Written on the Body of Night Page #2

Synopsis: A look back at a director's life with his neurotic mother.
Production: Videocine S.A. de C.V.
  3 wins & 3 nominations.
 
IMDB:
6.4
Year:
2001
128 min
34 Views


Yeah, but never rich people.|Only criminals or political enemies.

"There came a rich man|from Arimathea named Joseph.

And Joseph took the body of Jesus|and laid it in his own new tomb...

hewn out of the rock, and rolled|a stone against the entrance."

And that is a picture|of a rich man's tomb.

But...

so then I understand|no firm date has been established...

for the body or the tomb,|correct?

You're forgetting the coin she found.|It was a Pilatus.

Father, isn't it possible the body|in the tomb is that of a Christian?

I mean, a follower of \Christ|and not Christ himself?

Yes, it is possible. In that case,|it would have been buried...

with some Christian symbol|to illustrate the fact.

If|ot in the open,|then hidden...

on the inside of the ossuary or at the|bottom of a jar you would have found...

three concentric circles...

or an antique cross...

or a fish.

So...

it was Dr. Golban who asked you|to come to the tomb, correct?

It was Moshe Cohen|from the prime minister's office.

Did he call others?|Did he call Armenians...?

Orthodox, Protestants?

Why did he call you, Father?

What is all this? Am I supposed|to doubt them because they are Jews?

Father, I understand that|you are in great pain.

But you have to let me carry this now.|This is mine.

The Holy Father has given it to me.|I don't like it, but I have to take it.

But why are you asking me|all these questions?

Who said what, who did what,|who intended what! Don't you realize...

what it means if it is He|in that tomb...

the unrisen Christ?

The end of Christianity.

That someone like you, Father,|could believe that...

is exactly why the Church|wants to know who said what and why.

Come on. Believe me.

We want to know every speck|of dust in that tomb.

We don't wanna lose one soul because|of these things. I mean, not one!

And if we have lost you--

We don't wanna lose you, Father.

What will you do, Jesuit...

if you discover that|it is Christ in that tomb?

A man like all of us?

I will turn to God for the answer.

You know, I think|it's enough for today.

I am sorry I interrupted you.

One more thing.

For security reasons,|I think it would be better...

to move you someplace where|you can continue your work in private.

All right.

Do you know who I am?

Yes. You are Abu Yusef.

Let's have some tea and talk.

Please.

So, Mr. Hamid...

what can you tell me|about the excavation...

behind your store?

I was digging a basement...

when they found|an ancient tile floor.

And now, just waiting|to dig a basement.

All that over a floor?

I heard Dr. Golban, the archaeologist,|say something...

about the tiles being|from the 12th century.

Then why the Shin Beth|is so interested in it?

The secret police is interested|in my hardware store?

And the Vatican state.

The Vatican?

You will find out more.

How? I'm just a simple shopkeeper.

And I was just a simple teacher.

If it's important to you--

To you too.

To the fate of Jerusalem.

Nothing must prevent us|from making it our capital.

Do you think my--

Anything that brings Israelis|and Rome together worries me.

That's the reason I need you to be|my eyes and ears. Watch everything.

Who is going in,|who is coming out...

what they bring in,|what they take out.

You should contact me immediately.

Thanks.

They've only been told we're protecting|the body from religious extremists.

Do you want 'em to stay?|It's your call.

Let them go.

Now we have our first|major archaeological decision.

Who goes first,|Church or infidel?

Are you nervous?

Take one of these.

Right here is where we found|the Pilatus coin.

The coin.

It's a very convenient way|of dating a tomb, right?

Yes, but not the only one.

Now, notice something?

Well, it's empty.

Exactly.

They peered into the tomb,|and it was empty.

Matthew 27, Mark 15,|Luke 23. Yes.

-So?|-That's until you get to the clay wall.

Why do you think the wall|was put up in the first place?

To hide something|much more valuable...

than a coin.

What are these orange marks?

That is oxidized iron.

I think they used smaller spikes|than usual...

because although iron rusts...

it usually survives|as long as bone in these conditions.

You'll notice here...

that these bones aren't broken.

Now, the Romans...

usually break the bones|of the legs...

to speed death.

These things came to pass|that scripture might be fulfilled.

Not a bone of His shall be broken,|or something like that.

Exactly like that.

And you know it.

From this you determined those were|the bones of Jesus Christ, right?

I didn't say that.

What I said was the discovery|at this point conforms to the Gospels.

I knew this wouldn't work.

It'll work. It'll work if you--

if we stop playing games|with each other.

Mr. Hamid, I believe you have|a visitor.

And you didn't think|to call your friends in Gaza.

I was going to, but--

In the name of Allah,|I'm a Palestinian.

If what's in the tomb causes the Vatican|to side with Israel on Jerusalem...

the other Catholic nations|will follow.

And that, my friend,|will deprive us from our birthright.

Listen, I--

I swear you will hear from me|very soon. Very soon.

I want all correspondence|with the Jesuit courier in code.

Well, if you insist.

But it won't do you any good.

Any hacker with half-an-hour's|experience and a modem could crack it.

Such as?

Arabs, Israelis, CNN, MTV.

It's like one big|party line out here.

Who's the biggest party guest?

A week ago, we heard the PFJ were|listening in, but why I don't know.

-The PFJ?|-The Popular Front of Jerusalem.

They're some ex-intifadas out of Gaza,|run by some bloke called Abu Yusef.

Postcards to God.

Do you want to send Him a note,|tell Him you arrived safely?

Or for luck?

Maybe later,|if I really need it.

Let's go.

Peace at any price is not peace.

It's a sacrilege.

Mr. Cohen.

Moshe, please.

Why did you ask Fr. Lavelle|to look at the body?

He was an obvious choice.

He's an expert in the field.

He's a Catholic priest,|and he was here.

And you knew bringing him in|would involve the Vatican...

even though there were|many other choices.

I thought the Church|might appreciate the gesture.

But it seems you look|a gift horse in the mouth.

Look?

I didn't come here|just to look.

You are the most formidable|Christian sect.

To have the state of Israel involved|in something so potentially dangerous...

to the Christian faith|could have serious...

repercussions for us.

So, any other agendas|I should be aware of?

Well, quite frankly,|our only agenda...

was to dump this problem|in the Vatican's lap.

We've done that, so now|I'm just here to assist.

All right.

Dr. Golban's preliminary report...

the one I saw in Rome...

has that been published yet?

No. Probably later this week.

Stop it.

Stop the publication.

And if you don't have|the authority to stop it...

you tell me who does.

I have the authority.|I have the authority for that.

And much more.

I'm sure you do.

-Morning.|-I brought you one of these.

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Emilio Carballido

Emilio Carballido (Córdoba, Veracruz, 22 May 1925 – Xalapa, Veracruz, 11 February 2008) was a Mexican writer who earned particular renown as a playwright. Carballido belonged to the group of writers known as the Generación de los 50, alongside such figures as Sergio Magaña, Luisa Josefina Hernández, Rosario Castellanos, Jaime Sabines, and Sergio Galindo. He studied English literature and earned a master's degree in literature from the National Autonomous University of Mexico (UNAM). As a playwright his first work was Rosalba y los Llaveros, which premiered at Palacio de Bellas Artes in 1950, directed by well-known poet and stage director Salvador Novo. This was followed by a huge number of plays, including Un pequeño día de ira (1961), which earned him the Casa de las Américas Prize, ¡Silencio Pollos pelones, ya les van a echar su maíz! (1963), Te juro Juana que tengo ganas (1965), Yo también hablo de la rosa (1965), Acapulco los lunes (1969), Las cartas de Mozart (1974), and the box office hit Rosa de dos aromas(1986). Some of his works as a playwright were filmed for the screen, such as Rosalba y los llaveros (1954), Felicidad (1956), La danza que sueña la tortuga (1975), El censo (1977), Orinoco (1984), and Rosa de dos aromas (1989). In addition to more than a hundred plays and scripts, he also wrote two volumes of short stories and nine novels, and worked randomly as a stage director. His career in the Mexican film industry began with the script for La torre de marfil, written in collaboration with Luisa Josefina Hernández in 1957. In 1972 he received two Ariels for the storyline and script of Alfonso Arau's El Águila Descalza. On 27 May 2002 he was given the Ariel de Oro for his lifetime achievements which include more than 50 films, remarkably his collaboration in Luis Buñuel's Nazarín (1959). On 16 March 2007, Carballido and his partner of 20 years, Héctor Herrera, were among the first couples to apply for a civil union following the enactment of the Federal District's 2006 Ley de Sociedad de Convivencia. Carbadillo died of a heart attack on 11 February 2008 in Xalapa. Two days later, Governor of Veracruz Fidel Herrera Beltrán ordered a day of mourning in the state and announced that the Theatre of the State and one of the state literary prizes would be renamed after him. more…

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Submitted on August 05, 2018

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    "Written on the Body of Night" Scripts.com. STANDS4 LLC, 2024. Web. 5 Jul 2024. <https://www.scripts.com/script/written_on_the_body_of_night_4432>.

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