The Last Temptation of Christ Page #3

Synopsis: The carpenter, Jesus of Nazareth, tormented by the temptations of demons, the guilt of making crosses for the Romans, pity for men and the world, and the constant call of God, sets out to find what God wills for Him. But as His mission nears fulfillment, He must face the greatest temptation; the normal life of a good man. Based, not on the Gospels, but on Nikos Kazantzakis' novel of the same name.
Genre: Drama
Director(s): Martin Scorsese
Production: Universal Pictures
  Nominated for 1 Oscar. Another 2 wins & 6 nominations.
 
IMDB:
7.6
Metacritic:
80
Rotten Tomatoes:
81%
R
Year:
1988
164 min
Website
1,446 Views


JESUS (V.O.)

Who's that? Who's following me?

Seeing nothing, Jesus starts again. The FOOTSTEPS return --

LOUDER.

JESUS (V.O.)

Is that you?

He clutches his head, collapses to his knees in pain:

JESUS (V.O.)

Magdalene! Magdalene!

CUT TO:

EXT. MAGDALA - DAY

Three camels in the forefront of a caravan kneel to the

ground. Their riders and the camels are completely covered

with sand. As the camels rest, the riders open their cloaks

revealing bright robes of red, blue and gold and exotic

jewelry.

Jesus walks past the caravan on the main plaza of Magdala,

where TOWNSPEOPLE are salting fish in a public market. The

streets are crowded with camels, donkeys, Mongols on

horseback, Afghans laden with rugs and blankets, Nubian slaves

following their Greek and Roman masters. A Berber woman

dances. She is caked with dust. As she dances, the dust flies

away, revealing her dress, her jewelry, her body.

Jesus passes a well where a woman is seated, drawing water.

Her naked breasts are painted. He tries to avoid her glance.

JESUS (V.O.)

Thank you Lord for bringing me where

I did not want to come.

He pushes his way through the crowd until he reaches the

home of Mary Magdalene. On her door, there is a painting of

two intertwined snakes, one black, one white, and above the

LINTEL, a painting of a large yellow lizard with its legs

stretched out as if crucified. A row of camels, horses and

donkeys stand outside. Jesus enters.

A young Indian nobleman with an aristocratic air, passes by

Jesus and into the courtyard, Jesus stares and follows behind

him.

JESUS (V.O.)

He must be one of God's angels. He

came down to show me the way.

CUT TO:

EXT. MARY MAGDALENE'S COURTYARD - DAY

Jesus and the nobleman take their places seated on the ground

in Magdalene's courtyard. About a dozen men wait for their

turn with Magdalene.

Besides the young Indian nobleman (with three gold bands

around his ankles), there are three Bedounin, three old men

with painted eyelashes and nails, two young men with black

beards and moustaches, and two rich black merchants. An old

lady is off to one side crouched on the ground with a small

cage containing some crabs. A small fire is beside her on

which she is cooking food. There is no door to Magdalene's

room where she does business, only a wispy half torn curtain

floating in the infrequent breeze. This affords her waiting

clients a half-darkened view of the proceedings. An Arab

makes love to her. She is nude, and good at her work.

The young Indian nobleman lowers his eyelids, begins swaying

his upper body back and forth and moves his lips as if in

prayer. Jesus and the others glance at him. One of the black

merchants pushes him with his knee and smiles.

BLACK MERCHANT:

Prince of India, what does your God

have to say about all this?

INDIAN NOBLEMAN:

(opening his eyes)

All what?

BLACK MERCHANT:

Here, in front of you.

INDIAN NOBLEMAN:

That everything is a dream.

One of the old men, using prayer beads, turns to them.

OLD MAN:

Well, if it's a dream, then don't

wake us.

Jesus stares straight ahead. At that moment the Arab comes

out from Magdalene's room. All the men groan as if saying

"about time." The old man gets up and enters.

YOUNG MAN:

Don't take all day, old man. There's

six more here before me.

CUT TO:

LATER - THE SUN

is waning. Three merchants wait with Jesus. Two are eating.

An Egyptian emerges from the Magdalene's house. Another man

gets up. Jesus defers to him.

CUT TO:

LATER - IT'S DARK

Jesus sits alone. The last customer closes the courtyard

door.

Jesus stands, enters Magdalene's room.

CUT TO:

INT. MAGDALENE'S ROOM - DARK - AMBERLIT - NIGHT

Mary, lies naked on a stack of blankets, covered with the

sweat of all nations. Facing the wall, she calls:

MAGDALENE:

Is there anyone else?

Jesus stops in the middle of the room.

Mary turns and recognizes Jesus. She instinctively pulls

back.

MAGDALENE:

What are you doing here.

JESUS:

I want you to forgive me.

The Magdalene doesn't understand.

JESUS:

I've done too many wrong things. I'm

going to the desert. To the monastery.

Before I go I want you to forgive

me. Please.

MAGDALENE:

Oh, I see. You sit out there all day

with the others. Then you come in

there with your head bowed, saying

'Forgive me, forgive me.' Well it's

not that easy. Just because you need

forgiveness don't ask me to do it.

JESUS:

Mary, I'm sorry.

MAGDALENE:

I don't want your pity. I'm fine,

just fine. I don't need help from

anybody. Especially you or your God.

JESUS:

God can save your soul.

MAGDALENE:

I don't want him. He's already broken

my heart. Say the truth.

Mary is half in darkness. As she speaks her legs partially

open and one hand slips between them. Her other hand covers

her breasts.

MAGDALENE:

You want to save my soul? This is

where you'll find it. You're the

same as the others only you can't

admit it. You lie about it. You're

pitiful. I hate you. Here's my body.

Kiss it. Save it.

Jesus, angry, lunges for her and hits her hand away very

hard. She pulls back on the couch and they stare at each

other. When Magdalene speaks again she is calmer, but even

sadder.

MAGDALENE:

Is that the way you show you're a

man? You never had the courage to be

one. If you weren't hanging onto

your mother, you were hanging onto

me. Now you're hanging onto God,

going to the desert to hide because

you're scared. Well go. Whenever I

see you my heart breaks. Don't look

at me.

She stands and puts on a dress.

CUT TO:

LATER:

Mary takes a casserole from the fire, pours it into a bowl

and hands it to Jesus with a barley roll. Jesus eats

ravenously.

MAGDALENE:

Is that the way you eat? Without

thanking God? Don't you think you

should thank him for giving you all

this:
bread, beans, whores, wine...

JESUS:

Let me eat and let me go.

Mary looks at him and touches his face. As she speaks, Jesus

doesn't respond.

MAGDALENE:

I remember when we were children.

When I was five and you were three.

I remember when we laid under the

tree together. I watched you. Later

I wanted you to come to me but not

before you suffered...

Magdalene is coming on to him. He is her lifetime love. No

matter what he does, she will never stop loving him.

JESUS:

Stop it.

He stands and walks over to the fire.

MAGDALENE:

I never felt so much tenderness toward

anyone as I felt for you then... all

I ever wanted was you... nothing

else.

JESUS:

And what do you think I wanted? Do

you think I wanted this? God help

me.

MAGDALENE:

To do what?

It takes him a moment to answer, but when he finally speaks

it is with some tenderness.

JESUS:

To leave.

MAGDALENE:

Please... stay.

(pause)

Here, it's cold. Sleep by the fire.

(she reaches for him)

Is it so bad, sharing a prostitute's

room? You'll still have your virginity

for the desert. I promise.

JESUS:

I can't stay, Mary. I'm sorry.

CUT TO:

EXT. MONASTERY - NIGHT

A small desert commune huddled near the edge of a precipice.

The monastery is actually an unconnected series of low mud

huts. Jesus strides toward them. The wind blows.

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Paul Schrader

Paul Joseph Schrader is an American screenwriter, film director, and film critic. Schrader wrote or co-wrote screenplays for four Martin Scorsese films: Taxi Driver, Raging Bull, The Last Temptation of Christ and Bringing Out the Dead. more…

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