FADE IN: EXT. ESTANCIA -- DAY From high above, we see an enormous extension of pasture and well-groomed farmland, whose fields are full of young crops and herds grazing lazily. Emerging from the land is the main property, protected by dozens of tall eucalyptus trees that surround the impeccable buildings and shade their classical European architecture. At the Carmen family estancia, a gathering is underway. The best horsemen in Argentina have come for two days to demonstrate their talents in equestrian competitions. Yet the whole affair has a hidden purpose unseen by the simple glance; it is also a reunion of Argentina's wealthiest ranchers, who possess great influence in the politics and economy of the country. EXT. ESTANCIA GAZEBO -- DAY At a table various women and men eat lunch together in a climate of refinement and luxury. Four musicians in the nearby garden play soothing waltzes. EXT. ESTANCIA STABLES -- DAY Behind the barn at a large picnic-style table the HORSEMEN and FARMHANDS also enjoy a barbecue, but in a more simple fashion. A GUITARIST serenades the diners with folkloric music, singing a sad love song.
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IMAX/Paradise/Awafi - First Draft 4-24-00 page 2 EXT. RIACHUELO RIVER -- DAY An old, rusty boat fords the river laden with sand to the point where the water laps at the deck. EXT. STREET IN LA BOCA -- DAY With a mix of strong colors painted upon every ramshackle sheetmetal facade, picturesque La Boca is a poor but colorful neighborhood on the bank of the Riachuelo river. In the quiet streets one hears the sound of an accordion drifting from one of the buildings nearby, while an old lady sticks her head out of a sheetmetal house, and shakes a blanket in the air. Beneath her, two old men seated in chairs on the sidewalk chat happily. Across the street a sharpener files knives while conversing with two vendors who have parked their carts, full of fruits and vegetables, on the street. EXT. SAN TELMO PLAZA -- AFTERNOON It is a pleasant Spring afternoon, and the small plaza of San Telmo is crowded with VENDORS offering a variety of arts and crafts, flowers, and food to the PEOPLE shopping. The improvised, simple stands are surrounded by vending carts and carriages parked in the street. Superimposed: "BUENOS AIRES, EARLY 1900'S" Among the crowd are three elegant women. LETICIA, an only child, 26 years old, with delicate features and nice character; CARMELA, her mother, 52 years old, small, stout yet very elegant; and ANA, her friend, 28 years old, also beautiful, but less innocent in character; and behind them the DRIVER, a 62 year-old, dark-skinned mestizo that looks after and accompanies them, carrying the bags of purchases. Leticia separates from the group and crosses the plaza to a stand that sells exotic fruits. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 3 She smells some mangos while a BLACK WOMAN attends to her, and suddenly catches wind of music filtering out of a nearby house. Capturing her attention, she follows the music a few steps to a bar that is closed. She strains to hear if this is where the fascinating melody is coming from. The sign hanging under a light in front reads Bar de Las Copas. She softly takes the doorknob, applies a bit of force, and enters. INT. BAR DE LAS COPAS, SALON -- AFTERNOON Leticia quietly slips in, following the music through the salon to a courtyard. The WAITRESS, a young mestizo woman, mops the floor while the PROPRIETOR, a crude and stout but sympathetic man, comes running and shuts the salon door behind Leticia, trying to keep the prohibited music from escaping. INT. TANGO COURTYARD, DANCE FLOOR -- AFTERNOON Hypnotized, Leticia enters the courtyard where an orchestra prepares for a performance. The musicians, dressed in street clothes, are rehearsing their set. She sits down in a chair while listening to the fascinating rhythm of the tango, and the BANDLEADER nods to her respectfully without breaking rhythm on his accordion. Leticia is completely submerged in the melody when a hand reaches in, takes her arm and pulls her outside; it is her mother. On their way out, Carmela turns back and gives a respectful salutation to the proprietor. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 4 EXT. BAR DE LAS COPAS, IN FRONT -- AFTERNOON Once in the street, her mother reprimands her while Leticia moans--she wants to hear more music; nevertheless, the elder drags her off to the carriage, parked nearby and waiting. As they climb in, Carmela gives the driver the signal to go. At that moment, a modern motorized vehicle pulls out in front of them, causing the horses to startle and jump. Caught off guard, he driver drops the reins and falls out of the carriage, and the carriage begins to speed down the road, almost trampling JULIAN, a 28 year-old, simple yet handsome man dressed in the humble clothes of a dock worker. He dives out of the way just before the assault of the carriage, as the women scream in despair. Upon seeing the women in danger, he quickly jumps to his feet and jumps onto the back of the carriage. From there he climbs across the roof and to the horses still running out of control, now on a dirt road. He tries to take the reins, but they have fallen and are dragging along the ground. He looks back up to see that the carriage is careening straight for the river. He jumps between the horses and grabs the yoke, but in the maneuver his body falls and his feet drag along the ground. He repositions himself, and in one great effort, he propels himself onto the back of one of the horses and reins them in, just before they spill off the bank and into the river. The driver comes running down the hill, and he thanks Julian while he makes sure the women are unharmed. The mother is completely out of sorts, and Ana attends to her. Leticia appears in the window of the carriage and thanks the young man. Julian returns the gesture, shakes of his clothes, and begins to walk back to the plaza. The driver gives a snap of the reins, and Leticia continues to watch Julian as the carriage pulls away. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 5 EXT. POLO GROUNDS, FIELD -- DAY The beautiful green field with trees in the distance is suddenly interrupted when two POLO PLAYERS pass at full speed trying to hit the ball with their mallets. Another player intercepts the pass, and in a swift manoeuvre he hits it under the arc, scoring a goal. EXT. POLO GROUNDS, STANDS -- DAY In the elegant stands, underneath an awning, various well-dressed WOMEN celebrate the goal. In the middle of the group Leticia and Ana stand out. EXT. POLO GROUNDS, FIELD -- DAY They begin the game again, the players riding quickly and swinging the wooden mallets at the white ball, trying to reach the goal. EXT. POLO GROUNDS, STANDS -- DAY A score by the other team is celebrated in the opposing stands, also full of young women dressed elegantly. EXT. POLO GROUNDS, FIELD -- DAY The game continues in a close battle, until the referee indicates that time has run out and the team from Estancia Carmen has won. EXT. OPEN AIR TENT -- DAY In a great white tent set up next to the polo field, waiters carry tray of hors d'oeurves to the tables. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 6 Players mix with the women and other people of high society in an elegant and festive atmosphere. Leticia is accompanied by her suitor, polo player PIERRE. Older, crude, but a millionaire, he holds her by the waist, creating a contrast of her clean dress, and the dirty, sweaty uniform of a player. EXT. ESTANCIA -- NIGHT The imposing building and gardens of Estancia Carmen are illuminated in the darkness. Carriages and motorized vehicles begin to arrive at the gathering, and the servants help the guests into the house. INT. ESTANCIA, HALL -- NIGHT Leticia, with her father Don PEDRO Domira, an elegant and imposing gentlemen, and his wife Carmela receive the guests who then pass into the main room. INT. ESTANCIA, MAIN ROOM -- NIGHT The room is full of distinguished guests drinking champagne and eating hor d'oeurves, all dressed in a sophisticated European style. Pierre sits conversing with FACUNDO, a young, delicate man of high society that has a close friendship with Leticia's wealthy suitor. INT. ESTANCIA, MAIN ROOM -- NIGHT The professional orchestra interpret the waltz "Blue Danube", while couples dance with great harmony and precision. Among them are Leticia and Pierre. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 7 EXT. ISLA MACIEL BARRIO, TENEMENT HOUSE -- NIGHT In the cold night, an old wagon pulled by two horses appears in the street. It is driven by a lively OLD MAN dressed in humble attire. When he arrives at the door of the sheet metal tenemant house he stops, and from the rear jumps Julian, who salutes the man with a wave of the hand and enters the tenement house. INT. TENEMENT HOUSE -- NIGHT Lit only by the moon, Julian crosses a courtyard scattered with poor people, and enters in one of the doors of the building. INT. JULIAN'S ROOM -- NIGHT The room is simple and rudimentary, with a cot, a kerosene stove, some pots, and drying laundry. He goes to the wood burning stove, places paper and firewood inside, and lights a fire. From an improvised shelf he gathers all necessary to prepare a cup of traditional mate tea. He prepares all, and while waiting for the water to boil, straightens his room. The kettle begins to steam, and he pours a hot cup of mate, and sits down to enjoy it. EXT. LA BOCA BRIDGE -- MORNING The enormous bridge to La Boca is a grand structure of black steel that marks the vigorous progress of the city of Buenos Aires. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 8 EXT. PORT -- DAY Below flows the Riachuelo river where the ferry carries men, women and children to and from the other bank. Julian is on the docks loading bags onto a ship with the other LONGSHOREMEN, who all work under the supervision of the FOREMAN. The physical effort is demanding, and the longshoremen work with the SAILORS to complete the exhausting task. EXT. TIGRE DELTA -- DAY The small estuaries that shoot off the enormous Lujan river are full of small boats, in which members of the high society row and relax. Others drink tea in gazebos on the green lawns of luxurious houses, all surrounded by beautiful vegetation. Leticia and Pierre are in a small craft, floating down a tributary of the Tigre delta. As he rows, she holds a parasol to protect her from the sun, and is dressed in her usual elegance. She also has her usual attitude of uncomfortable happiness. The two drift in silence and greet the other couples that pass in boats, also enjoying the ride. EXT. PORT -- DUSK Julian shows signs of being exhausted while loading a sack from the boat onto his shoulders. As he turns to leave the deck the bell rings that signals the end of the work day. Soon all have stopped working, and they gather in a spot to drink mate and eat cookies to recuperate energy. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 9 EXT. ESTANCIA -- DUSK In contrast to the simplicity of the dock workers, the gazebo in which Leticia drinks tea with her friend Ana is an example of European high style. The elegant women are engaged in conversation when the SERVANT GIRL arrives to serve the tea. She sets it down on a table covered in a table cloth, fine china, delicious sweets and fruits. When the servant leaves, the young women go back to their animated conversation, and Leticia's face beams with a joy uncommon to her. INT. JULIAN'S ROOM -- NIGHT In the plain, poorly illuminated room, Julian is shaving in a corner, pausing occasionally to sip his mate. When the fire weakens, he tosses on a few more pieces of wood and stirs the stew cooking in a pot dented and black with soot. EXT. BAR DE SAN TELMO -- NIGHT A car passes on the paved street while the PROPREITOR of Bar de Las Copas is lighting the lamps out front. He opens the door, and the first regulars begin filtering in. EXT. TENEMENT COURTYARD -- NIGHT Julian leaves his room, adjusting his hat as he passes through the walkway that leads to the courtyard where two OLD MEN are chatting, and a dog sleeps with a cat. Julian greets the old men and gives them a packet of mate herbs, for which they express much gratitude. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 10 INT. ESTANCIA LAWN -- NIGHT Two silhouettes cross the lawn in the direction of the stables, illuminated only by the light of the moon. EXT. ESTANCIA STABLE -- NIGHT With extreme precaution they enter the stable. Leticia picks out a harness while Ana opens the small door that leads to the horses. Skillfully they prepare a horse for a journey, hooking him up to a small carriage. EXT. ESTANCIA DRIVEWAY -- NIGHT Leticia drives the carriage very slowly up to the main entrance of the Estancia. Ana jumps down and opens the gate, the carriage passes through, and she closes it behind them. EXT. STEEP STREET, SAN TELMO -- NIGHT Julian walks up a steep street in San Telmo, humming a tango. He reaches the corner by Bar de las Copas, where the ORGAN GRINDER, an old, funny man; and PEPE, his small, hyperactive monkey; see him. Excited to see his friend, Pepe does a few flips when Julian approaches, and then jumps on his shoulder. Painstakingly Julian succeeds in removing the monkey from his body, while everyone around watches, admiring the scene. INT. TANGO PATIO, STAGE -- NIGHT The MUSICIANS climb on stage and begin to settle into their places. The Bandleader opens his accordion case, another raises the lid of the piano. The lights come on and the stage becomes more visible. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 11 Alone at a table, an old man has his first glass of gin. INT. BAR DE LAS COPAS -- NIGHT The regulars arrive like clockwork. The bartender serves them drinks at the bar where they gather, hoping that the night eases their pains and lightens their hearts. INT. BAR DE LAS COPAS, SALON -- NIGHT Julian enters the salon and various friends greet him. He takes a seat at the bar and is served a shot of brandy. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT A carriage pulls up slowly and stops in the middle of the block, in the shadows. Leticia gets out and ties the horse to a palisade while Ana follows. Under the cover of night, they slowly, hesitantly make their way over to Bar de las Copas as LOCALS whistle at them from the street. INT. TANGO PATIO, STAGE -- NIGHT The patio is replete with regulars, and the stage is lit up with musicians and their instruments. The bandleader marks three beats and a tango begins. INT. TANGO PATIO, DANCE FLOOR -- NIGHT The first couple steps out on the dance floor, and begins to tango a bit timidly to the music. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 12 INT. BAR DE LAS COPAS, SALON -- NIGHT The music drifts into the salon, where rowdiness and melancholy are mixed in equal parts. Julian shoots the breeze with his friends, and the proprietor distributes his time between a smoking a cigarette and making drinks for his thirsty clients. INT. TANGO PATIO, DANCE FLOOR -- NIGHT The couples end the tango with the last notes of the orchestra; the audience applauds, which pleases the musicians. The Bandleader marks a new time and another tango begins. INT. BAR DE LAS COPAS, SALON -- NIGHT Two resplendent and beautiful women appear from the ladies' room. It is Leticia and Ana, dressed in tight, low-cut clothes contrary to those of their reserved high society. Julian is amusing his friends when he spots Leticia. He is suddenly struck speechless, gazing at her as she walks with her friend towards the tango patio. When they pass by, he tips his hat; she sees him and flashes a beautiful smile. INT. TANGO PATIO -- NIGHT The two women arrive at the patio and walk between the tables until they arrive at one that is unoccupied. Julian and other men follow them with their eyes, the latter letting out a few comments and whistles. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 13 INT. TANGO PATIO, STAGE -- NIGHT Julian walks over to the stage and approaches the bandleader, whispers something into his ear and walks back. The bandleader gives a nod and continues playing his accordion. The crowd continues to talk and drink, and the waiters continue to bring more drinks from the bar to the tables. The tango ends, applause rises, and the musicians show their appreciation while rearranging the sheet music and stretching their muscles. The murmurs of the crowd disappear as they begin another tango. INT. TANGO PATIO, DANCE FLOOR -- NIGHT Julian watches Leticia, who is enjoying the music with her friend. He makes a roundabout to arrive at her table, and invites her to dance. Leticia doesn't know how to tango and hesitates at the offer, but Ana encourages her, and after a brief moment of doubt she accepts. Julian takes her by the arm and leads her to the dance floor. After they leave, a friend of Julian does the same with Ana. INT. TANGO PATIO, DANCE FLOOR -- NIGHT On the dance floor Julian takes hold of Leticia firmly and begins to lead her slowly, showing her the steps of tango. She is a wonderful dancer, and doesn't take long to learn how to move to this marvelous music. The orchestra plays the tango with vibrant energy, and the couples dancing match the intensity of the music. When the song ends, applause rises once again, and the couples make their way back to their tables. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 14 Now there are four seated at Leticia's table enjoying the Buenos Aires night. From behind a column, Facundo, the young friend of Pierre, spots the table, does a doubletake, and verifies that the beautiful woman he sees is none other than Leticia. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT The tranquil residential streets are suddenly filled with commotion when a police car screeches in and stops in front of Bar de las Copas. An OFFICER and three AGENTS jump out before the car has come to a complete stop, and they surround the door. INT. BAR DE LAS COPAS, STAGE -- NIGHT The orchestra stops the song abruptly, and the musicians disappear behind the stage with their instruments except for the pianist, who hides the prohobited tango sheet music and begins to play a waltz from memory. INT. TANGO PATIO, DANCE FLOOR -- NIGHT With quick reflexes, Julian and his friend steer the frightened women to an exit in the rear of the patio, escaping the commotion of the police raid. EXT. STREETS OF SAN TELMO -- NIGHT Swiftly, Julian leads Leticia by the hand through the street with Ana and his friend behind. Leticia points out the palisade where her carriage is tied up. Julian runs over, unties it, and brings it over to where they are waiting in the shadows. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 15 First he helps Leticia up, who takes the reins, and then Ana, while we continue to hear the disturbance of the police busting the bar. Leticia gives Julian a deep glance that he returns, and with a snap the horses begin to gallop through the streets of San Telmo. EXT. ESTANCIA -- NOCHE There is a big party at the Estancia, and as always the atmosphere is pleasant and luxurious. The guests fill the grand rooms in an extensive gathering, accompanied by fine drinks and sophisticated delicacies. Near a window Leticia talks with a group of GUESTS, while the servants circulate with trays and the maids maintain cleanliness, carrying used cups and plates to the kitchen. In another part of the house, seated on comfortable couches, various men also talk amiably. Among them are Leticia's father and her suitor Pierre. Facundo calmly approaches and gives a subtle signal to Pierre, who pardons himself, and the two walk out in the direction of the garden. EXT. HIPPODROME -- DAY The sunny day is perfect for an horseracing and its fans, and the Palermo Hippodrome in all its splendor is replete with a PUBLIC that fills up the stands. EXT. STARTING LINE -- DAY They make the final preparations to the horses, and the riders file up to the in the starting line. A powerful voice announces the race, and after a few moments, the third race of the day begins. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 16 The race is even at the start, and gradually three horses begin to separate from the pack. EXT. HIPPODROME STANDS -- DAY The public shouts with fervor and without distinction of class, each one pulling for his or her favorite horse. A sea of binoculars focus on the distant curve to see who will emerge from the pack to cross the finish line first. EXT. BOX SEATS -- DAY An array of elegant people accompanied by constant servile attention, the members high society follow the race from the box seats with no less emotion. Among them are Leticia and Pierre and their friends. EXT. RACETRACK -- DAY The horses run at great speed and the jockeys tuck down on their backs, trying to offer the least resistance. EXT. HIPPODROME STANDS -- DAY Below in the regular seats, Julians yells enthusiastically for his horse along with his friends. EXT. BOX SEATS -- DAY Through his binoculars, Pierre watches each meter of the race with enraptured attention. Leticia, on the other hand, is pensive; her gaze soon drifts and wanders over the multitude, and happens upon Julian, still cheering for his favorite. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 17 She watches him with close attention, happy to see this stranger who a few nights before held her in his arms. EXT. RACETRACK -- DAY The horses approach the finish line, and two are head to head. The roar of the crowd brings more emotion to the race. Over the loudspeaker a voice announces that horse number five has won. EXT. HIPPODROME, STANDS -- DAY Julian gives a leap of joy and hugs his companions. EXT. HIPPODROME, BOX SEATS -- DAY Leticia watches with a smile while Pierre and his friends tear their tickets in frustration. INT. BAR DE LAS COPAS -- NIGHT The regulars are inside repeating their ritual, like every night, of tango, drinks, women and friends. The two curious new visitors enter with a bit of reserve, watched over carefully by the attentive eye of the proprietor. Julian is at the bar surrounded by various empty glasses, looking impatient, continually checking over his shoulder at the door. There is no doubt he has his eye out for Leticia. In his bleakest moment she appears, more splendid than the first night; he is again struck mute by her presence. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 18 EXT. TANGO PATIO -- NIGHT The two women enter the popular patio, while a SINGER interpreters a tango before the curiosity of all those present, because it is the first time this tango has been sung. Julian walks with Leticia over to the most remote table, and they sit down together. Both are happy, but it is a happiness contained, respectful. INT. TANGO PATIO, DANCE FLOOR -- NIGHT When the singer finishes, the crowd applauds furiously and the orchestra returns to continue with their numbers. They begin a tango and various couples anxious to dance take to the floor within the first few measures. More comfortable and attentive to one another, Julian and Leticia get up to dance, and soon the magic of the new urban music empowers them. INT. BAR DE SAN TELMO, SALON -- NIGHT From a place where Leticia can't see him, Facundo carefully observes, confirms that it is in fact her, and turns to leave. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT In the street BYSTANDERS listen to the tango drifting through an open window, and the organ grinder takes a glass of wine that the bartender hands out the window. Facundo nervously walks out of the bar and past the bystanders. EXT. STREETS OF SAN TELMO -- NIGHT Facundo runs through the darkened streets of San Telmo to his horse. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 19 Nervously he unties it and takes off at full gallop, disappearing into the darkness. INT. TANGO PATIO, STAGE -- NIGHT The musicians, as always, put all there effort into interpreting each note of a lively tango, while some couples rest at the surrounding tables, drinking beers, strong brandy, and bubbly champagne. INT. TANGO PATIO, DANCE FLOOR -- NIGHT Julian and Leticia sit very close at a dimly lit table in a corner and continue to enjoy one another's company without a thought to the surrounding world. INT. BAR DE LAS COPAS, IN FRONT -- NIGHT The organ grinder on the corner is preparing to play another number when two horsemen ride up the steep street at top speed. He gives an order to Pepe and the monkey runs off at top speed, half on the ground, half in the air. EXT. BAR DE LAS COPAS, SALON -- NIGHT Pepe flies in the bar window and jumps on the counter, shrieking in alarm. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT The two horsemen arrive at the door of the bar, and Pierre quickly dismounts his steed. Pierre ducks inside while Facundo takes charge of tying up the horses to a nearby palisade. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 20 INT. BAR DE LAS COPAS, SALON -- NIGHT The place is in full swing when Pierre blows in like a tornado. He begins to search the crowded room, and the proprietor follows him with a watchful eye. INT. TANGO PATIO -- NIGHT He arrives at the dance floor, where the orchestra has just finished a set, and is taking an intermission. The musicians set down their instruments to have a drink while talking to regulars milling around the stage. Pierre looks for Leticia among those present, checking every corner, every face. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT After a while he leaves the bar completely mystified, and Facundo follows, disconcerted. Pierre unties his horse and takes off at full gallop, leaving his friend behind. EXT. ESTANCIA, DRIVEWAY -- NIGHT The gate of the estancia is closed, and Pierre laughs silently in the placid night. Swiftly, he backs his steed and jumps the gate and rides across the extensive green to the main house, passing over a beautiful fountain and crushing flowerbeds. EXT. ESTANCIA, MAIN BUILDING -- NIGHT He pulls up under a high window, jumps from his horse and using the vines that grow on the wall begins to climb up to Leticia's room. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 21 INT. ESTANCIA, LETICIA'S ROOM -- NIGHT In the light of the moon that illuminates the room, Pierre takes a good look at Leticia asleep in her bed. He remains quiet, observing the room. All is in order. In silence he leaves the room. After a moment she opens her eyes, looks around and gets up. She is still dressed as she was in the Bar de las Copas that night. She peaks out the window and sees her suitor riding his horse towards the gate. EXT. CHURCH -- DAY The church is full of the faithful observing mass. Sitting neatly in the pews they listen with devotion to the chorus, accompanied by an enormous organ, while the PRIEST gives the sacraments. EXT. TOWN PARISH -- DAY The courtyard of the parish begins to fill with the parishioners leaving mass. Here all is prepared for a traditional carnival-style festival, where children and adults work together to raise money for the church. Leticia walks arm in arm with Pierre, and near them their parents with other friends. The carnival games begin with those ready to demonstrate their abilities. At various places vendors sell churros with hot chocolate, empanadas, red wine, and bowls of steaming stew. Pierre, always attempting to show his superiority, approaches a stand where by throwing knives one must pop balloons mounted to a board. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 22 He pays the money to play and takes the three knives. He makes sure that the majority of people are watching him as he tries to find the point of balance on one of the blades. He takes position, and with a sure hit pops a balloon, another, and finally a third, the entourage applauds while Leticia again offers one of her many forced smiles. As they walk, she runs into Ana, and they excuse themselves from Pierre and his friends, who are discussing ad nauseam the dexterity that he demonstrated. In another section of the carnival shouts intensify as the sack race finishes. EXT. PORT -- DAY The steep loading dock stairs seems eternal to Julian, who climbs it with a heavy load on his shoulders. He appears tired but doesn't let up, carrying on in his usual good humor as always. His image is out of context among the thick and brawny longshoremen. He doesn't belong here, but in some strange fate, here he is, carrying loads. EXT. ESTANCIA GAZEBO -- EVENING Dusk provides an pleasant temperature for the family sitting in the gazebo. The maids serve pre-dinner drinks. Leticia approaches to the table and sits next to Pierre, who offers her a seat. Pierre takes a small case out of his bag, in evident complicity with his parents, who smile in anticipation. Leticia's expression shows that she predicts what is happening. Ceremoniously, Pierre opens the case and reveals two commitment rings, and a third with a brilliant precious stone. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 23 Everyone smiles in pleasure, while Leticia delays in reacting until she finally begins to cry, covering her face with her hands, and Pierre gives her a kiss. It is unclear whether she cries in joy or sadness. The father uncovers a bucket containing an expensive bottle of champagne. He opens it and begins to fill the glasses, as she dries her tears with a handkerchief, and forces a weak smile. EXT. ESTANCIA, GAZEBO -- NIGHT Now it is dark and the engagement party has wrapped up. Don Pedro and Pierre are in the gazebo still enjoying the French champagne and hot coffee. INT. ESTANCIA, KITCHEN -- NIGHT Leticia is drinking a cup of tea with her mother, while the maids finish cleaning the kitchen. She looks at her watch and peeks out the window at the gazebo anxiously. EXT. ESTANCIA, GAZEBO -- NIGHT Pierre continues to talk amiably with her father, who calls the servant girl and asks for another bottle of champagne. She knows now that Pierre has stayed to control her, and she looks again at the clock. INT. BAR DE LAS COPAS, SALON -- NIGHT Julian also is looking at a clock, and concludes that she is not coming tonight. He goes back to his drink, trying to enjoy the night, and from the bar he watches the couples dance in the warm Buenos Aires night. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 24 The orchestra plays their last tango, and when they finish, the locals begin to retire for the night. After a while, only Julian remains with the proprietor, who offers him his last pint. Silence now reigns in Bar de las Copas. EXT. SAN TELMO PLAZA -- NIGHT Julian walks alone through the deserted streets of San Telmo as a cat watches him from an adobe wall and dogs bark in the distance. He quickens his steps and is lost in the darkness, going down a cobblestone street. EXT. SAN TELMO PLAZA -- DAY On the same street but now in the day, Pierre drives the carriage from the estancia, with Leticia at his side, going up the cobblestones to San Telmo Plaza, and arriving at the palisade in front of Bar de las Copas. He ties up the horses, constantly watching Leticia's reactions. She is silent still as she crosses the street with her suitor, passing in front of Bar de las Copas, which is closed during the day. Without stopping his music, the organ grinder tips his hat as they walk by. But Pepe the monkey begins to scream and do flips, completely disturbed. Pierre looks at the monkey and continues walking with his fiancee on his arm. They stroll around the plaza, crowded as always with shoppers and vendors, and enter a furniture shop. EXT. STREET OF SAN TELMO -- DAY Julian exits a shop carrying a bag of purchases. He walks quickly, greeting a few vendors on his way. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 25 He stops to examine some stained glass work, chats for a moment with a wicker artisan, and returns to his walk. When he approaches the corner, while waving to an acquaintance he runs into someone and his bag falls to the ground. He sees that it is Pierre with Leticia on his arm, and he crouches down to pick up his things. Instinctively she tries to stoop down to help him, but Pierre stops her and taking her arm, continues walking undaunted by the collision. She watches from the corner of her eye as Julian picks up his belongings and flashes her a smile. EXT. ESTANCIA, EQUESTRIAN FIELD -- DUSK It is the same field as the polo match, but now converted to an equestrian field with jumps and hurdles. The place sustains the same meticulousness, and the white tent has again been erected to shelter the participants and guests. All are attentively watching the field, where a white horse, ridden by an able horseman, makes the jumps impeccably. The other riders don't show the same precision, and knock down poles as they jump the fences. After a completing a circuit of jumps and obstacles the skilled rider arrives at the edge of the field, received by the applause of all. Jumping from her horse, we see that the rider is Leticia. INT. ESTANCIA, MAIN ROOM -- NIGHT Leticia and Pierre are seated with her parents and two COUPLES, of the parent's age. Don Pedro conducts the men to the library to smoke cigars while the women continue talking animatedly. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 26 Leticia excuses herself to go to the kitchen and looks at the clock without pretense; again it has gotten late. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT Julian walks out the door and looks up at the starry night, takes a few steps and sits down on the curb as locals circulate behind him, trying to make deals with a prostitute. Before he can react, Pepe runs up and climbs onto on his head. The familiar predicament momentarily relieves his sadness, and he smiles for a moment. But Leticia hasn't showed up yet another night. EXT. ISLA MACIEL BARRIO, TENEMENT HOUSE -- DAY The old man's wagon waits in the street, and soon Julian comes out of the building, jumps up on the front and takes a seat next to the driver. With a shake of the reins the wagon begins to roll through the streets of the poor barrio. EXT. CHURCH -- DAY It is a simple church, behind which stands a large house which serves as a refuge for children seeking shelter. When the wagon arrives the children are just leaving mass, and they come to greet Julian and the old man. EXT. CHURCH COURTYARD -- DAY A large Argentinean barbecue is in progress at the hand of the COOKS, who are broiling the meat on a large bed of coals. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 27 EXT. CHURCH BACKYARD -- DAY Behind the church another building is being constructed by a group of volunteers, among whom is Julian, carrying bricks, making a cement mix, and forming one of the main walls built by the power of all. EXT. CHURCH COURTYARD -- DAY The PRIEST rings a bell and all stop their work; the barbecue is ready. The simple tables begin to fill up with hungry volunteers who shake off their dirty clothes and wash their hands in the nearby fountain. EXT. PATH -- NIGHT A horse runs at full speed along the dusty dirt roads. It is impossible to distinguish the horseman, wrapped in a black poncho, in the dark night. EXT. SAN TELMO STREET -- NIGHT The rider ascends the steep San Telmo street, stops in the middle of a block, jumps down, and ties up the horse between two bushes. INT. SAN TELMO BAR -- NIGHT Only when the rider enters Bar de las Copas can we see the face: it is Leticia, radiant and happy. She immediately heads for the ladies' room. INT. TANGO COURTYARD -- NIGHT She emerges, looking as beautiful as ever, and begins to look for Julian among the multitude of people having fun and ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 28 dancing without rest. She goes to their regular table and he is not there. Suddenly, she spots him from behind and goes to him. She taps his shoulder, but when the man turns around he's revealed to be another person. INT. BAR DE LAS COPAS -- NIGHT She searches all the faces until she bumps against the proprietor who, watching her search, signals negatively with a shake of his head. She takes a seat at the bar to wait, and the bartender serves her a refreshment. She returns the glass of soda, and asks for a shot of brandy. So he serves her the strong liquor and she downs it without flinching. Time passes and Julian still doesn't show up. EXT. SAN TELMO STREET -- NIGHT Back in her black poncho, Leticia walks to her horse and unties him to go home. At the moment she's about to mount, someone takes her by the waist. She turns around and sees Julian smiling. She throws herself into his arms and they melt in a passionate kiss. EXT. BAR DE LAS COPAS -- NIGHT Arm in arm, they make there way through the crowd to the patio, while the bartender raises his arm to say hello to Julian. INT. TANGO PATIO -- NIGHT The orchestra is on a break, the bandleader walks past the couple and greets them warmly. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 29 They seat themselves at the most removed table to exchange gazes and kisses, without worrying about those around them. The orchestra returns to the stage, and after a moment they begin a new tango. Soon the two lovers are on the dance floor, moving among the many couples. EXT. STREETS OF SAN TELMO -- NIGHT The organ grinder is packing up his instrument and fastening Pepe the monkey to his chain. The night is over, and he is on his way home. Two prostitutes stroll by, chatting. A figure wrapped in a poncho makes his way to Bar de las Copas. EXT. BAR DE LAS COPAS, IN FRONT -- NIGHT The figure stops at the entrance and looks around. When he turns, we see that it is Pierre. He enters the bar with an air of determination, throwing off his poncho to reveal a shining gaucho's jackknife tucked in his belt. INT. TANGO COURTYARD, DANCE FLOOR -- NIGHT As the song ends, the couples make their way back to the tables. In the middle of the dance floor remains only Julian and Leticia, lost in a passionate kiss. At the moment that Pierre appears in the courtyard, he sees them and kicks a chair out of his path. Leticia is struck speechless with fear, and Julian shields her with his body, while Pierre continues approaching with fury in his eyes and the knife behind his back. The stout proprietor bounds in from the salon and with unexpected agility comes between them, forcing them to take their fight to the street. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 30 EXT. STREET OF SAN TELMO -- NIGHT Two defiant and ill-matched figures are in the middle of the street, poorly lit by a streetlamp. The corpulent Pierre is bigger than Julian, who now has a knife in his right hand. Leticia screams but can't go near the men because she's being held back by the bartender. The group is composed of two prostitutes, Facundo, and three men who have had too much to drink. Pierre, in a rage, is the first to take a swipe, but Julian uses his agility to dodge the blade. He tries a number of times, but is only able to scratch him at best. Pierre is very dexterous with a knife, and Julian notices. After a misguided jab by Pierre, Julian manages to cut his side, and in his surprise Pierre loses his knife, putting his life at the mercy of his opponent. But Julian is a man of principles, and he kicks the knife back to him. Cautiously, Pierre bends down to pick it up without breaking eye contact with his opponent. Now both are in pain caused by reciprocal wounds. In his next attack, Julian steps on a loose cobblestone and stumbles. Pierre takes the opportunity to plant a tremendous stab to his abdomen, and Julian falls to the ground, writhing in pain. Leticia screams with all her might and, loosening herself from the grip of the proprietor, flings herself over Julian and holds him as she cries inconsolably. Pierre approaches and picks her up with a swift movement. He carries her to the carriage, slowed down by her resistance. Once inside, he slams the door and gives the signal to the driver to start. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 31 Julian remains stretched out on the street, in the night. The police and other onlookers arrive. EXT. CONVENT -- DAY It is a dark, rainy day that scarcely allows us to see the austere building of the convent surrounded by ample grounds. INT. CONVENT -- DAY The hallways are deserted, and from one room we hear voices mixed with the thunder. In the interior courtyard, under a large tree whose leaves serve as an umbrella, sits Leticia on a simple bench, humbly dressed. Her face is not the same; it is sad, inexpressive. After a moment, a small smile appears on her face. She is dreaming of something. INT. LUXURIOUS BALLROOM -- NIGHT It is an enormous ballroom with shining floors and grand chandeliers. To one side, an orchestra made up of the same musicians from Bar de las Copas, but well-dressed and with luxurious instruments, plays a tango. The dance floor is empty, but soon two figures step in and begin to tango. It is Leticia, more beautiful and radiant than ever in a brilliant dress, and holding her by the waist is Julian, dressed in an impeccable smoking jacket, also aglow with happiness. Both dance with an intensity never imagined in the most extraordinary of all tangos, until the melody finalizes and they disappear. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 32 INT. CONVENT -- DAY A flash of lightning followed by a powerful clap of thunder brings her back to reality in the same moment that a NUN approaches to bring her inside; the storm is growing stronger. Leticia responds with a thin, polite smile as the nun takes her arm and together they walk inside. EXT. ISLA MACIEL BARRIO -- DAY The rain falls like a heavy curtain over the barrio, while a woman walks down with an umbrella to a carriage that without a doubt does not belong in this neighborhood of poor families. The woman walks carefully, trying to avoid the puddles, and finally enters the sheet metal building. EXT. ISLA MACIEL, TENEMENT HOUSE -- DAY She walks down the long walkway and encounters the old men drinking mate under an improvised roof. They greet her formally, tipping their hats, and in return she shows them a piece of paper, and the men point to a small shack. She goes to the shack, knocks and enters. EXT. ESTANCIA STABLES, IN FRONT -- DAY The storm has moved over the Estancia Carmen as well, and the same carriage enters and goes directly toward the stables. Two figures get out of the carriage under the enormous eave of the stable, and Leticia's mother receives them. INT. ESTANCIA STABLE -- DAY Someone--we don't know who--prepares Leticia's horse, placing the saddle for a long trip. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 33 Carmela places the lunch bucket in the saddlebag and puts a large cloak for the rain over the rider, whose identity is still impossible to discern. EXT. LA PAMPA, DIRT ROAD -- DAY It is a sunny day, and the rider with the white horse gallops at full speed through the immense, green meadows of the damp prairie. It is a beautiful landscape--solitary, fertile, and extensive. EXT. CONVENT -- DAY The sun shines, the sky is clear blue, and the green of the lawn is greener still after the storm. The monks sow land for every imaginable. The land is replete with vegetables, medicinal plants, animal herds, and an enormous grove of citric fruits. Among the orange trees we is Leticia, in her humble clothes, picking fruit and filling her basket. The bell rings for lunch and she leaves in the direction of the house, carrying her yield. When she is about to enter the building she hears the neigh of a horse and stops. She goes to the other side and finds her white horse, without a saddle, tied to a nearby tree. She whistles and the horse shakes and whinnies when he recognizes the sound of his master. She walks to him with tears running down her cheeks, until she begins to run and embraces the animal, caressing its coat. Leticia initially thinks she is seeing an illusion come from between the trees, but the smile of Julian wipes away all her doubts and the pair embrace passionately. She touches his face, kisses him, and he returns her affection. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 34 But suddenly she stops, pulls up his shirt and sees the great wound now turned to a scar. He smiles and she returns to holding him. EXT. ESTANCIA LAWN -- DAY The Carmen Estancia is in its full glory for the wedding of its only child. The entire lawn has been decorated with bouquets of flowers and white tape, an alter raised in the middle of the grass, and elegant guests are gathered for the ceremony. The priest gives the final benediction and the lovers are now wed. Leticia in her beautiful bridal gown and Julian in an elegant tuxedo, as she saw him in her dreams, are a happy pair. On the benches to one side sits the family of Leticia and on the other all of Julian's friends, with handsome clothes and their humble demeanor as always. The party begins; fine drinks accompany a varied buffet of the most sophisticated delicacies. Unused to such opulence, Julian's friends especially enjoy the abundant banquet. Leticia and Julian walk around the area and all congratulate them with spontaneous and sincere affection. The musicians of Bar de las Copas, dressed in grand style, are set up around the gazebo while the couple of honor comes up to dance a waltz. All of the guests gather around, forming a large circle to watch the couple dance, and while Julian situates himself with Leticia in the center of the gazebo, he gives a signal to the bandleader. The latter reaches behind him and pulls out an accordion without anyone noticing. All of the high society is witnessing this rare event: a poor boy marrying the richest girl in the country. ----------------------------------------------------------------------------------------------------
IMAX/Paradise/Awafi - First Draft 4-24-00 page 35 They prepare to dance and begin...a tango! One of the most famous tangos: "El dia que me quieras," plays. They dance to the passionate melody to the astonishment of some and the delight of others, but the gritty urban music soon steals the hearts of everyone. In the middle of the song, we hear someone among the onlookers begin to sing a tango, and from the crowd appears CARLOS GARDEL, the most famous tango singer of all time, singing as he makes his way to the gazebo. When he arrives there he continues to sing while offering salutations to the couple. When he finishes the song all applaud, and in this way the tango was integrated into Argentinean society forever. In the large and influential estancia the party continues, while we withdraw to contemplate the landscape in all of its grandeur. Final titles and credits. FADE OUT.