Local Color Page #8

 
IMDB:
7.4
Year:
1977
116 min
203 Views


Let me go, you're hurting me.

The bracelets.

Oh, Carlo.

I'm so unhappy.

We loved each other once.

What happened to us?

I'll pretend I'm going

to the ladies room.

You wait a few minutes

before leaving so

it doesn't look suspicious.

Where are we going to do it?

On the concession counter?

It's a dark theater,

there are lots of places.

If you're worried about her,

you're wasting your time.

She couldn't care less.

She knows all about us.

She doesn't know anything,

there's nothing to know.

Is this my punishment then?

A life of misery with

the man I once wanted

more than anything in the world?

You have what you wanted.

Jewels, villas, yachts.

Any woman would give her

soul to have what you have.

I know, I did.

It's all ashes without you.

You were all I ever wanted.

We could go to Brazil,

change our names.

Let's not throw happiness

away a second time.

I know I've been bad,

but I can change.

Believe in me,

darling, trust me.

I love you.

You didn't tell me

your sister was so cute.

If you like her I've

got an aunt in Iowa

you'll really love.

When do we leave?

I can remember when

you were more interested

in teenage boys.

I think I detect

a note of jealousy.

It's so ugly, don't you think?

In a way it's sort of like

seeing you for the first time.

I see.

Suddenly you're

interested again.

In her brother.

(dramatic music)

I'll take the

money from the safe.

They won't find out

until tomorrow evening

and by then we can be...

Together.

Far away.

We can get a boat from port.

Hurry.

I can't bear to leave

you even for a second.

I'm afraid you might disappear.

He's very nice, your friend.

He's not Puerto Rican, I hope.

Are you busy Tuesday

afternoon, because I'm free.

I'm working days this week.

See, you didn't have such

a rotten time after all.

Yeah, it's a lot of fun.

She's not as nice

as she used to be.

She's not so bad.

She used to laugh a lot

more when we were in school.

Didn't we all?

I don't think I want

to see her anymore.

Darling.

Lydia?

(gunshots)

You were right

about me, Carlo.

I'm no good.

But if it makes any

difference to you now,

I did love you once.

That night.

Lydia.

The music.

(dramatic music)

You were good to me, Carlo.

You were the only one

who ever loved me.

(dramatic music)

Do you know much

about Greek mythology?

I thought not.

You always live in the past.

You know the one about the

father who raped his daughter?

I didn't think so.

And then he married

her off because he

couldn't live with his guilt.

He changed his mind

and he wanted her back.

Didn't the husband object?

And then she had a baby

who was also her brother.

Do you follow me?

She wanted to revenge

herself on her father

but she didn't want to

arouse his suspicions

so she fixes dinner for him.

She goes into the

kitchen and brings out

this elaborately prepared meal.

Meat basted in honey,

stuffed with figs.

Sounds good.

You like it, I'll

make it for you someday.

Dates and walnuts.

He can't wait to eat

it, he licks his lips.

All the time she's watching him.

When he's done, when he's

licked the platter clean,

she says to him, do

you know what it was?

Do you know what it was?

Guess.

Come on, guess.

Dog meat.

Cats?

His horse.

I don't know, I give up.

His son.

Her son?

Their son.

You read this in Dr. Spock?

You made it up.

It's true.

They knew how to settle

scores in those days.

They didn't allow themselves

to be taken for granted.

What about the husband?

What?

What was the husband

doing all this time?

Where was he?

Why are you so

interested in the husband?

I want to know.

I'm always interested

in what the husbands

do in these situations, I

identify with the husband.

Then you missed the point.

What is the point?

The father hung himself.

And the daughter?

You are interested

in the daughter.

She was turned into

a bird of prey.

I don't get it.

You mean to tell me that

this is Debbie?

What's the point?

The point is just

watch your step.

Don't.

No, don't.

Want to go to a movie?

What are you typing?

Want to watch TV?

Guess what?

I got you covered.

Where did you get that?

Don't point it at me.

Want to suck it?

Ah, ah, ah.

Dangerous toys are

not for children.

What are you

going to do with it?

Blow your brains out?

No yours.

Some night when you're

sitting around like you are

when you're sleeping,

sometime when you least

expect it, bang.

You're a real mental case.

Give it to me before

you hurt yourself.

Take it.

[Voiceover] This is the

way Andrew planned it.

Brian would try to

take the gun away.

They would wrestle for it.

As in countless grade B

movies, the gun would go off.

It would have been

easy that way.

It would certainly let

the problem of having to

pull the trigger himself.

Someone else would have to do it

and that was all

there was to it.

Brian would not exactly

have been responsible

but he wouldn't have been

completely blameless either.

Andrew felt bad about

the possible guilt

Brian might feel, but

he was sure Brian would

be a better man for it.

Chickenshit.

Is it real?

I bet you it's not even loaded.

Guess again.

Brian, Brian look.

I'm blowing my brains out.

Wonder what's on

the tube tonight.

I'm sorry.

Say you forgive me.

[Voiceover] They bumped

into each other at the zoo.

He was watching the elephants.

She was strolling

through the park.

They talked for the first

time unconstrained by

false ties in a false situation.

She remembered

Andrew's picture of him

as well as his dream.

He remembered the

way she looked at him

at the birthday party.

They found themselves

as if pulled by a

magnetic force in

front of his house.

Andrew was working that day.

She asked if she might have

a cup of coffee or something.

I've got a surprise for you.

I love surprises,

should I close my eyes?

It's not that kind.

I shouldn't have told

you, it's too early.

Well now that you've started.

Come on.

I'm getting my own place.

Some surprise.

Not because of you.

I have to get out

of here anyway.

I've had enough.

Please don't talk

to me about him.

It would make it easier

for us, wouldn't it?

Easier than what?

I like it the way it is.

I like things when

they're complicated.

I like that feeling of, I

don't know, trembling in the

pit of my stomach because

something I hope is

going to happen,

it's part of the...

My husband, your brother.

My brother, your lover.

It's impossible, I can't

keep it under control.

It's terrific.

And I'm just another

minor character in this

plot you've cooked up?

Don't you try to

blackmail me with leases.

I'm not going to marry

you because you're

getting your own place.

I know you're married.

I wasn't suggesting.

I don't want to

break anything up.

I know it's the

oldest one in the book.

But I really do love my husband.

- [Brian] Him?

- [Andrea] In a way.

So what are you doing here?

You're making something

out of this that it's not.

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Mark Rappaport

Mark Rappaport is an American independent/underground film director who has been working sporadically since the early 1970s. A lifelong New Yorker, born and raised in Brooklyn, New York, he graduated from Brooklyn College in 1964. Rappaport has been noted by Roger Ebert, Jonathan Rosenbaum, Ray Carney, J. Hoberman, Dave Kehr, and Stuart Klawans. Ray Carney considers him the greatest contemporary American film director. In May 2012, Rappaport filed a lawsuit against Carney for refusing to return digital masters of Rappaport's movies which the filmmaker had previously entrusted to Carney to transport to Paris. The suit was later dropped due to rising legal costs, and Rappaport started an online petition demanding that Carney return the masters.Rappaport made the 1978 drama The Scenic Route. His last three features, all made in the 1990s were Rock Hudson's Home Movies, From the Journals of Jean Seberg, and The Silver Screen: Color Me Lavender.Since his move from New York to Paris in 2003, he has made many short video essays and published a collection of his (fictional and non-fictional) essays in French (Le Spectateur qui en savait trop, translated by Jean-Luc Mengus, Paris: P.O.L, 2008) and three online collections in English available in Kindle editions on Amazon: The Moviegoer Who Knew Too Much (2013), (F)au(x)tobiographies (2013), and The Secret Life of Moving Shadows (available in two parts, 2014). He has also exhibited photomontages in New York, Paris, and elsewhere over the past several years. more…

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Submitted on August 05, 2018

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    "Local Color" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/local_color_12732>.

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