Can we forget about
yesterday's incident?. What do
you think?
ADELA
(decidedly)
Michael, if you insist, I'll go
with you to the club, but I'm in
no mood to be easy prey, don't
wanna be like a hunted animal,
or whatever you call it..
MICHAEL
I agree in advance to all your
suggestions, but meet me again.
It's really important to me.
ADELA
Okay. Can you pick me up from 23
River Road? It's near the port.
MICHAEL
I'll find you. To the harbour
it's quite far. We'll be around
9 pm.
ADELA
We..?
MICHAEL
Well, unless you mind, I'll come
with Olivier..Adela?
ADELA
I have no say in this matter.
Olivier is a friend of yours
(Adela's tone of voice is quite
irritated)
MICHAEL
See you soon. I can't wait..!
(quickly finishes the phone
call)
And calls back to Olivier.
MICHAEL
Olly we'll go to Adela's at
about 9 pm. On River Road,
close to the harbour. Okay with
you?
(CONTINUED)

20.
14 CONTINUED 14
OLIVIER
Oh, I hear good news. No
problem. I'll be at your place
after 8 pm. It'll take about 40
minutes to drive there.
MICHAEL
OK, see you..
Michael takes a shower and very carefully chooses his
clothes. After 40 min. He's ready and right on time, he
hears the intercom bell. He doesn't pick up, just goes
down.
15 INT. OLIVIER'S LIMO - EVENING 15
OLIVIER
I get the impression that this
time it's serious.. Mick?
MICHAEL
(laughs)
Yeah..I also reckon I'm thinking
about her too much
OLIVIER(O.S)
And what about Lucille..?
MICHAEL
(speaks briefly)
Nothing..
Olivier's chauffeur knows the city perfectly well and
after 35 minutes they drive up to 23 River Road.
16 EXT. ADELA'S APP. SHE'S BEHIND THE DOOR - EVENING 16
Michael comes to the door, which open up at this very
moment and Adela appears in the doorway.
MICHAEL
You look beautiful, baby..!
ADELA
(she sulks)
Spare me this..baby, if you
please.
Michael didn't comment on her behaviour, but squints
slightly and smiles at Olivier, behind Adela's back. He
goes before her, opening the limo door, and then they
head for the club.
CUT TO:

21.
17 INT. THE CLUB - THE SAME EVENING 17
On-site, Mick disappears with Olivier somewhere for a
while and then returns the bar, in high spirits, with
Olivier sniffling suspiciously. Adela realizes that they
snorted coke. After drinking another highball, Michael
asks Adela to dance and after a few minutes everybody's
standing around them. Two professional dancers on the
dance floor, attracting glances full of admiration and the
recognition of clubbers.
GIRL
Look at him Ann..OMG he's
beautiful, don't you think?
ANNE
Yes..he's unearthly, but it
seems to me, already engaged.
Famous and handsome guys don't
go free.
GIRL
But I've heard that he likes
boys also.
ANNE
Right now, it looks like he's
specifically into a girl.
Adela, even though she'd initially been in a foul mood,
was now in full swing and for the two of them, the dancing
brought distinct pleasure. It seems that yesterday's
incident was now in oblivion and Adela is having great
fun, up to the point, when Michael pulls her into the
ladies bathroom and touches her roughly. Adela's trying to
wrest herself out from his grip and her good mood suddenly
disappears.
ADELA
You're drunk and stoned. I don't
want to continue this any
longer, Michael. Don't call me,
because we'll not meet again.
Adela returns to the bar, calls a cab and immediately
leaves. He initially wanted to appease the situation, but
stays with Olivier at the bar. What's more, he starts to
hit on one of Olivier's girlfriends, a girl in a tight
low-cut blouse, showing impressively sized breasts.
MICHAEL
(slightly mumbling)
Myy..beeauty..woould you gooo
with uncle Miick, wheere
hee'll haave..a wiish..
Loud applause.
(CONTINUED)

22.
17 CONTINUED 17
GIRL
(saucily)
With you at the world's end,
uncle..
Again, laughter and encouragement to further action.
Michael moves closer to the girl, caressing her large
breasts and at the same time looking inside her neckline.
MICHAEL
Will you give me a kiss..
darling?
With some girls there's no need to ask twice. She cuddles
Michael and kisses him firmly on the mouth.
The whole group party hard for a few hours. The bartender
serves more drinks, and they are snorting in the club's
bathrooms.
CUT TO:
18 EXT. IN FRONT OF MICHAEL'S APP. - NIGHT 18
In the morning the party finally ends, and Olivier's
driver takes everyone back to their places. Michael gets
out in front of his house, with great difficulty. He
stumbles and falls on the pavement, and the driver must
help him walk to the gate and helps him open it, because
Mick has obvious trouble with this.
CUT TO:
19 NT. MICHAEL'S APP. - NEXT MORNING 19
This weekend is disastrous for Michael. After such a hard
night, in the morning before going to the rehearsal, he
takes a big dose of cocaine.
20 INT. MICHAEL'S CAR - THE SAME MORNING 20
In the car, on the way to the training hall, a terrible
headache torments him, so he ingests a pill sipping water
from a bottle, and every now and then, rubs his temples
with his hand.
CUT TO:
21 SCHOOL BALLET - TRAINING HALL - NEXT MORNING 21
Michael arrives at the school with a firm commitment to
catching up on the backlog of rehearsals. The earlier toot
begins to take effect and Mike has a spurt of energy. He
runs up the stairs and stumbles upon his accompanist who's
going hurriedly to a class.
(CONTINUED)

23.
21 CONTINUED 21
ACCOMPANIST
Mick! Margaret has the flu. I
need to replace her. I'll be
available for you, within the
hour.
MICHAEL
Ohh, I think I can handle
that..Timmy!
Timmy just waves his hand goodbye and disappears around
the bend of the corridor.
Michael goes to his training hall. He quickly dresses in
his training outfit, turns on the music and starts to
warm-up. After this, he begins to practice the main
arrangement. He performs more and more difficult jumps,
after such a large dose of coke, it seems to him that he
will soon fly, but it's an illusory feeling. The body is
exhausted after a series of acute episodes of gallivanting
around, it lags behind his intentions and Michael, at this
fateful moment, doing a difficult jump, has a very bad
landing , his knee reacts with a distinct crack and
Michael falls on his back, howling in pain. On hearing his
screams, people converge. Someone immediately calls an
ambulance, which arrives pretty quickly, but not quickly
enough to prevent the emergence at the place of the
accident, of half the dance school, including Adela, who
is leading classes on the floor below, with the youngest
schoolgirls. The ambulance takes Michael to hospital.
22 INT. HOSPITAL - 7 DAYS LATER 22
After a series of tests and the conducting of complex
operations, Michael is informed by the orthopaedist, that
there can be no talk of returning to the profession. This
message is unacceptable to Michael. He demands to talk
with the director of the hospital.
MICHAEL
I demand that we convene a
case conference. I've been
dancing forever and I've had
various injuries. Surely
something can be done. I won't
acknowledge any other option.
Because of Michael's position and fame, the management
agrees to his demands and the hospital invites two
professors, and a surgeon specializing in knee operations.
VIEW IS ONLY SHOWN. FURTHER SERIES OF TESTS, ANOTHER
INSPECTION OF MICHAEL'S KNEE. SNATCHES OF CONVERSATION IN
A DOCTOR'S
CUT TO:

24.
23 INT. HOSPITAL - ORTHOPEDIC WARD - 2 DAYS LATER 23
A group of doctors shows up at Michael's bedside. The head
of council, male, portly, older, in thick gilded glasses.
With the appearance of a typical professor.
COUNCIL HEAD
Mr. Layton, I've discussed your
case for a very long time with
my colleagues, and our
diagnosis, alas, leaves no
doubt. Your knee is broken in an
irreversible way. A recently
executed operation has changed
this situation, so that you'll
not be limping. We're sure that
the difficult jumps you've
previously done in your life
you'll never be able to do
again. To tell the truth any
jumping is out of the question.
Subsequent operations will not
change your situation, because
today's medicine, unfortunately,
doesn't have the capacity to
rebuild the cartilage in your
knee. Each of us is really very
sorry, and I personally, in
particular. For many years, I've
been impressed with your talent
and I've watched your
performances in the Metropolitan
Opera many times.
Michael listens to this argumentation with a more and
more gloomy face.
MICHAEL
I'd like to be alone now, if
you please.
Doctors' group leaves Michael's room.
Michael hides his face in his hands. This lasts so for a
longer while. His leg is in a plaster cast in traction.
Michael looks at it with disgust.
After some time he enters a separate room, a woman
enters resembling a psychologist in appearance.
PSYCHOLOGIST
Mr. Layton, perhaps we can talk
about your current problem?
MICHAEL
(harshly)
I 'm not in the mood to talk.
He turns his head toward the window, ignoring the
presence of the woman.
(CONTINUED)

25.
23 CONTINUED 23
Another doctor visits Michael's room.
DOC
My name's Jerry Fassbender. I'm
a psychiatrist and I hope to be
able to help you, Mr Layton.
MICHAEL
A psychiatrist, how might you
help me exactly ? Can you
restore the power in my knee,
dear doc?
DR.FASSBENDER
No, but I'll try to help you in
overcoming, your current
problem, sir.
But Michael still doesn't wants to accept the
cooperation, no answers to questions, only a grimace of
pain and resentment twists his face. The doctor finally
gives up and leaves.
24 INT. MICHEEL'S ROOM IN HOSPITAL - EVENING 24
Michael calls many times. After a pretty long time, a
nurse enters his room.
MICHAEL
Nurse.! It's really hurting me.
no way can I sleep, without any
pills.
NURSE
Mr. Layton, as an exception,
I'll bring a barbiturate, but
it's necessary to establish this
with your leading doctor.
After a while the nurse comes back and gives Michael the
drug, after which, he almost immediately falls asleep.
25 INT. MICHAEL'S ROOM IN HOSPITAL - NEXT MORNING 25
Michael is at slumber, when Adela enters his room. She's
sitting down in an armchair, by the window and waits
until Michael wakes up. He senses her presence and opens
his eyes looking at her, a look with no expression.
ADELA
Hello Michael. I was here
yesterday, but I wasn't allowed
to come in. How are you feeling?
(CONTINUED)

26.
25 CONTINUED 25
MICHAEL
(Contorts his face into a
grimace) And how am I supposed
to feel, dammit! I'll never be
able to leap now. What do I do
with the rest of my fucking
life? These are the only skills
I have.
ADELA
In time you can become a
choreographer, or teach at a
school like you have done so
already. You have many
possibilities Mike. You could
also create a modern dance
group.
Michael interrupts her with a gesture of impatience.
MICHAEL
I just have to move on to
different fairy tales? You think
it's so easy?
ADELA
I'm not saying it's that simple,
but it's not the end of the
world, Michael..
This sentence overflows the cup of bitterness and Michael
explodes.
MICHAEL
(yelling)
It's all your fault.! If you
hadn't stupidly resisted, if
you'd let me make love to you, I
would've been in a better mood
and I wouldn't have a broken
knee now!!
Adela opens her mouth in surprise.
ADELA
That's unbelievable! You blame
me for your accident? For a long
time, you've been drinking too
much and doing coke, and now I'm
guilty, because I didn't let you
fuck my ass at the first
attempt?
(CONTINUED)

27.
25 CONTINUED 25
Adela immediately gets up and leaves the room. When Adela
goes out, Michael gets depressed and has a gloomy mood
and the only thing about which he now dreams, is to get
high, and forget. Michel uses his cell phone and calls
his dealer.
MICHAEL
Silver, Mick here. You can
organize me something, but
there's a little problem, you'd
have to bring it to the hospital.
Silver is a portly Afro-American. Although he's 23 years
old, he's completely grey, hence the nickname.
SILVER
Someone sick, in need of it,
man?
MICHAEL
Imagine,..me!
SILVER
What happened? Overdosed?
he..he!
MICHAEL
I overdosed 10 days ago, before
the rehearsal, and shattered my
knee. End of career, dude!
SILVER
And that's bad luck..man, but in
this situation, you need dope,
as much as you can get, and I'll
bring it to the hospital.
Provided that they don't keep
you in the general ward.
MICHAEL
Well..with fame like
mine..they'd put me in an
apartment.
SILVER
And where have they busted you?
MICHAEL
In St. Michael's. Funnily
enough. They operated on me
here, fucking quacks. In a
private clinic, maybe somehow
you could get me out of here.
You can find me in orthopedics
in number three.
(CONTINUED)

28.
25 CONTINUED 25
SILVER
In St. Mick OK. I'm at your
place, in a tiny quarter hour,
man.
Indeed, after 20 minutes Silver opens the door to
Michael's separate room.
SILVER(CONT'D)
Oh..it doesn't look too good,
man. This will come in handy for
you. I brought something to
sweeten things. Straight away,
you'll feel better, man.
MICHAEL
Give it to me! I have to snort a
pop cause took too much of it,
all at once. Enough that my
career collapsed like a house of
cards, and to make matters
worse, I lost my girlfriend.
SILVER
That sweet blondie, man but!
really! so beautiful and what?
Was there some argy-bargy?
MICHAEL
(Snorts toot)
Fuck!..come on! Now we need to
talk about something else, man.
As you can see in the attached
picture, the Metropolitan is the
past. I do not want to be stuck
in school till the end of my
days, so I've another idea.
Maybe I could to distribute the
stuff for you, Silver? I'm
drinking often in good company.
You would have a new market.
What do you think?
Silver's eyes flash menacingly. His usual customers
aren't people from the higher classes. His only contact
with better customers, with thick wallets, is Michael.
Silver readjusts his ass in the chair and starts like
this without conviction.
SILVER
I don't know..I'd have to
rethink the matter, and to get
in touch with this and that.
I'll let you know, but first you
have to recover your strength.
We'll talk after you've left the
hospital.
(CONTINUED)

29.
25 CONTINUED 25
Silver reaches into his pocket, pulling out a sizable
plastic bag and hands it to Michael.
MICHAEL
I don't have cash for so much
stuff.. Silver.
SILVER
It's for our future successful
cooperation..I hope, man.
After an unbearably long time for Michael, he leaves the
hospital.
26 INT. MICHAEL'S APP. - 7 WEEKS AFTER ACCIDENT 26
Michael returns to the dusty studio appartment and
immediately sits down at a laptop. He's looking at Adela's
pictures on Facebook, and sighing all the time. He looks
for a long time at his favorite photo of “Don Quixote”.
There's Adela in a colorful dress with flounces in a
Spanish-style. Beautifully curved body, with a raised leg
bent at the knee, head tilted back and black wavy hair, in
a wig, pinned up high, complementing an impressive
composition.
MICHAEL
(to himself)
Honey, forgive me ..
(moves his fingers across her
face, on the monitor)
Closes laptop. Reaches for the phone and calls Silver.
MICHAEL(CONT'D)
Silver, they let me out. How's
things, because I want to start
making money, the sooner the
better.
SILVER
I've spoken already about your
case Mick, and you're on the
list, champ. You'll meet with a
guy and receive instructions.
MICHAEL
So I'm waiting for news. I'll
call a friend right away and
ask whether there's a big party
coming up in the near future.
SILVER(O.S)
Move..I'll call you soon.
(CONTINUED)

30.
26 CONTINUED 26
Michael ends the conversation and phones Olivier. At the
other end, for a long time nobody pick up, until he hears
a sleepy voice.
OLIVIER
(yawns)
Gosh!..And who's calling in the
middle of the night?
MICHAEL
You were partying till 5 am
again?
OLIVIER
Oh it's you, baby. How's your
knee? already OK ?
MICHAEL
It’ll never be OK, but I have to
continue to live somehow. I
went somewhere Olly, I got out
of circulation. Well, besides my
contacts, I can no longer count
on anyone. All my hope's in you,
bro.!
OLIVIER
Sure Mick, just this thing with
me and excess, I mean friends
and drinking all night. I'm
slowly getting too old for this,
but anything for you..my dear
friend.
MICHAEL
Good..so call me, as you'll get
something, anything, but with
patience, if you please.
OLIVIER
You're mysterious Mick, but I
won't ask and of course, I'll
call you back, sooner than you
bargained, buddy..
MICHAEL
So..see you, and stay in
touch..
He hangs up the phone. He's walking around, looking at
his place, with the intention of cleaning up a bit.
Everywhere there are piles of dirty glasses, after the
last party. The studio’s a picture of misery and despair.
Michael gives up, however, and goes to Titta's Bar in the
hope of meeting even one friendly face.
CUT TO:

31.
27 INT. TITTA'S BAR - THE SAME DAY 27
Michael has been here for an hour already, drinking
coffee and munching on excellent cookies. Titta's
specialty.
RETROSPECTION
Michael sitting at the bar, drinking another drink. It's
late and Mick is drunk. Titta, to stop him from further
drinking, proposes cookies. Mick winces with a smile.
(CONTINUED)
MICHAEL
I don't eat cookies, boss.
TITTA
I bake these, according to my
own secret recipe. They're
excellent with strong black
coffee and beer. Try..
Michael pulls a cookie out from a tin.
MICHAEL
They're excellent, and not at
all sweet..what's in this?
TITTA
The whole recipe, I don't
reveal to anyone, but for you,
Maestro, a few details. What do
you sense?
MICHAEL
A spicy seasoning..chilli?
TITTA
Yeah..as well as, several types
of pepper and anise. The rest is
silence. Like I said, Mr.
Shakespeare. Some customers are
strongly convinced, that I add
yet another secret ingredient ..
(winks and laughs)
THE END OF RETROSPECTION
Michael sits at the bar, drinking coffee, crunching on
Tatta's cookies. At this time in the late afternoon, it's
a rather sleepy atmosphere here, and Michael is going to
change the venue, but at this moment the bell rings at the
door. Silver comes in with a tall, skinny guy. And as if
they expected that they would find Michael here, they go
straight in his direction.
SILVER
Hi, man.. leave this coffee and
cookies and let's sit down in a
secluded place, because we need
to talk about business.
(CONTINUED)

32.
27 CONTINUED 27
Michael gets up, but takes the cup of coffee and cookies
with him. He sits in the corner. Silver and the skinny
guy sit down next to him.
SILVER(CONT'D)
(in a hushed voice)
This is your supplier, Michael.
I can't deliver you a lot of
stuff, because I'm a retailer.
Besides, in your circles, a few
people already know me. We have
to be careful. Better, if no one
sees us together. You'll receive
a package in the port, on a
fishing boat. Always at the last
minute, you'll get instructions,
where the boat is and where you
have a meeting. Everything
clear?
MICHAEL
Sure thing Silver, but what..? I
have to hold this stuff at my
place? A little risky, don't you
think?
DELIVERYMAN
It's your business, how you
organize it. I can't meet you
too often. You'll get the
package. Portioning I leave to
you. Alternatively, you can
enter into a deal with Silver,
but he has the same problem.
Maybe do it at home, or wherever
there's the possibility. Well,
it's a risky job, but it's well-
paid. For starters he'll tell
you how he organizes it, as of a
few years and he don't had no
troubles yet. If you rack your
brain, you'll succeed. My
advice..Don't be greedy, until
you get the skills. In this
industry, it doesn't pay, at
least initially. If cops get a
fix on you, they won't leave
you alone and you finished,
buddy.
CUT TO:

33.
28 INT. MICHAEL'S APP. - LATER THE EVENING 28
Michael returns to his studio. He walks around hesitantly
for a while, then lays on the bed and calls Olly.
MICHAEL
Hi, Olly. What's going down on
the party scene, because I've
been bored to death, lately. A
hospital is a terribly
depressing place, like a
cemetery, especially if you've
buried a career there.
OLIVIER(O.S.)
Buried your career in a
cemetery..baby?
MICHAEL
Oh! very funny, really! So how
goes it? Will you take me to
some delicious party, with lots
of girls..my friend, because I
fasted, after these couple
months of abstinence.
OLIVIER
There's enough girls, but what
about Adela, you were evidently
crazy, about her..
MICHAEL
Don't even ask. In the hospital,
I was so downhearted, that I
talked a lot of hooey , and the
case was closed.
OLIVIER
This one won't be, it'll be
different. Wait for my call.
I'll probably take you
somewhere delicious this
weekend.
Michael ends the conversation with Olivier, and calls
Silver.
MICHAEL
Silver, I called a friend.
Everything so far is going
according to plan. A big party
can happen on Saturday.
SILVER(O.S.)
OK..Good luck champ.
CUT TO:

34.
29 INT. MICHAEL'S APP. - SOME DAY 29
The cell is silent as if bewitched. Michael roams
aimlessly around the studio. He sleeps more than usual. He
goes out to Titta's bar. This situation continues until
Friday evening, when the phone finally rings at 10 pm.
(CONTINUED)
DELIVERYMAN(O.S.)
Quay 4 A. Dock 21. 11 pm. On
time.
Before Michael is able to ask about anything, the supplier
hangs up.
30 NIGHT AFTER NIGHT - MICHAEL'S PARTIES 30
ONLY PICTURES ARE SHOWN.
Michael attends many parties, most often in the company of
Olivier, who Immediately guesses what his friend is doing
now. Someone who participates regularly at parties and
who's selling cocaine there is eager to use its services.
Michael often receives quick calls and drops at the
designated points in the boats in the harbor. He starts
earning a lot of money, but he also falls into addiction
One day, he's thrown out of a nightclub's rear entrance,
by two brawny bouncers. He's completely drunk and high. He
lands near a dustbin, stands up, grabbing the handle of
the container, then he walks up to the building's wall and
after leaning on it, walks away with great difficulty.
CUT TO:

35.
31 EXT. A SMALL CARGO HARBOUR - NIGHT 31
On the quay, one can see a hangar and a large quantity of
containers. Michael walking briskly along the pier. He
looks around, then climbs down to one of the cutters.
There is a man's jacket left by the gangway. It arouses
his attention. He walks down to the mess carefully. In the
bad light he can see an outline of someone lying on the
floor. He's afraid, turns on the light. It seems that the
other one is dead. He panics and wants to run. Then, he
calms down, returns to the deck, examining the body
carefully. Yes, shot at close range. Next to the head he
can see a pool of blood. he looks around, goes out onto
the jetty and hides among the containers, just in time.
Only a few yards away from him there's a policemen taking
position behind a container, and then another one and then
a few others. The police yell towards the cutters
demanding that anyone there should come out. Michael,
hiding himself carefully, slips back and manages to get
away. Bad luck, though. He stumbles on something and
accidentally his hand bangs against a container wall. A
loud metallic sound reverberates. Two of the policemen
immediately leave their positions and run towards him.
They split up along the way. Michael’s beginning to run.
He can hear the quick footsteps of those chasing him. He's
wearing a long coat, which makes it difficult for him to
run. He gets to a fence and climbs over it effortlessly.
His coat catches on something and Mickey must get rid of
it and frees his arms in one swift movement and
disappears into the darkness. The chase continues. He's
running, looking around. He knows that this is the
neighbourhood where Adela lives. He turns right down a
side street. This is River Road. He runs..it's number 23
and he's at her house, the upstairs lights are on. He's
waiting impatiently and hears the quick tapping of her
bare feet on the floor. He sees her face in a small window
by the door.
32 INT. ADELA'S APP. - THE SAME DAY - NIGHT 32
She sees him and immediately opens the door.
MICHAEL
Don't ask me about anything..
Michael quickly comes inside and closes the door behind
him
MICHAEL(CONT'D)
Lend me your car, please!
ADELA
What's up, you're terrified?
MICHAEL
I'll tell you later. I've
got cops on my back.
(CONTINUED)

36.
32 CONTINUED 32
But she goes with him to the back door and gives him the
car keys. Just in time.
POLICEMAN
Open up! Police!
She says nothing for a while, and half opens the windows
again.
ADELA
Oh! Police! Come on in.
Someone just stole my car!
The cops enter.
POLICEMAN
We'll take down the details of
the stolen car. Give me the
car's documents, please. We are
looking for a man. Did you see
what this man looked like, the
one who stole this car of yours?
ADELA
I was eating supper when I heard
the engine of my Mini. I ran up
to the back door, but at that
same moment, this guy took off.
I only noticed that he was
dressed in black, in dark
clothes anyway.
POLICEMAN
If you see anything, please let
us know. You can call me any
time. (The policeman hands her a
card.) We'll look for your car.
The police withdraw. Adela looks through the window again,
scanning the area. The police car drives off. She takes
her cell and calls Michael, who picks up, immediately.
ADELA
Mickey I reported someone
stealing my car. So you can
leave it somewhere. I like my
Mini very much.
CUT TO:
33 EXT. OUT OF THE CITY - NIGHT 33
Michael leaves the car on the roadside, outside the city,
and catches the first bus into the edge of the downtown
area. After twice changing, he finally arrives at his
place.
CUT TO:

37.
34 INT. MICHAEL’S APP. - THE SAME NIGHT 34
Michael feels very lonely there.
MICHAEL(V.O.)
The incident in the hospital had
finished his relationship with
Adela. Now, after she'd helped
him, maybe he had a chance again.
CUT TO:
35 EXT. MICHAEL'S NEIGHBOURHOOD - THE SAME NIGHT 35
He takes a cab, but is cautious. Just in case, he gets out
of the taxi, two blocks away, and goes to her on foot,
watching the area. It seems that the cops got out of there
for good. However, he goes to the backdoor and knocks.
Initially, there is no reaction, although he sees the
light, knocking louder and this time he hears her
footsteps.
36 INT. ADELA'S APP. - THE SAME NIGHT 36
ADELA
Michael..what are you doing here
at this time..for heaven's sake?
Adela opens the door wider, however, and lets him in.
MICHAEL
It isn't so late..If there'd
been no light in your place .
I’d have had to give up..I
wanted come to see you..To say
that your toy car is all right.
ADELA
Stop waffling, you better tell
me..how it happened that the
cops were chasing you?
(CONTINUED)

38.
36 CONTINUED 36
MICHAEL
I was meeting with this guy in
the harbor. As usual a small
delivery. No big deal. I climbed
down to the boat and saw his
jacket left near the gangway. I
got downstairs and saw him, he
was lying there. Shot from close
range. I didn't even check how
much stuff was out there. I'm
sure there was nothing. He was
bringing the package for me, but
there were others. I rushed out
from there, it was just in time.
I heard the cops soon after. I
was hiding among the containers
and I could have backed off
safely but shit!..I quite tripped
over something and made a noise.
Sure they heard me. I started to
run. I was terrified shitless.
Never had trouble with cops.
Always managed to slip away
somehow.
ADELA
Do you know who could've hit that
guy?
MICHAEL
Anyone. He had lots of
merchandise. In my opinion,
there was at least 20 kilos of
substances.
Adela remains silent for a long moment.
(CONTINUED)

39.
36 CONTINUED 36
ADELA
You know at school, we were
reading everything about you, in
all the colorful gossip
magazines, about your private
lives, lovers and careers. We
had a Special Scrapbook and
we've put all the clippings in
there about you. Your pics were
in everyone's lockers, and
fanpages were formed one after
another, and full of loving
comments, a lot of sweethearts,
and all the rest of it. The
school's director was given a
letter from students asking them
to change the present patron to
Michael Layton. Every girl
dreamed secretly that only she
would draw your attention, that
she's exactly the one that
you're going to take to your
bed, and after that put a
wedding ring on her finger. Why
have you started to hustle? I
can't understand it. It's said
that you're an equally great
choreographer as you were
dancer. I know that you created
compositions for your
performances.
MICHAEL
I worked like a slave on my
dance career..since I was 5
years old. I didn't really have
a normal childhood. To become a
famous choreographer, I would
have to devote at least 5 years
to this. How would I live during
this time? There's a lot of
competition, and you know
yourself, that neither dance nor
choreography, these aren't big
money games. They also say that
you are very talented. After
graduation, you immediately got
a contract with the NYC Ballet
and a few solo outfits, but you
must have a job at the school to
supplement your income. I'll
think about it, but I must have
some money on the side.
(CONTINUED)

40.
36 CONTINUED 36
ADELA
Tell me, how did it happen. Run
through the facts.
MICHAEL
(shrug)
It's not worth talking about.
I went to training on this
day, totally out of it, and
it happened. A historical
leap (Ironically)
Michael draws a circle in the air with his finger.
MICHAEL(CONT'D)
And so..the end, finito, ende!
Adela is looking at him all the time. She feels sorry for
him, so much that she must control herself and not weep.
She suddenly winces, covering her embarrassment.
Then, she says dryly:
ADELA
Enough for today. I'm tired.
You'll find all you need,
downstairs. Good night.
As she turns around, about to leave, he stops her.
MICHAEL
You gave me a car. You helped me.
I remembered, how you looked at
me, at my party. I felt like you
were shaking with emotion when I
touched you. Now, you look at me
in a completely different way.
Are you helping me, ’cause you
feel pity for me? Am I right?
ADELA
When you invited me to a party,
I just jumped for joy. At the
beginning you were wonderful,
until the moment when you
managed to screw everything up.
Now I'm helping you, because
you're in trouble. That's all.
CUT TO:

41.
37 INT. NEXT MORNING - A NYC THEATER 37
Adela's driving to the NYC Ballet, where she works. Enters
the dressing-room, where she can hear conversations and
girls' laughter from the team. Although Adela has danced a
few solo parts, she doesn’t have her own dressing room.
All the dancers are soon costumed and they're running out
to the rehearsal. For now, in the NYC Theatre, they are
still playing Don Quixote, but there are plans for a new
premiere and Adela silently hopes for the main solo part
again.
Adela and the other dancers warm up in the dance hall,
before the rehearsal. The woman leading the class looks
like a former star, she claps and gives an accompanist a
hand signal to start a proper dance routine.
CUT TO:
38 INT. NEXT MORNING - A NYC THEATER 38
Adela's driving to the NYC Ballet, where she works. Enters
the dressing-room, where she can hear conversations and
girls' laughter from the team. Although Adela has danced a
few solo parts, she doesn't have her own dressing room.
All the dancers are soon costumed and they're running out
to the rehearsal. For now, in the NYC Theatre, they are
still playing Don Quixote, but there are plans for a new
premiere and Adela silently hopes for the main solo part
again.
Adela and the other dancers warm up in the dance hall,
before the rehearsal. The woman leading the class looks
like a former star, she claps and gives an accompanist a
hand signal to start a proper dance routine.
Dressing-room after the rehearsal. General whirl of
activity.
WORKMATE 1
Adela, why don't you come out
with us down town ?
WORKMATE 2
Yes, you can enjoy yourself a
little. Recently, we haven't
seen hide nor hair of you. You
disappear after each rehearsal.
Have you found a new boyfriend?
Have you?
Adela smiles.
ADELA
Yes, I have a boyfriend and
that is why I rush home.
(CONTINUED)

42.
38 CONTINUED 38
WORKMATE 2
You can't keep this a secret.
Who is he..?
ADELA
Unfortunately..I can't tell
you.
She takes a bag and she goes to leave.
WORKMATE 1
You're lucky..but we'll find
out.
ADELA
(looks imploring)
I'm asking you..leave off..
She comes out, sighing.
CUT TO:
39 INT. SAME DAY ADELA'S HOUSE - THE EVENING 39
Adela is back from her rehearsal and heads straight to a
small room downstairs, adapted for rehearsals and
dancing. A whole wall is mirrored, there are handrails and
lots of light. The small room appears to be empty. Adela
runs upstairs.
ADELA
(yells)
Michael! Are you there?
(muttering to herself)
Shit..He's gone.
Resigned, she sits down on the bed. A while later, she
reaches for the phone. She picks the number and waits.
ADELA
I'd like to speak to Milo Jaret
please..Milo! Adela here. Great
that you're there. I've got a
problem. Could we meet?
MILO
These good girls have problems?
ADELA
Come off it, Milo! Can I drop by,
and meet you in your office?
MILO
Right now?(O.S)
(CONTINUED)

43.
39 CONTINUED 39
ADELA
Yeah..Immediately!
MILO(O.S)
O.K.
He's given no chance to say anything more, ‘cause she
immediately clicks off. He shakes his head incredulously.
Adela puts aside the phone, and then hears that someone is
knocking on the door, softly. She runs downstairs, and the
door bursts open.
ADELA
(dryly)
Where've you been? You can't be
sure that cops aren't still after
you. And you're walking casually
through the city?
MICHAEL
(in a tired voice)
I had to.
ADELA
Did you go to the harbour?
MICHAEL
Oh, no way! I'm avoiding that
place.
ADELA
So..?
MICHAEL
I had to get a fix. Something
for subsistence.
ADELA
Bullshit!
MICHAEL
Come on..You shouldn't start
rows. I need a little calm. OK
I'm a coke head, but do you think
that if you scream for a while
I'll get off it in a few days?
impossible!
Adela is astonished at his dry and aggressive tone of
voice.
(CONTINUED)

44.
39 CONTINUED 39
ADELA
(softening up)
I've got to go. Are you staying
or going out ?
MICHAEL
I'm sorry. I'll stay if you
don't mind..
ADELA
Take something to eat. The
fridge is brimming. I'm off.
(She hesitates)
MICHAEL
Do you really have to go?
I'm not feeling terribly well.
ADELA
I'll be back in a while.
She lightly touches his cheek.
She runs downstairs. Gets into the car and drives to the
newspaper office.
40 INT. SAME DAY - A NEWSPAPER OFFICE 40
ADELA
(in passing, she's running)
Is Milo there?
DOORMAN
Yes, Upstairs.
She runs up the stairs. An untidy journalist's room. Milo
is sitting at a laptop, who looks around 35 years old.
Skinny. A scruffy look. Dressed in jeans and a baggy
T-shirt. Adela walks over and kisses him lightly on the
back of his head, but she twists her face, because his
hair need washing.
ADELA
Hi! Is there somewhere here we
can talk quietly ?
MILO
(pretending to be surprised)
Oh..that's you all over, baby!
You’re fast. I must really be a
hit!
(CONTINUED)

45.
40 CONTINUED 40
ADELA
Stop teasing me, Milo! This time
it's serious trouble. You're
into the drug scene, aren't you?
MILO
Yeah ...
ADELA
(a light smile)
Didn't you have a buddy in the
NYPD?
MILO
Do you mean, in narco..?
ADELA
Exactly.
MILO
And if so?
ADELA
Could you check something for
me?
Milo is intrigued.
MILO
Hope it doesn't stink. I
wouldn't like to lose friends
and dealings.
ADELA
Drug dealing and homicide..
MILO
(whistles!!)
ADELA
(a light smile)
Listen, If you really love me..
MILO
Who's the guy?
ADELA
(surprised)
How do you know it's not a
woman?
(CONTINUED)

46.
40 CONTINUED 40
MILO
(laughing coarsely)
Nah..
(dragging the vowels)
ADELA
OK. Seriously now! This guy's
name Layton..Michael. He was the
famous classical and modern
dancer. Well.. until the
accident. Did you hear about
him?
MILO
Not at all.
ADELA
Doesn't matter. He used to be
at the top, some six months ago.
You should have seen him on the
stage back then..
MILO
Six months ago. I was up to my
eyes in the war in Syria, baby.
Anyway, I'm doing narco.
Ballet doesn't interest me a lot.
ADELA
Anyhow he's in trouble. But, you
must promise me..
MILO
No need to worry! I'll not let
this be used.
ADELA
He's a base head now, and he's a
drug pusher. Could you check out
something at the police station ?
He had a meeting with a delivery
guy last night. In the harbor, on
some fishing boat. This guy was
already dead. Shot from close
range, and Michael almost fel
into a police ambush. It seems
that somebody called the cops
after icing the guy. Mike came a
little early. If he'd been there
on time, they might've caught
him. Milo, could you check, if
he’s clean?
(CONTINUED)

47.
40 CONTINUED 40
MILO
Listen, about the murder, I’ll
try. The investigation must be
under way.
Adela raises her arms impatiently.
ADELA
Oh, man! Where is your creativity?
MILO
Depends who's in charge of this
case. If it's Morgan, he owes me
a favor. (Milo winks)
ADELA
Please, do something!
MILO
Are you emotionally involved?
ADELA
I don't know yet.
MILO
We'll be in touch. I'll see what
I can do..but I'll do it only
for you. Don't forget!
ADELA
(already running)
Love you!
She rushes down the stairs, and leaves the building. She
gets into the car and drives back home.
CUT TO:
41 INT. ON THE SAME DAY - ADELA'S HOUSE 41
ADELA
(loudly)
Michael!
He emerges from Adela's training hall.
MICHAEL
I was watching my body's
reflection, in your mirrored
wall.
ADELA
And..?
(CONTINUED)

48.
41 CONTINUED 41
MICHAEL
A horrid sight. This sunshine!
ADELA
Did you try to dance?
MICHAEL
(with a wry smile)
You must be joking..
ADELA
Hang on, I'll get changed and..
Excited, she runs upstairs, and Michael yells after her
from the corridor.
MICHAEL
Adela give up. You can't make
me. I haven't danced in half a
year and it still hurts my
knee.
But she is back already, holding the dancing gear in her
hands.
ADELA
Less of that! Put it on.
She tosses tights and a T-shirt for him to catch.
MICHAEL
(annoyed)
No way, sweetheart.
ADELA
Andrew left this behind once.
MICHAEL
Who's Andrew?
ADELA
(laughs)
Oh, come on..really!
Michael's undecided, he feels the clothes in his hands.
ADELA
Do you want to chicken out?
MICHAEL
Well..I don't feel up to it,
simply.
(CONTINUED)

49.
41 CONTINUED 41
ADELA
I challenge you..En garde!
Adela takes a fencing stance, and moves her arms before
his face, as if she was holding a sabre in front of him.
ATENTTION !
CLASSICAL DANCERS ARE PROHIBITED FROM TATTOOING THE BODY.
IN THE DRESSING UP SCENE, TATTOOS MUST BE COVERED.
Michael takes a sudden decision. He takes off his clothes
and puts the tights on. Adela turns the music on. They're
both standing up. They begin to dance and all is fine,
but Michael is in bad shape. After a couple of minutes,
he hisses, holding his knee. He leans forward, panting.
He raises his hand up, in a gesture of resignation.
MICHAEL
Enough! It hurts..!
ADELA
Come on! Give me some more!
They begin to dance again, but after a few minutes he
leaves her alone on the floor, in the middle of a ballet
move.
MICHAEL
There's no point..Please, leave
me alone..
He collects his clothes and goes upstairs. Adela follows
him and finds him on a bed, staring at the ceiling. She
sits down next to him on the bed.
ADELA
I spoke to a journalist friend
of mine.
MICHAEL
And..?
ADELA
He's going to check one or two
things.
MICHAEL
What for?
ADELA
We'll know if they want to frame
you or not. If everything is all
right Mike..are you listening?
(CONTINUED)

50.
41 CONTINUED 41
MICHAEL
Ugh..
(he makes a muffled noise to
confirm)
ADELA
(with determination)
I want you to undergo treatment.
To put it straight, I'm going to
send you to rehab (sternly).
Anyway, do you realise where you
would be now, if I hadn't let you
come inside and I hadn't given
you my car. I dare not even think
about it. So, you either agree,
or you can go to hell.
MICHAEL
So..I'm going to obey you
as of today, honey..You know
that I don't like be alone now
but you drive such a hard
bargain.
ADELA
Yeah..I laid down conditions
because I care about you, for
your information.
Adela gets up quickly and makes to leave, but he takes her
hand and pulls her back on the bed.
MICHAEL
Stay with me for a moment.
You're worried about me, so you
must love me a little?
She's lying stiff and doesn't know whether to escape, or
to allow him everything he wants. Michael, however,
remembers what happened at his party. He doesn't want to
screw up again, only snuggles her warmly, touching his
face to her cheek, and kisses her gently. He closes his
eyes and hugs even more. Adela smiles to herself. Michael
has learnt from his mistakes, so this time she
reciprocates with an affectionate hug.
CUT TO:CUT TO:
42 INT. ADELA'S HOUSE - ENOTHER MORNING 42
Adela is on the phone to her journalist friend.
ADELA
Hi Milo. It's me. Have you got
any news?
(CONTINUED)

51.
42 CONTINUED 42
MILO(O.S.)
Yes. Can you come over to
Titta's Bar?
ADELA
Sure. I'm on my way.
CUT TO:
43 INT. TITTA'S BAR - ON THE SAME DAY 43
Adela is on her way to meet Milo. She walks into the bar.
Milo is there already. They greet each other.
ADELA
(sitting down)
So..Tell me!
MILO
(stirring his coffee)
Easy, baby..
ADELA
(in a tone of a warning)
Milo!
MILO
He's clean.
ADELA
Oh! Are you sure?
MILO
They've got his coat, but there
are plenty of those around. No
laundry tags, no forensic
evidence. Nothing. He has no
criminal record. They had
nothing on him. Morgan’s buddy,
who's in charge of the case,
didn’t talk much, but as far as
Morgan could figure, they're not
interested in Mike's coat any
longer. The investigation took a
different course. That's all I
know.
ADELA
You're divine! So Mike can walk
around freely.
(CONTINUED)

52.
43 CONTINUED 43
MILO
(sarcastically)
If I were him, I'd give cop
street a wide berth but,
otherwise, he should be fine.
ADELA
Christ! What a relief! I'm
eternally grateful you.
MILO
Well, I'll remind you about it
at the right time.
ADELA
(standing up)
Gotta go now.
MILO
You take care..baby.
CUT TO:
44 INT. ADELA'S HOUSE - THE SAME EVENING 44
Adela has just come back.
ADELA
Mick! Guess what! I have good
news for you!
Michael isn't really interested
MICHAEL
Yeah..?
ADELA
(enthusiastically)
Listen! You're clean! Do you
hear me?
MICHAEL
So, what did..? What's-his-name
name..say?
Adela is surprised at his dryness and disdain.
ADELA
He said they had your coat, but
it didn't matter. The course of
the investigation has gone a
different way.
Michael is silent.
(CONTINUED)
(CONTINUED)

53.
44 CONTINUED 44
ADELA (CUNT'D)
Aren't you happy?
Michael is looking through her as if she were made of
glass. He nods.
ADELA (CUNT'D)
Mike, are you all right?
Michael doesn't respond, he walks past her, and towards
the door.
ADELA(CUNT'D)
Are you leaving?
MICHAEL
It's not so difficult to guess,
is it?
He puts on his jacket and without a word, closes the door
behind him. Adela is standing there, lost and puzzled. She
hadn't expected this kind of response.
CUT TO:
45 INT. RESTAURANT - NEXT DAY - THE EVENING 45
A meeting with Dr. Barring. Man seems around 40 years old,
slightly grayish, in an expensive suit and expensive,
gold-rimmed glasses. Adela and Jeremy Barring are sitting
at the table, attended to by two waiters. The food is
exquisite.
ADELA
Jeremy, there's something I'd
like to discuss with you..
She pauses, because he puts his hand up in a gently
prohibitive gesture.
JEREMY
Please, Adela. I know that
there’s a reason why you agreed
to accept my invitation to
dinner, but perhaps we could
talk about it later.
Adela doesn’t take up the subject, and they only
concentrate on the food and small talk. It’s only after
dinner, in the car, when the doctor is driving her home,
that Adela takes up the subject again. She asks for
advice, demanding to know which clinic would be the best
for Mike.
(CONTINUED)

54.
45 CONTINUED 45
JEREMY
You do realize, of course, that
a private clinic costs a lot
of money.
ADELA
Yes, I do. What sort of money
are we talking about?
JEREMY
Well, it depends. <Saint Jude's
Executive Retreat>. It's one of
the best. A month there would
probably set you back around
30,000. Cheaper is the <CMR
Recovery Residence> where the fee
ranges between 6000 and 10000.
Adela is sitting in the passenger seat with her head
inclined to one side.
ADELA
It's a lot.
JEREMY
But you hardly know him. So why?
ADELA
You wouldn't understand..
JEREMY
Try me.
ADELA
If it hadn't been for the
accident..
JEREMY
(interrupting)
If it hadn't been for the blow.
ADELA
Hell yes, but it doesn't matter.
Anyway, if it hadn't been for the
accident, he would still be
number one, and surely you know
how much he could teach me, even
now. And besides..
JEREMY
And besides..You're in love with
him.
ADELA
(smiling)
You can think what you like.
(CONTINUED)

55.
45 CONTINUED 45
They are close to her house.
ADELA
If I had dinners with you more
often, I wouldn't be unable to
work (she pats her stomach).
Good night, Doc.
She kisses him lightly on the cheek and gets out of the
car.
CUT TO:
46 INT. ADELA'S HOUSE - DAY 46
Time has passed. Adela makes provisional arrangements to
put Michael in the clinic. They also need to talk.
MICHAEL
And who would pay for this?
ADELA
I'm going to pay.
MICHAEL
Oh..Are you quite sure? I cannot
agree to this.
Nevertheless, Adela decides to achieve her goal. She
approaches him and takes his face in her hands.
ADELA
Michael..
MICHAEL
I will pay, end of discussion. I
didn't shove all my money up my
nose. I saved some cash for a
rainy day(he sighs) If I lose it
all, to the last cent, I'll have
to start from the beginning. And
does that make sense?
CUT TO:
47 INT. THE CLINIC - DAY 47
DOC
We all address each other by
name. You live in this room with
Anthony. At any moment, somebody
will bring your stuff.
(CONTINUED)

56.
47 CONTINUED 47
They enter the room. At the door a guy greets them, the
same age as Michael, who isn't delighted at the prospect
of rooming with someone else. The doc comes out. Anthony
extends his hand in greeting.
ANTHONY
You'll have to put up with my
presence. Such are the habits
here. The one who's ending
therapy, watches over the
newcomers. They'll also take
your cell phone as a deposit,
unfortunately.
MICHAEL
I'm doing it for my girlfriend,
and I'm paying for my treatment
personally. Don't kid yourself.
This clinic isn't cheap.
ANTHONY
(winces)
Treatment..uh, a more
appropriate word, however, is
rehab. My over father pays for
mine. I'll watch you, so that
you don't smuggle substances,
but I'm here for the second
time, after just a short gap.
MICHAEL
How long were you clean, and no
drugs at all?
ANTHONY
The money stayed in my pocket
for just three months.
MICHAEL
I'm in for the first time. How
does the program look each day?
ANTHONY
You'll see. For your money,
a whole bunch of people doing
literally everything, so that
you lose your addiction, but of
course if you're not gonna give
up your habit, all their work
means shit.
(CONTINUED)
A month has gone by. Mike has undergone therapy. Adela
comes to take him home.
In front of the main door to the clinic.
(CONTINUED)

57.
47 CONTINUED 47
ADELA
Well, it's time to go home.
MICHAEL
To your place.
ADELA
To our place. Come on. Let's go!
Everything’s going to be
alright. Just wait and you will
see..(Adela hugs him).
MICHAEL
Do you think that I'm devoid of
realism?
He frees his arm and walks towards the car. He's sitting
in the front seat and staring vacantly at the car's
windshield. The attendant is leaving building with his
luggage. At this point Adela is talking seriously with the
doctor, who's just appeared outside.
ADELA
Good morning, Doctor. Mick
looks so depressed. To tell the
truth, I thought, that he'd be in
a better mood.
DOCTOR
Please, be patient, Miss Carew.
He was desperate to make an
impression on you. Well..he'll
bounce back. Goodbye Miss Carew.
The doctor leaves. Adela gets into the car. They drive
downtown without a word.
CUT TO:
At home Michael is not completely himself at first. Adela
is trying to make him go back to work.
ADELA
Mike, perhaps you could try to
go back to work again? Every
ballet school in town would be
happy to have you. Or perhaps,
you'd like to become a
choreographer?
Michael is not too enthusiastic about this idea.
(CONTINUED)

58.
48 CONTINUED 48
MICHAEL
Yeah..We'll see. I'm going to
think about it.
Sometime later.
ADELA
Mike, let's work together,
please.
MICHAEL
Ok. for a while..
ONLY PICTURE IS SHOWN.
Michael and Adela in training gear in the "room of
mirrors" smartly practice modern dance routines, which
Adela wants to exploit at the Vail International Dance
Festival.
ADELA
Mike, perhaps we could dance a
duo at this festival?
MICHAEL
Honey..come on, this stage ended
long ago..I last danced at the
festival in the Netherlands, when
I was 18. If I was still number
one and in the best shape, I
could do it, for you. Then all
would be clear, that I'm helping
my beloved girlfriend, but now?
It would be an embarrassment and
nothing more.
ADELA
What a pity!
CUT TO:
49 INT. THE THEATRE - DAY 49
One day, they go together to the theater in which she
works. Everybody is surprised to see him. People besiege
him and they ask about everything, It makes him feel
tired. In spite of Adela's attempts to introduce him again
into the world of dancing, he opposes violently.
MICHAEL
Don't make me go there again, do
you hear?
ADELA
People are just curious. They were
so nice, weren't they?
(CONTINUED)

59.
49 CONTINUED 49
MICHAEL
(ironically, with mockery in
his voice)
I give a shit about nice people.
And what about this guy..what's
his name..? Did you hear him? "
The creation of you imagination"
and what was it..? Oh yeah.."The
structure of the performance,
pure form" Christ, what
bullshit!
ADELA
You're so bitter. Why?
MICHAEL
Sure. I have no right to be
bitter. No more theaters! No
more meetings like that one. Do
you understand me! (Raises his
voice) All these situations just
remind me of the accident.
ADELA
O.K. We won't go out anymore, but
calm down, please.
CUT TO:
50 INT. ADELA’S HOUSE - EVENING 50
Mike feels best at home. Even though lazing around is a
first step, that is, to returning to the blow, but Adela
loves him. Slowly, he begins to appreciate it and can't do
without her. They're eating supper that she prepared.
ADELA
You’re not eating? Is my style
of cooking not enough now? Your
expectations grow by the minute.
Adela nags and teases him, but there is a smile on her
face. She's happy.
MICHAEL
(dreamily voice)
I would like something completely
different.
ADELA
Like what? I know, I'll make some
dessert.
MICHAEL
(lazily)
Yeah, something sweet..
(CONTINUED)

60.
50 CONTINUED 50
ADELA
That's what I mean.
MICHAEL
Can you lay off those pots?
and stand here..( pointing at the
place in front of him).
Adela walks up to him. He sits her down on his lap and
starts to undo the buttons of her blouse. They kiss. After
a while he stands up, still holding her in front of him,
and walks towards the bed. It's a slightly awkward
arrangement, causing a little embarrassment and laughter.
They make love and after, Michael turns her over onto her
belly. He touches her shoulder blades, and proceeds to
inspect this area.
ADELA
(giggling)
What are you doing..? Are you
nuts?
MICHAEL
I'm trying to figure out, how you
fold your wings.
ADELA
What are you talking about?
MICHAEL
Up there, the scales fell from
somebody's eyes and sent me an
angel.
ADELA
(in a serious tone of voice)
Angels are sexless, not female.
MICHAEL
That's an old, male chauvinist
lie. Besides, it's well known,
that angels are fantastic
dancers.
ADELA
(smiling)
Singers, you wanted to say?
MICHAEL
Indeed..you've no idea what's
going on in heaven. None at all.
They make love again.
CUT TO:

61.
51 INT. ADELA'S HOUSE - SOME OTHER DAY 51
At the beginning, love and the sense of stability, the
very thing Michael likes most.
MICHAEL
You know, sweetheart.. after the
phase of my loneliness and
negligence, what I've been
through..now I feel secure and
happy.
ADELA
Almost happy I think..
As time goes by, he gets frustrated with his idleness,
and he takes short walks into town, when Adela's at work.
He's careful not to let anything show. As usual, he
thinks he's being reasonable. One day, however, he's
completely stoned and starts to trip out. Adela realizes
that the treatment was wasted. Michael's into drugs
again.
ADELA
(crying)
I'm doing everything possible for
you, and you..just let yourself
down. Do you want to be at the
bottom of the pile for the rest
of your life? What else must
happen to make you wake up?
MICHAEL
Leave me alone, I've told you so
many times. Give up!..It's not
worth it.
CUT TO:
52 INT. ADELA'S HOUSE - HELP USER - NIGHT 52
After the fight, the situation goes back to normal, and
Michael is away from home quite a lot, disappearing for
long hours. Adela knows where to find him when he's away
from home. One evening, she senses where to go. She gets
into the car and drives around the places where she has
seen him earlier. Finally, she finds him in a night club,
completely high. In all probability, he's overdosed.
Helped by two guys, who haven't yet tripped out, she puts
Michael into the car and takes him to Dr. Barring's
Clinic. It transpires that he's in very bad shape.
CUT TO:

62.
53 INT. DR. BARRING'S OFFICE - NIGHT 53
DR. BARRING
Adela..it can't go on like this
much longer. We’ll try to
rescue him tonight, but
someday, he'll take too much,
and his heart will stop. Take
my advice, give it up. You
should dump him.
ADELA
(standing up, angry)
Come on..you are a doc after all
aren't you?
CUT TO:
54 INT. IN THE CLINIC - THE NEXT DAY. 54
On the next day, Adela comes to the clinic and takes
Michael home. He is very apologetic.
CUT TO:
55 INT. ADELA'S CAR - THE SAME DAY 55
Adela sighs and starts the engine.
MICHAEL
I promise to try, and find work
as a teacher and I will never
take coke again. I swear.
This time Adela doesn't believe him, but with time it
seems that Michael has slowed down a bit.
56 INT. ADELA'S APP. - DAY BY DAY 56
They dance a little, and he composes a short choreography
for Adela's friend, which she needs for a casting.
PICTURE SHOWN ONLY
57 INT. ADELA’S APP. - SOME DAY 57
One day, in high spirits, and only a little doped, he
calls Adela at the NYC Ballet.
MICHAEL
Come right away, I want to make
love to you.
ADELA
(angrily)
I'm in the middle of a
rehearsal. What's up now?
(CONTINUED)

63.
57 CONTINUED 57
MICHAEL
Nothing really..the only thing
is that I feel a gentle warmth
somewhere down below.
ADELA
Mike! You're doped again!
MICHAEL
No, no..not really. It’s nothing
much..Are you coming?
ADELA
Stay at home. I'll be back soon.
Right after the rehearsal.
At home, though, Adela is still angry, Michael begins to
caress her. She consents in the end. Michael kisses Adela,
one after the other, on all parts of her body.
MICHAEL
I love it all. This..and this..
and.. this also (kisses her ass).
Adela giggles. Mike inspects her
legs.
He lifts one up.
MICHAEL (COUNT'D)
They're beautiful, only dancers
have such legs.
CUT TO:
58 DANCES WITH BLOW - FOLLOWING DAYS 58
The dolce vita doesn't last long. Everything goes back to
normal. His disappearances occur often. He sometimes
returns home on his own, and there are times when Adela
looks and can't him find for a half night, and finally
spots him in some night club. One day she has to leave
town for a few days. Adela cuts down the length of her
stay away from home, to as short as possible.
59 INT. ADELA'S APP. - SOME NIGHT 59
Adela returns to her place, and is surprised. All the
lights are turned on. Fortunately, Michael's at home. She
runs up. The bathroom door is wide open. She goes in, and
her heart almost stops beating. Michael is lying on the
floor. He's unconscious and has a bloody head. She calls
an ambulance. It turns out that Mick must be resuscitated
immediately.
CUT TO:

64.
60 INT. SOME HOSPITAL AT NIGHT. 60
Adela again spends the night in the hospital. His
condition is critical. She's beginning to lose the energy
and stamina, but Michael's organism is very strong. He
comes out intact this time, also.
CUT TO:
61 INT. BARRING'S CLINIC - MORNING 61
Adela goes to the nurses' room and asks if Dr. Barring is
there. The nurse calls to the office and nods
affirmatively. Adela, without waiting for permission, goes
in the direction of the office, knocks and opens the door.
ADELA
(walks up to him)
Jeremy..have you a minute?
DR. BARRING
(smiling)
Oh, it's you, Adela. Come on in.
I've always got time for you,
but if you want to talk about
problems with this horrible guy,
forgive me, but I'm not in the
mood.
ADELA
I'm exhausted doc (sits).
Even when I go to bed earlier,
I'm thinking that I'll have to
drive around the town another
night, so I can't sleep. I was
wondering if you could give me
some prescription. We have a
premiere soon.
Barring looks at her inquisitively.
DR. BARRING
Sure, no problem, but you
probably know there are other,
better ways. You should try to
reduce the amount of stress.
You're being stubborn, that
you're the nurse to that drug-
addict and it's going to kill
you.
ADELA
(in a soft and tired voice)
I know, Jeremy, that you don't
like Michael, but I'm sick and
tired of the subject. Just give
me some pills, please.
(CONTINUED)

65.
61 CONTINUED 61
Dr. Barring makes out a prescription.
DR.BARRING
Here we go. And be careful. These
are really strong.
ADELA
Promise..I'll be careful.
They say their goodbyes and she leaves the clinic.
CUT TO:
62 EXT. THE WAY - INT. PHARMACY - DAY 62
On her way home, she stops by at a pharmacy and buys the
medicine.
CUT TO:
63 INT ADELA'S APP. - THE EVENING 63
And at night she takes one pill.
CUT TO:
ADELA
Now then, you've decided to cash
in your chips. How many more
times, am I going to sav your
ass..I wonder!
MICHAEL
Come on..leave me alone..please.
ADELA
Leave you alone? I'll leave you
there next time. You’re been
trying to tell me for some time,
that nothing’s going to change.
That I have to adapt. That I've
to give you makeshift stability
and provide a place you can come
back to. (raising her voice) Say
something!. Well..all right. I'm
not going to drive around the
town and I'm not going to take
you to the hospital anymore. Next
time there won't be anyone and it
will be your ending.
MICHAEL
No problem.
(CONTINUED)

66.
64 CONTINUED 64
ADELA
Do you want to break up? I
thought you said you love me?
MICHAEL
I don't really know, if I do
still love you.
Adela's voice is beginning to break drastically.
ADELA
Sure. It's all clear to me. When
are you going out? To spend your
night on the town? Now, or maybe
a little later?
MICHAEL
Now..I guess so.
ADELA
So, get your ass out of here. The
ball is over! What are you
waiting for?
Michael goes out without a word. Adela swallows two pills
this time in the evening.
65 EXT. WAY HOME - NEXT EVENING 65
After the rehearsal, Adela is in a bad mood. On the way
home, she buys a bottle of wine.
CUT TO:
66 ADELA'S APP. - THE SAME DAY - EVENING 66
Michael is constantly away from home. While preparing
dinner, Adela is still drinking wine. Watching TV a
little. It's already evening. A bottle of wine almost
empty. Adela feels tired, lays on the bed and closes her
eyes, but then reaches to the nightstand and takes out a
bottle of sleeping pills. There's 4 left. She doesn't
really know what she's doing as she's drunk. Emptying the
bottle, she swallows all the pills and is sipping wine.
She pushes only the bottle onto the nightstand and
immediately falls sound asleep in her clothes . It's 8 pm.
Michael shakes her shoulder.
(CONTINUED)

67.
66 CONTINUED 66
MICHAEL
Adela wake up!..why were you
sleeping at this hour? I've got
to talk to you..Adela! It's only
8.30 pm. Wake up!
Between the sheets Michael finds the empty vial. The blood
is suddenly drained from his face. He puts his ear to
Adela's chest. Is there a heartbeat? Is it only the blood
pulsating through his veins. A grimace of pain shows up on
Michael's face. In desperation, he begins to hurry.
Initially he wants to call an ambulance. He quickly gives
up on this idea. He raises her, and moves her to the car
and puts her down gently on the back seat. He gets in, and
starts up. The engine roars. Tyres screech, then the car
moves off and disappears round the bend. Traffic lights
green, red. A loud horn from the side. In passing, he can
see an angry face. He's overtaking. Someone makes an
unmannerly gesture, Michael stops at front door of the
Barring Clinic.
Michael's not waiting..
67 INT. DR BARRING'S CLINIC - NIGHT 67
He runs, carrying Adela.
MICHAEL
Is somebody here?! Nurse..please,
help her!
Dr. Barring emerges from his office.
MICHAEL
Dr. Barring, Jeremy..help her!
DR.BARRING
What's up?
MICHAEL
She swallowed some pills!
DR.BARRING
(sharply)
Take her to ICU..
She disappears behind the doors together with the doctors.
After a while one of the doctors appears.
DOCTOR
Do you know what she took?
(CONTINUED)

68.
67 CONTINUED 67
MICHAEL
Silenor?, I think..
Michael follows him to enquire about something, but the
doctor again disappears behind the door. Michael sits down
by the wall, and looks motionlessy at the floor.
The same doctor emerges.
MICHAEL
(stands up quickly, and attempts
to follow doctor)
Doc!..what's wrong with her!!?
DOCTOR
It’t difficult to tell at this
stage.
The doctor leaves. Michael sits down by the wall again. He
covers his face with his hands.
MICHAEL
(Is talking to himself)
Oh God..I will do anything. Now!
Right now..!Even if I have to
die. I swear! but..let her live.
The tired face softens up, and huge tears roll down his
cheeks. Michael isn't trying to wipe them off. The tears
have fallen on the floor. The people passing through the
corridor give him worried looks. Finally, Barring emerges
from the intensive care unit. He's standing, towering
over Michael. It takes quite a while, before Michael
notices his legs. He rises.
MICHAEL
What about her?
DR.BARRING
She's passed the worst phase.
We're going to find out tomorrow,
but now we're in control of the
situation.
MICHAEL
Could I stay?
DR.BARRING
(in a tougher tone)
What for? Go home. I wish I
didn't have to see you here
again!
The doctor's expression changes. He's looking at Michael
with disgust and hisses, almost a whisper.
(CONTINUED)

69.
67 CONTINUED 67
DR.BARING
It's all your fault, dopehead!
First you forfeit your own
career, and now this..Adela was
constantly exhausted driving
around the city. Barely alive at
rehearsals. Her career is also up
in the air, because of you. She
couldn't sleep. She loves you,
you bastard, and you just use
her. I wanted her to become my
wife, I could give her
everything, but she has chosen
you. Get out of here, you
asshole, you fucking moron.
Barring changes his expression, angry, turns around and
leaves. Michael stands for awhile, lowers his head, chews
his lips, but stays there. He sits down in the waiting
room, and waits.
CUT TO:
68 INT. ADELA'S HOUSE - NIGHT 68
Michael returns to the empty house in the early morning
hours. He's desperate, he grabs the bottle, sinks into an
armchair and slowly gets drunk. He's sick at night. Next
morning he wakes up with a horrible headache. He has a
drug craving and hangover. He manages to pull himself
together, with difficulty. He must go to the clinic to see
Dr. Barring. Not being able to drive a car, he decides to
take a cab. The taxi driver looks suspiciously in the rear
view mirror, Michael's eyes are bloodshot, he has a two
day stubble.
TAXI DRIVER
There we are. Hey! Mister! This
is it.
CUT TO:
69 MINT. DR BARRING'S CLINIC - MORNING 69
Michael manages to shake off depressive thoughts. Walking
in, he notices the receptionist's curious look.
MICHAEL
Is the boss in?
NURSE
The doctor is busy at the moment.
(CONTINUED)

70.
69 CONTINUED 69
MICHAEL
I'll wait. (pause) Nurse, do you
know how Adela Carew’s feeling?
NURSE
I'm afraid I can only disclose
this kind of information to the
members of the family.
MICHAEL
(he tilts forward across the
reception desk)
But you know me! don't you?
NURSE
(The nurse purses her lips)
You’re not a member of the family.
MICHAEL
(in a louder voice)
Yes! But I love her! Isn't that
enough?
There is an expression of malice on the woman's face.
NURSE
(contemptuously)
If I'm not wrong, it's because
of you that Mrs. Carew is in a
bad way up there.
MICHAEL
Fuck you! It's none of your
fucking business!
Dr. Barring emerges, alarmed by Michael's yells.
DR.BARRING
Stop it Mr. Layton! It’s the
wrong time for this kind of
behavior. I invite you my office
please. There's something.. that
I have to tell you.
They go into Dr. Barring's office. They sit down. Dr.
Barring silent for a while, twiddling his pen between his
fingers.
MICHAEL
How is she..Jeremy?
DR.BARRING
As well as she could be in the
present situation.
(CONTINUED)

71.
69 CONTINUED 69
MICHAEL
And what does that mean?
DR.BARRING
She's not fully healthy..
MICHAEL
You mean..physically?
DR.BARRING
This applies to her brain.
.
Michael feels blood draining from his face.
MICHAEL
Do you mean that..
DR.BARRING
I mean that the anoxemia caused
by loss of consciousness resulted
in a deficiency of oxygen
distribution in the brain. This
means permanent damage.
MICHAEL
(In a weak voice, repeating like
an automaton)
Permanent damage?
DR.BARRING:
Yes, unfortunately. There may be
an improvement in due time, but
to get back to the health status,
from the time before the
accident, is impossible. Her
parents are dead and she has no
immediate family, we have decided
to place her under the care of a
special institution.
MICHAEL
(his voice is harder now)
Who's "we"..?
DR.BARRING
It was me who took the decision..
I have personally decided about
this.
MICHAEL
Yesterday you said that you love
her. That's the impression I had.
Anyway..now you want to lock her
up in an institution? No way.
I'll look after her myself.
(CONTINUED)

72.
69 CONTINUED 69
DR.BARRING
I'm afraid I can't agree to that.
MICHAEL
Could you explain?..
Dr. Barring raises his hand in an impatient gesture.
DR.BARRING
So, you demand an explanation,
do you? Don't be ridiculous.
Really, it's so funny..
MICHAEL
I need just one more chance.
DR.BARRING
No way, I can't leave the patient
in your hands.
MICHAEL
(His tone of voice is
determined but moderate)
I know it all my fault, but I
can't leave her now. I promise
I'll stay away from the blow,
even if I have to howl at the
moon. I think she ought to stay
here for a while, until I get
through the worst period and
then, I'm going to take her.
Please!(Mike is standing for a
longer while)
After a long, unfriendly silence, Barring
a sheet out of his note pad, and hands it to Michael.
DR. BARRING
Here is a course of anti-
depressants for you. Adela will
stay here, for the time being.
I'm going to decide when you're
ready, but if I see even the
smallest symptom of a relapse,
this situation will take a
different turn.
MICHAEL
Thank you..
(CONTINUED)

73.
69 CONTINUED 69
DR.BARRING
As a physician, I should never
agree to this, and what's more, I
don't like you Layton, but I
realize that, if this time, by
some miracle, you achieve
success, if you find a job and
could take care of her, she
will be much better off, than
in an institution..Your
prescription. You know best
how much the dose is, so
please, do not overdo it.
Michael puts the prescription into his pocket, and
leaves.
CUT TO:
70 INT. ADELA'S HOUSE - SOME DAY 70
Michael is deeply depressed, but he decides not to sit
around doing nothing. He knows that can count on the old
friend of his late mother, Philip Machen. He decides to
call his office. Stretched out on the bed, he begins
punching out a number. Lying on his chest a cell phone, a
woman's voice resounds
A VOICE(V.O)
Mr. Machen's office, good
afternoon.
MICHAEL
Good afternoon. Michael Layton
here. Is Phil in, please?
A VOICE(V.O)
Just a minute, please. Mr..Machen
went out to the terrace.
Michael can hear the fading sound of heels. A couple of
minutes later, someone picks up the phone and Michael
hears a familiar voice.
At the other end of the phone you can see a man about 60.
A little overweight, short gray hair, gray beard trimmed,
well-kept.
PHILIP
Hello, Michael, How are you?
MICHAEL
Hi, Phil..
Philip Machen is happy to hear Michael on the phone.
(CONTINUED)

74.
70 CONTINUED 70
PHILIP
So, dear boy, where have you
been? I haven't had any news from
you for over a year. I called
your flat and some guy picked up
the phone.
MICHAEL
I'm renting..
PHILIP
And you? What have you been
doing?
MICHAEL
I'm staying at my girlfriend's
place.
Philip laughs wholeheartedly.
PHILIP
You always knew how to take care
of yourself..you son of a gun!
So, tell me what's up?
MICHAEL
Things are not looking very
bright right now..
PHILIP
Come on. Tell me what's
bothering you?
MICHAEL
I need a few days rest. I'd
like to get out of town for a
while.
The friend's response is easy to guess. He replies right
away.
PHILIP
O.K. Pack your stuff, come and
get the key to the cabin..and off
you go. I could play the role of
your mother during the weekend.
You know..lately I've a whole lot
of court cases..Are you still
there..?
MICHAEL
(this is the only thing he says)
Thanks, Phil..
Philip though, is curious as usual.
(CONTINUED)

75.
70 CONTINUED 70
PHILIP
I hope you don't mind, my asking,
but it's because of this girl
friend of yours?
MICHAEL
In a way yes.. and of course my
old problems..
PHILIP
(sighs)
Well, my boy..It's not easy.
Come at 6pm, we'll talk. When you
get there, you'll see the good
old cabin again, in the bosom of
nature. What do you say about
that?
MICHAEL
Yeah..I'll just grab a few
things.. food, some medicines.
You're so wonderful, Phil!
PHILIP
Come on..that's just fine. I’ll
see you at 6pm.
A click is heard. Someone puts down the phone on the
cradle. Michael doesn't want to move from the bed, where
the pillow still exudes the smell of Adela's hair. He's
cold and has the shivers, he gets up and walks to the
wardrobe and in his hands there's a huge yellow jumper,
and he seems to hear her quiet laughter..
RETROSPECTION
She was sitting in an armchair by the window, and a soft
yellow river of wool was flowing down her knees.
ADELA
Look, Mike, I’ve just finished
knitting a jumper, but I'm afraid
it'll only fit a gorilla!
MICHAEL
(then said)
It looks like a huge omelette.
Adela puts the sweater on, and waving its too long-
sleeves, makes sounds like an ape, strolling around the
room. Michael can remember, that he bound together these
sleeves behind her back, and she laughed.
ADELA
If you ever need it, you've got a
fashionable strait jacket handy.
END OF THE RETROSPECTION

76.
71 INT. MICHAEL'S APP. - SOME DAY 71
Michael is holding the wool sweater without thinking, he
puts it on, takes the bags, those he had packed earlier,
and goes out.
CUT TO:
72 EXT. SOMEWHERE IN THE CITY - DAY 72
On the way he stops by a supermarket. He has money,
because in a biscuit tin. Where Adela keeps small change,
he found - by strange coincidence, a whole 500 bucks. He
picks up the food carefully. High energy, proteins,
healthy products. He's on his way to Philip's cabin. It's
quite a distance. His mind wanders off, and because of
this he dangerously exceeds the speed limit. A traffic
police officer stops him. He pays a fine without a word of
grumbling, and he's speeding again. Finally, passing by a
fork road, he drives towards the forest. He arrives at the
place of his destination. The cabin is cosy. He knows it
well. He goes out to get some firewood, and throws a
couple of logs onto the fireplace. He unpacks, prepares
food for supper. He doesn't want to think about the
imminent future. He knows all too well. The night is
devastating. He suffers from the shivers. It's cold and of
course he has a fit of narcotic hunger. Finally, he
manages to get some sleep, the early morning.
CUT TO:
73 INT. PHILIP'S CABIN - DAY 73
In the morning, Michael wakes up frozen to the bone, and
with a terrible headache but, generally, he is feeling
good. But In the bathroom, he turns his head away from his
reflection in the mirror. He spends a long time under the
shower. Then, he eats breakfast, and takes his dose of
anti-depressants. It’s Saturday morning. He must find
something to do before Phil arrives. He goes out and he
observes the morning mountains. Then, on an impulse, he
goes back to his room, changes his clothes, and picks a
pair of old jeans and a t-shirt. There is a stump behind
the cabin. There's some wood in the shed and there's also
a load of it under a side roof. He begins to chop the wood
relentlessly. The timber is disappearing by the minute.
Michael seems a bit distraught and works passionately,
using all the strength in his arms. He grits his teeth.
The splinters are flying furiously in the air. To muffle
the pain. To stop thinking. His lips are in a straight
line, frowning, despite the cool air, stains of sweat,
showing slowly on his t-shirt. This is how Philip finds
him.
PHILIP
Are you going to chop enough wood
for the whole winter?
(CONTINUED)

77.
73 CONTINUED 73
Michael can't hear him. He’s reaching for another log.
PHILIP(CANT'D)
(raises his voice)
Hey, Mike! Are you here?
Only now Michael starts up and looks at Philip, slightly
dazed.
MICHAEL
Why are you shouting? do you want
to give me a heart attack?
PHILIP
Your heart seems fine as far as I
can see but what about the rest?
MICHAEL
(squints)
Could we change the subject?
Please..Phil. Let's not talk
about me.. and about Adela..
about problems. I want to forget
about them, for a while. Adela's
not very well. It's my fault. I
haven't got a clue how to handle
it.
Michael is talking with his head down, he is practically
talking to himself. Phil is only watching him.
PHILIP
We don't have to talk about
troubles right? From now on,
we'll only talk about fish. In
these streams, we can fish
salmon so..(he shows him how
big, stretching his arms
out)..big. The grizzlies have a
real feast here. We'll see them.
I'll show you, how big they are.
Simply stay out of their way,
and they won't even approach
you. Complete harmony. We have
our fish, and they have theirs.
They catch many more than we do,
with our fishing rods. One
movement of the paw..splash, and
that's it. (performs a gesture
with his hand down)
Phil keeps talking. The flood of words allows Mike to
stop thinking. He's in better spirits now. He's waiting,
though, for the monster to wake up - the narcotic hunger.
(CONTINUED)

78.
73 CONTINUED 73
PHILIP (CONT'D)
We're going to grab some good
food first, because I'm starving
and then I'll give you a grand
tour of the area. We've got to
choose a nice spot. We mustn't
get the bears angry. Now, what
do you say?
Phil asks him, seeing that Michael's mind is wandering
off.
PHILIP
(vigorously)
Now, you're going to be a good
boy, and you'll agree with all my
propositions, right?
MICHAEL
Absolutely..Old sport..Absolutely
he, he..
PHILIP
(in a more serious tone of voice)
Leave it to me, and everything
will be fine. I'll take care
of you and everything.
MICHAEL
Mhm..yeah. Time alone will tell..
CUT TO:
74 EXT. IN THE AREA OF THE CABIN 74
Phil, in spite of a lot of pressure at work, leaves his
practice under the supervision of his partner, and goes to
stay in the mountains to be with Michael. They take long
walks in the area, go fishing. Michael struggles with his
weakness. Phil's help is indispensable. These are most
days difficult and nights filled with suffering and
challenges. The time passes by.
SHOWN ARE ONLY IMAGES
Michael's restlessness, headaches, hot flushes, Phil's
help, food preparation, feeding.
PHILIP
(Sitting with a bowl of soup, on
the edge of the bed)
You have to eat, Mike!
(CONTINUED)

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