TO HAVE AND TO WANT
 
Working Title: THE MIGRANT

 

 

An Original Screenplay

 

By Marvin Arnold

 

 

 

††††††††† ††††††††† ††††††††† ††††††††† †††† †††† Script for 1:20 film

†††† ††††††††† ††††††††† ††††††††† †††† †††† WGA (West) #634180

© SAMCO

 

eXT. HIGHLAND PARK, DALLAS SUBURB, SUMMER 1979 - DAY

Follow Dallas Transit city bus as it moves in and out of traffic stopping at bus stops.

Street traffic sounds and music, Tony Hatch's "My Love" by Petula Clark. Title and film credits roll over.

INT. CITY BUS - beautiful sunny mORNING

There are only a few passengers on the bus as it makes its way from stop to stop.

Teenager holding a transistor radio to his ear is listening to (theme) music. Film credits end.

eXT. quiet neighborhood

Street of an upper class, tree covered neighborhood with expensive cars at the curb and in the driveways.

Bird sounds and distant traffic noises.

A vegetable vendor in an old truck works his way up the street moving from door to door. He is an old Mexican man in bib overalls and straw hat.

eXT. richardson home, from the sidewalk

The house is of the Cotswold style, a large expensive two-story brick home in Highland Park, an exclusive older neighborhood of North Dallas.

Radio is playing in the living room and can be heard through the screen door out over the yard.

It is the same FM station that the boy on the bus was listening to.

radio DJ (o.s.)

As usual, the traffic on the mix-master is backed up with about a twenty-minute delay into downtown. On north LBJ at Central, there is a one-car accident. Apparently, the border patrol was chasing a van loaded with illegals when it turned over. We'll have an on-the-scene report for you shortly.Ron Chapman here. Stay tuned to KLIF for breaking news and traffic.

The DJ plays the next pop song.

JASON RICHARDSON, owner of the house, is a tall, handsome, medium built man in his mid-forties. From a wealthy family, well educated, inherited father's mortgage and investment business, which he now runs. Dresses in three-piece business suits.

Jason is aware that his marriage to Elaine is troubled, but has learned to care for her over the years and refuses to consider divorce. He has an easygoing manner. Jason restores old cars as a hobby and as an escape.

ELAINE RICHARDSON, his wife, has been married to Jason since their college days. Worked her way through college as a waitress, never worked since. Jason and Elaine have no children. An attractive bleached blonde who worries her youth is fading.

Elaine is impressed with her position in society due to her marriage to Jason. Flaunts it to friends at the country club and the health spa. Has cheated several time during her marriage to Jason. Can be very difficult to get along with at times and has an explosive personality.

eXT. richardson home, front porch

Distant traffic noises and muffled arguing can be heard, but words are not discernable.

The maid is leaving and Elaine follows her out the door. Elaine has just fired the maid.

The maid is in a uniform. Carries a shopping bag and has a lightweight jacket in the crook of her arm.

Elaine is dressed fashionably in a slacks outfit of gold lame, diamond bracelet and large rings, but has a rather unattractive sweater jacket on.

elaine

Just leave! I know you stole from me and I won't have that. You're lazy and not that much help anyway.

maid

I stole nothing and I'll tell you one thing, I'll be glad to leave because you're the most impossible woman I have ever worked for.

Elaine pauses briefly as if having second thoughts then turns in disgust, goes back in the house and slams the door behind her.

EXT. Richardson home, front yard

The maid looks down the street and sees the bus coming to the bus stop on the corner and rushes to catch it. She runs past a vegetable venderís beat up old pickup truck parked at the curb.

int. richardson HOme, LIVING room

The interior of the Richardsonís home consists of rambling large, dark wood paneled rooms filled with massive heavy wood furniture, bookcases crammed with old books and antique what-knots and rooms with over-stuffed couches and chairs.

Elaine paces between the living room and dining room. She picks up some newspapers lying around and throws them back down.

The music from the radio station continues to blare.

elaine (mumbling)

Fine time for the maid to quit, guests coming for cocktails and I'm due at the health spa.

ext. Helicopter flying over NORTH DALLAS NEIGHBORHOOD

Flying low over North Dallas looking down into the yards and swimming pools.

Proceeding out over industrial business parks and down Central Expressway following the traffic on the freeway.

ext. helicopter aerial of freeway accident - same time

A van has crashed against guardrail.

The police and border patrol that have been chasing the van, begin rounding up the illegals that are bailing out of the van and trying to run away.

Fights ensue against a background of highway noise, the sirens of more police cars arriving and people yelling.

A young Mexican woman crouches in nearby bushes, having been able to get out of the van and hide. As the police handcuff the captured illegals, she slips away into the nearby woods.

int. richardson HOme, dining room Ė same time

Elaineís purse is on the dining room table. She digs in the purse for a small bottle of hand lotion and shakes it. She takes off an expensive diamond bracelet, lays it on the table and uncaps the hand lotion.

Almost forgetting to take the large diamond ring off her finger, she removes it quickly and puts it in her sweater pocket. She is in a hurry as she applies the hand lotion.

She is running late for her spa appointment, but sits down on one of the dining room chairs to put on her tennis shoes.

The doorbell rings.

Elaine goes to answer the door and nearly trips on a cardboard box in the entryway.

eXT. richardson home, front porch

Elaine opens the door. It is the door-to-door vegetable vendor, RAMIREZ, a small slender older fellow with a graying black mustache.

Ramirez sell the fresh vegetables he buys from the local farmers. He and his wife live in a poor Mexican-American community near the outskirts of the city. He speaks English, but with a thick Hispanic accent.

RAMIREZ

I have some fine tomatoes for you today, Mrs. Richardson.

elaine

No, don't need any. Thank you, anyway.

Elaine starts to close the door.

ramIREZ

Pardon me ma'am, but last week your husband said that he was leaving some old clothes that I could pick up today.

eXT. richardson home, entryway

Elaine looks around and sees the box she had stumbled over. It contains the old clothes so she scoots the box with her foot to the open door.

ext. richardson home, front PORCH

Ramirez picks up the box and steps back.

Impulsively, Elaine removes the not so attractive sweater and throws it on top of the box.

elaine

Here, take this old thing too. I've hated it ever since I bought it.

rAMIREZ

Thank you very much, Mrs. Richardson. I will see that these get to some people that can really use them.

eLAINE

Yeah, yeah, don't mention it.

Elaine slams the front door.

eXT. richardson home, street and house next door

Elaine, in a red Trans-Am screams out of the driveway and onto the quiet street swerving out around Ramirez's vegetable truck and forces an oncoming car onto the curb.

Ramirez, standing on the front porch of the next house, hears the noise, turns and sees two cars barely missing his pickup loaded with vegetables. Shakes his head back and forth as he canít believe his pickup wasnít hit.

Ramirez

Aw, chi-wa-wa

int. health spa

Elaine has arrived at the spa for her appointment with her personal body trainer, BRIAN CARSON. Heís in his late twenties, very good looking, but more in love with himself than any woman he has ever met.

Brian has propositioned Elaine more than once and she is ready to take him up on it.

Elaine is being shown some exercises and Brian is handling her as they continue to engage in un-discernable small talk and flirting.

ext. farm field, telephoto - late afternoon

The young woman who escaped from the van moves across the field as if in slow motion. She walks slowly with long, graceful strides as the radiation from the heat waves rising from the farm field and distorting the view until she comes closer and into focus.

MARIA LOPEZ is a Mexican national, age twenty-two and has entered the country illegally. She is tall, slender, olive skinned, very attractive and graceful when she walks or runs. Speaks good English with only a very slight accent.

Maria is cheerful and strong headed, but likeable with strong motherly instincts. Pygmalion type character, blossoms as story progresses.

ext. farm field at crops edge, workers packing crates

Maria is tired and sweaty, dressed in loose white blouse and tight blue jeans.

She approaches the group of migrant workers picking vegetables.

ext. the back of a man who has been watching maria

BACA GARCIA watches Maria as she walks across the field.

Baca is ruthless and dishonest, heavy-set, short in stature with dark, thinning hair. He is greasy looking in appearance with a one or two day old black beard growth.

Baca is the labor boss on the farm and he is known to hire illegals.

Maria exchanges some words in Spanish, not discernable, with the workers in the field and they point her to Baca. Maria approaches him.

maria

I was wondering if you might have some work for me. I have nowhere to stay and need a job very badly.

baca

You want to work in the field and get those lovely hands dirty?

maria

Yes, I want to work.

Baca suspects Maria is an illegal. He points to an old woman and some teenagers working in the field.

Baca

You can start to work now. Just grab one of those baskets. Theyíll show you what to do.

Maria turns to go to work and turns back to Baca.

maria

Is there a place I can stay?

Baca points to a large, old brown army tent held up by a wooden box frame with a rickety screen door. The tent is one of many makeshift shanties.

Baca

That place is empty. You can stay there.

ext. following view as Maria walks away

Baca watches, lusting after Maria.

EXt. richardson home, driveway - early EVENING

Black Jaguar Mark VII sedan pulls into the long driveway that goes beside the house, past the backyard and swimming pool to a large old carriage house converted to a modern style garage to work on and house his vintage car collection.

Jason, dressed in an expensive three-piece business suit, gets out of the sedan, opens the rear door and lifts his briefcase from the backseat.

ext. richardson house, gate through back garden and pool

Jason strolls casually through the backyard full of flowers and plants. He pauses several times to check the leaves on some of the plants.

int. richardson home, back door

Jason comes through the rear door and hangs his car keys on a key hook board full of other keys behind the kitchen door. He is greeted by Elaine whose been waiting for him.

Jason

How's your day been?

eLAINE

Why are you so late getting home? You know we are meeting guests for dinner.

jason

Well yes, I did, but I thought they were coming here for dinner.

ELAINE

They're not. Weíre meeting them at the club. I called your office and you were in a meeting, but I left a message with that stupid secretary to tell you.

Jason

Sorry I didn't get the message.

ElaINE

You should fire that dingbat. She never gets anything right. No one else in your office would put up with her! Why do you?

JasON

Sheís new and besides, she needs the work. I can't just fire her. Look Elaine, it wasnít her fault. Something came up at the last minute and I didnít get back till after she left. Probably she left the message on my desk and I just didnít see it.

eLAINE

Never mind that. Get your clothes changed. Everyone else will be wearing sports clothes.

Jason

Okay, Iíll hurry.

Jason starts to go get changed.

ElaINE

I fired the maid today.

Jason turns and comes back.

jASON

You fired the maid?

eLAINE

I had to. I know she was stealing from us.

Jason

I doubt that!

Jason is disgusted. He goes upstairs.

JASON (mumbling)

Guess that explains why weíre going to the club.

ext. migrant workers camp, SHANTIES, TENTS - evening

Ramirez's vegetable truck pulls into the camp. Maria is washing her face and hands in a basin outside the old army tent where she has been told she can stay.

 

†††† †††† RAMIREZ

Buenos dias, nina.

MARIA

Please speak English. I need the practice. And well, you know...

rAMIREZ

Yes, I understand. Youíre new here arenít you?

maria

Yes. My name is Maria Lopez.

ramirez

Say, I came across some clothes today. There is a sweater that looks like it might be about your size. I know that itís hot during the day, but in that thin blouse of yours, you will get cold at night.

ext. ramirezís pickup

Maria walks with Ramirez to the back of his pickup where he gets the sweater out of the old clothes box and helps Maria put it on.

mARIA

Oh, this is a lovely sweater. I havenít ever had many sweaters. Thank you very much, Mr. Ramirez.

rAMIREZ

I also bet you haven't had anything to eat all day have you?

Maria shakes her head no.

rAMIREZ

How about you come and have supper with me and my wife. My Rosa makes wonderful tamales. Sheíll have made fresh corn tortillas and beans too. It would be an honor to share our meal with you.

int. ramirezís home, one of the worker line shacks

Maria and Ramirez are seated at a kitchen table.

Rosa is small, heavy-set, pleasant woman. She serves their food onto plates at the table from a large skillet. She sits down.

All three cross themselves and begin to eat.

Maria

Were you both born here?

Ramirez

Yes, my wife and I were born and grew up in El Paso. Tell me Maria, how is it you speak such good English?

Maria

My mother died when I was very young and I came to Texas with my father when I was seven years old. He was a migrant worker like many in the camp here. He was not a young man. He died when I was ten and the authorities sent me back to Guadalajara to live with my grandfather.

ramirez

I know itís none of my business, but I believe when you were old enough, about the age you are now you hired a coyotee to bring you back into the states.

Ramirez glances at his wife and smiles.

Maria

Iím as much an American as anyone else here. What right did they have to send me back?

rosa

Itís all right child, you are safe here with us. Most of us are not as meddlesome as that old fool of a husband of mine.

Maria

I took a job at a small clothing maker to help support my abuelito and to save enough to buy my way back.

Ramirez

Enough said. Finish your supper. You will need your strength for the work in the field tomorrow.

Int. mariaís TEMPORARY home, an old army tent - NIGHT

Maria enters the tent and strikes a wooden match to light a small kerosene lantern. She has a ragged, cotton nightgown in her hand that Rosa has given her.

Maria undresses to go to bed on an old cot.

ext. outside mariaís tent, in the dark

Mariaís silhouette is projected onto the tent canvas by the light from the flickering lamp.

Baca stands in the shadows watching.

After she changes for bed, the lamp inside the tent dims.

Baca, deciding his free peep show is over, walks away into the darkness.

int. the tent

Maria dims the lamp and sits down on the cot. She tries the sweater on.

Placing her hand in the sweater pocket, she discovers a ring and puts it on her finger. Maria breaks into a smile and giggles.

She assumes the ring is only a piece of cheap costume jewelry that looks like a diamond. She thinks that Ramirez put it in the sweater pocket so she would find it and it would cheer her up.

Her smile fades as she holds her hand closer to the dim light of the kerosene lantern. Looking at the ring closely, Maria realizes it must be real and very valuable. She quickly removes the ring from her finger and holds it in the palm of her hand.

She places the ring back in the pocket, removes the sweater and rolls the sweater into a ball. Maria lies on the cot staring at the rolled up sweater.

A train whistle wails longingly off in the distance and crickets chirp in the night.

Maria reaches over to the knob on the kerosene lantern and turns it down. The light inside the tent grows dimmer until it goes out.

EXT. farm field day - bright sunshine noon

Undistinguishable sounds of workers talking as they leave the field to break for lunch.

Maria carries a sack with a couple of Rosaís tortillas and a small melon, which is her lunch, to the shade of a large tree and sits down.

ext. small grove of shade trees at edge of farm field

Maria is seated in the shade preparing to eat her small lunch. There is a commotion over near the crate packing area. Baca is chasing a small boy out of the area.

Baca

Get out of here, you little thief! I'm tired of you sneaking around here all the time.

The boy runs from Baca. Baca chases the boy for a short distance, but the boy outruns him.

Baca stops, panting heavily. He starts to chase the boy again, but one of the trucks loaded with empty crates is coming.

ext. shade tree and area where workers are resting

Maria watches as Baca chases JAMIE MCGUIRE. Jamie is a skinny, nice looking boy about age nine. He needs a haircut and his clothes are secondhand. The boy often steals what food he can.

Jamie lives with his aunt, CANDY MCGUIRE. Candy is a middle-aged barmaid with a drinking problem. She will take up with most any man that will have her, which often leaves Jamie shut out an alone to shift for himself.

Jamie sits down behind Maria as if she might afford him some protection from Baca.

Maria turns around and smiles at the boy.

EXT. truck loaded with crates APPROACHES

The stacked high crates on the truck are not tied down properly and the load starts to shift as it passes Baca. Ramirez sees this.

RAMIREZ

Look out, Baca!

Baca turns just in time to see the load falling and narrowly misses him as he jumps out of the way. The crates come crashing to the ground, many of them busting.

EXT. cab of the truck

Baca runs to the cab of the truck and pulls the driver out onto the ground and begins to beat on him.

Baca

You sorry...(cusses the driver in Spanish)

Ramirez runs to stop Baca from beating on the truck driver and struggles to pull Baca off the driver.

RAMIREZ

Stop it! Quit, you're going to kill him.

Ramirez walks Baca away, calming him down as Baca continues to mumble something to Ramirez about the incident in Spanish.

ext. shade tree and area where workers are resting

The excitement is over and the workers slowly go back to eating their lunch.

ext. shade tree and maria

Maria turns around to see Jamie behind her.

MARIA

Well, hello there. What's your name?

Jamie looks away and wonít answer her. Maria smiles at him and finally Jamie looks at her.

jamie

Havenít got one.

Jamie is staring at Maria and what Maria is eating for her lunch. Maria holds out a tortilla to Jamie.

maria

Go ahead... take it. Iíll bet your hungry.

After a moment, Jamie grabs the tortilla from Maria's hand. He scoots back away from her and eats it quickly.

MARIA

You were hungry weren't you? I have some melon here too that we can share, if you'd like.

Jamie scoots closer to sit beside Maria as they share the melon.

Jamie

My name is Jamie McGuire. What's yours?

MARIA

My name is Maria Angela Guadalupe Lopez.

Jamie

Wow, that's a pretty long name.

MARIA

Where do you live, Jamie?

Jamie points down the dirt road to an old rundown, frame house in the distance.

Jamie

I live over there with my Aunt Candy, but she's not home much.

Maria

What do you mean, she's not home much? Who takes care of you?

Jamie

I take care of myself.

Maria

Don't you have any parents?

JAMIE

My mama died last year and I don't remember my father. At least, I've never seen him. Aunt Candy is my mama's sister and I came to live with her after mama died.

MARIA

Where is your Aunt Candy? Is she home now?

JAMIE

Sheís not home much at nights. She works at a bar. I can sleep there most nights, but if she has a man at the house in the daytime, I have to stay away.

ext. shade tree, area where workers are resting

The workers move out, returning to work in the field after the lunch break.

Maria stands up and brushes the grass off her pants.

maria

See you, Jamie.

Jamie

Bye, Maria.

Jamie stands and watches Maria as she leave to return to work.

INT. JASONíS EXECUTIVE OFFICEs - next day

Jasonís office is large and plush, but cluttered. The oak-paneled office is carpeted wall-to-wall. The single, second-story window looks onto a parking lot and a tree-covered business park. At one end there is a massive oak desk, leather desk chair and two matching guest chairs.

At the other end of the office there is a large conference table and chairs, a drafting table and shelves full of manuals and drawings. The largest wall is all glass with a glass door.

Through the glass wall is a secretaryís desk and across the florescent-lit, large outer office are a dozen desks and drafting tables with employees at work.

FRANK BOND is Jasonís attorney, long time friend and business associate. Frank has come to Jasonís office to review the contractual agreements on a shopping mall project that Jasonís firm is backing.

Both men are standing over a worktable with an architectural model of the project and papers spread out around it.

Frankís appearance is more like that of a college professor than of a highly successful attorney. He has graying hair long enough to curl up slightly at the neckline and a broad white mustache. Frank wears a wrinkled, wool sport jacket and is smoking a pipe.

Frank has a thick Texas accent and other trial lawyers often refer to him as olí Golden Throat. Frank is Jasonís closest confidant and was a close friend of Jason's deceased father. Jason depends heavily on him for financial and personal advice.

Jasonís secretary, seen through glass wall outside of Jasonís office door, answers the phone. She puts the phone on hold and sticks her head in Jasonís office door.

SECRETARY (quietly)

Excuse me, sir. I know you said to hold your calls, but it's your wife on line three. She seems upset about something.

JASON

Excuse me, Frank.

FRANK

Certainly.

Frank continues to look through the papers spread out on the table as Jason walks to his desk.

JASON (mumbling)

She's always upset about something...

Jason sits down at his desk and picks up the phone.

JASON (forced pleasantness)

Yes, dear. What is it?

ELAINE (O.S)

My diamond... my diamond ring is missing!

JASON

What do you mean missing?

ELAINE (O.S.)

I mean gone! I left it lying on the dining room table yesterday with the bracelet. The bracelet is still there, but the ring is gone.

JASON

Why canít you put things like that in a safer place when you take them off? The stuffs insured, but you should still take better care of your jewelry. Besides, youíre probably remembering wrong and have just misplaced it.

ELAINE (O.S.)

No, itís been stolen. I've torn this house apart looking for it. Iím calling the police.

JASON

Do not do that! Look, Elaine, just calm down. I'll wrap up here and come on home.

Hanging up the phone, Jason reaches for his jacket.

FRANK

I couldn't help overhearing part of that... Is there anything I can do?

Jason shakes his head no in disgust.

Frank

Iíll take these contracts with me to my office. Most of them only need some minor revisions. Iíll have them ready to sign in a couple of days.

Frank begins to gather up the paper work from the table.

Jason

As usual, Frank, youíre a lifesaver. Weíll talk tomorrow.

Jason leaves the office passing the secretary.

JASON

Iíll be out the rest of the day.

Ext. richardson home, driveway - short time later

Jason pulls into the driveway and gets out of his car. Elaine runs out to meet him.

ELAINE

I've got it... I know what must have happened!

JASON

What?

ELAINE

I'll explain...

ext. beside Jasonís car in the driveway, from a distance

Jason listens as Elaine explains with hand motions, showing in actions, how she must have placed the diamond ring in the sweater pocket and thrown it on top of the box of clothing the vegetable vendor had in his arms as he was leaving.

Ext. Elaine and jason in driveway

Elaine

Iím certain now thatís what I must have done.

JASON

I think I know the place where Ramirez works and lives. Itís a large farm area out by the airport. Get in the car and weíll drive out there.

Jason opens the passenger car door for Elaine. He closes her door and goes around to get in the driverís side.

int. Jasonís car as it backs out of driveway and pull away

View from rear seat looking over Jason and Elaineís shoulders through the windshield.

JASON

Weíll ask around as to who might have the sweater. Itís possible that no one has even discovered the ring yet. When I was a kid we used to ride horses out where the migrants worked and lived. They are mostly honest folks not wanting any trouble.

ELAINE

Well I wouldn't know anything about those kind of people.

Ext. Dirt road, FARM FIELD workers camp (not mariaís)

Jason pulls up to the farm field and stops the car. He gets out and goes to talk to a couple of men.

Whatever Jason asks the men, the response by one of them is to shake his head no, and points down the dirt road.

int. Jason gets back in car

Jason

They say that Ramirez works out of the camp about two miles further down.

Jason puts car in gear and pulls out.

Ext. the dirt road beside the FARM FIELD from the camp

Jasonís Jaguar sedan is coming up the dirt road. The workers in the field look up as the car passes the field.

ext. jasonís car arrives at the camp - late afternoon

Elaine and Jason get out of the car. Baca comes up to them.

Baca

Sorry, we no sell to the public.

elaine

We donít want to buy anything. Weíve come to get the ring someone from here stole from me.

Baca

Nobody here stole nothing from you lady!

Jason

Calm down, Elaine! Take it easy. You donít need to come on that strong. No one is going to help us with you acting like that.

Jason

Actually, weíd like to talk to... a Mr. Ramirez I believe his name is.

ext. the four, Jason, Elaine, Baca and Maria

Maria has been standing back, but steps forward and stands defiantly with her feet apart in a fighting stance.

maria

Heís not returned from the city yet. Can I be of service?

ELAINE

Yes, maybe. I believe someone here has my old sweater and thereís an expensive diamond ring in the pocket that belongs to me.

Maria

If I happen to know where it is will there be a reward?

JASON

If you know the whereabouts of the ring, Iím sure we can work something out.

Baca moves quickly to grab Maria whose fist is tightly closed. Maria resists, but Baca forces her fist open. Her fist is empty.

Maria laughs at Baca. Its obvious he wants to claim the reward himself. He is embarrassed at his actions, drops his head and backs away.

Maria looks at Elaine and smiles.

MARIA

Well... what's in it for me?

Jason realizes that even though Maria does not have the ring with her, that she most likely knows the whereabouts of the ring. Elaine looks back at her husband.

Jason

Iíll handle this, Elaine.

Maria

Well?

Jason

What do you want?

MARIA

I want a job... Just a chance to do something better for myself.

ELAINE

Yes, yes, whatever... With in reason, of course.

Maria

Wait here.

Baca starts to go with her.

Maria

You too, Baca.

ext. maria going to her tent not far away

Maria goes into the tent and comes back out with the sweater in her hand.

Maria walks up to Elaine. She holds the sweater on the end of her finger and offers it to Elaine.

Elaine grabs the sweater from Maria, fumbles through the pockets and finds the diamond ring. Elaine throws the sweater in the dirt at Maria's feet, turns in a huff and goes to the car.

ELAINE

Come on Jason, let's go.

Jason ignores her. He takes out one of his business cards and writes their home address on the back of the card and hands the card to Maria.

JASON

Here. This is our address and it just so happens we can use a new domestic at the house.

ELAINE

Come on, Jason.

Jason starts to go, pauses and looks back at Maria.

Jason

By the way, can you cook?

Maria is holding the business card in her hand. She smile, then shakes her head yes.

Maria

You will like my cooking.

Jason

Great! Got to go now.

Jason gives a small wave as he walks to the car.

ext. dirt road from the camp - dusk

The Jaguar pulls off in a cloud of dust. Down the road a ways, Ramirezís pickup, coming to the camp, passes Jasonís car.

ext. maria and baca as jasonís car leaves

Baca approaches Maria from behind and grabs the business card from Maria's hand.

Baca

Gimmie that!

Maria looks horrified as Baca tears the card in half and puts it in his pocket.

BACA

Anymore trouble out of you and you're on your way back to Mexico.

Maria runs off in tears.

EXT. FARM FIELD - NEXT MORNING

An unmarked police car with a plain-clothes detective pulls into the camp. The driver is a uniformed officer.

LIEUTENANT DETECTIVE WARD is a big man. He wears a gray, narrow-brimmed Stetson and a light-tan full-length London Fog raincoat.

Lt. Ward smokes and chews on a cigar, often pointing with it as he speaks. A soft-spoken man with a strong sense of justice; always gets his man.

Lt. Ward gets out of the passenger side of the car. He looks around slowly. Baca and some workers packing crates had stop working as the car pulled into the camp.

Lt. Ward approaches Baca and pauses to relight his cigar then looks directly at Baca.

Lt. ward

You Baca?

BACA

Si. Everyone know Baca around here.

Lt. Ward pauses to look up briefly as an airplane passes over. Workers in the farm fields seldom look up as airplanes often pass low overhead going in for a landing at the nearby regional airport.

LT. WARD

What's this I've been hearing about laborers getting beat up out here?

Baca extends both arms looking innocent as he turns to look back at the other workers.

BACA

I don't know... I don't know what you're talking about. We havenít had any problems here.

Lt. Ward turns slowly, making eye contact with one worker at a time.

LT. WARD

Well, has anyone else here got anything to say?

A couple of workers shake their heads no. The others say nothing.

Maria walks up with a basket load of vegetables and only hears the end of the conversation.

Lt. Ward points his cigar at Baca.

LT. WARD

Well, Baca... I got my eye on you. Screw up and I'll be there... I'll be there waiting, Comprende!

Lt. Ward and the police officer get back into the car. Baca yells at the workers and storms off.

BACA

Vaya... Vaya trabajo!

Ext. Farm worker's camp - NIGHT

That night in camp there are some workers gathered around a campfire. A young man is playing a Spanish guitar.

Baca makes his way through the shadows to Maria's tent. He has been drinking.

Int. Maria's TENT - NIGHT

In the dimly lit tent, Baca bursts in and Maria is startled.

Maria

Get out!

BACA (laughing)

You been waiting for me? You want to make love to Baca?

Maria realizes that Baca has been drinking and though she is filled with distain for him, she fears for her safety. She thinks it is best to humor him.

MARIA

No, Baca don't want Maria, but Maria might be a little nicer to Baca, if Baca would give her back the card he took.

Baca takes the torn card from his pocket.

baca

You want this? Come and get it.

Maria lunges for the card in Bacaís hand.

maria

Give me that!

Baca jerks it back and puts it back his pocket. With Maria off balance, he grabs for her and rips her blouse off her blouse. He grabs for her again and she evades him.

BACA

Come here you little...

MARIA

No!

BACA

You want me to turn you in to immigration?

MARIA

No, but if you touch me again, I'll go to that policeman who was here today and tell him what he wants to know.

Baca turns, throws his hands up in disgust.

BACA

Oh, so you not only speak like a gringo, now you think youíre smart too.

Maria

I can read and write English and Spanish both. Thatís more than you can do and you were born here. At least Iím not an ignorant peasant like you.

Baca

You stinking bitch, you no even know whatís good for you. Aw, you ainít worth the trouble.

MARIA

You'll never know!

BACA (angry)

What'd you say?

MARIA

I said, get out!

Baca stumbles out of the tent.

Ext. FARM FIELD, crating area - early the next morning

Ramirez is loading his truck to depart on his daily door-to-door sales rounds.

Maria approaches Ramirez to try to get him to tell her the address of the place where he picked up the box of old clothes and the sweater, as this would be the place where she was promised a job.

MARIA

Please, you must tell me where you picked up the box with the sweater you gave me.

RAMIREZ

No! I heard what happened with you and the lady about the diamond ring. You will just get in trouble.

Ramirez continues to load his truck. Maria follows him back and forth, pleading.

MARIA

You must tell me the address. Iíve been promised a good job there.

RAMIREZ

I know.

MARIA

Then why won't you tell me?

Ramirez pauses for a minute and looks at Maria.

RAMIREZ

Because those people will only hurt you. They are not your kind.

MARIA

It's a chance to do better and I've got to get away from here.

Maria slumps as though defeated. Ramirez sees the sadness in her face.

RAMIREZ

Ok...Ok... I write the address down for you.

Ramirez takes an order pad and pen out of his shirt pocket to write down the address. Mariaís face brightens up.

MARIA

Bless you! Bless you!

Ramirez

No, Ramirez will do better than that. Help me finish loading the truck and I will take you there. If you have any possessions you wish to take go get them now.

Maria

I have nothing, except what I have on.

Maria tears into loading the truck like a mad woman. Ramirez laughs with amusement as Maria loads two crates for every one of his.

ext. ramirezís truck, richardson home - mid-morning

Maria steps out of the pickup at the curb.

RAMIREZ

Via con Dios, ninita.

Maria waves goodbye.

Ramirez watches as Maria goes up the walk to the front porch. He wonders if he has done the right thing. Ramirezís pickup pulls away.

Ext. RICHARDSON HOme, front door

The front door of the Richardson home where Maria has come to claim the job that was promised her several days before.

Maria rings the doorbell. She waits nervously.

Elaine opens the door She looks sneeringly at Maria. Maria tries to act pleasing.

ELAINE

Oh... It's you. Well, come in.

MARIA

Thank you.

int. richardson home, entry and living room

Elaine and Maria enter the house. Maria is smudge-faced and her clothes are dirty from loading the truck. Maria looks around and is amazed at the house.

ELAINE

I'll get the key to the maidís quarters, which are up the stairs above the kitchen. Itís a little hot in the summer, but the windows open onto a nice garden view. It's not much, but then I guess it's probably better than what you people are use to.

MARIA

Yes, probably so.

ELAINE

In a way, Iím kind of glad you showed up. The house is a mess. Youíll have to change out of those filthy clothes. There are some uniforms in your quarters. I think theyíll fit you.

Maria

Thank you. It would be nice to have some clean clothes. May I take a bath or a shower before I change?

ELAINE

Yes, yes of course. Then you can start with the dirty dishes in the kitchen. What was your name again?

MARIA

Maria.

Elaine opens a hall closet door exposing a key rack. She removes one of the keys, hands it to Maria and points to a narrow stairway down the hall.

Elaine

Youíll need to go up those stairs and you will find everything you need up there.

Int. Richardson home, dining room - EVENING weeks later

After dinner in the Richardson home. Frank and his wife are dinner guests.

Maria has prepared and served dinner. Her long hair is pulled back in a tight bun and she is wearing a maidís uniform. She enters the dining room with a silver coffee pot.

Jason, Elaine, Frank and his wife are engaged in small talk.

FRANK

Maria, I think that was one of the best meals I have had in I canít remember when.

MARIA

Thank you, sir.

JASON

We'll have coffee and dessert in the living room, Maria.

MARIA

Yes, sir. Iíll bring some fresh cups.

Maria exits to the kitchen. The four get up from the table and stroll to the living room.

FRANK

You know you're a lucky man, Jason to have a beautiful wife like Elaine and a housekeeper like Maria. How do you do it?

Frank looks at Elaine when he says beautiful wife and back at Jason when he refers to Maria.

Elaine smiles as Frank looks at her and the smile fades as he mentions Maria.

JASON (smiling)

I didn't find Maria, Elaine found her! Or maybe Maria found us. I'm not sure.

Frank (chuckling)

Oh, yes. I remember... The diamond ring incident.

Maria enters with a large silver tray.

ELAINE (to Frankís wife)

She's not really that good of help. Lazy like all those people.

Int. Richardson home, living room - LATER that evening

Frank and his wife have left. Elaine and Jason are in the living room. There is an air of tension between them.

Elaine, still dressed very stylishly, is standing with a drink near the fireplace as though she's about to pick a fight.

Jason senses this and would rather avoid it. He loosens his tie, puts on his reading glasses and picks up the evening paper preparing to read it.

ELAINE

I'm bored.

Jason says nothing, only adjusts his glasses.

ELAINE

You're boring. You're friends are boring.

JASON

Is this going to be another one of those arguments you like to start? If so, I'd just as soon not.

ELAINE

You're damn right it's going to be another argument.

Elaine paces a few steps wringing her hands. Jason watches from where heís seated.

ELAINE

I want a divorce.

JASON

We've been over this before and the answer is still no.

ELAINE

Why?

JASON

Because you can't take care of yourself.

ELAINE

Then pay me support.

JASON

Well then it's because I love you and I don't want you to leave.

ELAINE

No, it's because you're afraid of what your precious family and friends might say about a divorce.

JASON

That's not true, Elaine. I care very much about you. You know that. To me, you don't seem to be in a state of mind to know what's best for you right now.

Elaine now changes moods from arguing to coy. Walking around the corner of the couch with a smile, she brushes the couch with her fingertips.

ELAINE

Jason... I haven't always been true to you.

Jason comes to his feet from the easy chair heís sitting in and throws the newspaper onto the chair.

JASON

I don't want to hear that nonsense. You know what your position is and I expect you to maintain it. If I ever do catch you running around, when my lawyers get through with you, you wonít have a pot to... Ah shit, never mind Iím going to bed.

Jason storms out of the room. Elaine laughs long and hard as he leaves. She was trying to be cruel, to hurt him and she has succeeded.

Int. Richardson home, garage - Saturday afternoon

Jason is working on one of the old cars in his classic car collection, a baby blue Bentley Cabriolet.

In the far back of the garage is a 1929 Lincoln Phaeton. The car is up on jacks and parts off the car are lying all around. In the garage, there is also a brightly polished black Porsche 911 and in the far corner is a red MG TC under a tarp.

Jason comes home from the office around noon. Elaine isnít home and he wonders where she could be at this time of day.

Jason has been working on the Bentley all afternoon and is leaning over the car fender adjusting the carburetor when he hears a car pull in the driveway. He looks out from under the hood and sees Elaine drive up.

Elaine's car is a sporty American model that Jason detests, but he bought it for her anyway just to try and please her. Wiping his hands on a red rag, he walks towards her car.

JASON (mumbling)

Hate that car!

Elaine gets out, having just come from Brian's apartment. She acts very coyly and innocent.

Jason

Whereíd you go this morning so early?

ELAINE

Oh, to the spa to work out.

Jason stands looking at Elaine as though he doesn't believe her because she is dressed flashy and has her full makeup on.

JASON

I don't understand why youíd spend all day doing that sort of thing?

Elaine starts for the side door of the house with a fake smile on her face.

ELAINE

You don't understand women at all, darling.

JASON

Maria had lunch ready when I got home. I'm sure that she kept something for you.

Elaine

Iím not hungry. Think Iíll lie down for a while.

jason

Iím going to test drive the Bentley so Iíll be gone for a while.

Elaine enters the house. Jason turns to go back to work on his car.

Int. richardson home, garage - a while later

Maria is dressed in jeans and a white shirt instead of the stuffy maid's uniform Elaine usually makes her wear. These clothes are the ones she came with, which she has since washed and mended.

She made some ice tea and brings Jason a glass.

MARIA

Made some ice tea for you. Looks as though you have been working as hard out here for fun as I have cleaning out that old storage room Mrs. Richardson told me I had to do today.

Jason takes the glass of ice tea and leans back against the Cabriolet.

JASON

Thanks. You all finished now?

MARIA

All done! So I thought Iíd fix you something cool to drink. You really enjoy working on your old cars, don't you, Mr. Richardson?

JASON

Sometimes I think itís a little more than a hobby, but yes, I do.

MARIA

I think my favorite is the convertible youíve been working on now.

Jason

Itís called a Cabriolet. Come here, Iíll show you something.

int. garage, workbench

Jason goes to his workbench, sets his tea glass down and reaches for a classic car book on the shelf above. Maria follows. Jason opens the book to some color photos.

JASON

See in this book, it shows the differences between a Cabriolet, a Roadster and a Phaeton.

Jason points out each one.

jason

Also, the ordinary convertible is shown here. See that old í29 Lincoln up on jacks in the back of the garage, thatís a Phaeton. Heaven only knows when Iíll find the time to finish that one.

Maria is thrilled that Jason has taken enough interest in her to show her something.

MARIA

Oh, I hope to learn so many things so that I will not be so dumb.

JASON

You're not dumb, Maria. You just havenít had the opportunity to learn all the things you want to know.

Jason reaches for an old windbreaker hanging on a nearby nail as he puts the book back on the shelf in its proper place.

ext. Driveway just outside of the garage

The two walk back out to where Jason had been working.

Jason

Tell me, if youíre done working for the day, what's a pretty girl like you doing hanging around this dreary old house on a beautiful afternoon?

MARIA

Donít really know anyone here except old Mr. Ramirez and Jamie. And they live way out by the airport were you all came that day.

JASON

Tell you what. The Bentley here needs to be road tested and Iím just about to take her out for a spin. How'd you like to ride along?

MARIA

Could I?

JASON

Of course, where would you like to go?

MARIA

To see Jamie of course! Iíve worried so much about him.

JASON

Well then, let's go see Jamie.

Maria runs around to the passenger side of the Bentley and gets in.

Jason is amused at her child-like enthusiasm.

ext. helicopter following the bentley on the road

The Bentley, with top down and booted, speeds along a two-lane rural blacktop road past farms and fields.

Music mood something akin to ďAlpine DriveĒ

Ext. OUTSIDE OF JAMIE'S aunts rundown frame HOUSE

Jason and Maria pull up at Jamieís house in the Bentley.

Jamie comes running out of the house.

JAMIE

Maria, Maria.

Maria gets out of the car and holds out her arms to hug Jamie.

As Jamie gets to her, he stops short and offers a handshake.

Maria smiles and shakes his hand warmly.

Jason parks the car and approaches the house.

Candy comes out of the house onto the porch and leans against the post.

MARIA

I'm so glad to see you, Jamie. How have you been?

JAMIE

Oh, all right, I guess... That's my Aunt Candy on the porch.

Jamie points toward the house.

Maria looks up.

Maria

Yes, I pretty much guessed that.

Jason walks up.

MARIA

Jamie, this is Mr. Richardson.

JASON

Pleased to meet you. Iíve heard a lot about you, Jamie.

Jamie shakes hands, but backs away and doesnít reply.

Candy watches from the porch with her arms firmly folded in front of her.

Candy (hollering)

Who are those people, Jamie? Iíve told you not to talk to strangers.

JAMIE

Just some friends of mine.

Maria (speaking to Candy)

Yes, I was thinking of Jamie and hadnít seen him for some time. Hope you donít mind if we visit with him.

CANDY

I don't mind. Why would I mind? Fancy good-looking guy you got for yourself there, lady.

MARIA

No, this is...

CANDY

Say, ainít you one of them Mexicans who works at them farms over there?

MARIA

Yes, I did for a while, but now I work for Mr. Richardson here.

Maria points to Jason. Jason smiles and nods.

CANDY (laughing)

Well, why don't you see if he'd like me to work for him too?

JamIE

Donít pay any attention to her. Sheís been drinking again. Come on. Let's go over there.

Jamie points to the shade of an old shed.

Jason

Iíll be over by the car. You two visit as long as you like. I want to try to adjust the carburetor a little better.

Jamie and Maria go over to sit in the shade.

Candy goes back in the house.

JamIE

One of her men friends took some of her money and left last night. She always gets this way when that happens.

Maria sits down on the grass with Jamie.

MARIA

Tell me about you, Jamie. What all have you been doing since I last saw you?

Int. RICHARDSON HOme, back door into kitchen - dusk

Jason and Maria have returned.

Elaine is waiting as they come in talking about their drive in the car.

Maria (laughing)

After you adjusted the carburetor and the car stalled is when I though we were really in trouble. Then Jamie and I had to push while you ran to jump in and pop the clutch to get it started.

Jason

Ah, old cars push start easy, not like these new fangled ones with automatic transmissions.

At first they don't see Elaine standing just inside the door with her hands on her hips.

ELAINE

I wondered where in the hell you two were.

JASON

We just... I told you earlier Iíd be taking the Bentley out for a test drive.

Jason is smiling, as he has nothing to hide and has enjoyed the day.

Maria's smile drops from her face.

JASON

I'm going to take a shower.

MARIA

I'll go prepare dinner.

JASON

Just a sandwich for me.

Jason heads upstairs.

Elaine glares at Maria, then turns to walk away.

MARIA

And you, Mrs. Richardson?

ELAINE

Oh... Nothing for me. I'm not hungry.

int. richardson home, living room - later that evening

The TV is on, but the volume is low. Jason is seated in his easy chair reading.

Elaine enters and sits on the couch across from him.

Elaine

Anything on TV tonight?

Jason

Donít think so. Carol Burnett used to be on in this time slot. Must have changed nights. Go ahead and see for yourself. Might be something else on.

Elaine

Not really interested, I guess.

Jason

Speaking of interest. Why were you so teed-off about Maria showing an interest in my old car? Wouldnít hurt you to show a little interest in someone else beside yourself.

Elaine

I was wondering, when I thought my diamond ring had been stolen, you said not to worry as it because you had insured all my jewelry.

Jason

It wasnít like it was a family heirloom or keepsake. We bought it because you wanted it.

Elaine

I know, but how much? How much was it insured for?

Jason

The ring... Forty or fifty thousand. Why?

Elaine

Just wondering. What about my diamond bracelet and that large necklace I never wear?

Jason

All total, I think the insurance policy is for about two hundred and fifty thousand.

Elaine

That much!

Jason

Youíve never shown any interest in what they cost before. Why all of a sudden now?

Elaine gets up to leave the living room having no intention of answering Jasonís question.

Elaine

Yes, Jason, I should show a little more interest in your old car hobby. Just holler the next time you need someone to take a test drive with you.

Jason shakes his head questioningly and with a smirk he goes back to his reading.

int. richardson home, kitchen - following friday morning

Jason is standing having a cup of coffee at the kitchen counter before leaving for work.

Elaine is seated at the kitchen table, flipping nonchalantly through a fashion magazine.

elaine

Nancy Wilson, some of the other girls and I are flying out to LA this afternoon on Southwest Airlines. Weíre going shopping on Rodeo Drive.

jason

Why wait until now to tell me and why on a Friday?

Elaine

Because it just came up and besides, the stores are open on Saturday. Iíll be home late Sunday evening. You wonít even miss me.

Jason sets his coffee cup on the kitchen counter, picks up his briefcase and starts for the back door.

Jason

Just as well, Iíll work Saturday. Itís quiet on the weekends and I can catch up on some back paperwork. You all have a nice time.

int. upscale bar near jasonís office - friday evening

Jason sits down at the bar and orders a drink from the BARTENDER.

bartender

The usual, Mr. Richardson?

Jason nods his head yes.

mike

Working late tonight, Jason?

Jason looks to his left to see MIKE WILSON.

jason

Yeah, how about you, Mike?

NANCY WILSON, Mikeís wife, approaches from behind the two men seated at the bar.

mike

Just waiting on my wife. Weíre going out to dinner. Oh, here she is now.

Nancy

Hi, Jason. Whereís Elaine?

jason

On a shopping trip... I think?

Mike pushes back from the bar to leave with Nancy.

Mike

See you Jason. Take care.

Jason sets back down at the bar and orders another drink.

Nancy, leaning on Mikeís arm, whispers something to him as they are leaving.

int. richardson home, den - sunday afternoon

Jason is seated at a large oak desk. To his right is a giant, leaded-glass pane window that overlooks the manicured backyard and the swimming pool area.

Jason looks up as Maria comes into the den.

maria

Mr. Richardson, Iíve never had the courage to ask your wife if I could use the pool when no one else is using it, but Iím off today and with her away for the weekend I thought...

Jason

Sure, itís a beautiful sunny day. Go right ahead. Iíd be out working in the garage, but Iíve gotten behind on my paperwork.

Maria

Thank you.

Maria turns to leave the room.

Jason (smiling)

Although, maybe best not to mention it to Elaine when she returns. If you know what I mean?

Maria smiles and nods politely that she understands Jasonís remark.

Jason returns to his paperwork.

int. richardson home, den - an hour or so later

Jason gets up from the desk, stretches and walks across the den to stand, silhouetted, looking out the large window onto the backyard and pool area.

At first he doesnít see Maria on the chase lounge, sunning herself in a black two-piece swimsuit.

jason (his thoughts V.O.)

That girl is a riot. Judging by the fit of that swimsuit she has on, she dug it out of the laundry to use. At least, I donít think she buys designer swimsuits on a maids pay.

Jason chuckles to himself.

jason (his thoughts V.O.)

Bet thereíd be a catfight if Elaine caught Maria in one of her suits. Come to think of it, Iíd buy a ticket to see that.

ext. pool area

Maria lays on the chase lounge sunning herself. Her smooth, light olive-toned skin shines in the sun and her lovely long legs are at just the right angle. She rests quietly with sunglasses covering her eyes.

int. large den window

Jason is still at the window with his back to the desk.

jason (his thoughts V.O.)

What a contrast between Mariaís natural beauty and Elaineís flashy, bleached blond attractiveness.

Jason turns away from the window.

jason (his thoughts V.O.)

Maybe best, however, I donít dwell on those thoughts at this point in time. Back to work for me.

Jason returns to his work at the large desk.

int. richardson home, front door - late that evening

Taxicab pulls away from curb as Elaine comes through the door with a small travel bag, no other packages.

Jason has been waiting up for her.

jason

Well, did you shop till you dropped? Where are all new purchases?

Elaine

I ah... I couldnít find a thing I liked. You know how it is, donít you, dear.

int. richardson home, stairway

Jason follows Elaine upstairs.

Jason

No! I really donít!

int. richardson home, upstairs master bedroom

Elaine is unpacking her small bag and a Sheraton Hotel room ashtray falls out of her dirty lingerie and rolls across the carpet bedroom floor.

elaine

There I brought you a souvenir ashtray.

Jason picks up the ashtray.

Jason

A weekend of shopping and all you come home with is this lousy hotel ashtray. Did you ever leave the hotel room?

Elaine

Oh Jason, donít be like that. Iím tired and need to go to bed.

Elaine sits down on the edge of the bed. She is exhausted.

Jason places the ashtray on the dresser and starts out of the bedroom.

jason

Iíll be in the guest bedroom till we can work this out. Have Maria move my things down there tomorrow.

Elaine (whining)

Oh hell...

Int. Health spa - several days later

A mixed group of men and women are at the health spa and racquet club area.

Elaine enters swinging a beach bag. She stops to chat briefly with a couple of other ladies, passing the husband of one of her married girlfriends, a wealthy retired fellow by the name of BILL.

ELAINE (smiles coyly)

Hello there, Bill.

Bill

Hello Elaine. I haven't seen you in a while.

ELAINE

Well, that's not my fault.

Elaine continues on.

Bill smiles and shakes his head. Along with a couple of other guys, he watches Elaine walk through the main workout area swinging her hips.

The two guys say something to each other and chuckle. Elaine enters the ladies dressing room.

int. hot tub area of the pool

Elaine, now dressed in a one-piece swimsuit, lounges in the whirlpool. She is talking to Brian who is sitting on the edge of the pool. They have the area to themselves.

Brian

Am I going to see you this afternoon?

ELAINE

What time do you get off?

BRIAN

About 4:30.

ELAINE

Ok, I'll meet you at your apartment.

Elaine gets out of the pool and picks up her towel to leave.

Int. Brian's apartment - that AFTERNOON

Elaine and Brian are in bed. Both are nude with a sheet covering them.

Elaine's head is lying across Brian's chest.

ELAINE

Well, what are we going to do?

BRIAN

About what?

ELAINE

About us! Better yet, where would you want to be if you could be anywhere is the world right now?

BRIAN

I think right now we ought to be lying on the beach on the French Riviera listening to the waves come up onto the shore.

ELAINE

Then why aren't we?

Brian raises Elaineís head up off his chest and sits up in bed. He reaches for a pack of Marlboro cigarettes. He lights one and looks at Elaine.

Elaine sits up in bed holding the sheet to her large breasts.

BRIAN

That ol' man of yours, he's got plenty of money, doesn't he?

ELAINE

More than he'll ever need, but I canít get my hands on any of it. Most off it is tied up in investment and that sort of thing. He only put so much a month in my bank account.

BRIAN

And that Mexican broad that works at your house... You don't like her very much, do you?

ELAINE

No, but why? What have you got in mind?

BRIAN

The diamonds. You said they were insured for a quarter million. Give them to me and say you lost them. Iíll fence them and weíll have the money.

Elaine

We could get in a lot of trouble for that, couldnít we? Besides, Jason is smart. Heíd figure it out for sure.

Brian

Okay, Iíve got an even better plan, but youíd have to do your part.

Brian gets out of the bed and slips his trousers on and goes to sit in a chair across from Elaine.

Elaine bounces in the bed still holding the sheet to her breasts.

Elaine

Tell me. Tell me!

brian

In a few days, you report the ring, the bracelet and the necklace stolen. Make sure the time you report them as missing to the police is during a time when only the maid is there alone. The maid will be arrested for the theft.

Elaine

No, I like the ring. Never cared much for the bracelet and that necklace.

Brian

Okay, okay. Weíll keep the ring!

Elaine

And then what? How is it that blaming the maid is better?

Brian

Donít you see! Weíll collect the insurance and double our money!

Elaine

How?

Brian

Iíll open a Swiss bank account and after the claim is filed, youíll contact the insurance company and tell them something like for tax reasons you want the settlement money deposited to your Swiss bank account. We get a half mil and your old man gets the shaft.

Elaine leaps forward to grab Brian around the neck.

Elaine

Brian, youíre an absolute genius. Riviera here we come!

Int. JASONís office - Several days later

Jason is on the phone at his desk. The secretary speaks over the intercom.

SECRETARY (o.S)

Your wife is on line two, Mr. Richardson.

JASON

Hold on just a minute, could you please?

Jason switches to the other phone line.

JASON

Yes, Elaine, what is it?

Int. outer office, from the secretaryís desk

View though the glass office wall Jason continues to talk to Elaine on the phone. Jason stands and paces waving his hand. He looks at the receiver and hangs up the phone.

Jason exits his office passing his secretaryís desk.

Jason

Iíll be out the rest of the day.

Int. RICHARDSON HOme, living room - half hour later

Jason arrives home.

Elaine and Detective Lt. Ward are talking.

Lt. Ward and the uniformed OFFICER with him have not been there long.

The officer is writing down a description of the alleged missing diamonds.

ELAINE

Yes, of course the necklace was much larger and contained many more large diamonds... There's my husband now.

Jason addresses his remarks to Elaine.

JASON

Why did you call the police before we had a chance to search the house better and talk this over! You know how you are about misplacing things.

ELAINE

No, Jason. All three were laying on my dressing table this morning when I left for the spa. They were gone when I came home.

lt. ward

Who has access to the house during the day other than you two?

JASON

Maria, but she wouldn't do anything like this. Elaine, who else has been in the house?

Elaine

No one. No one at least that I know of.

Jason

Did you set the alarm when you left to go to the spa?

Elaine

No, Maria was here. Besides I donít like fooling with that thing.

lt. ward

Who is Maria?

ELAINE

Our maid... A domestic.

lt. ward

And was she here all morning?

ELAINE

Yes, she says she was in her apartment upstairs all morning.

officer

Maíam, I wonder if you can direct me to the maid's quarters?

Elaine points down the hallway.

Elaine

Go up the stairs to your left at the end of the hall

int. richardson home, living room - short time later

Lt. Ward, Jason and Elaine are seated in the living room. They stand as the police officer returns with Maria in tow.

officer

Sir, I searched the room thoroughly, actually there wasnít a whole lot to go through. No sign of the diamonds. This is the young lady in question.

Maria

What is going on? Why are the police here?

Lt ward

We need to ask you some questions and get a signed statement from you. It would be easier if you would just come along with us now.

Maria looks pleadingly at Jason.

Maria

Do I have to go?

Jason

It would probably be best if you did, Maria.

lt. ward

Well, I think that about wraps up what we need here. Could we get copies of the jewelry photographs that were sent to your insurance company?

Elaine

Yes, I'll get you what ever you need.

JASON

I don't really see where this is all necessary. I wonít press any charges against Maria until Iíve heard her side of the story.

lt. ward

It's only routine, Mr. Richardson. Just let me do my job.

ELAINE

Well, Iíll press charges! I know sheís a thief like the rest of her kind.

Lt. ward

Youíll have to come down to the police station and file a formal complaint, if thatís what you want to claim. However, without recovering the diamonds or turning up some stronger evidence, we may not be able to make a case for theft.

Elaine

Okay, Iíll come right now. Let me get my car keys.

Maria turns to look back at Jason as the officer ushers her away. She has a sad pleading look on her face.

Jason is left standing alone.

Int. Richardson home, den - hour or so later

Jason paces pondering the events of the day. The phone rings.

JasON

Hello.

FRANK (v.o.)

I received your message to call you. It sounded urgent.

JASON

Yes, Frank, thanks for calling back. It's about Maria, our maid. The police are doing a routine investigation on her and they will likely discover sheís a Mexican-National and is in the U.S. illegally.

FRANK (v.o.)

What routine investigation?

JASON

Oh, those damn diamonds again. Elaine has reported them stolen and accused Maria of taking them. Iím sure Maria will be cleared of that, but still they have her in custody.

Jason sets down in a nearby chair.

FRANK (o.s.)

These things are pretty common what with all the farms and ranches we have in this area. Hell, Ďcept for the Mex-kins, folks canít get good honest help anymore.

Jason

What are our options? I mean, what can we do to stop them from turning her over to the immigration authorities?

frank (o.s.)

Legally they canít do that, but those guys scratch each otherís back and immigration will find out about her. Jason, I can tell youíre upset, but bottom line, once these things are set in motion, there's not much anyone can do to stop it. Give it some time. Iíll have one of my people look into it.

JASON

Well, okay. Thanks Frank.

FRANK (O.S.)

Take care, Jason.

Jason hangs up the phone. He is a little less upset, but concern still shows on his face.

Ext. amon carter airport, fort worth - two dAYs later

The weather in Dallas and Ft. Worth area has turned off cloudy and dreary. It will remain so for several days.

Jason has on a lightweight trench coat. The wind is blowing hard. He is standing on a second story observation deck on the back of the old terminal building overlooking the minor drama taking place below him.

Maria is among a group of about forty deportees who have been detained and today are being loaded on the Convair 240 charter flight used by the immigration authority to return them to Mexico.

A uniformed immigration officer is standing with a clipboard at the boarding stairs and another walks behind the group.

Jason watches with no expression as the deportees walk single file out across the ramp and board the plane via an air-stair that has been rolled up to the passenger door.

Maria never looks up and therefore, never sees Jason watching as she walks to the plane.

Jason watches until the stairs are pulled away from the plane. The door shuts and the engines start.

A uniformed immigration AGENT has been standing on the observation deck not far away from Jason also watching the boarding. The AGENT approaches Jason.

agent

Sir, is there anything I can help you with?

JASON

No, I was just watching.

agent

I wouldn't worry too much about those people. They'll get a good meal and be home by dark.

JASON

What crime have they committed?

agent

None that I know of, at least not in their own country. They're just not U.S. citizens and are here without a work visa.

JASON

Then, why do they risk all to come here?

agent

Well, I suppose for better pay and better living conditions. I don't write the laws, sir, I just try to help enforce them.

JASON

I wasnít suggesting it was any single persons fault, I was just... Look, there is one thing you could help me with.

Agent

Whatís that?

jason

Give me the name of the immigration official who is in charge of the region?

The agent writes the name CHIEF MALONE and a phone number on the back of his business card and hands it to Jason.

Agent

Here. A fellow by the name of Malone is the man you need to talk to.

Jason

Thanks.

The agent turns to leave the observation deck.

agent (laughing)

Like I said, I wouldnít worry too much about those folks. Some of those wetbacks have ridden that plane more than once. Why Iíll bet one or two of them will beat the plane back across the border.

ext. airport runway, with airplane

The plane starts itís takeoff roll down the runway and Jason turns to watch. ďDeporteeĒ theme (music only) comes in slow and soft.

ext. distant sky beyond the airport

Distant view of the plane as it banks and disappears into the hazy sky.

Int. JASONís office - LATE MORNING

Jason enters his office. He is preoccupied.

SECRETARY

Good morning, Mr. Richardson.

Jason fails to reply.

SECRETARY

A Chief Agent Malone called and said to tell you that... Here let me read it. ďHe received your message regarding Maria Lopez and said there is nothing he could do regarding the matter. His suggestion was to find a good attorney to represent her.

Jason

Yes, I had called him, thanks.

Jason picks up some mail from the secretary's desk and looks through it, but is not really looking at it.

SECRETARY

Your wife, too.

JASON

....what?

SECRETARY

Your wife called. I asked her if you could call her back. She just said there was no point and hung up.

Jason

Itís okay, thanks. Iíll call her back.

Jason places the stack of mail back on the secretary's desk and goes into his office.

int. jasonís office, at his desk

Jason picks up the phone and dials it. It is ringing.

Int. RICHARDSON HOme, upstairs master bedroom

Elaine is in bed with Brian and fumbles to answer the phone.

The room shows signs that Elaine is packed and is now prepared to leave.

ELAINE

Hello.

Elaine and Brian continue to make love while Elaine is on the phone.

JASON (o.s.)

What did you call about?

ELAINE

I'm leaving you, Jason.

JASON (o.s.)

We've been through this before.

ELAINE

You really don't have much choice about it this time, dear. I have my own money now and when I get time, I plan to hire a lawyer.

Elaine hangs up the phone.

int. jasonís office, at his desk

JASON

Elaine... Elaine?

Jason places the receiver back on the hook and buzzes his secretary.

Jason

Get Frank Bond on the phone for me.

Jason stands, thinking for a minute, then buzzes his secretary back.

Jason

Never mind.

His secretary looks in at Jason with a concerned look on her face.

Int. RICHARDSON HOme - damp dreary, rainy Evening

Jason arrives home and looks through the house. Elaine is gone.

int. upstairs master bedroom

In the master bedroom Jason picks a few discarded items from the floor, the result of Elaineís hurried packing.

Jason is dejected.

INT. BAR IN THE DEN

Jason pours a brandy, turns the stereo on and slumps in an over-stuffed chair.

Small raindrops trickle down the leaded, windowpanes as the daylight grows dim and the scene darkens around the edges.

Music on the stereo plays softly the music from the ďCrescent CityĒ album.

Int. RICHARDSON HOme, den - late that night

Jason is still dressed in his suit pants and vest. His tie is off, his shirt collar open and his sleeves rolled up.

He walks around the house pausing to occasionally pick up a memento from the bookcase or a table and look at it. When he picks up a small pink kewpie doll, he gazes off into the distance remembering.

Ext. fade to Flashback - younger days

Amusement park.

Jason and Elaine are young and on a date. Elaineís hair is brown, long and straight. Jason has a college sweater on.

They are walking through the midway area with barkers hollering.

Elaine grabs Jason's hand and pulls him over to a ball-throwing game.

Jason (laughing)

No, no. Iím no good at this sort of thing.

Elaine prods Jason to try so with his first throw, all the bottles go down and the pitchman points with a stick to certain prizes Elaine can choose from.

ELAINE

That one! That one!

Elaine grabs Jason around the neck and he spins her around with her feet off the ground.

The barker hands her the kewpie doll and she takes Jason by the arm as they walk away.

ELAINE

I've never had so much fun.

Elaine walks with a skip, holding on to Jasonís arm.

Int. RICHARDSON HOmE, den - night

The bright colors of the carnival slowly fades back to the present dimly lit den.

Jason is holding the kewpie doll that sparked the memory. He places it back on the shelf were it has been sitting for years.

Walking to the bookcase, he reaches for an old book and flips through the pages. As he replaces the book onto the shelf, he tips over a small trophy.

It is a sports car rally trophy, 3rd place. He picks up the trophy and holds it in his hand. His thoughts drift off again.

Ext. fade to FLASHBACK - happier times

A sports car rally is taking place on a narrow black top road in the countryside. A red MG TC sports car in the rally comes around a curve. The car is too wide in its turn and goes off down a wooded dirt road.

It's a young Jason driving with Elaine in the other seat. They are laughing as the car slides to a stop.

Two other cars make the turn that Jason has missed and go speeding off.

Jason and Elaine look at each other both still laughing. Their laughs fade to an occasional chuckle as they look at one another.

ELAINE

You missed the turn, you know.

Youíre just plain nuts, Jason.

JASON

Boy, did I ever.

ELAINE

Aw, you're still the best driver here, at least in my book.

Jason looks into Elaineís eyes

JASON

Elaine, will you marry me?

ELAINE

Why of course I will, you nut. Who else would I ever want to marry?

Jason grabs Elaine and gives her a big kiss, then he throws both hands straight up in the air and let's out a loud rebel yell!

jason

Hee Haw!

Jason jams the car into reverse, backs onto the main road and peels out.

Elaine throws her head back laughing as her long hair blows in the wind.

Int. den - middle of the night

Jason takes his hand off the base of the trophy. He is smiling, but the smile fades as he comes back into the reality of the room.

Jason reaches for his drink. The glass is empty and he sets it back down.

Ext. fade to FLASHBACK - more recent times

Maria runs from Jasonís car to Jamie's house. She moves gracefully in slow motion, in time to the music.

Her long, dark hair flows and bounces behind her. She is very happy.

Int. RICHARDSON home, den

Sudden cut back to Jason in the den and he quickly comes back to reality.

The music stops and there is only the scratching of the 33 1/3 record album that has failed to cut off.

Not knowing or understanding why his thoughts have drifted to Maria, he shakes his head questioningly.

JASON (v.o.)

Whoa!

Jason sways a little as he goes over to a scratching record player, lifts the arm off the record and turns the record player off.

He pours another brandy from the bar and goes to sit in an over-stuffed chair.

int. the den - dawn

The first rays of sunlight peek through the windows.

Jason is asleep in the chair and the empty brandy glass is on the carpeted floor below his extended arm.

Int. frank's law firm offices - several weeks later

Jason has come to see Frank about getting Maria admitted back into the U.S. on a work visa.

Frankís SECRETARY

Go right in, Mr. Richardson. Mr. Bond is expecting you.

Int. frank's office

Jason enters Frankís plush, wood-paneled office. Frankís secretary closes the office door behind him.

JASON

I really appreciate your taking time to see me today, Frank. I know you're busy.

FRANK

Iím available anytime for you, Jason. In fact, I was planning on calling you.

JASON

You were? What about?

FRANK

Let's discuss what's on your mind first.

Frank motions for Jason to take a seat and walks behind his desk to sit down preparing to listen to Jason.

JASON

As you know, I've been a little out of sorts lately what with Elaine leaving and all.

FRANK

Yes, I know. Iím sure itís been difficult to accept.

JASON (joking)

I've had time to catch up on my drinking, thatís for sure.

Frank smiles as he lights his pipe.

Frank

Continue.

Jason

All kidding aside, I donít know exactly how I do feel about Elaine running off. At first, I thought sheíd come back with one of those cock-n-bull excuses of hers and weíd just go on making each other miserable like always. Now Iím not so sure Iíd even take her back, let alone want her back.

Frank

Cut to the bottom line here, Jason. Youíre usually pretty good at that. Are we talking about filing for a divorce? Lord only knows youíve got enough grounds.

Jason

No.

Frank

So weíre talking about something else here. Right?

JASON

Right. More than anything else, I feel badly about the rough deal Maria got over all this mess. Hell, even that police lieutenant didnít believe Maria had anything to do with the missing jewelry.

FRANK

They did go ahead and deport her, didnít they?

JASON

Yes, faster than I could believe.

FRANK

That's not a problem. With verification of gainful employment, she can obtain a work visa to re-enter the United States.

Jason appears relieved.

JASON

Really, is that all there is to it?

FRANK

There's a little more to it than that, but basically, that's all. Do you know how to contact her?

Jason takes a piece of paper out of his coat pocket. He hands it across to Frank.

JASON

Yes, hereís her address. It's a small village about twenty miles from Guadalajara. I obtained it from a fellow named Ramirez, a friend of hers at the farm where she used to work.

FRANK

Good. I'll cable an associate of mine in Mexico and have him get right to work on it. What about employment?

JASON

What about her old job? I need a housekeeper worse than ever these days.

FRANK

I guess that's as good as any. You'll have to sign some papers to that effect.

JASON

Of course.

Frank places the slip of paper with the address on it aside. He smiles and reaches for a nearby newspaper. It is a foreign publication and is open to a page with a photo on it.

frank

You may not find this as amusing as I did.

Frank hands the paper across the desk to Jason. Jason takes it questioningly.

FRANK

A client of mine just returned from the south of France. He knows that I like to look over some of the foreign newspapers and he brings them to me from time to time. This is one that he brought.

JASON

It looks like a picture of a party aboard a yacht. My French isn't too good.

FRANK

Well, the caption only reads that so and so, a wealthy shipping magnate entertained certain guests, unnamed, during their recent cruise. Do you recognize anyone in the photo?

Jason puts his reading glasses on to study the photo more closely. His expression changes to mild surprise.

JASON

Yes, the third lady from the left is Elaine!

FRANK

And the gentleman next to her is Brian Carson.

Jason starts to lay the newspaper aside.

JASON

There isn't anything I can do about that or at least there isn't anything I'm going to do about it.

FRANK

That's not really my point, Jason. Youíre not quite as sharp as I thought you were. Even with these old tired eyes I saw it. Here.

Frank hands Jason a magnifying glass and Jason takes another look.

Jason

Her hand on the drink glass... Sheís got that damn diamond ring on that she reported stolen.

Frank

Judging from the size of that stone, that was my thought too.

JASON

Something she said makes more sense now. She said, ďI have my own money now.Ē That means she or that Brian fellow she fell in with have figured out how to collect the insurance money on the jewelry.

FRANK

Sounds right to me.

JASON

Then she must be persuaded to return to the states and to drop the false claim with the insurance company or sheíll go to jail.

FRANK

Right again. If anyone from the insurance company saw her with that ring or even this photograph, I feel certain they would extradite her for insurance fraud.

Jason stands and walks over to look out the twelfth-floor window to the traffic on the street far below.

JASON

Itís not likely she can be made to understand how much trouble sheís in, but...

frank

I can put a bounty hunter onto her?

Jason

Frank, youíve always been there for me just like you were for Dad, but Iím going this one on my own. No one knows how that twisted mind of Elaineís works any better than I do. I think I might know a trick the will work.

Jason just thought of something. Heís excited and heads for the door.

JASON

You just get Maria back here for me. Iíll handle the diamond thing.

Frank (laughing)

Consider it handled. Iíve still got a few old friends down in Mexico or maybe letís just say I can still remember where a few of the skeletons are buried down there from my youth.

Jason (laughs)

Youíre too much, Frank. See ya.

Frank

See ya, amigo.

int. Jasonís office - next day very early in the morning

Jason sits at his desk on the speakerphone. He is calling London and there is a six-hour time zone difference.

Operator (British accent o.s.)

Lloyds of London.

Jason

Mr. Farnsworth, please.

Clerk (British accent o.s.)

Claims department.

jason

This is Jason Richardson in Dallas, Texas. Iíd like to speak to Mr. Farnsworth, please.

Clerk (o.s.)

If itís about a pending claim, you will have to speak with one of the claim representatives. Iíll connect you.

Jason

Hold on there, maíam. I donít have time for the usual run around. You tell Mr. Farnsworth that if heís interested in not losing a couple hundred thousand pounds of Lloyds money, he better get on the line now! Iíll hold.

Jason fumbles for a small piece of paper in his pocket, unfolds it and places it in front of him while he holds.

farnsworth (Oxford accent o.s.)

Farnsworth here. How may I assist you, Mr. Richardson?

Jason is not sure Elaine has even filed a claim. She said she intended to and until yesterday, he had been so busy it had slipped his mind. Basically, Jason is guessing as to what Elaine has done about the claim at this point.

Jason

You have a claim there that you are about to pay for the loss on, some expensive diamond jewelry to an Elaine Richardson. Is that correct?

farnsworth (o.s.)

Yes, that is correct. I have the file in front of me.

Jason

And Iíll bet the claim payment is not to the bank, which holds the mortgage on said jewelry, right?

farnsworth (o.s.)

Well no itís not. At least I donít believe it is. Itís to a Swiss numbered bank account. Of course, I wouldnít be able to reveal that number to you.

Jason clinches his fist and mouths the word ďYESĒ

Jason

You see, Mr. Richardson, thatís not the address of the lien holder on the jewelry. You need to contact the Republic National Bank in Dallas and verify what I am telling you. That is to say, unless Lloyds and you are fond of paying claims twice.

farnsworth (o.s.)

Oh no, Mr. Richardson. I mean yes, weíll certainly verify what youíre saying.

Jason

I believe the laws in Brittan are similar to the U.S. laws in regard to a lien holder having prior rights in a matter of this kind. Is that not correct?

farnsworth (o.s.)

Oh yes, that is correct. A hold payment will be placed on this claim until all this can be straighten out. I am certainly glad you called today. Thank you so very much for contacting us on this matter.

JASON

Da nada.

Farnsworth (o.s.)

Pardon.

Jason

Nothing. Goodbye.

Jason smiles as he hangs up the phone.

He sits quietly at his desk while the morning rays of sunlight burst through his office window.

Outside Jasonís office, in the main work area, his employees are coming to work.

His secretary comes in and sits at her desk. Jason buzzes her over the intercom.

jason

Get Phil Weston at Republic National Bank on the line for me as soon as he comes in.

int. monty carlo casino, crap table - night

Brian, in a tux with the collar open and bow tie hanging down, is at a crap table gambling. He has been drinking and also loosing badly.

Elaine in a flashy evening dress is beside him. They are causing a scene.

Elaine

Quit, Brian, youíve lost enough.

Elaine pulls on Brianís arm. He shakes her loose.

Brian

One more roll, Iíll win it all back. Itís my roll!

stickman

Coming out roll. All bets down.

Brian places a large stack of chips on the Come line. The stickman pushes the dice to Brian. Brian shakes the dice hard and rolls.

stickman

Four. Four is the point.

Brian rolls again.

stickman

Seven. Seven craps. Line bets down. Next shooter.

int. MONTE carlo casino, wider area

Elaine pulls Brian away from the crap table and holds onto his arm to keep him from stumbling as they exit.

Elaine is self-conscious and embarrassed.

Patrons glare at the couple as they pass.

int. hotel desk - following morning

Brian, dressed in slacks, sandals and gaudy Hawaiian shirt, stands at the registration desk.

brian

Understand you have a FAX here for me.

hotel clerk

Yes, Mr. Carson. I have it right here.

The hotel clerk hands Brian a business envelope containing a one page FAX.

Brian opens the envelope and hurriedly reads the letter, which has been faxed to him. He looks up.

The hotel business manager is now behind the counter with the clerk and he presents Brian with a hotel bill.

manager

Sir, the deposit, which you placed when you checked in has been used up. How do you wish to continue to pay your account?

Brian fills out a counter draft.

brian

Here, draft my account in Switzerland and donít bother me again about this.

Brian pushes the draft and the pen across the desk counter and walks away.

int. hotel CORRIDOR OUTSIDE THE BAR

Elaine is on the way to the beach, dressed in a swimsuit, a wide brimmed hat and bathing robe.

She passes by the bar in the hotel corridor and sees Brian at the bar with a girl. She pauses for a moment to watch before continuing on to the exit to the beach.

Brian is seated at the bar talking to a young, slender blonde girl. They are laughing and having drinks together. The bar is empty except for them and the bartender.

Elaine cannot hear what they are saying except that she can tell that the young blonde girl speaks with a French accent.

ext. beach behind hotel, crowded with sunbathers

Elaine rests in a chaise lounge with sunglasses on reading a magazine.

She sees a middle-aged man with a young girl walk pass and it punches her buttons. She is still steaming about seeing Brian in the bar with the young girl.

Elaine gets up, throws her magazine and hat down on the chaise lounge and storms back into the hotel passing the bar, which is empty now.

int. elaine and brianís hotel room

Storming through the door, Elaine finds Brian and the young French girl in bed together.

elaine

What the hellís going on here?

Blonde jumps out of the bed screaming.

FRENCH GIRL (surprise)

Whoís she?

French girl runs to the bathroom with her clothes.

Brian sits casually on the edge of the bed.

In a moment, the French girl emerges from the bathroom. She pauses at the room door, turns toward Brian with a go-to-hell look.

Elaine starts for her with a threatening expression on her face and fists clinched.

The French girl scurries out the room door slamming the door behind her.

elaine

What do you think your doing spending my money and hanging out with some bitch you picked up in a bar?

Brian casually reaches for an opened letter lying on the bedside table and hands it between two fingers to Elaine.

Elaine grabs the letter from his hand.

elaine (reading)

ďPlease be advised that the funds which you anticipated being deposited to your Swiss bank account have been forwarded to our bank. If you will contact me, we can make arrangements for the transfer of the funds back to you. Unfortunately, the paper work will require your signature and Mrs. Richardsonís signature. Therefore, it will be necessary for you to come to my office in person. Respectfully, Phillip Weston, Vice President, Republic National Bank.

There is a knock on the door. Elaine goes to open the door as Brian puts on a bathrobe. The hotel manager steps into the room.

manager

I am sorry to inform you that we were unable to draft on your account, Mr. Carson. Unless you can offer some other means of payment, it will be necessary for you to vacate the rooms immediately.

Brian waves his right arm in the air in disgust.

The manager leaves and Elaine shuts the door.

elaine

What did you do with all the money you got from the diamonds? Is there even enough to buy airline tickets back to the states?

brian

Maybe about that much.

He picks up his pants from the back of a chair, takes out his wallet, removes the money and throws it on the bed.

Elaine grabs the money and counts it. She walks over to the phone and dials.

Elaine

Hello, I need to make airline reservations to Dallas, Texas on the next flight for two people.

Int. richardson home, driveway and garage - SATURDAY

Frankís Cadillac pulls into Jasonís driveway.

Jason is in the garage working on the old Lincoln Phaeton, which is almost fully restored. He wipes his hands on a red shop towel and goes out to the driveway to meet Frank.

jason

To what do I owe the pleasure of your company on such a fine morning? Youíre usually on the golf course about now.

frank (kidding)

Wanted to see how you are coming on the old Phaeton.

jason`

Who are you kidding, Frank. Youíve never been interested in my cars. Maybe in a purebred quarter horse, but for dang sure, not my old cars.

frank

Actually, Iíve got some good news for you. Maria has her visa in hand and can leave anytime you want her to.

jason

Youíre kidding! Thatís great news.

Frank

Yeah, thought the news was too good to tell you over the phone. Besides, I threw my shoulder out last week. Doc says Iím going to have to lay off the golf for a while. Long as Iím here, I might as well see how the old beast is coming along.

Jason and Frank go into the garage to look at how the Phaeton is progressing. It is almost finished.

int. richardson home, den - later that afternoon

Jason is sitting at his desk with a small piece of paper in front of him. It is the phone number of the grocery store in the small town where Mariaís grandfather lives.

Jason is hoping to be able to contact someone there who can go get Maria and bring her to the phone. Jasonís hand shakes a little as he dials the number.

recording (o.s.)

ďYou must first dial the international code for the country you are calling. Please hang up and try again.Ē

jason

Dang it, I know that... I must be nervous?

Jason dials again. The phone is ringing

grocer (o.s.)

Ola.

jason

Ola. Habla engles, por favor.

grocer (o.s.)

No speak English good. I try.

jason (slow and clearly)

I need to speak to Maria Lopez. Can someone there go bring her to this phone?

grocer (o.s.)

Si, I try. She live some distance away.

jason

I will call back in one hour. Mi bien, gracias.

int. den - an hour later

Jason dials the phone at the grocery store again. Someone answers.

jason

Maria, is that you?

maria (o.s.)

Yes, Mr. Richardson. How in the world did you find me?

jason

It wasnít easy, but Iíve got some good news for you.

maria (o.s.)

Yes, I know part of it. A very nice man in a business suit brought me a work visa yesterday. How soon can I return?

jason

How soon can you leave?

maria (o.s.)

My grandfather passed away a few weeks ago. I have nothing here.

jason

Can you get to the airport in Guadalajara in the morning?

maria (o.s.)

Oh, yes. I will be there.

jason

Just give the man at the ticket counter your name and he will have your ticket. It is prepaid.

maria (o.s.)

Oh! I am so grateful for your help. I canít even begin to express...

jason

Itís okay, Maria. Itís all going to be okay now. Everything with the police has been cleared up and you donít have anything more to worry about. Goodbye.

maria (o.s.)

Goodbye, Mr. Richardson.

Int. airport terminal - afternoon the following day

Jason enters the terminal to meet Mariaís arriving flight only a short time after Elaine and Brian have deplaned at the other end of the terminal returning from Europe.

The terminal is busy with people coming and going. Jason has no idea Elaine and Brian have arrived at the airport terminal at the same time as Maria. And, of course, Elaine and Brian would have no reason to believe Jason would be at the airport terminal.

Viewed from a balcony, Jason makes his way through the crowd and stops at an information booth to ask directions about arriving flights. The lady at the booth explains and points down one of the corridors.

While Jason is at the information booth asking directions, Elaine and Brian, in the crowd, pass about ten feet behind him. Neither see one another.

ext. terminal building exit

Elaine and Brian are arguing and also struggling with their bags as they exit the airport terminal.

Brian tries several times, unsuccessfully, to hail a taxicab.

Int. AIRPORT terminal, deplaning gate

Jason meets Maria coming off an airplane.

Maria is dressed in a traditional style black lace dress in true Castilian fashion.

Maria and Jason stand momentarily not knowing if they should embrace or shake hands.

Impulsively, Maria hugs Jasonís around the neck. She steps back with her hands folded in front of her as if asking was that acceptable.

MARIA (shyly)

I want you to know how much I appreciate your helping me, and I want to...

JASON (smiling)

Let's get your bags.

Jason and Maria walk towards the baggage claim area. As the bags come out, Maria points to her two bags and reaches for one. Jason takes the other.

int. airport TERMINAL

They walk towards the exit to the parking lot, a different exit than the one Elaine and Brian have used.

JASON

Was Mexico the same as when you left before?

MARIA

It seemed like I had been away much longer than I really had. Nothing has changed. I am thankful I got to see my grandfather before he died, but coming back here, truly felt like I was coming home.

JASON

You have been through a lot. Thatís a beautiful dress you have on.

Maria

I hoped you would notice. I made it myself, mostly to impress you.

Strangely, I feel much older now.

Jason

Indeed youíve become quite the lady, but thankfully youíve still retained that child-like pleasantness.

ext. airport short term parking lot

Jason puts Mariaís bags in the trunk of his Jaguar. Maria attempts to help, but Jason does it by himself.

JASON

It looks a little like rain.

MARIA

I hope it doesn't rain. Itís not my mood. I'm so happy to be back, Mr. Richardson.

Jason pauses and looks at Maria.

JASON

Look, do you think you could drop that Mr. Richardson stuff. How about just calling me Jason.

MARIA

Yes, Mr..... I mean, Jason. If you like.

JASON

Well, that's what Iíd like.

Smiling, Jason slams the trunk lid, takes Maria by the arm and walks her around the car. Jason opens the door for her. Maria pauses, then smiles and gets in.

Maria

Iím not used to gentlemen opening doors for me.

Jason (smiles)

Well, a beautiful girl like you better start getting used to it.

Jason shuts the door and walks around to the driver's side taking out his keys.

Ext. Airport parking exit

Jasonís Jaguar pulls out and onto the freeway.

int. jasonís jaguar on freeway, front seat

MARIA

There are so many things I want to do and to have.

JASON

My dear Maria, Iíve lived long enough now to discover that having something is sometimes not near as much fun as wishing for it.

Maria (puzzled)

Iím not sure I understand.

Jason

Than, letís hope you never do.

Ext. Outside airport terminal

At the curb outside the airport, Elaine and Brian are standing waiting for a cab. It is cloudy and dreary.

Elaine

Get us a cab!

BRIAN

Where do you suggest I get one?

ELAINE

Well, there are always dozens around the airport.

BRIAN

Except when you want one.

ELAINE

You know, Brian, you're beginning to get on my nerves. Is there anything you can do right?

BRIAN

Lay off of me, Elaine. I've about had enough of your lip.

Brian looks into an old car parked at the curb. The keys are in the ignition. Brian picks up their bags and throws them in the back seat of the old car.

Brian

Get in.

ELAINE

You're crazy. What are you going to do now, steal a car?

BRIAN

If anyone complains about taking this old junker, we'll just pay them for it. Besides, we're in so much trouble now, what's a little more. I said, get in!

Elaine gets in the stolen car and Brian drives off.

Int. in the stolen car - light rain begins

Elaine and Brian are arguing. Brian is driving way too fast for the road conditions.

Brian is angry and Elaine is pouting.

ELAINE

I don't see what I ever saw in you anyway.

Brian gives her a dirty look.

ELAINE

You're a jackass and a slob.

BRIAN

Oh, look who's so uppity all of a sudden.

ELAINE

I don't know what you're going to do, but I'm going back to Jason.

BRIAN

Thatíll be a laugh.

ELAINE

You don't think he'll take me back, do you? Well, he will. In fact, he'll be glad to get me back.

BRIAN

Fine, fine. Do whatever you damn well please, but right now youíre going to give me that diamond ring youíve got on your finger for all the trouble Iíve had putting up with you. Give it here.

Brian reaches to grab the ring from Elaineís finger.

ELAINE

No, you bastard! Iíll give the ring back to the insurance company and tell them I found it and it was all a mistake.

Brian reaches for her hand again.

Elaine pushes him away scratching his arm bloody with her long fingernails.

Brian looses control of the car.

EXT. Freeway in rain soaked heavy traffic

The old car slides sideways and is clipped by a semi-tractor trailer truck.

The car leaves the road and jumps a drainage ditch landing in a freshly plowed farm field. The car turns end over end.

int. inside the car

View through the windshield as the car tumbles, first mud and grass in the windshield and then sky, then mud again.

The hood flies off and one of the car doors flies open.

elaine (screaming)

Brian is thrown from the driver's side of the car on its last rollover.

Ext. car crashing to a stop on dirt road near old house

There is now only silence.

A small fire in the engine is burning. The flames glow eerily in the damp, dreary rain-soaked wreck site.

The door on the passenger side suddenly flies open and Elaine falls limp onto the damp, muddy ground. Her one arm is extended.

Ironically, the car has ended up near the dirt road on the far side of the farm field where Maria had once worked.

The road is also the same dirt road that goes up to Bacaís old sharecropper house.

Ext. wrecked car and Elaine's OUTSTRETCHED hand

A closer view of Elaine's hand shows the large diamond ring still on her finger.

No one has come to the site of the wreck yet.

ext. low to the ground near the wrecked car

View of manís dirty khaki pant legs and work shoes appear.

It is Baca. He heard the crash and has come to see what is going on.

ext. wide car crash area

Baca goes over to check on Brian who lays crumpled up in some nearby tall grass. There is no movement.

Baca goes over to Elaineís limp motionless body. Baca pans quickly around to see if anyone is watching. He kneels down and removes the diamond ring from Elaineís hand.

He stands and blows some of the caked mud off the ring and smiles as he inspects the ring. He wipes the ring on his dirty shirt and puts it in his pocket.

Turning quickly when he hears the sound of a siren. He sees the flashing lights of a patrol car across the field pulling on to the shoulder of the main highway.

ext. on the freeway where the car went off

Across the distant muddy, plowed farm field, a police patrol car, with red light flashing, has pulled onto the freeway shoulder.

Two police officers are standing, trying to figure out how to get across to the wreck site.

The officers get back in the patrol car and proceed on down the freeway to the next exit so as to turn and come back up the dirt road to the wrecked car.

ext. The police car comes up the dirt road and stops

Arriving at the scene of the wreck, the red lights on the patrol cars remain on as the two policemen jump out.

The first officer goes to check the victims.

There is still a small smoldering fire under the engine below the car and the second officer gets a fire extinguisher out of the trunk of the patrol car and extinguishes the remaining flame in the engine.

The first office is still bending over Elaine as the second officer comes up and bends down.

Policeman 2

She dead?

Policeman 1

Yeah, both of Ďem. That fellow over there must have been thrown from the car. At first, I thought he might have crawled over there.

The two officers stand up.

Policeman 2

I'll call for the wagon.

ext. from the wreck site, back towards some trees

The first officer notices Baca standing back among some small trees. Thinking he might have seen the accident, the officer calls out to him.

Policeman 1

Hey, you over there. Come here.

Baca's instincts tell him to run and without thinking, he takes off running.

The young police officer is curious as to why he would run and takes of after Baca. He easily overtakes the heavy-set Baca and walks him back to the crash site.

policeman 1

Why did you run from me?

baca

No, no. Police guys like you always pick on us Latinos.

The second policeman comes over.

policeman 2

You got any weapons on you?

Baca shakes his head no.

policeman 1

Iím going to search him anyway.

The first policeman searches Baca and finds the diamond ring Baca removed from Elaineís hand in his pocket.

POLICEMAN 1

Whatís this?

baca

Itís mine. Is no worth nothing. Itís fake, made of glass.

policeman 1

Okay, that does it. Turn around.

The first policeman handcuffs Baca.

ext. unmark police car comes down the dirt road

Lt. Ward and another police detective get out of the car and come over to the wreck.

LT. WARD

I heard part of it on the radio. I can see the rest.

Lt. Ward is smoking a cigar. He walks over to Elaine's body and bends down.

The second policeman is with him and is telling the other detective with Lt. Ward what happened. Dialog is not discernible.

The first policeman approaches Lt. Ward with Baca in tow. Baca is handcuffed.

Policeman 1

I saw this guy standing over there by the trees and when I called to him, he took off running.

LT. WARD

Yeah, Iíve dealt with this one before.

Policeman 1

I found this in his pocket.

The first policeman hands the ring to Lt. Ward.

Lt. Ward

Howíd you come by this, Baca? Is it yours?

Baca starts to speak, but then shakes his head no. Baca looks down at the ground.

Ext. wrecked car and Elaine's OUTSTRETCHED hand

Lt. Ward kneels down again near Elaine's lifeless body and with a small stick raises her hand into the light. The suntan mark from the recently removed ring is clearly visible.

Ward takes a better look at Elaineís face.

Lt. Ward

I know this woman and it all makes a lot more sense now. No itís not Bacaís ring. You can book him for theft. But itís not the ladyís ring either. I suspect it belongs to some insurance company.

Baca struggles as the first policeman pushes him off to the patrol car. The siren in the distance is the ambulance coming.

A small group of onlookers have gathered.

LT. WARD

Get those people back out of the way.

POLICEMAN 2

Yes, sir.

The second policeman moves toward the people with his arms outstretched to move them back.

Lady in crowd

Is she dead? Are they both dead?

POLICEMAN 2

Yes, maíam. You all are going to have to move on back now.

Int. jasonís jaguar sedan, front seat

Jason and Maria driving on freeway from the airport. The sound of an ambulance siren comes up behind them and passes. The ambulance turns at the next exit.

Jason

Looks like a bad wreck over there on that old dirt road. I can see some lights from a police car flashing.

Maria turns to look out the window across the farm field.

MARIA

That road brings back a lot of memories both good and bad. Thatís the old road up to the workers camp.

Jason glances at her and smiles.

JASON

I suppose it does at that.

MARIA

Could we stop by the place where Jamie lives?

JASON

Of course, it's the next exit just up the road here.

MARIA

Do you think heíll still be there?

JASON

I don't know, but we can sure find out.

When Jason comes to the dirt road, he turns left to go to Jamieís old house. The ambulance had turned to the right to go to the wreck site.

Maria

Yes, it was a wreck. I can see an old car turned over where the ambulance stopped.

Jason

Ah, people drive like maniacs now days. Hope they werenít badly injured.

ext. jasonís car turning OFF the dirt road

Jasonís car pulls up on to the front yard of the old house.

Ext. OUTSIDE OF JAMIE'S auntís rundown frame HOUSE

Jason and Maria get out. No one seems to be around.

jason

The place looks abandoned.

MARIA

Yes, it looks even worse. More rundown than it was before.

Jason walks behind Maria as she goes up to the door.

ext. front porch of house

Maria knocks on the door.

MARIA

Sounds like someone is in there... Jamie?

The door opens suddenly. The doorway is filled with a big, burley man in work jeans and no shirt on.

man

Whatchaí want lady? Ainít no Jamie here.

Maria is startled. Jason steps forward.

jason

We were wondering if a Mrs. McGuire still lives here or maybe you know the whereabouts of a young boy named Jamie.

man

She went to jail and the kid, he ran off so donít come back.

The man slams the door. Maria and Jason walk back to the car.

Jamie has been hiding in a shed not far from the house. He is peeking through a crack in the door and sees Maria.

The shed door flies open and Jamie comes running after her.

JAMIE

Maria! Maria!

Jason smiles when he sees that itís Jamie.

Jamie grabs Maria around the waist and holds onto her.

Maria is almost ready to cry she is so happy to find him. Maria bends down to hug him.

MARIA

Why were you hiding?

JAMIE

The police. They were coming to get me.

MARIA

You mean the sirens from the main road?

Jamie shakes his head yes.

Maria

They werenít coming for you.

Jamie

Oh. Anyway itís a good place to hide. Iíve been sleeping in there at night and when I heard the sirens I was scared. The police came and took Aunt Candy away three nights ago.

MARIA

Yes, I heard from the man in the house. Is he related to you?

Jamie shakes his head no.

MARIA

Why did the police take your aunt?

JAmie

When they came to the door, one of the policemen said she was stoned and they were going to search the house. They didn't see me. I was hiding.

MARIA

But why did they take her away?

JAMIE

I heard the other policeman say she was possessed when they were putting her in the car.

JASON

Do you mean possession?

JAMIE

Yes, that's it, for possession.

Maria looks at Jason.

MARIA

What does that mean?

JASON

Narcotics.

Maria brushes Jamie's hair back out of his eyes and straightens his clothes.

MARIA

The boy can't stay here alone like this.

JASON

Of course not.

MARIA

Do you mean he can come with us?

JASON

Sure, why not.

Maria kisses Jason on the cheek.

Maria

Youíre a saint!

Jason

Iíve been called a lot of things in my day, but thatís a first.

Maria puts her arm around Jamieís shoulder and walks him to the car.

MARIA

You're going with us, Jamie. Is there anything you need from the house?

JAMIE

Nothing I want.

Jamie jumps in the middle of the front seat and bounces he is so happy.

The doors to the car slam and the engine starts.

Int. RICHARDSON HOmE, neighborhood

Jasonís car turns down the street to the Richardson house.

The light rain has stopped and the sun is coming out. The clouds roll back and the colors are bright.

The sunlight flickers through the trees. The street seems enchanted.

int. jasonís car pulls into driveway

Jamie is looking out the car window. He is watching with great anticipation and amazement.

Maria looks at Jamie, then back to Jason. Jason is smiling and she smiles too.

ext. car stops in the driveway.

The garage door is up and Maria can see in.

Maria and Jamie jump out. Maria grabs Jamie by the hand and runs toward the open garage.

MARIA (hollering)

Youíve finished the old car.

Maria stands at the open garage door with Jamie.

Jason walks up behind them.

MARIA (excited)

Itís called a Cabriolet. No a Phaeton, right?

Jason (smiling)

Right you are and itís waiting on her maiden test drive.

Maria (happy)

Oh, Jason, it was so good of you to be there at the airport waiting on me. I donít know what Iíd have done if you hadnít come.

Jamieís pulls away to run and look into the backyard.

Jamie

Look, Maria, a swimming pool! Boy, I wish I could live here.

Jason

Well thatís mostly up to Maria.

Maria

Itís so good to be...

JASON

Home?

MARIA

Yes, home.

Ext. RICHARDSON HOme, crane view

Maria takes Jasonís arm and with Jamie at her side, they go through the back gate and into the garden.

Theme music ďDeporteeĒ begins again softly.

Ext. Helicopter AERIAL

Pull away view leaves the three smaller and smaller as the helicopter flies higher and higher and out over the wealthy part of North Dallas showing swimming pools in the backyards.

The view from the helicopter rises to take in the skyline of Big D and zooms in on downtown buildings and expressways.

The view zooms back out as the helicopter banks to the northwest out over the farm fields and cattle grazing beyond the cityís edge.

The aerial passes low over a field being harvested by workers and the theme music comes up when the words "Is this the only way we can raise up our fields," are heard.

View pans upward into the sky and clouds for a background.

Scrolls on screen: ĒIn the end we all want to have what we want and within the bounds of morality and the law, what right does anyone have to deny that to anyone else.Ē