Matador Page #3

Synopsis: An ex-bullfighter who gets turned on by killing, a lady lawyer with the same fetish and a young man driven insane by his religious upbringing - these are the main characters in this stylish black comedy about dark sides of human nature.
Genre: Drama, Thriller
Director(s): Pedro Almodóvar
Production: Cinevista/World Artists
  6 wins & 6 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
89%
NC-17
Year:
1986
110 min
Website
437 Views


What is this? A fashion show

or an anti-aesthetic march?

A butchery, Seora.

- A butchery?

Francisco Montesinos?

- Yes.

Such a vulgar man!

- I heard that.

I wanted to interview you.

Tomorrow.

- It won't take a minute.

All right, go ahead.

Why did you call this show

"Spain Divided"?

Spain's always divided in two.

In how many? Two, did you say?

Yes, basically in two.

- What are they?

The envious and the intolerant.

Which are you?

- Both.

I've told you not to shoot up

in the dressing room.

I'm nearly finished.

Use the toilet to shoot up,

that's what it's for.

And these models are...

She's puked all over me.

Don't worry. Go out like this,

you look divine.

When she shoots, you fall down...

and spread the cape

so that it can be seen.

Who kills the boy with the cape?

The one in red.

- Why?

Because he's beaten her up

and she's got a temper, like me.

That's why she's all bloodied up?

That's right.

- How interesting!

Don't you believe in marriage then?

Well, marriage is necessary

or there'd be no wedding dresses.

I'm off.

- Francis, the gun.

Hide it in the bouquet, then kill him.

Mum, why don't you go and keep

Diego company?

Yes, so much genius

drives me berserk.

How is it going?

- What a mess!

I'm glad I never accepted

modelling jobs.

Want some?

- No, thank you.

What are you looking at?

Ah, the girl with the plait.

I have one too but mine's

more discreet.

Lovely, Pilar.

- Thank you.

Know who it is?

Angel's attorney.

I didn't know attorneys liked frills.

She's a bit whorish.

Pretty... but then one goes

with the other.

Excuse me, Pilar.

There's a rotten smell to this.

I saw someone commit suicide here.

I felt something strange...

as if I were empty,

outside my body.

I often come back.

You and I are alike.

We both feel obsessed by death.

Who doesn't?

But not like you.

What if I hadn't grabbed your hand

yesterday?

What if I hadn't defended myself?

Aren't you coming?

That again?

Aren't you being morbid?

I have to speak to you.

- Some other time.

It's got to be now.

- What is it?

The agency wants me to go to Japan.

Mum loves the idea but I don't.

It would be good for your career.

I don't give a sh*t.

I don't want to leave you.

It would be better.

What's wrong?

- Nothing's wrong.

Is it because of that woman?

It can't be.

You left the shower together,

don't deny it.

I'm not.

Don't play games with me!

Or you with me!

Go! Leave me alone!

Very well, I will.

He's in a bad mood lately...

but don't worry, he'll get over it.

I wouldn't leave him,

even if he asked me to.

Yes, who is it?

- I need to see you.

Why not?

- Because.

Don't call me again,

I won't see you.

Don't tell me you work here too?

- Yes, twice a week.

Is Maria here?

- Yes, I t think so.

Give it to her when I leave.

What is it?

- A surprise.

I'll give it to her.

Where's her office?

- Over there...

but here comes her secretary.

May I help you?

- Miss Cardenal's expecting me.

What is your name?

- Diego Montes.

She didn't mention anything.

She's very reserved at times.

Wait here, but I doubt that

she'll receive you.

There's this guy to see you.

Didn't I tell you to wait?

Go... and close the door.

I don't want to see you.

I have to speak to you.

- Is it that urgent?

Not here. I'm working.

What do you want from me?

Everything.

Give me back my pin.

- Is that all you're worried about?

What's this? Blackmail?

- What are you afraid of?

You know very well.

Please leave.

Maria, we're destined for each other.

No one, not even ourselves,

can avoid it.

Leave... or I'll shoot myself.

Diego brought this for you.

He gave it to me when he came in.

You didn't tell him...

- No. Now let me be.

They're amanita mascaria.

- They're very poisonous.

See the hood?

That's where the poison is.

Can I take one?

Sure, but be careful, don't eat it.

- Don't worry.

I'm Inspector Del Valle.

Is the maestro at home?

He's in the ring, with the kids.

Shall I call him?

No need. He lives here, doesn't he?

Yes, upstairs. He gives his

theory lessons downstairs.

We'll take a look.

How long have you been with him?

- Ever since he started.

After he was gored,

I came here to give him a hand.

I live here,

in the house by the garden.

With your family?

They live in Toledo.

I go there at weekends.

What about the sausages?

I make them myself.

Diego likes them.

Angel Gimnez.

Two cops came.

They're watching you now.

Where?

- Behind the trees.

The inspector put his nose

into everything.

I'm inspector Del Valle.

I'm investigating your classmate.

I'm Diego Montes.

- I know who you are.

Will you be long?

- No, we finish at seven.

Do you remember

the 20th of last month?

It was the last time Angel

came to class.

I remember. That's the day the

maestro taught us how to kill.

Do you remember if he went

directly home after class?

Did he speak to any of you?

He told me he was going home

to study.

See this?

Look at it closely.

Does it belong to any of you?

Look at it closely.

It's very pretty.

Have you seen it before?

I don't suppose you saw Ana Veler

and Ester... Ester Dominguez again?

They're dead.

- How do you know?

The papers said so.

- Maybe. We've no proof yet.

You're aware of Angel's situation?

Why don't you tell me about him?

Anything would do.

Well, if you suddenly get

your memory back...

you can find me at

the Tetuan police station.

All right?

Very well, carry on,

you're doing very well.

Could I speak to you?

Go to the car.

A bull gored you?

Yes, what about you?

- It's psychological.

Do you think Angel

is a homosexual?

You knew him well.

No, I didn't. I gave him classes,

that's all.

Really? You took him upstairs

on the last day.

He wanted some water.

What are you insinuating?

So, besides the classes,

you also gave him water.

He needed to take a pill

and we chatted for a while.

About what?

- Chicks.

And that evening,

he tried to rape your girl.

What do you say?

- That he's a son of a b*tch.

I don't know.

He's not easy to classify.

He's very unusual.

- He certainly is.

The other day he told me

he admired you a lot.

He did?

I don't see why.

Remember when the two girls

disappeared?

One three months ago

and the other, four.

Do you know if it happened

at a weekend?

There's no class at weekends.

I see.

Where did you find it?

- In the bullfighting school.

Is it mascaria?

Of course.

By the way, how are you

getting on with Angel?

He has a huge guilt complex, but then

his mother's a member of Opus Dei.

Do you think he killed them all?

Is that all you're worried about?

Don't you wonder why he did it?

Why is that mushroom poisonous?

Because it's in its nature.

Ours is the same.

Evil thrives inside us.

And goodness.

- Goodness is a bore.

People are not like mushrooms.

- No, they're more complicated.

You must feel for Angel,

even if he's guilty.

Yes, I feel very curious about him.

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Jesús Ferrero

Jesús Ferrero is a Spanish writer born in 1952 in the Spanish province of Zamora. After completing his secondary education he studied literature in Zaragoza for a while and then moved to Paris to study ancient Greek history at the École des hautes études en sciences sociales. Jesús Ferrero, like Javier Marías or Antonio Muñoz Molina, is a writer of that new Spanish prose which developed after La Movida Madrileña (Madriliene Movement), one of the early post-modern currents. He has written numerous novels, poetry collections, short stories, essays and screenplays. He is, among other things, co-author of Pedro Almodóvar's film Matador. He is one of a group of well-known Spanish novelists, which includes Julio Llamazares, Javier Cervas, and Andrés Trapiello, who have published fiction in the vein of "historical memory", focusing on the Spanish Civil War and the Francoist State.Ferrero's debut, Chinese-set novel 'Belver Yin' (1981) was one of the most successful and critically acclaimed in post-Franco Spanish literature, and helped him to establish himself as one of the major writers of La Movida years. With novels set in Tibet ('Opium', 1986), Barcelona ('Lady Pepa', 1988) or Berlin ('Débora Blenn', 1988), Ferrero continued during the eighties a literary exploration characterized by eclectic intertextuality. Fererro’s book 'El Efecto Doppler' (1990), follows a precise choreography which shows the protagonist, Darío, caught up in a complex tale. During an evening meal in Paris the young Rosaura blows her brains out in front of the diners: "Suddenly she looked at me and took a pistol from her bag. Without stopping her whistling she put the weapon to her temple." Every gesture, every look follows a kind of message, and Darío, Rosaura’s cousin, takes it upon himself to create a meaningful entity from the seemingly unconnected clues. In calm, very precise language and in a very detailed, cleverly devised structure Ferrero tells in his novel a gripping love story and at the same time makes us consider the limits of our perception. Precise, too, is that view which the hero has in the novel 'El diablo en los ojos' (1998). Since young Leo Salgado has been focussing his camera lens on his own family, he senses the great influence of this instrument which is able to record everyday trivialities and their most intimate facets. The camera here is the up-and-coming creative genius which captures, with almost cruel clarity, the disintegration of the family. The action of Jesús Ferrero’s novel, 'Juanelo o el hombre nuevo' (2000), is set in Toledo in the 16th century. The protagonist in this fantasy-tale, a good-looking youth, gradually comes to discover the terrible history of his origin as he becomes more and more involved in events in Toledo. It becomes clear that he is an artificially created human being, a golem, a new kind of human being. The novel is a good example which again makes clear Ferrero’s basic themes: "Destruction begins with the first tears in the cradle and ends when, in our parchment-like hands, time dies." Jesús Ferrero’s writing shows a rebirth of the old myths and also tells of the banal, sometimes absurd everyday stories. It reflects the utopias of the twentieth century like those of 'Metropolis'. Ferrero’s style has been seen as close to that of Cervantes or Kafka. The author loves adopting classical narrative patterns while also modernizing and using them aesthetically with new stylistic features. Since 1995 he has been living in Madrid where he teaches literature. more…

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Submitted on August 05, 2018

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