INT. DARK ROOM. 1920'S. NIGHT

FADE IN

We can see the face of a boy. The boy is crying while is
holding someone with his arms, but we cannot see who. We
see everything from the perspective of the other person. We
can hear a girl breathing hard. Then we hear a voice, a
very sweet woman's voice as she is watching the boy, her
clothes over the floor, the blood. The image vanishes and
appears once and over again, till she closes her eyes
forever.

GIRL (V.O)
Dark. Everything is getting
darker. I think it doesn't matter
now. You are holding me, I ´m not
sure. I cannot feel. I cannot
feel the pain. It was hard, now
is gone. I cannot feel your arms.
I spent so many hours between
them. No regret. I just didn´t
listen, now is too late. Don´t
cry, my love. Don´t cry. Am I
speaking aloud? I don't feel my
lips.

GIRL (CONT'D)
Don´t cry, my love

The boy cannot stop crying

GIRL (CONT'D)
It´s not the end, never was. I´ll
find you, I promise.

BOY
I love you

Everything gets dark.

GIRL (V.O)
I love you. I love you. I love
you

FADE OUT:

BLACK SCREEN

Appears on the screen the following:

ADIOS, GOODBYE
4.




INT. LAURA´S APARTMENT. MADRID. SPAIN. DAY. PRESENT DAY

We can see Laura´s eyes. She is sleeping deeply. She opens
her eyes and suddenly she gets up.

LAURA
¡Joder!
(Fuck!)

The clock shows 7:30 in the morning

LAURA (CONT'D)
¡JODER! ¡JODER! ¡JODER! ¡Me he
quedado dormida! El avión.
(Fuck! Fuck! Fuck!. I overslept!
The plane!)

SUBTITLED

She dials in her cell phone a number

LAURA (CONT'D)
Si. ¿Hola? Si. Por favor, envíen
me un taxi a la calle Concha
Espina 84, lo antes posible. Es
urgente
(Yes, Hello? Yes, please, send me
a taxi to Concha Espina st 84, as
soon as possible, It is really
urgent)

TAXI COMPANY (V.O)
Lo siento, señora. Ninguno de
nuestros taxis pueden acceder a
su zona de residencia. Las calles
están cortadas a causa del
partido
(I'm sorry, ma'am. But today our
taxis cannot have Access to your
area. The streets are closed for
the match)

LAURA
¿QUÉ? ¿QUÉ PARTIDO? POR FAVOR, ES
URGENTE
(what? What match? Please, it is
really urgent!)

T C(V.O)
EL REAL MADRID CONTRA EL OSASUNA.
Lo siento, señora
5.

(Real Madrid vs Osasuna. I'm
sorry, ma'am)

Laura hungs up the phone

LAURA
Mierda, joder
(Fuck)

She gets inside the first baggy jeans and the first t-shirt
she sees over the floor. They need ironing. The room is a
completely mess, is full with drawings, notebooks and
clothes all over the floor. She looks at herself in the
mirror. Her hair is a mess, all her cloths smells tobacco
and alcohol.

LAURA (CONT'D)
Soy un puto desastre.
(I'm a fucking mess)

Laura begins to search something

LAURA (CONT'D)
Las maletas. coño
(The suitcases. fuck)

She is looking for the suitcases. She cannot find them.

LAURA (CONT'D)
¡¡¡Mamáaaaaa!!! ¡¡¡Mamáaaaa!!!

She screams as she runs all over the place

MOTHER
¿Qué? ¿Qué ha pasado?
(what? What happen?)

LAURA
Mamá, que pierdo el avión, y las
maletas y el taxi y …
(Mom, I'm gonna miss the
plane, and the
suitcases... and the
plane...)

MOTHER
ey, ey, respira. Dios, esto te
pasa por dejar las cosas a última
hora. Eres un puto desastre
(ey, ey, breath. God!
This happens because
you leave everything
for the last moment.
6.

You are a fucking a
mess!)

LAURA
Ya lo sé, gracias. Ahora, por
favor, dime algo constrictivo.
(I already know that.
Thank you. Now, please,
tell me something
useful)

MOTHER
Ay, pero que imbécil eres. Que ya
te he preparado las maletas,
tonta, y te he planchado la ropa
para que la lleves puesta, está
sobre la mesa. Así que cámbiate,
bébete el zumo que está en la
cocina y ahora vamos corriendo al
metro
(you are such a jackass.
I've already prepared
the suitcases, stupid.
You clothes are ironed
and hung on the door.
Go change and drink the
orange juice that is on
the kitchen's table.
Then we go to the
subway)

Laura can see the suitcases ready at the door. She laughs
and kisses her mother.

Laura drinks the juice. Her mother had prepared very sexy
but elegant clothes for the trip, with some high heel
shoes. Laura smiles.

She is waiting for the elevator.

LAURA
No hace falta que me acompañes
(You don't have to come
with me)

MOTHER
No seas estúpida. Te acompaño
hasta la estación
(Don't be stupid. I go
with you till the metro
station )



EXT. CONCHE ESPINA'S STREET. MADRID. SPAIN. DAY.

They run till the subway station with the suitcases. We can
see the city.
7.

The Santiago bernabeu, the street invaded with the little
shops selling souvenirs of the real Madrid. The people
walking.

LAURA
Bye, bye MADRID!



INT. SUBWAY. BARAJAS AIRPORT EXIT, TERMINAL 4.DAY.

Some scenes inside the subway. Laura with the music.
Climbing the stairs.

MATCH CUT TO:

They are finally at the exit of the subway, directly
connected with the Barajas airport. Laura is eally
sensitive by the fact of leaving her mother. She doesn't
want to cry so she is trying to hide it and get rid of her
mother as soon as possible.

LAURA
Bueno, mama…
(Well, mom...)

MOTHER
¿Pero por que te paras? Vamos
(Why are you stopping?
Let's go)

Laura breathes in.



INT. INSIDE TERMINAL 4. BARAJAS. DAY

Laura is walking ahead of her mother. As they climb the
stairs, Laura is losing control over her feelings and the
tears cover all her face.

Laura and Mother are on the passport control They have to
say goodbye.

LAURA
Bueno, ya sí que estamos aquí y…
(well, mom, here we are,
so...)

She starts to cry without control

MOTHER
No llores, que vas hacer que yo
también llore y me había
preparado para no hacerlo
(Don't cry, you are
going to make me cry as
well and I've been
preparing myself not
to.)
8.


LAURA
Pero..es que..mama
(But... is just... mama)

MOTHER
Ya lo sé cariño. Te quiero y te
voy a echar mucho de menos. ¿Con
quién voy a ir al cine ahora, eh?
(I know, hun. I love you
and I'm going to miss
you too. With whom am I
going to the cinema
now?)

LAURA (CRYING EVEN HARDER)
No..me digas eso..que
(No...don't say
that...I)

MOTHER
Laura, nena… que nos vamos a
volver a ver
(Laura, babe, that we
are going to see each
other again)

LAURA
Ya lo sé, pero… no puedo
evitarlo. Te quiero
(I know, but...I can't
help it. I love you)

MOTHER
Nena… Ahora estoy llorando yo
también. Las putas flores de bach
no sirven para nada
(baby...Now i'm crying
too. Fucking bach
flowers, they are
completely useless)

LAURA
Bueno, me tengo que ir ya…
(well, I gotta to go..)

MOTHER
Si…Llámame en cuanto llegues,
júramelo
(Yeah. Call me as soon
as you arrive there.
Swear it)

LAURA
Claro que te llamo. Te quiero
(Of course I'm going to
call you)
9.


MOTHER
Te quiero, nena
(I love you, babe)

Laura walks through immigration and she turns one last time
just to see her mother. Laura observes her ticket to know
which one is the departure gate.



INT. CHRISTIAN'S ROOM. OUTSIDE LITTLE ROCK. ARKANSAS. NIGHT

There is a bus ticket on the wall from little rock to New
York city. We can see his room. Over the floor there is a
backpack, and some sport bags. Everything is inside some
cartoon boxes: his books, etc… .There are lots of posters
in the wall of famous actors and theatre plays, like hamlet
or uncle Vania and musical groups like radiohead and broken
social scene. Along with the posters there are pictures of
him in different plays. Over the floor are pieces of
pictures. We can see the same girl in all of them

CHRISTIAN (V.0)
Hi. It's me. Don't worry, nothing
serious. I just call. I just call
to say THANK YOU. Everything is
ready, almost, and I've been
thinking, and that and I realize
that, well, I wouldn't be able
without you. Really, I wouldn't
be able without your coldness,
your selfishness but, I think
mostly for the fact you've been
fucking everyone, well,
everything with a penis in this
town. So, thank you. Really, I
appreciate it and this is a
goodbye, your goodbye. The final
one. Yes. I won't see you anymore
and I don't care at all. I do. I
mean, I don't, I really don't.
So, goodbye. And, well, I even
think I've matured at last, as
you always wanted. I'm a grown up
person now who accepts the things
of life with wisdom, a grown up
person who won't call you bitch,
That you are, a bitch, but I
won't say that because, I am a
mature person and ,actually, the
fact that you are a fucking bitch
doesn't bother me at all, which
is good. Really. SO, wish you the
best and goodbye. Goodbye, bitch.

CHRISTIAN (CONT'D)
That was good
10.


Christian hangs the phone. He collects his backpack,
switches off the lights and closes the door.



EXT. VILLAGE STREET. OUTSIDE LITTLE ROCK. ARKANSAS. NIGHT

Christian is walking in the town he spend his all life. He
walks fast with his backpack and his two bags on each side.



EXT. BUS TERMINAL. LITTLE ROCK, ARKANSAS, NIGHT

Christian arrives at the bus terminal. He looks at the sign
and breaths in



INT. BUS TERMINAL. LITTLE ROCK. ARKANSAS. NIGHT

Christian is inside a very old and creepy bus terminal.
There are some homeless sleeping on the benches. Some poor
people are waiting standing up for their respective buses,
but it is mostly empty, dirty and obscure. Christian goes
to the ticker office of GreyHound buses, inside which there
is an old man with a very sad face.

CHRISTIAN
Excuse me, sir, can you tell me
from which lane my bus is
leaving?

He handles the ticket to the officer.

TICKET OFFICER
New York, 11:20, from lane two

CHRISTIAN
Thank you

TICKET OFFICER
But, this ticket was for
yesterday's bus

CHRISTIAN
Sorry?

TICKET OFFICER
This ticket is not valid for
today

CHRISTIAN
What? No, I ordered two weeks ago
especially for today. There must
be a mistake
11.


TICKET OFFICER
Yes, there is, that you missed
yesterday's bus, that's the
mistake

CHRISTIAN
Well, can't you change it for
today's date?

T.O
Sorry, no changes not refunds

CHRISTIAN
What? but it was your mistake

T.O (CONT'D)
Maybe, but it is your obligation
to check the time and the
destination before you pay the
ticket. Now, goodnight and
goodbye

CHRISTIAN
WAIT! I have to go to New York,
today

T.O
Well, you can buy another ticket
CHRISTIAN
And how much would that be?

T.O (CONT'D)
187 DOLLARS

CHRISTIAN
What? Shit! Sorry, but I paid 120
dollars for the previous ticket

T.O
This is the price, son, you take
it or you just move your ass from
my window.

We can see CHRISTIAN'S face

CHRISTIAN
OK



EXT. HIGHWAY. OUTSIDE BUS TERMINAL. NIGHT

Christian is doing auto stop. No car stops.

CHRISTIAN
Fuck, shit, mother f…
12.


CHRISTIAN watches how the people are getting inside his
bus. Everybody looks so happy…The bus driver, a man in his
fifties is helping a young lady to put her bag in the
baggage compartment and its flirting with her. Christian
sees his shot. He gets inside the bus quickly, goes to the
back and hides. The bus driver starts the engine and the
bus starts to move. Christian smiles.



INT. TERMINAL 4. BARAJAS AIRPORT. DAY

We can see a sign indicating that takes 10 min to go to
gate G.

Laura checks the time.

LAURA
Joder
(FUCK!)

LAURA starts to run through the airport.

LAURA (CONT'D)
Por favor, Por favor, Dios. Haré
lo que sea. Me haré misionera, no
me tiraré a cualquiera que se me
cruce por delante, lo que
quieras, pero que no pierda el
avión, por favor.
(PLEASE. Please, God. I
will do everything. I
can be missionary, I
won't sleep with
everybody that walks in
front of me, whatever,I
swear,I promise but
don't let me miss the
plane)

Something vibrates in her pocket: The cell phone. She is
receiving a phone call.

LAURA (CONT'D)
JODER ¿Sí?
(fuck. Yes?)

PEDRO(V.O)
¿Amor?
(love?)

LAURA (WITH DISGUST)
¡Pedro! Oye, que no me pillas en
buen momento. Adiós, Pedro
(Pedro! Look, this is
certainly not a very
good moment. Bye,
Pedro)
13.


PEDRO (V.O)
Espera, peque, por favor. Que
simplemente era para despedirme
por última vez y desearte un buen
vuelo, YA QUE NO ME DEJASTE
ACOMPAÑARTE HASTA EL AEROPUERTO.
Cari, que no te voy a volver a
ver en un tiempo y…
(Wait, sweety, please. I
just want to say
goodbye for the last
time and wish you a
very good flight as you
didn't let me go with
you till the airport.
Sweetheart,love...I'm
not going to see you
again for a while
and...)

LAURA
Pedro, Pedro no me llores. Por el
amor de Dios, Pedro, no me hagas
esto ahora, que no es el momento,
en serio
(Pedro. Pedro, don't
cry, for God's sake.
Pedro, don't do this to
me now. This is not the
moment, seriously)

PEDRO
Es que, cari, te quiero mucho. No
soy como tú, que no suelta ni una
lágrima nunca, es que…¿no vas a
echar de menos a tu osito? ¿Qué
te de mimitos?¿nuestras noches
juntos?
(It's just...honey, I
love you so much. I'm
not like you,who never
shreds a tear, it's
just... aren't you
going to miss your
teddy bear, my kisses
and hugs, our nights
together? )

LAURA
Mira, que pierdo el avión, y a lo
mejor me quedo y todo. Así que,
bueno, pues eso, te deseo lo
mejor y ya nos veremos.
(Look, I'm going to miss
the plane and maybe I'm
staying after all..So,
that, I wish you the
best and take care)
14.


PEDRO
Espera, cari
(wait, love)

LAURA
¿Qué?
(what?)

PEDRO
¿Quieres que te envíe un
abracito? ¿un abracito de oso?
(do you want me to send
you a hug, a teddy bear
hug?)

She is near the boarding gate.

LAURA
Adiós, Pedro
(Goodbye, Pedro)

She hangs the phone

CUT TO:

She arrives at time. Laura is breathing hard.

LAURA (CONT'D)
Joder, Dios,coño. Hola.

Laura handles the boarding pass to the GROUND STAFF GIRL.

GROUND STAFF GIRL
Que tengas un buen vuelo
(Have a good flight)

LAURA
Gracias. BYE, BYE, MADRID!

LAURA steps into the airbridge.



INT. BUS. NIGHT

Christian is peeing himself. It is 23:25 and the bus stops
to collect more passengers IN AN PETROL STATION with a
restaurant and a social area situated on one side of a
empty highway. Christian decides to get off just for a
couple of minutes.



INT. PETROL STATION'S BATHROOM. NIGHT

He is in the bathroom. He finished quickly and he exits
the bathroom. While he is leaving a kid is looking at him
very serious because he hasn't washed his hands. He goes to
the sink and washes his hands.
15.




EXT. OUTSIDE PETROL STATION. NIGHT

When he exits the place, the bus is leaving.

CHRISTIAN
NO, NO, NO, NOOO! WAIT! Fuck! Son
of a…

OLD MAN
That is really fucked up

CHRISTIAN turns to look at the old man.

OLD MAN (CONT'D)
Oh, don´t you worry son, another
bus is coming. Just wait a little
bit.

CUT TO:

Christian is sitting on his baggage. By his face we can
tell he had been waiting for hours. He decides to put some
music on and lay on the floor. He starts to listen "House
of cards" of Radiohead. As the music is playing, Christian
is looking at the sky and another bus of the greyhound
arrives. The people are getting inside and finally the bus
passes in front of him. Once he had spotted the bus, he
stands up and starts to run leaving the baggage behind.

CHRISTIAN
Wait! Wait! Please!
MOTHERFUCKERRRR!!!!

The bus stops and CHRISTIAN laughing runs in his direction.

CHRISTIAN (CONT'D)
Oh, thank God!

BUS DRIVER
The ticket, please

Christian is serious again

CHRISTIAN
How much?

BUS DRIVER
120 DOLLARS

We can see Christian's face.

FADE TO BLACK.
16.




APPEARS ON THE SCREEN:

NEW YORK: FIRST IMPRESSIONS



INT. JFK INTERNATIONAL AIRPORT. AIRPLANE'S BRIDGE. DAY

Laura is at the door of the plane.

LAURA
Bueno, bueno. Hello, New York!

She breaths in and with her right foot starts her adventure
in the United States of America.

MATCH TO:



INT. JFK INTERNATIONAL AIRPORT. DAY

From the foot going up to the head, and under an American
flag, Laura observes the amazingly long queue for the
passport control. She takes her iPod out and she starts to
listen "House of cards" of Radiohead while she observes the
people of the airport. She takes out a notebook. She writes
the following:

INT. JFK INTERNATIONAL AIRPORT.

She is absorbed by the music and the writing. Someone takes
her headsets off and the music stops.

ARABIC WOMAN
(She says something in
arabic)
Yalah, girl Yalah. I don't have
all day

LAURA (REALLY EXCITED)
HELLO

She handles the papers to the immigration officer.

I.O
Go back

LAURA
Excuse me?

I.O
I SAID GO BACK. You didn´t fill
it up correctly. Just grab some
papers over there and come back.
17.


LAURA
OK

There is a security guy with an Alsatian at his feet. The
dog is barking. Laura goes directly to the immigration
officer.

SECURITY MAN
EXCUSE ME, EXCUSE ME. WHAT ARE
YOU DOING?

LAURA
He told me to go back as soon as
I filled this up

SECURITY MAN
So, WHAT DO YOU THINK YOU'RE
DOING? Wait for your turn

LAURA
Again? joder

SECURITY MAN
Fucking Mexicans

He says this as he walks away.

Laura is astonished. The queue is incredibly long.



INT. NEW YORK'S SUBWAY. DAY. NEW YORK

Laura is on the subway. It is very old, stinks and she is
scared of the people surrounds her.

LAURA
Excuse me, hi,sorry, can you tell
me how can I go to 101 st?

GIRL 1
Yeah. You have to climb those
stairs and take the line number
one downtown.

LAURA
Stairs?

MATCH CUT TO:

Laura is pushing the heavy suitcases through the stairs.
Nobody helps her. Accidently she drops one of the
suitcases.
18.


WOMAN 1
Ey, you asshole, WATCH OUT, will
ya?

LAURA
Joder

Laura looks to the camera



INT. BUS. NEY YORK CITTY. DAY

Christian is sleeping over the bus sit. The bus driver is
looking at the camera.

BUS DRIVER (V.O)
EY, SONNY, EY

CHRISTIAN opens his eyes; he faces the ugly bus driver.

BUS DRIVER (CONT'D)
Come on, son. You wanna stay here
forever?

CHRISTIAN stands up and walks through the aisle. The bus is
empty. He is very sleepy.



EXT. BUS STATION. BRONX. NEW YORK CITY.DAY

Christian finds himself in the most horrible street of New
York, very dark. The driver throws his bags to the floor
and gets inside the bus again. Christian takes his cell
phone out.

GEORGE (V.O)
YES?

CHRISTIAN
Ey, George, man, it's me,
Christian. I'm here.

GEORGE (V.O)
Ey, Chrisy! How are you doing? I
was waiting for you. We've been
calling you for hours

CHRISTIAN
Yeah, there was a delay. Ey,
George, aren't …
19.


GEORGE (V.O)
Listen, babe, I cannot pick you
up, but, I know you can manage,
it's not so difficult. Just stay
away from, well, from everyone.
Don't talk, don't look and don't
touch. Ah, and don't take out the
following items: cell phones,
notes bigger than 1 dollar, all
kinds of jewelry, including
earrings and rings, mp3 players
or ipods. Just in case. Ah, my
baby, finally in New York. Oh, I
almost forgot, I'm going to be at
work but Philip will be there,
ok?

CHRISTIAN
OK

GEORGE (V.O)
You have the address?

He searches in his backpack and takes out a long piece of
paper.

MATCH TO:

INT. 101ST BUILDING. LAURA'S FIRST ROOM.NIGHT. new York
city

What we can see is a perfect room, well illuminated and in
perfect conditions. The picture from the ad disappears and
we can see now the real room. Laura is holding a piece of
paper. She is in a stinky old room with a small bed and a
leaking sink. It is a very dark environment. We are able to
hear the screaming from other apartments. She turns the
light on. The floor is full with cockroaches. She stars to
scream and closes the door.

She checks the bill. "no refunds"

The phone rings. It's her mother. Laura sits on the aisle.

LAURA
ALLÓ?

MOTHER
Bueno, ¿unas horas en NY y ya me
hablas en inglés? ¿Qué tal todo?
(well, well..just a few
hours in NY and you
speak to me in english?
How is everything?)
20.


LAURA
Genial, de …de putísima madre
(Great... incredible)

LAURA is very sensitive and she is trying to hold on her
tears, but as the conversation goes on, she is losing
control over her feelings, so at the end she just cut the
conversation with her mother in tears.

MOTHER
¿Y el cuarto?
(and the apartment?)

LAURA
Increíble, una cosa… Muy…muy
neoyorquino. Casi como en las
pelis.
(Incredible...
something... really
really new yorker. Like
in the movies..almost)

MOTHER
Ay, yo aquí sola y mi niña en
Nueva York.
(ay, here I am by myself
and my child in NY)

LAURA
Ya ves, oye que te llamo ma…
(Yeah, well, mom, I'll
call you...)

MOTHER
Mi nena, Ya te echo de menos. No
sé que voy a hacer sin mi niña.
Como no me llames a menudo te
mato, ¿entiendes?
(My baby! I' missing you
already. I don't know
what I'm going to do
without my baby. If you
don't call quite often
I'll kill you, got it?
)

LAURA
Claro que sí, mama. Bueno, que te
de…
(Of course, mom. Well, I
have to go...)

MOTHER
Oye, come me bien, ¿eh?. Nada de
esas cosas americanas. Y tómate
un zumo de naranja todos los
días, que es muy bueno.
21.

No me seas vaga, que exprimir una
naranja no cuesta nada y la
vitamina C es fundamental. Ah, y
no dejes las cosas tiradas por …
(Listen, eat well, eh?
Nothing of those
American things, and
drink orange juice
every morning. It is
very healthy. Don't be
lazy, squeezing an
orange is not that
difficult and vitamine
C is fundamental. AH,
don't let your things
laying around on the
floor...)

LAURA (TEARS OVER HE EYES)
Mama, oye, que te tengo que
dejar, que Mañana te llamo,
¿vale?
(Mom, listen, I have to
go. Call you tomorrow,
ok?)

MADRE
MUY BIEN, TE QUI
(All right, I lo...)

LAURA switched off the phone. She stars crying like a
little child.



INT. GEORGE'S APARTMENT. NEW YORK CITY. DAY

Philip is crying like a baby, he is hugging Christian.
Christian is feeling uncomfortable.

PHILIP
OH. Jesus. I'm sorry, but I'm so
glad you are here. We haven't see
you in ages, since we left that
horrible city. And I'm so happy

He starts to cry again and hugs CHRISTIAN once more.

PHILIP (CONT'D)
Well, enough crying, you must be
exhausted

CHRISTIAN
Well, actually, I'm starving. I
can kill for a sandwich.

PHILIP
Oh, what a barbarian I am! Come.
22.


They go to the kitchen. Philip makes a sandwich for
Christian

PHILIP (CONT'D)
So, how was the journey?

CHRISTIAN
Interesting

PHILIP
OH, I forgot! I don't think G
told you, but, well, it's better
if I show you.

PHILIP & CHRISTIAN go to the new room of Christian. PHILIP
opens the door. There is a blond naked guy CHRISTIAN
doesn´t know. He is painting.

PHILIP (CONT'D)
Well, this is Dave. DAVE this is
Christian, your new room mate

DAVE
Really nice to meet you,
Christian

CHRISTIAN astonished shakes hands with Dave



INT. 101ST BUILDING APARTMENT 216 AISLE. DAY. NEW YORK CITY

LAURA is sleeping in the aisle with her head on the
suitcase. She wakes up. Her back and her neck are sore. She
gets up and collects all her baggage (two big suitcases and
the backpack). She looks for the travel guide on her
suitcase and some toiletries. She puts the luggage inside
the apartment and closes the door.

LAURA
Bueno, bueno, New York here we
go. Pero primero.
(but first...)



EXT. DRUGSTORE. NEW YORK CITY. DAY

LAURA
Insecticide, please



INT. 101 ST BUILDING. APARTMENT 216.DAY

We can see how Laura from the outside gasifies the
apartment.

LAURA
Ahora si: New York here I go
23.


EXT. 101 ST NEW YORK CITY.DAY

LAURA is on the street. She is wearing the same clothes of
the previous day with her high heel shoes. She is looking
at the map.

LAURA (CONT'D)
Central park. Oh, aqui. Uy,que
cerquita. Y desde aquí me voy a
la quinta y TIMES SQUARE!
(Central park. Uy, here.
So close! And from
here... 5th ave and
TIMES SQUARE!!)

It starts to rain.

LAURA (CONT'D)
Joder

She opens the umbrella she has in the backpack. Then she
switches on the Ipod and starts to hear I LOVE NEW YORK of
Madonna while she is walking.



EXT. URBAN STREET. NEW YORK. RAININIG. DAY

LAURA keeps walking with this song as we observe New York,
a very depressing side of New York: Rude people that pushes
her out of the way. Some cars that stops making her
propositions.

GUY IN CAR Nº1
Hey, I always wanna try Mexican
whore

LAURA runs like a scary little girl.

GUY IN CAR Nº2
wanna have fun, beautiful? with
that ass we can have a lot of fun

GUY IN CAR Nº3
I want to stick it up on your...

After the 7th propostion:

GUY IN CAR Nº7
HEY, señorita, wanna have fun?I
give you 50 bucks, come on

LAURA
Why don´t you fuck your mother,
your pervert?
24.

You´re old to be my grandfather,
motherfucker, bastard,
cocksuckerr. Go. Go and try to
find god.

Laura starts to run.



EXT. FIFTH AVENUE. DAY.

Laura is walking, obviously tired. It is not raining
anymore and the night is coming. The song is being
deformed, Madonna is singing slowly. When Laura stops the
music stops. LAURA sits on a bench and takes her shoes off.
As the people stares at her she massages her feet.

She walks without shoes till a shoe store.



INT. SHOE STORE FITH AVEUE. NIGHT

LAURA
120 Dolars!

INT. RESTAURANT IN THE FIFTH AVENUE. NEW YORK CITY. NIGHT

Christian is having some dinner with George, Philip and
Dave in a very fancy restaurant in celebration of
Christian's arrival.

CHRISTIAN
70 dolars! SHIT! Well, it was a
good chicken, small,tiny, but
delicious

Christian is in front the window but facing forward. While
they are talking, on the bench of the street, just in front
of them, Laura takes off her shoes.

GEORGE
I told you. The food here is
incredible. It is really worth it

PHILIP
I feel like dancing. I ate like a
pig

GEORGE
You are a pig

PHILIP
Bitch

DAVE
Let's go to Mr black
25.


GEORGE
My God, no. They nearly rape you
there

PHILIP
Seriously? I wanna go

GEORGE
Of course you want, you dirty
whore. What do you think
Christian?

Christian was not paying attention.

CHRISTIAN
Ok



INT. MR BLACKS ENTRANCE.NIGTH

The door of the club is being opened by someone we cannot
see.



INT. 101 ST BUILDING 216 APARTMENT. NIGHT

The door of the apartment, that was already opened, is
pushed by someone in the exterior of the apartment



INT. MR BLACKS ENTRANCE. NIGTH

The door of the club is completely opened.We can hear the
music. CHRISTIAN faces indicates that he didn't know where
he was getting into.



INT. 101 ST BUILDING 216 APARTMENT. NIGHT

The door is completely open and we can see Laura's
astonished face

INT. MR BLACKS ENTRANCE.NIGTH

The image starts on the floor and the camera goes up. We
can see what it is obviously a gay bar. There are plenty of
men, some of them without T-shirts. Men kissing, dancing.
Some of the men as they walk through the club look at
CHRISTIAN and make gestures.

GEORGE
WELCOME TO NEW YORK, DARLING!



INT. 101 ST BUILDING 216 APARTMENT. NIGHT

We can see the floor of the apartment with the dead
cockroaches and no suitcases.
26.


LAURA
NO, NO, NO. POR FAVOR, DIOS, NO
me hagas esto.
(NO. NO. NO. Please,
God, don't do this to
me)

SHE starts to cry. She grabs the backpack and checks its
contents. The passport is there like some money and credit
cars. The cell phone starts to ring. Laura's mother. Laura
breathes deeply. Before her mother says something she
speaks very fast trying to hold on her tears.

LAURA (CONT'D)
EY, mama, todo va genial, el piso
esta genial, estoy tomando cosas
sanas, zumos de naranjas, new
york es genial, la vida es
maravillosa y eso, te quiero.
(Ey, mom, everything is
great, the apartment is
awesome, I'm taking
healthy stuff, even
orange juice. New york
is awesome and all
that. Love you)

She switches off the phone

LAURA (CONT'D)
¿Y ahora que?
(and now what?)

She observes the travel guide lying on the floor. In its
cover appears a picture of the empire state.



EXT. FIFTH AVENUE. EMPIRE STATE. DAY

Image of the empire state. Laura goes to the entrance. .
The queue is kilometric. But she waits with illusion.

INT. EMPIRE STATE. DAY

Laura is very excited. She is getting near and near. She is
biting her nails and making strange sounds. A lady in front
of her turns to see her.

LAURA
Sorry, it´s my first time, Here,
in the empire state.

LAURA finally reaches the top. She opens her eyes. We can
only see her face of total astonishment. There's no
visibility at all. She is in the center of a cloud. She
gets closer, but nothing; there is no view, nothing. She
laughs. Suddenly she cries. Finally she screams
27.


LAURA (CONT'D)
FUCK YOU. FUCK YOU. FUCK THIS
FUCKING COUNTRY. I lost
everything, the only thing I
wanted, the only thing I needed.
20 bucks, 2 hours in the fucking
queue and I AM IN THE CENTER OF A
FUCKING CLOUD!!!! Fuck you,
mother fuckers,

She spits several times

LAURA (CONT'D)
to the hell with you!!DON´T TOUCH
ME. FUCK YOU.

The security man of the building is grabbing her.

LAURA (CONT'D)
Fuck you. Let me go, hijos de
puta. Cabrones. Hijos de la gran
puta.

LAURA is being taken downstairs by force.



EXT. EMPIRE STATE ENTRANCE. DAY

CHRISTIAN is waiting in the queue.

EMPIRE STATE'S WORKER
Ladies and gentlemen, your
attention, please. I'm sorry to