You can download the PDF version of the screenplay for Cuba’s Love and Suicide, the movie at:
www.UrbanFamilyEntertainment.com
LOVE AND SUICIDE
AMOUR ET SUICIDE
FADE IN:
INT. ALBERTO’S HOME, HAVANA, CUBA – DAY
**KEY LANGUAGE NOTE – ALBERTO IS ALWAYS SPEAKING IN SPANISH.
TOMAS IS ALWAYS SPEAKING IN ENGLISH until otherwise NOTED.
ALBERTO (V.O.)
“In the name of the father, the son
and the Holy Spirit.”
Au nom du père, du fils et du Saint Esprit…
ALBERTO, 30s, Afro Cuban opens the doors on his balcony.
Someone yells to him from the street.
VOICE (O.S.)
Alberto! Alberto!
Alberto! Alberto!
ALBERTO
What man, you’re waking me up.
Qu’est ce que tu veux, mec ? Tu m’as réveillé !
VOICE (O.S.)
You’ve got mail.
Tu as du courrier !
Alberto leans over picks up a plastic bag attached to a thin
rope and let’s it down from his weak balcony to the street to
retrieve the mail.
ALBERTO
Give me. Give me.
Donne le moi ! Donne moi le !
FADE TO BLACK.
EXT. MALECON – DAY
Alberto sits pensive outside.
ALBERTO (V.O.)
I never understood those words…
Je n’ai jamais compris ces mots…
INT. ALBERTO’S CAB – DAY
Alberto sits quietly in his cab.
ALBERTO (V.O.)
…until the day my friend sent me
the letter.
… depuis le jour où mon ami m’a envoyé la lettre
EXT./INT ALBERTO’S CAB – DAY
A series of shots of Havana, Cuba from Alberto’s POV.
- Cuban signs
- Police motorcycle
-Alberto driving
-Cuban monuments.
-Horse and carriages
-People walking in the streets.
- Waves hitting the Malacone.
- Kids playing.
It begins to rain. Alberto puts his wipers on. Thunder and
rain begin.
SOUND CUT:
THUNDER SOUND EFFECT TO:
INT. TOMAS APARTMENT – BEDROOM – NIGHT
Overhead fan spins around at different speeds and effects.
TOMAS, 30s, is in bed clearly drunk and messed up. He smokes
and drinks naked in bed. Series of jump cuts all of which
Tomas literally is coming apart.
- Long swig of bottle.
- Picks up MTV trophy.
- Reeling in bed.
- Staggers out of room.
INT. TOMAS APARTMENT – LIVING ROOM – NIGHT
Tomas is on the phone.
TOMAS
Hi, it’s Tom. You there?
Salut, c’est Tom. T’es là ?
INT. TOMAS APARTMENT – BATHROOM – NIGHT
Tomas sits on the toilet staggering, slipping off to the
sides. As we see him, he is literally falling apart.
Splitting into pieces at different speeds.
Tomas is in the shower smoking and drinking.
INT. TOMAS APARTMENT – LIVING ROOM
TOMAS
Pick up! Hello? Hello?
Décroche ! ! Allo ? Allo ?
He lights another smoke as we push in on him. He’s losing
his mind.
We see the apartment has instruments. Gold records on the
walls. The guy is in the music business.
Nearly lying on a a guitar he strokes the stings wearing a
only a towel.
Back on the phone.
TOMAS
You’re not returning my phone
calls? You know I do love you. I
do worry. I am human.
Tu ne réponds pas à mes appels ? Tu sais que je t’aime. Je m’inquiète. Je suis humain.
A series of shots as Tomas gets dressed. He ponders his
life. Sitting on the couch.
Changes his clothes further with phone in hand. T- shirt.
Then long sleeve shirt. Then slacks. All with strange pacing
and effects.
He considers calling again. It’s become obsessive. He holds
the phone all the while. Then re-thinks. Does dial. Then
does not.
He is looking at something, but we’re not sure what it is?
TOMAS
You would be proud of me.
Tu serais fier de moi.
QUICK CUT to him playing BONGOS then back to him looking at
whomever or whatever he said would be “proud” of him.
He ties his shoes. He continues to think. He is definitely
losing his mind.
Out of time we cut to him on the PHONE again…
TOMAS
I really need to see you.
J’ai vraiment besoin de te voir.
Sitting at a glass coffee table he lights another cigarette.
There is a GUN, PILLS, A BOOK on the BRAIN, BEER BOTTLES,
LIQUOR BOTTLES and BULLETS on the TABLE.
Lighting crashes loudly in the background as we see Tomas
contemplating suicide with all the items on the table.
The pills?
The gun?
The booze?
Finally he puts the gun to his head and is about to pull the
trigger…
THUNDER CRASHES LOUDLY…
CUT TO:
EXT. MALECON – DAY/NIGHT
Waves smash against the wall. NINA, 20s, beautiful watches
from her window.
More waves crash up onto the streets. It’s very stormy.
INT/EXT. HOTEL – NIGHT
Nina exits the hotel. She stands and watches the remaining
storm roll out to sea.
EXT. HAVANA STREET – NIGHT
We see a series of shots of the storm subsiding and cars
driving through the flooded road.
EXT. MALECON STREET – NIGHT
Nina walks down the stairs of the hotel down to the street.
She walks in the final stages of the windy storm.
SUPER TITLE: LOVE & SUICIDE
EXT. MALECON – DAY
Birds and waves are heard in the darkness as we fade up to
Tomas asleep on the wall of the Malecon.
He is hurting quite badly. We see the rum bottle that took
him prisoner.
Cars whiz by honking at him as he tries to move down the
street.
ALBERTO (V.O.)
I don’t know why a person would
want to take their life.
Je ne sais pas pourquoi des personnes peuvent vouloir se tuer.
A HORN blasts and wakes Tomas up. He takes quite a long time
to move and adjust to his hangover.
ALBERTO (V.O.)
Perhaps they are trying to escape
from themselves. To get away from
their own voices. Hiding from
uncomfortable thoughts. Voices
waiting to explode in their
silence. Either way, dead or
alive, they have to rest. They
have to listen. And liberate their
soul from their minds.
Peut-être essayent-elles d’échapper à elles-même. Fuir leurs propres consciences,
leurs pensées embarrassantes. Echapper à leurs voix intérieures impatientes de déchirer le silence..De toute façon, mortes ou vivantes, elles doivent les écouter.
Et libérer leurs âmes de leurs esprits.
CUT TO:
EXT. ALBERTO’S CAB
Alberto sits on his cab talking to a BOY.
ALBERTO
You don’t know how to play
Baseball.
Tu ne sais pas comment jouer au Baseball !
BOY
I know how to play good.
Je sais comment bien jouer.
ALBERTO
Where do you play?
Tu joues où ?
BOY
Central Havana.
La havane centre
ALBERTO
Central Havana?
La havane centre ?
(beat)
Who is the best American player?
Qui est le meilleur joueur américain ?
BOY
Sammy Sosa?
Sammy Sosa?
ALBERTO
What?
Qui ?
BOY
Sammy Sosa.
Sammy Sosa.
ALBERTO
Show me how Sammy Sosa bats?
Montre-moi comment frappe Sammy Sosa ?
BOY
You want to see how he bats?
Tu veux voir comment il frappe la balle ?
ALBERTO
Show me.
Montre-moi
BOY
I’ll show you…I’ll show you.
Je vais te montrer … je vais te montrer
The young boy bends down and gets into a batting position.
ALBERTO
Are you crazy brother? You look
like a hack.
T’es fou mec ! On dirait que tu fauches !
Alberto jumps off his cab and gets into a stance to show the
boy.
ALBERTO
(showing the boy)
He bat’s like this.
Il frappe comme ça !
CLOSE ON ALBERTO as he sets his stance.
ALBERTO
He gets ready like this…And when
the ball comes…Whackita!
Il se tient prêt comme ça et quand la balle arrive, … Whackita !
(beat)
And that’s how he hits.
C’est comme ça qu’il la frappe…
Alberto stands back up and looks at the boy.
ALBERTO
Now, show me.
Maintenant, Montre-moi
The boy positions himself. Alberto sits back up on the cab.
He sees something.
ALBERTO (V.O.)
I’ve seen the free world…
J’ai vu le monde libre…
CUT TO:
EXT. MALECON – DAY
Tomas walks down the street.
ALBERTO (V.O.)
…through the eyes of many
tourists. When I first saw Tomas I
started to realize the truth is no
one is really free.
…à travers les yeux de beaucoup de touristes. Quand j’ai vu Tomas, j’ai commencé à réaliser qu’en vérité, personne n’est jamais vraiment libre.
Close shots on a boat sitting in the middle of the harbor as
Tomas walks past them.
ALBERTO (V.O.)
I’ve wondered why a man will die
for liberty, kill in the name of
peace,
Je me suis souvent demandé pourquoi une personne voulait mourir au nom de la liberté, tuer au nom de la paix,
CUT TO:
EXT. HARBOR – DAY
Nina walks along near the water near where Tomas is she looks
at him. Now we see Tomas again.
ALBERTO (V.O.)
…and at the same time deny
himself salvation.
…et dans le même temps refuser son propre salut.
Tomas continues walking along until we hear a famous Latin
song being sung by an OLD WOMAN with a guitar.
We cut to Nina standing listening to her.
Tomas walks into the scene. He takes a big swig of rum and
walks away from the old familiar tun.
CUT TO:
EXT. HAVANA STREET -DAY
Tomas walks near a line of old cabs drunk. He staggers
along. Clearly not well.
An OLD WOMAN smokes a cigar as cars whip by.
INT. CUBAN BAR – DAY
Shot of fans above with old traditional light fixtures.
A 3 PIECE CUBAN BAND plays as Tomas settles himself at the
bar for a drink. He is enjoying the music.
In another part of the bar Nina descends some stairs. Tomas
and Nina are near each other, Tomas may or may not see her -
it’s hard to tell if he’s looking at her or not.
Tomas looks and perhaps does see Nina. He gets up and
leaves.
EXT. OLD HISTORIC HAVANA – DAY
Nina and Tomas play a little game of cat and mouse through
the market shops.
Nina shops and looks to buy some things, but is more
interested in Tom. He seems to be following her.
Nina sees a horse and pets it.
Tomas takes a picture of some tourists for them.
EXT. OLD HISTORIC HAVANA SQUARE – DAY
Nina sits with a FORTUNE TELLER (Macumba Lady) – she smokes a
cigar as she tells Nina her fortune.
FORTUNE TELLER
This consultation is for you to
have clarity in your mind and in
your family. To liberate you from
all that is bad, all that is dark
from yesterday, and to leave you
vindicated with all your
consciousness.
Cette consultation est pour que vous voyiez plus clair dans votre esprit
et dans votre famille. Pour vous libérer de toutes les mauvaises choses, tout ce qui va mal
et pour vous laisser en paix avec votre conscience.
The fortune teller picks up some TAROT CARDS and shuffles
them. Nina listens carefully.
FORTUNE TELLER
Now you will pull 21 cards.
Maintenant je vais tirer 21 cartes.
The fortune teller starts to chant something as Nina looks at
the cards.
CUT TO:
EXT. HISTORIC HAVANA STREET – DAY
Very nearby Tomas walks up to a horse and looks at it. Off
camera we can hear the CHANTING of the FORTUNE TELLER.
EXT. OLD HISTORIC HAVANA SQUARE – DAY
The fortune teller finishes up her singing and picks up the
cards Nina has chosen.
FORTUNE TELLER
Very good! I say very good because
you have received a “CUP.”
Très bien ! J’ai dit très bien car vous avez tiré une coupe.
The fortune teller shows Nina the card.
FORTUNE TELLER
The people who receive a “CUP” are
good daughters. You are a
spiritual person.
(beat)
You should put a cup of water high
up in your bedroom to ask for peace
and tranquility for the world.
Les personnes qui reçoivent une coupe,
sont de bons enfants.
Vous êtes une personne spirituelle.
Vous devriez mettre un verre d’eau en hauteur dans votre chambre
Pour demander la paix et la tranquillité dans le monde.
Tomas comes around the corner and walks past Nina and the
fortune teller. He does not take note.
FORTUNE TELLER
And also ask for the vindication of
my mother. The vindication of my
father…the vindication of my
godmother…
Et aussi demander à disculper ma mère. Disculper mon père… Disculper ma marraine…
Nina has a very confused, but quizzical look in her eyes as
she listens on.
CUT TO:
EXT. OLD HISTORIC HAVANA BAR – DAY
A BAND plays outside.
Nina and Tomas both sit outside drinking. They sit a couple
of tables away from each other.
Tomas keeps looking at Nina. Nina feels him looking at her
and looks at him. She has a look of “he’s not bad.”
Tomas decides to get up and go speak to her.
Just as he arrives at the table she gets up and leaves.
EXT. HAVANA STREET – DAY
Nina walks down the street with a little curious smirk on her
face.
EXT. HAVANA STREET – DAY
Alberto stands with a couple of cab drivers near his taxi.
Tomas is heading toward the guys.
ALBERTO
(to guys)
Who was that ball player…the one
that hit all those homeruns?
Qui est ce joueur. Celui qui a frappe un coup de circuit…
(beat)
The young one…
Le jeune… (beat)
That kid should play for the
Yankees.
Ce gamin devrait jouer avec les Yankees.
(beat)
Man, that guy in the U.S. Wuld make
a ton of money.
Les mecs, ce type aux USA se ferait une tonne de fric.
As Tomas approaches Alberto notices.
ALBERTO
Hey Yankee, need a taxi?
Hey Yuma, besoin d’un taxi ?
Tomas stops and turns around.
ALBERTO
A taxi? Come on I’ll take you.
Un taxi ? Allez, je vous emmène
TOMAS
Got an extra smoke?
T’as une clope en rab ?
ALBERTO
A cigarette?
Une cigarette ?
Alberto reaches into his pocket for a smoke. Tomas puts his
hand out.
ALBERTO
You’ll ride in my cab, you can
smoke.
Je vous conduis dans mon taxi, vous pourrez fumer
As Alberto hands Tomas a cigarette he looks to his buddies to
give a commentary on Tomas’ condition.
ALBERTO
(to guys)
This guy looks really drunk.
Ce mec a l’air complètement bourré
TOMAS
How much to the man’s house?
Combien jusqu’à la maison du gars ?
ALBERTO
Where?
Où ?
TOMAS
The man. The bearded cat. The
man.
Le gars. Le barbu. Le gars
ALBERTO
What man?
Quel gars ?
TOMAS
How much to his house?
Combien jusqu’à sa maison ?
ALBERTO
(to cab buddies)
This guy wants to go to Castro’s
house.
Ce mec veut aller à la maison de Castro.
The two guys race off quickly.
ALBERTO
Who?
Qui ?
Tomas searches for a match or lighter.
ALBERTO
(with his own cigarette)
Here use this.
Tiens prend ça.
Tomas takes the lighter.
ALBERTO
Don’t talk about Castro here. I’ll
get in trouble with some people.
Ne parlez pas de Castro ici. Je pourrais avoir des ennuis avec certaines personnes.
TOMAS
You going to take me to his house
or what?
Tu vas m’emmener à sa maison ou quoi ?
ALBERTO
Give me me cigarette.
Rend moi ma cigarette
Alberto gets his cigarette back.
ALBERTO
No, no.
Non, Non
(beat)
Where are you from?
D’ou viens-tu ?
TOMAS
Listen I want to go to…Can we
stop with the small talk? I want
to go to his house. You going to
take me to his house or not?
Ecoute, je veux y aller… Peut-on arrêter de parler ? Tu m’emmènes à cette maison ou pas ?
ALBERTO
My brother, where are you from?
Mon ami, tu es d’où ?
TOMAS
New York.
New York.
ALBERTO
New York, I love New York. I am in
love with that city.
New York, j’adore New York. Je suis amoureux de cette ville.
TOMAS
Yeah, I love New York too. That’s
a great slogan for a T-shirt.
Ouais, J’aime New York aussi. C’est un super slogan pour un tee shirt.
ALBERTO
You don’t look people in the eyes.
Take those glasses off. Take them
off.
Tu ne regardes pas les gens dans les yeux. Enlève ces lunettes. Vire les.
TOMAS
You’re a taxi driver, right?
Tu es un chauffeur de taxi, n’est ce pas ?
ALBERTO
Yeah man…
Oui, mec…
TOMAS
Are you going to take me to his
house or do you want me to find
somebody else?
Vas-tu m’emmener à sa maison ou veux-tu que je trouve quelqu’un d’autre ?
ALBERTO
Hey, chill with the disrespect.
There is nobody there? None of
these taxi’s are going to take you
as drunk as you are. What a waste
of a night for no reason.
(beat)
A little more respect friend.
(beat)
Where do you want to go?
(beat)
Seriously?
Hé, un peu de respect ! Il n’y a personne d’autre ici !
Aucun de ces taxis ne te prendra, saoul comme tu es.
Pourquoi gaspiller une soirée sans raison.
Un peu plus de respect, mon ami.
Ou veux-tu aller ?
Sérieusement ?
TOMAS
To his house. House. Casa?
House? Fidel? Fiddle? House!
A sa maison, maison, casa, maison ? Fidel ? fiddle ? Maison !
ALBERTO
Hey, A little respect American.
Hey, un peu de respect Américain
TOMAS
You going to take me?
Tu m’emmènes ?
ALBERTO
Relax, relax.
(beat)
Look I’ll take you to your house.
Come on, let’s go.
Doucement, relax
Regarde, je vais te ramener chez toi.
Monte, allez.
TOMAS
Good.
Bien.
ALBERTO
You know it’s going to cost you?
Tu sais que tu vas devoir payer.
Tomas is so drunk he can barely get in the cab. He stops in
his tracks.
ALBERTO
You poor thing, you are really
drunk aren’t you?
Ben dis donc, tu es vraiment saoul, mon pauvre ami.
TOMAS
Yeah…Look a…I…
Ouais, regarde…je…
ALBERTO
This is going to cost you a little.
Only five bucks American.
Ca va te coûter un peu d’argent, seulement 5 dollars américains
Tomas is trying not to fall over.
ALBERTO
I’ll take you. What hotel are you
staying at?
Je t’emmène. Tu es descendu à quel hôtel ?
TOMAS
Take me right up there…
.Emmène moi vite…
ALBERTO
Which hotel? I’ll drive you for a
bit, okay?
Quel hôtel ? On se ballade un peu, ok ?
Alberto slams the door of the cab.
TOMAS
Christ, is everything loud in this
place?
Bon dieu, est-ce que tout est aussi bruyant ici ?
Alberto is in the taxi now…
ALBERTO
Hey, what do you want with the man?
Easy man…
Hey, tu lui veux quoi à ce gars ? Reste tranquille…
Tomas doesn’t answer.
ALBERTO
I am not going until you tell me
what you plan to do.
Je n’irais pas plus loin tant que tu ne m’auras pas dit ce que tu veux faire.
TOMAS
Look, I’m hoping to say the wrong
thing at the right time and get
myself killed. All right? Will you
just drive?
Ecoute, j’espère dire la mauvaise chose au bon moment et être tué. Ok ?
Peux-tu juste conduire ?
ALBERTO
You don’t have any family?
Tu n’as pas de famille ?
Tomas doesn’t say anything.
ALBERTO
Man, you Americans are something
else. You’re spoiled. You don’t
appreciate the U.S.
(beat)
Look, if I take you, the only
person that is going to get killed
is me. You leave and the only
person that stays here screwed, is
me.
Mec, vous les américains vous êtes bizarres. Vous êtes privilégiés. Vous n’appréciez pas.
Ecoute, si je t’y emmène, la seule personne qui va être tuée, c’est moi. Tu partiras et la seule personne qui se fera avoir, ce sera moi.
TOMAS
Drive will you?
Tu peux conduire !
ALBERTO
Easy buddy.
Du calme, mon pote.
TOMAS
How the fuck do I get out of this
car?
Comment je sors de cette putain de voiture ?
ALBERTO
Okay, okay, okay…I’ll take you.
Ok, ok ,ok… On y va
Alberto holds the door to keep Tomas from leaving the cab.
TOMAS
Drive then!!
(beat)
Please…
Conduit alors !!!
S’il te plait !
ALBERTO
And the bridge. The Brooklyn
Bridge. That bridge is really…
Et le pont. Le pont de Brooklyn est vraiment…
In an eruption…
TOMAS
Look would you drive!
(beat)
Just drive for God’s sake…
Tu vas conduire !
Conduit seulement pour l’amour de dieu.
ALBERTO
I hope you don’t speak like that to
your parents.
J’espère que tu ne parles pas comme ça à tes parents.
TOMAS
You’re loud, this taxi’s loud, this
whole frickin’ place is loud!
Tu es bruyant, ce taxi est bruyant, ce putain d’endroit est bruyant !
ALBERTO (O.S.)
Spoiled brat. It only takes a
second to take a photo.
Enfant gâté. Ca prend seulement une seconde pour prendre une photo
CUT TO:
INT. ALBERTO’S CAB – DAY
Tomas sits in the backseat. Alberto drives him.
ALBERTO
My friend, why are you so angry?
Did something happen to you?
Mon ami, pourquoi es-tu si en colère ?
Tu as des ennuis ?
TOMAS
It’s a long story.
C’est une longue histoire
ALBERTO
Tell me about it. All we have here
is time.
(beat)
Remember, life will never out last
time.
Dis-moi. Tout ce que nous avons ici c’est le temps
Souviens-toi, le temps l’emportera toujours sur la vie.
TOMAS
Yeah, well, you know what…I’m not
looking towards the future. All
right.
Ouais, ben, Tu sais quoi… Je ne regarde pas vers le futur. ok
ALBERTO
So what happened to you? A girl?
A girl left you?
Alors, que t’est-il arrivé ? Une fille ? Une fille t’a quitté ?
TOMAS
Where are you taking me?
Où m’emmènes-tu ?
ALBERTO
What do I know? I’m just driving.
You haven’t told me where you’re
staying.
Qu’est-ce que j’en sais ? Je conduis c’est tout. Tu ne m’as pas dit où tu loges.
TOMAS
Well yeah… I think it’s right up
here somewhere…
Bien, ok… je crois que c’est juste quelque part par là
ALBERTO (O.S.)
The Riviera
Le Riviera
EXT. CUBAN HOTEL – DAY
Alberto pulls up in the cab to drop off Tomas.
ALBERTO
Wake up! Yankee? Wake up! What
am I doing? What mess am I getting
myself into? Let’s go Yankee,
you’re home now. Wake up. Come
out, come out.
Debout ! Yankee ? Debout ! Qu’est-ce que tu fais ? Dans quelle galère je me suis fourré ?
Allez, yankee, tu es arrivé. Debout. Sors de là !
TOMAS
Where am I?
Où suis-je ?
Tomas slowly gets out of the car.
ALBERTO
Is everything cool?
Tout va bien ?
TOMAS
Yeah…
Ouais…
Tomas pulls out a wad of cash.
ALBERTO
Just five bucks…just five
bucks…
Juste 5 billets, 5 pesos…
Alberto looks at the cash. Clearly it’s a lot.
ALBERTO
(to Tomas)
Hey, you can count on me all week.
I’ll be here waiting.
Hey, tu peux compter sur moi pour toute la semaine.
J’attendrai ici.
INT. TOMAS HOTEL ROOM – DAY
Tomas enters his hotel and proceeds to drink, smoke and
lament. He goes to his window… It’s very high off the
ground.
INT. ALBERTO’S HOME – DAY
A pressure cooker goes off.
A LITTLE GIRL sits playing jacks in the bathroom.
Alberto’s wife sits looking over the ration book.
INT. ALBERTO’S HOME STAIRS – DAY
Alberto trots up the stairs of his home.
EXT. HOTEL NACIONAL – HAVANA, CUBA – DAY
Nina stands outside and looks over at Moro Castle.
EXT. HAVANA STREET – DAY
Nina is driven in a smallish motor scooter cab.
EXT. TOMAS HOTEL – DAY
Tomas steps out onto the ledge of the hotel and nearly falls.
Is he going to jump?
INT. ALBERTO’S HOME – DAY
Alberto enters his kitchen calling out to his wife…
ALBERTO
Regina? Mamacita? What are you
doing?
Regina ? Mamacita ? Que fais-tu ?
He drops a wad of AMERICAN DOLLARS on the ration book. His
wife looks up thrilled.
ALBERTO
A tourist gave it to me.
Un touriste m’a donné ça
EXT. TOMAS HOTEL – DAY
Tomas takes a giant swig of rum as we pan down to the ground
showing how far away it is.
EXT. PLAZA DE REVOLUCION – DAY
Nina walks from the Plaza de Revolucion.
INT. ALBERTO’S HOME KITCHEN – DAY
Alberto’s wife counts the money. It’s a lot for them. She
finishes, stands and hugs him and kisses him.
ALBERTO
See that? Thank God huh? We have
enough there for the whole family.
Give me a kiss.
T’as vu ça ? Merci mon dieu ? On a assez pour toute la famille. Embrasse-moi.
They continue to hug.
ALBERTO
I love you sweetie.
Je t’aime ma puce.
EXT/INT. TOMAS HOTEL ROOM
Tomas nearly falls from the window, slips and falls back into
the hotel room.
INT. ALBERTO’S HOME STAIRS
Alberto leaves his house.
INT. SCOOTER CAB – DAY
Nina is riding along, returning to somewhere perhaps.
EXT. TOMAS HOTEL – DAY
Alberto waits outside. Tomas leaves the hotel. Alberto
holds a camera.
ALBERTO
Tomas. How are you doing my
friend? How are you?
Tomas, Comment ça va, mon ami ? ça va ?
TOMAS
I’m good.
Je vais bien
ALBERTO
Listen, do me a favor? Take a
picture of the Brooklyn Bridge for
me..
Ecoute, fais-moi une faveur. Prend une photo du pont de Brooklin pour moi.
Alberto hands Tomas a DISPOSABLE CAMERA.
TOMAS
Where can I get some cigarettes?
Où puis-je trouver des cigarettes ?
ALBERTO
Smokes? You can buy them right
there.
(beat)
But, take that picture for me of
the Brooklyn Bridge…
Des clopes ? Tu peux en acheter juste là.
Mais, prend cette photo pour moi du pont de Brooklin…
TOMAS
I don’t think I’m going to be able
to do that…
Je ne pense pas pouvoir faire ça…
ALBERTO
Here, take this camera. Take it,
just take it…
Tiens, prend cet appareil photo. Prend le, prend le…
TOMAS
Fine, I’ll give it to my friend
Georgina…
OK, je le donnerai à mon amie Georgina…
ALBERTO
Are you going to take the picture?
Yes or no?
Vas-tu prendre cette photo ? Oui ou Non ?
TOMAS
Cigarettes?
Cigarettes ?
Tomas walks off…
ALBERTO
Well, I’ll wait for you here my
friend.
Bon, je t’attends ici mon ami
EXT. MALECON – DAY
Tomas jumps up onto the wall with a bottle of rum and smokes.
Waves are crashing up on the wall.
He tries to light his cigarette, but he keeps getting wet as
the waves smash onto him on the wall.
ALBERTO (V.O.)
I love how the waves never give up.
Like a mother’s heart, they hug you
with everything they have. But some
people resist. They ignore those
hearts.
J’aime la façon dont les vagues n’abandonnent jamais.
Affectueuses comme une mère, elles vous étreignent avec tout ce qu’elles ont.
Mais certaines personnes les rejettent et feignent l’indifférence.
Finally a huge wave knocks Tomas off the wall.
ALBERTO (V.O.)
Afraid of knowing the silence of
the sea.
Soucieux de connaitre le silence de la mer.
Tomas gets up and walks down the street and then across back
into his hotel.
INT. TOMAS HOTEL – DAY
Nina enters the elevator. She smells it. Looks around and
doesn’t like it, thus exits.
INT. TOMAS HOTEL STAIRWELL – DAY
Nina heads up the stairwell of the hotel.
EXT. MALECON – DAY
Tom walks across the street totally soaking wet from the
waves.
INT. TOMAS HOTEL STAIRWELL – DAY
Nina and Tomas both are ascending the stairs. Nina lands
first. As she hears Tomas approaching she gets nervous.
The music gets tense. Is he stalking her?
She looks at him with big eyes as he approaches her.
TOMAS
Fancy meeting you here…
Amusant de vous rencontrer ici…
NINA
Yeah… I don’t like the elevators.
(beat)
Are you stalking me?
Oui…Je n’aime pas les ascenseurs.
Vous me poursuivez ?
TOMAS
No…I’m just a little…a little
bit wet.
Non… je suis juste un petit… un petit peu mouillé
NINA
Would you mind scooting over there
just a little bit please.
(beat)
A little breathing room.
Voudriez-vous vous pousser un peu, merci.
Que je puisse respirer. C’est un peu étouffant ici !
Tom obliges. He slides down the wall.
NINA
Thank you.
Merci
TOMAS
Name?
Ton nom ?
NINA
Nina.
(beat)
Yours?
Nina
Et vous ?
TOMAS
Tom.
Tom
NINA
Hi Tom. Do you have a shower in
your room?
Bonjour Tom. Avez-vous une douche dans votre chambre ?
TOMAS
I haven’t looked yet.
Je n’ai pas encore regardé.
NINA
You might want to check it out
’cause you smell like fish…and
rum.
Vous pourrier vérifier car vous sentez le poisson…et le Rhum, désolée
Tomas sniffs himself.
TOMAS
Where are you from?
D’où es-tu ?
NINA
L.A.
L.A
TOMAS
(a little snarky)
L.A.
L.A
NINA
Where do you live?
Ou vivez-vous ?
TOMAS
New York…Well I used to, but I’m
not going back…
New York… Enfin, habituellement, mais je n’y suis pas retourné
NINA
Well, where are you going?
Alors, où allez-vous ?
TOMAS
I’m going to die here?
Je viens mourir ici
NINA
Really?
Vraiment ?
TOMAS
Yeah, well…I mean…That was the
plan…
Ouais, ben… je veux dire…Que c’était mon projet…
NINA
Plan?
Votre projet ?
TOMAS
Emmm…
Emm..
NINA
Are you sick?
Vous êtes malade ?
Nina puts something up over her nose and mouth.
TOMAS
Ahh..ummm…It’s a bit complicated.
Ah, euhh.. C’est un peu plus compliqué
NINA
You’re going to kill yourself?
Vous allez vous suicider ?
TOMAS
I tried that… but I didn’t
succeed.
J’ai essayé… mais je n’ai pas réussi.
NINA
So now what?
Et maintenant ?
TOMAS
I’m going to figure out a new
plan…
Je vais trouver un autre moyen
Nina stomps off…
NINA
Fine.
Super
TOMAS
Wait…Hold on…Hold on…
Attend..j’ai un plan…Attend…attend
EXT. HAVANA PARKING LOT – DAY
Alberto is outside in his cab talking to a GUY.
( ALBERTO
What are you doing man? I’m not
going to work with you anymore if
you can’t put the door of the trunk
down…What are you doing? Come on
brother…
Qu’est ce que tu fais, mec ? Je ne vais pas te faire travailler si tu n’arrives pas à réparer la porte du coffre… tu fais quoi ? Viens ici, mon ami…
GUY
Give me a break man… Hold on a
second…No one is going to die…
Fais une pause, mec… Donne moi une seconde…Personne ne va mourrir
ALBERTO
Hurry up!
Dépêche toi ! )
IN THE MOVIE, IT’S :
ALBERTO
Hey man come on, will you close the trunk.
You know how many times you do this ?
What man, get out of here.
This is the last time I work with you.
I’ll get someone else.
Hé, mec, pourrais-tu fermer le coffre ?
Ca fait combien de fois que tu fais ça ?
Laisse tomber.
C’est la dernière fois que je travaille avec toi
Je vais trouver quelqu’un d’autre.
EXT. HAVANA STREET – DAY
Alberto drives toward the hotel.
EXT. TOMAS HOTEL – DAY
Alberto drives up to the hotel.
GUY
Hey man, where have you been?
Et mec, tu étais où ?
ALBERTO
I got a guy here from New York.
(beat)
He gave me lots of money, enough to
eat and everything…
J’ai pris un type de New York
Il m’a donné pas mal d’argent, assez pour manger et plus…
GUY
Nice…
Super…
ALBERTO
Yeah, he’s a good guy…
Ouais, C’est un bon gars…
INT. TOMAS HOTEL STAIRWELL – DAY
NINA
So what do you want?
Alors que voulez-vous ?
TOMAS
I’ve got a couple of ideas, but
you’re going to have to hear me
out, okay?
J’ai quelques idées mais tu vas devoir m’écouter jusqu’au bout, ok ?
NINA
Okay.
ok
TOMAS
Well, considering that this is
probably going to be my last day on
earth I could probably use a good
meal, a tour of Old Havana and some
company. What do you say?
Bon, considérant que ce sera sûrement mon dernier jour sur terre, je pourrais certainement faire un bon repas, un tour de la vieille Havane et divers autres choses. Qu’en dis-tu ?
NINA
I’ll hang out with you.
(beat)
Okay…
Je ne vous lacherai pas.
OK
Nina exits.
NINA
See you in the morning aßnd you
better be clean.
On se voit dans la matinée et vous avez interêt à être propre
EXT. TOMAS HOTEL – DAY
Alberto leans against his cab. Tomas rushes up to him.
TOMAS
Man am I glad to see you…
Mec, je suis content de te voir…
Tomas reaches toward Alberto and Alberto retreats with a…
ALBERTO
Whoa…
berk
And pushes Tomas back a bit…
ALBERTO
You stink brother. You need a
bath.
Tu pues mon ami. Tu as besoin d’un bain
TOMAS
Well that’s…
Ben ,c’est…
ALBERTO
I’m telling you as a friend…
Je te parles comme à un ami…
TOMAS
Okay, no worries…That’s actually
why I came to see you. I need to
get some new clothes…clean
underwear, new shirt…
ok, pas de soucis…C’est justement pour ça que je suis venu te voir. J’ai besoin de nouveaux vêtements…des sous vêtements propres, une nouvelle chemise…
ALBERTO
Clothes? Soap?
Des vêtements ? Du Savon ?
TOMAS
Can you help me out?
Tu peux me dépanner ?
ALBERTO
You want a new image?
Tu veux une nouvelle image ?
TOMAS
Can you do that for me?
Peux-tu faire ça pour moi ?
ALBERTO
Okay…
Oui…
Alberto hands Tomas a CAMERA, a nice one. Not disposable.
ALBERTO
Take the picture with this camera.
(beat)
Forget that plastic disposable one.
Prend la photo avec cet appareil
Oublie le jetable.
Tomas hands the camera back to Alberto.
TOMAS
I’m not going to be able to do
this. Why don’t you ask somebody
else, okay.
Je ne pourrais pas faire ça. Pourquoi tu ne demandes pas à quelqu’un d’autre ?
ALBERTO
My mom gave me this camera. Take
the photo.
(beat)
She died.
Ma mère m’a donné cet appareil. Prend la photo.
Elle est décédée.
TOMAS
Yeah, yeah, don’t put that guilty
stuff on me, it’s not going to
work.
Oui, oui, n’essaye pas de me culpabiliser, ca ne marchera pas
ALBERTO
Come on man, I’ll tell you wear to
get the clothes…Just take the
picture with the camera.
Allez mec, je te dirais où trouver des habits…Prend juste la photo avec cet appareil
Alberto gives the camera back to Tomas.
TOMAS
I’ll tell you what, I’ll get you a
beautiful photo, alright, a real
photo…
Tu sais quoi, je prendrais une belle photo, ok, une vrai photo
ALBERTO
With heart.
Avec ton coeur
TOMAS
(re: camera)
Look, I know how much this means to
you…
Ecoute, je comprends combien c’est important pour toi
ALBERTO
Yes.
Oui
Tomas gives Alberto back the camera.
TOMAS
So just hold on to this and I’ll
get you a beautiful photo. I
promise. All right?
(beat)
What about food?
Garde ça, je te ferai une belle photo. Promis. Ok ?
Et pour le repas ?
ALBERTO
Of course, some typical Cuban food.
Evidemment, de la cuisine Cubaine typique.
TOMAS
Perfect.
Parfait
ALBERTO
I’ll take care of that for you
tomorrow.
Je m’occuperai de tout ça pour toi, demain
TOMAS
Okay, yeah? And what about
today…Like a tour…?
OK, ok ? Et pour aujourd’hui … comme visite ?
ALBERTO
Oh, go driving around…Go check
out Old Havana…Okay?
Oh, faisons un tour.. Visitons la vieille Havane.ok ?
TOMAS
I’m going to be with a girl. Is
she going to be safe?
Je serais avec une fille. Il n’y aura pas de danger pour elle ?
ALBERTO
No problem. Your girl will be
safe.
Pas de problème. La fille sera en sécurité
TOMAS
Okay.
(beat)
Ummm…Clothes?
Ok ! hummm.. Les vêtements ?
ALBERTO
Look across the street.
Regarde de l’autre côté de la rue
Alberto points behind him to a building.
ALBERTO
The Cohiba.
Le Cohiba
Tomas smiles.
TOMAS
And he’s got a sense of humor.
Et il a le sens de l’humour.
Tomas walks to the Cohiba. Alberto holds on to the camera.
EXT. COHIBA – DAY
Tomas exits with clothes.
INT. TOMAS HOTEL – DAY
Tomas exits elevator with clothes.
INT. TOMAS HOTEL ROOM – DAY
Tomas gets ready. He shaves, cleans up. Puts on new slacks
and shirt.
INT. NINA’S HOTEL ROOM – DAY
There is a knock at the door. Nina answers in a towel. She
opens the door. It is Tomas.
TOMAS
Ready?
Prête ?
NINA
You’re early.
T’es en avance.
Nina shuts the door on Tomas’ face abruptly. She turns and
mutters…
NINA
(re: Tomas looking very
good)
Hot.
Mignon !
EXT. TOMAS HOTEL – DAY
Tomas meets up with Alberto’s cab. Nina hurries behind.
ALBERTO
Tomas, how are you doing friend?
Tomas, comment vas-tu, mon ami ?
TOMAS
(to Alberto)
Nina.
Nina.
Alberto opens the cab door.
EXT. HAVANA STREET – DAY
Alberto’s cab drives along the street with Tomas and Nina in
it.
IN THE MOVIE :
ALBERTO
Hey man that lady is super fine !
Talk to her, don’t be afraid, she doesn’t bite.
Hé mec, cette fille est super mignone !
Parle lui, n’ai pas peur, elle ne mord pas !
NINA
What he talk about ?
Que dit-il ?
INT. ALBERTO’S CAB – DAY
TOMAS
Family?
Ta famille ?
NINA
I have some…yeah…I have
brothers.
J’en ai une…oui…j’ai des frères.
TOMAS
How many?
Combien ?
NINA
Three?
Trois
TOMAS
Sisters?
Des soeurs ?
NINA
None.
(beat)
Sorry.
Aucune
Désolé
TOMAS
Parents still alive?
Tes parents sont en vie ?
NINA
Yes. Divorced.
Oui. Divorcés.
TOMAS
Where do they live?
Où vivent-ils ?
NINA
All over the place.
Un peu de partout.
TOMAS
All over the place?
Un peu de partout ?
NINA
California, Hawaii…
Californie, Hawaii…
TOMAS
Army brat?
Gosse de Militaires ?
NINA
No…no.
(beat)
Hippie.
Non, non…
Hippies
Nina puts her hand up to gesture the ‘peace sign’
NINA
Flower child.
Fille des fleurs.
TOMAS
Flower child?
Fille des fleurs ?
NINA
Love child…
Fille de l’amour.
TOMAS
Ah that explains it…
Ah ça explique tout…
NINA
It’s why i visiting Cuba…
C’est pour ça que je visite Cuba, c’est le seul endroit où mes parents ne sont jamais allés.
EXT. ALBERTO’S CAB – DAY
ALBERTO (O.C.)
This is my neighborhood. I live
around here.
C’est mon quartier. Je vis par ici.
EXT. OLD HISTORIC HAVANA – DAY
Alberto stops the taxi. Nina and Tomas get out.
TOMAS (O.S.)
Here goes nothing.
Ici rien ne marche.
ALBERTO
Enjoy it. This is my neighborhood.
Appréciez. C’est mon quartier.
TOMAS
Alberto?
Alberto
ALBERTO
Tell me?
Dis-moi ?
TOMAS
If I wanted to be in Harlem I would
have stayed in New York.
Si j’avais voulu être à Harlem, je serais resté à New York.
ALBERTO
This is just as safe as any
neighborhood in the U.S.
Ici, c’est plus sûr que n’importe quel quartier des USA
TOMAS
You sure?
T’es sûr ?
ALBERTO
Yes, go have fun. The people here
will take care of you.
Oui, t’inquiète pas. Les gens d’ici prendront soin de vous.
NINA
It’s actually really beautiful.
(beat)
Is it safe?
C’est vraiment magnifique.
L’endroit est sûr ?
ALBERTO
Yes! Of course, walk, walk…
Don’t be embarrassed.
Oui, bien sûr, marchez, marchez…
N’ayez aucune crainte.
This is safer than the US
C’est plus sûr que les Etats-Unis.
EXT. HAVANA STREETS – DAY
Different shots of people walking, working and eating.
Nina and Tomas walk down a somewhat busy street.
TOMAS
So, what do you do?
Alors, que fais-tu dans la vie ?
NINA
I teach piano to rich people’s kids
and I’m learning guitar…and I
sing.
J’enseigne le piano aux enfants de gens riches et j’apprend la guitare…et je chante.
TOMAS
So you’re an artist?
Alors, tu es une artiste ?
NINA
Somewhat, yeah…I guess.
En quelque sort, oui.. Je crois
TOMAS
Maybe you could play me a tune some
day?
Peut-être pourras-tu me jouer un morceau un de ces jours
NINA
If you’re still alive.
Si tu reste en vie.
TOMAS
I wouldn’t count on it.
Je ne compterai pas trop là-dessus.
EXT. ALBERTO’S CAB – DAY
The car goes down the road.
NINA (O.S.)
So what do you do?
Et toi, que fais-tu ?
INT. ALBERTO’S CAB – DAY
NINA
Huh?
Hein ?
TOMAS
Well…um…right now I’m not doing
anything. I used to produce
bands…
Ben,…um…En ce moment, je ne fais rien. J’ai l’habitude de jouer de la batterie et de produire des groupes.
NINA
Yeah?
Ah bon ?
TOMAS
Yeah.
Oui
NINA
Anyone I’ve heard of?
Certains dont j’ai entendu parler ?
TOMAS
Yeah, maybe a couple. Here and
there you know…
Ouais, peut être un ou 2. ??? Ici ou là…
NINA
Cool.
Cool
EXT. CAPITOLO – DAY
We see a shot of an exact replica of the capital building in
the United States.
TOMAS (O.S.)
Capital building.
Le Capitole
NINA (O.S.)
Wow…
Wow…
INT. ALBERTO’S CAB – DAY
Nina looks over her shoulder.
TOMAS
It was built by the Americans when
they occupied Cuba.
Il a été contruit par les américains quand ils occupaient Cuba dans le début des années 40
NINA
It looks like the White House…
Il ressemble à la Maison Blanche
TOMAS
Back in like the early 1940s. It
looks just like the Capital
building in Washington
D.C…believe it or not, it’s an
exact replica.
Il ressemble exactement au Capitole de Washington.. C’est une réplique exacte.
NINA
Right…
C’est vrai…
TOMAS
Back here…
La derrière…
Tomas points over his shoulder out the car window.
TOMAS
Capitorio Ballet de Cuba…
Le Gran Teatro…Le theatre des ballets folkloriques de Cuba
NINA
Oh yeah, the ballet. They all just
defected I think… 26 of them.
Oh oui, les ballets. Ils ont tous désertés, je crois…26 d’entre eux
TOMAS
Yeah…
(beat)
My father used to play there…
Oui…
Mon père avait l’habitude de jouer ici…
Alberto looks back at Tomas with happy curiosity.
NINA
But you don’t speak Spanish?
Mais tu ne parles pas espagnol ?
TOMAS
No.
Non
NINA
Oh…Did you forget it?
Oh…Tu as oublié ?
TOMAS
Ah you know…I know the things I
need to know… like Tacos,
burritos…you know, the usual.
Ah tu sais…je connais les mots que j’ai besoin de connaitre…comme Tacos, burritos.. Alberto now has a displeased look on his face as if something
is wrong.
TOMAS
Do you speak any other languages?
Tu parles d’autres langues ?
NINA
Ahum…no… I speak a little
Chinese…I don’t know… a few
phrases of Russian.
Ah..Non..Je parle un peu chinois…Quoi d’autre.. Quelques phrases de Russe.
TOMAS
How do you say, “You’re going to
die” in Chinse?
Comment dis-tu : “tu vas mourir” en chinois.
NINA
&$*%*%*%*%*%#)#)% @)#@# %%$##@!
&$*%*%*%*%*%#)#)% @)#@# %%$##@!
TOMAS
That’s very impressive.
C’est très impressionnant.
NINA
Thank you.
Merci.
TOMAS
Wow…Alright.
(beat)
How do you say, “I wanna die” in
Russian?
Wow…ok
Comment dis tu : “je veux mourir” en russe ?
NINA
You know what, I’m not going to
tell you that..yo..no..you know
what you say? You say…(something
we don’t know in Russian?)
Tu sais quoi, je ne vais pas de dire ça..tu..no.. tu sais ce que tu dis ? tu sais…
TOMAS
Yeah, that.
Oui, c’est ça.
EXT/INT. HOTEL NACIONAL – HAVANA, CUBA
NINA
Why are you trying to kill
yourself?
Pourquoi essayes-tu de te tuer ?
TOMAS
You ever play any kind of sport or
anything competitive?
Tu n’as jamais pratiqué un sport ou participé à une compétition
NINA
Sure tennis.
Bien sûr, du tennis
TOMAS
You ever been beaten?
Tu n’as jamais été battue ?
NINA
Yeah…Only at Wimbeldon.
Oui…seulement à Wimbledon
TOMAS
You ever been down three sets to
zilch and no matter how well you
hit the ball, no matter how well
you serve you just can’t get back
in the game?
Tu n’as jamais été battue par 3 sets à 0 et quelque soit la façon dont tu frappes la balle, dont tu sers, tu ne peux pas revenir dans le jeu ?
NINA
Yeah.
Oui
TOMAS
Well that’s where I’m at. I’m just
so far down I can’t get back in the
game. To be honest with you…I
really don’t care about anything
anymore.
(beat)
I think all men are going to be
extinct anyway.
Et bien, j’en suis là. Je suis si loin que je ne peux pas revenir dans le jeu. Pour être honnête avec toi…je me fiche de tout de toutes façons.
Je pense que tous les hommes disparaitront de toute façon.
NINA
Life sucks.
Putain de vie.
TOMAS
Now you’re talking.
C’est toi qui dit ça.
NINA
You’re right.
(beat)
I’m going to kill you myself.
T’as raison.
Je vais te tuer moi même
TOMAS
We might have to come up with a
plan?
On pourrait mettre en place un plan ?
NINA
Not really.
Pas vraiment
They both have a little chuckle.
TOMAS
Shall we?
On verra ?
The two of them walk off.
INT/EXT. ALBERTO’S CAB – DAY
NINA (O.S.)
When I learned about germs in
elementary school…
Quand j’ai appris ce que sont les microbes à l’école élémentaire…
INT. ALBERTO’S CAB
NINA
When I learned that our skin was
covered in germs and bacteria at
all times… I mean…I ran
screaming and crying from the
room…
(beat)
There are bugs crawling all over
both of us right now…
Quand j’ai appris que notre peau était toujours couverte de microbes et de bactéries…Tu vois.. J’ai crié et pleuré dans toute la classe…
Il y a des bestiolles qui courent sur nous en ce moment…
Tomas gets uncomfortable and scooches away from Nina…She
responds equally.
TOMAS
I think the other thing crawling
all over me right now is the rum
seeping out of my veins.
Je pense que l’autre chose qui coure à travers moi maintenant, c’est le Rhum circulant dans mes veines.
Nina waves her hand past her nose.
NINA
You got that right…
(beat)
You know, drinking like that
weakens your immune system…A lot.
And it’s a depressant.
Je crois que tu as raison…
Tu sais, boire comme ça ramolli ton système immunitaire…beaucoup.
Et ça rend dépressif
TOMAS
It’s not the only thing it weakens.
Ce n’est pas la seule chose que ça ramolli..
NINA
Well, I’m sure we can take care of
that…
Bien, je suis sure que nous pouvons nous occuper de ça…
TOMAS
Really?
Vraiment ?
NINA
I have the antidote for that right
here…
J’ai l’antidote pour ça..
She stumbles on her words a bit. They are both a little
embarrassed.
EXT. ALBERTO’S CAB
We see the cab rolling by. A couple of lovely sunset shots.
It’s the end of the day.
FADE TO BLACK.
EXT. HAVANA – DAY
We boom up over a ledge at the top of a building looking down
on the city.
EXT. MALECON – DAY
A few boys are playing by the side of the wall and in the
water on the ledge.
EXT. OLD HISTORIC HAVANA – DAY
EDDIE, Cuban guy in a wheelchair leads Tomas and Nina down
the street to little shops.
Nina buys a funny hat.
INT. BAR – DAY
Eddie leads them into a bar courtyard.
Nina and Tomas laugh and drink. They are dancing to the
music.
Eddie joins Nina.
Finally Tomas joins Nina and Eddie in the dance.
At some point everyone is wearing the funny hat.
INT. ALBERTO’S HOME – DAY
A LITTLE GIRL dances in the house.
EVERYONE is working hard to make a big meal.
Alberto sees someone approaching the kitchen.
ALBERTO
What’s going on?
Comment ça se passe?
A woman enters with food.
ALBERTO
Alright, we have more food!
(beat)
Give me a kiss. Join the party.
Make sure you help.
(beat)
Start helping.
Ok, il faut plus de nourriture!
Embrasse-moi. Rejoins la fête. Donne un coup de main.
CUBAN WOMAN
Give me the salad.
Donne-moi la salade
The Cuban woman asks for a kiss from Alberto’s wife.
ALBERTO
What’s happening with the food?
(beat)
The Yankee will be here in five
minutes, and you aren’t even
finished.
Vous en êtes où avec la nourriture ?
L’américain sera là dans 5 minutes et vous n’avez pas fini ?
LADIES
It’s almost done.
C’est Presque prêt
ALBERTO
Come on, I don’t want to be
embarrassed.
Vite, je ne veux pas être embarrassé.
LADIES
What are you doing in here?
Qu’est-ce que tu fais ici !
ALBERTO
Let me get some of your cigarette.
(beat)
Careful, you might burn yourself.
Passe-moi un peu de ta cigarette
Attention, tu vas te bruler
Alberto seems like he might be helping.
LADIES
Give me back my cigarette.
Rend-moi ma cigarette
ALBERTO
Why?
Pourquoi ?
LADIES
Get out of here. Get out of the
kitchen!
Sors de là. Sors de la cuisine !
ALBERTO
Why?
Pourquoi ?
LADIES
Get out already.
Dégage !
ALBERTO
Okay, fine.
Ok, bien
LADIES
Go, go…
Allez, allez
ALBERTO
These guys must be running late.
Just keep cooking.
Ils doivent être en retard.
Continuez à cuisiner
We see the food on the table. It’s amazing! Lobster.
Yucca. Salad. Chicken. Beef. Flan. Gorgeous food!
CLOSE ON: The plantains are being fried, then mashed with a
newspaper.
EXT. HAVANA STREET – DAY
Nina and Tomas walk through the street near Alberto’s house.
EXT. ALBERTO’S HOME – DAY
Tomas looks up. CUT TO:
Alberto standing outside on his fragile balcony.
From Alberto’s POV we see Nina and Tomas walking.
ALBERTO
Tomas my friend, this is my home.
(pointing down)
Down there.
Tomas, mon ami, c’est ma maison
Juste là. Entrez
Tomas and Nina enter the house.
INT. ALBERTO’S BUILDING – DAY
The place needs a paint job for sure. It’s a maze Nina and
Tomas are walking through.
INT. ALBERTO’S HOME KITCHEN – DAY
Alberto is taking some food off of a plate.
ALBERTO
I’ve got to try the lobster.
Je vais goûter les langoustes
ALBERTO’S WIFE
No…no…no…
Non…non…non
Alberto’s wife is trying to take the lobster from him. He
drops it.
ALBERTO
I have to wash it.
Je dois la nettoyer
He picks up the lobster and begins to eat it anyway.
ALBERTO
Look baby, try it.
Regarde chérie, essaye…
He kisses his wife and then shares the lobster.
INT. ALBERTO’S BUILDING – DAY
Nina and Tomas continue to weave their way through the
building to get to Alberto’s home.
INT. ALBERTO’S HOME KITCHEN – DAY
Alberto spots Nina and Tomas coming through the door of the
apartment.
ALBERTO
Hey, how are you doing? This is my
home. These are my people. This
is my wife.
Hey, comment ça va ? C’est ma maison. Ce sont mes amis. C’est ma femme
Introductions all around.
Nina notes the food.
NINA
Wow, this looks amazing!
Wow, ça a l’air super !
ALBERTO
Yes, you like it? Everything looks
good right?
(beat)
Yeah, come here… Look.
Oui, vous aimez ? Tout a l’air bon, non ?
Oui, Venez..Regardez
Tomas is sort of looking around a little uncomfortable.
ALBERTO
What’s up? What’s wrong?
Qu’est-ce qu’il y a ? Qu’est-ce qui ne va pas ?
TOMAS
No, no…nothing…Everything’s
great.
(beat)
Beer?
Non, non, …rien..Tout est super…
Bière ?
ALBERTO
What’s going on?
Qu’est-ce qu’il y a ?
TOMAS
Rum?
Rhum ?
ALBERTO
Is everything fine?
Tout est ok ?
TOMAS
Lot’s of rum?
Beaucoup de rhum
ALBERTO
Okay, this way… let’s have a
beer.
Ok, par ici…prend une bière
Let’s go to the living room.
I’ve got a surprise
Passez dans le salon.
J’ai une surprise.
INT. ALBERTO’S LIVING AREA – DAY
Everyone is gathered around. Alberto is with his wife.
ALBERTO
Okay…I have an announcement.
Give me a minute. Silence.
Silence.
Ok, J’ai une annonce à faire. Donnez-moi une minute. Silence. Silence.
Everyone stops and is quiet.
ALBERTO
My wife is pregnant. We’re having
a baby.
Ma femme est enceinte. Nous allons avoir un bébé
Everyone cheers! Alberto bends over and kisses his wife.
They are very happy.
INT. ALBERTO’S HOME KITCHEN – DAY
Everyone is getting food.
MAN (O.S.)
Is it good?
C’est bon ?
ALBERTO
Yes, fine.
Oui, super
(beat)
In my house, whoever complains can
go home.
Chez moi, celui qui se plaint peut rentrer chez lui
Nina and Tomas pile food onto their plates.
ALBERTO
How long is it going to take?
Combien de temps ca va prendre ?
(beat)
Are you bringing the shredded beef?
As-tu pris de l’émincé de Boeuf ?
(beat)
Give me a beer.
Donne-moi une bière.
LADY (O.S.)
They’re hot…
C’est chaud…
ALBERTO
That’s fine.
C’est bon.
Alberto is now serving Tomas.
ALBERTO
(to Tomas)
You want some chicken?
Tu veux du poulet ?
(to Nina)
You want some chicken?
Tu veux du poulet ?
TOMAS
This looks delicious…
Unbelievable.
Ca semble délicieux…
Incroyable.
ALBERTO
Yes…
Oui…
TOMAS
Yeah, whatever you got Alberto.
Oui, tout ce que tu veux, Alberto.
ALBERTO
Okay…
Ok…
INT. ALBERTO’S LIVING AREA – DAY
Everyone is eating. We are close on Alberto’s wife and a
gorgeous plate of food steaming.
ALBERTO
So Tomas, where are you from?
(beat)
Tomas? What country?
Alors Tomas, d’où es-tu ?
Tomas ? Quel Pays ?
TOMAS
Puerto Rico.
Puerto Rico.
ALBERTO
What?
Quoi ?
TOMAS
Puerto Rico.
Puerto Rico.
ALBERTO
Where’s your father from?
Ton père vient d’où ?
It is getting uncomfortable. Tomas sort of looks away before
answering.
TOMAS
(quietly)
He’s Cuban.
Il est cubain.
ALBERTO
Where’s your father from? Your
father!
Ton père vient d’où ? ton père !
TOMAS
He’s Cuban.
Il est cubain.
ALBERTO
So you’re a Cuban in denial, huh…
Donc tu es un Cubain refoulé…
Tomas continues to eat and ignores Alberto’s prodding.
ALBERTO
Where is your mom from?
Et ta mère, elle est d’où ?
TOMAS
I already told you Alberto. She’s
Puerto Rican.
Je te l’ai déjà dit Alberto. Elle est Porto Ricaine.
ALBERTO
Oh, so your mom is Puerto Rican.
And your father’s Cuban.
(beat)
So you’re even worse. You’re not a
Cuban in denial. You’re a Latino
in denial. You’re not American.
You’re Latin.
Ah, donc ta mère est Porto Ricaine et ton père Cubain. Alors tu n’es pas un Cubain refoulé. Tu es un Latino refoulé. Tu n’es pas américain. Tu es latino.
TOMAS
Alberto I’m trying to eat alight.
(beat)
Do we need to get into this right
now?
Alberto, j’essaye de manger tranquille.
Est-ce qu’on a besoin de parler de ça maintenant ?
ALBERTO
What’s your problem, brother? This
is my house. Show a little
respect.
(beat)
Don’t pretend to be an American
here. We all know you’re Latin.
C’est quoi ton problème, mon ami ? C’est ma maison. Montre un peu de courtoisie.
Ne prétend pas être un américain ici. Nous savons tous que tu es un latino.
TOMAS
Listen Alberto! I gave you money,
you made us food. I appreciate it.
I appreciate your hospitality and I
appreciate your family, but I
really don’t want to talk about
where I’m from or who I am or any
of that shit alright!
Ecoute Alberto ! Je t’ai donné de l’argent, tu nous as fait à manger. J’apprécie.
J’apprécie ton hospitalité et ta famille, mais je n’ai vraiment pas envie de parler d’où je viens ou qui je suis ou d’autres conneries de ce genre. Ok ?
Tomas gets up from the living room and exits.
Alberto watches after him. Tomas is clearly very
uncomfortable with this confrontation.
ALBERTO
(calling after Tomas)
Latin in denial.
Latino refoulé.
INT. ALBERTO’S BATHROOM – DAY
Tomas stands in the bathroom contemplating what just
happened. He is visibly shaken by what Alberto has said.
INT. ALBERTO’S LIVING AREA – DAY
Tomas comes back into the living room and sits down quietly.
Everyone is looking at him. It’s a tense moment.
TOMAS
(IN SPANISH for the FIRST
TIME in the FILM)
Listen Alberto.
Ecoute, Alberto.
(beat)
Please forgive me.
S’il te plait excuse-moi.
(beat)
I didn’t mean to offend you or your
family. Okay.
Je ne voulais pas vous offenser toi ou ta famille, d’accord.
Tomas is clearly uncomfortable, but he delivers his apology.
Alberto sits and thinks on it. He looks to his wife, back to
Tomas. His hands are covered in grease and juices from the
food.
Alberto licks his fingers, ALL of them. He then reaches his
hand across to Tomas to shake it.
Tomas looks at Alberto’s licked fingers and shakes his hand.
They both smile. Tomas starts laughing. He has really been
freed in this moment.
Alberto stands and heads to the kitchen.
ALBERTO
Bring out the dessert. I’ve got
the Yankee here.
Amenez le dessert. J’ai un Yankee ici !
Tomas continues to smile. He seems as if he’s normal, happy,
pleased for the first time in the film.
EXT. CUBAN CEMETARY – DAY
A series of beautiful shots of the tombstones and grounds.
Nina and Tomas walk along.
NINA
So what’s with this Latin denial?
Donc, c’est quoi un Latino refoulé ?
TOMAS
Latin denial? Ummm…Good question.
Actually it’s…it’s not denial
about being Latino. It’s more
about being Cuban.
Un latino refoulé ? ummm..Bonne question.
En fait, c’est.. Ce n’est pas un refus d’être latino. C’est plus un refus d’être cubain
(beat)
See my father was Cuban and
a…well…he left when I was four.
Tu vois mon père était cubain et …ben…il nous a quitté quand j’avais 4 ans.
(beat)
I do know one thing; that he was an
amazing musician.
Je sais une chose, il était un fantastique musicien.
(beat)
And now at a…at thirty…I
realize not only am I in the same
business that he was in, but I’m
more like him than I am like my
mother or any one of my relatives.
Et maintenant à…à 30 ans..Je ne réalise pas seulement que je suis dans le même métier que lui, mais que je ressemble plus à lui qu’à ma mère ou quiconque de ma famille.
(beat)
It’s kinda scary you know…I mean
you look at yourself in the mirror
and you see this ghost that you
never wanted to be and all of the
sudden that’s who you are.
C’est un peu effrayant tu sais… je veux dire que tu te regardes dans un miroir et tu vois ce fantome que tu n’as jamais voulu être et soudain, c’est ce que tu es.
Nina pauses and looks at him.
TOMAS
Yeah…
Oui…
NINA
Ghosts…
Des fantômes…
They exit and walk on to another part of the cemetary.
NINA
So it seems like suicide watch is
no longer on orange alert.
Donc, il semble que le suicide n’est plus en alerte de niveau orange.
TOMAS
No. Let’s just say it’s been down
graded…
Non. Disons plutôt que le niveau a baissé…
NINA
So what are you going to do now?
Donc, que vas-tu faire maintenant ?
TOMAS
Let nature take it’s course.
Laisser la nature suivre son cours
(beat)
You?
Et Toi ?
NINA
Go back to LA and keep doing what
I’m doing I guess.
Rentrer à LA et continuer à faire ce que je sais faire, je suppose
TOMAS
Sounds thrilling.
Ca semble exaltant.
NINA
What was so bad that you were going
to…?
Qu’est ce qu’il y a de si mal que tu …
Tomas is left thinking. He doesn’t say anything.
EXT. HAVANA’S CENTRAL PARK – DAY
Alberto is with a bunch of men. They are yelling about
something but we’re not quite sure what it is… It looks
like a fight is about to erupt.
(
ALBERTO
They can beat the Yankees? Beat
the Yankees! The Yankees!
Ils peuvent battre les Yankees ? Battre les Yankees ! les Yankees !
CUBAN MAN
What?! The Yankees!
Quoi ? Les Yankees !
ALBERTO
This is going to get hot now. Okay?
(beat)
The teams from the schools in the
United States will beat any team
here…
Ca va peut être vous faire bondir. Ok ?
Les équipes des écoles des USA battraient n’importe quelle équipe d’ici…)
The crowd of CUBAN MEN go CRAZY!
IN THE MOVIE, IT’S :
ALBERTO
They can beat the Yankees ?
Beat the Yankees !
The Yankees !
They can beat the Yankees ?
What !
The Yankees!
This is going to get hot now.
The teams from the schools in the United States,
Will beat any team here.
Ils peuvent battre les Yankees ?
Battre les Yankees ?
Les Yankees !
Quoi !
Les Yankees ?
Ca va chauffer maintenant.
Les équipes des écoles des USA,
Battraient n’importe quelle équipe d’ici.
EXT. HAVANA STREET – DAY
Nina and Tomas walk along the street near Capitolo. They are
looking around.
EXT. HAVANA’S CENTRAL PARK – DAY
ALBERTO
I’ll bring any school team and
they’ll beat us here.
J’amènerai n’importe quelle équipe d’école et ils nous battraient ici.
CUBAN MAN
What school?
Quelle école ?
ALBERTO
College!
L’université.
CUBAN MAN
What happened to Baltimore with the
Cuban team?
Qu’est ce qui s’est passé pour Baltimore contre l’équipe Cubaine ?
ALBERTO
Oh come on, they came tired. They
just finished their season.
Oh, attends, ils étaient fatigués. Ils venaient de finir leur saison.
The crowd erupts again!
ALBERTO
(point to a guy)
He’s telling me that his team is
better than the Yankees.
Il me dit que son équipe est meilleure que les Yankees
CUBAN MAN 2
The Industrials!
Les Industriels !
CUBAN MAN
He’s crazy!
Il est fou !
EXT. HAVANA’S CENTRAL PARK
Nina and Tomas approach the park.
NINA
We’re gonna go to your father’s
house?
On pourrait aller à la maison de ton père.
TOMAS
Yeah, yeah…Alberto said to meet
him here.
Oui, oui…Alberto m’a dit de le retrouver ici.
NINA
Well, where is he?
(beat)
Are we in the right spot?
Ben, où est-il ?
Sommes-nous au bon endroit ?
TOMAS
I hope so, he said Central Park.
J’espère, il a dit le Parque Central.
Nina spots Alberto.
NINA
Oh look, there he is.
Oh regarde, il est là.
Alberto spots Nina and Tomas.
ALBERTO
You guys stay here. I have to go
talk to the Yankee.
Vous les gars, restez ici. Je dois allez parler avec le Yankee.
Alberto leaves the baseball fans.
ALBERTO
(to Nina and Tomas)
How you doing, buddy?
Comment ça va, mon pote ?
NINA
What are you guys yelling about?
Pourquoi vous hurliez ? vous parlez de quoi ?
ALBERTO
Baseball.
Baseball
TOMAS
Cuba’s biggest sport.
(In Spanish)
You know where you’re going to take
me to my father’s house?
C’est le sport national à Cuba.
Tu sais comment aller à la maison de mon père ?
ALBERTO
You gave me the address, no
problem. We can go whenever you
want.
Tu m’as donné l’adresse, pas de problème. On peut y aller quand tu veux.
TOMAS
Okay. Maybe we should…get going.
(beat)
Come on. Let’s go.
Ok. Peut-être qu’on pourrait.. y aller.
Allez, allons-y..
Everyone exits.
EXT. TOMAS’ FATHER’S HOUSE – HAVANA – DAY
Tomas, Nina and Alberto walk along the street near Tomas’
father’s house.
ALBERTO
This is your dad’s neighborhood.
C’est le quartier de ton père, c’est là qu’il a grandi.
NINA
So, Tomas Lordes, that’s your name?
Donc, Tomas Lordes, c’est ton nom ?
TOMAS
Tomas Lordes Paez Flores Quesada…
Tomas Lordes Paez Flores Quesada…
NINA
Ah ha….
Ah ah..
TOMAS
See a…
Tu vois…
A car comes and they all move to the side. Tomas actually
touches Alberto like he’s a brother, looking out for his
safety.
NINA
Did your father give you that…?
C’est ton père qui t’a donné tout ça… ?
TOMAS
Umm…It’s actually Tomas Luis
Lordes. Ummm…Luis was my
father’s uncle…And a…was his
favorite uncle.
He used to actually take him
to…He used to take him the ball
games when he was a little
boy…And a…So…But a I didn’t
really…I didn’t really know my
father that well…
Humm… En fait, c’est Tomas Luis Lordes. Umm..Luis était l’oncle de mon père…et..C’était son oncle favori. Il l’aimait vraiment…Il lui apprenait à jouer au ballon quand il était petit…et … donc…Mais je ne le connais pas vraiment…je ne connais pas bien mon père…
ALBERTO
This is the house.
C’est la maison.
We see the house. It’s old and run down.
ALBERTO
Let’s go in.
Allons-y.
INT. TOMAS’ FATHER’S HOUSE – HAVANA – DAY
ALBERTO
Back there, keep going…Go, go…
(beat)
The last door back there. Okay?
The last door.
Juste là, allez-y…allez, allez
La dernière porte par là, ok ?
La dernière porte.
TOMAS
Okay.
Ok.
Alberto leaves the house. Nina and Tomas go inside.
TOMAS
Hello? Hello?
Hello ? Hello ?
A WOMAN comes out of the back room.
TOMAS
(to the woman in Spanish)
Hello. Good afternoon.
(beat)
How are you doing?
Bonjour, comment allez-vous ?
They ad lib “hello’s” Latin style…With a kiss.
WOMAN
Who are you?
Qui êtes-vous ?
TOMAS
(in Spanish for all
conversation with the
woman)
My name is Tomas. I believe my
father was born in this house, his
name was Pedro.
Mon nom est Tomas. Je crois que mon père est né dans cette maison, son nom était Pedro.
WOMAN
Yes, he was my dad’s best friend.
Oui, c’était le meilleur ami de mon père.
TOMAS
Really?
Vraiment ?
WOMAN
I mean, for many years…When he
left he gave this house to my dad.
(beat)
It’s now our family home.
Il y a quelques années.. Quand il est parti, il a donné cette maison à mon père.
TOMAS
Yes?
Ah oui ?
WOMAN
They were best friends.
Ils étaient d’excellents amis.
TOMAS
Yes?
Oui ?
WOMAN
They used to rehearse here. They
rehearsed here all the time.
Ils avaient l’habitude de répéter ici. Ils répétaient tout le temps.
TOMAS
I am really emotional. This is the
first time I’ve come to his house
and see where he was born.
Je suis très ému. C’est la première fois que je viens dans cette maison et que je vois où il est né.
WOMAN
He came here like five years ago.
He visited us here at the house.
We went out, we took lots of
pictures. He was a good friend.
Il est venu ici, il y a 5 ans. Il nous a rendu visite ici.
Nous sommes sortis, nous avons pris de nombreuses photos. C’était un grand ami.
TOMAS
Do you have the pictures?
Vous avez les photos ?
WOMAN
Yes. I will get them.
Oui. Je vais les chercher
The woman goes to get the photos.
Nina has no idea what’s going on, but she knows it’s very
important and emotional.
TOMAS
(in English to Nina)
This is a…a…My dad was born
here and a…he was really good
friends with her father…and
umm…after he a…after he
left…he left the house to his
best friend…and ummm…their
family.
C’est…heu..Mon père est né ici et …c’était un excellent ami de son père..et…heu..Après il…il a laissé la maison à son meilleur ami…et heu…sa famille.
Tomas is clearly moved by this entire experience. The woman
returns with the photos.
WOMAN
(to Tomas)
The pictures.
Les photos.
The woman places the photo so that they can all look at it.
WOMAN
That’s my sister in law, my mom,
that’s me and that’s him.
C’est ma soeur, ma mère, moi et le voici.
TOMAS
(to Nina in English)
That’s her sister in law, his
mom…her mom, sorry…this is
her…this is my father.
(in Spanish)
That was right here in the kitchen?
C’est sa soeur, son mère…sa mère, désolé…c’est elle…c’est mon père.
C’est ici dans la cuisine ?
WOMAN
Yes, in the kitchen.
Oui, dans la cuisine.
They move on to another picture.
WOMAN
This was at the hotel Nacional with
some friends of his.
C’était à l’hôtel National avec quelques amis à lui.
TOMAS
(in English to Nina)
This is at the hotel Nacional with
some friends of his…and a…
C’est à l’hôtel National avec quelques amis à lui..et …
WOMAN
That’s the front of the house.
C’est devant la maison.
TOMAS
(in English to Nina)
That’s the front of the house.
C’est devant la maison.
WOMAN
I had received a message that he
made a record and put the picture
of the front of the house as the
cover. And named the record San
Rafael 560.
J’ai reçu un message disant qu’il faisait un disque et qu’il a mis la photo de l’entrée de la maison comme couverture. Et le disque s’appelle San Rafael 560, notre adresse.
TOMAS
Yes?
Ah oui ?
WOMAN
Yes.
Oui.
TOMAS
He was a great musician.
Il était un grand musicien
WOMAN
A tremendous one.
Un immense musicien.
TOMAS
You’re dad too.
Votre père aussi.
WOMAN
Yes, my dad too.
Oui, mon père aussi.
TOMAS
He played congas?
Il jouait des Congas ?
WOMAN
Percussionist just like your dad.
Percussioniste comme ton père.
TOMAS
Percussionist too…
Percussioniste aussi…
Tomas takes a breath. This is a lot to handle…He looks at
the pictures a bit more.
TOMAS
(gesturing as if to look
around)
Can we…
Pouvons-nous …
WOMAN
Yes, of course.
Oui, bien sûr.
TOMAS
Okay, let’s go back.
(in English to Nina)
She’s going to show us around.
Ok, allons-y
Elle va nous faire visiter.
NINA
Cool.
Cool.
EXT. TOMAS’ FATHER’S HOUSE – HAVANA – DAY
Alberto stands outside smoking a cigarette.
He sees some little kids on the street. He gives them a
dollar. You would think he gave them a million dollars they
are so happy!
ALBERTO
Here you go little Cuban.
So you guys can buy ice cream.
Tenez les gamins, pour vous acheter une glace.
INT. TOMAS’ FATHER’S HOUSE – HAVANA – DAY
TOMAS
…Well if you give me your
number…
…ben, si vous me donnez votre numéro…
WOMAN
Okay, I’ll give you my number, just
call after three. I’ll be home
around three thirty after work. We
can then meet up and do something.
Ok, je vais vous le donner, appelez après 3 heures. Je serais à la maison vers 3h30 après le travail. On pourra se rencontrer et faire quelque chose.
TOMAS
Okay. Perfect. Let’s go.
Ok, parfait, allons y.
EXT. TOMAS’ FATHER’S HOUSE – HAVANA – DAY
Nina and Tomas exit the building. Alberto is curious about
how the meeting went.
TOMAS
Let me get a cigarette.
File-moi une cigarette.
ALBERTO
Is everything okay? What happened,
tell me something? Nina? Nina?
Tout va bien ? Qu’est ce qui s’est passé, dis-moi quelque chose ? Nina ? Nina ?
TOMAS
This was the hardest thing I’ve
ever done in my whole life.
C’était une des plus difficile chose que j’ai faite dans ma putain de vie
ALBERTO
Yeah, but from difficulties come
rewards.
Oui, mais des difficultés viennent les récompenses.
EXT. ALBERTO’S CAB – DAY
Alberto, Nina and Tomas ride through Havana in the cab.
They drive up to a Cuban national park.
EXT. CUBAN NATIONAL PARK – DAY
Alberto gets out of his cab and let’s Nina and Tomas out.
They look around and it’s absolutely beautiful.
Tomas and Nina look around and the green trees are
overwhelmingly beautiful.
TOMAS
I have a proposition for you.
J’ai une proposition à te faire.
NINA
What do I have to do?
Que dois-je faire ?
TOMAS
Well, you could start out by
holding my hand.
Bien, tu pourrais commencer par me tenir la main
Nina gives Tomas her hand. He looks at her finger tips.
TOMAS
Oh, these please me…
Oh, ceux-ci me plaisent…
NINA
My callouses?
Mes doigts calleux ?
TOMAS
Oh yeah, they’re a major turn on…
Oh oui, ils sont vraiment exitants …
NINA
Aw…you’re twisted.
Ah..Tu es un pervers…
TOMAS
Maybe if you take your hand…
slowly like this…
Peut-être, si tu prend ma main..doucement comme ça…
Tomas takes Nina’s hand and puts it on his face.
TOMAS
…and just put it on my face,
there…
..et juste la mettre sur mon visage, ici
Nina looks around a little uncomfortable. It’s getting a
little weird…
NINA
Uh huh…
Uh huh…
TOMAS
And move your hands just slowly
down my neck to my chest…oh
yeah…
Et bouger ta main doucement de mon cou à ma poitrine..Oh, oui…
Tomas is taking Nina’s hands and moving them slowly down his
chest.
NINA
Uh huh…
Uh huh…
She looks a little like she doesn’t care, but perhaps it’s
feeling good…
TOMAS
Actually, why don’t you step just a
little closer…
En fait, pourquoi tu ne t’approcherais pas un peu plus…
Nina quickly pulls away as it is getting very exciting.
TOMAS
(gulping)
Ummm…
Ummm…
(beat)
You got any gum?
T’as un chewing-gum ?
They walk away from the romantic encounter.
CUT TO:
EXT. DEEPER IN PARK – DAY
TOMAS
Oh my God, I owe a shit load of
money.
Oh mon dieu, je dois un paquet de fric
NINA
Oh no…That’s bad.
Ah… c’est con
TOMAS
Yeah…
Ouais…
NINA
Well, for right now, let’s not even
think about what we have to go back
to, okay?
Bon, pour l’instant, oublions le passé, ok
TOMAS
Okay.
(beat)
So, tonight, maybe we’re going to
go dancing?
Ok..
Donc, ce soir, peut-être que nous pourrions aller danser ?
NINA
Sure.
Bien sûr.
TOMAS
You dance?
Tu danses ?
NINA
I don’t know…No…uh uh…I don’t
know like the real steps, but I
fake it pretty good.
Je ne sais pas…non…heu…je ne connais pas les vrais pas, mais j’imite très bien.
TOMAS
Oh yeah?
(beat)
I know a little bit. My mom used
to dance with me when I was little.
You know the drawback from learning
from your mother is that you don’t
really learn how to lead. So I may
need your help with that.
Oh, oui ?
Je connais un peu. Ma mère avait l’habitude de danser avec moi quand j’étais petit.
Tu sais l’inconvenient d’apprendre avec sa mère, c’est que tu ne sais pas mener.
Donc j’aurais besoin de toi pour m’aider.
NINA
Okay.
Ok.
TOMAS
Alright?
D’accord ?
NINA
Yes.
Oui.
TOMAS
Good. Let’s go listen to some
music.
Bon. Allons écouter un peu de musique.
EXT. MALECON – NIGHT
We hear and see the end of a day in Havana. Young boys play
their toy drums.
EXT. HAVANA STREET
A car drives down a tight street.
INT. CUBAN THEATER – NIGHT
Nina and Tomas watch live dancing.
EXT. MORO CASTLE – NIGHT
Nina and Tomas dance to a big band. The crowd is huge and
clapping to the music.
Everyone is dancing.
INT. TOMAS HOTEL – NIGHT
Nina and Tomas come from the stairwell.
TOMAS
Alright, after all that dancing,
you make me climb fifteen flights
of stairs…
Bien, après avoir dansé, tu me fais monter 15 étages à pied…
NINA
It’s good for you.
C’est bon pour toi.
TOMAS
Yeah, right…
Oui, ok…
NINA
Tom…Thank you.
Tom…Merci.
TOMAS
For what?
Pour quoi ?
NINA
(beat)
I had a really fun time tonight.
J’ai passé un très bon moment ce soir
TOMAS
Yeah…Yeah me too.
Oui, moi aussi.
Tomas moves in to kiss Nina, but she stops him with…
NINA
Good night.
Bonne nuit.
Tomas is clearly disappointed, but he obliges her.
TOMAS
Good night.
Bonne nuit.
NINA
Hey, do you have a tooth brush?
Hey, tu as une brosse à dents ?
TOMAS
Yeah, yeah I do have a tooth brush
actually and tooth paste believe it
or not…
Oui, oui, je dois avoir une brosse à dent et du dentifrice, incroyable, non ?
Nina comes to her door and opens it.
NINA
Well, what about floss?
Bien et du fil dentaire ?
TOMAS
Ahh no, no floss.
Ah non, pas de fil dentaire
NINA
Floss once a day keeps the dentist
away.
Du fil dentaire une fois par jour garde le dentiste éloigné
TOMAS
Really? And what keeps Tom away?
Vraiment ? Et qu’est-ce qui tient Tom éloigné ?
NINA
Threats of a sponge bath?
La menace d’un gant de toilette ?
TOMAS
Yeah? Is that a speciality of
yours?
Oui ? C’est une de tes spécialités ? C’est quelque chose que tu fais ?
NINA
No.
Non.
TOMAS
I really want to kiss you…
J’ai vraiment envie de t’embrasser…
NINA
Would you say that to me in
Spanish?
Pourrais-tu me dire ça en espagnol ?
TOMAS
(in Spanish)
I really wanna kiss you.
Je veux vraiment t’embrasser.
Nina pulls Tomas into her hotel room.
INT. NINA’S HOTEL ROOM
Nina stands flushed as Tomas shuts the door behind him.
He moves closer to her and then takes her face gently and
gives her a delicious, long and beautiful kiss.
INT. NINA’S HOTEL ROOM – DAWN
Tomas and Nina are lit by dawn’s light.
As morning breaks they kiss slowly with the wind blowing
gently on their faces.
EXT. HAVANA FROM MORO CASTLE – DAY
We pan across the Havana coast line and see the Malecon and
all the buildings. It’s the Cuban Riviera and it’s
beautiful.
ALBERTO (V.O.)
Very few souls are truly free.
Perhaps it’s regret that holds us
back. And forgiveness is the key
that opens the door to freedom. In
the moment some choose between love
and suicide.
Très peu d’âmes sont vraiment libres.
Peut-être, sont-ce les regrets qui nous empêchent d’avancer.
Et la rémission est la clef qui ouvre la porte de la liberté.
A ce moment-là, certains choisissent entre l’amour et le suicide.
INT. NINA’S HOTEL ROOM – DAY
Tomas sits alone smoking a cigarette. We are not sure what
he is looking at.
We move out wider to see he is looking at Nina.
She stirs a little and wakes.
NINA
Hi.
Salut.
TOMAS
Thank you.
Merci.
NINA
You’re so dramatic.
(beat)
I think it’s been good…for us.
Tu as l’air si sérieux.
Je pense que ça a été bon…pour nous.
TOMAS
I have to go.
Je dois y aller.
Tomas touches Nina’s face sweetly and then kisses her
delicately.
TOMAS
Good bye.
Au revoir.
Tomas exits.
Nina’s head falls back into the pillow.
We dissolve to whiteness…
INT. TOMAS APARTMENT. – DAY
…the whiteness reveals the ceiling fan inside Tomas’
apartment. It spins out of control until we cut to the
beginning of the film with Tomas where we started.
GUN TO HIS HEAD.
From that moment we rewind back through the story back to the
gun AGAIN.
The entire film has been this moment of decision.
The gun still to Tomas’ head.
In a final moment Tomas removes the gun from his head.
He breathes. There is silence. He is dealing with it all.
EXT. TOMAS APARTMENT – NYC – DAY
We now realize that Tomas is in New York City. He’s on his
rooftop taking a breath.
We see the Empire State Building.
We do hard flash cuts with sound effects with Tomas breathing
hard.
INT. TOMAS APARTMENT – DAY
Tomas is back in his living room.
He is thinking. He feels around on the floor for
something… What?
He is still thinking about the fact that he nearly killed
himself.
It’s hard. Then he picks up the phone and calls someone?
TOMAS
…But I’m worried about you.
Anyway…I…I…I…I think I’m
going to just…I’m going to
just…
..Mais je m’inquiétais pour toi. De toutes façons..je..je..je pense que je vais juste.. je vais juste…
At that moment we can hear what Tomas hears.
PHONE VOICE
(from the reciever)
…Your call cannot be completed as
dialed. Please check the number and
dial again.
…Le numéro que vous avez demandé n’est pas attribué. Merci de vérifier le numéro et de recommencer.
TOMAS
I’m just…I’m going to come over.
Je suis juste…je vais venir
EXT. NEW YORK CITY STREETS – NIGHT
BEGIN INTERCUT between NYC and CUBA.
Tomas is in NYC.
INT/EXT. CUBA SCENES – DAY/NIGHT
Tomas is wandering through New York. As he does we cut back
to CUBA.
- Tomas trying to stop a cab
- Point of view through a NY CAB
- Point of view through the window of Alberto’s cab window.
- Another point of view shot at night through NYC cab
- Shot of Alberto driving in Cuba.
- Tomas looking at a NYC pay phone.
- Tomas and Alberto shaking hands at Alberto’s home.
- Tomas continues to walk in the wet streets of NYC as he
looks up we cut to…
- THREE LITTLE GUYS that Alberto gave money to in the film.
As one of the boys looks up we cut back to…
- Tomas walkng down the NYC street, freezing…As he looks up
he sees…
- Cuban food market with people walking around.
- Tomas continues to walk through the wet, cold New York
Times Square.
- Tomas walks along the Malecon in Cuba, the sunlight flare
hits him…
- Tomas continues to walk in the same direction in NYC as a
huge light flare hits him the same way.
- Alberto’s cab drives past.
- Tomas looks up in NYC to see…
- Capitolo in Havana and we cut to…
- The words “UNITED STATES” in neon moving in the building in
Times Square that Tomas is walking past.
- Tomas in Cuba standing on the ledge about to jump.
- CLOSE ON Tomas’ feet walking through the wet NYC street.
- CLOSE ON a young CUBAN BOY sliding in water slick on the
edge of the Malecon.
- CLOSE ON Tomas listening to a SAX PLAYER in NYC.
- Tomas listens to a local Cuban band in a bar in Old Havana.
- Tomas walks aimlessly down the middle of Broadway in Times
Square lost.
- Alberto in Cuba looks down on Tomas and opens his arms to
invite him up.
- Tomas stands in a phone booth in Times Square trying to
smoke. Thinking.
- CLOSE ON the photo of Tomas’ father in the photo with the
Cuban woman at Tomas’ father’s home.
- Tomas in Alberto’s bathroom thinking.
- Shot of Jesus being held by his mother in the cemetary in
Cuba.
- Tomas in NYC walking up to an apartment building, but we
don’t know it?
- Tomas walking into his father’s home with Nina back in
Cuba.
EXT. NEW YORK APARTMENT BUILDING – NIGHT
Tomas approaches the building and enters.
INT. ELEVATOR NEW YORK APARTMENT BUILDING – NIGHT
Tomas pushes a button in the elevator.
INT. NEW YORK CITY APARTMENT BUILDING – NIGHT
Tomas exits the elevator and goes to an apartment. He tries
his key, but it doesn’t work. We hear something or someone.
WOMAN’S VOICE
Ohh…man, what are you doing? How
many times have I told you you’ve
got to stop coming by here…Don’t
you get it? Your father does not
live here anymore. You should have
called him when he was alive…
ohh.. Que faites-vous là ? Combien de fois je vous ai dit de ne plus venir ici… Vous ne comprenez pas ? Votre père n’habite plus ici. Vous auriez dû l’appeler quand il était encore vivant…
A montage of sound effects pile on as Tomas walks away.
INT. STAIRWELL OF NEW YORK APARTMENT – NIGHT
Tomas goes up the stairs to a series of flashback voices…
NINA (V.O.)
Why are you trying to kill
yourself?
Pourquoi veux-tu te tuer ?
WOMAN’S VOICE (V.O.)
You should have called him while he
was alive…
Vous auriez dû l’appeler quand il était encore vivant.
ALBERTO (V.O.)
Latino in denial!
Latino refoulé !
TOMAS (V.O.)
I didn’t really know my father.
Je n’ai jamais vraiment connu mon père.
NINA (V.O.)
What’s with this Latin denial?
C’est quoi un latino refoulé ?
TOMAS (V.O.)
I’m more like him than…
Je suis plus comme lui que…
EXT. ROOFTOP OF NEW YORK APARTMENT BUILDING – NIGHT
Tomas continues. The echoes continue too.
Tomas climbs high up. It seems he’s going to jump. Is he or
isn’t he? The voices continue. Hee grows frightened.
ALBERTO (V.O.)
You’re not an American, you’re a
Latino!
Tu n’es pas un américain, tu es un latino !
Slowly he gets a look of peace on his face. Sound stops with
the exception of the wind. He hears his own voice, clearly
in his own head.
TOMAS (V.O.)
It’s kind of scary you know? You
look at yourself in the mirror and
you’re this ghost you never wanted
to be and suddenly that’s who you
are.
C’est effrayant, tu sais ? Tu te regardes dans le miroir et tu es ce fantôme que tu n’as jamais voulu être et soudain, c’est ce que tu es.
Tomas exits frame.
FADE TO BLACK.
INT. ALBERTO’S HOME, HAVANA, CUBA – DAY
ALBERTO, 30s, Afro Cuban opens the doors on his balcony.
Someone yells to him from the street.
VOICE (O.S.)
Alberto! Alberto!
Alberto! Alberto!
ALBERTO
What man, you’re waking me up.
Qu’est ce que tu veux, mec ? Tu m’as réveillé !
VOICE (O.S.)
You’ve got mail.
Tu as du courrier !
Alberto leans over picks up a plastic bag attached to a thin
rope and let’s it down from his weak balcony to the street to
retrieve the mail.
ALBERTO
Give me. Give me.
Donne-moi le ! Donne-moi le !
Alberto lowers the bag. A guy puts the package in the bag
and Alberto pulls it up.
ALBERTO
Thank you whitey
Merci.
Alberto takes it inside.
INT. ALBERTO’S HOME BEDROOM – DAY
Alberto sits on his bed with the package.
ALBERTO (V.O.)
I’ve thought a lot about my friend
Tomas.
J’ai beaucoup pensé à mon ami Tomas.
Alberto considers the package for awhile, savoring the moment
or prolonging it, we’re not sure.
ALBERTO (V.O.)
Waiting for the day he would send
me these photos.
Attendant le jour où il m’enverrait ces photos.
Alberto slowly pulls out the pictures. We see they are
pictures of the Brooklyn Bridge.
ALBERTO (V.O.)
I knew if he would keep his word,
he could fulfill his life.
J’ai su qu’il tiendrait sa parole, il devait accomplir son destin.
Alberto reads a letter from Tomas.
ALBERTO (V.O.)
My friend Alberto, I’ve thought a
lot about you. My life has been
very difficult since I left Cuba.
Mon ami Alberto, j’ai beaucoup pensé à toi.
Ma vie a été très difficile depuis mon départ de Cuba.
Alberto pulls out more and more photos.
ALBERTO (V.O.)
I’ve thought of killing myself
several times.
J’ai pensé à me suicider plusieurs fois.
Alberto is smiling. He sees more and more. He sees
something else to take out…
ALBERTO (V.O.)
It’s been very difficult to accept
that I didn’t love my father. That
I denied my culture. I had to
confront my past. I had to look at
myself in the mirror. And thanks
to you, thanks to Cuba…
Ca a été difficile d’accepter que je n’aimais pas mon père.
Que je reniais ma culture. Je devais affronter mon passé. Je devais me regarder dans le miroir.
Merci à toi, merci à Cuba…
Alberto begins to cry…Clearly moved by the impact of his
life on Tomas, but also Tomas’ life on him.
ALBERTO (V.O.)
I understand more and more God’s
words. In the name of the Father,
Je comprends de mieux en mieux les mots de dieu. Au nom du père,
ALBERTO/TOMAS (V.O.)
The son.
Du fils,
ßTOMAS (V.O.)
And the and the Holy Spirit.
Du saint Esprit
(beat)
The only way for my spirit to be
free, is by acknowledging my
father. The Father.
Le seul moyen pour mon esprit d’être libre, est d’accepter mon père. Le père
(beat)
God bless you, God bless my Cuban
people. Amen
Que dieu te garde, que dieu garde le peuple cubain. Amen
(beat)
With all my heart, your friend
Tomas.
Avec tout mon coeur, ton ami Tomas.
(beat)
And remember my friend, life will
never beat time.
Et souviens toi, mon ami, le temps l’emportera toujours sur la vie.
We pull back to reveal Alberto’s view of the Capitolo. The
juxtaposition of the impoverished Cuba and the U.S. replica
says it all.
FADE TO BLACK
THE END
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