Matador Page #5

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
446 Views


If you didn't go out half-naked...

- Let me in.

He's going to get angry.

He said not to let you in.

- Mariano, please.

Oh, all right, come in.

You two can make up

"Dear Diego, I love you."

Where's the poster?

- Behind the blackboard.

Don't worry about Mariano,

he didn't see you bury them.

But both girls disappeared

at a weekend.

Then the inspector knows

I'm alone here.

He suspects, that's all.

If he knew, he'd have arrested you.

But Angel knows...

- No, he guesses.

But I'm sure he won't talk.

I know the police.

They're postponing everything,

hoping you'll make a mistake.

Why wait any longer?

You, too, postpone everything.

Since I met you I've been waiting

for the greatest orgasm ever.

And I enjoy waiting for it.

You're not safe either. They know

Angel didn't kill those men.

So what? Nobody saw me with them.

I've only been seen with you.

You're my only danger.

Danger doesn't scare me.

But the police mustn't catch us.

That's not the game we want.

I'll give you the cape.

Angel will like having it.

I'm so excited

that I'm losing my mind.

Give me a week

to sort out the office.

A week, no more.

Do you want it as badly as I do?

More than you.

I've waited much longer.

You need a bag.

What is it?

- I'm sick of it.

What shall I tell Angel?

- Tell him...

Tell him thank you.

Only a desperate man

would say that.

I'm that man.

Call me, I'm in a hurry.

We'll get everything ready tonight.

Eva, come on out.

I told you not to come.

Why did you? Fool!

I heard it all.

I should never have trusted you.

- From now on, you'll have to.

Your future is in my hands.

- And yours in mine.

Aren't you afraid of me?

I'm only afraid of you leaving me.

I wanted to keep you out of all this.

It's best if you go and forget me.

I can't forget you.

I've tried but I can't. I love you.

You'll get over it. You'll see.

I don't want to.

It's that woman's fault.

You've gone mad!

Yes, I am mad, but it's too late now.

- No, trust me.

Forget me and everything you heard.

I'll forget if you stay with me.

We'll forget together.

I don't want to hurt you.

Don't make things more difficult.

Our love can be saved.

- Do you really think so?

I can rebuild it.

Trust me. Give me a chance.

All right... Rebuild it.

Let me stay with you.

Not today, I'm too upset. Tomorrow.

If I leave, you'll go to see her.

Promise me you won't.

- I promise.

But promise me you'll forget.

If you keep your promise,

I'll keep mine.

We made a deal.

Eva knows everything.

She heard us talking.

Damn brat! Hadn't you broken

with her?

How did she take it?

- I swore I'd go back to her.

I knew that girl would

be trouble.

We can't wait.

Where do I pick you up?

Well, I've got to buy something.

Shall we say in the jewellery shop

in twenty minutes?

What a bore you are.

- I won't be long.

I'm off, Pepita.

- But this gentleman...

Come back on Monday, won't you?

Here, take this to Angel.

What's wrong?

- Nothing... the eclipse.

I want to speak to you.

- Come back on Monday.

You wouldn't go to him,

you f***ing whore!

I heard it all.

- So what!

You're in my hands.

- Really?

You know it.

What do you want?

- Leave Diego alone. He needs me.

Don't you think it's dangerous

to be with him?

I don't care about danger.

- What do you know?

He was a normal man.

- He's killed two girls.

That's because he was gored.

With my help, he'll be fine.

All you offer him is worthless.

Diego belongs to another species.

Mine!

I'll speak to the police.

You need me.

Nobody will believe your story.

When two heavenly bodies meet...

their lights apparently extinguish

themselves.

But for a brief moment...

they acquire a new brightness...

a bright and burning brightness.

What a lovely way

to describe an eclipse!

Something dreadful's going to happen.

- The eclipse affects your ear.

We must do something.

I have a theory,

it's not very scientific...

but every time you suffer

from vertigo...

you're in a half-hypnotic state.

I'd like to know what's going on

in your head.

We must do something to avoid it.

- I suppose we'll have to operate.

It's Diego.

- Can you see him?

Maria and him, in the car.

They're in danger.

What are they doing?

- They've stopped.

He's buying some flowers.

- That's not dangerous.

I'll buy a car like that one

when you grow up.

Flowers, handsome?

- Yes, roses.

Help yourself, I'm holding the baby.

Take another one,

I'm sure you can afford it.

Thanks, generous.

Here, let me read your palm.

What a pity!

You wouldn't accuse him

out of spite?

It's the truth.

Why don't you check?

Don't worry, I will.

Angel says Diego Montes

is in danger.

You too?

What's wrong with women today?

How do you know?

- Angel says so.

How does he know?

- He sees things we don't.

It's the occasion to prove it.

You're driving me mad!

Eva's here too.

She says Diego and Maria

are the murderers.

Then something is happening.

We're on our way.

What's going on?

I'd like to know...

- Well, find out.

Here he is.

- We must hurry up.

Just a moment.

If they met half an hour ago,

they're far away by now.

They're still here.

Angel, can you really see them?

Where are they?

There's a tunnel...

and a fountain with birds.

That's the road to Valencia.

Get an arrest warrant for Montes.

What about Maria?

- Go to her office.

If you're doing this for revenge,

get ready!

Where to?

- To Valencia.

Can you see the car?

- Yes. They're passing a factory.

The "Alcoholera de Chinchn"

Why do you believe him?

It's as if the eclipse

had hypnotised you.

Some things cannot be explained.

That's one of them.

Home at last!

Can you give me a hand?

To have planned it for so long

and be taken by surprise!

For years I've felt that scar

inside me...

yet I never kissed it.

Wait for me in heaven, my love.

If you were to leave before me.

Wait for me.

For soon I will go.

Wherever you are.

Wait for me in heaven, my love.

If you were to leave first.

Wait for me, for soon I will go.

So we may stay anew.

Our love is so great.

So great that it has no end.

And life is so short.

Too short.

For our romance.

That's why I ask you, please.

To wait for me in heaven.

And there, among soft clouds.

We shall make our nest.

Nobody has ever kissed me like this.

Till now, I always made love alone.

I love you more than my own death.

Would you like to see me dead?

Yes... and for you to see me dead.

Can you hear them?

She tells him...

"Nobody has ever kissed me

like this."

"Till now, I always made love

alone"

"I love you more than

my own death."

"Would you like to see me dead?"

What does he answer?

"Yes... and for you to see me dead."

Look at me...

Look at me dying.

Look at me.

The eclipse.

I couldn't save him.

Nobody could.

It's better like this.

I've never seen anyone so happy.

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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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