Written on the Body of Night Page #4

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


So you keep saying.|Now go and sit down.

You are stubborn.

So, was he a professional soldier?

No, he was a poet.|We met at university.

He taught a very pretentious course|called Pushkin to Perestroika.

I'm sorry. It must be hard|to talk about that.

I found the most amazing pathologist|from London to study our body.

Dr. Jonas Sproul.

So, I understand that|only from the bones...

they can determine what a person|did for a living...

or what ethnic group|or how old he was--

I thought you didn't know|anything about archaeology.

Well, if it wasn't for|the Discovery Channel, I wouldn't.

Those letters on the jar, do you have|a hard copy of them anywhere?

Can I have one, please?

What are you plotting?

Come on. Humor me, okay?

But if I'm gonna treat your shoulder,|I'm gonna need to see some skin.

Come on. Think of me|as your sister.

I don't see you as a nun,|actually.

I am a confirmed widow.

What happened to your back?

El Salvador.

They were tough on priests?

Tough on enemy soldiers.

I was with military intelligence.

Military intelligence had to fight?

They don't have to fight.

Just like poets.

You have some blood|in your hair.

Who's there?

Go back to bed. Come on.

I'm sorry. I should--

You know, I should go too.

-I'm sorry.|-Thank you anyway.

Are you okay?

Well, I missed the chicken soup,|but some other time.

-Bye-bye, little one.|-Say good night, Dorene.

-Fr. Gutierrez, please.|-I'll get him for you.

Thanks.

-Yes?|-Dr. Golban's here.

Coming right down.

I'm sorry.

I forgot you're a priest.|I'm sorry.

Be right back.

Sorry.

It's the piece from the museum|dated 32 AD...

the year Christ was crucified.

So Moshe came through.

How do we know this piece|has an exact date?

It's a tributary jar,|a Caiaphas piece...

and the lettering on it refers|to the earthquake of 32 AD.

And could the jar have been kept around|for 20 years and then used?

Unlikely. It would be sacrilegious|to use an old jar in a temple offering.

And here's the hard copy|of the lettering on the oil jar...

you asked for, by the way.

Nothing they don't need|to know, okay?

It's a lovely piece.

I've only seen one like it|in the National Museum.

You say it's authenticated?

All right, I'm going.

Name of the dig, please?

It's Dr. Golban's.|I don't know if I should.

I have to identify the job|with some name...

any name.

I don't know.|Call it...

Massada.

They're running a spectograph on|the oil. Do you want to come and look?

I would. I'd rather talk|to Hamid about the lamp.

I don't think he's involved.|He's a good man.

I know, but I have a hunch he might|know something about it.

I'll pick you up afterwards.

I'm sorry.|I wish I could help you.

But as soon as you|and Dr. Golban ran out...

I thought it would be safer if I closed|the shop for the day and went home.

Why safer?

I'm a Palestinian,|Mr. Gutierrez...

with a shop near|an Orthodox neighborhood...

where they stone people|for driving on the Sabbath.

Yet alone disturbing their dead.

-I'm sorry.|-It's okay.

It's all right.

I'm very sorry.

Listen to me. There is no reason|to be afraid of me.

No one can punish you for something|you know nothing about.

Keep moving.

They've arrived.

The chemical analysis of the oil|leaves us in no doubt.

It was definitely used|for anointing.

And the carbon fourteen dating?

The year 1 , plus or minus 80.

Same as the seeds|in the clay wall.

Here's a list|of the things I'll need.

So, according to our measurements...

this man was five foot five...

which is a good|five inches shorter.

-Five inches shorter than what?|-The image of Christ...

in the Holy Shroud of Turin.

You're joking, right?

-What?|-I said, you're joking, right?

I am not.

Congratulations, Father.

You came to prove something,|now you proved it.

Pax vobiscum,|Sursum corda, whatever.

Wait a second.

Sharon, please.

Wait, wait. Wait.|Wait, wait, wait.

Can we discuss this?|Just tell me what's on your mind.

Go back to Rome.|I don't have time.

That is not fair.|I came here for the truth, like you.

So tell me.

The Turin Shroud is a proven fake,|so your supposition is ridiculous.

Not even your Church|will take a position on it.

And even if it would,|the image cannot be that of the Christ.

It could. It could be.

That is enough to include it|in the investigation.

-Read the Gospels, Father.|-Believe me, I have.

Well, read them as a scientist,|not as a believer.

As a scientist?|I am not a scientist. I am a priest.

-I cannot fight your faith!|-I came here with a specific purpose.

If you behave like a mystic,|go back to the Middle Ages...

because I cannot do this|with you here.

-Are you all right?|-Yes.

Come here.

The tomb.

Stop it! No! Don't!

Don't shoot!

No. In the name of God,|please don't shoot him!

Don't shoot him!

Thank you. Thank you.

-Good morning, Father.|-Good morning.

Any news?

You all right?

I have been better.

Well, if you're talking about yesterday,|nobody's taking credit for anything.

Which around these parts is like the|soccer player shagging a movie star...

and not telling anyone|about it.

Which means?

Which means, there's more to it|than meets the eye.

Like this.

Look.

Some sort of code?

I don't know.|You're the expert.

This is a very nice outfit.

-Thank you, Father.|-I am impressed.

When the Vatican recognizes an undivided|Jerusalem as the capital of Israel...

the bones will be released.

The poison spreads.

Does the prime minister|know about this?

But if he did,|he'd probably pin a medal on me.

Aren't you sticking|your neck out?

A faint heart never won a battle, Avi.|Or a seat in the cabinet.

-Even if it means destroying a religion?|-Don't be an idiot.

This won't be the end|of Christianity or the Catholic Church.

-How can you know that?|-Look.

Religion is not based|on a rational system of proofs.

It survives|because of human need.

We offer proof|that Christ has not risen...

those who believe|are not gonna believe us.

Some may fall away,|but you know what?

I think Christianity's|gonna survive.

-What do you think?|-I don't think Cohen is bluffing.

No. The body. Do you really|believe it is He in that tomb?

I don't concern my self|with that very much.

My concerns are for the Church|and her real problems.

Matt, I don't understand...

why it's such a disaster|for the Catholic Church...

if these are|the bones of Christ.

Isn't it enough|that He was an exceptional man...

who founded|an exceptional way of life...

that's good and compassionate|and understanding?

Right.

The power of His message is love.|You're right with that.

But at the same time|salvation and resurrection, He's God.

He's not only God for me.|He's God for millions of people.

You know,|when I left the army...

I swore I would never again do a job|that could harm people.

So I chose an archaeologist. That's|a pretty safe bet, you might think.

Now all of a sudden, I'm...

being blamed for destroying|a world religion.

If you take away|His resurrection...

you kill the God Jesus...

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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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    "Written on the Body of Night" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/written_on_the_body_of_night_4432>.

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