Atlas in Paris (Non-fiction) by Brishon

“Atlas in Paris”

    ~THE BACKSTORY~

    When I was a young model in Dallas, the first high-fashion photographer that I ever worked with introduced me to another model that he’d discovered (I’m going to call her Keri Maye here). She was working and doing “well” as a model in Paris but she was lonely. Keri and I got together once or twice when she visited Dallas after the photographer introduced us. During one of her visits, we agreed that it would be nice if I moved to Paris, worked with her agency, and saw the Parisian sights with her.

A short time later, I called Keri and found that she’d talked to her agent about me and everything was set. She’d given him my modeling portfolio (pictures) and he wanted me to join his agency. However, I found out later, there was one small hitch, Keri had lied to her agent and said that I was taller and thinner than I really was. I think she thought that once her agent saw me in person he would be so impressed by my face that he would not care that I was not 6 feet tall and 100 pounds, in other words, that I was not a great model for the catwalk. Most of my career I did cosmetic ads for such companies as Neiman Marcus, Macys, Allercrem, Emporium etc. and not much runway modeling. I took Keri’s word that things were all set and two months after my seventeenth birthday I flew to Paris. Predictably, when I got there and her agent saw my actual height and weight he was not pleased, but his attitude was that I would have to “work” much harder in order to justify his required financial investment in me (room, board, transportation etc.).

    It did not instantly dawn on me what I’d gotten myself into. This man’s agency was a well-known and “professional” French modeling agency, yet what greased the wheels of THIS organization (unlike the agency I was used to in Dallas) was, what amounted to PROSTITUTION. It seemed Keri had lied to me, too.

    It’s hard to say what tipped me to the fact that his agency was different. Perhaps it was the twelve and thirteen year old, six foot tall, pubescent, peasant beauties that littered my new bosses office (later I discovered he’d purchased these girls, and many more just like them, from their poor, French, peasant parents). Perhaps it was the fact that one was feeding him grapes while another stood fanning him with a large plume. Perhaps it was the adolescent that sat on his lap cooing and fawning while he spoke on the phone. I may have taken a clue from the male booking agent that I happened to encounter in the hall who wanted to make an appointment for a road-test, so to speak, so he could determine how diligently he wanted to work to get me bookings and magazine layouts. I definitely became suspicious when, while zipping up in the tiny bathroom stall, my new boss burst in and thoroughly FRISKED me to determine, with his hands, what I would look like with no clothes. Afterward, he returned to sit at his desk again. I slowly followed and took a seat on the long sofa in his office.

    Now it was clear to me what kind of man I was dealing with. In a moment, I stood up and delivered a dramatic and impassioned speech as I backed out of his office and descended down a gigantic, rococo, marble, spiral staircase. I condemned my new boss (who had followed me and held eye contact as I descended the staircase) for daring to think that I would stoop to the casting-couch tactics that his agency employed. I declared that I would “MAKE IT” on my MERITS, (which happened to be inherited genes but I made the most of them within the bounds of an ethical framework which was my moral contribution). When my moral lecture was over and I arrived at the bottom of the staircase, I realized that I had left my portfolio on his desk. A CHOICE POINT: do I go back up and retrieve my livelihood after a lengthy tirade degenerating this perverted stranger — attacking the very essence of his being — or, do I walk away not having to deal with the embarrassment, but more important, the wrecking of such an incredible performance? I CHOSE to take the moral — and practical — step. I ran back up the stairs, snatched away my leather satchel from his desk and dashed out into the cold rainy streets of Paris without a friend, much money, sans speaking French, and without a clue as to what to do next.

    As I started down the street the woman from the agency who had picked me up, at Charles de Gaulle airport, grabbed me and motioned for me to get into her car. She dropped me at the smallest hotel I’ve ever seen. The elevator held two people and my room consisted of a twin bed, a small window, and enough room to put a suitcase. The bathroom was down the hall. Because I was expecting to live in Paris, I did not have a return flight home booked and I couldn’t get a flight out — with my type of cheap ticket — for a month.

    ~RISE TO THE CLIMAX~

    For my sixteenth birthday my father had given me Ayn Rand’s novel “Atlas Shrugged.” For about a year before my sixteenth birthday, I’d been asking my father all sorts of questions about philosophy, ideals, and the meaning of life. I also wanted to know why he was SO different from all the other people I knew. What I thought so unusual about my father was that while kind, friendly, and very funny, he didn’t seem to give a damn about what others thought of him. He wasn’t rebellious about it, it was just that he couldn’t imagine any other way to be. When he gave me “Atlas Shrugged” he told me that if he could attribute to only one thing the way that he was, it would be this book.

    Being that “Atlas Shrugged” is around eleven hundred pages long, and being that this was to be the first book I’d ever read (excluding school text books), I didn’t read it much during the year that I was sixteen; but I did take it to Paris with me. Now that it was Christmas and I was stuck in a room the size of a closet, with no friends, my modeling career derailed, my honor assaulted, not knowing the language, nor having any awareness of the city, having very little money and nothing else to do while waiting for my plane — I decided to read “Atlas Shrugged.”

    Reading while laying in that tiny bed, day after day, night after night, going out only to buy myself coffee flavored eclairs from the bakery next door, was one of the greatest experiences of my life! By the time I got to Galt’s speech my mind was so altered, my spirit so uplifted, my ability to think and read so taxed, that I decided to take a break. I went out to try to find the LOUVRE since my aunt told me that I had to see it while in Paris.

    So, I put the book down, being about two thirds through it, and I emerged on the street in front of the hotel. First, I walked across the street to a department store and bought a hat because it was one of the only French words I knew, and because I wanted a souvenir. Back in front of my hotel, I looked to the right and saw, just a few blocks away, a strange glass pyramid in front of an old, huge, distinguished complex of a building, so I investigated. For the price of walking about two blocks I found myself in front of the LOUVRE. I paid my entrance fee and started to walk through looking at the art of antiquity. After a short time I realized that this museum is huge and that at the pace I was going I might be there for many hours, which was NOT acceptable.

    So, I decided to run. I literally did a running tour through one of the greatest collections of art in the history of man. There were only two times that I stopped to really study the art I was seeing. One time was when I found a great hall with dozens of people huddled around a painting. I went over and crowded in to see what it was. It was the Mona Lisa. I was truly unimpressed. After all, I was a beautiful model — all of my photos revealed a much better looking female and, in my aesthetic wisdom at that time, that was all that counted, so I pushed on. Painting after painting whizzing by as I searched for anything that touched me as much as the art I’d left back in the hotel room.

    The only other time I stopped or slowed down was when I got to the sculpture. I was taken aback by two, towering, twenty foot, identical, Roman or Egyptian soldiers standing guard in front of the wing of the building that held the sculpture. I stood alone in a corridor panting and studying the beauty of their bodies and dignity of their souls. That was an amazing moment. But I soon returned to my tiny, dark and dreary room to continue to devour the greatest artwork I had, and still have, ever experienced!

    ~THE CLIMAX~

    With just day’s left until my flight, I continued to read night and day, unable to put the book down for much more than eating and sleeping — and as little of these as possible. When the time came, I paid my hotel bill and boarded my flight. I continued to read all the way home on the plane. I was nearly finished when I got off the plane and greeted my father who had come to pick me up. I took his arm and we sat in a window overlooking the planes on the tarmac. I told him that I LOVED the book and that it had changed me. I thanked him profusely for giving it to me. While back at home over the next few days I finished reading it and the moment I finished it I sat up in bed and said out loud “I want to see this as a movie!” Many years later, in the mid 1990’s, I learned screenplay writing and watched tons of classic movies and then wrote my own screenplay of “Atlas Shrugged” in order to see it the way I wanted it to be made.

~THE END~

 

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“The Best Roads Don’t Lead To Rome!” by Brishon (Copyright 2018 All Rights Reserved)

(Copyright 2018 All Rights Reserved)

4.17.18

Dedicated to my unicorn!

~*~*~*~

~PART I~

FADE IN:

JOHN PHILIP ROOTHAN RUMINATED. A FIT AND HANDSOME MAN IN HIS EARLY 60S AWAKENS FROM HIS RUMINATIONS AND WALKS DOWN THE BEACH IN MADAGASCAR WEARING STUNNING LINEN PANTS AND WHITE LINEN SHIRT. HIS PACE INCREASES UNTIL HE’S RUNNING THROUGH THE TRANQUIL AND SOOTHING SCENE. HE COMES UPON A CROP OF TREES VERY NEAR THE BEACH AND TURNS TOWARDS A MODERN TREE HOUSE SET JUST OFF THE BEACH. HE STANDS ABOUT 10 FEET FROM THE TREE HOUSE AND SAYS:

JOHN (loudly): “I want you to be with me!!!”

BEA MARTINI IS SWEEPING THE FLOOR INSIDE THE TREEHOUSE WEARING A DIRTY AND TATTERED, BUT ONCE MAGNIFICENT, BALL GOWN. WHEN SHE HEARS JOHN SHE STOPS SWEEPING AND WALKS OUT ON THE BALCONY. SHE WALKS TO THE LEDGE, SMILING BRILLIANTLY, LEANS ON HER ELBOWS ON THE RAILING FACING HIM AND SAYS IN A CHARMING MANNER:

BEA: “Not if you were the LAST MAN ON EARTH!…(Pausing)…Oh, being that you are the King of this global monarchy… you ARE the last man on Earth.”

SHE TURNS TO GO BACK INSIDE AND SAYS WITHOUT LOOKING AT HIM:

BEA: “If I ever believe you, we’ll see how I feel then.”

CLOSE UP OF JOHN’S FACE TO SEE HE’S NOW SINISTERLY RUMINATING ON SOMETHING IMPORTANT.

FLASHBACK TO WIDE ANGLE AERIAL SHOT OF ROME AND AN INSERT THAT READS “One Year Ago.” ZOOM IN TO SEE A DIFFERENT MAN AND BEA HOLDING HANDS AS THEY ARRIVE AT THE COLOSSEUM IN ROME. THE VIBRANT 40 SOMETHING COUPLE ARE SOAKING WET FROM THE RAIN THAT’S BEEN DELUGING THE CITY. THEY SEEM NOT TO NOTICE OR CARE.

BEA: “You can’t imagine how many times I’ve dreamed of spending a day with a man like you in a place like this.”

JOSEF PIGNATELLI: “Then I’m making your dreams come true and we’ve only just begun.”

JOSEF PIGNATELLI WAVES FOR A TAXI. ONE PULLS OVER AND THEY JUMP INTO THE BACK SEAT. HE TELLS THE DRIVER AN ADDRESS IN ITALIAN. BEA’S EYES ARE CLOSED AS SHE SLUMPS DOWN EXHAUSTED FROM THEIR ACTIVITIES. JOSEF SLUMPS DOWN TO ARRIVE AT HER CHEEK WITH HIS LIPS AND BRUSHES HER CHEEK WITHOUT MAKING A SOUND. BEA FAINTLY SIGHS EXCITING HIM AND HE MOVES TOWARDS HER MOUTH. SOON THEY EMBRACE WITH THE MOISTURE OF THEIR SALIVA MINGLING WITH THE RAIN DRAINING FROM THEIR WET HAIR DOWN THEIR FACES.

CUT TO THE TAXI ARRIVING AT THE ADDRESS WHICH IS ON THE SAME STREET AS THE COLOSSEUM JUST BLOCKS AWAY FROM WHERE THEY GOT INTO THE CAB. JOSEF THROWS TOO MUCH MONEY ON THE FRONT SEAT AND GRABS BEA’S HAND TO HELP HER OUT OF THE CAB. HE USHERS HER INTO A DOORWAY WHERE NO DOOR IS VISIBLE AS THE BUILDING SEEMS PART OF THE HISTORICAL LANDSCAPE. BUT JOSEF KNOWS WHERE THE HIDDEN KEYPAD IS AND THE CODE THAT MAKES THE ALMOST INVISIBLE DOOR OPEN. HE PULLS HER INSIDE AND ESCORTS HER TO A GRAND BATHROOM AND SAYS:

JOSEF: “Take a nice warm bath then shower. (POINTING) There’s clothes in the closet.

JOSEF LEAVES AND BEA STARTS THE TUB WATER AND WANDERS AROUND THE PALATIAL ROOMS OFF THE BATHROOM. SHE CHOOSES A VIBRANT COPPER COLORED SILK SHIRT, A TIGHT FITTING BLACK WOOL SKIRT, AND A WHITE SILK SCARF.

JOSEF STANDS IN HIS ELEGANT STUDY HOLDING HIS PHONE AND SAYS:

JOSEF: No, I can’t go to the gala… I’ve met a woman… we’re staying in… I thought you were going… why didn’t you tell me Peter’s selling the EGG!… I’ll be there!

JOSEF HANGS UP, SMILES AND GOES INTO THE KITCHEN TO GET A GLASS OF WINE THEN WALKS TO THE BATHROOM AND KNOCKS ON THE DOOR.

JOSEF: “Bea, darling there’s been a change in plans. Please pick out a ball-gown from the closet when you’re done, we’re going to a gala in an hour. I’m going to shower and dress and I’ll be back for you in 40 minutes.”

CUT TO JOSEF AND BEA ENTERING AN ELEGANT AND ENORMOUS BALLROOM FILLED WITH THE JET-SETTING GLITTERATI OF ROME. THERE’S AN AUCTION OF A PRIVATE COLLECTION OF TREASURES — SCULPTURES, PAINTINGS, TRINKETS AND JEWELRY – OWNED BY THE RICHEST MAN IN SPAIN, PETER ARRUPE. THE GUESTS BID FOR HIS COLLECTION OF OBJECTS.

BEA (to Josef): “I’m going to find the ladies room. Do you want a drink?”

JOSEF: “No darling. Tell me, do you like that Faberge egg made of rubies and pink diamonds just to the right of the stage?”

BEA: (sarcastically) “Yes, it’s lovely but I don’t have room in my flat for such trinkets. (smiling). I’ll be back soon.”

AS BEA MAKES HER WAY UP A GRAND STAIRCASE TO THE SECOND STORY, SHE LOOKS BACK AT JOSEF WHILE KEEPING HER HAND IN FRONT OF HER ON THE RAILING AS SHE MOVES UP THE STAIRCASE TO ENSURE SHE DOESN’T RUN INTO SOMEONE WHILE NOT LOOKING WHERE SHE’S GOING. SUDDENLY HER HAND LANDS ON A MAN’S HAND. SHE SLOWLY TURNS TO SEE THE FACE OF THE MAN IN FRONT OF HER AND IT’S PETER ARRUPE. SHE DOESN’T KNOW WHO HE IS BUT HE’S IMMEDIATELY INFATUATED WITH HER AND HER BEAUTY.

PETER: “Good evening my dear, are you here to bid on my treasures?”

BEA: “Me…no. I’m here with a man I met today (nods to Josef).”

PETER: “Yes, I know Josef very well. He’s been my protege for many years. How did you two meet?”

BEA: “We both got into a cab at the same time at the Vatican this morning.”

PETER: “I see. Will you both join me after the auction at my villa?”

BEA: “Well… I don’t know…”

PETER: “I insist.”

BEA: “Well, if Josef agrees. Perhaps you could speak to him?”

BEA GENTLY PULLS HER HAND AWAY SMILING SWEETLY AS SHE HEADS UP THE STAIRS AND THEN TO ONE WING OF THE SECOND FLOOR. PETER MAKES A GRAND ENTRANCE AND THE CROWD CLAPS. BEA DOES NOT SEE NOR HEAR THE SCENE.

CUT TO BEA LEAVING THE LADIES ROOM AND WE HEAR THE CROWD MAKING STRANGE NOISES AS IF SOMETHING EXCITING HAS HAPPENED. WE SEE PETER HOLDING THE PINK AND RED FABERGE EGG AS HE DISCUSSES IT’S HISTORY. THEN HE SAYS WHILE HOLDING THE EGG UP FOR EVERYONE TO SEE:

PETER: “I’m aware several of you came here to bid on my prize possession but I must now tell you that the egg has already been sold… (crowd moans) and to the highest bidder imaginable… I’m pleased to introduce you to the new owner, my new friend Bea (Peter points to her standing at the railing on the second floor watching the scene). Bea has paid with the coin none of you possess: she has the key to my heart.”

ALL EYES TURN TO BEA AND RUMORS BEGIN TO FLY. JOSEF THROWS A LOOK OF CURIOSITY AND ANGER AT PETER; BEA LOOKS LIKE A DEER IN HEADLIGHTS. PETER LOOKS LIKE THE KING OF THE WORLD AND HE’S LOVING THE DISAPPOINTMENT THAT HE’S CAUSED THE GLITERATI. ROME WILL BE BUZZING ABOUT THIS FOR WEEKS.

CUT TO: A WIDE ANGLE SHOT OF PETER’S MAGNIFICENT APARTMENT WHICH OVERLOOKS THE VATICAN. THE TONES ARE DEEP AND MASCULINE WITH A SPECTACULAR VIEW OF THE ENTIRE CITY. PETER, BEA AND JOSEF ARE IN THE LIBRARY LOOKING AT AN ANCIENT MANUSCRIPT WEARING GLOVES. THEY TAKE OFF THEIR GLOVES AND WALK TOGETHER INTO AN ADJOINING HALLWAY.

PETER: (to Josef) “How high were you planning to bid to get the egg?”

JOSEF: “Higher than the competition, you know I’ve wanted it since that first operation in Madagascar.”

BEA: “Interrupting… I’ve been meaning to ask you Peter… um…”

PETER: (putting her off) “Later darling.”

JOSEF: (gently slaps Peter’s back) “That was quite a stunt, my friend.”

PETER: “No stunt, it was just as I said.”

PETER WALKS PAST JOSEF WHO STOPS AND STARES AT PETER TO SEE IF HE’S JOKING, BUT PETER DOES NOT LET JOSEF SEE HIS FACE. BEA STOPS AND IS IN DEEP THOUGHT TRYING TO UNDERSTAND WHAT’S GOING ON.

CUT TO LATER THAT NIGHT AT BEA’S FLAT, JOSEF AND BEA KISS AND THEN BEA SHUTS THE DOOR AS HE WALKS AWAY. SHE THEN WALKS UP THE STAIRS AND INTO THE LIVING ROOM WHERE SHE’S SHOCKED TO SEE PETER’S FABERGE EGG IN THE MIDDLE OF THE ROOM RESTING ON A GRAND PEDESTAL WITH LIGHTS SHINING ON IT FROM ALL SIDES. SHE SITS DOWN TO GAZE AT IT IN AMAZEMENT. BEA’S PHONE RINGS AND SHE ANSWERS:

BEA: (quietly) “Hello?”

PETER: “How do you like it?”

BEA: “It’s magnificent but…”

PETER: “Which color’s your favorite?”

BEA: “The pink, but Peter, this flat’s not secure…It’s dangerous to leave it here…”

PETER: “The safety of my prized possessions is something you needn’t worry about, darling.”

PAN OUT THE WINDOW AND ZOOM TO SEE A SNIPER ON THE ROOF OF THE BUILDING ACROSS FROM BEA’S FLAT. FROM AN AREAL ANGLE NOW WE SEE SEVERAL BLACK CLAD, ARMED GUARDS ON THE ROOF OF BEA’S FLAT.

BEA: “You said possessions – plural. Did you leave some other valuable object in this flat?”

PETER: “I did. The hour’s late and I must say goodnight now. It was delightful meeting you today and I’m sure one day we’ll look back on our meeting as a turning point in our lives. Goodnight my love.”

PETER HANGS UP AND BEA STARES AT HER PHONE IN DISBELIEF. SHE GETS UP AND STARTS LIFTING OBJECTS TO SEE IF THERE IS SOME OTHER IRREPLACEABLE TREASURE IN HER FLAT.

CUT TO THE NEXT DAY PETER AND JOSEF SIT TOGETHER IN WHAT LOOKS LIKE A WAR ROOM FULL OF SCREENS AND COMPUTERS. THERE ARE A NUMBER OF OTHER MEN – ALL OF THEM WEARING BLACK — AND THEY HAVE THE DEMEANOR OF SOLDIERS. PETER AND JOSEF ARE DISCUSSING A PROBLEM AND THERE’S TENSION BETWEEN THEM. JOSEF SEEMS CERTAIN AS HE SAYS:

JOSEF: “We’ve dealt with them before and we know what to expect.”

PETER: “True, but now the old man’s gone and we don’t know how his son will behave. We still have some competition — if in name only.”

JOSEF: “He wouldn’t deviate from our long set patterns and trade deals… Why would he?”

PETER: “To find out if he can get better terms, of course.”

JOSEF: “Your saying that he’s going to break our deal.”

PETER: “I’m saying he might.”

JOSEF: “Then we need intel.”

PETER: “Agreed.

JOSEF: What do you suggest?”

PETER: “I suggest you follow him to Malta and find out what he intends to do.”

JOSEF: “I’ll leave tomorrow night. I want to see Bea for lunch and then I’ll have the boys take me to the island.”

CUT TO THE NEXT AFTERNOON JOSEF AND BEA ALONE IN HIS DINNING ROOM OVERLOOKING THE COLISEUM.

BEA: Mmmm… This fish is amazing! How’s yours?”

JOSEF: “Good. Listen, I have to go on a short trip tonight but should be back in a day.”

BEA: “Where are you going?”

JOSEF: “A colleague’s behaving suspiciously and I have to find out what he’s up to.”

BEA (taking his hand in hers): “Come back soon.”

THEY SMILE AND HE TAKES HER HAND IN HIS AND KISSES IT.

CUT TO THAT EVENING AT BEA’S FLAT, PETER KNOCKS AT THE DOOR. SHE GOES TO OPEN IT.

BEA: “Peter! Come in and look at your your lovely egg!”

PETER: “Along with my heart, the egg is yours now darling.”

BEA SMILES BUT CLEARLY DOES NOT TAKE HIM SERIOUSLY. SHE TAKES HIS HAND AND LEADS HIM INTO THE DARK ROOM WHERE THE EGG IS SPOT-LIT. WHEN THEY GET NEAR THE EGG HE TAKES HER HAND AND RAISES IT TO HIS MOUTH AND KISSES IT.

BEA: (gently pulls her hand away) “I’ve been meaning to ask you…”

PETER: “Of course but please… a glass of wine as I sit and enjoy the egg for a few minutes first.”

BEA GESTURES AGREEMENT AND GOES AND GETS TWO GLASSES AND WINE AND RETURNS AND GIVES A GLASS TO PETER, THEN POURS. SHE GESTURES FOR HIM TO SIT DOWN AND SHE SITS ACROSS FROM HIM AND THEY BOTH SIP WINE IN THE DARK ROOM WHILE LOOKING AT THE BRILLIANTLY LIT EGG.

CLOSE UP OF THE EGG AND IN V.O. WE HEAR PETER SAY:

PETER: (slowly and gently) “All my life I’ve collected the most beautiful objects I could find and all my life I’ve been seeking a woman who has the integrity and inner beauty of an object like this egg.”

BEA: “I know how you feel. I’ve been looking for a man… a certain kind of man… for a long time.”

PETER: “What kind of man?”

BEA: “A kind… brilliant… and very happy man… What kind of woman have you been seeking Peter?”

PETER: “A woman just like you Bea.”

BEA’S SURPRISED AND DOWNS HER GLASS OF WINE. SHE STANDS UP AND WALKS TO THE WINDOW AND LOOKS OUT AT THE CITY AND SAYS:

BEA (quietly): “You said you’re Josef’s mentor.”

PETER: “Yes.”

BEA: “Tell me about him.”

PETER: “Josef has many virtues… he’s brilliant and determined to get whatever he’s after… he’s clever… he’s ruthless… But most importantly he’s obedient.

BEA’S SURPRISED BY THIS LAST AS SHE DOES NOT CONSIDER OBEDIENCE A VIRTUE

BEA: “What’s he after?”

PETER (standing): “That’s an excellent question. I want you to remember that question as in a short time it may become the most important issue in your life.”

BEA: “Peter, do you care for Josef?”

PETER: “Like a son.”

BEA: “Of course, you realize he’s very interested in me?”

PETER: “I do.”

BEA: “Does Josef care for you?”

PETER: “More than all but one other man on Earth.”

BEA: “And yet… I believe you are… you are…

PETER: “Yes darling I am.”

PETER PUTS HIS GLASS DOWN AND WALKS OVER TO BEA. STANDING NEXT TO HER HE LOOKS OUT AT THE CITY AND TAKES HER HAND AND SAYS:

PETER: “I’ll call for you at noon tomorrow. Goodnight darling.”

HE KISSES HER HAND AND LEAVES.

~PART II~

CUT TO JOSEF AND SEVERAL MEN (ALL WEARING BLACK) ARRIVING BY HELICOPTER ON THE ISLAND OF MALTA.

CUT TO THE INSIDE OF AN ANCIENT STONE FORTRESS WHERE JOSEF AND JORGE BASADA ARE SEATED OPPOSITE EACH OTHER DISCUSSING A TIMETABLE AND DEADLINES.

CUT TO ROME WHERE PETER AND BEA ARE WALKING AROUND THE CASTEL SANT’ANGELO. PETER’S SHOWING HER THE PRIVATE QUARTERS AND HIDDEN TUNNELS THAT GO TO THE VATICAN.

PETER (walking slowly holding her hand): “What have you spent most of your life doing Bea?”

BEA: “Doing things I’m passionate about. When I was a teen friends and family urged me to learn skills that would allow me to earn a living doing things that bored me. I know they meant well but they didn’t know me… they didn’t know that such a life would never allow me to paint a master-piece on the canvas of my soul.”

PETER: “I’m not at all surprised you knew this early in life. Most people waste their lives on petty, pointless, activities… And were there any other threats to painting a master-piece on the canvas of your soul?”

BEA WALKS TO A RACK THAT WAS USED AS A TORTURE DEVICE BY THE INQUISITION AND SAYS WHILE TOUCHING IT:

BEA: “This seems like a good place for a confession… (pausing, looking intently at Peter) Yes, there was another threat. His name was Marvin Lazar. I met him when I was 18 and he was my ideal… my unicorn, as they say. He owned one of the world’s largest construction companies and they built sky-scrapers. He was elegant, intelligent, industrious, direct, productive, and when he wasn’t working he reveled in celebrating life. He especially loved all forms of theater. Together we spent many wonderful nights drinking the best champagne and seeing the world’s greatest theatrical productions — he introduced me to both. We were a gorgeous couple: he was Italian and handsome and I was a beautiful model back then.”

PETER: “You’re one of the most beautiful woman I’ve ever seen… Your face is truly exquisit… In fact, I’m going to call you “Doll Face.”

BEA SMILES DEEPLY AND PETER’S GAZE IS THAT OF A RAVENOUS, YET BENEVOLENT, EROTIC PREDATOR.

PETER (returning to his normal temperament): “How was Mr. Lazar a threat to your masterpiece?”

BEA: “He was everything I thought I wanted — and that was the problem. One day we were in a spectacular suite atop a Las Vegas Casino and something happened.”

PETER: “What happened darling?”

BEA: “It was morning and I got out of bed to go look out the giant window at the sunrise. While standing there half naked, Marvin leaned back in bed with his arms behind his head. As I stood at the window in the natural spotlight of the rising sun, he proceeded to interrogate me. He was friendly and earnest, but eventually I could tell that my answers were not up to his standards. I saw him set his mind to writing himself all over the canvas of my soul. He had an elegant, heroic soul but it was not *MY* soul.”

PETER: “How did you escape?”

BEA: “When we returned from the trip I did things that were totally out of character for me: I lied; I put him off; I stood him up; and when we were together I pretended to be indifferent and absent-minded. I did all of this to get him to loose his ardent interest in me. I didn’t really understand what I was doing at the time but I knew that this man was the most threatening thing I had ever encountered BECAUSE he was everything I thought I wanted… but the price was that he would paint the canvas of my soul — that he create my self.”

PETER: “And did he leave you alone?”

BEA: “Yes, eventually… I think I should tell you that now I get the same feeling from you.”

PETER: “How so?”

BEA: “It’s just a feeling but I sense that there’s some kind of game, a competition or dispute between you and Josef and that I’m the prize who’ll become the property of whomever wins and that you both intend to paint all over the canvas of my soul.”

PETER: “Who do you want to win?”

BEA: “I don’t have a horse in this race yet… I find you both very compelling… Can you tell me what this competition’s about?”

PETER: “No, but it will be made clear to you very soon.”

PETER PUTS HIS HAND ON HER CHEEK AND GENTLY CARESSES IT AS HE GAZES INTO HER EYES.

CUT TO MALTA WHERE JOSEF AND JORGE SHAKE HANDS AS JOSEF HEADS TO HIS HELICOPTER WITH HIS MEN.

CUT TO ROME LATER THAT NIGHT JOSEF AND BEA ARE HAVING DINNER IN A FORMAL DINNING ROOM NEXT TO A WINDOW LOOKING OUT AT ROME.

BEA: Was your trip productive?

JOSEF: “Yes, very. What did you do yesterday?”

BEA: “Peter gave me a tour of Castel Sant’Angelo and we had a nice talk.”

JOSEF: “About what?”

BEA: “About my past and the biggest threat I’ve ever encountered.”

JOSEF: “Do you have any deep dark secrets tucked away, skeletons you don’t want coming out of your closet?”

BEA: “No. I’m happy to discuss any aspect of my past — how about you?”

JOSEF: “I’ll answer any questions you have, darling.”

BEA: “How do you feel about Peter?”

JOSEF: “I love him like he was my father.”

BEA: “Do you trust him?”

JOSEF: “With my life. Why?”

BEA: “How do you think he feels about you?”

JOSEF: “The same… What’s this all about Bea?”

BEA: “Well, I… I’m confused… It seems that there’s some kind of competition between you two.”

JOSEF: “Oh that’s just friendly competitiveness. Don’t worry about that.”

BEA: “Are you certain?”

JOSEF REASSURES HER WITH A LOOK.

CUT TO JOSEF AND PETER BACK IN THEIR WAR ROOM DISCUSSING JOSEF’S MEETING WITH JORGE. AS THEY LEAVE THE HIGH-TECH WAR ROOM JOSEF ASKS:

JOSEF: “What have you been telling Bea? She thinks we’re competitors of some sort.”

PETER: “But we are — teleological competitors.”

JOSEF: “How so?”

PETER: “You know our long-standing metaethical debate.”

JOSEF: “Oh that… a philosophical debate — nothing more.”

PETER: “That’s right it’s philosophical and that means it’s foundational to one’s character. Unfortunately, you’ve taken this aspect of my training very lightly. I think you need to reconsider.”

JOSEF: “You know that we don’t yet have enough control to consider that possibility. One day we’ll get there and then we’ll think about it. But until that day comes, we fight as all of our ancestors had to fight — for SURVIVAL! From Rodrigo to Cesare to Francis each one had to dominate their opponents or else be destroyed or enslaved by them.

PETER: “You and I are having the same dispute that Rodrigo and Cesare had and I’ve sided with Rodrigo — you with Cesare.”

JOSEF LOOKS AT PETER WITH DISBELIEF.

JOSEF: “You know our work is not finished. You know that John will not let us consider our own happiness… Perhaps soon but not yet. We first have to finish the work that our beloved Semiramis started in Babylon.”

PETER: “Rodrigo did not agree with John and neither do I.”

JOSEF: “Have you told him?”

PETER: “Many times.”

~PART III~

CUT TO PETER AND JOSEF BACK IN THE WAR ROOM.

PETER: “I need you to go and take control of the V3 Council as the US faction is taking the ascendancy and we need to reassert John’s overall agenda.”

JOSEF: “How long do you want me to stay?”

PETER: “A month or so.”

JOSEF: “I’ll bring Bea with me.”

PETER: “I think it would be better if you leave her as she’ll be a big distraction to you.”

JOSEF PAUSES TO CONSIDER THIS AND THEN AGREES.

CUT TO PETER IN AN UNDERGROUND CATHEDRAL-LIKE, SHIP-LIKE GIGANTIC SANCTUARY. A MAN (JOHN) IN SILHOUETTE STANDS IN FRONT OF A HUGE WALL OF SCREENS WHICH ARE DISPLAYING VARIOUS EVENTS THAT THIS MAN IS CAREFULLY WATCHING. THE MAN PUSHES A BUTTON AND THE ENTIRE WALL OF SCREENS BRING UP VIDEO VIGNETTES OF BEA MARTINI. HE STUDIES THEM BY REWINDING AND PLAYING THEM OVER AGAIN. THEN THE MAN PUSHES ANOTHER BUTTON AND THE SCENES ARE OF BEA AND PETER TOGETHER. A VOICE COMES OVER A SPEAKER TO ANNOUNCE THAT PETER IS WAITING TO TALK TO HIM AND THE MAN IN SILHOUETTE GIVES A GESTURE THAT OPENS A DOOR BUT BEFORE DOING THIS THE MAN SWITCHES THE SCREENS BACK TO VARIOUS SCENES NONE OF WHICH ARE OF BEA OR PETER. PETER WALKS IN AND STANDS ABOUT 20 FEET AWAY FROM THE MAN WHILE TALKING.

JOHN PHILIP ROOTHAN: (not looking at Peter): “I’m disappointed by your unannounced appearance Peter. You know I didn’t call for you.”

PETER: “I’m sorry to break protocol but I’ve reached a decision that’s profound and will effect all else I do in the future so I wanted to explain myself in person.

JOHN: “What is it?”

PETER: “I’ve fallen in love and I want to take a year off to be with the woman.”

JOHN: “A WOMAN!?!?!?!”

PETER: “Yes John a woman.”

JOHN: “So all you want is a vacation?”

PETER: “No.”

JOHN: “What else?”

PETER: “Like Rodrigo and Cesare before us, you know we’ve disagreed about what our ultimate end should be and your argument has merit. However, my position has not changed and now it’s pressing on me to such an extent that I’ve come to warn you…

JOHN (almost sarcastic): “To warn me Peter??!!!”

PETER: “Yes. I’ve concluded that I’m developing into a loose cannon. I’m hoping that by taking a year off and enjoying myself for the first time in my life that I may be able to come back to you and again be your trusted General. I have not changed my agreement with the purpose of your cause, however, my soul is running dry and I find I can’t go on this way.

JOHN: “What do you wish me to know about the woman?”

PETER: “You already know all the various details that are in Bea’s profile but what I have not reported is that: (with a profoundly touching quality in his voice) I believe she’s the happiest person on Earth. Because of this we both know she’s an incredible threat to our system. My goal is not to sequester or quarantine her from your system but rather to infuse myself with her infectious love of life. If I can, then perhaps I’ll be able to take up your cause of helping you to dominate this planet, as the captain of a ship, with your superb will ruling over all men and nature… creating immortality for ourselves. When I was young that audacious quest of yours was enough, John. I was thrilled to be led by such a masterful leader on such a brilliant quest — but no longer my friend. (LONG PAUSE).

JOHN: “And if I refuse your request?”

PETER: “I’ve thought of that contingency and I’d like you to put me on cryogenic freeze and bring me out when you’re further down the line in our quest when you feel we’re sufficiently assured of survival that we can safely change our ultimate end to happiness.

JOHN: “You think Bea’s our greatest enemy?”

PETER: “Yes.”

JOHN: “Why?”

PETER: “You know my assigned task for two decades has been to rank our enemies. I’ve studied and profiled hundreds of people by our criteria. They all have in common a strength of character and determination and the main quality they share is the strength of their self. Bea has been overtly clear and tenacious about this since her youth. I must now tell you that she has worked on this issue philosophically and technically. I’m sorry I did not mention her philosophical work in my report but I knew you might kill her, or give her to Rico and his boys for reprogramming. I didn’t want you to destroy her until I told you that I love her.”

JOHN: “Your deception angers me and you’re right… you’ve become a loose cannon.”

PETER: “Then I have your decision. I know you feel impervious but a parting word of caution John… As we age — and you are so much older than the rest of us — we incrementally loose the capacity to love and to be happy. You may already be past the point of no return, I don’t know. In your VENGEFUL efforts to destroy Bea’s self, please keep in mind that you may be destroying your own last chance for happiness…

JOHN (sarcastically): “I’ll take that under advisement Peter.”

~PART IV~

CUT TO A CLOSE UP OF PETER FLOATING IN AN UPRIGHT POSITION IN A VAT OF LIQUID USED IN CRYOGENIC FREEZING.

CUT TO JOHN STANDING IN FRONT OF HIS SCREENS LOOKING AT VIDEOS AND PHOTOS OF BEA GOING BACK TO HER CHILDHOOD. HE PLAYS ONE SCENE OVER AND OVER WHERE SHE’S 6 YEARS OLD AND IS BEING PLAYED WITH BY A VERY HANDSOME MAN WHILE HER MOTHER WATCHES ON IN THE BACKGROUND. JOHN TURNS UP THE VOLUME AND PLAYS THIS SCENE AGAIN BUT WITH VOLUME AND WE NOW HEAR THE HANDSOME MAN SAY:

JIM MILES: “She’s so beautiful! When she grows up she’s going to be such a HEARTBREAKER!”

PAN BACK TO JOHN AND BEHIND HIM RICO STANDS IN THE SAME SPOT WHERE PETER HAD STOOD.

RICO: “The usual level of treatment, John?”

JOHN: “No, I don’t want you to kill her or harm her physically. In fact, I don’t even want you to split her personality.”

RICO: “But there’s no known way to avoid that!”

JOHN: “Do your best and go VERY lightly on the physical. I want you to get our greatest charmer Adolfo… and Hans-Peter and Pedro to help you. Yes, that’s the team I want for “Operation Hula Crush”… No, on second thought… “Operation Doll Face Rescue.”

JOHN IS NOW TALKING TO HIMSELF AND DOES NOT NOTICE THAT RICO IS STILL STANDING THERE WAITING FOR ORDERS.

JOHN (to himself quietly): “With her manipulations this woman has torn from me my beloved Peter… It’s a wound that will never heal… No kind and swift death of your lovely body my dear — it’s your self that I will take from you, and you will help me do it… An eye for an eye… Revenge is best served cold and you’ll never see it coming as I’m the world’s greatest doctor of Revenge… Dr. Revenge…

JOHN TURNS AND NOTICES RICO IS STILL THERE AND SAYS:

JOHN: “You can go now Rico.”

RICO LEAVES THE ROOM AND JOHN SAYS TO HIMSELF:

JOHN: “You’re mistaken Peter, you and Rodrigo both. I’ve never seen anyone on this planet that’s happy. I’m going to prove that includes Bea and then you’ll give up your crazy quest for happiness and come back to me. This shouldn’t take long since it’s a woman and she’s fairly young. I’m really surprised Peter mistaking whatever this creature has for genuine happiness.”

JOHN PULLS UP A SCENE ON ONE OF THE SCREENS AND TURNS OFF ALL THE OTHERS. IT’S OF HIM AS A YOUNG MAN AND IT’S A CARTOON. IT SHOWS A CARTOON VERSION OF HIMSELF ON HIS WEDDING DAY AND THEN FRENCH SOLDIERS ENTER THE CHURCH AND ARREST HIM. WE NEXT SEE HIM IN A CELL THEN PULL BACK THROUGH HIS CELL WINDOW TO SEE HE’S AT THE PRISON AT THE CHATEAU d’IF.

JOHN TURNS BACK TO THE SCREEN WALL WHICH HAS PHOTOS, VIDEOS, AND REAL TIME STREAMING OF BEA AND SAYS:

JOHN : “Whenever you want a job done right you’ve got to do it yourself.”

~PART V~

CUT TO A HANDSOME MAN IN BEA’S HOME IN ROME BOXING UP THE FABERGE EGG.

BEA: “How long are Peter and Josef going to be at this conference?

MAN: “About a month and I’m sure they’ll get back in touch with you when they can.”

CUT TO A SERIES OF SHOTS OF BEA BEING HARASSED BY AGENTS OF RICO:

(*) TWIN TORNADOES NEARLY DESTROYING BEA’S FATHER AND AUNT’S HOMES IN DALLAS, TX WITH COPPER BOX CARS IN THE AIR INSIDE THE TWISTERS; (*) BEA HAVING IMAGES OF HER APPEAR ON BILLBOARDS WHICH SHE NEVER MODELED FOR OR APPROVED OF; (*) BEA HAVING A HELICOPTER FOLLOW HER DOWN AN OLD COUNTRY ROAD AS SHE DRIVES AND WHEN SHE STOPS IT HOVERS OVER HER CAR AND SHE FEELS HIGHLY SEXUALLY AROUSED FOR NO REASON; (*) BEA LISTENING TO THE RADIO WHERE THE ANNOUNCER IS CLEARLY TALKING TO HER ABOUT SUBJECTS THAT SHE TALKED TO PETER AND JOSEF ABOUT; (*) BEA WATCHING A MOVIE WHICH DEPICTS HER LIFE WITH PETER AND JOSEF; (*) BEA’S BEST FRIEND CALLING HER TO SAY HE’S BEEN GIVEN A DREAM JOB AT THE VATICAN EVEN THOUGH HE’S AN ATHEIST; (*) BEA’S MOST RECENT ROMANTIC INTEREST BEING CHASED OFF BY RICO AND HIS MEN AND THREATENED TO LEAVE BEA ALONE; ETC.

CUT TO INSERT THAT READS “6 Months Later.”

CUT TO RICO, ADOLFO, HANS-PETER AND PEDRO STANDING BEFORE JOHN IN HIS OFFICE.

ADOLFO: “Yes, we tried that…

HANS-PETER: “And all known variations of it…”

JOHN: “And what does she do?!!!”

PEDRO: “She engages… is incredibly funny… does not get freaked out at all.”

JOHN: “WHAT!!!???!

RICO: “We’ve never seen these kinds of reactions and we need more guidance from you.”

JOHN: “Has her personality split?”

ADOLFO: “No not exactly but she does have three semi-alters she refers to as “Party Girl” who loves to go to events, concerts, parties, and who adores flirting with men…”

RICO CHIMES IN WITH A SIGH INDICATING HOW MUCH HE LOVES “Party Girl,” AND HANS-PETER AND PEDRO LOOK AT EACH OTHER EYES GLEAMING IN AGREEMENT WITH RICO. JOHN NOTICES THAT BEA IS HAVING THIS EFFECT ON HIS MEN AND HE’S VISIBLY IRRITATED.

ADOLFO (clearing his throat): The other two semi-alters are “The Narrator” and “The Doctor.”

JOHN: “What functions does “The Doctor” do for her?”

ADOLFO: “The Doctor” seems to be her protector self who is professionally trained and profoundly logical…”

JOHN: “Trained in philosophy by whom!?!?!?!?!?!

PEDRO (down-heartedly): “Your nemesis Skipper — plus the top three men Fluffy mentored.”

ADOLFO: “Yes, Bea’s been trained in logic, including advanced epistemology, which we weren’t expecting and can’t get around — keeping the constraints you told Rico. She knows what the arbitrary is and she’s able to play with us while not taking anything we say or indicate seriously. Plus, almost every mechanism we set up to influence her she quickly shuts down — at least once we go negative.”

JOHN SLAMS HIS FIST DOWN ON HIS DESK IN FRONT OF HIM.

JOHN: “Why didn’t Peter tell me this?”

ADOLFO: “We don’t think he knew.”

JOHN: “Thank you all… you can go. I’ll deal with this BITCH myself and I’m going to take my time!”

~PART VI~

CUT TO JOHN DIRECTING THE CONSTRUCTION OF THE MAGNIFICENT TREEHOUSE (THE ONE IN THE FIRST SCENE) ON THE BEACH IN MADAGASCAR.

CUT TO BEA WAKING UP IN THE TREEHOUSE WEARING THE SAME MAGNIFICENT BALL GOWN AS IN THE FIRST SCENE BUT IT’S NOW IN PERFECT CONDITION. BEA DOES NOT KNOW HOW SHE GOT TO THIS TREE HOUSE. SHE GOES TO A DESK AND TURNS ON A COMPUTER. SHE CHECKS HER FACEBOOK PAGE AND SEES THAT THE PLACE-HOLDER FOR HER UNICORN HAS POSTED SEVERAL THINGS AND SHE’S EXCITED TO READ THEM. WHEN SHE CHECKS HER EMAIL SHE SEES THAT SHE HAS NOT CHECKED IT FOR A WEEK, SO SHE INFIRS THAT SHE’S BEEN KIDNAPPED AND BROUGHT HERE AND HAS UNDERGONE SOME DRUG-INDUCED MEMORY ERASURE, OR JUST BEEN MADE TO BE UNCONSCIOUS FOR A WEEK. SHE SEES THAT THE LAST EMAIL SHE SENT WAS TO RSVP TO A GALA GIVEN IN ROME ONE WEEK AGO AND SHE INFERS THAT THIS IS WHY SHE’S STILL WEARING THE BALL GOWN SHE WORE TO THIS EVENT. SHE NOTICES THAT SHE HAS EMAILS FROM A NUMBER OF NEW SUITORS AND THOUGHTFULLY RESPONDS TO EACH BUT IS ONLY EXCITED ABOUT ONE OF THEM: DR. RAND. WE SEE HER EXCITEMENT WHILE SHE WRITES HER EMAIL TO HIM. SHE THEN SAYS TO HERSELF:

BEA: “I wish I had a….”

THEN INSIDE OF HER OWN MIND A VOICE SAYS:

VOICE: “Yes… What do you have in mind?”

BEA’S STARTLED AND LOOKS AROUND THE ROOM TO SEE IF THERE’S SOMEONE NEAR HER BUT THERE IS NO ONE. SHE GOES OUTSIDE AND WALKS AROUND THE TREE HOUSE TO SEE IF THERE’S ANYONE OUTSIDE BUT AGAIN NO ONE. SHE GOES BACK INSIDE AND AGAIN THERE IS A VOICE INSIDE HER HEAD AND IT SAYS:

VOICE: “Let’s chat.”

BEA (inside her mind she says): “Alright. What do you want to chat about?”

VOICE: “Us.”

BEA: “There’s no “us” — I don’t even know who you are — although I have my suspicions.

VOICE: “Very soon there will be an us.”

BEA: “This is a lot of trouble to go to for a date. Why didn’t you just go to one of the social events I routinely attend and get introduced to me like a normal man?”

VOICE: “That’s not my style.”

BEA: “But kidnapping and leaving me with access to my friends and research, and chatting me up with some exotic technology IS your style?”

VOICE (ignoring her question): “Let’s talk about your friends, one in particular, this man Dr. Rand.

BEA: “What about him?”

VOICE: “What does he mean to you?”

BEA: “He’s a place-holder. I’m a hero-worshipper. I worship men who have grand scale achievements and especially the achievement of a happy self.”

VOICE: “Then very soon you’ll be worshiping me.”

BEA: “I very much doubt that. Anyway, Dr. Rand is my current unicorn.”

VOICE: “I take it you mean that he’s a place-holder for your ideal mate?”

BEA: “That’s right. Why do you care?”

VOICE: “I’m envious of your esteem for him.”

BEA: “Well all you’ve got to do to fix the situation is EARN my esteem — assuming you’re a real man and not just some AI or Quantum computer.”

VOICE: “I’m real baby!!

BEA: “Whatever you are, what do you want with me? Why have you taken me prisoner? When are you going to release me?”

VOICE: “We’ll get to all that soon…”

~PART VII~

CUT TO AN INSERT WHICH READS “3 months later…”

CUT TO BEA EATING A DELICIOUS MEAL DELIVERED BY A SERVANT ON THE BALCONY OVERLOOKING THE OCEAN WITH A SIBERIAN FOREST CAT SITTING ACROSS HER SHOULDERS. WHEN THE SERVANT’S GONE SHE SAYS OUT-LOUD:

BEA: “Well John… You know, I always liked that name and when I was in my teens I decided that my ideal mate would be named John… Silly the kind of things young girls think of… Anyway, you still have not proven ANYTHING to me: I have no evidence for anything you’ve told me about your self — including your many protestations of love for me. You’re full of assertions in this highly subjective venue (she points to her head) — which does not even allow for the reading of your body-language. You may know I’ve studied logic and I know what the arbitrary is. So far all your protestations of love for me are completely arbitrary. And from what I could tell about the world I was living in before you kidnapped me, you’re out to shrink the lifespans of billions of people. So, I might say you are the world’s greatest killer and if being King Kong were not bad enough, you’re being really mean to me as well.”

“JOHN”: “Mean to you!!!?… I’ve MADE YOUR DREAMS COME TRUE!!!… I’ve given you the most gorgeous home you’ve ever had… the best food you’ve ever eaten… I’ve protected you from storms that frequent this part of the coast… I’ve given you access to your friends via the internet that I caused to be created… Every single thing you’ve asked for I’ve given you… And I don’t understand why you won’t wear the beautiful clothes I’ve given you… I’ve looked after all of your friends and family who write you to tell about how well their lives are going… I’ve brought you doctors to monitor your health…

BEA: “I haven’t seen any doctors…”

“JOHN”: “You don’t need to see them I monitor your health remotely. I’ve given you that lovely cat that you’ve befriended and made sure that no predators attack him… I’ve given you all this time to get to know me…”

BEA (stands up and paces and gestures): “Made my dreams come true you say?!!!… When did I ever ask to be captured by a Monarch who intends to rule the entire world by his volition, usurping the volition of all other humans?!!! I don’t recall dreaming of that!”

JOHN (with difficulty staying calm): “Like you, I was born into this system and my only choice was to make the most of it, or pass it on. And now your only choice is the same, come and make the most of it with me, or…”

BEA: “I’d be truly appreciative of what you’ve done for me if I knew that your motive is  benevolent — but I don’t!!! You could have done all these things in order to create the perfect operating theater for the agenda of the ancient Mystery Schools — from Platonism to Mithraism — to CRUSH MY SELF!!!

CUT TO JOHN INSIDE HIS BEDROOM WHICH HAS A SMALL BANK OF SCREENS. HE LOOKS AT BEA ON THE SCREEN AS SHE SAYS THE LAST LINES ABOVE THEN SHE STORMS INSIDE. JOHN PULLS ON A CORD TO PULL A BLACK VELVET CURTAIN OVER THE SCREENS. HE LAYS DOWN ON HIS BED AND RUMINATES. ONE OF HIS CLOSEST FRIENDS CALLS AND THE WAY WE KNOW IT IS THAT THE COLOR BLUE APPEARS INSIDE OF JOHN’S MIND’S EYE. JOHN ACCEPTS THE CALL AND THEY TALK WITH NO DEVICE — JUST BY TALKING IN THEIR HEADS.

JOHN: “Ledochowski, how’s the council going?

LEDOCHOWSKI: “Everything’s good here John, not to worry. Josef got things back on track. But that’s not why I’m calling… (pause) Several of us were having dinner and started talking about how you’re doing. Frankly, we’re worried… You’ve been locked up and engaged in trying to break her for 3 months now. Don’t you think you should get back to your real life?… All the girls miss you and ask about you.”

JOHN: “Tell them to send me their wish lists.”

LEDOCHOWSKI: “Seriously John… What the hell are you doing?”

JOHN: “I’m falling in love for the first time in my life and I have to wrestle this demon all by myself. It’s like making love — it’s not something you can ask another to do for you.”

LEDOCHOWSKI: “John, how will we know if she’s gotten to you? How will we know if she’s turned you against your old self, your old standards, your old agenda and what should we do if she does this to you?”

JOHN: “3 months ago I would have asked you to kill me if she wins this battle. Now…I want you all to get your tuxedoes pressed and get ready for the grandest wedding the world has ever seen.”

CUT TO BEA CHATTING ON SKYPE WITH A HANDSOME AND BRILLIANT 50 SOMETHING MAN AS HE TURNS THE CONVERSATION TO SEX.

ANDREW: “That’s enough philosophy. I really wanna know what turns you on Bea… I wanna know what excites you physically… Tell me….

WE HEAR THE CALL HAS BEEN DISCONNECTED.

BEA (curiously): “What the….

JOHN (in her mind): “I don’t want you to talk about sex with any other man!”

BEA: “I don’t want you popping in my head and chatting with me or disconnecting calls with my suitors.”

JOHN: “You have NO OTHER SUITORS!!!”

BEA: “Just for the sake of argument, John. Let’s say we get together. And let’s say that one day you come home from a hard days work and I rush to you and ask: “How was your day darling?” and you answer “Amazing, I set out to kill 50 million people and was able to kill 100 million.” What do you expect me to say to this “achievement”? “Terrific about the extra the mass murder sweetie!”?

JOHN: “I have an answer. I have a way for us to work this out. Please hear me out.”

BEA: “I don’t see any possible logical answer John — you’re the world’s greatest killer and you’ve caused a huge amount of suffering…  (long pause) (whispering now) albeit, you’ve also caused a greater amount of human flourishing in the many decades you’ve been King of this twisted Kingdom.”

JOHN: “Thank you for recognizing that I’ve caused more flourishing than death and suffering.”

BEA: “Even with that being the case John, it’s the nature of a Kingdom that only the King has a SELF. Only the King has and can use all of his volition. I’m a daisy that broke through the cracks in the sidewalk of your Kingdom, I’m a fluke, a freak, a pest, and I’d rather die than not exercise all of my free will to maintain the kind of autonomous and happy self I’ve created. There’s no place for 2 sovereigns in this Kingdom of yours John.

JOHN: “Bea, what I love most after myself is you. I love my strength and my dignity which make me superior to other men. That strength was my life but now… Now that I see that there’s you, my darling… I have never wanted to share my Kingdom, never needed another soul… My beloved… There’s room for another sovereign if you join me as my Queen.

BEA: “If I ever believe you love me, John, then I’ll be your Queen.”

~The End~

{Author’s note: This story ends in much the same way Ayn Rand’s “Night of January 16th” ends. That is, it’s up to the reader to decide the ending: Does the King really want to be happy and see Bea as a means to his newly chosen ultimate end; or is it another trick to try to destroy her self — you decide.}

 

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“The King’s Costliest Jewel” by Brishon (Copyright 2015 All Rights Reserved)

“The King’s Costliest Jewel”

King Franco, the king of Copperoma, had been unable to find a woman to wed because all the eligible woman in his kingdom he deemed to be unsuitable to be his life-long companion because they did not have strong and good characters. Moreover, they were charming to, or submissive to him simply because of his wealth and power. After over a year of earnest searching Franco, now desperate, was reaching the end of his hope. He could not determine how he would achieve a romantically happy life with an amazing woman.

One day, while King Franco looked out the window at the grand view around his castle, his lieutenant approached him to remind him of a chronic problem that the king had been putting off while he was seeking a bride. Lieutenant Priva informed King Franco that Samantha Martini had just posted her latest attacks on the King on the church doors and that the peasants were listening to her critiques of his kingdom. King Franco said stridently: “No Priva, I won’t deal with her now, I don’t have the strength.” “But your highness, she’s wreaking havoc in your kingdom: she’s causing the peasants to be demanding and dissatisfied.” Priva handed Franco a document which contained Samantha’s charges and without looking at it King Franco asked: “Who is this awful creature anyway? Have I ever met her?” “No sire, she lives in seclusion and has never been to court. Her aunt is a portrait artist and has just painted her portrait which is on display in the library.” “Bring it to me, I want to see what this crazy woman looks like.” “Yes, sire.” Priva left to retrieve the portrait of Samantha Martini.

Whenever Samantha was in public, while the king was her primary verbal target for moral condemnation, because she has found almost all the men in Copperoma severely lacking, she told anyone in earshot of her negative judgments of them, as well as of the king. Seeking moral heroes and finding none, Samantha lived alone in seclusion on the outskirts of Copperoma in a small cottage, facing squarely the fact that her standards were high and she wanted only someone as good as her — or else no one at all.

King Franco, now dressed wearing an exquisite red robe with his coat of arms on it, walked into a grand room where eight large portraits of women lined one wall. As he walked past the portraits he stopped and gave a brief summary of the character of each of the women in the portraits. These were the portraits of the women he’d been considering making his bride. Using the document of Samantha’s charges as a pointer, he gestured at each portrait as he talked to it starting with the first portrait: “You’re critical, cold and emotionally repressed, yet you pretend to approve of me.” The he walked on and stopped before the next portrait saying: “You talk incessantly and say nothing while feigning utter approval of me.” Walking to the next portrait he said: “All image and show, there’s no self there.” And to the next he said: “A femme-fetal seeking nothing more than drama and tragedy.” To the next he said: “utterly indifferent and antisocial.” And to the next: “you are kind but constantly afraid, nervous and high-strung.” He stoped and smiled at the next portrait as he says “Oh my dear, you’re charming, fun, active, intelligent, but you’re unable to commit to any person, place or thing for longer than a day.” And to the last portrait he says: “Cordial and friendly to all in equal amounts thus treating all as if they were the same.”

As King Franco arrived at the end of the line of portraits, Priva returned with the portrait of Samantha Martini and he placed it on as easel in front of Franco. Then Priva removed the cloth covering it. As Franco gasped at the spectacularly beautiful face he felt something he’d never felt before – love. “Who is this woman Priva, you must bring her to me at once! I’ve never seen such beauty and intelligence, she’s exactly what I’ve been looking for. Franco moved away from the portrait to call for more attendants. “Bring her to me at once so we can begin making plans for the wedding. Who is she and why did you not tell me about her sooner?” “Sire, I did tell you about her.” “No, I recall no such discussion. When did it take place, perhaps some weeks or months ago?” “No sire, I told you about her an hour ago.” “No Priva an hour ago you told me about some shrew named Samantha Martini.” “Exactly sire, this is Samantha Martini.” Franco stoped in his tracks. Then he rushed back to the portrait. “This is Samantha Martini?” “Yes sire.” Franco stood looking at her a long time studying her features. “I simply can’t believe it.” Franco folded the document of Samantha’s charges tighter and again used it to as a pointer to examine various parts of her face for some time then said: “Priva, I want to observe her at a distance. Set up some place for her to be in public so I can observe her. I simply can’t believe your report about her demeanor – I must see her for myself.” “Yes, sire.” Priva left to set up the rendezvous. Franco stared at Samantha and talked to her portrait: “What an expensive jewel you would be, my dear. You are the only woman in this kingdom who does not want to be my queen. He strokes the portrait with his hand touching the mouth gently and says to the portrait “I must take my time, this won’t be quick or easy. You’re a prickly little flower needing constant attention and so you shall have it.” As he walked away down the hall with the portraits of women on the wall he said out-loud: “This will be my greatest achievement: turning my greatest enemy into the love of my life.” He tossed Samantha’s charges onto the floor and exited the room walking with great purpose.

Later that night in his bedroom, pacing next to his canopy bed, Franco talked out-loud to himself: “Every woman in this kingdom is attracted to my office, my power, my fortune, my fame and none of them wants me. I should consider myself lucky that there’s such a rare and precious judgmental jewel as Samantha in this entire kingdom: she’s not motivated by love of wealth, approval of the crowd, or fear of me. If all that existed in the world were the feminine manifestations I’ve encountered so far, I’d resign myself to marry only to issue an heir and then disabuse myself of this lifelong romantic hope of mine for a great love. Alright, first I need to charm her by…” the king wrote notes in a book sketching out his plan to court and woo Samantha staying up into the wee hours strategizing his plan of attack. He decided the first thing he must do is wear out his opponent as her guard was up and her armor was thick and he must find a way to penetrate them. He concluded he must get her back in public, back dealing with people, out of her seclusion in order to give him opportunities to communicate with her – even if at a distance.

The following morning Samantha opened her front door to find a summons attached to it which was from the local tax assessor requesting her presence at his office to discuss the back taxes she owed on her cottage. After reading it she angrily cursed: “As if King Franco doesn’t have enough money! How am I going to come up with what I need to pay this appalling tax?… As if I have nothing better to do with my time than go to town and chat with the tax assessor!… Indeed…” She paced then threw up her arms in resignation and started getting ready to go to town.

That afternoon at the tax assessors office she started to explain the reason for the delay, but before she could explain the tax assessor said: “Miss Martini, an anonymous admirer has already paid your taxes.” Shocked, she demanded: “who is the anonymous admirer?!” “I’m sorry but he swore me to secrecy.” She got up and stormed out and when she arrived in her carriage she found a single red rose and a note on the seat. Franco and Priva were disguised and standing nearby watching her. She opened the note and read: “Dear mademoiselle, please don’t be concerned that you are now obligated to me, in any way, for paying your taxes. Ensuring your material care and comfort is paramount to me. Signed, your sincerest admirer.” Samantha crumpled up the note and tossed it out the carriage window. Fuming she noticed the rose and picked it up, smells it, and feels admired for a moment. We see Franco smiling as he watches her and he’s delighted, but then she quickly returns to herself and tosses the rose out the window too. Then she loudly knocks to get the carriage driver to drive on. As she rides off, the king smiles pleased with his first salvo.

Next we see a series of shots of Franco watching Samantha react to her secret admirer (him) doing things for her to make her life comfortable and secure: a roofer is busy fixing holes in her roof and Samantha tosses a note and a red tulip out her cottage window. On another day, a plumber is fixing her well-pump and she tosses a note and a red lily out her window. On another day a horseman shoes her 2 horses and she tosses a note and a red hydrangea out her window. On another day a painter is painting the outside of her cottage and she tosses a note and red gladiola out her window. We see a disguised Priva laying a giant red hibiscus and a note down on Samantha’s front porch. Next we see a carriage maker fixing her carriage as Samantha awkwardly carries a very long, red hibiscus flower out to the street in front of her house where she makes a scene as she throws it and the note into the muddy street where it’s trampled on by horses and carriages as she yells “I hate the color RED!!!” The passersby stare at her as if she’s crazy but she pays no attention as she’s used to their disapproval. In disguise, King Franco watches from across the street delighted by her fury. Samantha returns to her cottage to find a servant waiting inside who says: “Good day, I’ve come to give you my services.” “I can’t afford your services, please leave.” “My salary’s already been paid for the year.” “By whom?” “By the agency I work for.” “But who paid them for your services?” “I don’t know.” Frustrated she says: “Arrrgggghhhh.” Samantha storms into her room to smolder as the servant starts tidying up her cottage.

Priva, disguised, now stands next to King Franco (who’s also disguised) and Priva gently draws Franco’s attention to Samantha’s seeming hatred: “Sire, I know you feel this experiment of yours is well… going… um… I don’t know if you’ve noticed but it seems like she hates her benefactor, er… that is… YOU sire. Are you sure this is the proper course of action?” “I’ve never been more certain in all my life! You just have no imagination Priva. You’ll see, she’s going to become the woman I’ve always dreamed of – trust me.” “Um…ah…yes, sire.” They walked toward Franco’s castle. “Priva, I want you to set up a small dinner party at my aunt’s estate and invite Samantha and about a dozen other guests. I’m going to attend it disguised and so make sure none of the guests reveals that I am the King of Copperoma.” “Yes, sire.”

Early evening at the grand country estate owned by King Franco’s aunt Esmarelda and the dimming light of dusk shines on a dozen local, well-to-do citizens of Copperoma who sit around a large dinner table chatting and drinking wine. Samantha is seated between Franco and Fernando (who is the son of a wealthy architect, Juan Menendez, who grew rich by being King Franco’s official court architect). As the night progresses it becomes painfully clear to Franco that Samantha is being charmed and seduced by Fernando. Franco watches Samantha laughing and having a wonderful time flirting with Fernando which irritates the King immensely as he had intended to charm and seduce Samantha himself. Esmarelda is watching the three of them and realizes that Franco is jealous so she calls the head servant and tells him to cut the meal very short. Esmarelda then asks her guests to adjourn into the music room where a performance is to take place. Esmarelda ushers Franco and Samantha into the room and seats them next to each other. Being well disguised, Samantha does not recognize him as the king. She’s concerned that she’s being taken away from Fernando who has been collared by one of the other guests. Samantha and Fernando’s eyes catch each other from across the room as Franco now starts trying to talk to her but she’s preoccupied with Fernando’s absence. Finally, interrupting the King as he’s talking to her, Samantha gestures for Fernando to come and sit beside her and he does. She then proceeds to ignore Franco preferring instead to be charmed and seduced by Fernando. Franco hides the fact that he is furious and jealous as he tries to come up with a solution to this problem.

As the guests leave, one by one, Fernando and Samantha exit the estate agreeing to get together again on the following day for an early dinner at her cottage and to then attend a musical performance in town. Franco can hear them arrange their date and then watches them part and ride away in their respective carriages. Priva stands next to Franco as Franco says: “I’m the one who changed her from being that raging, loathsome hell-cat into a fun-loving, angelic, pleasant pearl, and if he thinks he’s going to steal my jewel…” Priva askes: “Are you still sure your plan is going to work Sire, she seems to be completely enamored with Fernando?” “Yes, of course, Priva, I have absolute confidence in my plan, it cannot fail! She will fall in love with ME not some silly architect’s son. I want you to go see Fernando’s father Count Menendez and tell him this for me…” Priva starts writing down what Franco dictates.

The next day at the arranged time a messenger delivers a note to Samantha. We read: “Dearest Samantha, I so enjoyed meeting you last night and I was looking forward to our date tonight but at the last moment my father — Count Menendez – has sent me on an urgent assignment to the kingdom of Soltania. Unfortunately, I expect to be away for some time as my father has need of me there at a quarry where he gets marble and granite for the King’s projects. It may be some months before I return. However, I would be delighted if upon my return you will allow me to escort you to a fine play. With warm regards, Fernando.” Samantha frowns disappointed and folds Fernando’s note and carefully places it in a special box on her desk.

The next day, disguised as he was at the party, Franco comes courting and Samantha, who still does not realize that he’s the King, is not too interested in him but she’s civil to him.

We see a series of shots showing their daily dates and outings and she starts to like him more and more.

Eventually, Samantha realizes that her suitor is King Franco. At first, she decides to tease him by pretending that she still does not know who he is and further that she’s still interested in Fernando (even though she is not). Eventually, she realizes that Franco had Fernando shipped off so he could court her instead. So, to tease Franco, she gets her driver to take her to Soltania, the town that Fernando’s in, and she stays at an inn and invites Fernando to begin courting her again. Samantha believes that Franco will follow her – and indeed he does as he has to in order to ensure that nothing serious happens between her and Fernando – emotionally or physically. In response to Samantha inviting Fernando to court her, Franco says to Priva: “I’m just going to kidnap Samantha!” “Sire, she may find that too brutal and cruel and it might be hard for you to recover in her esteem.” “Yes, you’re right Priva, let’s just watch and see what unfolds.”

Despite her best efforts to keep up the pretense, eventually, Franco realizes that she knows he’s the King. Franco decides to turn the tables on her by arriving at the same restaurant where she and Fernando are dinning but Franco is escorted by a very beautiful woman, thus basically saying to her ‘is this the standard you want to set up as the way we engage with each other, my dear – trying to make each other jealous?’ When Samantha sees this woman with King Franco she becomes jealous, at first, not realizing that he’s just doing to her what she’s doing to him, but then she realizes what he’s up to, and it causes her to smile in response to his cleverness. When she returns home, Samantha must decide if it’s possible that she could actually love the man who, just months ago, she all but hated and publicly criticized. She decides she could love him, but she also realizes it’s possible that this is all just a ploy to get her to shut-up and stop attacking him and his kingdom publicly.

Upon discovering that Samantha’s not in love with Fernando, and optimistically believing that she possibly could fall in love with him, Franco follows Samantha back to her cottage. She desperately wants Franco’s motive to be love because if he truly loves her then she feels that she could be in love for the first time in her life. When she gets back home she has many talks with herself out-loud. They’re discussions about how she could love the King who she’s spent so much time attacking because the King allows such injustices to happen in his kingdom. She also tries to make a model of him that explains how he could possibly love her – his kingdom’s public enemy number one.

Franco, now back in his castle paces while he says to Priva: “I’m aching with anticipation to see her again, Priva.”

Cut to Samantha in her cottage by a small blackboard going over the arguments again and tiring of her confusion about his motive: Samantha says (exhausted): “I’m punch-drunk with doubt about him.”

Cut back to Franco in his castle speaking to Samantha’s portrait: “My darling Samantha, you’re too good to be true.”

Cut back to Samantha at her blackboard: “Oh Franco, you’re too bad to be true.”

She decides she needs to talk to him in person as she wants to look into his eyes to see if he’s lying about his true motive because she’s convinced this whole thing would be a very good deception to get her to stop attacking him and his kingdom. So, she comes out of the seclusion she’s been in for weeks and sends her driver with a note for Priva asking him to set up a time and place for her and King Franco to meet.

We see a series of shots of Samantha and Franco together: horseback riding, picnicking, hiking, etc. Samantha’s always trying to devise a proof of his motive and she allows herself to get closer and closer to him and is just about to fall in love with him but she stops herself realizing that she does not have a PROOF and so, once again, she pulls away from him and goes back into seclusion refusing his invitations.

Despite her doubt, he keeps sending her gifts and things to stay connected to her which she happily accepts, but then scorns herself and reminds herself that these tokens he’s sending her are a tiny price for him to pay to shut her up to achieve harmony and peace in his kingdom. Endlessly, she tries to figure out a way to prove to herself what his true motive is. Meanwhile he waits patiently staying connected via his gifts and reports from Priva on how she’s doing.

They are both frustrated as they both want to be together, but she’s not convinced of his motive. Once again she writes down and reviews her charges on her blackboard. Then suddenly a plan comes to her to get the proof she needs of his true motive.

She has her driver tell Priva she wants to meet King Franco again and she asks that he come disguised. He arrives disguised at her cottage and they take her carriage after she tells him: “I want to show you something.” She tells her driver to go to an address. They arrive and get out and see many dirty, barefoot children lethargically sitting and standing in the street in a poor area of Copperoma. She takes King Franco by the hand and leads him into a tiny cottage where a large, poverty stricken family lives. Then she speaks to the sick mother about her ailments and their lack of food and medical attention. After a friendly discussion, she and King Franco leave and she takes him to another home and has the same types of discussions with the same types of people. They get back into her carriage and she can see that Franco is visibly upset. Surprised by his reaction, she asks “Did you ever read the charges against you that I pinned to the church door?” “No I’ve been too busy trying to find a bride.” “Most of my charges against you center around the lack of food and medical treatment that some of your subjects endure.” There’s a long pause as he realizes that she’s not a shrew in need of taming but actually a very kind-hearted, caring person who wanted to get him to fix legitimate  problems in his kingdom. Suddenly Franco is overwhelmed by her greatness of character and falls to his knees and holds her hands in his as he rests his head in her lap: “Samantha… Samantha… my darling…you’re my joy… my passion… my delight.” They stare into each other’s eyes. She is stunned and delighted by his reaction. She concludes that he truly loves her and is delighted that Franco now sees her true self as she thought no one could see through her warrior-like demeanor in pursuit of having a kind and benevolent kingdom.

Cut to Samantha walking alone in the same area of Copperoma, but now the homes are painted and the children have clean clothes and shoes and the sick women we saw before are healthy. Correcting the neglect of his subject’s suffering is the test she devised to discover Franco’s true motive and she’s delighted to see that he is both kind and responsible as a monarch; and that he truly loves her.

On a bright sunny afternoon, Franco and Samantha’s walk down the isle in the biggest wedding in Copperoma since Franco’s father married his mother.

Now on their wedding night Franco kisses her hand and caresses her fingers and says: “Oh, your hands are so beautiful… not just your hands… of course… I mean the rest of you too… oh, you’re so lovely darling.” They kiss and Samantha takes a paper from beside her and places it in his lap as they are kissing. When they stop kissing he sees the paper and starts to read it and says: “I see, the sewers have collapsed in the South Village.” “Yes, darling it seems when the recent rains damaged a retaining wall and…” Interrupting and smiling he says: “I’ll have it fixed.” Franco stands up and walks over to a closet and says “Darling, I have a problem only you can fix.” He takes out a bright RED silk robe with Franco’s coat of arms on it, and he walks towards her. She smiles and kisses him, and then he places the robe on her, and they both smile deeply at each other delighted that they’re both getting what they truly wanted. They live happily ever after.

The End

Standard

“French Toast” by Brishon (Copyright 2015 All Rights Reserved)

“FRENCH TOAST”

Cast of Characters:

Martini
Ambrosia
Alfredo
Napoleon – Husband of Ambrosia, rival to Alfredo
Basil – Martini’s boyfriend
Mrs. Coco – Richest woman on the island

Once upon a time on a tiny island lived a beautiful, passionate, gregarious woman named Martini whose greatest loves in life were great food; fraud-busting; and seeking to find a man she could have a happy romantic relationship with. She was the beloved social glue of the island, known and loved by all.

At the estate on top of the island lived the world’s greatest chef – Alfredo. He was in a state of withdrawal from the world nursing the wound of having lost the love of his life – the best woman he’d ever met – Ambrosia – who was the person best able to appreciate and enjoy his gastronomical creations. They were engaged 25 years ago in France. Without someone as appreciative and sensitive as Ambrosia, Alfredo did not care to cook again.

Martini was a SuperTaster and she loved making the great dishes, especially the ones she’d experienced as a gourmet in France. To do this, Martini read food magazines week after week and spent her annual vacations in France eating at the carefully chosen top rated restaurants, enjoying the carefully researched top dishes they were famous for. And each year on her vacation Martini would purchase these master French chef’s cook books, return home and try to duplicate the dishes she’d had at their restaurant. After many failed attempts, she frustratedly concluded that there was something wrong. She suspected that the chef’s cook books were not revealing all the ingredients or all the methods needed to duplicate the dishes oneself.

One day after Martini made her daily rounds visiting friends on the island, Alfredo’s new French cook – Anjou – approached Martini at the Farmer’s Market to introduce herself. They became fast friends.

~Flashback~

Twenty five years ago Alfredo was acclaimed as the greatest living chef. He was passionate about his work and received acclaim from many critics and epicures, but his greatest joy in life was cooking for his fiance Ambrosia whose passion in life was to eat the greatest food in the world as she was a highly sophisticated SuperTaster. Ambrosia was independently wealthy having inherited a fortune from her father who’d been one of the greatest chef’s in France. Thus, Ambrosia’s standards were the highest and she was the pickiest eater imaginable. Nine times out of 10 she’d spit food out rather than consume it, even at the best restaurants. Ambrosia had a photographic memory for food and could look at a recipe and imagine how the food would taste, or eat a dish and tell what ingredients were in it. When Ambrosia liked something she would spend an enormous amount of time analyzing it’s constituent components and praising the chef who created it in personal letters that she sent to them – as well as in her column in L’epicure. As a policy, Ambrosia never wanted to meet chefs in person because she wanted to experience their food without their character or personality having any effect on her. However, she once made an exception: upon tasting the first bite of Alfredo’s Foie Gras, she determined she must meet the man who prepared it. So, Ambrosia asked to meet him and when Alfredo arrived at her table, Ambrosia assailed him with a barrage of compliments of such detail and with such accuracy that he became instantly enchanted with her.

Invariably and over time, Ambrosia was drawn to the establishment where Alfredo created his gastronomical works of art, the most famous and popular Parisian restaurant “Chez Argent” and in time Ambrosia and Alfredo started dating. Most of their dates were spent with Alfredo cooking and Ambrosia eloquently explaining why his dishes were perfect. Typically, during the meal, the two would engage in passionate love-making in the kitchen, pots, pans and knives strewn hazardously about. After a few near disasters, they built a love nest in his kitchen to use for their passionate during-meal trysts, still wanting to experience the pinnacle of their love-making near the gastronomical utensils and appliances.

After years of bliss together, one day Ambrosia was told of a new chef who was hired at the rival restaurant, Chez Radis. Ambrosia was not interested in sampling the newcomer’s creations as she was convinced that she had found the greatest chef in the world. Her friend persisted and managed to drag Ambrosia to “Chez Radis.” To Ambrosia’s surprise the newcomer – Napoleon – was a gastronomical genius. While she adored his food, she was devastated to discover that Alfredo had a competitor. She hid from Alfredo her passion for Napoleon’s creations as she found herself, virtually against her own will, eating at Chez Radis once a week.

Eventually, because Ambrosia was the talk of the gastronomical world, and given that she had been seen at Chez Radis often, Alfredo found out about her dinning there and was hurt and disappointed. Heartbrokenly, Alfredo confronted Ambrosia needing to know why she’d been hiding from him the fact that she’d been enjoying Napoleon’s creations. She reluctantly told him that she hid it because she did not want to hurt him. She was morally convicted that she had to take into account the fact that she was a demanding SuperTaster; and that her abiding moral passion was to enjoy the world’s greatest food. Alfredo accepted that she should pursue Napoleon’s creations by way of satisfying her moral passion. However, he was hurt and he soon informed her that he had accepted a temporary assignment to cater for the 100 year celebration of the French-American culinary academy in San Francisco and would leave immediately.

While Alfredo was away, one day Ambrosia was eating at Chez Radis and, unbeknownst to her, she was seated right next to Napoleon. They struck up a conversation about the food and Ambrosia was delighted to have someone so keenly interested in her evaluations. Like Alfredo, Napoleon knew he was talking to the greatest living food critic, but pretended not to know who Ambrosia was and asked if he could join her and she agreed. At the end of the meal, he informed Ambrosia that he was the chef and asked her to attend a ball he was to cater at the French President’s palace. Expecting that the occasion would bring out his greatest work, Ambrosia accepted his invitation.

On the night of the ball Ambrosia found herself ecstatic while eating Napoleon’s creations and she praised each and every item that he offered her. At the end of the evening they were drunk with delight and nearly drunk on wine and Napoleon kissed Ambrosia. A passionate night of lovemaking ensued in one of the greatest kitchens in France.

The next day, when she sobered up, Ambrosia was horrified that she’d made love to Napoleon intending to have been faithful to Alfredo. In a few days, she came to accept the difficult circumstance she found herself in: loving two equally matched gastronomical geniuses.

When Alfredo returned from San Francisco he brought an engagement ring and presented it to Ambrosia, she started crying and confessed what she’d done with Napoleon. Alfredo was forgiving and understood her dilemma, but he did not believe Napoleon was his equal. So Alfredo called to make a reservation at Chez Radis and after he’d sampled Napoleon’s creations Alfredo returned to Ambrosia to tell her that Napoleon was a genius and his equal. They both found themselves depressed about this turn of events. In a few days, Alfredo proposed a competition between the them and Ambrosia agreed that it was a good way to resolve the dilemma.

So, Alfredo – being the most renowned chef in France – created a new culinary competition which offered a great prize which he called “Alfredo d’Or.”

As agreed to by all three of them, the winner would win Ambrosia. Napoleon won the competition and Alfredo and Ambrosia ended their relationship and Ambrosia devoted herself to Napoleon. Alfredo was devastated and decided to leave France and return to the San Francisco Bay Area in a quest for obscurity. He bought an estate atop Belvedere Island wanting to go to the one place on Earth that no one would ever look for the world’s greatest chef – America.

~End Flashback~

After spending hours talking to Anjou, Martini decided that Alfredo’s life now is a tragic waste and she determines to do all she can to get him to enjoy life again by cooking for her and by teaching her to cook. Together Martini and Anjou devise a plan.

One sunny morning Martini drives her Citroen 2CV convertible to Alfredo’s estate and Anjou lets her in the gate. Martini has her the best souffle recipe from one of her French cookbooks. Anjou shows Martini to the kitchen where Martini puts all of the ingredients for the souffle on the kitchen counter and waits for Alfredo to show up.

About a half hour later, Alfredo comes into the kitchen to get a glass of milk which Anjou has intentionally not given him. At first he does not see either Martini or the spread of food on the counter. But as soon as he notices Martini, she approaches him as if she’s known him all her life and starts talking to him as if they’re good friends. She speaks as if they had an appointment for him to teach her how to make a souffle. He’s aghast at first, but when she mentions that she has the latest recipe from Chez Argent, the restaurant he worked at it France, he’s intrigued. He takes the recipe from her and mulls it over and finally decides to see if it’s any good.

When the souffle is done they both taste it and she says it’s wonderful, yet Alfredo throws his souffle across the room in disgust breaking the ramikin. She’s incredulous. Alfredo explains that the souffle is missing key ingredients. Moreover, he says important methods for making a great souffle have been omitted from the recipe. Disgustedly, he also tells her to ignore any star chef’s cookbooks as they intentionally leave out relevant information to keep their restaurant monopolies intact. Martini hugs him then paces around the kitchen delighted to now have her suspicion confirmed by the greatest expert in the field. She explains that she suspected that this was happening because she was never able to duplicate her gastronomical experiences at home via the French chef’s recipes.

Over the next weeks Martini comes daily to Alfredo’s home to be mentored by him. She’s having the time of her life and Alfredo hasn’t been so happy since he was cooking for, and making love to Ambrosia. Alfredo often gives Martini pop-quizzes to ensure that she remembers critical elements of great cooking: one of which is to use duck fat in most dishes that call for butter.

At night we see Martini spreading the secrets she’s learned from Alfredo by teaching the women who live on the island and the woman are delighted.

One day after a particularly delicious meal, Martini asks Alfredo why he left France and quit cooking. It’s clear now that he loves Martini, like a daughter, and so he briefly tells her a recap of what happened with Ambrosia and Napoleon (which she already knew from Anjou). Martini asks if he still loves Ambrosia and Alfredo confesses that he still loves her desperately and that he will never cook for anyone but Martini and Ambrosia. Upon hearing this Martini becomes clearly determined to make something happen.

The next day, we see Martini talking to the richest woman on the island – Mrs. Coco – and Martini is excited and leaves Mrs. Coco’s house and drives happily around the island singing a French song about food.

At the town center we see posters and decorations announcing that the most prestigious international culinary competition has chosen Belvedere to host this years competition. Martini takes one of the posters to Alfredo. At first he’s disgusted at the idea of all of these French chefs discovering where he’s been hiding for 25 years, but Martini explains that it’s a golden opportunity for him to get back into the joy of cooking. She also tells him that Ambosia will be coming and he’s thrilled at that news.

Martini spends many hours researching Ambrosia’s husband Napoleon, on the internet. She discovers that in his gastronomic history there are several scandals that he’s been involved with. The theme of the scandals invariably centers on accusations of cheating on his part, thought the accusations were never proven. Martini has a intuitive way of sizing up people quickly and upon seeing a video interview of Napoleon she intuits he’s a cheater. Now she’s determined to get Ambrosia and Alfredo back together.

The day the chefs arrive there’s a welcoming ceremony where Martini and Mrs. Coco speak and toast to great food, long life and happiness. Martini introduces herself to Ambrosia when she’s standing alone, without Napoleon. They talk and Martini invites Ambrosia to her home to enjoy a brunch that the local woman are preparing the next day. Martini tells Ambrosia that she knows that Ambrosia once loved Alfredo, and that she’s been teaching the women on the island Alfredo’s wonderful recipes. Ambrosia is delighted to hear that Alfredo is on the island and accepts Martini’s invitation. The time she tells her to come is 1 hour earlier than the function is to begin.

Ambrosia arrives to find Martini picking flowers and herbs from her garden and together they decorate Martini’s lovely cottage making it ready for the guests. Martini pulls out a dish from the oven that she made, which Alfredo taught her, knowing that it’s one of Alfredo’s greatest dishes she asks if Ambrosia would care for some. They eat and Ambrosia recognizes it as one of Alfredo’s best and then she analyzes it in detail for Martini and she realizes why Alfredo so appreciated Ambrosia’s incredible ability.

Martini wants to find out how Ambrosia’s life with Napoleon is now, and how it’s been for the last 25 years. She discovers over a bottle of wine that it has not been good. Ambrosia no longer loves Napoleon, in part because she suspects he’s a serial philanderer and the quality of his cooking has gone down steadily for the past 25 years. Now he coasts on his former glory. Ambrosia doesn’t know why Napoleon let himself go this way. Nonetheless, she stays with Napoleon because of loyalty to the great happiness they once shared.

After their intimate lunch, Martini becomes convinced that Napoleon’s not what he pretends to be – and probably never was. She’s now determined to dig out the details of the scandals he’s been involved with over the years.

The local woman arrive at Martini’s cottage with the dishes for their potluck. Unexpectedly, Alfredo arrives and is shocked to see Ambrosia. She is thrilled to see him and goes and takes his hand and leads him into the garden where they talk together for hours. Martini and the women notice the sparks flying between the two of them.

That night we see Martini up late into the early morning investigating the Napoleon’s scandals.

Basil is the editor of the most celebrated gastronomical magazine in the U.S. and he’s reporting on the competition on the island. He’s 6 foot 7 and very thin. Every time we see Basil he’s eating French pastries which he bakes himself. When he sees the beautiful Martini at the Farmers Market he approaches and talks to her. He asks about what she’s making with her purchases and where she got the recipe. She tells him it’s Alfredo’s recipe and that it’s one of her favorites. He gives her a tip on how to make it even better. She’s curious about his cooking experience. He tells her he has never worked for any French restaurants, nor gone to a culinary academy. To her great delight, he tells her he’s against the de facto French culinary guild. Martini’s interest in him is now intense and she invites him to her cottage to have some of the dish that she’s shopping for at the Market. He accepts. It’s clear they’re quite attracted to each other.

From a distance we see Martini, at Alfredo’s house, showing him a copy of an old cookbook and Alfredo’s stunned.

The day of the competition arrives. The rules require that each chef create a dish which is an original recipe.

Alfredo had committed to making an original creation for the competition, but has secretly decided against that. Knowing it will disqualify him, Alfredo instead makes the exact same dish that Napoleon announced he would make for this competition.

When the judges discover it’s the same dish Alfredo shows the judges, and audience, that the recipe came from an ancient, secret, Royal French cookbook.

As this is happening on stage, Ambrosia makes her way through the crowd and onto the stage and tastes both dishes, and confirms that Alfredo and Napoleon have made the same dish.

Napoleon, is watching all this as he’s standing next to his bimbo du jour – a floozy named Cherry – and he tells her to meet him back in Paris and then makes a run for his car.

However, Martini expects him to bolt and confronts him. She’s got his briefcase in her hand and says to him “Looking for this?” Knowing that the very same Royal cookbook that Alfredo just showed the judges is in the briefcase, he chases after Martini to get it. She runs to the stage and announces that she thinks the same cookbook can be found in Napolean’s briefcase which she hands to the American judge who opens it and pulls out the very same Royal cookbook and shows the audience.

Napoleon leaps to the stage to defend himself. “I’m President of the French Gastronomical Guild, how can you even suspect me of cheating?”

Martini answers: “Do you deny there are secret ingredients in this book which only the chefs of Royalty knew and your society is devoted to hiding this secret gastronomical knowledge from the world?”

Napoleon replies: “The chefs from our schools run the top restaurants and cook for the most powerful men in the world!”

“That’s your justification for this fraud?”

“I mean, well you see, that is…”

“And did you also use this cookbook (holding it up) to win the competition against Alfredo 25 years ago?”

“Well… That is… You see… I ahh…”

“I’ll take that as a “Yes.”

Alfredo and Ambrosia turn immediately to each other to see if they both understand that their relationship was ended by Napoleon’s fraud. They rush to each other to embrace and confirm they each still love and want each other. While Alfredo and Ambrosia embrace, Napoleon slinks off the stage now having been exposed as a chronic and habitual cheater.

It’s now clear to everyone that the French Gastronomical Guild uses the very same means of cheating, i.e., they cheat the public by leaving out relevant ingredients and/or methods so as not to enable gastronomic independence on the part of foodies, thus allowing the members of the guild to coast and rest on their secret knowledge, rather than be inventive and create new gastronomical delights.

The next day, Martini, Basil (eating pastries), Alfredo and Ambrosia are all working together creating new dishes and noting their evaluations for a forthcoming cookbook that will teach foodies all they need to know to create these great gastronomical experiences themselves.

Later that night, Basil and Martini are talking in her cottage. While eating a coffee flavored eclair, Basil tells her about his how his mom was a baker and how she would take him to her bakery in the early morning and give him all the fresh baked pastries he wanted all during his youth. After Basil has eaten half of the eclair, he then turns the second half of it to Martini and we can see an engagement ring emersed in the cream. Martini plucks it out and wipes it clean and is excited at first. But then she starts pacing the room, imagining what their marriage would really look like. She starts crying confessing that she is jealous – for the first time in her life – of Basil’s ability to eat pastries constantly and never gain weight. Although she loves Basil she doesn’t think she’ll be able to have a happy life if she has to constantly watch him eating pastries which she cannot have. The tension mounts as she cries and he thinks. Basil suddenly approaches her excitedly and says “Darling, you can have a small taste of the pastries – enough for us to be able to bond on the flavor and so that you have some satisfaction in knowing how good my creations are.” Martini stops crying and chippers up and then agrees that this suggestion solves her problem and she smiles at him and puts on the engagement ring and they embrace, kiss and share an eclair.

THE END

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“Boots” by Brishon (Copyright 2015 All Rights Reserved)

“Boots”

FADE IN AND ZOOM INTO A PARISIAN APARTMENT WHERE DAVID, A FRENCH CINEMATOGRAPHER SITS TALKING ON THE PHONE.

DAVID (French accent): “Please… Tell me about it!”

IN V.O. WE HEAR A WOMAN’S VOICE SAY: “It was two years ago and I was driving through the Panhandle of Texas on my way back to Dallas for my favorite cousin’s wedding. I’d been listening to a lecture about the immanent decline of Western society and I started crying. At just that moment my gas light went on and I exited to a lonely gas station in the middle of nowhere. Sobbing, I walked into the store by the gas pumps and was looking for the restroom when I saw an oasis of Stetson Cowboy boots of all shapes and sizes. Stunned as to how there could be such a demand for Cowboy boots – even in Texas – I dried my eyes and a little voice in my head said “Why don’t you buy some Cowboy boots?” And so I set out to find a pair I could want. I searched and touched and lifted and poked as three sales girls tried to help me but I hated all of the boots I saw because they were full of fake rhinestones or fancy stitching and all I wanted was a simple pair of
elegant Cowboy boots – like the pair I used to have throughout my youth. One day this same cousin pushed me into a swimming pool and I was wearing my beloved Cowboy boots and when they eventually dried they cracked, so I threw them out.”

DAVID: And these were the first pair of Cowboy boots you ever had?

WOMAN V.O.: Yes, and I wore them constantly for a decade so the leather had basically crafted itself to the shape of my foot, which is such a wonderful feeling – there’s nothing like it.

DAVID: Okay, so, why do you want to sell these new Cowboy boots?

WOMAN V.O.: Because I don’t wear Cowboy boots now that I live in California and because it was just an impulsive purchase meant to distract me from my sorrows. You know, I haven’t really wanted to sell them because they’re like a memento of an important time in my life, but now that I’ve finally told another person about the story behind them, I think I can get rid of them.

DAVID: This is special, we have this knowledge and connection now… it’s a bond between us. Why don’t you send me a link to your ad for the boots so I can see them?

WOMAN V.O.: Okay.

CUT TO BRIJIT CLICKING HER MOUSE TO SEND THE LINK TO DAVID.

CUT TO DAVID ON THE PHONE SAYING GRUFFLY:

DAVID: No. Stop arguing with me. I want you to pay full price for the boots don’t try to haggle with her. That’s right full price. I’ll wire you the money. Call me when you’ve got them.

CUT TO LOUIE, THE MAN ON THE OTHER END OF THE LINE, SCRATCHING HIS HEAD, GESTURING THAT HE’S CONFUSED. PAN AROUND HIS APARTEMENT WHICH IS A DIVE.

CUT TO THE NEXT DAY AND BRIJIT READING AN EMAIL FROM A PERSON WANTING TO PURCHASE HER BOOTS.

CUT TO BRIJIT MEETING LOUIE TO SELL HIM HER BOOTS.

BRIJIT: I’ve only worn them one time – to my cousin’s wedding – a couple of years ago.

LOUIE TOUCHES THE BOOTS AND ADMIRES THEM AND THEN CAREFULLY PUTS THEM BACK IN THE STETSON BOX AND THEN PUTS THE BOX UNDER HIS ARM AND TAKES OFF AND DISAPPEARS INTO A SUBWAY STATION. BRIJIT STANDS THERE IN DISBELIEF.

CUT TO BRIJIT HER HER COTTAGE ON THE PHONE TO DAN.

BRIJIT: I went to sell my boots today and you’ll never guess what happened.

DAN V.O.: You sold them.

BRIJIT: No. The man who came to buy them stole them and disappeared into the subway.

CUT TO DAN STANDING UP FROM HIS CHAIR AND STARTING TO PACE AS HE SAYS:

DAN: Describe the man to me.

BRIJIT V.O.: He was about 5’8, thin, dark hair and eyes, kind of shady looking, now that I think about it. Why?

DAN: What a bastard! Do you have his email address and phone number? Send me a picture of the boots, gotta go. He can’t do that to you – I’ll find him and get your boots back. You can count on it!

SLAMS DOWN HIS PHONE AND STARTS DRESSING. PICKS UP HIS PHONE AGAIN AND CALLS.

DAN: Hey Nikki, I need you to help me catch a guy who stole BRIJIT’s boots.

CUT TO NIKKI AS HE SAYS:

NIKKI: Was she wearing them?

BACK TO DAN:

DAN: No, just go and find out who this jerk is and get back to me, I just sent you his contact info.

CUT TO NIKKI QUICKLY TYPING ON HIS COMPUTER AND THEN THE ADDRESS OF LOUIE AZNAVOUR APPEARS ON THE SCREEN.

CUT TO DAN ARRIVING AT LOUIE’S APARTMENT. DAN WATCHES FOR A FEW MINUTES AND THEN SEES LOUIE LEAVING TO GET IN HIS CAR AND DAN FOLLOWS HIM UNTIL LOUIE GOES INTO A FED EX AND HE CARRIES THE SAME BOOT BOX MARKED “Stetson” ON IT. AFTER LOUIE LEAVES DAN GOES INTO THE FED EX AND FINDS THE BOX AND WRITES DOWN THE ADDRESS AND NAME WHERE LOUIE’S SENDING THE BOOTS.

CUT TO DAN BACK IN HIS CAR CALLING NIKKI.

DAN: Look Nikki, I know you’ve got millions of points that you can contribute so stop whinning and get me a ticket to Paris, I know it won’t cost you a thing and you want to see BRIJIT get her boots back too – right?

NIKKI: Yea, your right. Go to the airport and I’ll call you with the info once I get it, but you are going coach!

DAN: Sure I don’t care.

CUT TO DAN IN PARIS STAKED OUTSIDE OF DAVID’S APARTMENT. HE’S ASTOUNDED THAT SO MANY GORGEOUS WOMEN GO IN AND OUT OF IT. AFTER A WHILE OF WATCHING HE’S STUNNED TO SEE ONE OF THE BEAUTIFUL WOMEN WALK OUT WEARING BRIJIT’S BOOTS.

CUT TO NEXT DAY, DAN IS OUTSIDE OF DAVID’S APARTMENT WATCHING THE BIMBOS COMING AND GOING AND TODAY ALL OF THEM WEAR THE EXACT SAME COWBOY BOOTS. DAN CALLS NIKKI.

DAN: Man, you won’t believe this but the guy who got BRIJIT’s boots is some kind of playboy who has an army of beautiful babes coming and going from his apartment and yesterday one of them came out wearing BRIJIT’s boots and now today they all have a pair of the exact same boots. This is really weird!

NIKKI: I did not check him out yet, got busy, let me see what I can dig up on him. I’ll call you back.

CUT TO DAN TAILING ONE OF THE GIRLS WHO CAME OUT OF DAVID’S APARTMENT. SHE GOES TO A THEATER AND GIVES A POSTER TO A YOUNG MAN THERE. DAN WAITS TO SEE WHAT HE’LL DO WITH IT AND HE GOES AND OPENS THE GLASS OUTSIDE CASE AND UNROLLS THE POSTER AND ATTACHES IT AND BELOW THE POSTER DAN READS “Coming Soon The New Film By David Goddard “Boots.” THE PHOTO ON THE POSTER IS THE PAIR OF BRIJIT’S COWBOY BOOTS. DAN CALLS NIKKI TO TELL HIM.

DAN: You won’t believe this, one of these babes just delivered a poster to a theater which just displayed it in the coming attractions case and it’s a photo of BRIJIT’s Cowboy boots.”

CUT TO NIKKI:

NIKKI: Well that makes some sense David’s a film-maker and these women are in his latest film which will be released at the Caan Film Festival tomorrow.

CUT TO DAN:

DAN: I gotta go BRIJIT’s calling. Hey baby, I was just thinking about you.

BRIJIT V.O.: What are you doing?

DAN: I’m enjoying the sites of Paris in the Spring.

BRIJIT: Wow, why… When did you get there… What are you doing there… Are you Okay?

CUT TO DAN BACK IN FRONT OF DAVID’S APARTMENT AND DAVID WALKS OUT OF THE BUILDING AND DAN SAYS:

DAN: I’ve got to go now but don’t worry I’ll get your boots back!

BRIJIT: But I don’t care about them any….

BRIJIT LOOKS AT THE PHONE IN FRUSTRATION THEN SHRUGS DISMISSING DAN AS BEING CRAZY. BRIJIT DIALS ANOTHER NUMBER.

BRIJIT: Nikki, do you know what’s wrong with Dan? He’s in Paris for no reason and he seems to be chasing after the guy who stole my boots but the ticket to Paris is thousands of dollars and the boots only cost a couple of hundred.

CUT TO NIKKI.

NIKKI: Hmmm… No I haven’t talked to Dan in a few days.

BRIJIT: It’s weird, I don’t know what’s going on with him… Okay, I also called to ask you for a favor.

NIKKI: Anything!

BRIJIT: I have this new guy I’m really interested in but he’s in Paris and I wondered, I know you are so good with using points to get free plane tickets and I wondered how much cash you’d charge me to use some of your points for a flight to Paris?

NIKKI: Please, let me just give them to you, I have literally millions of points and I won’t live long enough to use them all up.

BRIJIT: Are you sure?

NIKKI: Absolutely sure. When do you want to go?

BRIJIT: I’m driving to the airport now.

CUT TO THE CAAN FILM FESTIVAL. WE SEE PEOPLE MOBBING DAVID AND HIS BEVVY OF BIMBOS WHO ALL WEAR THE EXACT SAME COWBOY BOOTS – COPIES OF BRIJIT’S BOOTS – AS THEY WALK AROUND AND HAVE THEIR PICTURES TAKEN AS DAVID IS APPROACHED BY THE MEDIA FOR INTERVIEWS. IN THE MIDDLE OF AN INTERVIEW HIS PHONE RINGS MAKING A SPECIAL TONE THAT HE GAVE TO ONLY BRIJIT SO HE TAKES THE PHONE OUT WHILE HE’S BEING INTERVIEWED ON CAMERA AND SEES HER TEXT “I’ll be in Paris in two hours and I can’t wait to meet you!!!” WHILE THE CAMERAS ARE STILL ROLLING AND WAITING FOR HIM, HE RUNS AWAY TO GET TO THE AIRPORT TO GO BACK TO PARIS.

CUT TO PARIS, DAVID AND BRIJIT HAVING DINNER AT AN INTIMATE RESTAURANT HAVING LOTS OF FUN. OUTSIDE THE FRONT WINDOW OF THE RESTAURANT WE SEE DAN IN STARRING IN AND FEELING BAD AS HE LOOKS AT BRIJIT HAVING A BLAST WITH DAVID. DAN DUCKS INTO A DOORWAY AND FRANTICALLY CALLS NIKKI.

DAN (screaming): How in the hell did she get here? You gave her the ticket didn’t you – idiot! Don’t do it again, don’t give her anymore plane tickets damn it! I’m in love with this woman and you’re screwing things up – just stay out of it.

DAN HANGS UP ON NIKKI WHO IS STUNNED AND STARTS PACING HIS APARTMENT TALKING OUTLOUND TO HIMSELF:

NIKKI: I should just stay out of it… he’s right… why am I involved in this insanity… why am I using up all my precious points… what is going on with me… why should I care… it’s not like she…. it’s not like I… it’s not like we…

NIKKI RUNS FOR THE COMPUTER AND MAKES HIMSELF A PLANE RESERVATION FOR PARIS.

CUT DAVID’S APARTMENT WHERE ON HIS TV HE WATCHES A TELECASTER TALKING ABOUT HIS NEW SMASH HIT MOVIE “Boots” AND THE NEW FASHION CRAZE THAT IT’S CAUSED: A TREND WHERE PEOPLE ARE TRYING TO GET BRIJIT’S STYLE OF COWBOY BOOTS AND STETSON IS HAVING TROUBLE KEEPING UP WITH DEMAND. THERE ARE A SERIES OF SHOTS OF PEOPLE ON THE STREETS WEARING THEM AND THE TELECASTER WALKS AROUND THE DESK AND SHOWS SHE’S WEARING THEM TOO. DAVID WALKS AWAY INDIFFERENT TO THE SUCCESS OF HIS MOVIE AND TO THE FASHION TREND HE’S CAUSED.

CUT TO DAVID AND BRIJIT WALKING AROUD THE STREETS OF PARIS AND HE’S HEAD-OVER-HEELS IN LOVE WITH HER AND DOES NOT NOTICE OTHER PEOPLE ON THE STREET WHO POINT TO HIM AS BEING FAMOUS. BRIJIT NOTICES ALL THE ATTENTION HE’S GETTING AND THEN SHE STARTS NOTICING A LARGE NUMBER OF WOMEN WEARING THE STYLE OF COWBOY BOOTS THAT WERE STOLEN FROM HER. SHE SAYS:

BRIJIT: I had no idea that parisians were so into cowboy boots… and all the same kind… and they look just like the ones…

DAVID PLANTS A BIG KISS ON HER LIPS SO SHE CAN’T FINISH HER THOUGHT.

CUT TO THEM WALKING DOWN THE SEINE ARM IN ARM DAVID IS TRYING TO MAKE AMORE TO HER BUT SHE’S STILL TOO DISTRACTED BY ALL THE BOOTS. SHE SAYS:

BRIJIT: Can we go get something to drink?

DAVID: Of course, I know a place right around the corner.

CUT TO THEM GETTING A COFFEE TO GO AND THEN WALKING AND THEY COME UPON A MOVIE THEATER AND SEE ON THE MARQUE THAT “Boots” IS PLAYING AND THEN THEY PASS BY THE MOVIE POSTER AND SHE SEES THAT THE BOOTS IN THE POSTER ARE HERS, BECAUSE THEY HAVE A SPECIAL MARK ON THEM THAT ONLY SHE KNOWS ABOUT, THEN SHE NOTICES THE DIRECTOR IS NAMED DAVID GODDARD. SHE’S SHOCKED AND DEMANDS:

BRIJIT: How is it your movie poster has my stolen boots on it? And why didn’t you tell me you are the auteur David Goddard?

DAVID: Yes, I am David Goddard and this is my movie and I had a friend of mine get your boots.

BRIJIT THROWS DOWN HER COFFEE ON THE SIDEWALK AND TURNS AROUND TO WALK AWAY FROM DAVID. HE CHASES AFTER HER BUT A GROUP OF HIS FANS SEE HIM AND MOB HIM FOR AUTOGRAPHS SO HE CAN’T GET TO HER. AS SHE’S WALKING DOWN THE STREET SHE CALLS NIKKI:

BRIJIT: I can’t believe this guy, he had someone steal my boots… What a jerk…

NIKKI: Then it’s off?

BRIJIT: Absolutely! He’s into some kind of weird kinky erotic thing that involves boots… hold on I’ve got another call…

BRIAN: Brijit! Darling!

BRIJIT: Who is this?
BRIAN: Brian.

BRIJIT: Oh, hi, I wondered what happened to you I expected to hear from you two weeks ago.

BRIAN: I’ll tell you about it when I see you but I’m calling to see if I can get you to come to Bordeaux.

BRIJIT: It just so happens I’m in Paris and would love to join you in Bordeaux. Can you have a ticket waiting for me at the airport.

BRIAN: I almost have it paid for now. Go to AirFrance and it will be waiting for you.

BRIJIT FLAGS A CAB AND GETS IN.

CUT TO DAVID BACK AT HIS APARTMENT PACING IN FRONT OF HIS MAIN WINDOW AND PULL BACK TO SEE DAN IS ON THE STREET WATCHING HIM.

DAVID: Brijit wait… don’t hang up… I didn’t know they were stolen… please… tell me where you are… Why are you going to Bordeaux? Who is Brian?

CUT TO DAVID, FOLLOWED BY DAN, AT THE AIRPORT GOING TO BORDEAUX.

CUT TO DAVID GOING FROM HOTEL TO HOTEL IN BORDEAUX – FOLLOWED BY DAN – TRYING TO FIND BRIJIT. COMING OUT OF ONE OF THE FANCIEST HOTELS, DAVID GETS MOBBED AGAIN WHICH SIDETRACKS HIM AWAY FROM FINDING BRIJIT.

CUT TO DAVID IN DISGUISE GOING FROM HOTEL TO HOTEL TRYING TO FIND BRIJIT.

CUT TO BRIJIT INSIDE A FANCY RESTAURANT IN BORDEAUX WITH BRIAN WHO’S TALKING ABOUT VARIOUS GRAND MONEY-MAKING SCHEMES WHICH WE CAN BARELY MAKE OUT IN V.O. ZOOM IN TO SEE THAT BRIJIT IS SAVORING HER MEAL AND PAYING LITTLE ATTENTION TO HIM.

CUT TO BRIAN AND BRIJIT WALKING DOWN THE STREET IN BORDEAUX AND COMING UPON A THEATER WHICH IS PLAYING “Boots.” BRIAN SAYS:

BRIAN: Oh, I’ve really been wanting to see this let’s see if there’s a showing now…

BRIJIT (non-plussed): Sure…

CUT TO NIKKI GETTING OFF A PLANE IN PARIS.

CUT TO DAVID GETTING MOBBED BY WOMEN IN THE LOBBY OF A BORDEAUX HOTEL AND RUNNING INTO A MEN’S ROOM. DAN GOES INTO THE MEN’S ROOM TO LISTEN TO DAVID’S PHONE CALL.

CUT TO A SERIES OF SCENSE IN THE MOVIE “Boots” WHERE IT BECOMES CLEAR THAT DAVID LOVES BRIJIT.

CUT TO BRIAN AND BRIJIT OUTSIDE THE THEATER ON THE STREET. BRIJIT SAYS:

BRIJIT: I’m sorry, I’ve got to go back to Paris. Thanks for the wonderful meal and movie!

SHE RUNS DOWN THE STREET TOWARD A CAB STAND AND BRIAN LOOKS ON CONFUSED. WHEN SHE’S IN A CAB SHE CALLS NIKKI AND SAYS:

BRIJIT: Nikki, I need another ticket, can you use more of your points for me?

NIKKI: Where are you?

BRIJIT: I’m in Bordeaux and I need to get back to Paris. Will you help me?

NIKKI: Of course. Go to the airport now and the ticket will be waiting. When you get to Paris I need for you to meet me at the George V Hotel. I’ll wait for you in the lobby.

BRIJIT: Why are you in Paris?

NIKKI: Because… there’s something I… It’s complicated… I need to see you…

BRIJIT: Okay, I’ll be there as soon as I can.

CUT TO DAVID IN THE BATHROOM PACING TRYING TO FIGURE OUT WHAT TO DO. HE GOES INTO A STALL AND CALLS LOUIE.

DAVID: You know I’m gonna kill you right?

LOUIE V.O.: Why?

DAVID: Why didn’t you just buy the damn boots… why’d you steal them from her?

LOUIE: I couldn’t help it I can’t pay full price for anything – and how did you find out I stole them?

DAVID: Nevermind. I’m in Bordeaux looking for her and I need your help, (whispering) there’s a man who’s been following me for days and I want you to meet me at the airport in Paris and help me ditch him (now yelling) and bring the boots!

CUT TO DAVID AND LOUIE (carrying the Stetson boot box) BEING FOLLOWED BY DAN AT CHARLES DEGAUL AIRPORT. LOUIE AND DAVID GO INTO THE VIP LOUNGE OF AIRFRANCE AND ARE FOLLOWED BY DAN. THEY GO INTO THE SHOWER ROOM AND DAN FOLLOWS AND THEY TRICK DAN INTO GOING INTO A ROOM THAT THEY ARE ABLE TO LOCK FROM THE OUTSIDE AND THEY QUICKLY GO TO THE EXIT THEN TO THE CAB STAND AND GET A CAB. WHILE IN THE CAB BRIJIT CALLS DAVID.

DAVID: It’s her… Darling where are you?

BRIJIT: I’m in Paris heading to the George V Hotel. Where are you?

DAVID: I’m in Paris in a cab, (to cab driver) George V Hotel quickly… and I’m now heading for the George V too.

CUT TO DAN BREAKING OUT OF THE LOCKED ROOM AND RUNNING TO GET A CAB OUTSIDE. HE GETS IN AND CALLS NIKKI.

DAN: Where’s Brijit?

NIKKI: She’s on her way to see me so I can tell her I love her.

DAN: Where are you?

NIKKI: The George V… I mean the Four Seasons in San Francisco.

DAN HANGS UP AND TELLS THE DRIVER:

DAN: George V Hotel – step on it!

CUT TO BRIJIT ARRIVING AT THE GEORGE V AND SEEING NIKKI.

BRIJIT: Why are you here Nikki?

NIKKI: There’s something important I have to tell you.

BRIJIT: What is so important that you flew all the way to Paris to tell me?

NIKKI: Well a… I a…

BRIJIT SUDDENLY REALIZES THAT NIKKI LOVES HER AND SHE’S STUNNED AND REALING AND STARTS TO FEEL FAINT AND GROPES HER WAY TO A CHAIR TO SIT DOWN. WHILE SHE’S SITTING, DAVID AND LOUIE ARRIVE IN THEIR CAB AND STORM INTO THE LOBBY AND RUSH OVER TO BRIJIT.

DAVID: Darling, are you okay, you look pale?

BRIJIT: Why are you with the man who stole my boots? Is that them in the box he’s holding?

DAVID: I sent him to buy your boots but he’s cheap and stole them instead on his own. I was planning to make the McGuffin in my film your boots and then you’d have a token of my love for you by my putting something of you in my film. Darling, I’ve been in love with you since our first chat.

BRIJIT FAINTS AND FALLS DOWN AND IS SPRAWLED OUT ON THE FLOOR.

CUT TO DAN ARRIVING AT THE GEORGE V HOTEL. HE RUSHES INTO THE LOBBY AND SEES BRIJIT ON THE FLOOR AND RUNS TO HER. DAN SEES LOUIE NEAR BRIJIT AND TACKLES LOUIE THINKING LOUIE HURT HER BECAUSE HE RECOGNIZES HIM AS THE MAN WHO STOLE HER BOOTS.

DAN: You little creep, you’re the one who stole her boots…

LOUIE DROPS THE BOOT BOX AND TRIES TO RUN BUT DAN COLLARS HIM AND STARTS POUNDING ON HIM. LOUIE WORMS OUT OF IT AND RUNS AWAY. DAN TURNS TO BRIJIT ON THE FLOOR AND THEN DAVID AND NIKKI ALSO CROWD IN TO HER. SHE WAKES UP TO SEE DAVID, NIKKI AND DAN ALL SURROUNDING HER AND ALL VERY CONCERNED AND ALL OF THEM OBVIOUSLY IN LOVE WITH HER. DAVID IS FIRST TO SAY:

DAVID: Brijit, I love you!

NIKKI: Me too!

DAN (to Nikki): I told you to stay out of this!

NOW DAN MAKES THREATENING GESTURES TO NIKKI WHO JUMPS UP AND STARTS RUNNING AS DAN CHASES HIM. WE SEE THEM FIGHTING IN THE BACKGROUND AS DAVID HELPS BRIJIT TO STAND UP AS HE STANDS ON ONE KNEE AND PULLS THE BOOTS OUT OF THE BOX THAT LOUIE DROPPED ON THE FLOOR AND USES THEM LIKE AN ENGAGEMENT RING (LIKE CINDERELLA) TO SEAL THE DEAL BY GESTURING THAT SHE SHOULD PUT ON THE COWBOY BOOTS. SHE DOES AND THEY FIT PERFECTLY AND A CROWD THAT HAS GATHERED START TO CLAP – MANY OF THE WOMEN WEAR THE SAME COWBOY BOOTS. DAN AND NIKKI ARE STILL FIGHTING IN THE BACKGROUND.

CUT TO BRIAN’S CHATEAU IN BORDEAUX AND DAVID AND BRIJIT’S WEDDING. NIKKI IS DAVID’S BEST MAN AND DAN GIVES BRIJIT AWAY AND EVERYONE AT THE WEDDING IS WEARING THE SAME PAIR OF COWBOY BOOTS.

THE END

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“Heaven of Troy” by Brishon (Copyright 2015-2018 All Rights Reserved)

“HEAVEN OF TROY”

FADE IN:

~PART 1: THE SEDUCTION OF ANGELIQUE~

ARIAL SHOT ABOVE PARIS. ZOOM-IN TOWARDS A TAXI. IN VOICE-OVER WE HEAR A MAN AND WOMAN ARGUING. ZOOM INTO THE BACK SEAT WHERE THE BEAUTIFUL MARIGOLD SOBS AS SHE SAYS: “But we’ve been together for over 23 years.” OBVIOUSLY CRANKY AND INSATIABLE, HER HUSBAND JACK RETORTS: “The only reason I’m with you is because you help me complete the work. If that were to change then there’s no reason to be with you.”

CUT TO: MARIGOLD AND JACK CHECKING INTO THE GEORGE V HOTEL IN PARIS. SHE DOES ALL THE TALKING: “Yes only one night we leave tomorrow for the States.” CLERK: “And how was your holiday in Europe?” “It was…fine…” CLERK: “I hope your stay with us proves memorable.” SHE SMILES WEAKLY AS SHE’S STILL REELING FROM WHAT HER HUSBAND SAID IN THE TAXI. THE CLERK GIVES HER THE KEY AND SHE AND JACK HEAD TO THE ELEVATOR. HE’S OBVIOUSLY LOST IN SOME IMPORTANT THOUGHT. THE ATTENDANT BRINGS THEIR LUGGAGE.

CUT TO: NEAR DUSK THAT SAME DAY, ALONE NOW, MARIGOLD WALKS INTO THE LOBBY AND SHE’S CLEARLY RECOVERED AND SHE HAS A SMALL BAG OF ECLAIRS. AS SHE WALKS THROUGH THE LOBBY DOOR, HELD BY THE ATTENDANT, SHE TAKES A BITE OUT OF AN ECLAIR AND IS CLEARLY IN ECSTASY. SHE GETS INTO THE ELEVATOR TO GO TO HER ROOM ON THE 2ND FLOOR BUT THE ELEVATOR IGNORES THAT SHE PUSHED THE 2ND FLOOR BUTTON AND INSTEAD GOES TO THE 23RD FLOOR WHICH IS THE PENTHOUSE. THE ELEVATOR DOOR OPENS AND A MAN’S DEEP AND DISTINCTIVE VOICE COMES OVER THE SPEAKERS IN THE ELEVATOR: “Please step out of the elevator Marigold.” AS SHE DOES SHE DROPS HER BAG OF ECLAIRS AS SHE SLOWLY STEPS INTO THE PENTHOUSE. THE MAN CALMLY AND GENTLY TELLS HER: “I’m sorry to have to tell you that you’re being kidnapped and held in this penthouse.” THE ELEVATOR DOOR CLOSES BEHIND HER. SHE’S SHOCKED YET STILL MANAGES TO NOTICE THAT THE MAN’S VOICE SOUNDS KIND AND CHARMING. HE EXPLAINS THAT: “Nothing harmful will happen to your husband as long as you do what I tell you. Please call me Julian.” PAUSE. “I will very much appreciate it if you stay calm. Please go to the window at the far end of the suite to your left.” MARIGOLD WALKS TO THE WINDOW AND LOOKS OUT. IT’S NOW SUNSET. SHE SEES A HELICOPTER NEAR THE WINDOW. A MAN WHO APPEARS TO BE JACK IS IN THE HELICOPTER HELD AT GUNPOINT BY DISGUISED GUNMEN. THE HELICOPTER FLIES OFF. MARIGOLD RUSHES CLOSER TO THE WINDOW STARING AT THE HELICOPTER AS IT MOVES AWAY FROM HER. WHEN IT’S GONE SHE GOES TO A CORNER OF THE ROOM, PUSHES A CHAIR OUT OF THE WAY AND SITS ON THE FLOOR LOOKING OUT THE WINDOW AT THE LIGHTS OF PARIS. SHE’S SORTING OUT HER VALUE HIERARCHY AND DETERMINES THAT ONLY ONE THING MATTERS NOW (MARIGOLD IN VOICE-OVER): “What would Jack tell me to do? He’d tell me not to be rash, to wait and see what develops, to wait and see if circumstances allow me to be happy in the future. But what if they don’t allow it? What if no happiness is possible to me again? Then somehow I’ll kill myself.” WE DON’T SEE JULIAN, BUT WE SEE HIM WATCHING HER VIA THE MANY CAMERAS THROUGHOUT THE SUITE. HE DOES NOT DISTURB HER. AFTER A WHILE SHE FALLS ASLEEP CURLED UP ON THE FLOOR.

CUT TO: THE NEXT MORNING MARIGOLD AWAKENS IN A DIFFERENT ROOM IN A LUXURIOUS BED AND WONDERS (IN VOICE OVER INSIDE HER HEAD): “How’d I get here? I don’t remember anyone carrying me here.” SHE GET’S UP AND WALKS INTO THE DINING ROOM. SHE DOES NOT SEE OR HEAR ANYONE IN THE SUITE, YET A HOT BREAKFAST IS SET UP ON THE DINING TABLE AND CALM INSTRUMENTAL MUSIC PLAYS IN THE BACKGROUND. SHE SITS DOWN AND STARTS EATING AND ASKS IN A PLEASANT VOICE: “If you don’t mind my asking, what do you want with me?” JULIAN: “Good morning my dear. I’m happy you asked. There is a very secretive man who is the leader of a group who wants to stop me in my ambitions. This man will be attracted to your great beauty.” SHE QUICKLY THINKS ABOUT HIS PROPOSAL AND NONCHALANTLY SAYS (while chewing): “If I were to find such a man, a man opposed to your ambitions, I’d join him and help him thwart your desires, happy to die for such a worthy cause.” THE CALM MUSIC ABRUPTLY STOPS. JULIAN STOPS TALKING TO HER AND LEAVES HER ALONE FOR THE REST OF THE DAY. AFTER SHE FINISHES EATING SHE GOES TO THE LIBRARY AREA OF THE PENTHOUSE AND SELECTS A BOOK WHICH SHE SPENDS THE REST OF THE DAY READING. IT’S TITLED “Angelique and the Ghost.” LATER THAT DAY, SHE MAKES HERSELF DINNER THEN GOES BACK TO THE SAME CORNER IN THE ROOM AS THE NIGHT BEFORE, AGAIN SPENDING THE NIGHT SITTING LOOKING OUT THE WINDOW AT THE LIGHTS OF PARIS AND THINKING. AGAIN SHE FALLS ASLEEP ON THE FLOOR.

CUT TO: THE NEXT MORNING AS SHE AWAKENS IN THE SAME LUXURIOUS BED AND WONDERS IN VOICE OVER INSIDE HER HEAD “Twice now, I wonder how they get me in here?” AGAIN HER BREAKFAST IS WAITING ON THE DINING TABLE AND CALM MUSIC PLAYS. SHE ASKS: “Are you there Julian?” “Yes, Marigold, I’ll always be here my dear. Did you sleep well?” “Fine. Would you like to tell me now what it is you want from me?” “Yes, my dear, there are several rich and powerful men who are aware of your great beauty.” “Yes, you mentioned them yesterday.” “They’re interested in participating in a kind of time-sharing arrangement for your sexual favors.” WITHOUT HESITATION SHE RESPONDS “I see. If you sell me into sexual slavery I’ll attack these men sexually at my first opportunity and motivate them to kill me.” AGAIN THE MUSIC STOPS ABRUPTLY AND JULIAN LEAVES HER ALONE AND SHE AGAIN SPENDS THE DAY READING HER BOOK, EATING, LOOKING OUT THE WINDOW, AND FALLING ASLEEP ON THE FLOOR.

CUT TO: THE NEXT MORNING SHE AWAKENS IN THE LUXURIOUS BED BUT THIS TIME SHE SHRUGS AND SAYS: “I wonder how… oh I don’t care how I got here.” SHE GOES INTO THE DINNING ROOM WHERE BREAKFAST IS WAITING AND CALM MUSIC IS PLAYS. JULIAN JOYFULLY SAYS: “Good Morning, Marigold” WHEN SHE SITS DOWN TO EAT SHE SAYS “Good Morning Julian.” AGAIN SHE ASKS: “Are you ready to tell me what you want from me?” THIS TIME HE TELLS HER: “Yes. You come from a very special bloodline my dear. Another member of your bloodline wants you to give birth to a child of this bloodline.” SHE QUICKLY RETORTS: “This wouldn’t have anything to do with a virgin birth because my name’s not Mary? Seriously, I don’t want to have children – never did – and if you force me to then I’ll do all I can to abort the child.” THE MUSIC STOPS ABRUPTLY AND JULIAN LEAVES HER ALONE FOR THE REST OF THE DAY. SHE READS, EATS, GOES TO HER CORNER, THINKS AND FALLS ASLEEP ON THE FLOOR.

CUT TO: THE NEXT MORNING SHE AWAKENS IN THE LUXURIOUS BED AND GOES TO THE DINNING ROOM WHERE BREAKFAST IS WAITING AND CALM MUSIC PLAYS. JULIAN SAYS “Good Morning, my dear” “Good Morning Julian, so what lie are you going to tell me today?” HE GENTLY CHUCKLES THEN TELLS HER: “Several of my close friends in the French and U.S. Government believe there’s a gigantic meteor heading towards Earth and when it reaches us it will destroy all of humanity.” SHE ASKS NONCHALANTLY: “How long do we have Julian?” “Ten years or so.” “Oh, let me guess the rest.” SPEAKING SARCASTICALLY WHILE EATING HER BREAKFAST: “You’re an international Playboy and you’ve grown bored with your bevy of bimbos, so now that time’s running short, you’ve decided you want to experience a quality woman and you’ve chosen me to spend your last, glorious years with.” AFTER A BRIEF PAUSE JULIAN SAYS EARNESTLY WITH A STRANGE NEW QUALITY IN HIS VOICE: “Yes Marigold, that’s right.” MARIGOLD ROLLS HER EYES AND SAYS DISDAINFULLY: “I think I should let you get to work Julian your lies are getting worse each day. I’m gonna read now.” THE MUSIC DOES NOT STOP THIS TIME, SHE STANDS UP AND GOES TO READ HER BOOK. AT NIGHT WHEN SHE’S THROUGH READING SHE GOES INTO THE BEDROOM WITH THE LUXURIOUS BED AND CLIMBS IN. SHE SAYS “Good Night Julian.” “Good Night Marigold.”

CUT TO: THE NEXT AFTERNOON MARIGOLD IS SITTING IN A COZY CHAIR BY A WINDOW READING HER BOOK. SHE PUTS THE BOOK DOWN AND YAWNS LOUDLY. JULIAN TAKES THE OPPORTUNITY TO START TALKING TO HER: “How is your book my dear?” “Really amazingly good and I now wish I’d read it as my friend Catherine suggested I do almost 30 years ago. Are you familiar with Angelique?” “Yes, very familiar as I funded a new remake of the first book in the series.” “Is that right…?” “So, why are you provoking a conversation Julian, have you got your lie Du Jour ready to plant on me”? “I know you don’t believe me…” “That’s right I don’t.” “Here me out, you see, I’m involved in a kind of consortium and all of the other key members of our group insisted that you should be killed but I”… “Oh, please let me finish it, I’ve gotten the hang of all this now. Let’s see, you were the optimist amidst a sea of doubters and you insisted with your wit and charm you could subdue me and get me to obey you all and thus, I am in your debt because if not for you the other members of your group would have voted “Thumbs Down” for me and I’d be dead by now.” “Yes, that’s right.” “You know, I used to have a friend who sold used cars and she told me about a trick that salesmen use to get people to buy their cars. She told me it works like this: Give the customer who you want to sell something to a free cola and then they feel obligated and friendly and many times they buy something. She was amazed by how many cars she sold just by making the person feel obligated. I’m onto that trick Julian. I don’t understand why but I’m starting to have fun busting your silly stories.”

CUT TO: THE NEXT MORNING SHE AWAKENS AND THINKS ABOUT HAVING PANCAKES, SYRUP AND BACON. JULIAN SAYS “Good Morning.” “Good Morning Julian.” HE SPEAKS TO HER VERY POLITELY AND KINDLY AND CALM MUSIC PLAYS IN THE BACKGROUND. MARIGOLD ASKS “Let me ask you Julian, how is it that you got me into this bed without me remembering anyone picking me up and moving me here?” “I’m able to do many things for which you’ll have no explanation, but please don’t be disturbed by this.” SHE SHRUGS AND TELLS HIM AS SHE’S WALKING TO THE DINNING TABLE: “I’m very hungry this morning and I’d love pancakes with maple syrup and bacon.” WHEN SHE ARRIVES AT THE DINNING TABLE SHE FINDS HOT PANCAKES, MAPLE SYRUP AND BACON. SEEING THE FOOD SHE ASKS: “Is this the kind of thing you were just referring to?” “Yes.” SHE NOTICES THAT THERE’S A BOTTLE OF CHAMPAGNE AND A GLASS OF IT POURED, SHE PICKS IT UP AND TASTES IT THEN SAYS: “It’s delicious.” THEN SHE SETS IT DOWN AND PUSHES IT OUT OF THE WAY “But I don’t drink.” AFTER EATING SHE GETS UP FROM THE TABLE AND WALKS BY A MIRROR AND NOTICES HER APPEARANCE HAS BECOME SLOVENLY. AT THIS POINT JULIAN ASKS “Is there anything that you need or want?” “Yes, I’d like some clean clothes and toiletries.” “In the bedroom closet you’ll find clothes. Toiletries are in the bathroom.” SHE GOES INTO THE BATHROOM TURNS ON THE TUB WATER AND SHUTS THE BATHROOM DOOR.

CUT TO: MARIGOLD BATHING, RELAXING AND REFLECTING AND SHE REALIZES SHE NOW ENJOYS TALKING TO JULIAN BECAUSE HE’S SO CALM AND KIND. WHILE SOAKING IN THE TUB HE ASKS HER: “Marigold, there’s something I want you to do for me.” “What is it Julian?” “There are clothes on the bed I’d like you to wear?” “Sure.” SHE PAUSES AND WE HEAR CALM MUSIC IN THE BACKGROUND. SHE ASKS: “What’s your favorite kind of music?” “Classical. And yours?” “I like disco for dancing; smooth jazz for driving; some pop songs and pop singers; and a lot of Motown like Sam Cooke and Al Green.”

CUT TO: MARIGOLD LEAVING THE BATHROOM WEARING A THIRSTY ROBE AND WALKING TO THE BED. UPON SEEING THE CLOTHES LAID OUT SHE SAYS “Nice clothes.” “I’m glad you like them.” SHE OPENS THE CURTAINS ALL THE WAY THEN HOPS INTO BED AND STARTS READING. JULIAN ASKS: “Why did you choose that book Marigold?” “A friend once gave it to me years ago and said that I reminded them of Angelique, but I never found the time to read it. Now I’m enjoying it… it’s comforting and calming.” “I’m pleased that you’re adjusting to this difficult situation, my dear.” AFTER A WHILE SHE FALLS ASLEEP.

CUT TO: LATER THAT DAY, AS THE SUN SETS, MARIGOLD EMERGES FROM THE BEDROOM BEAUTIFULLY ADORNED WEARING AN ATTRACTIVE, MIDNIGHT BLUE SILK GOWN WITH A BELT MADE OF POLISHED COPPER. HER HAIR IS LONG AND FLOWING AND HER HIGH HEELS MATCH THE BELT.

CUT TO: THE NEXT DAY WE SEE HER AT SUNSET IN A DIFFERENT ELEGANT OUTFIT APPLYING MAKEUP AND COIFFING HER HAIR.

CUT TO: THE NEXT DAY WE SEE HER IN A NEW ELEGANT OUTFIT, PUTTING ON LIPSTICK, FLUFFING HER HAIR AND PUTTING ON HIGH-HEELS. SHE’S OBVIOUSLY ENJOYING GETTING MADE UP EACH DAY IN THE EXQUISITE ATIRE.

CUT TO: DUSK THE NEXT DAY IN THE BEDROOM, SHE PARADES AROUND IN BRIGHTLY COLORED CLOTHING AND SHE SAYS “Julian, I particularly like this outfit.” “You look stunning. On the dinning table you’ll find something I’d like you to wear with it.” EXCITED, SHE HURRIES TO THE TABLE AND FINDS A JEWELRY BOX WHICH SHE OPENS. IT’S A VERY LARGE, DARK, HEART-SHAPED, SAPPHIRE PENDANT ON A ROSE GOLD CHAIN. SHE PUTS IT ON AND SAYS: “It’s amazing!” JULIAN PLAYS TCHAIKOVSKY’S “Nutcracker” AND SHE GENTLY GLIDES AROUND THE ROOM HOLDING HER ARMS UP AS IF SHE’S DANCING WITH A PARTNER. THEN SUDDENLY WHEN THE MUSIC STOPS SHE RUNS TO THE BEDROOM AND THROWS HERSELF ON THE BED SOBBING UNCONTROLLABLY. JULIAN PLAYS CALMING MUSIC BUT IT HAS LITTLE EFFECT. WHEN SHE CALMS DOWN HE ASKS: “Why are you so upset, my dear?” LONG PAUSE: “I’m lonely… [SOBS] So utterly lonely… Even though Jack wasn’t what anyone would call romantic… kind… or attentive… my husband was at least a flesh and blood human being. You’re a ghost, a ghost who, for some strange reason, is courting me better than any other man has ever courted me. Why, for god’s sake?!?! What did I ever do to you to deserve this from you?” NOW SHE RUNS TO THE THE CORNER OF THE ROOM AND SITS ON THE FLOOR AND SHE LOOKS OUT THE WINDOW AT THE LIGHTS OF PARIS AS SHE THINKS. LATER WE SEE HER – STILL ALL DRESSED UP — ASLEEP ON THE FLOOR.

CUT TO: HER WAKING UP IN THE LUXURIOUS BED WEARING A NIGHTGOWN. “Good Morning Julian.” “Good Morning, are you feeling better?” “Yes, much better, thank you.” SHE GOES TO THE DINNING ROOM AND EATS AS ESPECIALLY CALMING MUSIC PLAYS IN THE BACKGROUND. SHE READS HER NEW BOOK TITLED: “Angelique and the King.” AT SUNSET SHE DRESSES FORMALLY FOR DINNER. WE CAN HEAR IN JULIAN’S VOICE THAT HE’S THRILLED THAT MARIGOLD FEELS BETTER. DELIGHTED HE ASKS HER “My dear, if you could leave this penthouse and move around the hotel what would you like to do?” SHE ANSWERS EXCITEDLY: “Oh… I’d have a massage in the spa; a swim; I’d get my hair done at the salon; I’d get lots of French fashion magazines in the lobby; and I’d eat at Chez Michelle.” SHE CONTINUES EATING NONCHALANTLY.

CUT TO: THE NEXT DAY JULIAN TELLS HER AS SHE’S EATING BREAKFAST: “Today I want you to move about the hotel and do the things you said you’d like to do.” THRILLED “Really!? “However, let me warn you that there will be dire consequences if you try to escape…or” INTERRUPTING “I won’t…” “And if you touch another man I’ll kill him.” MARIGOLD LOOKS CONFUSED BUT SAYS “Ahmm… yeah… right… ahmm…” SHE FROWNS AND LOOKS DOWN NOTICING HOW STRANGE HIS LAST STATEMENT WAS BUT THEN SHE SHRUGS IT OFF.

CUT TO: MARIGOLD AS SHE EMERGES FROM THE BEDROOM DRESSED UP THEN SHE HEADS TO THE ELEVATOR. A SERIES OF SHOTS: FIRST SHE GOES TO THE SPA; THEN THE POOL; THEN THE SALON; THEN THE BOOK-STAND. SHE NOTICES CAMERAS IN EACH OF THESE LOCATIONS. MARIGOLD RETURNS AFTER HOURS OF PAMPERING TO THE 23RD FLOOR PENTHOUSE AND IS GREETED BY JULIAN: “Welcome back, how do you feel?” (Delightedly): “Like a Queen.”

CUT TO: THE NEXT DAY SHE’S TAKING THE OUTFIT FROM THE BED THAT WAS LAID OUT: “What’s your favorite color Julian?” “Midnight Blue.” “And your favorite piece of music?” “Ave Maria.” “Do you have a pet dog or cat?” “No.” “Do you have brothers or sisters?” “Brothers.” “Do you know if I have brothers or sisters?” “Yes, my dear, you are an only child.” LONG PAUSE. “Julian, there’s something I’d like to have.” “Anything.” “Well, I thought about asking for the The Hope Diamond but there’s another I prefer, I just read about it in my book.” “Which one my dear?” “It’s called the “Love At First Sight” diamond.” “Yes, of course, I’ll get it for you.”

CUT TO: THE NEXT DAY IN THE LIVING ROOM AT DUSK MARIGOLD OPENS A JEWELRY BOX CONTAINING A 56 KARAT HEART SHAPED DIAMOND WHICH IS NOT SET. SHE PICKS IT UP AND CARRIES IT TO THE WINDOW TO WATCH THE LIGHTS OF THE CITY DANCE ON IT’S FACE. SHE’S DELIGHTED AND SAYS: “It’s just amazing the quality they get these days from Cubic Zirconia.” “It’s real my dear.” “Yes Julian, that lie reminds me that it’s been a while since you told me a new lie about what you want from me. Are you ready yet to tell me another?” “Soon.” “You know, I hope this is some kind of strange fun for you, I mean, I hope you’re enjoying this.” “I am.”

CUT TO: THE NEXT DAY MARIGOLD RIPS OUT PICTURES FROM THE MAGAZINES SHE GOT AND PILES THE PICTURES ON THE DINNING TABLE AND SAYS: “Julian” “Yes, darling.” SHE SEEMS SURPRISED BY HIS NEW TERM OF ENDEARMENT BUT STAGGERS ON: “I… I’ve put pictures of clothes, shoes and jewelry that I particularly like here on the table.” “I see that.” “Would you get them for me please.” “Certainly my love.” MARIGOLD IS STUNNED FURTHER BY THIS TERM OF ENDEARMENT BUT MANAGES TO SOLDIER ON.

CUT TO: THE NEXT DAY SHE’S WEARING SOME OF THE CLOTHES WE SAW PICTURES OF AND SHE LOOKS MUCH MORE DRAMATIC. SHE OPENS ANOTHER JEWELRY BOX WITH ANOTHER STUNNING PENDANT WHICH SHE PUTS AROUND HER NECK. “Julian, I’d like to go to Chez Michelle tonight and eat with another human being. Would that be possible? Could you send me a companion to talk to… I… I mean just about trivial things like the weather, or the food, or my clothes, things like that, I’m just so lonely…I…” “Of course mi amor.” SHE IGNORES THE PROTESTATION OF LOVE “Thank you Julian.”

CUT TO: LATER THAT NIGHT MARIGOLD EATING IN THE HOTEL RESTAURANT WITH AN ELDERLY ENGLISH WOMAN WHO IS VERY FORMAL BUT FRIENDLY.

CUT TO: THE NEXT MORNING MARIGOLD’S DRESSED IN MORE OF THE CLOTHES SHE ASKED FOR, EATING BREAKFAST. “I enjoyed talking to Mrs. Seymour last night. Thank you for setting that up.” “You’re welcomed.” “Tell me, beloved, if you could go out of the hotel, out to social events, where would you like to go.” MARIGOLD THINKS FOR A MINUTE. “I’d like to see the Louvre and Notre Dame, I’d like to dance at a grand ball; go to plays and concerts and attend intimate dinner parties with fascinating people.” SHE GOES BACK TO READING HER NEW BOOK: “The Temptation of Angelique.”

CUT TO: THE NEXT DAY SHE’S IN A NEW OUTFIT READING IN THE MAIN ROOM AND JULIAN SAYS: “Good morning, sweetheart. There’s something I’d like you to do.” “Yes Julian what is it.” THE CURTAINS AUTOMATICALLY CLOSE; A LARGE MOVIE SCREEN COMES DOWN FROM THE CEILING; THE FURNITURE AUTOMATICALLY MOVES INTO POSITION AND THE LIGHTS DIM. “Watch this.” MARIGOLD WATCHES THE FILM WHICH IS ABOUT A BEAUTIFUL WOMAN, WHO LOOKS A BIT LIKE HER, DANCING AT AN ELEGANT BALL AND TALKING TO INTERESTING PEOPLE. WHEN IT’S OVER JULIAN ASKS: “Is this appealing to you?” “Oh, Yes!!!”

CUT TO: THE NEXT NIGHT THE CURTAINS CLOSE; THE FURNITURE MOVES, THE SCREEN COMES DOWN; THE LIGHTS DIM AND A NEW FILM PLAYS. THIS TIME IT’S A VERY EXTENSIVE DOCUMENTARY ABOUT NOTRE DAME. MARIGOLD WATCHES INTENTLY.

CUT TO: THE NEXT NIGHT MARIGOLD WATCHES A DOCUMENTARY ABOUT THE LOUVRE.

CUT TO: THE NEXT NIGHT A CONCERT PLAYS ON THE SCREEN AND THE LAST SONG IS AN ARDENT LOVE SONG THAT’S SUNG IN A PASSIONATE MANNER. THE LIGHTS GO UP AND THE CURTAINS OPEN TO SHOW THE CITY LIGHTS AT NIGHT. MARIGOLD WALKS OVER TO THE WINDOW AND LOOKING OUT AT THE CITY SHE SAYS: “Julian, I want to tell you that I’m really enjoying these programs you’re presenting me. I feel so happy and yet… It’s so strange to like someone who has kidnapped me and taken my husband hostage… Are you trying to make me fall in love with you… is that your sinister plan?” NO ANSWER. “Is this some kind of revenge, or some strange kind of research… Julian, are you there?” “I’m here. Can we talk about this later. I… I’m unable to answer you now and I’m sorry that this is so diffi… There are so many things I should explain to you but… Soon mi amore… soon.”

CUT TO: THE NEXT NIGHT WE SEE MARIGOLD WITH A GROUP OF CLASSICAL MUSICIANS AND SHE’S DANCING AROUND THE ROOM BY HERSELF, REALLY ENJOYING THE MUSIC. THE MUSICIANS LEAVE AND MARIGOLD SAYS: “That was heavenly. I’ve never heard that piece before.” “I had it created especially for you, beloved, it’s called “The Pearl of Greatest Cost.” SHE’S SURPRISED AND PLEASED. JULIAN ASKS: “In the refrigerator you’ll find a glass. I’d like you to try it. I had created for you.” “Okay.” SHE QUICKLY GETS IT OUT OF THE FRIG AND DRINKS IT AND STARTS BEHAVING LIKE SHE’S DRUNK – VERY TALKATIVE, BUBBLY, FUNNY, WHILE STILL DANCING AROUND THE ROOM EVEN THOUGH THERE’S NO MUSIC, SHE HUMS A TUNE TO DANCE TO. SHE SAYS: “Julian, that drink was delicious but I feel a bit strange, kind of carefree, light-hearted, delighted.” “I’m glad darling.” SHE GLIDES INTO HER BEDROOM. THEN WE SEE HER CLIMB INTO BED AND READ HER NEW BOOK: “Angelique in Love.”

CUT TO: THE NEXT NIGHT AN OPERA SINGER SERENADES HER IN PERSON IN THE ROOM.

CUT TO: THE NEXT DAY AS A WORLD FAMOUS CHEF COOKS FOR HER.

CUT TO: THE NEXT DAY AS SHE’S EATING BREAKFAST JULIAN TELLS HER “Darling, I have a present for you – a new song I’ve commissioned for you.” SHE FINISHES THE LAST BITE OF FOOD AND GOES TO SIT IN A LARGE COMFY CHAIR TO LISTEN. WHEN SHE’S SNUGGLED IN SHE SAYS: “OK, I’m ready.” THE SONG PLAYS OUT. NEAR THE END WE REACH THE PART OF THE SONG WHERE THE SINGER SAYS: “Who do you think you are? You really think you’re in control? Well, I think you’re crazy…” WHEN SHE HEARS THESE LINES AND THE WAY THEY’RE SUNG, SHE FEELS THAT THE LYRICS ARE SINISTER AND OVERBEARING, SUGGESTING A GLOATING DOMINATION THAT SHE’S NEVER ENCOUNTERED IN JULIAN BEFORE, CAUSING HER TO HAVE A STRANGE REACTION. WHEN THE SONG IS OVER SHE MUSTERS HER COMPOSURE AND LIES AND SAYS “It’s very nice.” THEN SHE GOES TO THE LIBRARY AND PICKS OUT ANOTHER NOVEL TITLED: “Angelique in Revolt.”

~PART 2: ANGELIQUE’S ESCAPE~

CUT TO: THE NEXT MORNING UPON WAKING MARIGOLD ASKS: “Good morning Julian, would it be alright if I went to the salon today to have my nails done?” “Of course, baby.” MARIGOLD PUTS ON HER FAVORITE OUTFIT AND JULIAN SAYS: “Isn’t that your favorite?” “Yes, or rather it was my favorite but now the yellow silk one that’s your favorite is also my favorite.” SHE PUTS ON A LOT OF JEWELS, VIRTUALLY EVERY PIECE JULIAN HAS GIVEN HER. WHEN SHE’S FINISHED GETTING DRESSED JULIAN SAYS: “Why so much jewelry my love?” “Oh…you see…I want to be close to you Julian and since you gave me all of these, wearing them somehow keeps you close to me.” “I see darling.” MARIGOLD WALKS TO THE WINDOW WHERE SHE LAST SAW HER HUSBAND AND LOOKS OUT AT PARIS IN THE MORNING. SHE GOES TO THE ELEVATOR AND GETS IN. IN THE LOBBY SHE’S SUPPOSED TO TURN RIGHT WHEN SHE EXITS THE ELEVATOR BUT SHE WALKS STRAIGHT AHEAD TO THE FRONT DOOR OF THE HOTEL WHERE A VALET IS HOLDING OPEN THE HOTEL DOOR FOR OTHER GUESTS AS MARIGOLD WALKS BY. OUTSIDE ANOTHER VALET HOLDS OPEN THE DOOR OF A PORSCHE SUV FOR A PATRON, HOWEVER, MARIGOLD GETS IN THE CAR FIRST AND STEALS IT. SHE TAKES OFF AT HIGH-SPEED.

CUT TO: MARIGOLD DRIVING CRAZILY AS SHE’S DECIDED TO KILL HERSELF USING THE SUV. SHE RAMPAGES THROUGH PARIS SEEKING A WAY TO KILL HERSELF THAT’S NOT TOO PAINFUL AND THAT WON’T HARM OR KILL OTHERS. SHE TURNS ON THE RADIO AND JULIAN’S VOICE COMES OVER THE SPEAKERS ASKING HER (STILL SOMEWHAT CALMLY) “Marigold, my love, what are you doing?” “I’m testing your theory, you think I’m crazy for believing I have any control… Let’s see if I have any.” SHE SPEEDS UP TO A MACK TRUCK AND SAYS “How about this, I could just drive right up under the back of the truck.” “That’s very unlikely to kill you and if it did it would be a profoundly painful and drawn out death.” PAUSE “Yes, I think you’re right.” SHE SPEEDS UP TO AN OVERPASS THAT’S ABOUT ONE STORY TALL AND ASKS: “How about this, if I could somehow get the car to crash through the barriers that’s a decent height to fall.” “It’s not enough to be sure you won’t just be injured or paralyzed.” “Perhaps your right.” SHE SPEEDS DOWN THE HIGHWAY FREAKING OUT THE OTHER DRIVERS AS SHE BLOWS BY THEM AT HIGH SPEED. JULIAN SAYS: “Please, darling tell me what’s wrong — what set you off?” “That song last night, it was sinister and mocking, laughing at my lack of control… so let’s just see if I still have enough control to end all this…” SHE TURNS THE SUV SO QUICKLY IT ALMOST OVERTURNS, THEN SPEEDS TOWARDS A BRIDGE. SHE SEES A PLACE WHERE SHE COULD LIKELY CRASH THROUGH THE RAILING AND ASKS: “How about this, that barrier’s thin I could just crash into it and then go off the bridge.” JULIAN FORCING HIMSELF TO BE CALM: “The fall’s not high enough to ensure death, you’d likely end up with only massive injuries and you might hit the construction workers below.” MARIGOLD LOOKS AT THE DISTANCE TO THE GROUND AND CONCURS “Yes, you’re right I need to find some height, some sheer cliffs… SHE LOOKS AHEAD AND SEES MOUNTAINS AND SAYS: Ah, yes… now I know where to go.”

CUT TO: MARIGOLD DRIVING ON A NARROW LEDGE ABOVE A VERY STEEP CLIFF SHE SAYS: “These cliffs are very steep… but I need to find a spot where I could be sideways on the road and rev the engine so I can sail out away from the cliff. There, up ahead…oh, that’s perfect.” SHE HEADS TO A WIDE PART OF THE ROAD WHERE SHE COULD GET TRACTION BEFORE GOING OFF THE CLIFF. JULIAN SAYS NOTHING. SHE’S ALREADY STATED THE REASONS SHE’S CONVINCED IT’S PERFECT, SHE’S FINALLY FOUND AN ACCEPTABLE WAY TO KILL HERSELF YET SHE DRIVES ON AND DOES NOT DO IT. SHE TAKES A WHILE BEFORE SAYING: “Thank you for not pretending there was some flaw with that one – you probably would have sent me over the edge by lying to me again.” “Baby I…” “Look Julian, if I can’t be happy I don’t want to live, and I can’t be happy if I have no control.” JULIAN’S VOICE REVEALS HE’S CLEARLY SHAKEN UP. “I’d ask you again why you’ve taken me and my husband as your prisoners but you’ve lied so many times I can’t believe anything you say now. Of course, I don’t want you to hurt Jack but I’ve got to try my best to go back to controlling my life and trying to be happy. No matter how wonderful you’ve been to me, I can’t trust you so I’ve got to get away from you.” SHE PARKS THE SUV AND GRABS A BACKPACK SHE FINDS ON THE BACK SEAT AND PUTS ALL THE JEWELS, EXCEPT THE EARINGS SHE’S WEARING, INTO THE BACKPACK, THEN SHE GETS OUT IN THE MIDDLE OF NOWHERE, WEARING THE BACKPACK AND STARTS WALKING DOWN THE ROAD. WE HEAR JULIAN’S VOICE CALLING AFTER HER – DESPERATELY: “Marigold… Don’t go… Darling please… Your killing me… please wait… Come back baby!!!…” WE SEE THAT MARIGOLD HEARD HIM SAY THIS AND IT MOTIVATES HER TO RUN. NOW FOR THE FIRST TIME WE SEE JULIAN WHO IS A VERY ATTRACTIVE MIDDLE AGED MAN AND HE’S FRANTIC, DISTRAUGHT, DESPERATE.

CUT TO: MARIGOLD WALKING ON THE SIDE OF THE ROAD AND A CAB DRIVER SEES HER AND PULLS OVER. HE ASKS “Do you need a ride?” “I have no money.” “That’s OK, I’m driving to town anyway, get in.” SHE GET’S IN AND HE ASKS: “What are you doing out here?” “Trying to kill myself.” “But you’re too beautiful to die.” SHE SMILES AT HIM IN THE MIRROR. “What’s your name?” “Marigold. And yours?” “Michael.” What do you do?” “I… I… I’m looking for a Billionaire.” “Why” “I need a lot of money to pay the man who took my husband prisoner.” “How much does he want?” “He won’t tell me but he’s very powerful and rich, so he must want a lot.” THE SUN SETS AS THEY HEAD TOWARD A SMALL TOWN IN FRANCE.

CUT TO: MARIGOLD AND MICHAEL AS THEY WALK OUT OF A PAWN SHOP WITH MARIGOLD NO LONGER WEARING THE PAIR OF 3 KARAT CANARY DIAMOND EARRINGS. MARIGOLD GIVES MICHAEL MONEY AND SHE SAYS TO HERSELF IN V.O.: “I didn’t believe Julian when he said these were real.” SHE PUTS A WAD OF CASH IN THE SIDE POCKET AND CLOSES THE ZIPPER OF HER BACKPACK AND PUTS IT ON HER BACK. THEY WALK TO THE TOWN SQUARE AND SIT TOGETHER LOOKING AT A FOUNTAIN WITH A SCULPTURE OF A BEAUTIFUL MERMAID IN IT. MICHAEL SAYS: “If you’re serious about finding a billionaire, my brother runs a casino in Monte Carlo where lots of very rich men go to loose money to the casinos and to beautiful women — like you. I can take you there and get you a job at the private club at the casino.” SHE VERY SINCERELY SAYS: “Thank you — let’s do it.”

CUT TO: WIDE ANGLE SHOT OF THE NIGHTCLUB IN A MONTE CARLO CASINO CALLED “Troy.” ZOOM INTO THE FRONT DOORS OPENED BY VALETS AND THE FIRST THING WE SEE IS THE STUNNING MARIGOLD DRESSED MAGNIFICENTLY WELCOMING THE PATRONS TO THE CLUB: “Good evening, welcome to Troy.” CAMERA PANS AROUND THE CLUB TO SEE THE GLITTERATI DRINKING, DANCING, AND PARTYING. MARIGOLD’S BEAUTY IS THE TALK OF THE CLUB AND PEOPLE CALL HER “Helen of Troy.”

CUT TO: A SERIES OF SHOTS OF MARIGOLD SERIALLY DATING HALF A DOZEN VERY RICH MEN: ON YACHTS; ATTENDING AUCTIONS; PURCHASING STALLIONS; SHOPPING FOR CARS; JEWELRY, FURS, ETC. ONE MAN KEEPS APPEARING IN A SERIES OF SHOTS WHERE HE AND MARIGOLD KISS AND HOLD HANDS LOOKING LIKE THEY’RE ABOUT TO HAVE A SEXUAL ENCOUNTER.

CUT TO: NEWSPAPER HEADLINES AND PHOTOS INDICATING THIS MAN HAS LOST HIS MASSIVE FORTUNE AND HAD TO LEAVE MONTE CARLO.

CUT TO: ANOTHER SERIES OF SHOTS OF MARIGOLD DATING ANOTHER BATCH OF RICH MEN IN VARIOUS LOCALS. AGAIN, ONE MAN KEEPS APPEARING IN A NEW SERIES OF SHOTS WITH MARIGOLD, KISSING HER AND DANCING INTIMATELY.

CUT TO: A BAR AND A TV SHOWING VIDEO OF MARIGOLD AND THIS MAN EMBRACING AND HEARING IN VOICE-OVER THAT THE MAN HAS LOST HIS FORTUNE AND HAS LEFT MONTE CARLO.

CUT TO: EUGENIO (THE CASINO MANAGER) TALKING TO HIS BROTHER MICHAEL (wearing card dealer clothes) AS THEY BOTH WATCH MARIGOLD INTERACT WITH A NEW MAN – NICKI ASTON (WHO IS JULIAN). EUGENIO SAYS TO MICHAEL TALKING ABOUT NICKI/JULIAN “He lost 7 million last night at the tables. He’s the richest man in the world.” “Even though her other suitors went bankrupt right when they got serious with her, look at him, he’s just walking right into it.” WE SEE JULIAN WALK CLOSER TO MARIGOLD. EUGENIO: “Hordes of cultured, beautiful women throw themselves at him to no avail.” “Maybe he’s gay.” THEY BOTH LOOK AT JULIAN AND MARIGOLD WHO ARE CLEARLY FLIRTING WITH EACH OTHER AND MICHAEL SAYS “Definitely not. Her beauty… her mind… her character… she’s so endearing… it seems no man can resister her – no matter the cost.” “You know what they’re calling her now that all her boyfriends end up bankrupt?” “No, what?” “Jinx of Troy.”

CUT TO: MARIGOLD LEAVING THE CLUB WITH NICKI (JULIAN) AND GETTING INTO HIS NEW MASERATI ALFIERI. WHEN SHE WAS HIS CAPTIVE, MARIGOLD NEVER SAW JULIAN, SHE ONLY HEARD HIS VOICE BUT IT WAS MASKED SO SHE DOES NOT REALIZE THAT NICKI ASTON IS JULIAN.

CUT TO: MARIGOLD GETTING READY FOR BED AND READING THE BOOK “Angelique and the Conspiracy of Shadows.”

CUT TO: A MONTAGE OF SHOTS OF MARIGOLD AND NICKI (JULIAN) HAVING A GENUINELY GREAT TIME TOGETHER. HE’S KIND AND GRACIOUS AND BEHAVES LIKE SOME KIND OF ROYALTY, COURTING HER VERY FORMALLY.

CUT TO: MARIGOLD AND NICKI (JULIAN) ON A MASSIVE BLACK YACHT. MARIGOLD IS READING “Angelique and the Demon.”

CUT TO: MARIGOLD (DRESSED AS AN ANGEL) AND NICKI (JULIAN), WHO IS DRESSED AS A VAMPIRE. HE PLACES A GIANT BLOOD RED, PEAR-SHAPED RUBY PENDANT AROUND HER NECK.

CUT TO: THEIR ARRIVAL IN HIS MASERATI AFLIERI, AT AN ELEGANT COSTUME BALL AT A MASSIVE FRENCH CHATEAU. APPROACHING THE BALLROOM, THEY MAKE A DRAMATIC ENTRANCE AND ARE THE TALK OF THE BALL. NICKI IS BEAMING WITH DELIGHT SHOWING OFF MARIGOLD TO THE GLITTERATI. HE SAYS IN A NONPLUSSED MANNER UNAWARE OF WHAT HE’S CONFESSING: “This, my dear, is what you told me you wanted in Paris.” MARIGOLD’S FACE SHOWS HER PERPLEXITY, BUT NICKI (JULIAN) DOES NOT NOTICE IT AS SHE GESTURES “YES” AND THEY WALK TOGETHER ARM AND ARM THROUGH THE ADORING CROWD.

CUT TO: MARIGOLD IN THE LADIES ROOM SITTING ON A FANCY CHAIR LOST IN HER THOUGHTS, WHICH WE HEAR IN V.O.: “Nicki and I have never been to Paris together… What was he talking about… I told Julian I wanted to attend a fancy dress ball… Could he be?… He’s very graceful and gentle like Julian… Very gallant… We’ve been dating for two months and his fortune is still intact… Oh my god!…” COMING TO THE CONVICTION THAT NICKI ASTON IS JULIAN, MARIGOLD STANDS UP AND SAYS OUT-LOUD: “I’ve got to get out of here.” SHE RUSHES OUT OF THE LADIES ROOM.

CUT TO: MARIGOLD MAKING HER WAY TO THE GARAGE OF THE CHATEAU. SHE FLIPS ON A LIGHT IN THE GARAGE AND WE SEE A DOZEN EXOTIC CONCEPT CARS. SHE GLANCES OVER THEM AND ONE STANDS OUT, A FIERY, COPPER COLORED CAR LIKE NO OTHER: “The Vulcano” (http://www.topspeed.com/cars/icona/2013-icona-vulcano-concept-ar150771.html ). SHE LOOKS AT THE HOOD AND SEES THE LOGO OF AN ERUPTING VOLCANO THEN WALKS TO AN AREA WHERE SHE EXPECTS THE KEYS TO BE. SHE TAKES THE KEYS WITH AN EMBLEM OF AN ERUPTING VOLCANO AND THEN OPENS THE GARAGE DOOR. WE HEAR THE CAR START UP AND THE ROAR OF IT’S POWERFUL ENGINE.

CUT TO: WIDE SHOT OF JULIAN GAMBLING EXPERTLY, WINNING HUGE AMOUNTS.

CUT TO: WIDE SHOT OF MARIGOLD DRIVING EXPERTLY AROUND A SERIES OF HAIRPIN CURVES AT HIGH SPEED NEAR A FOREST. SHE SPIES A TREE-HOUSE AND PULLS OVER.

CUT TO: A SERIES OF SHOTS OF JULIAN TALKING TO MANY DIFFERENT PEOPLE WHO CLEARLY ENJOY HIS CHARM AND GRACIOUS WIT.

CUT TO: MARIGOLD SITING IN THE MIDDLE OF A VERY LARGE TREE-HOUSE – WITH HER BALL GOWN ENCASING HER IN A PLETHORA OF CONCENTRIC RINGS ALMOST DROWNING HER IN CRINOLINE. NOW SHE’S THINKING THE WAY SHE DID SO MANY TIMES WHEN SHE WAS SITTING IN THE CORNER OF THE PARIS PENTHOUSE STARRING OUT THE WINDOW.

CUT TO: A GROUP OF BEAUTIFUL WOMEN SURROUNDING JULIAN EACH TRYING TO SEDUCE HIM – TO NO AVAIL.

CUT TO: THE VULCANO PARKED OUTSIDE OF A FRUMPY PARISIAN COMEDY CLUB WITH GAWKERS SURROUNDING IT. A MAN TOUCHES IT AND THE CAR SHOCKS HIM. HE TOUCHES IT AGAIN AND IT SHOCKS HIM MORE. THE CROWD BACKS AWAY.

CUT TO: JULIAN TALKING TO OTHER MEN ABOUT SERIOUS BUSINESS ISSUES IN AN ELEGANT DARK LIBRARY IN THE CHATEAU.

CUT TO: INSIDE THE CLUB MARIGOLD – WHO DOES NOT NORMALLY DRINK – IS DRINKING “Perrier-Jouet” CHAMPAGNE VERY QUICKLY. A NEW COMEDIAN – MARC JOSEF – WALKS ONTO THE STAGE IN THE BACKGROUND. HE’S A DEMETRI MARTIN TYPE OF COMEDIAN WITH A GUITAR AND LONG STORIES HE TELLS MOST OF WHICH NO ONE LAUGHS AT, HOWEVER MARIGOLD LAUGHS LOUDLY THROUGHOUT HIS PERFORMANCE. MARC SAYS: “Thanks for coming to the show tonight… We get all kinds of people here… some locals who just live in the area… how many locals?” [MOST PEOPLE RAISE THEIR HANDS] “And some come from far away and some…” HE LOOKS DIRECTLY AT MARIGOLD – “some stop in just just for a tax deduction… I guess… Oh it’s August, a little early for tax deductions…” AGAIN SHE LAUGHS LOUDLY. WHEN MARC IS THROUGH HE STEPS DOWN AND WALKS DIRECTLY TO MARIGOLD’S TABLE AND ASKS: “May I join you?” SHE DELIGHTEDLY SAYS: “Yes please.” “I couldn’t help notice that you liked my act.” “Oh my god, you’re saving my life tonight.” MARC GESTURES ASKING IF HE CAN HAVE A DRINK OF CHAMPAGNE SHE NODS APPROVAL. HE THROWS BACK A GLASS AND ASKS “Who are you?” “Marigold.” “I’m Marc – Marc Josef.” “Marc, I have a favor to ask you: I need someone to drive me, I’m too inebriated so would you drive me home?” “Of course.”

CUT TO: THEM EXITING THE CLUB. THE CROWD PARTS REALIZING THAT THE VULKANO BELONGS TO MARIGOLD. THE CROWD WATCHES AS SHE AND MARC WRESTLE HER BALLGOWN INTO THE PASSENGER SIDE OF THE CAR. MARC GETS IN TO DRIVE. HE MAKES THE CAR STALL OUT SEVERAL TIMES. WE SEE HER GESTURE INSTRUCTIONS TO GUIDE HIM TO WORK THE CLUTCH PROPERLY. HE STAYS CALM AND LEARNS.

CUT TO: THE VULKANO WINDING TOWARDS THE SAME FOREST WHERE MARIGOLD WAS EARLIER.

CUT TO: INSIDE THE TREE-HOUSE MARIGOLD DISROBES INTO HER JUST THE SLIP OF HER BALL GOWN. THEY FIND BLANKETS AND SIT ON THE FLOOR. MARIGOLD TELLS MARC EVERYTHING, I.E., ALL ABOUT WHAT’S HAPPENED TO HER, AND SHE’S RELIEVED AS IT FEELS SO GOOD TO TELL ANOTHER PERSON. MARC BELIEVES HER AND SAYS “We need to disable the built in tracker on the Vulkano so it won’t lead Nicki or Julian right to us.” SHE NODS AGREEMENT. MARC CLIMBS DOWN AND DISABLES IT. THEN CLIMBS BACK UP AND THEY FALL ASLEEP.

CUT TO: THE CHATEAU IN THE EARLY MORNING HOURS, JULIAN’S WRITING A CHECK FOR 10 MILLION DOLLARS TO PAY FOR THE VULKANO AND FOR ITS OWNER’S SILENCE. JULIAN: “I invested in this company and happen to know you paid 4 million for this car. I trust this amount (WE SEE CLOSE-UP OF THE CHECK 10,000,000.) will satisfy you. THE OWNER NODS HIS AGREEMENT. Please grant my beloved your forgiveness – she can be so impulsive.” THE CAR OWNER NODS HIS APPROVAL AGAIN.

CUT TO: JULIAN DRIVING THE MASERATI ALFIERI EXPERTLY WHILE PUSHING BUTTONS AND TURNING DIALS AS IT NOW HAS HIGH-TECH EQUIPMENT DISPLAYED THROUGHOUT IT.

CUT TO: THE NEXT MORNING AS MARC GIVES MARIGOLD HIS POCKET KNIFE AND HELPS HER CUT HER DRESS DOWN TO SIZE. SHE USES THE BOTTOM OF A METAL PAN AS A MIRROR TO FIX HER MAKE-UP WHILE MARC SCROUNGES UP SOME FOOD, WHICH ARE A BIG BAG OF CHEETOS.

CUT TO: OUTSIDE OF THE NIGHTCLUB WHERE MARIGOLD MET MARC, JULIAN STEPS BACK INTO HIS MASERATI AND STARTS PULLING LEVERS AND PUSHING BUTTONS.

CUT TO: MARIGOLD AND MARC – COVERED IN CHEETOS DUST – SPEEDING AWAY FROM THE TREE-HOUSE, MARC THROWS THE EMPTY BAG OF CHEETOS OUT THE WINDOW AND STARTS READING THE CAR’S OWNERS MANUAL.

CUT TO: JULIAN DRIVING AROUND THE FOREST AND DISCOVERING THE TREE-HOUSE.

CUT TO: INSIDE THE TREE-HOUSE JULIAN FINDS THE DISCARDED PARTS OF MARIGOLD’S DRESS. HE PICKS UP A PIECE OF THE FABRIC AND SMELLS IT, THEN HOLDS IT CLOSE TO HIS HEART FEELING COMFORTED. HE TAKES IT WITH HIM.

CUT TO: MARIGOLD AND MARC EXITING A PAWN SHOP AND SHE NO LONGER WEARS THE HUGE RUBY PENDANT.

CUT TO: ROAD SIGNS THAT INDICATE THAT MARIGOLD AND MARC HAVE DRIVEN INTO SPAIN. SHE SAYS “I’m hungry.” “Me too.” THEY PULL OVER AND ENTER A TINY CAFE. AFTER EATING THE SERVER TAKES AWAY THE PLATES. MARC ASKS: “So, what do you want to do?” “I want to be happy.” “How do you propose to do that in this bizarre situation?” “I’m working on figuring that out. It seems all I have that’s desirable is my beauty and my… Borzoi… friskiness… delight… it’s hard to explain. I could go find another club like Troy to find more rich men but Julian will no doubt destroy their fortunes too.” “No doubt.” “Still, if I go through them faster that he can destroy them then I may be able to eek out a few more months or years of romantic enjoyment before he finds me again and it seems my only alternative is to kill myself.” MARC LOOKS DISTRAUGHT AS HE CONSIDERS THE FACTS. “Well, we bought some time by selling your pendant. We’ll figure something out.” THEY STAND AND WALK TOWARDS THE BACK OF THE RESTAURANT. “I have a friend on the Spanish island of Menorca, Dr. Constanton, he was my composition teacher – before I became a comedian. Let’s go see him. No one will look for us there.” SHE NODS IN AGREEMENT. THEY PAY THE OWNER OF THE RESTAURANT FOR THE FOOD.

CUT TO: MARC DRIVING THE VULKANO INTO THE RESTAURANT OWNER’S GARAGE AND PAYING HIM FOR GARAGE SPACE FOR THE VULKANO.

CUT TO: MARC PAYING A FISHERMAN THEN MARC AND MARIGOLD GET ON A SMALL BOAT AND GO TO THE SPANISH ISLAND OF MENORCA.

CUT TO: JULIAN DRIVING IN HIS MASERATI AND A ROAD SIGN INDICATES HE’S COME INTO SPAIN.

CUT TO: MARC AND MARIGOLD ARRIVING AT THE HOME ATOP THE ISLAND OF MENORCA. IT HAS A PLAQUE OUTSIDE THAT READS “Monte Toro.” THEY’RE WELCOMED BY DR. CONSTANTON WHO HUGS MARC AND SHAKES THE HAND OF MARIGOLD. “It’s been so long Marc!” “My friend Marigold and I need a place to rest and relax and I couldn’t think of anywhere better than here with you.”

CUT TO: DR. CONSTANTON’S MAID SERVING THEM DINNER ON THE BALCONY OVERLOOKING THE SEA NEAR SUNSET. MARC SAYS: “Marigold, tell me more about your husband Jack, what does he do?” “He’s a brilliant philosopher working on a project we have struggled to create that I call “The Science of Happiness.” CONSTANTON: “Are you working on a SECULAR ethical system?” “Yes, one that leads to happiness in a context where it’s possible.” “That hasn’t been attempted since Aristotle.” “Actually, there have been others but they’re not well known, and while making great progress, the woman I have in mind — I like to call her “Fluffy” — did not actually achieve such an ethical code.”

CUT TO: LATER THAT NIGHT, MARIGOLD AND DR. CONSTANTON CHAT CAUSALLY WHILE MARC’S LOST IN THOUGHT. MARC SUDDENLY COMES BACK TO THE MOMENT AND HE TELLS MARIGOLD: “You said that you saw Jack held on a helicopter outside the window of the hotel in Paris.” “Right.” “Have you ever looked for him since you ran away from Julian?” “No, I’ve assumed Julian’s holding him hostage. Why?” MARC TO DR. CONSTANTON: “Can I use your computer?” “Of course.” MARC LEAVES AND GOES INTO THE HOUSE AND THE SUN GOES DOWN WITH MARIGOLD AND DR. CONSTANTON ENJOYING THE SUNSET.

CUT TO: LATER THAT NIGHT MARIGOLD GOES INTO A BEDROOM AND CLIMBS INTO A VERY TALL FOUR POSTER BED AND READS the book: “Angelique in the New World,” THEN FALLS ASLEEP. MARC RESEARCHES SOMETHING ON THE COMPUTER UNTIL THE EARLY HOURS OF THE MORNING. DR. CONSTANTON FALLS ASLEEP ON THE SOFA.

CUT TO: MORNING: MARIGOLD AND CONSTANTON ARE EATING BREAKFAST. MARC IS SLEEPING THEN AWAKES AND GOES OUT ON THE TERRACE AND TELLS MARIGOLD: “Good Morning.” “Good Morning. What were you researching all night?” “Your husband. Marigold, he was never taken hostage, he’s living in San Francisco. Julian must have had a look-alike on the helicopter just to make you think he’d taken Jack.” “Why would he do that?” DR. CONSTANTON: “Perhaps to control you by getting you to think that if you didn’t obey him he’d hurt the person you love most in the world.” MARIGOLD: “But why… why did he do all of this? I can’t understand it.” MARC: “Your husband’s a very interesting man. Since Julian kidnapped you, Jack’s ideas have really taken off and are getting popular and he’s now a highly sought after speaker and consultant to major organizations and institutions. His ideas are being taken very seriously.” “I’m happy to hear that, he was deeply frustrated that he wasn’t effecting the culture.” MARC: “It occurred to me that Julian was not after you Marigold, but rather was after controlling Jack, and you were the best means that he saw for controlling him, after all, a woman in love will do things that she would not otherwise do. If Julian got you to fall in love with him then he could indirectly control Jack with your help.” MARIGOLD STANDS UP AND PACES: “I never considered that, but yes, you’re right.” “It’s just a theory but… What did you think Julian’s motive was?” “After all the lies he told me, I resigned myself to the fact that Julian was too clever to be understood. But because I never trusted him, no matter how well he treated me, I never fell in love with him. My guiding beacon is to never have regrets, to never sacrifice my happiness – especially to never sacrifice my values MYSELF! So no matter how strange and bizarre my environment got I always try my best to make the most of my situation, to get as much happiness as possible. It’s hard to believe but in Paris if Julian had been consistently kind, I could have fallen in love with him… but suddenly one day I thought of him as controlling and unkind and that’s the day I escaped and nearly killed myself just to get away from him.”

CUT TO: JULIAN PAYING MONEY TO THE RESTAURANT OWNER AS THEY LOOK AT THE VULCANO IN HIS GARAGE. JULIAN REACHES UNDER THE PASSENGER SIDE OF THE VULCANO AND TAKES OFF A MAGNETIC MOUNTED TRACKING DEVICE. HE PUSHES BUTTONS ON IT AND THEN PUTS IT BACK ON THE VULCANO.

CUT TO: THE NEXT DAY: MARC AND MARIGOLD SWIM IN THE OCEAN AND FROLIC ON THE BEACH WITH DR. CONSTANTON’S TWO SPANISH WATER DOGS. ACCIDENTALLY, MARC AND MARIGOLD FALL INTO AN EMBRACE AND MARC QUICKLY PULLS AWAY FROM HER. SHE’S FINE WITH IT BUT ASKS: “You’re the first man I’ve ever encountered who doesn’t seem to want me?” “I fear for my life Marigold, Julian’s a very powerful man and he treats you like you’re his property, like he’s a King and you’re his Queen. I know enough history to know the punishment for bedding the Queen.” (Dejected) “I never thought of it like that but you’re right. That’s a perfect analogy. I’ve brought you into harms way… I’m sorry… I’m a pariah… a…” (Interrupting) “Marigold, I’m having the time of my life and if the King finds us we’ll simply say – and it’s true – that I believed it too dangerous to let you wonder around the world alone, so I came to protect you.” “Yes, of course Marc.”

INSERT READS: “4 Months Later.”

CUT TO: THE LIVING ROOM THAT NIGHT: DR. CONSTANTON PLAYS CLASSICAL MUSIC ON THE PIANO (see the music of Ludivico Einavdi) WHILE MARIGOLD AND MARC RELAX AND ENJOY IT. WHEN FINISHED DR. CONSTANTON TELLS MARC: “Tomorrow night I’m going to Zaragoza to perform at a private party given in honor of the birthday of the Countessa Maria Romano and I’d like you to come with me. There’ll be many European aristocrats and royalty so I think it best if Marigold stays here.” MARIGOLD TO MARC: “He’s right, you go and have fun! I’ll wait for you here with Paco and Dante.” SHE PETS DR. CONSTANTON’S SPANISH WATER DOGS AS SHE SAYS THEIR NAMES.

CUT TO: THE NEXT NIGHT AT A FANCY PARTY IN ZARAGOZA. DR. CONSTANTON PLAYS ORIGINAL CLASSICAL MUSIC HE’S COMPOSED FOR THE OCCASION. THE ATTENTIVE CROWD OF WEALTHY ARISTOCRATS CLEARLY ENJOYS THE MUSIC. IN THE SHADOWS WE SEE JULIAN.

CUT TO: LATER THAT NIGHT: THE CROWD IS DANCING IN A GRAND BALLROOM AND A BEAUTIFUL SPANISH WOMAN (MARIA) IS DANCING WITH MARC. SHE ASKS HIM: “How long have you been in the area?” “Not long, we…I just arrived a few days ago.” “And where are you staying?” “With my friend…[HE STARTS TO GESTURE TOWARDS DR. CONSTANTON BUT STOPS MIDWAY]. With my friend in… town here.” “What’s your name?” “Maria.” “And yours?” “Marc.” “What do you do?” “I’m a comedian.” “Oh how wonderful! Let me take you to comedy club in town.” “Ah well sure… um yeah… that’s fine…I a… give me your number.” SHE PULLS OUT A CARD AND PUTS IT INTO THE POCKET OF HIS SHIRT THEN SMILES SEXILY, AND SAYS “Call me soon chakita.” HE SMILES, SHE WALKS AWAY WHILE LOOKING AT HIM ENTICINGLY.

CUT TO: DR. CONSTANTON AND MARC LEAVING THE GALA AND WE SEE MARIA TALKING TO JULIAN.

CUT TO: THE NEXT DAY MARC CALLS MARIA AND HE’S LAUGHING ON THE PHONE TALKING TO HER: “Yeah, tomorrow night, okay, around 8. What? Yeah sure, I’ll ask him if he’s busy. Ok, bye.” MARC WALKS INTO THE LIVING ROOM AND SAYS TO DR. CONSTANTON: “That was Maria the girl I was dancing with at the party. I’m meeting her at a comedy club tomorrow night and she suggested I ask you if you’d like to join us?” SURPRISED “Are you sure? Three’s a crowd.” “Yeah I’m sure.” “Alright that sounds fun.”

CUT TO: DUSK THE NEXT DAY, MARC AND DR. CONSTANTON ARE BEING TAKEN BY BOAT TO THE MAINLAND. AROUND THE CORNER OF THE ISLAND, SLOWLY AND SINISTERLY, WE SEE JULIAN’S GIANT BLACK YACHT ANCHORING.

CUT TO: JULIAN ARRIVES AT THE OUTER GATE OF DR. CONSTANTON’S HOUSE AND THE DOGS RUN UP TO HIM BARKING.

CUT TO: MARIGOLD THINKING ABOUT LOOKING OUTSIDE TO SEE WHY THE DOGS ARE BARKING BUT IN A MOMENT THEY’RE QUIET. WE SEE JULIAN PUTTING A HIGH-TECH GADGET INTO HIS COAT POCKET AND THE DOGS ARE FAST ASLEEP ON THE GROUND.

CUT TO: JULIAN KNOCKING GENTLY THEN ENTERING THE HOUSE. MARIGOLD’S NEAR THE DOOR AND IS SURPRISED TO SEE HIM. HE WALKS TO HER AND TAKES HER HAND AND LAVISHES KISSES ON IT THEN SAYS: “Mi Amore, thank god you’re safe.” SHE CAN’T SPEAK. HE GENTLY TAKES HER TO THE SOFA AND SITS HER DOWN. RECOMPOSING HERSELF SHE SAYS NONCHALANTLY: “Did you kill the dogs?” “Of course not mi amore.” SHRUGGING OFF THE ACCUSATION IMPLIED BY HER TONE AND HER QUESTION. “I have a gift for you darling.” HE PULLS A STUNNING MIDNIGHT BLUE SAPPHIRE CHOKER OUT OF HIS COAT POCKET, IT’S MADE OF HEART-SHAPED SAPPHIRES WITH THE CENTER STONE BEING A VERY LARGE MIDNIGHT BLUE SAPPHIRE. JULIAN STEPS BEHIND HER AND PLACES THE CHOKER ON HER NECK AND CLOSES IT’S CLASP. HE THEN USES THE SAME DEVICE HE USED ON THE DOGS TO INSTANTLY SOLDER IT TOGETHER SO IT CANNOT BE REMOVED, THEN HE QUICKLY PUTS THE DEVICE BACK IN HIS POCKET. HE STEPS BACK IN FRONT OF HER SMILING LOVINGLY. MARIGOLD PICKS UP A LETTER OPENER FROM THE NEARBY TABLE AND TAPS ON THE CHOKER AS SHE ASKS: “I suppose this has some sort of tracking device in it?” “Yes, mi amore.” SHE GETS UP AND WALKS TO A MIRROR ON THE WALL AND ADMIRES IT. “Well, it’s beautiful.” “Yes, it’s perfect, you must wear my collar my love.” TURNING TO LOOK AT JULIAN SHE SAYS “You didn’t take Jack hostage.” “No mi amore… Do you want me to explain?” “No Julian there’s no point I wouldn’t believe anything you said, I don’t trust you because I don’t know your motive.” “Soon beloved… Soon you’ll understand and we’ll begin our happy life together.” HE GRABS HER HAND AND SMOTHERS IT IN KISSES. SHE’S NONPLUSSED. “And did you hurt Marc or Dr. Constanton?” “No mi amore they’ll be back soon.” “Are you taking me hostage again?” “No, darling you can stay here with your friends until your your birthday.” “Do you want me to tell them that you’re tracking us and, I imagine, monitoring our conversations with this?” SHE POINTS TO THE NECKLACE “No my love, it’s our secret.” HE STARTS MOVING TO THE FRONT DOOR, “I have to go now mi amore but if you need me I’ll always be here for you.” NONPLUSSED “Right… yeah… okey- dokey.” “Farewell and in no time you will… HE TURNS AND RUSHES BACK TO HER SIDE AND SMOTHERS HER HAND IN KISSES AND SAYS “COME BACK BABY!” “Ah…Yeah, Toodles.”A FEW MOMENTS AFTER HE LEAVES WE SEE THE DOGS ENTER THE HOUSE. THEN WE SEE JULIAN’S YACHT SLOWLY MOVE AWAY FROM THE ISLAND.

CUT TO: LATER THAT NIGHT WE SEE MARIGOLD SITING IN BED READING. ZOOM IN TO READ: “Angelique in the New World.” MARIGOLD USES A HIGHLIGHTER TO HIGHLIGHT A SECTION OF THE BOOK THEN WE ZOOM IN TO SEE THE HIGHLIGHTED WORDS AS MARIGOLD WHISPERS IN V.O.: “Never let the Devil beguile you – neither with his threats or promises. The price for your soul is eternal vigilance” THEN SHE DRIFTS OFF TO SLEEP.

~PART 3: ANGELIQUE’S ENCHANTMENT~

CUT TO: THE NEXT MORNING MARIGOLD GOES INTO THE LIVING ROOM WHERE MARC AND DR. CONSTANTON ARE TALKING AND SHE INTERRUPTS AND TELLS THEM “Julian was here last night while you were out.” “Why didn’t he take you?” “I don’t know, but he collared me with this.” SHE POINTS TO THE SAPPHIRE COLLAR ON HER NECK. “He came here to give you more jewels?” “Yes… No… I think it’s a tracking device and it may allow him to hear what I say.” MARC FLOPS DOWN AND DR. CONSTANTON STANDS UP AND STARTS PACING. “He told me not to tell you but I’ve decided I no longer do what he says.” MARIGOLD SITS NEXT TO MARC ON THE SOFA. MARC ASKS: “Did he say why he’s leaving you here or when he’s coming for you?” “He said he’d be back on my birthday.” DR. CONSTANTON: “Do you know of anything special that’s happening on that date?” “No.” MARC ASKS: “Why do you think he’s doing this?” “I don’t know, but if I had to guess I’d say he’s doing some kind of research.” “Research on what?” “On how to destroy a happy person like me.” “Why would he want to do that?” “If he can get to someone like me, someone who’s happy and independent, get them to do what he wants then he can control anyone.” DR. CONSTANTON: “Maybe it has something to do with the work you and your husband have done.” “Yes, that’s occurred to me.” TO MARC: “I’ve been thinking about what I want to do and now that I know Jack’s not Julian’s hostage, I want to go talk to Jack.”

CUT TO: NEXT DAY MARIGOLD’S TAKING CASH FROM A SHADEY CAR DEALER FOR THE VULKANO.

CUT TO: JULIAN BUYING THE VULKANO FROM THE SHADY CAR DEALER.

CUT TO: MARC AND MARIGOLD ON A PLANE.

CUT TO: A WIDE-ANGEL VIEW OF THE SAN FRANCISCO BAY AREA SKYLINE FROM THE PLANE FOCUSING ON THE TRANS-AMERICA PYRAMID BUILDING.

CUT TO: MARC AND MARIGOLD ARRIVING AT THE TOP OF THE TRANS-AMERICA BUILDING WHICH IS JACK’S NEW OFFICE. WHEN MARIGOLD WALKS INTO THE OFFICE JACK IS SHOCKED AND RUSHES TO HUG HER AND SAYS: “I thought you were dead.” “I thought you’d been kidnapped…that’s why I didn’t get in touch sooner.” JACK TAKES HER HAND AND LEADS HER UP SOME STAIRS AND SAYS “Let’s go to my sanctuary.” MARC TAKES A SEAT IN THE OFFICE AND WAITS.

CUT TO: JACK AND MARIGOLD COMING BACK DOWN THE STAIRCASE AND JACK GOES TO MARC AND SHAKES HIS HAND AND SAYS: “Thank you for helping Marigold! You’re a decent man to involve yourself in this.” “Marigold’s a very special woman and…” MARIGOLD INTERUPTS: “Jack, this office is amazing, your work on the Science of Happiness must have taken off.” “It has.” “Tell Marc about our work.” [EXPLANATION OF THE HISTORY OF SECULAR ETHICAL CODES AND META-ETHICS. JACK SAYS IN THIS SPEECH THAT IF ONE CANNOT CONTROL ONE’S SELF THEY CANNOT BE HAPPY AND IF ONE DOES NOT CONTROL ONE’S SELF THEN OTHERS WILL CONTROL THEM (SELF MAINTENANCE AS THE META-ETHICAL STANDARD). JACK TELLS MARIGOLD THAT HE’S TRYING TO DUPLICATE HER SELF AND TO WRITE A MANUAL FOR OTHERS TO USE TO BECOME LIKE HER. JACK SAYS THAT MARIGOLD HAS THE BEST SELF HE’S EVER ENCOUNTERED AND THAT HE’S TRYING TO CREATE AN ETHICAL SYSTEM HELPING OTHERS TO BE LIKE HER (A GREAT SOULED MAN AS ARISTOTLE CALLS IT).

A WOMAN ENTERS THE ROOM AND SAYS AS THE DOOR IS OPENING “Darling, here’s that journal article you wanted… oh, I’m sorry.” JACK SAYS: “Cece, this is my wife Marigold and her friend Marc.” “Oh!” “Marigold was kidnapped and her kidnappers made her believe that they’d kidnapped me so when she escaped she didn’t try to find me.” JACK TURNS TO MARIGOLD “This is my girlfriend Cece.” MARIGOLD TO JACK: “I understand, you thought I was dead.”

CUT TO: MARC AND MARIGOLD ON A PLANE LANDING IN ROME. MARIGOLD SAYS TO MARC: “I really think Dr. Armine can help me. I met him at a lecture at Stanford and read several of his books. He’s an expert on the history of the Catholic Church, he’s a Catholic priest but now an atheist.” “Why doesn’t he stop being a Catholic priest if he’s an atheist?” “Because in Canon Law there’s no procedure to stop being a Catholic priest, all one can do is stop performing the rites. I emailed him from Jack’s office and asked if we could meet.”

CUT TO: LATER THAT NIGHT AT AN EXCLUSIVE ITALIAN RESTAURANT MARIGOLD AND MARC HAVE JUST ORDERED AND MARC SAYS: “I’ll be back I’m going to get a newspaper at that stand across the street. HE GETS UP AND LEAVES. WHEN MARC IS GONE, A TALL, MUSCULAR, HANDSOME ITALIAN MAN WEARING AN ARMANI SUIT, COMES TO THE TABLE AND ASKS MARIGOLD: “May I?” MARIGOLD GESTURES HER APPROVAL FOR HIM TO SIT. HE SAYS “Why are you wearing all that red?” HE POINTS TO HER RED DRESS. “Why are you wearing all that red?” SHE POINTS TO HIS RED TIE. THEY SMILE AT EACH OTHER. “I like red as it’s the color of LOVE.” MARIGOLD: “It’s also the color of war and death.” “Is that why you favor it?” “Hardly. My favorite colors are black, white and copper. I like black and white because they match my philosophy…” “Oh please tell me about your philosophy.” “I was just telling someone the other day that in the history of philosophy no one has EVER taken the following position: “This world is great and when you die you’re going to a heaven-like place where you’re going to get another great life;” they always claim that this world is rotten and that you’ll only be happy in the next life.” “Ah… that’s interesting but sticking to the subject of love, I’m reminded of the philosopher Ortega Y Gasset who says: “…falling in love is a state of mental misery which has a…paralyzing effect upon the development of our consciousness…let us recognize that “falling in love”…is…a form of transitory imbecility. Without a paralysis of consciousness… we could never fall in love. Let us tear down the romantic trappings that have adorned passion….(and) cease believing that the measure of a man’s love lies in how stupid he… is willing to be.” MARIGOLD: “Wow, he’s quite the romantic… And how are you able quote philosophers from memory — what are you a JESUIT?” “What is it written on my forehead — yes, I’m a Jesuit.” LONG PAUSE AS THEY EXAMINE EACH OTHER INTENSELY. “What’s your name?” “William Roach, you can call me Bill.” SHE SAYS NOTHING. “I understand you’re looking for a man.” “Yes.” “And who is this man you seek?” “Why don’t you tell me.” “He’s about 5 foot 10, fit, long silver hair and well dressed.” “That describes a lot of men.” HE POINTS TO A LARGE SCREEN IN THE STORE WINDOW ACROSS THE STREET WHERE DR. ARMINE’S PHOTO IS ON THE SCREEN. MARIGOLD TURNS AND SEES THAT IT’S THE MAN SHE CAME TO SEE. “What is it you seek from this man?” RECOMPOSING HERSELF: “He’s an expert in a field I’m interested in. I’ve read several of his books and want him to advise me.” “Advise you about what?” “About how to proceed. Why do you want to know and how did you know his photo would be on that screen?” STANDING UP TO GO: “I’m able to do many things for which you’ll have no explanation, but please don’t be disturbed by this.” “I’ve heard that line before.” “You think that this meeting is by chance but it’s not, it was arranged by… (he points to the sky) “God.” “You mean by your Jesuit General.” AT THE EXACT SAME TIME THEY BOTH SAY: “Same thing.” HE REACHES INTO HIS POCKET AND PULLS OUT A CARD AND HANDS IT TO HER: “It’s been a pleasure talking to you Marigold. If you need any assistance while you’re in Roma please call me, I’m at your disposal.” HE VERY RESPECTFULLY GESTURES GOODBYE AND WALKS AWAY. MARIGOLD WATCHES AS HE FRANTICALLY TEXTS SOMEONE AS IF HIS LIFE DEPENDS ON IT. MARC RETURNS AND WHEN HE’S SEATED MARIGOLD SAYS: “Did you see that man sitting here? “Yes, what did he want?” “I think he wanted to do what Jesuits are notorious for doing: “Exciting the imagination to weaken the will.”” MARC LOOKS CONFUSED AND MARIGOLD’S DEEP IN THOUGHT.

CUT TO: MARC AND MARIGOLD ARE IN A CAB ARRIVING AT DR. ARMINE’S APARTMENT. THEY DON’T REALIZE THEY’VE BEEN FOLLOWED BY A BLACK BENTLEY SUV. MARIGOLD AND MARC GO INTO DR. ARMINE’S LIVING ROOM AND ARE SEEN FROM THE STREET BY THE PERSON IN THE BENTLEY.

CUT TO: INSIDE DR. ARMINE’S APARTMENT, HE GIVES MARC A GLASS OF WINE AND SAYS TO MARIGOLD: “Everyone in Europe knows about Julian, he’s the wealthiest man in the world and a notorious playboy. Why are you interested in him Marigold?” “He’s chosen to involve himself in my life and I’m trying to figure out why.” “Many woman would love for him to involve himself in their life, yet you seem to think it a burden – why?” “You’re right, so far it’s been a burden, but I can’t go into that right now. Can you tell me more about him?” “What do you want to know?” “What business is he in?” “Every business, if you can think of it he’s in it.” “Has he ever been married?” “No.” “Is he in the mafia?” “He IS the mafia.” “Does he have any family?” “He’s the heir apparent of one of the biggest and oldest families in Europe.” “Is he gay?” “I don’t know, but I imagine, like most of the family scions before him, he’s bi-sexual.” “Does he have a pet?” “If you mean a dog on a leash then no, he prefers humans on leashes.” “Does he wear boxers or briefs” DR. ARMINE LAUGHS GENTLY. MARIGOLD INTERRUPTS AND SAYS: “It’s just that you seem to know so much about him – as if you work for him…” DR. ARMINE SOBERS UP AND SAYS: “No my dear, I don’t work for him but I’m a historian and researcher and given that I cannot help having come across him and his family as they’re influential and notorious.” “Alright, I have only one more question, does he have an arch-enemy?” “Why yes, his greatest enemy is…” AT THAT MOMENT THE DOORBELL RINGS. “Excuse me.” DR. ARMINE WALKS TO THE FRONT DOOR AND IS GIVEN A WRITTEN MESSAGE BY A MAN IN BLACK CLOTHING. HE READS IT AND WALKS BACK INTO HIS LIVING ROOM AND SAYS: “I’m afraid I must go. It’s been delightful seeing you again and nice meeting you Marc. Please don’t hesitate to contact me again if you have more questions.” MARC AND MARIGOLD GET UP AND HEAD TO THE FRONT DOOR. “Good night Dr. Armine, we’re staying at the St. Regis if you want to get in touch. I appreciate your time.” THEY LEAVE. DR. ARMINE RUSHES TO HIS PHONE AS IF HIS LIFE HAS BEEN THREATENED. HE PICKS UP THE RECEIVER, DIALS, THEN IN A MOMENT SAYS “I’m sorry…I didn’t know…anything you want… she told me she’s staying at the St. Regis… Yes tomorrow… Thank you… Count on me.” HE HANGS UP THE PHONE.

CUT TO: MARC AND MARIGOLD WALKING DOWN THE STREET OUTSIDE OF DR. ARMINE’S APARTMENT WITH MARIGOLD DEEP IN THOUGHT. MARC ASKS: “Something bothering you?” “You know I spent most of my life working with Jack to come up with a secular, happiness promoting ethical code and our life together was very combative as we had different views on how to create this code. We forged a path to it by constant debate and battle and now I’m exhausted, and while hedonism’s no way to be happiness, I’m now tempted to switch tracks and become rather hedonistic.” “Why?” “I think that both battling Jack and now Julian has worn me out.” “What would you consider a rest?” “I want to have fun now because it may be the last time I’m able to.” “Then why are we here chasing down who Julian is if what you want is to have fun or rest?” “That’s a good question. I’m torn, I’m curious, part of me needs to know what Julian’s game is – but researching Julian could be dangerous. If I continue I think you should leave and get back to your life and career. You know I love you being here and want you to stay but I doubt it’s the wisest course for you.” STOPPING AND LOOKING IN HER EYES: “I wouldn’t think of leaving you! MARIGOLD PUTS HER ARM AROUND HIS SHOULDER AND THEY WALK DOWN THE STREET.

CUT TO: THE LOBBY OF THE ST. REGIS HOTEL THE NEXT MORNING. MARC IS SITTING IN THE LOBBY READING A NEWSPAPER WITH A PHOTO OF JULIAN AND JULIAN’S NAME IN THE HEADLINE. DR. ARMINE WALKS INTO THE LOBBY, GOES UP TO HIM AND ASKS: “Ah, I see you’ve seen the headline.” “He’s just bought the biggest media company in Europe.” “Where’s Marigold?” “She’s still dressing – why?” “I’m inviting you both to tour Rome with me. I’m an expert in Roman history and art and would love to show you both the sights.” MARIGOLD WALKS UP TO THEM AND DR. ARMINE SAYS “I was just telling Marc I want to take you both on a tour.” “We don’t have plans and would love that… very kind of you.” SHE LOOKS AT MARC AND HE GESTURES AGREEMENT. “Shall we go?” MARC AND MARIGOLD GESTURE AGREEMENT AND THEY EXIT TO THE STREET.

CUT TO: THE THREE OF THEM AT THE VATICAN IN THE BORGIA APARTMENTS. WE CAN HEAR DR. ARMINE SPEAKING BUT CANNOT MAKE OUT WHAT HE SAYS. THEY COME TO THE FRESCO WITH LUCREZIA BORGIA AND DR. ARMINE SAYS: “Marigold, it’s amazing how much you look like Lucrezia! HE TOUCHES THE SIDE OF HER FACE AND SAYS: “Especially here on the side of your face, your nose and chin – remarkable!” MARIGOLD LOOKS AT MARC WHO GESTURES AGREEMENT. ARMINE SAYS: “Este is your maiden name, and Lucrezia Borgia married a man named Este — Alfonso D’Este around the year 1500.” “You’re right that the similarity in our appearance is striking!” “I’ve heard a lot of bizarre things about Lucrezia…” “She was the most intelligent and beautiful woman of her day and many men were hopelessly in love with her – including her notorious brother Caesar who was obsessed with possessing her; perhaps more than he was obsessed with unifying and possessing the Papal states.”

CUT TO: DR. ARMINE TALKING TO A CARDINAL WHILE MARIGOLD AND MARC WAIT FOR HIM IN THE DISTANCE. “Marc, I never told Dr. Armine that Este is my maiden name.” “Then how does he know?” SHE SHRUGS.

CUT TO: THE THREE OF THEM WAKING THROUGH OTHER PARTS OF THE VATICAN AND WE CAN VAGUELY HEAR DR. ARMINE EXPLAINING THE ARTWORK’S HISTORY AND CONTEXT.

CUT TO: A PRIVATE ROOM IN A HIGH-CLASS RESTAURANT AT NIGHT. MARC, MARIGOLD AND DR. ARMINE ARE EATING AND TALKING. DR. ARMINE EXPLAINS: “Yes, I know much about the Jesuits, I trained to be one.” MARIGOLD ASKS: “You’re a Jesuit?” “No. I chose not to enter the Order. I’m Lebanese and was a member of the Maronite Church which allows married priests and I’d fallen in love and wanted to marry.” “Is this group affiliated with the Roman Church?” “Yes.” “And it allows married priests?” “Yes.” “I’ve never heard of married priests in the Catholic Church.” “It wasn’t until 1085 when the Pope decreed that no priest could any longer be married, but before this date many Catholic priests were married. I have a Ph.D in Canon and Civil law and wrote my dissertation arguing that the church needs to again allow married priests.” MARC: “Why did they ban marriage for priests?” “I think it was a practical matter of not wanting any Church property to be bequeathed, nor any dependents to care for, however, the prevalent Gnostic pessimism about the entire material world, and especially about all forms of pleasure, and particularly sexual pleasure, played a contributing role. Back then sexual pleasure was thought of as a manifestation of demons.” MARC IS ENGAGED BUT MARIGOLD’S DISTRACTED BY HER OWN THOUGHTS.

CUT TO: LATER THAT NIGHT MARIGOLD AND MARC SIT IN A NIGHT CLUB. A COMEDIAN’S TAKING THE STAGE. WE SEE WILLIAM ROACH SITTING AT THE BACK OF THE CLUB AND HE GESTURES A GREETING TO MARIGOLD. MARC SEES HIM AND ASKS: “Isn’t that the guy you talked to last night?” “Yes. I think he works for Julian.” AN ANNOUNCER STEPS ON STAGE AND INTRODUCES THE COMEDIAN WHO’S DRESSED LIKE JESUS (HE MAKES FUN OF THOSE EXPECTING AN APOCALYPSE). A WAITER ARRIVES WITH A BOTTLE OF EXPENSIVE CHAMPAGNE AND TELLS MARIGOLD “It’sa froma de gooolookin mana in Armani ina de corner.” “Thank him for me.” THE WAITER OPENS IT AND GIVES THEM EACH A GLASS. MARIGOLD RAISES HER GLASS AND SALUTES WILLIAM WHO IS CAREFULLY WATCHING HER. HE NODS. MARC FINDS THE COMEDIAN FUNNY BUT MARIGOLD’S UNINTERESTED AND IN HER BOREDOM SHE LOOKS OVER AT WILLIAM AGAIN AND NOTICES HIM MOTION FOR HER TO COME OVER TO HIM. MARIGOLD STANDS UP AND TELLS MARC: “I’ll be back in a minute.” MARC ACKNOWLEDGES HER AND QUICKLY GOES BACK TO WATCHING THE SHOW. MARIGOLD MAKES HER WAY THROUGH THE CLUB TO WHERE SHE LAST SAW WILLIAM, BUT WHEN SHE GETS TO WHERE HE WAS SEATED HE’S GONE. SHE LOOKS AROUND AND SEES HIM BY AN OFFICE DOOR, AGAIN MOTIONING FOR HER TO JOIN HIM, AND SHE FOLLOWS. SHE SEES HIM GO INTO AN OFFICE AND WHEN SHE GETS TO THE OFFICE DOOR SHE KNOCKS AND HE GENTLY COMMANDS: “Come in Marigold.” SHE DOES. THE OFFICE IS MASCULINE WITH TOUCHES OF OSTENTATIOUS DISPLAY AND MARIGOLD WALKS OVER TO A COPPER SCULPTURE OF A NUDE ATLAS IN THE CORNER OF THE OFFICE AND GENTLY TOUCHES IT. WILLIAM FOLLOWS HER AND SAYS: “This piece is modeled on my own body.” “It’s gorgeous really… I’ve never seen such… a…” HE GENTLY TURNS HER FACE TO HIS AND KISSES HER MOUTH. SHE DOESN’T RESPOND. HE KEEPS TRYING TO GET HER TO ENGAGE BUT SHE’S FROZEN. FINALLY HE SAYS TO HER IN A MUCH DEEPER VOICE, NOT LIKE HIS NORMAL VOICE: “Come back baby.” THIS BREAKS HER PARALYSIS AND SHE STEPS BACK FROM HIM. HE MOVES TOWARD HER AND AGAIN SAYS IN THE STRANGE DEEP VOICE “Come back baby.” SHE PULLS AWAY AND MOVES TOWARD HIS DESK AND HE FOLLOWS HER. SHE’S BLOCKED BY THE DESK AND HAS NOWHERE ELSE TO GO SO SHE TURNS TO HIM AND HE GRABS HER BY THE THROAT WITH HIS ENORMOUS HANDS BUT HE DOES NOT SQUEEZE TO CHOKE HER. SHE CALMLY ASKES “What are we doing?” HE AGAIN SAYS “Come back baby!” NOW SHE RECALLS HAVING HEARD THIS PHRASE BEFORE.

FLASHBACK TO; MARIGOLD RUNNING FROM THE SUV WITH THE BACKPACK FULL OF JEWELS AND JULIAN SAYING: “Come back baby!”

FLASHBACK TO: JULIAN AT DR. CONSTANTIN’S HOME AS HE’S SMOTHERING HER HAND WITH KISSES AS HE SAYS: “Come back baby!”

BACK TO PRESENT: WILLIAM’S HANDS ARE STILL AROUND HER NECK: “I’ve heard that phrase before.” “Where and when darling?” “In Paris and at Dr. Constantin’s home in Menorca.” “And who said it Mi Amore?” “Julian said it as I was running away, and again after he attached this collar to me.” WILLIAM TOUCHES THE SAPPHIRE COLLAR ON HER NECK. “It’s lovely darling. And how does it feel wearing my collar?” “Your collar!?” NOW THE VOICE OF JULIAN IS CLEARLY HEARD COMING THROUGH THE COLLAR “Yes Mi Amore MY collar.” MARIGOLD IS STUNNED. SHE LOOKS AT WILLIAM AND HE APPEARS ZOMBIE-LIKE. NOW AFRAID FOR HER SAFETY, SHE INSTINCTIVELY BREAKS THE GRIP THAT HE HOLDS ON HER NECK BY SLAMMING HER ARMS INTO THE CROOK OF HIS ELBOWS. IN HIS ZOMBIE-LIKE STATE HE EASILY LETS GO AND SHE RUNS OUT OF THE OFFICE AND BACK TO MARC. THE SHOW JUST ENDED AND SHE SAYS: “We need to go!” HE GESTURES HIS AGREEMENT AND THEY LEAVE THE CLUB.

CUT TO: ROME AIRPORT THE NEXT MORNING AS MARIGOLD AND MARC SIT WAITING FOR A PLANE AND MARC ASKS: “Have you ever been to Pebble Beach before?” “Yes have you?” “No.” “I lived in Carmel for a summer and would drive to the Pebble Beach Lodge and sit on their private beach where I was always alone – sometimes I’d go to the equestrian center and ride horses.” “Why are you giving up on figuring out Julian’s game?” “I’ve decided it doesn’t matter and I need to get busy enjoying whatever time I have left. IN V.O. WE HEAR THE CALL FOR THEIR FLIGHT NUMBER AND THEY GET UP AND HEAD TO THE GATE.

CUT TO: MARIGOLD AND MARC INSIDE A CABANA AT THE LODGE AT PEBBLE BEACH READING ON THE BEACH UNDER AN UMBRELLA.

CUT TO: MARC AND MARIGOLD WALKING DOWN OCEAN AVE. IN CARMEL. WE SEE LOTS OF PEOPLE WALKING STANDARD POODLES. MARC ASKS: “Wow, they really like poodles in Carmel?” MARIGOLD SMILES AND SAYS: “There’s a dog show tomorrow.” THEY WALK ON AND MARIGOLD SEES THE ACTOR ANDY GARCIA IN FRONT OF HER AND SHE WALKS UP CLOSE TO HIS EAR AND SAYS “Loved you in The Godfather.” “Oh, thank you sweetheart!”

CUT TO: THE NEXT DAY MARC AND MARIGOLD ORDERING AT A RESTAURANT AND A HANDSOME SPANISH WAITER, WITH LONG JET-BLACK HAIR STARTS FLIRTING WITH MARIGOLD. “And I’ll have the abalone.” “Excellent choice, very popular.” THE 30 YEAR OLD WAITER GIVES HER A BIG SMILE AND STARES INTO HER EYES FOR A LONG TIME ACTING AS IF MARC ISN’T THERE. “Oh, umm…. I’ll put your order in…” HE WALKS AWAY AND MARC SAYS: “It seems you have a fan.” “He’s a child.” “He doesn’t seem to think so.” “He’s just being a good waiter.” “No, I think it’s more.” “Don’t be silly. Anyway, I’d like you to do some research online to try to find out who Julian’s arch-enemy is. Dr. Armine said that he has one so it shouldn’t be too hard to find out who he is.” THE WAITER RETURNS WITH SOME BREAD AND ASKS AFTER SETTING IT DOWN “Can I get you some wine we have an excellent merlot I recommend.” MARIGOLD SAYS: “Yes, please we’ll have two glasses.” THE WAITER LEAVES AND MARC SAYS “I’ll be back in a minute, I’m going to the magazine stand across the street.” MARC LEAVES. THE WAITER COMES BACK AND SETS THE GLASSES OF WINE DOWN AND THEN SITS IN MARC’S CHAIR AND TAKES MARIGOLD’S HAND AND ASKS “How long will you be in town?” “Ahh… The whole summer at least… aren’t you going to get in trouble sitting down…” “No, I own this place but don’t usually work here, someone called in sick. What’s your name?” “Marigold – and yours?” “Nathan. Are you going to the car show tomorrow?” “I wasn’t planning to.” “Why don’t you come with me – be here tomorrow at noon and we’ll go together.” “Okay.” MARC IS IN THE DISTANCE WALKING BACK TO THE TABLE AND SEES NATHAN GET UP AND GO TO THE KITCHEN. MARC SITS DOWN AND SAYS: “I told you so.” MARIGOLD SMILES.

CUT TO: NOON THE NEXT DAY MARIGOLD AND NATHAN IN A MONTAGE OF SHOTS OF THEM AT THE PEBBLE BEACH CONCOURS D’ ELEGANCE HAVING A GREAT TIME TOGETHER.

CUT TO: AN AUCTION WHERE A VINTAGE MASERATI IS UP FOR SALE AND NATHAN’S DETERMINED TO BE THE WINNING BIDDER. HE TELLS HER “I’ve been waiting for this car to come on the market for five years.” NO OTHER BIDDERS ARE NOW VYING FOR THE CAR AS THE PRICE HAS HIT ONE HUNDRED THOUSAND DOLLARS. NATHAN FEELS THRILLED WHEN IT SEEMS THAT HE’S WON BUT THE AUCTIONEER SAYS “I’m told we’ve just received a phone bid for one million dollars.” NATHAN’S CRUSHED AND WHEN THE AUCTIONEER GESTURES TO HIM TO SEE IF HE WANTS TO KEEP BIDDING HE SHAKES HIS HEAD ‘NO.’

CUT TO: A SHOT OF JULIAN ON THE PHONE BUYING THE MASERATI.

CUT TO: A MONTAGE OF SCENES OF MARIGOLD AND NATHAN HAVING FUN AT VARIOUS VENUES HOLDING HANDS AND CARESSING EACH OTHER.

CUT TO: NATHAN PAYING A REAL ESTATE AGENT CASH AND GETTING THE KEYS TO AN A-FRAME GLASS HOME ON A CLIFF IN BIG SUR. “If you need it more than a night…” “No, this should be enough, it’s her birthday tomorrow. WALKING TOWARDS THE HOUSE “Thanks.” NATHAN UNLOCKS THE FRONT DOOR, WALKS IN AND WE SEE A GLORIOUS VIEW OF THE PACIFIC OCEAN. NATHAN SMILES.

CUT TO: THE NEXT DAY AT SUNSET, NATHAN AND MARIGOLD SIT TOGETHER AT THE DINNING TABLE IN THE MAIN ROOM OF THE BIG SUR HOME EATING AND WATCHING THE SUN GO DOWN. NATHAN GETS UP AND TURNS ON SOME MUSIC AND THEN TAKES HER HAND AND LEADS HER TO DANCE IN FRONT OF THE LARGE GLASS WINDOW AT SUNSET. NATHAN STOPS BEFORE THE SONG ENDS AND PULLS HER HEAD BACK GENTLY AND KISSES THE NAPE OF HER NECK.

CUT TO: A CHAUFFEUR DRIVEN MIDNIGHT BLUE ROLLS ROYCE LIMO DRIVING ALONG HIGHWAY 1 TOWARDS BIG SUR.

CUT TO: NATHAN KISSING MARIGOLD’S FACE.

CUT TO: THE LIMO PULLING UP OUTSIDE THE BIG SUR HOME.

CUT TO: INSIDE THE GLASS HOUSE NATHAN SAYS “It’s time to blow out your candles.” EXCITEDLY MARIGOLD RUSHES TO THE DINNIG TABLE WHERE THERE’S A BIRTHDAY CAKE. NATHAN LIGHTS THE CANDLES AND MARIGOLD BLOWS THEM OUT. “What’d you wish for?” “I wished Julian would never come for me.” “Who’s Julian?” AT THAT MOMENT WE HEAR THE FRONT DOOR OPEN AND JULIAN SAY: “Mi Amore, I’m here… It’s time to go.” MARIGOLD SUDDENLY BECOMES FRIGHTENED AND CROUCHES DOWN AND ATTACHES HERSELF TO NATHAN’S RIGHT LEG. JULIAN AND HIS SUPER MUSCULAR HENCHMAN WALK INTO THE MAIN ROOM TO FIND MARIGOLD ATTACHED TO NATHAN’S LEG AND JULIAN SAYS: “I see you’re very attached to your friend baby.” “Mmm hmmm…” JULIAN EXTENDS ONE FINGER AND GESTURES IN A CIRCULAR MOTION TO THE STRONGMAN TO PULL MARIGOLD OFF OF NATHAN’S LEG. HE TRIES BUT CANNOT SEPARATE THEM. HE LOOKS BACK TO JULIAN FOR DIRECTION. JULIAN HOLDS OUT TWO FINGERS WAVES HIS HAND IN A CIRCULAR MOTION AND HIS MINION LIFTS BOTH MARIGOLD AND NATHAN AND CARRIES THEM TO THE LIMO WITH JULIAN LEADING THE WAY.

CUT TO: INSIDE THE LIMO NATHAN HAS BEEN SPRAYED AND IS UNCONSCIOUS AND MARIGOLD SAYS TO JULIAN: “What’d you do to Nathan?” JULIAN TAKES MARIGOLD’S HAND, KISSES IT AND SAYS “He’s fine baby.” HE CONTINUES KISSING HER HAND (IN A MANNER THAT SHOWS HE ENJOYS IT NO MATTER HOW SHE FEELS ABOUT IT) AND HE SAYS “I told you I’d come for you baby…now…” HE LOOKS INTO HER EYES AND SAYS: “Come back baby!” ZOOM INTO MARIGOLD’S FACE AS SHE PASSES OUT.

CUT TO: WIDE ANGLE SHOT OF THE LIMO SNAKING ALONG THE COAST LINE AT NIGHT.

CUT TO: THE LIMO WAITING FOR A GATE TO OPEN. MARIGOLD NOW RECOVERING.

CUT TO: A CLOSE-UP OF THE GATE WHERE WE READ THE WORDS “Top of the World.”

CUT TO: JULIAN AND MARIGOLD STANDING ON THE TOP OF A MOUNTAIN OVERLOOKING THE PACIFIC OCEAN IN FRONT OF A GORGEOUS MAUSOLEUM WITH THE STATUE OF A FEMALE ANGEL. THE LIMO’S BEHIND THEM. THE ANGEL STATUE HAS A SCULPTED COLLAR THAT LOOKS LIKE MARIGOLD’S COLLAR. JULIAN TAKES MARIGOLD’S HAND AND DRAWS HER NEARER TO THE ANGEL AND SAYS: “Darling, I want you to meet my mother.” MARIGOLD LOOKS AT THE FACE OF THE STATUE AND THEN BACK TO JULIAN WHO IS BEAMING WITH JOY. MARIGOLD SAYS: “She’s beautiful. But why does she look so much like me and why is she wearing a collar just like mine?” “Actually, you’re wearing a collar just like hers.” SUDDENLY THE TOMBSTONE OPENS TO REVEAL A STAIRCASE GOING DOWN INTO THE GROUND. A WOMEN, WHO LOOKS JUST LIKE THE ANGEL (AND MARIGOLD), WEARING A MIDNIGHT BLUE SILK GOWN AND THE EXACT SAME COLLAR AS MARIGOLD’S, CLIMBS UP THE STAIRS. WHEN SHE GETS TO GROUND LEVEL SHE STEPS OUT AND FACES MARIGOLD AND SAYS: “I’m so pleased to meet you my dear, Julian’s told me so much about you.” “I..a… I’m pleased to…a… meet… aah…” THE WOMAN GIVES JULIAN A HAND SIGNAL AND JULIAN TAKES MARIGOLD AND LEADS HER AWAY WHILE SAYING: “Darling, you’ve been through a lot tonight, please wait in the car. I’ll join you soon.” MARIGOLD’S DAZED AND ACQUIESCES. SHE GETS BACK INTO THE LIMO AND JULIAN GESTURES FOR THE DRIVER AND THE HULK TO COME WITH HIM. WHEN THEY GET TO THE MAUSOLEUM THERE ARE NOW NINE OTHER MEN (IN BLACK ROBES) KNEELING DOWN IN FRONT OF THE WOMAN. JULIAN, THE HULK AND THE DRIVER ALSO KNEEL DOWN WITH THE OTHER MEN AS IF THEY’RE WORSHIPPING THE WOMAN. MARIGOLD TURNS NATHAN’S HEAD AROUND TO LOOK AT THIS SCENE AND HE SAYS “What the…” NATHAN AND MARIGOLD STARE AT THE SCENE AND BOTH ARE STARTING TO GET FREAKED OUT. NATHAN ASKS: “What were you doing with that woman?” “Julian introduced me to his “mother” who looks just like me and she’s wearing a collar just like this one.” SHE TOUCHES THE COLLAR ON HER NECK. THEY LOOK AT EACH OTHER LIKE IT’S ALL TOTALLY BIZARRE THEN NATHAN ASKS “Are you related to Julian?” “Not that I know of.”  NOW IN V.O. THE MEN START CHANTING.

CUT TO: AN ALTER HAS ASCENDED FROM THE GROUND AND THE WOMAN IS NOW LYING ON IT BARELY CLOTHED IN MIDNIGHT BLUE SILK AND THE MEN START TO WALK IN A CIRCLE AROUND HER TOUCHING HER BODY WHILE CHANTING. UPON SEEING THIS MARIGOLD SAYS “This is insane I’m getting out of her!” MARIGOLD TRIES TO OPEN THE CAR DOOR BUT IT’S LOCKED, SO SHE GETS INTO THE DRIVERS SEAT AND IS ABLE TO ROLL DOWN THE BACK WINDOW. THEN SHE CLIMBS BACK INTO THE BACK AND THEN CLIMBS OUT THE WINDOW. NATHAN FOLLOWS HER. THEY SNEAK OFF DOWN THE DRIVEWAY. THEY MAKE IT BACK TO THE GATE THAT READS “Top of the World” AND MARIGOLD FINDS A TREE TO CLIMB TO GET ON TOP OF THE GATE AND THEN OVER THE WALL. NATHAN FOLLOWS HER. ONCE OVER THEY RUN DOWN THE MOUNTAIN TO HIGHWAY 1.

CUT TO: THE WOMAN BEING WORSHIPPED ON THE ALTER. AS JULIAN WALKS BY HER HAND SHE GRABS JULIAN’S HAND, SITS UP AND SAYS “Marigold’s escaped and is heading to the freeway.” JULIAN BREAKS FREE OF HER AND STARTS RUNNING TO THE LIMO BUT SHE YELLS AFTER HIM “Come back. She needs her autonomy if she’s to go through the trials. Be patient and she’ll be yours. Trust me! Come back to me now and continue.” JULIAN’S TORN AS HE WANTS TO GO AFTER MARIGOLD BUT REALIZES THAT THE WOMAN’S RIGHT AND SO HE RETURNS TO THE RITUAL AFTER HE PUSHES A BUTTON ON THE DEVICE WE’VE SEEN BEFORE. HE THEN WALKS STRAIGHT UP TO THE WOMAN AND TAKES HER HAND AND STROKES IT AND KISSES IT, THEN HE LEANS DOWN AND KISSES HER ON THE MOUTH IN A SENSUAL MANNER WHILE TOUCHING HER BREAST. WE SEE THE OTHER MEN BACK AWAY A BIT AND FORM A CIRCLE AROUND THE WOMAN AND JULIAN. WE SEE THE SHADOWY FIGURE OF JULIAN, ON TOP OF THE WOMAN, THEN THE CAMERA PANS DOWN THE MOUNTAIN TO BELOW THIS SCENE AND TO THE FREEWAY WHERE MARIGOLD AND NATHAN ARE HITCH-HIKING ON HIGHWAY 1 (ZOOM OUT AND HOLD BOTH SCENES IN FRAME).

CUT TO: NEXT DAY MARIGOLD BEING DROPPED OFF BACK AT HER BUNGALOW BY LUIS MARTIN IN HIS BRIGHT YELLOW FERRARI DATONA SPIDER.

CUT TO: MARIGOLD UNLOCKING THE DOOR TO THE BUNGALOW. MARC’S IN THE LIVING ROOM AND SAYS “How’d your birthday go with Nathan?” MARIGOLD WALKS TO THE SOFA AND COLLAPSES AND SAYS “Where to begin? Did you come up with anything on Julian’s enemy?” “No. I’m still looking.” “Good. I’m going to Luis Martin’s house tonight. He picked me and Nathan up last night when we were hitchhiking. He lives just past Yankee Point in an amazing home with an amazing library. He’s coming back to get me for dinner, then he’s going to teach me about the Occult.” “Why were you and Nathan hitch-hiking?” “Julian kidnapped us then we escaped. Luis is the man who picked us up. He’s brilliant, calm, debonaire (NOW WALKING AROUND THE ROOM), I quite like him. Are you alright here by yourself – not getting too bored or lonely?” “I’m fine. I have a new friend I’ve been playing pool with in Monterey and tonight I think I’ll finally beat him.”

CUT TO: DEL A. ROVERY AND MARC PLAYING POOL AND MARC’S WINNING.

CUT TO: AN ELEGANT HOME ON TOP OF A HILL WHERE JULIAN AND MAURICE ARGUE: “What were you thinking?” “I was thinking I needed to get her before she slept with that kid Nathan.” “But you freaked her out and she ran away!” “I’m not perfect!” “Clearly not.” “I thought the blinder was up on the limo so she couldn’t see us.” “You and Norbit.” NOW LUIS MARTIN COMES INTO THE SCENE AND SAYS INTERRUPTING: “Gentlemen please, no real harm’s been done. She’s back at the bungalow and I’ll see her tonight. What she needs is a crash course in our customs…rituals… our history if she’s to be able to understand what we want from her.” “True, but it’s all too much we can’t spring it all on her or she’ll try to run away again.” “It’ll be too much for her. She’s too pure and innocent to understand.” (MARTIN:) “I should tutor her.” “But how? Under what pretext?” “This morning I found her in my library looking at the Occult section and offered to teach her about it.”

FLASHBACK TO EARLIER THIS MORNING, MARIGOLD AWOKE AT MARTIN’S HOME. SHE GOT UP AND WENT INTO MARTIN’S LIBRARY AND STARTED READING THROUGH A SECTION ON THE OCCULT. MARTIN WALKS INTO THE LIBRARY AND SAYS: “Do you know much about the occult?” “No, but I’ve always wanted to know more. How about you Luis?” “Yes, I’m quite studied on the subject. I’d be happy to give you some coaching on it if you’re interested.” “That’s a generous offer and I’d appreciate it. I need to get back to the Lodge at Pebble Beach. Can you drop off Nathan at his restaurant and then take me there?”

CUT TO: MARC AND ROVERY AT A COMEDY CLUB LAUGHING AT THE PERFORMER.

CUT TO: MAURICE AND JULIAN WHO ARE PLEASED. LUIS SAYS: “So it’s agreed, I’ll coach her.” JULIAN SAYS: “Pygmalion?” MARTIN: “Exactly.”

CUT TO: A VIDEO CONFERENCE ROOM WITH A LARGE SCREEN DISPLAYING MARTIN’S LIBRARY WHERE HE’S TEACHING MARIGOLD. IN THE CONFERENCE ROOM ARE ELEVEN MEN WATCHING AS MARTIN GIVES MARIGOLD A POWER-POINT PRESENTATION ON THE OCCULT.

CUT TO: MARC AND ROVERY EATING AT AN ELEGANT RESTAURANT TOGETHER AND MARC’S WEARING NEW, FINE CLOTHING.

CUT TO: A SERIES OF SHOTS OF THESE MEN WATCHING MARIGOLD AND MARTIN FOR A NUMBER OF DAYS AS HE’S TEACHING HER ABOUT THE OCCULT WITH DIAGRAMS, CHARTS, MAPS, PHOTOS, ICONS AND SYMBOLS.

CUT TO: MARIGOLD WEARING AN OCCULT OUTFIT AND CROWN GIVING A LECTURE TO MARTIN ON THE OCCULT. SHE DOESN’T REALIZE THAT THE MEN IN THE CONFERENCE ROOM ARE WATCHING AND HEARING HER LECTURE. SHE DOES A GOOD JOB OF SUMMARIZING HER LESSONS WHICH WE HEAR FAINTLY. THE INSTRUMENTAL MUSIC WE HEAR DURING HER LECTURE IS “The Rain In Spain.” WHEN MARIGOLD FINISHES WITH HER LECTURE MARTIN JUMPS UP AND HUGS HER AND THEY DANCE AROUND THE ROOM TOGETHER. PULL BACK TO SEE THE MEN IN THE ROOM ELATED AND DANCING WITH EACH OTHER IN THE SAME MANNER THAT MARTIN AND MARIGOLD ARE DANCING.

CUT TO: A SERIES OF SHOTS OF MARC AND ROVERY AT THE CONCOURSE D’ ELEGANCE. JAY LENO IS THE MC AT THE CONCOURSE AND IS MAKING MARC AND ROVERY LAUGH.

CUT TO: AN AUCTION WHERE ROVERY BIDS 5 MILLION FOR AN ANTIQUE LAMBOGHINI AND THEN STANDS UP TO LEAVE THE AUCTION WITH MARC AND SAYS: “So, how long has this Julian been bothering your friend Marigold?” “I think he kidnapped her in Paris almost 5 months ago.” “What does Marigold think is his motive?” “She thinks he’s doing some research to try to discover how to make a happy person, like her, unhappy.” “Why would Julian want to know that?” “So he can control and manipulate anyone who’s happy.” “I see.”

CUT TO: ROVERY IN THE BATHROOM OF MARIGOLD AND MARC’S BUNGALOW WITH A DIVICE IN HIS HAND THAT’S SIMILAR TO THE ONE JULIAN USES. HE PUSHES A BUTTON AS SOON AS HE HEARS MARIGOLD COME INTO THE BUNGALOW.

CUT TO: A CLOSE-UP OF A LIGHT ON MARIGOLD’S COLLAR TURNING FROM GREEN TO RED. PAN TO ROVERY WALKING INTO THE LIVING ROOM. MARC SAYS: “Marigold, this is my friend Del Rovery. Del this is Marigold.” THEY GESTURE GREETINGS AND MARC EXPLAINS “We met about a week ago when I was at the lodge and we started talking about the Concourse.” “In fact, we’re just about to visit my friend Binky at the Crocker Castle to see the Bugatti he’s entering in the show. Would you like to join us Ms. Este?” “Yes, I’d like that.” “Splendid.”

CUT TO: MARC, MARIGOLD, ROVERY, AND BINKY AT THE CROCKER CASTLE AT PEBBLE BEACH LOOKING AT AN ANTIQUE BUGATTI. THEY ALL WALK INTO A ROOM THAT OVERLOOKS THE OCEAN AND ARE SERVED DRINKS. MARIGOLD DRINKS AND SITS ON A SOFA, THEN ROVERY COMES AND SITS NEXT TO HER AND TAKES HER HAND AND STROKES IT IN A FLIRTATIOUS MANNER. SHE STARTS TO OBJECT BUT THE DRUG IN THE DRINK KICKS IN AND SHE SLIDES INTO A STATE OF EUPHORIA AND SAYS “That feels delightful Del.” MARC HAS ALREADY FINISHED HIS DRINK AND PASSED OUT. BINKY COMES AND SITS ON THE OTHER SIDE OF MARIGOLD AND STARTS STROKING HER OTHER HAND AND SHE PURS LIKE A KITTEN. ROVERY PULLS OUT OF HIS POCKET THE SAME DEVICE HE USED IN THE BATHROOM AT THE BUNGALOW. HE STANDS UP AND WALKS BEHIND MARIGOLD AND USES THE DEVICE TO TAKE THE SAPHPIRE COLLAR OFF HER, THEN HE MASSAGES HER NECK AND SAYS “Isn’t that better my pet?” “Oh, you have no idea how restricting that thing is.” BINKY STARTS RUBBING THE FRONT OF MARIGOLD’S NECK GENTLY. ROVERY SAYS IN A CALM BUT SINISTER VOICE: “Julian always was a bit heavy-handed in his use of force.” (MARIGOLD:)“You know Julian?” “Yes, we go way back. I understand you’ve been looking for me.” SLURRING HER WORDS SLIGHTLY MARIGOLD SAYS: “I was looking for Julian’s enemy.” “And now you’ve found me darling.” “I wanted you to help me to get rid of Julian.” “And that’s precisely what I’m going to do!”

CUT TO: JULIAN’S MINIONS IN A CONTROL ROOM TRYING TO DETERMINE WHY MARIGOLD’S COLAR’S NO LONGER SENDING A SIGNAL.

CUT TO: THE CROCKER CASTLE. MARIGOLD GESTURES THAT SHE’S SUSPICIOUS OF ROVERY WHEN SHE NOTICES THAT MARC’S UNCONSCIOUS AND ASKS: “What’s wrong with Marc?” “Nothing, don’t be concerned he’s just napping.” MARIGOLD STANDS UP AND TRIES TO WALK BUT SHE’S VERY TIPSY. SHE MAKES IT OVER TO MARC AND CHECKS HIS PULSE AND SEES HE’S ALIVE. ROVERY THEN DEMANDS: “Tell me what happened in the last few days while you were visiting with Luis Martin.”

FLASHBACK TO A SERIES OF SCENES OF MARIGOLD’S DESCRIPTION OF WHAT HAPPENED WITH HER DESCRIBING IT IN V.O.

“I… I was with my friend Nathan who’d taken me to a gorgeous house in Big Sur to celebrate my birthday.” “Just the two of you?” “Yes.” BINKY: “The young, good-looking Nathan Menendez?” “Right.” “And how did you and Nathan celebrate?” “Well, we danced and then…” (Demanding) “And then!” “And then I blew out the candles on my birthday cake.” (Irritated and demanding) “And then!!” And then Nathan was about to take me to the bedroom but something happened.” (Almost angry) “What happened!” “Julian and his henchmen came into the house.” “Go on!” “So I attached myself to Nathan’s leg and Julian had his minion carry both of us to a limo and we drove to the top of a hill and to an estate called “The Top of The World.” SEVERAL THUGS COME INTO THE ROOM AND GESTURE THEY’RE THERE TO DO WHAT ROVERY WANTS. ROVERY TELLS THEM: “Take that boat,” POINTS TO A SPEED BOAT OUTSIDE IN THE WATER “and take this collar” HE HANDS ONE OF THEM MARIGOLD’S COLLAR. “And go north to San Francisco. When you’re near the Golden Gate Bridge use this device” HANDS IT TO THEM. “to turn it on again and then one of you go get on the bridge and drop this collar off the side of the bridge. Now go!” HE TURNS TO MARIGOLD: “Now, how did you get away from Julian?” “After he introduced me to his mother he put me back in the limo with Nathan and then he and the hulk and the driver went and started worshipping Julian’s mother who was on an alter.” “How did you see all this?” “Just out the front windshield of the limo.” “Continue.” “I got freaked out by it so I lowered the window in the back of the limo and Nathan and I climbed out and over the gate and ran to the highway and hitchhiked and Luis picked us up.”

CUT TO: CROCKER CASTLE AND ROVERY ASKS: “Did you go back to Nathan’s home?” “No, Luis took me to his home.” “Did you spend the night?” “I fell asleep on his sofa. He took Nathan to his restaurant and then took me back to the bungalow the next morning.” “Luis is one of Julian’s colleagues. Marigold, you’re a very lucky woman, Julian and his friends are all Occultists, which explains the strange ritual you saw. I’ve saved you from a horrible fate as they were getting ready to sacrifice you on their alter in a sexual ritual.” MARIGOLD SHUDDERS. “I’m probably the only man on this planet who can save you from Julian and his master. By having my men throw Julian’s collar off the Bridge, Julian will likely think you’ve killed yourself and stop looking for you, but just in case he’s not fooled, we need to leave now.” “Where are we going?” “To my hideout, of course, where you’ll be safe from Julian.” MARIGOLD LEAVES WITH ROVERY AND MARC IS CARRIED BY A HENCHMAN.

CUT TO: ROVERY, MARIGOLD AND MARC ABOARD A HELICOPTER HEADING SOUTH ALONG THE PACIFIC OCEAN.

CUT TO: THE DRIVEWAY WITH THE GATE THAT READS “Top of the World” AND PAN TO THE OUTSIDE OF A GORGEOUS HOUSE ON THE ESTATE.

CUT TO: INSIDE THE ESTATE AND MAURICE IS AT THE WINDOW AND SEES THE HELICOPTER THAT MARIGOLD IS IN AS IT FLIES BY. HE GET’S A WEIRD FEELING THEN SHRUGS IT OFF. SEVERAL MEN COME RUSHING INTO THE ROOM AND EXCITEDLY REPORT TO JULIAN: “Marigold’s collar’s signaling that she’s in San Francisco near the Golden Gate Bridge.” “What!!! How’d she get there?” “Her collar stopped sending signals for a while and we were trying to fix it. JULIAN: “Get the hovercraft ready!”

CUT TO: A HIGH-TECH HOVERCRAFT THAT GOES 300 MPH ON WATER, IT’S BLACK AND JULIAN AND HIS MINIONS RACE TO THE GOLDEN GATE BRIDGE. WHEN THEY ARRIVE, JULIAN GIVES A MINION A SPECIAL MAGNETIC DEVICE AND HE HOLDS IT OVER WHERE THE SIGNAL’S COMING FROM. THEY’RE EXPECTING MARIGOLD’S BODY BUT ONLY THE COLLAR COMES UP TO THE DEVICE . THE MINION WRAPS IT IN A SPECIAL PACKAGE AND HANDS IT TO JULIAN.

CUT TO: JULIAN’S MINION’S CONTROL ROOM AS THE DATA’S BEEN GATHERED FROM MARIGOLD’S COLLAR AND A MINION SAYS: “It has two sets of prints, Marigold’s. I’ll find out whose the others are right away.” “Don’t bother, there’s only one man who would dare to steal what’s mine. JULIAN LOOKS OVER TO MAURICE AND LUIS MARTIN AND AT THE SAME TIME THEY ALL SAY: “Rovery.”

CUT TO: ROVERY AND MARIGOLD INSIDE OF A VOLCANO FORTRESS JUST AFTER THEY’VE LANDED STANDING OUTSIDE THE HELICOPTER. WE SEE A FAKE FACADE OF A VOLCANO’S TOP SLIDE ACROSS THE RIDGE OF THE VOLCANO HIDING THEM AND THE HELICOPTER.

~*~*~*~

THIS IS THE END OF THE FIRST PART OF THIS TRILOGY.

Copyrighted (2015-2018)

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