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ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>Chop Here>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ Life is for the Living A Screenplay by Robert Armstrong and Srinivas Krishna (c) Copyright 1991 Robert Armstrong & Srinivas Krishna The following text is fully protected by copyright law. It is offered solely to the members of the Bulletin Board "Powder Keg" as an example of a screenplay, and in search of critical commentary. All comments should be addressed to Robert Armstrong care of "The Powder Keg". Please do not distribute this work in any form, electronic or other. It won't do you any good, anyway. Life is for the Living 1. INT. PRISON - DAY In the harrowing darkness, rows of prison bars streak past. The occasional flash of light splashes across a haunted face. A section of bars swings away, and a lean twenty- eight year old man, LEWIS LAZULI, alias LOPI, steps forth. In his threadbare jacket and ill-fitting pants, Lopi and the Prison WARDEN stride down the corridor. The Warden offers Lopi a cigarette as sullen INMATES stare at their departing comrade. WARDEN I know it's competitive out there. But don't think of thieving. With his dark eyes, Lopi flashes a quick glance at the Warden. He leans over to accept a light. WARDEN Do anything you want. Doesn't matter if it's immoral, just as long as it's not illegal. 2. EXT. PRISON GATES - DAY From the deep shadows of the towering gateway, LOPI emerges. The gate ATTENDANT snickers. ATTENDANT Welcome to the free world, mate. Lopi ignores the Attendant and ventures into the pouring rain. He pauses and turns his marked face expectantly to the sky. With trembling fingers, he lifts the sodden cigarette and takes a deep, long drag. 3. EXT. CITY - DAY Beneath a brooding sky, a train thunders out of the city. 4. INT. TRAIN - DAY There sits LOPI, cowering beside the window, his hands clutching his shivering shoulders. His eyes twitch across the shimmering city as it steps down to the flat horizon of the country. 5. EXT. VILLAGE STREET - DAY LOPI drifts through the mist that envelopes the desolate village and pauses before a delapidated bungalow. He pushes open the small gate. It collapses at his feet. Stepping over it, Lopi walks past the unkempt garden and raps loudly on the front door. He waits. Impatiently, Lopi lifts the mat and picks up a key. 6. INT. BUNGALOW - DAY Lopi's MOTHER, a frail, old woman, sits in the grey light by the kitchen table drinking a cup of tea. Unseen by her, LOPI closes the front door. He glances into the parlour. On the chesterfield sits a frail, ancient man, Lopi's DEAD FATHER. He chain smokes. As Lopi appears in the doorway, the Dead Father raises his hand and waves. Lopi smiles weakly and nods. MOTHER There's no money left, Lewis. Lopi enters the kitchen. LOPI How did you know it was me, mum? MOTHER I could smell you. Lopi kisses her. LOPI You look old. MOTHER I'm tired and lonely. I want to die and join your father. In the parlour, the Dead Father nods emphatically. MOTHER Would it be too much trouble? LOPI I can't pay for your funeral. I need a job. She caresses his cheek tenderly. MOTHER You tried, Lewis. But you'll never have money. Go speak to Michael. LOPI I'll look after you, mum. MOTHER I want to see your brother. Lopi hesitates. LOPI He doesn't want to see you. MOTHER That's not true! It's just that he can't afford to visit. Do you know how hard it is to get by in the city? Lopi considers his mother for a moment. LOPI You've never been to the city. The woman begins to cry. MOTHER I want to see my children. Lopi cradles his Mother as she weeps. 7. INT. MICHAEL'S APARTMENT - DAWN Perched by the window of his well-appointed apartment, his narrow features softened by his mid-thirtyish age, MICHAEL looms over the vista of the city. Hurriedly, he gulps his morning cup of tea. 8. INT. CRAMPED OFFICE - DAY His tie loosened, MICHAEL runs a manicured finger down a ledger and with his other hand rapidly punches numbers into a desk calculator. A ribbon of adding tape spools forth. The telephone warbles. Michael picks it up. MICHAEL What? Michael listens. MICHAEL You're being uneconomical. 9. INT. CORRIDOR - MOMENT LATER Closing his office door, MICHAEL bumps into a gurney in the corridor. On it, under a white sheet, lies the form of a BODY. A DRIVER lounges nearby in a long black coat, chair tilted back against the wall. MICHAEL Why are you still here? DRIVER The school of anatomy doesn't want it. MICHAEL You should check that before you claim a body, shouldn't you? DRIVER It's not my fault. They changed their minds. MICHAEL Then take it back. The Driver stands. DRIVER No one wants it. MICHAEL Who's the next of kin? Michael checks the toe tag. DRIVER There's isn't any. Michael glares disdainfully at the Driver, then moves down the corridor. MICHAEL Then get it into cold storage. We'll have to pay for this too. 10. INT. INNER OFFICE - MOMENTS LATER SEXTON DRING, a cherubic man greying into interminable middle-age, leans over his dictaphone. From his pursed lips issues forth a miraculous stream of bird whistles. A human skeleton dangles from the coat rack behind him. MICHAEL steps through the door. DRING We're going out of business, Michael. We didn't get the contract. Caught off guard, Michael carefully lowers himself onto a chair. MICHAEL What about your friends on city council? DRING We're just a taxi service for corpses. It's very competitive. MICHAEL How are we going to meet the payroll? DRING We need some fresh ideas. Got to be innovative! Dring pins Michael with an expectant glare. MICHAEL I don't know. I'm just the accountant. DRING This business, it's like taking care of a family. Sometimes, the family can't stay together. The children have to get out on their own. Even if you love them. Dring levels his gaze at Michael. Michael twitches. DRING Time for lunch. 11. EXT. ALLEYWAY - MOMENTS LATER LUCKY, a pudgy man in his early forties, stands next to his "Lucky's All-Beef Doner Kebab" truck, serving hot chunks of spitted meat to several DRIVERS. DRING and MICHAEL appear on the loading dock beneath a sign, "Sexton & Sons". LUCKY Morning, boss. My wife made something special for you. Dring hurries down the loading dock to the alley. Lucky lifts a sticky-sweet pastry from a tray and aims it at Dring. Dring crams the pastry into his mouth. MICHAEL It'll make you diabetic. DRING People need their pleasures. Lucky hands Michael a cup of tea. LUCKY Why don't you come around sometime, see your old mates? Michael hands Lucky some change. MICHAEL No. Michael takes the cup and disappears into the loading dock. Lucky takes a sandwich from the truck and wolfs it down. DRING You're eating your profits, Lucky. LUCKY I've been thinking about my profits, Mr. Dring. Lucky glances sideways at Dring. LUCKY I have to drop you from my route. Stunned, Dring begins to whistle. Lucky gestures to the building. LUCKY You're just not big enough. 12. INT. SUBWAY - NIGHT MICHAEL hunches down in his seat, his eyes closed. The train rattles back and forth, and he sways with the motion. Michael opens his eyes. A young INDIGENT COUPLE neck furiously in the seat before him, surrounded by their bagged possessions. Provocatively, they intertwine their tongues. Michael shuts his eyes and slinks deeper into his seat. 13. EXT. STREET - NIGHT MICHAEL ambles along the sidewalk, past mounds of garbage awaiting removal. A FIGURE lurking in the mouth of an alley beckons to Michael. FIGURE Looking for a friend? Michael glances toward the alley and quickly moves on. 14. EXT. CAFE - NIGHT Behind a plate-glass window front, MICHAEL slops his coffee as he claims an empty table. An Indian SAILOR, dressed in a threadbare coat and clutching a stained cap, stands on the sidewalk and peers through the window. He locks eyes with Michael. 15. INT. CAFE - NIGHT MICHAEL tries to look away as the SAILOR hurries into the cafe. SAILOR You are gentleman, are you not? MICHAEL Go away. I'm busy. The Sailor produces three brightly-coloured balls and begins to juggle, much to Michael's consternation. With an elaborate flourish, the Sailor finishes by placing them on the table. He bends toward Michael. SAILOR Ship has left and we have not. The Sailor offers his hat. SAILOR Nice country, no food. Michael catches the eye of a WAITER. The Sailor follows his line of vision. SAILOR Please, sir, you are gentleman! The WAITER intercedes and hustles the Sailor to the door. Michael sips his coffee. 16. EXT. APARTMENT BUILDING - NIGHT MICHAEL warily climbs from the dark shadows of the street toward the weak light of the foyer's entrance. 17. INT. ELEVATOR - NIGHT As the elevator doors slide together, MICHAEL slips between them. He comes face-to-face with VERA, an alluring woman of twenty-four years. She appears absolutely furious. Apologetic, Michael backs away from her into the corner. Vera's boyfriend, RUPERT, a handsome man in expensive clothing, gives Michael a supercilious inspection, and places a strong grip on Vera's arm. She immediately shrugs him off and stares straight ahead. Determined, Rupert reaches for her again, but Vera steps away, forcing Michael to shift to the other corner. RUPERT Vera. Michael flicks his gaze from Vera to Rupert, then drops it to the floor. Aggressively, Rupert steps between Michael and Vera. Michael sidles deeper into the corner. Rupert tries to caress Vera's hair but she pushes his hand away and flattens her back against the wall of the elevator. Vera and Rupert stare at Michael. He clears his throat and regards the floor. The elevator softly pings. 18. INT. APARTMENT HALLWAY - NIGHT The elevator doors open and MICHAEL steps into the hall. He marches toward his door, followed by VERA and RUPERT. Vera reaches into her bag for her keys as Rupert peers over her shoulder. Vera whirls on him. VERA Go away! RUPERT I love you. VERA What do you know about love? Rupert appears hurt. RUPERT I've got money. Vera turns back to the door. Michael glances back down the hall. Grabbing Vera's arm, Rupert wrenches her around and forces her against the wall. RUPERT Listen when I'm talking. VERA You think you can buy everything. Rupert strengthens his grip. Michael comes back down the hall toward them. Rupert gesticulates wildly with his free hand. RUPERT Are you suggesting I'm trying to buy you? My father did not buy his peerage. I did not buy my partnership as attorney at law. And I could never buy you because... Rupert caresses her hair. RUPERT I love you, Vera. Vera slaps him. VERA Hands off! Rupert's face contorts with fury. He pins Vera against the wall. RUPERT You never let me finish talking! Michael punches the elevator button. MICHAEL She said hands off, mate. RUPERT Go away! Michael grasps Rupert by the shoulder as Vera struggles free. The elevator arrives with a ding. MICHAEL I think you should leave. Rupert swings at Michael, missing. With a short, brutal blow, Michael drives his fist into Rupert's solar plexus, then hustles the winded Rupert into the elevator, dumping him on the floor. Michael presses the "lobby" button and deftly steps out between the closing doors. Vera smoothes her jacket. VERA I can take care of myself. Michael nods, and walks toward his apartment. Vera slips a key into her door. Inside her apartment, a telephone RINGS. She removes the key, and listens. Vera hurries to Michael's door. Hesitant, she knocks. Michael opens the door. VERA Thanks for helping me. Michael stares at her for a moment. Vera glances toward the elevators. VERA May I use your phone? MICHAEL Why certainly! With expectant smile, Michael remains blocking the doorway. VERA I'm worried about staying in my apartment. I made the mistake of giving Rupert a key. MICHAEL Well, do come in. Vera quickly steps through the door. 19. INT. MICHAEL'S APARTMENT - NIGHT Surreptitiously following her with his eyes, MICHAEL closes the door. MICHAEL Is there anything else I can do for you? VERA Oh, please... just the phone is enough. Michael motions to a chair beside the telephone. Vera picks up the telephone and dials. MICHAEL But surely... would you like a drink? He goes to the sideboard, and returns carrying a bottle of brandy. VERA I'd rather have water. MICHAEL Good choice, considering the circumstances. Receiving no answer, Vera sets the telephone back in its cradle. Michael places a glass down before her. MICHAEL No one home? VERA Friends are never home when you need them. Michael eases himself down close beside her. MICHAEL Who needs friends? A fist POUNDS loudly at the front door. Michael and Vera share a quick glance. She puts her finger to her lips and hurries into Michael's bedroom. Michael warily approaches the front door and opens it. From the darkness of the hall, LOPI looms, his eyes flashing. MICHAEL Lewis. LOPI Michael. MICHAEL Lopi... Lopi locks Michael in a powerful embrace. LOPI It's good to see you. MICHAEL What are you doing here? Still holding his shoulders, Lopi regards Michael warily. LOPI I have a message from Mum. He brushes past Michael and strides into the apartment. He surveys the ordered luxury. LOPI Life has treated you well. MICHAEL We all get what we deserve. LOPI You will, one day. MICHAEL What does Mum want? From the bedroom, Vera eyes the visitor. She steps into the living room. Michael glances nervously at her. MICHAEL Vera... what a pleasant surprise! Meet my brother, Lopi. VERA Lopi? Hello. MICHAEL Vera's a friend. Lopi glances back at Michael. LOPI I like meeting Michael's friends. MICHAEL Lopi's just returned from a sojourn in the country. VERA I've never been to the country. It must be beautiful. Lopi sits down, testing the softness of the cushions. LOPI You get used to it. MICHAEL Where are you staying, Lopi? Lopi looks hard at his brother. MICHAEL Vera's in a bit of a spot at the moment, you see. I'm putting her up tonight. Vera stares at Michael. VERA No, no, don't put yourself out. It would be so much trouble. MICHAEL Trouble? This is an honour! Isn't it Lopi? LOPI That's what Mum taught us. MICHAEL Lopi has lots of friends he can stay with. Lopi stands and approaches Michael. LOPI Mum wants to see you. Michael sighs. MICHAEL I cannot afford to drop everything and come running every time she beckons. LOPI She's dying. VERA Oh God... Michael drops his head, then looks up at Vera with a small smile. MICHAEL She's said that many times before. Michael turns to find his brother glaring at him. Breaking into a loud laugh, Lopi moves toward the door. Michael relents. MICHAEL I'll have to arrange something at work. In the meantime, if you need anything, feel free to call. Lopi pauses in the doorway and looks back at Michael. LOPI I'll do that, Michael. I'll do that. Michael firmly shuts the door. He turns and smiles at Vera enthusiastically. 20. EXT. STREET - NIGHT LOPI passes Lucky's doner kebab truck, parked against a mound of garbage and splintered crates. Broken glass sparkles on the greasy pavement. Lopi pauses before a door. He knocks. No answer. He knocks louder. Still no answer. He tries the door. It opens, revealing LUCKY and his sprightly Philippino wife, ROWENA, locked in a passionate kiss. Lucky turns to Lopi. LUCKY Lopi! You're just in time. Lucky resumes kissing Rowena. Lopi waits patiently outside. Finally, Lucky desists. LUCKY Rowena, could you please make up the extra bed? Rowena flashes a wicked smile. ROWENA Good idea. I'm tired of sleeping with you. LUCKY No, we have a guest. Rowena regards Lopi innocently. ROWENA Oh, I sleep with the guests now? LUCKY This is not the third world, love. This is England. ROWENA So we're all going to sleep together? Lopi shifts uncomfortably in the doorway. LOPI I'll sleep on the sofa. Lucky chucks Rowena under the chin. LUCKY Rowena, show some respect. He bends forward and kisses her again. 21. INT. LUCKY'S TRUCK - NIGHT With rapt attention, LUCKY races the truck through the empty streets. LUCKY Don't look so glum. LOPI This is illegal. Wheels slipping on the wet pavement, the truck skids to a halt. A huge, completely bald man, NIGEL, crams himself into the cab beside Lopi. LUCKY You remember Nigel? Lopi nods his greeting. Nigel grunts. NIGEL Life is hard. LOPI Only for the living. 22. EXT. BACK ALLEY - NIGHT NIGEL fumbles with a ring of keys, trying to open the lock of a grey door. LOPI glances about uneasily. Nearby, Lucky's truck softly idles. LUCKY motions them to hurry up. Lopi looks at Nigel who shrugs helplessly and resumes his attempt. Lopi pushes him aside. He slides a thin pick into the lock and clicks it open. NIGEL Now we're in business. Nigel disappears through the door, and a moment later emerges carrying a side of beef. He dumps it on Lopi's shoulder and returns inside. Surprised, Lopi staggers to the back of the truck and shoves the beef inside. Nigel joins him, and together they cram a second side of beef on top. They climb in behind and the truck zooms away. 23. EXT. KING KEBAB - NIGHT Lucky's truck rounds a corner and stops before a small shish-kebab restaurant. A great mound of cooked beef hangs on a spit behind the greasy window, in which hangs a sign announcing: "Cheapest Kebabs Going! Revolutionary Pricing Policy!" A line of raggedy INDIGENTS queues out the door and along the sidewalk. After a quick glance up and down the street, NIGEL and LOPI hustle the beef through the parting queue and into the shop. LUCKY follows behind. 24. INT. KING KEBAB - MOMENT LATER In the tiny shopfront, LOPI and NIGEL pass behind the short counter into the kitchen. They disappear through a door at the back. LUCKY follows. LUCKY You went home? Straining under the weight of the beef, Lopi nods. LUCKY Anyone left? LOPI They're all here in the city now. The three men lug the carcasses through the kitchen prep area, toward a large walk-in freezer, beside which rests a massive band saw. Nigel deposits his side of beef on the saw and triggers it to life. Lucky helps Lopi hang the other in the freezer. LUCKY How's your mother? LOPI She's given up. LUCKY You can't give up. If you want to live, you have to stay competitive. Nigel rams the beef through the blade. Tiny flecks of meat spit through the air. 25. INT. BUTCHER'S CLUB - NIGHT In the dimly-lit room, MEN play cards with quiet gusto. The Indian SAILOR circulates through the crowded tables, serving drinks. A weasel-faced MAN leans back in his chair, and up- ends the Sailor's tray. The Sailor scuttles to pick up the broken glass. The other MEN break into snickering laughter at the sight. Behind the bar at the far end of the room, a door opens, spilling bright light from the kitchen. NIGEL walks through the door, wiping his bloody hands on a rag. LOPI and LUCKY follow him. 26. INT. BACK OFFICE - A MOMENT LATER Behind a large table, beneath various pictures of naked women, reclines an impish, mustached KINGSLEY. Beside him, an edgy, sharp-faced man in a business suit, ATTILAH, sits with his elbows on his knees, his hands cradling a glass. NIGEL and LUCKY usher LOPI into the room. Kingsley waves his hand. KINGSLEY You found us. At last. Sit. Lopi takes a seat. The SAILOR pours a drink and hands it to Lopi. KINGSLEY So good to see you. You bring back... memories. LOPI Bad memories. KINGSLEY Then you should drink and forget. LOPI Better bad memories than no memory at all. LUCKY I remember only good times! NIGEL You're an idiot. LUCKY No, don't you remember when we were drinking with Michael and he told us the story about his father who -- ATTILAH Lopi's brother is a ghost. They all turn to Attilah. He smiles back at them. Apologetically, Nigel nods his head. NIGEL For us, he is dead. KINGSLEY Dead but still moving. LUCKY Michael's a very intelligent man! KINGSLEY (to Lucky) You drink too much coffee. ATTILAH Your belly is squeezing your brain. LUCKY Better than my hand squeezing your throat. ATTILAH Your hand's too busy squeezing your cock! LOPI You're talking about my brother. The table stops its chatter and turns to Lopi. He draws a knife from his coat and places it on the table. LOPI Who wants to die? Attilah stands up. ATTILAH Okay. KINGSLEY Good, good, good. This is good. I will watch. Lucky stares at Kingsley in horrified silence. Kingsley picks up his glass. KINGSLEY Drink. Be civilized. Attilah and Lopi each tensely raise a glass. They quickly shoot back their drinks, and set their glasses down. Lopi picks up his knife and falls into a practiced stance. Attilah begins to giggle. LOPI Where's your knife? Still giggling, Attilah pulls out a pistol from inside his jacket. He admires it. ATTILAH I live in the city now! Lopi lunges, his blade gleaming. Nigel seizes Lopi by the neck and drives him back against the wall. The knife clatters to the floor. Attilah point the gun at Lopi's head and giggles uncontrollably. He pulls the trigger. The hammer clicks on an empty chamber. ATTILAH I have no money for bullets. KINGSLEY But even an empty gun is a market force! Kingsley gestures to the Sailor, and another round of drinks appear. Lopi resumes his chair. KINGSLEY What do you want? You wouldn't visit me simply for pleasure. LOPI I want to live. KINGSLEY Business. Everyone comes for business. It's very competitive. Kingsley raises his glass to Lopi. KINGSLEY To business. LOPI I don't want to be a thief anymore. Kingsley stares at Lopi, then shrugs. KINGSLEY You have no capital, Lopi. How do you plan to acquire surplus value? 27. INT. BUTCHER'S CLUB - NIGHT While MEN continue their card games around the crowded tables, the SAILOR sings a sad, very sad song. 28. INT. MICHAEL'S APARTMENT - LIVING ROOM - MORNING Cheerless morning light suffuses the room. From beneath a tangled clump of bedsheets, MICHAEL emerges on the sofa. 29. INT. MICHAEL'S APARTMENT - BEDROOM - MORNING Fully dressed, MICHAEL sits on the corner of the bed and spies on the sleeping VERA, her hair fanned across the pillows. Vera rouses, momentarily confused by Michael's presence. MICHAEL Will you be here when I get back? Disconcerted, Vera pulls up the covers. VERA I have a busy day. Michael pauses, his gaze lingering. MICHAEL Then you'll need the key. He stands and drops a key on the night table. Vera picks it up, and smiles warmly. VERA Thanks. MICHAEL You should change your locks. He strides toward the door. Vera considers his departing back. 30. EXT. APARTMENT BUILDING - DAY MICHAEL hurries away, down the street. From the other direction, Lucky's truck pulls up to the curb. 31. INT. MICHAEL'S APARTMENT - BATHROOM - DAY Before the bathroom mirror, VERA pats dry her face with a towel. She stops, listening. 32. INT. APARTMENT HALLWAY - SAME TIME LOPI slides a thin pliable wedge into the door of Michael's apartment. He jiggles it expertly. Suddenly, he steps back. The door opens, and VERA peers out suspiciously over the safety chain. Lopi regards her with surprise. LOPI Hello. Vera opens the door. Lopi steps through. 33. INT. MICHAEL'S APARTMENT - MOMENT LATER VERA Michael's at work, you know. LOPI watches Vera collect her coat. She smiles at him. LOPI I'll wait. Vera shoulders her bag. VERA Tell him I'll call. LOPI You like Michael? Vera turns in surprise. VERA He's a nice guy. Lopi extends his hand to her. LOPI That's good. Vera reaches to shake his hand, but Lopi turns his palm up. LOPI The key? Vera laughs nervously, and hands over the key. As Lopi watches, she closes the door behind her. Lopi walks into the bedroom. He re-emerges a moment later, shrugging himself into a sport jacket and counting some money. Lopi admires himself in the hall mirror. 34. EXT. APARTMENT BUILDING - DAY LOPI crosses the street and hops into Lucky's truck. LUCKY starts the engine, shooting a glance at the jacket. LUCKY I thought you weren't going to steal anymore? LOPI He's my brother. The truck pulls away. 35. INT. STUDIO - DAY From between the breezing interplay of flowing fabric, emerges VERA. Bright light flashes across her arrogant features. She strikes a pose, then another, her long elegant limbs scything the air. The PHOTOGRAPHER, a bald, sagging man, moves in close, the aperture on his camera flickering open and shut. PHOTOGRAPHER You need a fuck. Vera curls her lips and sneers. Click. 36. INT. HOME FOR THE AGED - DAY VERA sits primly on a hard-backed chair. A NURSE spoons food to Vera's MOTHER, who reclines on a bed. Between swallows, her Mother takes oxygen from a mask draped over a tank nearby. Vera's FATHER, a big man collapsed with age, perches precariously on the edge of the other bed. FATHER Mother's fine. VERA Good. The Father glances out the window at the under-foliaged tree. The Mother takes another gulp of oxygen. FATHER But it's cold. He turns back to Vera. FATHER Mother's been asking about Rupert. How is he? Vera glances uneasily at her hopeful Mother. VERA I don't know. I'm pretty busy right now. Her Father cocks an eyebrow and nods thoughtfully. FATHER Should always keep busy. The Mother glares sourly at Vera. The Nurse pauses to pat the Father on the head, and then leaves. Her Father appears quite shrunken. FATHER Don't know how much longer you'll need to make these visits. VERA Don't say that. A sly grin spreads across her Father's wrinkled face. From beneath the bed, he procures a matching set of cowboy hats. FATHER Let's wrestle. VERA I'm too old for that. FATHER Come on. Just for me. Her Father draws a chair up to the table, and enthusiastically motions for Vera to follow suit. He hands Vera one hat and perches the other on his own head. VERA Must we wear the hats? FATHER Yes! Settling the cowboy hat carefully over her hair, Vera takes her Father's gnarled hand in her own slender grip. They plant their elbows on the table and lock wrists. Her Mother grips the oxygen mask, and regards her husband with worry. FATHER You want a head start? VERA No. FATHER Okay. Her Father tilts his arm backwards, giving Vera a head start. He then throws himself into the wrestling, pushing her hand well over. Vera recovers and slowly forces his knuckles toward the table. He struggles, then gives up. Vera removes the hat and rests her hands in her lap. VERA Where's my umbrella? His eyes closed, her Father nods slowly, apparently asleep. Vera rises and plants a kiss on his forehead. She approaches her Mother, who purses her lips in anticipation. Vera removes the oxygen mask and touches her Mother's cheek with her lips. They exchange a glance barren of affection. VERA Good bye. Her Mother takes a deep gulp from the mask. 37. EXT. OXFORD CIRCUS - DAY Jostling through the crowd, VERA catches an advertising placard displaying her image in a store-front window. She stops and approaches the window. On the poster, her conspiratorial grin exposes impossibly white teeth. Pent-up breasts cradle a jar of coffee-whitener. Distraught, Vera moves closer to the glass-shielded placard. After a moment, she turns away and daubs her weeping eyes. 38. INT. SEXTON & SONS - CRAMPED OFFICE - DAY With one hand, MICHAEL hurriedly sifts through a tangled clump of papers. His other hand moves toward the calculator, upsetting his tea cup. He inhales sharply. MICHAEL Shit! Looking up, Michael sees DRING step lightly past the doorway, a WOMAN in a business suit holding his arm. 39. EXT. SEXTON & SONS - FRONT DOOR - DAY DRING smiles charmingly and shakes the WOMAN'S hand. As she climbs in her car, Dring lifts an imaginary telephone receiver to his ear, and with his right index finger dials an imaginary number. Giddy, he laughs and waves at her, then hesitantly blows a kiss to her departing car. Lucky's truck rolls past. 40. EXT. SEXTON & SONS - ALLEYWAY - DAY LUCKY opens the side of the truck and pours coffee. A few DRIVERS crowd around. LOPI walks around from the other side. Dring arrives on the loading dock. LUCKY Morning, boss. DRING Don't give up on us yet! We have a new lease on life. Dring descends to the alley. DRING Once I contract a supplier, I shall expand. Lopi pats Lucky on the stomach. LOPI Lucky's always expanding. LUCKY This is Lopi. He's Michael's brother. Lopi thrusts his hand out. Dring takes it. DRING Michael never mentioned family. LOPI Well, we're very proud of him. DRING I could use another Michael. Industrious, hard-working, honest. LUCKY Lopi only works for himself. LOPI That's not true. What do you need? DRING What have you done? LOPI Oh, many things. Automobiles, televisions... beef. DRING Wholesale or retail? LOPI Both. You have a big place. DRING Big? Dring turns and looks at his facilities. He turns back to Lopi. DRING Pretty big. 41. INT. SEXTON & SONS - CORRIDOR - DAY DRING leads LOPI through the decrepit, squalid premises towards his office. DRING This will be a growth industry. We have the equipment to handle our end. I'm looking for a specialist to handle the supply end. LOPI I've always wanted my own business. A gurney blocks their path. Dring opens a door and hurls it into Michael's office. MICHAEL looks up in shock. Dring smiles benignly at him. He and Lopi continue down the corridor. DRING You've come at a very propitious time. Lopi stops Dring. LOPI You still haven't told me what you need. 42. INT. SEXTON & SONS - INNER OFFICE - AFTERNOON LOPI Are you sure it's legal? DRING purses his lips. DRING Absolutely. Your trick is to get people to sign a contract. Then think of yourself as a... collection agency. LOPI And this is entirely proper? DRING How long have I been doing this? Lopi searches for an answer. DRING Three generations. I think I know what's proper. LOPI Very good. Dring picks up his telephone. DRING I want to introduce you to someone you already know, Michael. He replaces the receiver and locks eyes with Lopi. DRING This is a new business. We are new people. Cutting edge. MICHAEL enters the tawdry office warily. Dring smiles at him. DRING I didn't know you had such a talented family. Michael eyes Lopi. MICHAEL It all depends on the talents you need. Dring indicates Michael should shake Lopi's hand. DRING We have hope, Michael. Sit down and I'll tell you why. 43. INT. MICHAEL'S APARTMENT - NIGHT LOPI picks through the liquor cabinet as MICHAEL closes the door and hangs his coat in the closet. LOPI Nice brandy. Lopi pours a glass and savours the taste. LOPI Things'll be nice for me soon. How about a toast, Michael? Lopi reclines comfortably into a chair. Michael approaches Lopi and fingers the lapel of his jacket. MICHAEL Nice suit, Lopi. LOPI The best. MICHAEL Have you ever been in a condominium? Lopi shakes his head. MICHAEL Hot water, shag carpet, it's warm in the winter... and there are no thieves. Michael shakes his head in mock disappointment. MICHAEL You're still a thief, Lopi. LOPI No I'm not. I'm in business now. MICHAEL Not after I acquaint Mr. Dring with your history. LOPI And put yourself out of business? No you won't. Lopi produces some money and approaches Michael. LOPI You remember Mum, don't you? I took it for her funeral. But I won't be needing it now. Michael puts out his hand but Lopi drops the money to the floor. Michael collars Lopi and slams him against the wall. He presses his face close to Lopi and shouts. Through clenched teeth, Lopi shouts back. MICHAEL When did you get out of prison? LOPI How did I get there? MICHAEL Don't play that trick on me, Lopi! I had nothing to do with it. LOPI You were too busy here in the city, weren't you? MICHAEL I'm a self-made man! LOPI With Mum's money. MICHAEL That was for my education. LOPI You never gave anything back! Michael releases Lopi. He collects himself and pours a drink. Lopi rubs his bruised shoulder. MICHAEL I don't have any money. He waves to the apartment. MICHAEL It's all tied up in equity. Lopi stares at Michael, then plucks the bottle from the table and refills his glass. MICHAEL Leave me alone, Lopi. Lopi continues to stare. LOPI We're partners now, Michael. I'm going to keep you in business. Remember that. 44. INT. APARTMENT HALLWAY - NIGHT The elevator doors open before LOPI, and VERA steps out. VERA Hello. Did you meet Michael? LOPI Face to face. Lopi steps into the elevator. LOPI It's your turn now. Lopi's face disappears as the doors slide together. 45. INT. MICHAEL'S APARTMENT - NIGHT MICHAEL Would you like a drink? He procures clean glasses from the sideboard and pours. MICHAEL Keep the key as long as you need it. VERA Oh, Lopi didn't return it? Michael stiffens. MICHAEL Lopi? He feigns a feeble smile. MICHAEL I'd love to love my brother, but he makes it so difficult. VERA I'm sorry. I didn't realise. MICHAEL Sometimes family can be so... distressing. Do you know what I mean? VERA Especially when they're dying, it's very distressing. Michael flinches. VERA My mother's dying. MICHAEL Oh dear. I'm sorry. VERA Makes me wish I'd gotten along with her better. MICHAEL Yes. VERA She's never liked what I do. She calls it whorish. She's going to die thinking that. Maybe it's not too late to make amends. Got to try. With an eager smile, Michael nods vehemently in agreement. MICHAEL Yes, I know. That's why I've rented a car. I'm going to the country tomorrow to make amends with my mother. VERA Tomorrow? I wanted to repay your kindness with dinner tomorrow night. MICHAEL Perhaps I can postpone my trip! VERA No, no, you mustn't do that. Michael searches desperately for an answer. MICHAEL But you see... well... you're right. But I can be back for dinner. Country food is terrible, you know. Vera smiles and rises. VERA Good. You can meet me at my photo shoot. See me in action. MICHAEL I'd like that! She kisses him goodnight. Caught off guard, Michael gawks as Vera disappears into the hallway. 46. INT. LUCKY'S FLAT - NIGHT LOPI, LUCKY and ROWENA sit around a small table in the kitchen. All three laugh with such force that their gaping mouths emit no sound. Several bottles of beer litter the table top. LOPI I love your wife, Lucky. LUCKY Go dip your wick elsewhere, Lopi. ROWENA I need more than a wick. LUCKY That's why she married me. I have a Roman candle! LOPI (to Rowena) Well, aren't you lucky! LUCKY I'm Lucky! ROWENA No you're not. You just have a job. LUCKY That's more than Lopi. LOPI That's not true. I have an opportunity. ROWENA I'd give Lopi an opportunity. Rowena appraises her husband. ROWENA I have to learn from my mistakes. Lucky appeals for Lopi's sympathy. LUCKY I paid good money to put up with this! But I love her. ROWENA He loves me. He found love with a mail order bride! LUCKY Rowena, I rescued you. ROWENA And that's how I made it to the big city. Lucky snatches a kiss from her. LUCKY Which is why I treat her like my mother. Rowena and Lucky laugh. Lopi remains sober. Lucky slaps Lopi on the shoulder. LUCKY Laugh, Lopi, laugh. This is your party! LOPI She's going to die alone. Lucky blinks. LOPI I want to bring my mother to the city. Now. LUCKY Now? LOPI I need your truck for tonight. LUCKY Lopi... no. That's my capital. I have to work tomorrow. To support Rowena. Lucky smiles lovingly at Rowena. ROWENA Lucky, go. Lucky and Rowena exchange sharp glances. ROWENA He's your friend. 47. EXT. MOTORWAY - NIGHT Lucky's truck tears past on the dark wet pavement, charging from the high glittering lights of the city toward the low black expanse of the countryside. 48. INT. LUCKY'S TRUCK - NIGHT In the darkness of the cab, LOPI's face appears frozen, his lips drawn tight across his teeth. LUCKY tests the tension on his seatbelt. LUCKY It's true. You should always love your mother. Lucky casts a sidelong glance at Lopi. LUCKY Business is like motherhood. You nurture it, help it grow, knowing one day it will be sold. Lucky looks out the windshield for a moment. LUCKY You love your mother, don't you? LOPI Shut up. 49. EXT. VILLAGE STREET - NIGHT LOPI parks the truck up on the curb. Lucky walks to the centre of the street and looks at his surroundings. He performs a small jig step. LUCKY Hallooo! I'm back! The deserted streets remain silent. Lucky follows Lopi across the broken gate to the front door. Lopi knocks. The two men regard each other for a moment, then Lopi stoops and retrieves the key from under the mat. They enter the house. 50. INT. RUN-DOWN BUNGALOW - NIGHT On the kitchen table, a spoon rests on the saucer of a soiled teacup. Down the hall, LOPI and LUCKY close the door and peer about. They enter the kitchen and Lopi examines the table. Lucky lifts the tea cozy and touches the pot. He pours himself a cup of tea. Lopi suddenly turns and strides back down the hall. He disappears up the stairs. 51. INT. RUN-DOWN BUNGALOW - BEDROOM - MOMENT LATER LOPI kneels next to the bed. Her eyes open, his MOTHER lies with her hands resting on top of the coverlet. Lopi reaches out and covers her hands with his. LUCKY comes into the room. LUCKY Would you like some tea? Lucky stops at the foot of the bed. Lopi turns and shakes his head. LOPI Get a doctor. Lucky steps backward, staring at the Mother, until he bumps into the door frame. Then he slips away down the stairs. Lopi rests his head on his Mother's breast. He closes his eyes. For a time, he remains quiet. 52. INT. RUN-DOWN BUNGALOW - PARLOUR - NIGHT LUCKY perches on the faded material of the sofa, facing an UNDERTAKER, a young man already running to fat. At the desk, a DOCTOR, an elderly man with a waxy complexion, slowly fixes his signature to several forms. UNDERTAKER Then the Morgan factory closed down and burned. LUCKY It was after that I left. UNDERTAKER The village is rather dead now. Not much hope for us. LUCKY Business seems good for you. Lucky looks up and they rise as LOPI comes down the stairs. Lopi takes the papers from the Doctor and signs. The Undertaker offers his hand in condolence. UNDERTAKER Difficult times make for difficult decisions. When would you like the service? LOPI There's no money. The Undertaker smiles sadly. UNDERTAKER The body cannot remain in the house. Health regulations. LOPI I'm taking it. UNDERTAKER Back to the city? You need a permit. Lopi produces some papers from his jacket and hands them to the Doctor. The Undertaker peers over his shoulder. UNDERTAKER Sexton and Sons? You work for them? LOPI I work for myself. The Doctor appears surprised but signs the papers, then hands them back to Lopi. 53. EXT. RUN-DOWN BUNGALOW - DAWN Observed by the UNDERTAKER, LOPI and LUCKY shoulder the sheet-wrapped body of the MOTHER from the front door to the back of the truck. UNDERTAKER Give her a proper burial. For God's sake, she's your mother. Lopi and Lucky pull away. UNDERTAKER You'll put us all out of business! 54. INT. LUCKY'S TRUCK - MORNING LUCKY dozes fitfully as LOPI drives. The truck slows, and Lopi draws off onto the side of the road. Lucky blinks at their pastoral surroundings. LOPI Take over, mate. Suddenly a heaving sob wracks Lopi. To the astonishment of Lucky, Lopi leans forward against the steering wheel and cries. Uncertain what to do, Lucky flutters his hands slightly. 55. EXT. MOTORWAY - MORNING In the widening light of the day, Lucky's truck stands parked on the shoulder. From the city, a small car approaches. 56. INT. RENTAL CAR - MORNING Opera music fills the interior of the car. Singing along as loud as he can, MICHAEL cruises down the motorway toward the country. Intent on the music, Michael fails to see Lucky's truck. 57. EXT. VILLAGE STREET - DAY Shutting off the car's wiper blades, MICHAEL parks the rental car on the empty street before the house. He surveys the delapidated fence through the drizzle, and shakes his head as he moves to the door. Michael knocks. After a moment, he tries the door. It opens. 58. INT. RUN-DOWN BUNGALOW - DAY MICHAEL walks through the door, closing it behind him. He looks around. MICHAEL Hello? Michael peeps into the empty parlour, then wanders down the hall to the kitchen. Finding nothing, Michael returns to the stairs and calls up. MICHAEL Mum? Hallooo? He goes up the stairs. At the top, he glances into the bathroom, then into his childhood bedroom. For a moment, Michael surveys the few surviving relics of his youth, neatly displayed on the dresser. Then he wanders into the master bedroom. Stripped of its sheets, the bed lies empty. Puzzled, Michael returns downstairs and stands alone in the hall of the empty house. 59. EXT. VILLAGE STREET - DAY MICHAEL passes his car, and walks down the centre of the street. The houses lean together, weatherbeaten and unkempt, their darkened windows unshuttered. In the centre of the village, a heavy chain rests across the door of the public house. The grocery store boasts a "To Let" sign propped up in the unlit window. Michael lifts his collar against the drizzling rain. Under a sign, "Afterbury Funeral Parlour", a weak light fixture burns. Michael enters the funeral home. 60. INT. FUNERAL HOME - DAY MICHAEL shifts uncomfortably in the pastel waiting room. A spray of flowers stands on a low table at one end. A moment later, the UNDERTAKER enters, stretching out his hand in greeting. Michael offers the Undertaker his business card. MICHAEL I'm looking for my mother. UNDERTAKER Sexton and Sons? The Undertaker eyes Michael suspiciously and hands the card back. UNDERTAKER I'm afraid I can't help you. She's dead. Stricken, Michael blanches. MICHAEL Let me see her. UNDERTAKER You can't. MICHAEL Why not? UNDERTAKER She's not here. MICHAEL You're the only funeral home in town. The Undertaker leans toward Michael, glowering. UNDERTAKER That doesn't mean I get all the business. Some people prefer to handle these things on their own these days. People will do anything to make a fast buck. MICHAEL Yes, it's true. Deeply worried, Michael nods his thanks and departs. A spasm of rage seizes the Undertaker. UNDERTAKER You shameless city bastard! Think you can sell anything! 61. EXT. MOTORWAY - DAY The rental car surges from the desolate countryside toward the menacing towers of the city, rising in the distance. 62. INT. SEXTON & SONS - LOADING DOCK - DAY LOPI What happens now? LOPI and DRING stand before a sheet shrouded gurney deep in the shadows of the loading bay. In the alley behind, LUCKY dispenses refreshments and kebabs to the workers. DRING Brain, heart and liver go for research. Pituitary, ovaries, and the remaining organs go for drug extraction. The skeleton, if we keep it intact, is worth a lot of money. We shear the hair, and sell it to the wig-maker. Lopi blinks, then shakes his head sadly. LOPI No waste? DRING No waste. Lopi holds out his hand. LOPI I need the money now. DRING Lopi... this is your mother. Dring peels back the sheet, and together they look down at the quiet face of the MOTHER. LOPI Life goes on. DRING What's Michael going to say? LOPI He doesn't care. DRING I can't accept this. Dring attempts to hand the papers back to Lopi. Lopi cuts him off with a gesture. LOPI I need the capital, Mr. Dring. Lopi gazes down at his mother. LOPI I can't make more deliveries unless you pay me. As Lucky approaches, Lopi gently slips the wedding rings off his Mother's finger. He holds them tightly in his hand. Lopi looks up at Lucky, who shakes his head. LOPI She isn't there anymore. Dring looks at the rings Lopi holds. DRING But it's good to keep something. 63. EXT. SEXTON & SONS - ALLEYWAY - DAY Lucky's doner kebab truck pulls out of the alley way into traffic. Turning in from behind the truck, Michael's rental car drives into the now-vacant parking spot. 64. INT. SEXTON & SONS - LOADING DOCK - DAY DRING I'm sorry. That's a terrible tragedy. Standing next to the gurney bearing his Mother's sheet- covered body, MICHAEL begins to cry. Dring purses his lips to whistle, then changes his mind. Taking Michael by the arm, Dring leads him away from the gurney. DRING Perhaps you should take the rest of the day off. Michael continues to sob. Dring appears increasingly at a loss. MICHAEL I'm sorry. DRING Do you have a friend who can stay with you? Michael shakes his head, weeping, as he goes out the door. 65. EXT. ALLEYWAY - AFTERNOON MICHAEL, his features once again composed, steps around a mound of garbage and approaches a door bearing the hand- lettered sign, "Butcher's Club." He tries the door but it refuses to open. Michael stands back, then walks to end of the alley, and rounds the corner. 66. EXT. KING KEBAB - AFTERNOON MICHAEL walks alongside the queue of raggedy INDIGENTS stretched out the door of the shish-kebab shop. The queue blocks the doorway. Michael raps on the window, attracting Nigel's attention. NIGEL looks away. Michael bangs harder. Finally, Nigel presses his way outside. From inside the shop, impatient and hungry Indigents shout as Michael explains something to Nigel. Nigel reluctantly nods his head, and clears a path for Michael to enter the shop. He leads Michael to a door at the back of the kitchen. 67. INT. BUTCHER'S CLUB - AFTERNOON LOPI, LUCKY, KINGSLEY and ATTILAH sit and drink around a table in the deserted club room. Attilah cleans his gun while the SAILOR mops the floor. Lopi rolls his Mother's two wedding rings in his right hand. LOPI We must remember the dead. Kingsley raises his glass. KINGSLEY To your mother's memory. Lucky too raises his glass. The door opens. The men turn to see NIGEL lead MICHAEL into the room. Lopi clenches his fist over the two rings. Attilah springs to his feet. KINGSLEY Be civilized. Slowly, Attilah resumes his seat. Michael arrives at the table, his gaze locked on Lopi. MICHAEL Mum's dead. LOPI How do you know? MICHAEL I was just there. Lucky eyes Lopi uneasily. Lopi keeps his eyes fixed on Michael. MICHAEL I couldn't find her body. LOPI Fine time for you to be concerned, now that she's dead. KINGSLEY Please, no angry words. Kingsley motions to an empty seat. He fills a glass and offers it to Michael. Michael regards the others seated at the table. After a moment, he accepts the drink and sits. They raise their glasses and drink. Michael looks at Lopi. MICHAEL I shall miss her. KINGSLEY Lopi, just tell him. LOPI Tell him what? KINGSLEY Where you buried her. MICHAEL You were there too? LOPI I only got there after she died. MICHAEL Where is she? LOPI I don't know. I had no money for the funeral. KINGSLEY Why didn't you ask Michael? Lopi raises his eyes and stares at Michael. Michael casts a miserable glance at the men. He hangs his head in shame. Kingsley looks gravely at Michael. KINGSLEY A pauper's grave. The Sailor refills the glasses. LUCKY She didn't deserve this! Lopi fixes him with a sharp look. Fidgeting, Lucky backs off. LUCKY It's sacrilegious. SAILOR What need has the seed for the shell? Tears roll down Michael's face. Kingsley shakes his head ruefully. Michael empties his glass. He pushes back from the table and rises. MICHAEL I have to go. The other men stand. Michael rounds the table and gives Lopi a powerful hug. Awkwardly, Michael disentangles himself. MICHAEL I'm sorry. I should have listened. He steps back, nods to the men, and leaves. Lopi opens his hand and gazes down at the rings. Attilah snaps the chamber of his pistol back into place. Squinting an eye, he aims the gun at Michael's departing back. He fires the empty gun. ATTILAH The dead are quickly forgotten. 68. INT. STUDIO - MAKE UP ROOM - EVENING VERA sits in a tall chair before a row of make-up mirrors. Cooing, the hyperactive STYLIST rapidly brushes a new look with broad sure strokes. In an immaculate white suit, Vera's AGENT paces behind, furtively puffing on his cigarette. AGENT You need an edge. We need a hook. STYLIST Hook me, baby, hook me! AGENT Colour contacts, a little henna, no surgery this time. We'll call you Virago. Simple, exotic, sexy. STYLIST You'll love it, darling. VERA I like the way I am. AGENT And you'd like to have a job. The Agent leers at Vera. AGENT It's only image, Virago. Your body's your capital. STYLIST And you do have a capital body. Vera considers for a moment. VERA You change my body, you change me too. No, it's not that simple. AGENT The world's a simple place. We all want simple things. Money, a home, but mostly sex. STYLIST I love sex. AGENT Simple economics is always good advice. 69. INT. STUDIO - NIGHT Before a painted backdrop of the Kremlin, VERA remade as the new VIRAGO poses in a black cocktail dress. MICHAEL quietly steps into the studio and observes. PHOTOGRAPHER Your hair's rubbing against my chest. Go down on me, down! She twirls, and the fan-blown air catches the hem of her dress. It rises up her legs. The Photographer draws closer. PHOTOGRAPHER Lips. They're wet. They drip. Lick me. Virago runs the tip of her tongue along her lips. Michael eyes the Photographer uneasily, who stops clicking his camera. Virago stops her posing. PHOTOGRAPHER You bore me. You don't put out. You just don't put out. The Photographer turns to two COSSACKS who lounge nearby. PHOTOGRAPHER Boys, teach Virago a lesson. The two Cossacks lumber toward Virago. One falls to his hands and knees. The Second Cossack seizes Virago, and places her across the First Cossack's back. He begins to spank Virago, whose face assumes the immaculate conception of a cry-baby. The Photographer starts clicking pictures. PHOTOGRAPHER I love it. The virgin's a magdelana wannabe! But only for tonight. Michael grabs the Second Cossack by his collar. MICHAEL I'll teach you a lesson. Michael begins to slap the man across the face repeatedly. PHOTOGRAPHER Oh, a knight errant! The Photographer rushes in for several close ups. The First Cossack receives the back of Michael's hand on his face. Virago tries to pull Michael off. The Photographer clicks wildly. PHOTOGRAPHER I love it! Beatific. This is simply beatific! Michael clutches the First Cossack's beard. It pulls away in his hands. Michael stares at it, dumbfounded. VERA Michael! The Second Cossack whirls on Michael. He speaks with an extraordinary upper class accent. SECOND COSSACK This is the city, man! Here we do not resort to fisticuffs! As Michael edges off the set, the Photographer continues to shoot film. MICHAEL Sorry. I'm very, very, truly sorry. Michael offers the beard back to the First Cossack, who fixes Michael with a wounded stare of disgust. The First Cossack slaps Michael full on the face. FIRST COSSACK Back to the country with you. Go! VERA I'm sorry. MICHAEL No, no, I'm sorry. It's my fault. VERA (shouts) Yes, it's your fault! 70. INT. MICHAEL'S APARTMENT - NIGHT VERA, her make-up now removed, sits on a chair. VERA I can't believe you thought it was real. I thought you were more sophisticated. MICHAEL I'm sorry. I've said that already. I'm sorry, I'm sorry, I'm sorry. Michael sits heavily on the chesterfield. MICHAEL My mother's dead. VERA Oh dear. I'm so sorry. MICHAEL I didn't get there in time. I never had a chance to speak to her. Vera searches for words. She sits next to Michael. VERA Come here. Michael leans against Vera. With maternal affection, she strokes his head and kisses him on the brow. VERA Poor Michael. Michael raises his sorrowful eyes to her. Vera kisses him again. Michael responds, with ardour. 71. INT. MICHAEL'S APARTMENT - BEDROOM - NIGHT Michael's sock-clad foot emerges from under the bedsheets. Vera and Michael make love. Michael opens his excited eyes. In the corner, he sees the grinning faces of his dead MOTHER and his emaciated FATHER. Michael's pace begins to slow. VERA Kiss me. Michael closes his eyes. He kisses her, his desire returning. MICHAEL Oh yes! He opens his eyes again. Entwined beneath the sheets beside him, he sees his dead parents. They too make love, slowly, tenderly, their faces frozen in a rictus of grinning ecstasy. DEAD MOTHER Life goes on. His Dead Father nods emphatically. Michael abruptly sits up and rolls off Vera. VERA What's wrong? Michael remains silent for a while. MICHAEL Grief, I suppose. Vera pulls him down beside her and cradles him. VERA Life goes on, Michael. 72. INT. BUTCHER'S CLUB - NIGHT In a corner of the Club, LOPI stares into a pint glass. The SAILOR croons the last few bars of a pop song. He picks up his tray and winds his way over to Lopi with a fresh glass. Lopi points to an empty chair. The Sailor sits, and turns his sad eyes toward Lopi. Lopi sizes him up. LOPI What's the matter, mate? SAILOR I want to see my family. LOPI So go home. SAILOR Home is far away. The Sailor begins to rise from his chair. SAILOR Work is money. Money gets me home. Lopi grasps the Sailor by the arm and pulls him back to his seat. LOPI You'll never get out of here. You want to go home? Come work for me. I'll get you home. The Sailor casts an apprehensive glance around the club. Then, he turns to Lopi and breaks into a joyous smile. SAILOR Thanks, mate. The Sailor's smile fades as Lopi starts to weep. He rests a comforting hand on Lopi's shoulder. Lopi shudders with spasms of grief. SAILOR God is dead, my friend. We are few. 73. EXT. STREET - DAY LOPI, still wearing the jacket he stole from Michael, marches down the street with a determined expression. 74. INT. NURSING HOME OFFICE - DAY A HEAD NURSE stares impassively as LOPI displays his contracts on the counter. Beside him appears a burly ORDERLY, who taps him on the shoulder. They exchange a glance. Lopi gathers his papers together. 75. INT. HOME FOR THE AGED - OFFICE - DAY A middle-aged MANAGER, his weak chin coiled with fleshy jowls, slowly shakes his head. Across the desk, LOPI leans forward in earnest explanation. With increasing fervour, the Manager shakes his head until his jowls swag and quiver with the violence of his rejection. 76. EXT. PARK - DAY Dejected, LOPI rests on a bench. Pigeons flutter about him. 77. INT. HOME FOR THE AGED - DAY An OLD WOMAN, her poorly dyed hair trussed under a hair net, lies propped on her bed. Lopi's head appears in the doorway. He waves. The Old Woman waves back. LOPI waves again. The Old Woman beckons him into the room. Lopi checks up and down the corridor, then ducks into the room. He pulls up a chair. The fleshy-jowled Manager enters the room, scowling. The Old Woman points toward the door and shouts at the Manager. OLD WOMAN Fuck off! The Manager beats a hasty retreat. Lopi turns to the Old Woman and smiles charmingly. 78. EXT. STREET - DAY LOPI inspects a display of flowers. The VENDOR winks at him. Lopi smiles sheepishly. He selects a bouquet of roses and hands her some money. 79. INT. HOME FOR THE AGED - DAY The OLD WOMAN takes the roses and sniffs them. OLD WOMAN You won't forget me, will you? LOPI No, of course not. The Old Woman smiles at LOPI. She signs some papers and hands them to Lopi. OLD WOMAN Good. Now get some proper clothes and brush your teeth. 80. INT. SHOP - DAY Wearing a new, jaunty jacket, his hair neatly cropped, LOPI sits in a throne-like chair. A crotchety OLD MAN shines his shoes. 81. INT. PALLIATIVE CARE WARD - DAY LOPI The money goes into trust immediately, and becomes part of your estate. Lying in bed, a middle-aged WOMAN with a pallid demeanour peruses the papers Lopi hands over to her. Her small, mousy HUSBAND sits nearby, a resigned expression on his face. The SAILOR stands by the door, watching the Husband. HUSBAND What about a proper burial? The Husband twists at his wedding ring. LOPI Proper? Isn't it proper to return some good to society? The Husband stands and advances on Lopi. The Sailor touches the Husband on the arm. He turns, menacing the Sailor. The Sailor produces a lollipop, and offers it kindly to the Husband. Stunned, the Husband sheepishly accepts it. He turns to Lopi. Lollipop protruding from his mouth, the Husband shakes Lopi's hand. 82. INT. MEDICAL OFFICE - DAY DOCTOR I don't do house calls. A DOCTOR, his thinning hair slicked fast against his round skull, tugs at his waistcoat. On the wall behind him hangs a poster of the human anatomy. Near the door behind LOPI stands the SAILOR, his hands clasped shyly. DOCTOR The city has ambulances for that sort of thing, my dear boy. The Doctor lets loose a high-pitched cackle. The Sailor giggles at the Doctor. With a scowl, Lopi silences the Sailor. He turns to the Doctor and leans forward in his chair. LOPI But if you could set the rate, what would you charge for a house call? DOCTOR It all depends on what I have to do. The Sailor nods in sympathy. LOPI For example, to sign a death certificate. DOCTOR As much as possible. The Doctor lets loose another trill of laughter. The Sailor giggles again. LOPI Four hundred pounds? The Doctor blinks. DOCTOR Five. LOPI Done. 83. INT. HOME FOR THE AGED - DAY The jowl-cheeked MANAGER guides LOPI down the marble corridor. He turns back to witness Lopi disappearing through a doorway. He waddles quickly to the door. In the room, the OLD WOMAN, with her mass of poorly-dyed hair, warmly welcomes Lopi. She caresses his cheek tenderly. Lopi takes her hand in his and bends to kiss it. Through the open door behind the oblivious Manager, the SAILOR cruises past, merrily pushing a gurney bearing a CORPSE. 84. INT. HOME FOR THE AGED - NIGHT The SAILOR approaches the narrow bed, on which, under the drawn up sheets, lies a human figure. He glances at the family photos arrayed on the top of the dresser: the grandchildren's graduation photos, the family outing snapshots, and the yellowing black and white portrait of a bride and groom in the fashions of fifty years ago. The Sailor draws back slowly, his sad eyes looking at the floor. The DOCTOR appears in the door behind him, holding an invoice. DOCTOR Six hundred pounds! Surcharge for midnight calls! The Doctor emits a piercing cackle. DOCTOR My boy, what are you waiting for? The dead to wake? Gingerly, the Sailor reaches out and removes the sheet covering the male CORPSE. He touches the corpse's cheek, then touches his own cheek. SAILOR You are gentleman. The Sailor covers the face of the Corpse. 85. INT. TAILOR'S SHOP - DAY In a new suit, LOPI admires himself before a mirror as the TAILOR checks the hem on the pant leg. 86. INT. PALLIATIVE CARE WARD - DAY LOPI flees from a room, under the well-aimed blows of an umbrella-wielding WIDOW. Nearby, the SAILOR waits with a gurney. A moment later, the DOCTOR flees the Widow as well. Lopi and the Doctor look at the Sailor. The Sailor enters the room. A moment later, he emerges carrying a sheet- wrapped body by the legs. The Widow follows proudly, clutching her dead husband's head. They place the body on the gurney and the defiant Widow pushes it down the hall. 87. INT. HOME FOR THE AGED - DAY LOPI, appearing quite refined now, stands sadly before the bed of the OLD WOMAN. She lies arranged beneath the covers, dead. Lopi looks at her, mournful. The SAILOR touches Lopi, gently. Lopi steps aside with a nod, then turns his back as the Sailor takes the Old Woman's corpse away. 88. INT. RECTORY - DAY A tremulous Anglican RECTOR reclines on a day bed, receiving last rites from a PARSON. LOPI hands him a contract. As the rites drone in the background, the Rector signs it. The Parson stares with consternation at the dying Rector. RECTOR The money, father. The money. The Rector quietly expires. The DOCTOR steps up, and checks for vital signs. With a sad shake of his head, the Doctor signs the death certificate. Lopi hands a cheque to the Parson. The Parson reads the figure and gasps. The SAILOR carefully wraps the Rector in a shroud, and transfers him onto a waiting gurney. The Parson looks up in time to see the backs of Lopi, the Doctor and the Sailor as they disappear through the door. The Parson remains where he stands, clutching the cheque before his gaping mouth. 89. INT. SEXTON & SONS - LOADING DOCK - DAY Standing on the loading dock, DRING observes the SAILOR and LOPI approach in a delivery truck. DRING Now, we're in business. Flat on his back, with eyes closed and grinning exultantly, Dring rides the newly-installed conveyor belt. In the midst of the completed renovations, near a stainless steel dissection table, MICHAEL stands admiring an elegant ring mounted in a small black velvet box. The Sailor opens the back of the van, revealing several CORPSES, as Lopi comes round the side. In his fingers, he rolls his Mother's wedding rings. Seeing Michael, he quickly pockets them. Seeing Lopi, Michael snaps the ring box shut and stuffs it in his jacket. MICHAEL You look good, Lopi. LOPI I've been working hard, keeping you in business. Lopi reaches out and fingers the lapel of Michael's jacket. LOPI We should go shopping for you sometime. You can afford it now, partner. MICHAEL Things have certainly changed since Mum died. LOPI All for the better. Dring glances toward them. Lopi shifts nervously. LOPI There's something I want to tell you. Michael grins giddily. MICHAEL And there's something I want to tell you, too. Dring's grin fades. DRING Michael! We have business to do! Come here! As Dring watches Michael approach, he purses his lips. Bird whistles fill the loading bay. 90. INT. STUDIO - MAKE UP ROOM - EVENING VERA gathers her belongings. The lanky STYLIST waves to her. STYLIST Goodnight, Virago! Vera regards him sourly for a moment, then steps out the door. 91. EXT. STREET - EVENING Exiting the photo studio, with a stylish sports bag slung over her shoulder, VERA hurries down the street. It begins to rain. The window of the only open shop in the vicinity displays sexy underwear, "Flame of Love" massage oils and erotic "how-to" manuals beneath a sign that flashes "HOT SEX!! -- get it while you can!" Shivering and drenched, Vera enters the shop. 92. INT. SEX SHOP - EVENING VERA checks a rack of posters depicting semi-clad women in maid outfits, nurses' uniforms and house gowns. The CASHIER, a young man, appears at her elbow. CASHIER The prostitutes like those. To hang on the wall, you know. I guess it gets the punters excited. The CASHIER points to a glass display case near the cash register. CASHIER The housewives prefer the hardware. Curiousity draws Vera to the display. A full array of vibrators takes up the interior. She notices a box of pens lying beside the till. She holds one up. Karl Marx, clothed in a funeral suit, his arms folded across his dishevelled beard, floats in the transparent pen top. She inverts the pen. The clothes disappear to reveal a naked, muscular Marx, phallus erect, his beard raging around his grinning face. CASHIER Each one's different. VERA How do you know? CASHIER It's very competitive out there. Everyone wants something special. He picks up a vibrator. CASHIER That's why I'm in niche marketing. I'm after women. They say there's only two kinds. Housewives and whores. Vera takes a long look at the CASHIER. VERA I'm neither. CASHIER Then, why are you here? Vera points outside. VERA I forgot my umbrella. CASHIER You should find a man. He'll help you. The CASHIER tilts his head toward Vera and smiles suggestively. CASHIER I'm a man. Vera sizes him up. VERA Congratulations. 93. INT. BUTCHER'S CLUB - NIGHT Dressed in his fine suit, LOPI slips in the back door of the empty club, followed by the SAILOR. Grim-faced, ATTILAH eyes Lopi for a moment, then allows him to pass. Attilah stops the Sailor. ATTILAH Where have you been? SAILOR Business, everyone has business. Slowly, Attilah holds out his hand, rubbing together his forefinger and thumb. The Sailor regards this gesture for a moment, then hands Attilah some money. Attilah allows the Sailor to pass. From a table in the corner, KINGSLEY raises a hand in greeting. KINGSLEY How good of you to visit. Lopi sits next to Kingsley, who reaches out and fingers the material of Lopi's suit. KINGSLEY How's business? LOPI Good, very good. KINGSLEY I've been thinking of diversifying. LOPI Tired of beef? KINGSLEY Even a thief gets tired of stealing. The Sailor sits at the table as well. Surprised, Kingsley glances toward Attilah, who stares at the Sailor. ATTILAH We need drinks here. Lopi and the Sailor look at Attilah. ATTILAH Don't we, Lopi. Lopi follows his gaze to the Sailor, whose eyes shift uneasily between the three men. After a moment, the Sailor rises and walks toward the bar. Attilah sits down in the Sailor's chair. Kingsley and Lopi watch the Sailor pour some drinks. KINGSLEY The revolution needs an underclass. The Sailor returns with a tray of glasses. KINGSLEY Have you considered expanding your work force? LOPI Remember, Kingsley. I work inside the law. KINGSLEY All the law does is turn crime into taxable profits. Attilah points to the corner, where rests a mop and bucket. The Sailor looks blankly at Attilah. KINGSLEY Gives me heartburn. LOPI Go straight, then. KINGSLEY No, I enjoy the torment. If I suffer long enough, I will achieve martyrdom. Oh, to be canonised, to rise above my state and join the celestial chorus of yesterday's heroes and martyrs, we all remember so fondly. LOPI They'll just put you in jail. Attilah snaps his fingers at the Sailor. ATTILAH What are you waiting for? The Sailor hesitates, then moves to the corner and picks up the bucket and mop. LOPI Sit down. The Sailor turns and looks back at the table. LOPI You don't work here anymore. Kingsley and Attilah stare at Lopi. Lopi stares back. Kingsley cocks an eyebrow. KINGSLEY Oh, he only works for you? Lopi nods curtly. Attilah glowers. KINGSLEY And what, exactly, is it that you do, Mr. Lazuli? 94. EXT. KING KEBAB - NIGHT While dishing up an order of doner kebabs, NIGEL notices a commotion in the QUEUE outside. A uniformed POLICEMAN wrestles a doner kebab from a raggedy INDIGENT. He raises the kebab to his nose and sniffs. Nigel, seeing trouble, collects the proceeds from the till, then hastens toward the club room. 95. INT. BUTCHER'S CLUB - MOMENT LATER LOPI I run a legitimate business. KINGSLEY stares hard at Lopi. SAILOR And we make money. Money is honoured, and so is its possessor. His hair on edge, his eyes unblinking, the ever-alert ATTILAH wheels and aims his pistol at NIGEL, who closes the door behind him. NIGEL Shoot me. KINGSLEY Put that toy away! Attilah resumes his seat. Nigel motions to Kingsley. NIGEL The police. Through clenched teeth, Kingsley inhales sharply. KINGSLEY Shit! Kingsley rises and follows Nigel to the front shop. Lopi bolts for the back door. He turns to the Sailor. LOPI Come on! The Sailor hands the bucket and mop to Attilah and hurries after Lopi. 96. EXT. KING KEBAB - NIGHT INDIGENT CROWD Please, sir! Have pity on us! Leave us our doner kebabs! Bird-like, the Policeman's head pivots. A coughing INDIGENT jostles the POLICEMAN. Another INDIGENT bumps the Policeman from behind. The Policeman pushes back in panic. 97. INT. KING KEBAB - NIGHT With gleeful calculation, KINGSLEY surveys the impending riot outside. He ventures forth. NIGEL watches Kingsley admonish the crowd, and gently steer the POLICEMAN back into the shop. Once inside, the Policeman turns and looks out at the raucous mob of INDIGENTS. He turns back to Kingsley, who fixes him with a polite, expectant smile. POLICEMAN I know this is illegal! I just can't prove it. Kingsley gestures to the shop. KINGSLEY Please. Look about. You'll find nothing untoward here. 98. EXT. KING KEBAB - NIGHT Outside the shop, Lucky's truck pulls up to the curb. Leaning over the wheel, LUCKY takes in the unruly, jostling crowd. He spots the POLICEMAN inside the shop. Quickly, Lucky drives away. 99. INT. LUCKY'S FLAT - NIGHT LOPI enters the kitchen, shrugging out of his jacket. He hangs it on the back of a chair. Producing some money, he hands it to ROWENA. She gives him a quick kiss. Lopi's gaze follows Rowena as she closes the oven door. ROWENA You're so good to us. LOPI You're my friends. ROWENA This may be your home, but we're not your family. LOPI I don't have family anymore. ROWENA You've forgotten them already? LOPI No. ROWENA That's not the way you act. Lopi sits down and reflects. LOPI I'm finally safe. He looks up at Rowena and smiles. LOPI Things will only get better. Rowena places the money on the table. She combs his hair with her fingers. ROWENA That doesn't make us your family. They hear LUCKY close the front door. Rowena stills her hand. Lopi looks at her apprehensively. As Lucky's footsteps draw near, Rowena resumes caressing Lopi's hair. Lucky walks in. Rowena smiles at him. Lucky takes her by the arm and leads her to the counter. He presses his mouth firmly against hers. As they engage in their prolonged kiss, Lopi sits in his chair and watches. He rises and turns on the television. He returns to his chair and watches the news. Lucky loosens his grip on Rowena and turns to Lopi. LUCKY Do you mind? Lucky resumes kissing Rowena. LOPI Sorry, mate. He plucks his jacket from the back of the chair and departs. When Lucky hears the front door close, he steps back. LUCKY Is he after you? Rowena smiles blithely. ROWENA I'm after him. Lucky snorts. ROWENA Lopi works hard. LUCKY So do I. ROWENA He's paid the rent for the last two months. LUCKY He owes it to me. ROWENA Lucky, he's your friend. And you are lucky to have a friend who isn't stingy. LUCKY If I made money the way he does, I'd want to get it off my hands too. And I am not stingy! ROWENA You're right. You paid good money for me. I'm still amazed when I think of it. Lucky looks at her reproachfully. LUCKY Rowena, I love you. ROWENA You love me, do you? I'm from the third world and look where I am now. Rowena takes in the squalid flat. Lucky follows her gaze. ROWENA Lopi's from the country. And look where he is now. Lucky's expression sours. ROWENA But look at you. But you're still a miserable country bloke, just stuck in the city. Lucky glares at Rowena. A loud knock sounds at the front door. Lucky goes to answer it. On the television appears a shot of the queue of raggedy INDIGENTS outside KING KEBAB. They jostle together, attempting to elbow their way into the shop. ANNOUNCER (voice-over) An admirable example of niche marketing, this shop caters to the unemployed and down-on- their-luck. Lucky opens the front door. The Police SUPERINTENDENT steps into the hall, flanked by two very large POLICEMEN. SUPERINTENDENT Are you Lucky? LUCKY No. SUPERINTENDENT Good. Come with us. They hustle him out the door. Back in the kitchen, Rowena lights a cigarette. Alone, she breathes deeply and sadly. On the television, KINGSLEY poses behind the counter of the shop. ANNOUNCER (voice-over) How does King Kebab do it? Kingsley beams at the camera. KINGSLEY Philanthropy. I just love humanity! 100. INT. INTIMATE CLUB - NIGHT Behind a crowd of dancers, VERA and MICHAEL sit at a table holding hands. Vera watches Michael while he stares at the dancers. A champagne bottle pops, startling Vera. The WAITER pours them some champagne as Michael and Vera share a laugh. MICHAEL Shall we dance? Among the throng of dancers, to the brassy music of a tired big-band ensemble, Michael waltzes out of time with Vera. Michael nods his greetings to the other dancers while Vera stares at the ceiling. 101. INT. MICHAEL'S APARTMENT - NIGHT In the darkened apartment, LOPI paces before the balcony door, gazing out over the city. He sits down and lightly punches his fist into the palm of his other hand. Lopi reaches into his pocket and fishes out his Mother's wedding rings. Ruefully, he turns them in his fingers. After a while, he sets them on the table. He sighs. 102. INT. ELEVATOR - NIGHT MICHAEL and VERA step into the elevator. Vera presses the twelfth floor button and the doors close. Michael catches her in an embrace and she kisses him. With his other hand, Michael reaches out and pushes the "STOP" button. Vera looks up in surprise as the elevator comes to a sudden halt between floors. VERA What are you doing? MICHAEL Remember? This is where we met. Michael drops to one knee. VERA Oh my god. He produces a small, black velvet box. MICHAEL Will you marry me? Michael looks up at her and flips the box open, displaying an engagement ring. Vera looks at him in utter surprise, then casts her glance around the elevator. VERA Michael... MICHAEL I want to have a family. I want you to be my wife and the mother of my children. VERA Michael -- MICHAEL And I love you. I very, very, truly do. Vera puts her back to the wall and slides to the floor. VERA Michael, how do we get out of here? MICHAEL I thought this would be romantic. Vera looks at him, dumbfounded. 103. INT. APARTMENT HALLWAY - NIGHT LOPI presses the elevator button and waits. Nothing happens. Finally he turns and walks to the stairs at the far end of the hall. As the stairwell door closes behind Lopi, the elevator door slide apart, and out step VERA and MICHAEL. VERA I just need some time to think about it, Michael. That's all. She kisses him and proceeds to her apartment door. She waves to Michael and disappears into her apartment. 104. INT. MICHAEL'S APARTMENT - NIGHT MICHAEL sits heavily on the sofa. He sees the wedding rings on the table. He leans forward and picks them up. As he turns them in his fingers, Michael looks about the room in bewilderment. 105. INT. HOME FOR THE AGED - DAY VERA bends and plants a brief kiss on her Mother's cheek. Behind her, her FATHER slips into a coat, then sits on the bed beside the MOTHER. FATHER Don't worry, don't worry. We won't forget you. Her Mother produces a change purse from beneath the sheets and stuffs a few notes into her husband's hand. The Father kisses her gently. He hands the money to Vera. FATHER You're young. This won't weigh you down. Vera leads her Father out of the room. He pauses to wave good-bye to the Mother. Weakly, she returns the gesture. 106. EXT. OPEN AIR MARKET - DAY VERA and her FATHER peruse a table of cigarette lighters, quill pens, post cards and other antique memorabilia. The crowd swirls around them: Japanese TOURISTS, viewing the world through their video cameras; CHILDREN plucking items from the tables in the view of their scolding PARENTS; fashionable ADOLESCENTS seeking new accessories. Across the table, the VENDOR stares at Vera and her Father sullenly. VENDOR These antiques are valuable. Vera looks up. VENDOR There's no free lunch here. You want it, you buy it. I've got to eat too, you know. FATHER Good, good. Keep up your strength. The Father eyes an ornate silver cigarette case. The Vendor picks it up and displays the inscription. VENDOR He's dead now. Doesn`t need this anymore. It's a big question. What do you need when you're dead? Vera presses her Father's arm. VERA Let's go. The Father slips his hand into Vera's, and ambles off. 107. INT. FASHIONABLE RESTAURANT - DAY Surrounded by well-dressed young city people, VERA and her FATHER drink tea. A WAITRESS clears the remains of a meal from the table. VERA He likes quiet evenings at home, his place is large enough for both of us, and he's very sweet to me. FATHER Rupert's a very nice man. VERA Not Rupert -- Michael. FATHER He's very nice too. VERA You haven't met him. The Father gazes at Vera. FATHER Do you want to be a mother? VERA I don't know. FATHER I like small children. Must perpetuate the race, in perpetuity. Vera sets her tea cup down. VERA Should I marry him? Her Father drains his tea cup and considers the question. From his bag beneath the table, he produces the matching set of cowboy hats. FATHER Let's arm wrestle. Vera darts a glance at a well-heeled COUPLE sitting at a table nearby. FATHER If I win, you marry him. If I lose, you go free. Vera glares at her Father. She resolutely plants her elbow on the table. Her Father leans forward, and plants a cowboy hat on her head, then dons one as well. He rolls up his sleeve and clutches Vera's raised hand. The wrestling begins. Gripping his teeth with his lips, the Father strains mightily. Her eyes locked on her Father, Vera struggles bravely. Slowly, her knuckles approach the table. The Father flashes a toothy, triumphant smile. Vera loses. FATHER I've been practising with your mother. 108. EXT. HYDE PARK - DAY VERA and her FATHER stroll through the park, past PEDESTRIANS, and perambulators, admiring the gardens. At Speaker's Corner, an old, shirtless man, Michael and Lopi's DEAD FATHER plunks down an ancient butter box. He addresses the PEOPLE, who pass by oblivious and unhearing. He waves his hands in the air while the DEAD MOTHER stands behind him, nodding. DEAD FATHER Thank you for this opportunity, ladies and gentlemen. Happy to be here! Happiness requires a complete lifetime, and your life is not complete until you're dead. Now that I am dead, I can tell you the complete story of my life! Vera and her Father come upon a distinguished GENTLEMAN in a top hat, who tosses bread crumbs from a park bench. DEAD FATHER On a dark and stormy country night in October, 1917, I was born, a second class citizen in the First World. Pigeons swarm down onto the feed. FATHER My. It's very competitive. Vera's Father purchases a bag of bird feed from a vending cart. They wander toward a bench, and sit. DEAD FATHER I would like to introduce you to my wife. I want to thank her, because when I wedded her, I wedded myself to Marxism. Vera's Father tosses the bird seed into the air, which suddenly grows thick with pigeons. DEAD FATHER Having been poor all my life, I learned something about the free market. Fortune is just an accessory to life. It doesn't care whether you're happy or not, and you can't take fortune with you. But you can take happiness with you. Look at me. I'm happy. I'm dead! Vera looks at her father, worried. He sits rubbing his stomach. FATHER Heartburn. He sighs. FATHER I think it's time to go home. He climbs to his feet and follows Vera to the curb. She flags for a taxi. On his soap box, the Dead Father madly gesticulates, flecks of spittle flying through the air. DEAD FATHER For those of you whose story begins after the end of mine, I have a question. Are the crimes and horrors I have perpetrated part of your plot? The Dead Father shrugs. DEAD FATHER No matter. Life goes on. You've forgotten us. Carry on! Carry on! Vera assists her Father into the back of a taxi, climbs in behind and slams the door. The taxi slips back into the flow of traffic. DEAD FATHER As you can see, I'm still here. I could tell you what the story is about, but it's not over yet. So, until we meet again, a little parting advice. Call no man happy until he's dead. Marx is dead. Long live Marxism! 109. INT. TAXI - DAY Vera's FATHER groans with distress. He closes his eyes and slumps his pallid, greenish face against Vera's shoulder. She shakes the shoulder of the driver. VERA Hurry up, hurry up! 110. EXT. HOME FOR THE AGED - MOMENT LATER The taxi stops, and VERA hurries around the car to help her FATHER up the stairs. Behind her, the DRIVER counts the fare. 111. INT. HOME FOR THE AGED - MOMENTS LATER VERA deposits her FATHER on his bed. The MOTHER peers over her oxygen mask anxiously. VERA Lie down, lie down. I'll be back in a moment. Her Father reclines onto the pillows. He looks over weakly at his wife, then closes his eyes. The Mother struggles to rise, but only succeeds in sitting up. The Father's features relax with a smile. The Mother stares across the room at him. Vera returns, followed by the DOCTOR. He kneels beside the Father and checks for a pulse at the wrist, then at the neck. The Doctor fumbles with the buttons on the Father's shirt. VERA Is he alright? The Doctor places his stethoscope over the Father's heart. He listens for a moment, then turns toward Vera. VERA Oh no. She sits on the edge of the chair. The Doctor rises and rests a comforting hand on her shoulder. DOCTOR I'm sorry. She brushes his hand away and looks at her Mother. Her Mother clutches the oxygen mask to her face. 112. INT. HOME FOR THE AGED - LATER The FATHER lies reposed on his bed, his shirt done up, his tie carefully arranged, his hand folded artificially across his chest. VERA holds her Mother's hand, perched on the bed opposite. Her MOTHER appears to be asleep as Vera reaches out and brushes away a stray lock of her Mother's hair. A noise startles her. She looks up to see the SAILOR standing in the doorway with a gurney. SAILOR Very sorry. Very sorry. Vera stares at the gurney. SAILOR You wish to wait outside, miss? VERA I haven't made any arrangements yet. The Sailor smiles reassuringly. SAILOR Your father was a well-prepared man. VERA Who are you? SAILOR Sexton and Sons. VERA You work for Michael? SAILOR No, Lopi. VERA What do you want? SAILOR I want nothing. I just do what your father wanted. The Sailor moves the gurney into the room. VERA What do you think you're doing? Vera rises and tries to push the gurney back out of the room. The Sailor flails backwards. LOPI appears beside him. LOPI Is there a problem? VERA Yes there's a problem. You're not taking my father! Vera continues to push the gurney. Lopi hesitates. LOPI Vera. VERA Go away! Lopi squeezes into the room and places his hand on Vera's shoulder. LOPI Please, Vera, stop. Vera glares at him, panting. LOPI Your father and I have an agreement. VERA You don't know anything about my father. Again, Lopi hesitates. In the doorway, the Sailor covers his eyes with his hands. LOPI He didn't tell you? I thought you knew. Defiantly, Vera shakes her head. Her Mother watches closely from the bed, nodding. VERA I know what you're going to do. He's not just anyone. This is my father! LOPI (softly) Yes, I know. Lopi points the Sailor toward the door. LOPI I'm sorry about your father. Lopi begins to leave. Vera's Mother removes her oxygen mask and struggles to raise herself on her elbows. Her voice strains, raspy with disuse. MOTHER No... wait. Vera and Lopi spin about and stare at her in mute surprise. VERA Mother... MOTHER We have a contract, Mr. Lazuli. Honour it. Lopi gapes, speechless. MOTHER You must, or I'll sue you. Vera stares at her Mother in shock. MOTHER We're doing it for you, Vera. Look at me. No one can help me. Let me help you. I don't want you to become like me. The ailing Mother subsides back onto the bed. She motions Lopi to draw near. Lopi quietly approaches her bed. She looks at him sharply and tilts her head toward Vera. Lopi casts a nervous glance at his client's daughter. He reaches into his pocket and produces a chequebook. He fills it out and hands the cheque to Vera. MOTHER We want you to have an inheritance. Vera sits next to her Mother and strokes her face. VERA Do you remember the story you told me about the boy who couldn't shudder? He had no memory of his dead father. He would collect bones from the graveyard and set them up as pins. And then he used his father's skull as a bowling ball. Everyone hated him, and he didn't know why. He wandered the country, and everywhere he went, people locked their doors. One day he met a ghost, and the ghost spoke to him. I'm your father, said the ghost, have pity on me. The boy shuddered. That day, he went home and buried his father's bones. And after that he would always remember his father. The cheque flutters in Vera's hand. VERA Have some pity, mother. Let me bury him. MOTHER We should pity the living, not the dead. The Mother gestures to Lopi to take the Father's body. Eyes averted, Lopi helps the Sailor guide the gurney into the room. He helps the Sailor hoist the Father's body onto the gurney. Still holding the cheque, Vera watches as they disappear out the door. 113. INT. MICHAEL'S APARTMENT - EVENING MICHAEL You've decided? Michael looks hopefully at VERA as she rushes into his apartment. VERA My father's died. MICHAEL Oh, I'm very, very, truly sorry. Michael places the engagement ring on the table and hurries to puts his arm around Vera. He leads her to the sofa. MICHAEL Perhaps you'd like to lie down for awhile. VERA Your brother's taken his body. I want it back. MICHAEL Lie down first and take a deep breath. VERA No, there's no time. I want to give my father a decent burial. You have to do something fast, or it will be too late. MICHAEL Me? I can't do anything. It's Lopi's business. VERA This is immoral. MICHAEL It can't be. It's perfectly legal. Vera picks up the engagement ring from the table. Michael's face expands with joyous hope. His voice chokes with feeling. MICHAEL Darling... we'll be happy. She hurls the ring at his head. Michael ducks. MICHAEL But darling, I love you! Vera slaps him full across the face. VERA Go to hell. She spins on her heel and storms out of the apartment. Michael touches his cheek and gawks helplessly at her departure. 114. EXT. CAFE - EVENING Through the plate glass window, VERA leans across a cafe table, explaining her predicament to RUPERT. His face contorts with righteous indignation. He waves his arm for emphasis as he expounds to Vera. She plants her elbows on the table and begins to cry. Rupert stutters and blinks. Vera sobs. He scrapes his chair around to her side of the table, and throws a condoling arm across Vera's shoulder. With the other hand, he holds out his handkerchief and daubs at her tears. Rupert leans close and whispers something in her ear. Abruptly, Vera looks up at him. 115. INT. MEDICAL OFFICE - EVENING RUPERT I think you have an obligation to oblige the lady. The DOCTOR lets loose his high-pitched laugh. DOCTOR A contract's a contract. It's all for science. Perfectly ethical. VERA stares horrified across the desk at him. After a quick glance at Vera, Rupert stands. He paces back and forth before the desk, punctuating his questions with jabbing arm gestures. RUPERT But this Lopus Lazuli pays you, doesn't he? The Doctor hesitates. Vera glances back and forth between them. DOCTOR It's very competitive. Rupert pauses, as though thinking. RUPERT The question at hand, Doctor, is one of competence! Rupert shifts his gaze to Vera. RUPERT Have you considered a lawsuit? Nervously, the Doctor trills with laughter. Rupert eyes him carefully. The Doctor blinks. DOCTOR We can negotiate. RUPERT Then do you agree that her father was mentally incompetent to sign business contracts? DOCTOR Incompetent? A bit hard of hearing, perhaps. RUPERT Vera, tell him. Vera hesitates. VERA You tell him. RUPERT I don't know. You're his daughter. VERA I can't. RUPERT You must... if you want him back. Impatiently awaiting an answer, they stare at her. VERA My father, he liked to arm wrestle... with me... in a cowboy hat. Simultaneously, the Doctor and Rupert unleash a hurricane of laughter. DOCTOR Cowboy hat? That's rather demented! Vera sits tensely. She rises and, unnoticed in the echoing laughter, leaves the room. 116. EXT. SEXTON & SONS - ALLEYWAY - NIGHT LOPI waits in the alley. The SAILOR emerges onto the loading dock. Lopi hands the Sailor a wad of bills. LOPI Here, mate. Go home. You don't have to do this any more. The Sailor takes the money. He embraces Lopi. SAILOR We forget. Home is far. LOPI I won't forget you. Come on, I'll buy you a farewell drink. They saunter down the alley. 117. INT. BUTCHER'S CLUB - NIGHT LOPI shields the SAILOR from an outraged ATTILAH. ATTILAH How are we going to get by now, mate? LOPI Find yourself a new servant. KINGSLEY wags his finger, perturbed. KINGSLEY Money can never create true emancipation, Lopi. Attilah towers over Lopi. ATTILAH You think you can buy his way out? LUCKY You're messing up our nice little family. KINGSLEY Your belly's getting to big. ATTILAH You think you're better than us. MICHAEL walks into the middle of the argument. Attilah wheels and produces his gun. He points it at Michael's face. ATTILAH Go away. Michael brushes Attilah aside, and advances on Lopi. KINGSLEY Why can't you keep the riff raff out? Still clutching his gun, Attilah glowers at Michael. MICHAEL Lopi, Lopi, please. Lopi rises. Attilah aims his gun at Michael. MICHAEL Don't do this to me. Vera will never speak to me again. LOPI I had no choice. MICHAEL I love her! Kingsley rolls his eyes. KINGSLEY Love? Is it better to be loved than feared? On the contrary! MICHAEL You can change your mind. LOPI Too late. Sexton and Sons already has him. MICHAEL You sold my fiancee's dead father! Surprised, everyone looks at Lopi. MICHAEL How could you? LUCKY He did it to your mother. Michael swings on Lucky, aghast. KINGSLEY What! Lucky shrugs blithely. LUCKY He sold his dead mother. Kingsley rises from his chair. KINGSLEY Selling bodies? Attilah's gun shifts to Lopi. Lopi drops his face in his hands. MICHAEL You took her body? You didn't bury her? Michael hammers Lopi with his fist. Attilah's gun shifts back to Michael. MICHAEL You're a thief! Lopi staggers backwards out of his seat. Michael launches himself at Lopi. He collars Lopi, and they fall into a struggling mass. Lopi headbutts Michael. Screaming, Michael falls back, clutching his bleeding nose. Lopi breaks away. Holding his hands up to seperate the brothers, the Sailor steps in between. SAILOR Please, please, stop! We are family. Attilah swings his gun back and forth, with the Sailor in the middle. SAILOR Business is good. And necessary. I'm not going home. I will stay. I would rather be a second class citizen in the first world than a first class citizen in the third world. Attilah fires the gun. The Sailor staggers backwards in surprise, red blood blossoming on his white shirt. Kingsley snatches the gun away from Attilah. KINGSLEY Idiot! The men watch in horror as the Sailor collapses to the floor. Lopi kneels beside the Sailor. As he cradles the dying Sailor in his arms, outside police sirens WAIL. 118. EXT. KING KEBAB - NIGHT A line of police cars roars toward King Kebab. They slide to a halt before the doors. POLICE scramble out of their cars. NIGEL's head appears in the window. He sees the queue of INDIGENTS turn and rush at the police. He flees, trembling, into the rear of the shop. Police, shielded by riot gear and wielding truncheons, charge the Indigents. 119. INT. BUTCHER'S CLUB - SAME TIME NIGEL rushes into the room. NIGEL It's a raid!! KINGSLEY bobs his head in terror, and darts toward the back door. The men plunge after him. LOPI stays kneeling by the SAILOR. MICHAEL grasps him by the shoulder. Lopi turns toward him. LOPI He's dead. 120. EXT. ALLEYWAY - NIGHT From the rear of KING KEBAB, MICHAEL rushes out. He bolts across the alley, followed by KINGSLEY and his cronies. They scramble up the loading dock, and through the back door of SEXTON & SONS. 121. INT. SEXTON & SONS - NIGHT MICHAEL charges through the corridor and into Dring's office. Michael leans over the desk and lifts DRING by his lapels. MICHAEL You took my mother! And you didn't even tell me. DRING Oh dear! Didn't Lopi tell you? I'm very sorry! MICHAEL Sorry isn't good enough! Dring rolls his head helplessly. DRING We had to stay in business somehow. You want a job, don't you? Through the window, they see police cars careen to a halt. With the SUPERINTENDENT and RUPERT at the lead, a squad of POLICEMEN marches toward them. DRING Michael! We're being raided! Like some illicit back-room gaming club! RUPERT (off-screen) This is worse than a brothel! They turn to find Rupert's imperious finger aimed at them. Policemen crowd the door. SUPERINTENDENT We have reason to believe that you have stolen property on your property! The Superintendent hands Dring a search warrant. 122. INT. SEXTON & SONS - LOADING BAY - NIGHT SUPERINTENDENT What is this? DRING and MICHAEL follow hard on his heels. DRING Shipping and receiving. RUPERT and the POLICE squad pushes in behind. The men's eyes circle the space and converge on the four, sheet- enshrouded figures lying on the conveyor belt. SUPERINTENDENT Are these all the corpses in stock? Dring and Michael gawk at the corpses with trepidation. They nod helplessly. SUPERINTENDENT Apparently, you have been contracting people to donate their bodies to your cause, people who are not quite in their right minds. Rupert steps forth aggressively. RUPERT I have here a certificate of mental incompetence! Rupert's forefinger alights on Michael's horrified face. RUPERT Arrest that man! He is the ringleader! Michael points at Dring. MICHAEL He's the owner! Dring blinks repeatedly. DRING I'm just a businessman! My supplier handles the contracts! SUPERINTENDENT Who is the supplier? Rupert holds Michael with a fixed stare. Michael stammers. MICHAEL Lewis Lazuli. SUPERINTENDENT Where is he? DRING I don't know. SUPERINTENDENT Is he here? Dring searches the room. DRING I don't think so. Maybe not. I don't know. The Superintendent pins Michael with an accusatory stare. MICHAEL He's next door. The Superintendent turns to his men. SUPERINTENDENT Search the premises, from head to toe! The POLICEMEN fan out through the building. Rupert marches up to the conveyor. RUPERT What an affront! Rupert flicks on the conveyor belt. RUPERT This is the city, man! You can't ship dead people around like oranges! The CORPSES float along the humming conveyor belt. A POLICEMAN lifts the sheet off one of the corpses, revealing NIGEL. Michael stares, then chokes. Uncovered, ATTILAH and KINGSLEY roll past on the conveyor. The Superintendent advances to the conveyor belt and lifts a sheet, revealing LUCKY. The Superintendent leans close to his face and sucks in his breath. SUPERINTENDENT Lucky! Lucky blinks. SUPERINTENDENT We have a deal! LUCKY It's very competitive. Lucky sits up on the moving conveyor belt. LUCKY They're not dead. KINGSLEY No, I am not dead! I'm merely waiting. Sooner or later you too will succumb to the iron law of history! It's inevitable, and you know it. SUPERINTENDENT Arrest them! Kingsley bolts for the door. A Policeman apprehends Attilah. Attilah punches him in the face. Other Policemen produce truncheons and dash after Kingsley. Nigel and Attilah move to shield him. Lucky watches impassively as police truncheons rain heavy blows on his friends. KINGSLEY Oppression! Definitely oppression! Kingsley fumbles in his pocket and produces the gun. He aims it at Lucky. KINGSLEY Turncoat! Heretic! Counter- revolutionary! Worry not! Our time will come! This is but a minor set-back! A truncheon cracks across his head. Kingsley totters back against the wall, the gun falling from his nerveless hand. 123. EXT. KING KEBAB - NIGHT POLICE in riot gear mop up the last pockets of INDIGENT resistance. Hollow cheeked indigents watch from the back of paddy wagons as burly POLICEMEN confiscate whole sides of beef from the darkened interior of the shop. 124. INT. KING KEBAB - NIGHT Diligent POLICEMEN dust the counters for fingerprints. One POLICEMAN reaches around the spitted haunch of meat, hanging in the window, and unhooks the "Revolutionary Pricing Policy" sign. The SUPERINTENDENT stalks through the door. He rotates his head, inspecting the premises. He walks toward the back. 125. INT. BUTCHER'S CLUB - NIGHT LOPI crouches beside the SAILOR. The Sailor's eyes stare unblinking. Lopi reaches out and closes them. Defeated, he drops his head. The SUPERINTENDENT appears beside him. SUPERINTENDENT So, you're Lewis Lazuli, are you? Lopi looks up tremulously. SUPERINTENDENT I'm surprised you're still here. LOPI There's nowhere to go. 126. INT. PRISON - NIGHT The WARDEN guides LOPI down a long hallway of prison cells. Shaking his head, he casts a sidelong glance at the returning inmate. WARDEN I always wanted to like you, Lopi. But I can't anymore. He ushers Lopi into a cell. The door closes and the lock rasps into place. Lopi squats and looks about at the familiar surroundings: the narrow bed; the open toilet; the hard bench. Perched beside him, his dead MOTHER and his dead FATHER turn to each other. They exchange a glance of profound resignation. Lopi purses his lips, then sighs. THE END