Red mustang. screenplay. western

PART ONE: RED MUSTANG

NAT.  PRAIRIE  NIGHT
The slope of a hill, on it rises an Indian YOUTH, dressed only in loin-cloth, in his hands is a bundle.

CAPTION:
Montana, 1875.
Having climbed up on a hill, he spreads a skin of the buffalo and sits on it. He sings.

NAT. A HILL  DAY
The Youth sleeps.

NAT. A HILL  NIGHT
The Youth again sits and sings.

NAT.  A HILL  EVENING
The wind blows. The Youth sleeps. Suddenly a red shadow lies on him. He wakes up, looks at the sky, there is a red cloud resembling the horse.
He is frightened, he looks at the cloud. The Youth sings. In the sky is a thunder and lightning. The rain begins. The Youth is shown half-faced, he looks at the sky, the cloud remains on it’s place and does not change the form, he continues singing. Tears or drops of rain roll down by his face.

NAT.  A HILL NIGHT
The Youth goes back: the half of the screen occupies the pre-dawn sky, another half - ground, he is in the middle.

NAT.  INDIAN CAMP NIGHT
The Youth approaches to camp, comes into one tipi.

INT.  AN INDIAN TIPI NIGHT
The hearth burns. The Youth makes his way deep into the tipi. There he wakes the sleeping man.

YOUTH
Grandfather.

GRANDFATHER - gray-haired old man, wakes up, sits and looks at him.

GRANDFATHER
The vision already has come? Or you’ve frozen?

YOUTH
Grandfather, I’ve seen the red mustang in the sky. The lightning and thunder came from it. It was dancing.

GRANDFATHER
And I think, where from is this rain.
Grandfather laughs, then his face turns to serious.
      
GRANDFATHER
(Continuing)
This is a good vision for the Crow people. Put some brushwood into the fire. Now we shall smoke.
The Youth feeds the fire. The grandfather takes the pipe and lights it. The Youth accepts it from his hands and smokes.

NAT.   PRAIRIE   DAY
The Crow war party of ten warriors. They ride upwards on a hill. On a crest of a hill they stop and see the similar group of Sioux below.

ONE OF CROW
They are Sioux. They cause us on fight.
Crow group comes down the mountain. Both groups stay in ranks before each other on the distance of 400 meters. The three Sioux separate from their group and rush towards the Crow with war shouts.
The Youth accepts a challenge and rushes to the enemy with coup stick.
One of Sioux rides towards. A rabbit runs out of bushes and it runs directly under the legs of his horse. It frightens, rears up, the warrior falls, his head hits a stone. He lays unconscious, his eyes are open, blood on his head.
Second Sioux tries to shoot with his bow. HorseS hoof gets in a hole. The horse falls. His arrow misses and is stuck into ground near the Youth.
The third warrior at full tilt aims at the Youth from a gun, shoots. The Youth issues a war-cry. Sioux misses. Having approached closer, Sioux tries to knock him down the horse by the butt of his rifle. The Youth evades, beats him by coup-stick, Sioux falls from the horse.
The Youth jumps off from the horse and snatches a gun of Sioux, who lays in dismay, leaning on his elbows. The joyful Youth lifts a gun above his head, holding it by both hands, shows it to his tribesmen and issues a shout of victory.
Sioux gets tomahawk, and at this moment he sees the lightning. The figure of Crow Youth stands just before the lightning.
Sioux sees his magic power and sings a song of death. The young man turns to Sioux warrior, looks at him with absolution. The Youth sits on his horse and rides to his tribesmen, they lift spears and guns to welcome the hero.

THE CROW PEOPLE
(Issuing war-cries)
Red Mustang! Red Mustang!

NAT.   INDIAN SETTLEMENT   DAY
Cloudy. Several vans go across the prairie in support of ten riders. They are indians, but are dressed in the european clothes: hats, costumes, though with plaits, and over their costumes are blankets.

CAPTION:
1905.
Vans approach to a settlement from wooden houses alternated with indian tipi.
THE RED MUSTANG, the same Youth, but grown up, sits on the horse. He has arrived with vans. Other Indian, younger - COYOT approaches to him. Red Mustang dismounts. They go together in silence.

COYOT
What is the weather at the whites?

RED MUSTANG
We were compelled to sign the contract.
We will have more money and less freedom.

COYOT
(stops and breaks into a smile)
Red Mustang, your daughter was born.
The red Mustang stops, he smiles happily, embraces Coyot and runs into one of wooden houses. Opens a door.

INT.   HOUSE OF RED MUSTANG   DAY
Wooden walls, a calendar with the maiden dancing cancan. Chatter of the sewing machine. At the machine sits the WIFE of Red Mustang, she sews. At a stove the OLD WOMAN fries something.
The door opens, Red Mustang comes in. His wife rises. He runs up to childS bed, the Wife stands in expectation. Red Mustang slows his step, cautiously takes newborn and clasps it to his bosom.
Wife approaches to them, and the three of them embrace. The Old Woman looks at them happily, she smiles, but continues to fry.
Red Mustang looks through a window, swinging his daughter, and his face becomes troubled.

NAT.   INDIAN SETTLEMENT   DAY
People on the street approach to a van, and the man in a costume distributes them buckets, shovels  (a sight from Red Mustang's window).

INT.   HOUSE OF RED MUSTANG   DAY
Red Mustang inclines his face to daughter.

RED MUSTANG
We should survive.

NAT.  A COAST OF THE RIVER NEAR AN INDIAN SETTLEMENT DAY
On a coast sits MAY - Red MustangS daughter, the girl ten years old, Red Mustang approaches to her, sits down beside. They look at the river.

RED MUSTANG
Do you miss your friends?

MAY
I shall see them all at school soon.

RED MUSTANG
You are sad. Why?

MAY
(turning to him)
Daddy, I do not want to go to school of white people. I want to stay with you!
(embraces him, cries)
I want to be always with you, daddy.

RED MUSTANG
I shall be always with you. I have a gift for you.
He takes a bundle of a checkered fabric from his pocket, unwraps it and takes out a wooden red horse.

RED MUSTANG
When you miss me, you can talk to me through it. It is stronger, than telephone of the white man. No wires, and nobody will overhear us.
Red Mustang smiles. May smiles to him.

NAT.   WASTE GROUND NEAR A BOARDING SCHOOL  DAY
The van goes towards the school.

NAT.   YARD OF A CATHOLIC BOARDING SCHOOL  DAY
The van approaches to the building of the boarding school, stops in the yard, driver helps four indian girls to get out of the van. Among them is May. The girls are dressed differently, some in beautiful indian beaded dress, some - in modest cloth dresses of white style.
Prioresses in black-and-white robes, and quaint headdresses pass them, they conduct rank of girls dressed in uniform.

INT.    CORRIDOR OF A CATHOLIC BOARDING SCHOOL  DAY
Prioress with her Assistant conduct four new girls. The girls are perplexed, they look around.

INT.   ROOM OF THE BOARDING SCHOOL  DAY
Prioress builds the girls in a rank. Her eyes are light-blue, almost colourless, in her hands - a large wooden ruler. She approaches to a window folds her hands on her breast. Her face is inspired.

THE PRIORESS
(looking at the window)
I welcome you in our new family, at christian school, where you will live a new life overflowed by love and humility. We should refuse your dark past, and with love to Jesus we shall enter the radiant future.

The Prioress turns to children. Indian girls look on her, someone with misunderstanding in sight, someone is inspired, someone looks with suspicion.
May looks down. Prioresses face turns to strict. She comes towards May and lifts her chin by the ruler.

THE PRIORESS
And your pagan past we shall eradicate utterly.

The Assistant takes bundles of the girls and inspects them. In MayS bag the Prioress finds a photo of her father Red Mustang. She tears a photo to four parts and throws on the floor. May looks on a photo silently, she is in tears.
May falls, she is trying to pick up scraps. But Assistant beats her hands by a ruler. May cries.
Assistant gives to the Prioress red wooden horse.

THE PRIORESS
(addressing to May)
What is it? An amulet?

MAY
It is simply a doll.

THE PRIORESS
You can leave it.

INT.   ROOM OF A BOARDING SCHOOL   DAY
May sits on the chair. Assistant strews her head by a white powder. The BARBER cuts her hair off.
The hair falls on the floor with tears, May looks downwards, lifts eyes on the red horse, standing on a little table and begins to smile. The Barber is contented.

THE BARBER
See, it is not so bad.
May smiles through tears. Her Horse smiles to her.

NAT.  INDIAN RESERVATION DAY
Middle sixties. The red УmustangФ drives up to remote house. the old indian woman  May leaves the car, in her hands is a block of cigarettes.
Her daughter ROSE, grandchildren - the girl, five years old, and the boy of seven years follow her. All three carry packages of food, boyS hair are cut, all are dressed in the european clothes.
On the porch Red Mustang meets them.

RED MUSTANG
Hi, daughter.
(embraces May)

He takes the boy on his hands, lifts highly, then kisses him and puts on the ground.
Takes the girl, and lifts her.

RED MUSTANG
Grow such high.
(puts the girl)
Go in the house.

INT.   HOUSE OF RED MUSTANG   DAY
All family - Red Mustang, his daughter May, grand daughter Rose and the great-grandchildren, sit at the table.

RED MUSTANG
(addressing to May)
I see, you’ve became good lady. Well arranged in the world of the white people. It is good. It is necessary to survive in the white world, but you should always remember, that we are Crow.

MAY
Father, there everybody pretends, that he is well arranged. I always regret about those times, which have left. But I can leave for those times at any moment. On a red mustang.

RED MUSTANG
I did not know, that your machine is a time machine.

May, smiling, takes the red wooden horse from a pocket and shows, as if horse clatters along the table.

MAY
That is my time machine.
(horse jumps over a plate)
It helps me to overcome any obstacles.

RED MUSTANG
(looks at her)
I lived to hear this words. Daughter, I’m happy.
May smiles. The screen darkens.





PART TWO: FIXED ON CRUCIFIXION

NAT. WASTE GROUND NEAR A CATHOLIC BOARDING SCHOOL DAY
Desert autumn landscape, the ancient building of the boarding school is seen in the distance.

INT.  ROOM OF BOARDING SCHOOL   DAY
A basement room, resembling Catholic monastery. MOTHER HELEN, rigid lady, faces to group of the girls - pupils, aged 16. One of the girls is INGA. She is blond.

MOTHER HELEN.
So, have you understood everything?

GIRLS
Yes, mother.

MOTHER HELEN
You can go. Inga, stay.
The girls leave.

MOTHER HELEN
Inga, you were guilty three times. You’ve washed utensils disgustingly, the prioress complained, you was noticed in a sin of masturbation, and under any pretexts try to avoid studying of psalms.
In punishment - 12 blows of the birch.

INGA
(falls on her knee, folds hands in a pray)
Mother Helen! Please, don’t do it!

MOTHER HELEN
You should fall on your knee earlier!
Mother Helen lifts Inga’s skirt, under it is nothing. Mother Helen’s shivering hand stretches to naked thigh, but she draws her hand aside and begins whipping.

MOTHER HELEN
In the name of the Father the Son and Sacred Spirit
To expel from her a demon, to rescue her soul, the god’s slave Inga.

Inga is in tears, she looks at the large bronze crucifixion, hanging on a stone wall. We see a portrait of the bronze Christ, looking on her with grief.
Having whipped Inga, Mother Helen leans to her ass by a cheek and strokes it.

MOTHER HELEN
Girl, do you think, it’s easy? It’s heavy, for all of us are guilty by the original sin.

Mother Helen’s face is stricken with passion.
Tear-stained Inga looks at the crucifixion.
We see the crucifixion, closely, it’s arms are outstretched to the whole screen.

NAT.   THE HOSPITAL YARD   DAY
The red machine "Mustang" approaches, the door opens, we see woman’s legs in black stockings, high-heeled shoes. The door is clapped, signalization peeps, the legs go.
We see the back of the sexual woman with a beautiful figure. We see her face, self-confident, with scarlet plump lips and beauty-spot. A wavy light hair. It is Inga, grown-up.

INT.   CORRIDOR OF THE HOSPITAL   DAY
Inga goes along the corridor, she passes patients, waiting for their turn. She stops, points by a finger with red nail on a door.

INGA
Who is the last?

The visitors are silent. One of the girl points on an OLD WOMAN.
Inga sits next to the Old Woman. Silence.

INGA
(asks Old Woman in a whisper)
There is a man or a woman?

Old Woman doesn’t answer.

INGA
Excuse me, there is a man or a woman?

Old Woman looks at her discontentedly, but doesn’t answer.
Inga rises, approaches to the GIRL and asks the same question.

INGA
Excuse me, there is a man or a woman?

THE GIRL
I think, man.

Inga comes back, to her seat.

All sit in strained silence. We hear, as the door opens, somebody comes into the surgery somebody comes out.
Inga is nervous. She takes out a nail-file, begins to make manicure. Nervously throws a nail-file into the bag.
The door of the surgery opens again.
The WOMAN approaches to her.

THE WOMAN
You’re the last?

INGA
Yes.
The Old Woman leaves the surgery, now is Inga’s turn.
Inga rises, and quickly goes away.

THE WOMAN
Do you go?
Inga begins to run.
She slows her step on the stairs. Stops, turns and rises back slowly, covering her face with a hand. She takes a seat, the Woman leaves the surgery, looking at her like at mad.

INT.  SURGERY   DAY
Inga comes in, puts a card on a table. By the table sits doctor, his name is MAX. He looks in a card.

MAX
Undress, and take your place.
In the rear is shown gynecological chair. Behind it we see undressing Inga.
Max approaches to the chair. His face is serious.
Inga lays, with fear and expectation on her face.
Again we see doctor’s serious face. He makes something.
Inga begans to smile to herself.

MAX
Dress.
Max stands by the sink, he removes and throws out gloves, washes hands. Sits down by his table and examines some papers.
Inga is already dressed.

MAX
All is in the order. The analyses are good.
(not tearing away from his papers)
Can I ask you a personal question?

INGA
You’re at work.

MAX
(writing something in a card)
Excuse me.

INGA
(looks at him)
Ask.

Max is bewildered, he looks at the girl.

MAX
Are you married?

INGA
And you wanted to make a date?
Max smiles, gives her a card.

MAX
Something like that.

INGA
(accepts a card, smiling)
Well, I shall think.

Inga leaves a surgery, we see her going by the corridor. As soon as аshe turns to the staircase and there is alone, she leans to the wall, looks up and smiles.

INT.   MUSEUM   DAY
Historical or ethnographic hall. Max and Inga go on a background of the Egyptian mummies, ancient amphora, prehistoric drawings ets. Inga holds his hand.

INGA
You always make appointments in a museum?

MAX
(smiling)
You’re an exception.

INGA
It is a compliment?

MAX
Yes, if you want.

INGA
And why a museum?

MAX
I think, if the man is not bored in a museum, he can feel the time. And I should not play for him. Neither Chaplin, nor Bill Gates.

INGA
My husband always played. A hero. And he was good in this role. He is always like on the war, even when in bed.

INT.   INGA’S FLAT  NIGHT
Max and Inga lay on a large bed, smoke.

INGA
Do you have wife?

MAX
It’s a long story. Two times I was divorced. Now I’m married the third time.

INGA
And what you have told to your wife?

MAX
That I have an appointment, probably, I shall come tomorrow.

INGA
And she?

MAX
Was happy to rest from me even a day.

INGA
You love her?

MAX
Yes.

INGA
(turns to him)
And me?

MAX
(looking in her eyes)
You too.

INGA
And whom stronger?

MAX
Must I throw a coin?

INGA
(Smiles)
You’re such mysterious

Inga stands on all fours (on her hands and knees), representing a cat, purrs, climbs on him.
The sexual intercourse, woman is above. Inga is slightly covered by white sheet. The bed is white, and all other room is in darkness.
A grey kat, sitting in a corner, looks at them.

NAT.   STREET NEAR INGA’S HOUSE  NIGHT
A taxi stops near the entrance. The man with rucksack leaves it, pays off with the taxi driver. It is OSKAR. He is dressed in soldier's uniform boots. Goes along the street, heels knock.

INT.   INGA’S FLAT  NIGHT
The cat jumps, slightly opens a door in a corridor, goes there.

INT.   ENTRANCE  NIGHT
The legs in soldier's boots rise by the stairs.

INT.   INGA’S FLAT CORRIDOR  NIGHT
The key slowly turns, the door opens, we see Oskar. On a floor lays a rectangular of light and a long shadow of Oskar. Oscar puts rucksack on the floor, stretches cat, unlaces boots.
We see him from a back going towards the room. Behind runs the cat.
Oskar approaches to the door and gently opens it.
He watches Inga fucking. He isn’t noticed.
Oskar looks indifferently.
Beautiful erotic shootings. Inga groans, hair fall down beautifully.
Oscar takes a gun, clicks safety catch.
This click stops the pair. Max and Inga turn their heads and look at him frightened.
Oskar, holding a pistol in one hand, switches the light by another.

OSCAR
I’ve disturbed you?

They look at him silently.

OSCAR
Continue.

They look at him.
Oscar screws a muffler on the pistol.

OSCAR
Let's die beautifully. I say, continue.
Inga and Max are silent.
Oscar strikes Inga a swinging blow by a pistol, she falls.

OSCAR
(to Max)
Get up!

Max rises, wrapped in the sheet, Oscar kicks him in the groin. Max is bent. Oscar kicks him on the face. Max overturns and falls. The third blow by the pistol - comes down on his head.
Oscar stands by the table, takes cigarettes from it, smokes.

OSCAR
Expensive cigarettes.

Oscar leaves the room. Switches off the light. Blackout.

OSCAR
(behind the screen)
Good night.

INT.   INGA’S FLAT  NIGHT
The hours on the wall show three. Camera slides down. On the floor lays Max, with closed eyes and blood on his head. The floor is flooded with water. The light is turned off.
Max opens eyes, looks at the water, rises, approaches to Inga, pulls her about, she comes to sences.

INGA
What is it?

MAX
Water. And where’s husband?

INGA
I don’t know.

Inga rises, goes to the corridor, full of water, runs.

INGA
(Shouts)
Oscar!

She slips on wet floor and falls.

INGA
Oscar!

Rises, opens a door of the bathroom. Bright light hurts her eyes.

INT.  BATHROOM  NIGHT
They see hanged Oscar, his back to the spectator. The bathroom is full of water. Inga approaches to Oskar, embraces him, slowly sits down, her arms slip to Oscar’s legs.
She is standing, takes Max’s hand, they go in the room together.
Max calls to police.
They sit in wet clothes and wait. They begin to feel bored.
Inga switches on the tape recorder, walks towards Max.
They begin a slow dance.
They are kissed. Their hands go down each others backs. Camera follows them.
Camera shows bare feet, plashing in the water. In the rear we see open door of the bathroom and hanged Oscar.

INT.   POLICE  MORNING
Max is sitting at the table. Before him is INVESTIGATOR, on a table - dictophone.

MAX
When I came to senses the whole room was full of water. Inga went to the corridor and cried.

INVESTIGATOR
He was his back to you or face?

MAX
Back.

INVESTIGATOR
Well, thanks. I shall call you, or send a summons.

NAT.   CEMETERY   DAY
The PRIEST, Inga and four terrible-looking DIGGERS with shovels. The Priest is praying. Inga takes a pinch of ground and throws it so, as if salts. Then she turns, lowers a veil, goes away.
The Diggers begin digging, Inga is visible on a background.
Inga sits in the red mustang, the car starts.

INT.   MAX’S FLAT  NIGHT
Max is watching TV. The phone calls. Max takes it. On a wall behind his the Catholic bronze cross is seen.

INGA’S VOICE IN THE PHONE
I do not want to stay here, I’ve decided to sell my flat, it is bad.

MAX
Where’re you?

INGA’S VOICE
At your entrance.

Max with the phone approaches to a window, looks at her, she is sitting in red car with the phone and looks at him.

MAX
Will you come to me, or we shall walk?

INGA
At first we shall take a walk.

INT.   INGA’S CAR  NIGHT
Max and Inga are silent. Inga drives the car. She is in tears, he is smoking.
Inga stops the car.

INGA
Do you want to speak something?

MAX
I thought, silence is rather good.

INGA
Why you can not calm me? I thought, You’re wise, and You’re - just like others.

MAX
(continues to smoke)
If you want, I can leave.

INGA
Do not hurt me more.

Inga falls on him. Max strikes her.

INGA
You lied me that you are married.

MAX
Maybe.

INGA
Why you never answer on a question directly?

MAX
Instinct of self-preservation.

Inga begins to kiss him passionately. Climbs on him, the sexual act begins. One of the passing cars signals.

NAT.   COAST OF THE SEA   NIGHT
Max and Inga are swimming.

INGA
(spins in the water)
Do you know, what I want most of all?

MAX
To be a mermaid?

INGA
Not now, but it was my dream forа long time. To be a mermaid, but not on the pan, and not in aquarium.
(Laughs)

MAX
Well then, maybe, you want to live on a desert island, only you and me and nobody is around.

INGA
(flings by head, her hair fan out)
No, we are already on the desert island.
Inga comes to Max, puts her hands to his breast, nestles to him.

INGA
I want to become a gold fish to fulfil all your desires.
(lifts her eyes, looks at him)
But you must want something

NAT.   CAFE   DAY
Max is sitting at a little table. Inga comes to him.

INGA
All is excellent,
(kisses him)
I’ve sold the flat. Now I shall talk about sale of my car.

MAX
Do you really want to sell it?

INGA
I don’t need it.

MAX
When is the meeting?

INGA
In thirty minutes in this cafe.

MAKS
So we have time to drink a cup of coffee.
They drink coffee.

INGA
I want to dance
(Sings something)
We hear the signal of the car, they turn and see, unfamiliar man standing near Inga’s car. He signals through an open window. This man is BORIS.
Inga waves her hand, Boris smiles, comes to them.

BORIS
Good day.
(shakes hands with Max)
Boris.

MAX
Max.

BORIS
And we, as I think, studied together in Medical Academy.

MAX
What year?

BORIS
Eighty ninth.

MAX
Very pleasant.
Boris sits down, Max rises.

MAX
Excuse me, I shall leave you, I’ll go to buy newspapers.
Crosses the road.
Inga opens her bag and gives some papers and keys to Boris.

INGA
I wish you good luck.

BORIS
I want to tell, that my dream has come true. I saw this car in my dreams from childhood. If you suddenly need my help, or you want to look at mustang - call on this telephone.
Rises, kisses her hand, gives her a card.

INGA
It was very pleasant to get acquainted with you.

BORIS
So it was to me

INGA
Good luck

BORIS
Thanks.
Boris leaves.
Max is coming back to cafe. Between him and Inga pass two girls in monastic robes and prioress. Camera is focused on them.
Inga looks at them disturbed. One of the girls turns to us, it is Inga in childhood.
Max approaches.

MAX
Strange man. We never even said Hallo.

Inga smiles, omits her face, drives her finger on a table.

INGA
And I like him.
The Max lights a cigarette.

INGA
(pulls him about)
I think we should by a bottle of vine and go to your home.

INT.   MAXS FLAT  NIGHT
Vine is poured in a glass.
Inga, naked and drunk, approaches to a bed, on which Max is laying.

INGA
Drink.

MAX
I don’t want.

She sits on a bed, gulps from the glass also dances with two glasses in hands.

INGA
Drink, Max, please.

She drains her glass at one draught, puts it on a floor and begins to kiss Max. She kisses him in lips, his neck, breast, the heavy sighs are audible. They begin sex. She is above.
Her eyes are closed, she groans. She slowly opens eyes and sees before herself the crucifixion, hanging on the wall.

INGA
(sobers up, shouts)
I can not stand this any more!

Falls, rises in tears.

INGA
(to the crucifixion)
Why do you pursue me all my life!
The cross is shown largely.

INGA
I hate you! Leave me, you hear?
She jumps, breaks the crucifixion off the wall and throws it in the window. It crushes window glass and flies in the night. Silence. The quiet starlit sky is shown through the broken window.

INT.   THE BUS   DAY
Inga is sitting in the bus. She wears black dress, black veil. The bus is stopped by police, the patrol enters, checks the documents. They leave the bus, it goes further. It stops in a field, in the distance lonely monastery is seen. It is the same building, where was May.
Inga with a suitcase goes towards monastery. We see her black silhouette on an autumn landscape.




PART THREE: SEVENTEENTH KILOMETER

NAT.  CEMETERY  NIGHT
Near a cemetery is a two-storied house, the light is burning in it.

INT.   COUNTRY HOUSE  NIGHT
Room in the ground floor. HOSE  a fat Latin-American opens a window. It’s raining. Hose approaches to the radio, turns it on. Sounds Vagner’s, Flight of Valkiries. Hose ecoes to it, stuffs a cigarette. When it is stuffed, Hose sits in an armchair, looks on the reproduction of Mona Lisa on the wall. Inserts the cigarette into teeth, takes a toy pistol - lighter, lights it.
A knock is audible.
Hose looks at the toy clock in the shape of Mickey-mouse, it shows three. He puts a cigarette and a lighter on a coffee table, opens a drawer, there is nothing, except the real pistol. He takes a revolver, rises from his armchair, thrusts it behind under the аbelt, approaches to the door. Looks in a peephole, quietly opens the door.
The WOMAN comes in, but we see only her hands. The hands get from a bag a purse, from a purse - money, stretch it to Hose.

THE WOMAN
As usual.

Hose goes to the room, approaches to the stuffed owl, presses on it’s eye, with his hand under it’s tail, therefrom he takes a little packet. He gives a packet to the Woman (we see only their hands again).

HOSE
Maybe you’ll stay?

THE WOMAN
Thanks, not now maybe next time.

HOSE
(Smiling)
Next time can never come

THE WOMAN
Good bye.

HOSE
Good luck.

The Woman leaves, he closes the door.
Counting money, he approaches to the reproduction of Mona Lisa, moves it aside, we see the safe, in a niche. He opens a door, puts there money, closes, puts picture on it’s place, turns to the camera. Suddenly his eyes stop in one point, he looks frightened.
A sound of a shot is heard and Mona Lisa is painted in red sparks. Music Flight Valkiries proceeds.
Behind a window is thunder and lightning.

NAT.  CEMETERY  NIGHT
Raining. The STRANGER in coat with a hood runs through the cemetery. Gun shots or peals of thunder are heard. The stranger continues to run. He passes grave fencings, slips in pools, dodges from the tree branches. Finally he runs out on the road. Suddenly he is lit by car headlights. Muffled stroke is heard, he overturns.
The Stranger is laying on the ground in an unnatural pose, his legs are bound, hands are stretched like lashes.
DRIVER opens a door, runs up to him, examines his pulse. We don’t see Driver’s face.
Driver opens Stranger’s eyelids, and lights in his face by torch.
Having convinced, that the man is dead, Driver pulls him in the ditch, slips on a wet grass, falls.

DRIVER
(Rising)
Motherfucker.

Comes back to the car. Finds on his way a packet, wants to throw it out, but gropes something interesting in it. It is a pack of money, Driver quickly throws it back in the packet, runs with it in the car. The car darts off.
I
NT.   CAFE   DAY
At a little table sits young beautiful brunette JANNA, she reads a newspaper. The door of cafe is open, a middle-aged dark-haired man comes in. It’s BORIS. He smiles, but looks strained and disturbed. Approaches to Janna, kisses her in cheek, sits down beside.

JANNA
How did you come?

BORIS
Perfectly.

JANNA
It is good.

WAITER approaches, stretches the menu.
Janna looks in the menu.

JANNA
Two biscuits Will you?
(Boris nods)
Then three. Chocolate, pomegranate juice and kebab.
(to Boris)
Have you chosen?

BORIS
Two coffee with cognac two sandwiches.
And, please, tulips.
Waiter leaves, they are in good spirits.

BORIS
Let’s  make a holiday!

JANNA
Did your grandmother die and leave a great inheritance?

BORIS
How did you know?

JANNA
I’m hereditary medicine woman of the Sioux tribe.
(makes a frightening grimace, opening her palms wide)
They laugh.
Through the window we see the police car stopped near cafe, Boris changes his countenance.

JANNA
What’s happened?

BORIS
Nothing, why do you think?

At this moment POLICEMAN comes in cafe. Boris is trying not to look at Policeman, but his attention is riveted to him. The policeman approaches to the counter, takes ice-cream and goes away.
Janna is puzzled, she suspects something.

BORIS
(looking in her eyes)
I’ve knocked down a cat when driving. Can’t forget it.
Janna, looks at his eyes, takes his hand, puts it to her cheek, smiles.
Waiter brings the order.

JANNA
I missed it all in my childhood Now, when I have what I wanted in childhood, I regret that the past will never return.

BORIS
Imagine, that You’re little and eat.
Janna closes her eyes, bites off a cake, chews and smiles happily.

BORIS
Have you managed?

JANNA
(Nods)
Yes  It’s nice

BORIS
I sometimes buy toys, of which I dreamed when was little. They are automatically sent in my childhood.

JANNA
The real time machine!

BORIS
Know, we sometimes really can go to the past and in the past change our present.

JANNA
What way?
She moves to him, clings to him, not paying attention to the visitors, begins to kiss him, Boris is confused, looks around.
The lonely old man, watching on them, turns away.
The girl eating ice-cream, looks at them with open mouth.

BORIS
It is very simple.

JANNA
(sensually)
Will you learn me?

BORIS
(kisses her nose)
You should simply recollect any moment in your life and look at it from different point  And then you begin to appreciate nowadays reality another way.

JANNA
(seriously)
You should write the book about it.
She sits on her chair again, takes her cake by two fingers, and sends it in bright mouth.
Boris drinks coffee at one draught. Weakens a tie.

NAT.   BRIDGE   DAY
They walk along the bridge.

JANNA
Where’re we going?

BORIS
Surprise.
Janna smiles.

JANNA
Want to make me a proposal?

BORIS
Yes, but not today. I have an important news for you.
They go down the shore of the river. Booris scoops a handful of water, washes his face. Wipes hands with a handkerchief.

BORIS
(smoking)
I really have got the inheritance. From grandmother.

JANNA
Grandmother? So, I’m really a medicine woman? See, you never spoke to me, that you have grandmother.

BORIS
There was no occasion.

JANNA
Well, congratulations. Also accept my condolences.
(stretches hand to him)

BORIS
I want you to go with me to Mexico. How do you like Acapulco?

JANNA
I never was there.

INT.   BORIS’S FLAT   DAY
The door opens, enter Boris and Janna. Janna throws her coat and handbag on the sofa, sits. Camera shows different toys overcrowding the flat: airplanes, tanks, teddy-bears, a Mickey-mouse clock.

JANNA
There’re a lot of things, you missed in childhood.
My God, I’m so tired.

Boris opens a bar, pours two glasses of vine, they drink.

INT.   BORIS’S BEDROOM  NIGHT
Moonlight. They lay on the bed, Boris over Janna and gently kisses her, both are naked.
Lay beside.

BORIS
Acapulco. Blue water. Simple people. Spanish. Far from this civilization.

JANNA
Yes, really, I desire to go away. I want to live on the seacoast, to have many children To paint I want, our children to speak spanish. When we shall go?

BORIS
As soon as I shall finish my business here.

JANNA
(turns to him)
Will you really take me?

BORIS
(smiles happily)
And you want to go separately?

INT.   BORIS’S BEDROOM  MORNING
Boris rises, dresses, drinks coffee, leaves.

NAT.   STREET  MORNING
Boris goes out of his house. Sits in the red car, drives off.

INT.  BORIS’S BEDROOM  MORNING
Janna cautiously observes departure of the car from the window. She is naked.
She begins to search something all around the flat. Janna opens wardrobes, bookcases, saucepans, basket with a dirty linen shakes up the books. Disembowels a toy bear, ripping it by knife.

JANNA
(hysterically)
What have you done with this money?
What for, what for? What for you go to this Mexico, what for?
She begins to rush about the flat and comes into rage. She falls on the floor and begins to cry.

INT.  BORIS’S BATHROOM  MORNING
Janna faces to a mirror.

JANNA'S REFLECTION
You calm down, you should set yourselves to rights, you should clean allЕ You understand me, bitch?! Understand or not? Well, if you understand, smile!
Janna dries tears, looks and smiles to the reflection. The reflection smiles to her in answer.

NAT.   STREET  MORNING
Janna goes along the street, stops at the telephone and dials a familiar number.

JANNA
(in a business-like tone)
Hi. It is necessary to meet. In three on the same place.

NAT.   BENCH IN THE PARK   DAY
On a bench sits Janna, reading the newspaper. We see man's legs, going towards her. It is legs of the JOURNALIST. Journalist sits down on a bench next to Janna, but we don’t see his face (we see them from a back).

JANNA
You write good articles.

JOURNALIST
Inspiration.

JANNA
And by the order?

JOURNALIST
I’m a creative man. All depends on inspiration  and inspiration  on money.

JANNA
I need an article. I’ll pay you.

JOURNALIST
For a heart attack?

JANNA
Something about it.

JOURNALIST
And responsibility?

JANNA
The newspaper is needed in one copy. Except you, me and one son of a bitch nobody will see it.

JOURNALIST
Plot is yours?

JANNA
I believe, yes.

They kiss.

NAT.   HIGHWAY   DAY
The red machine goes along the highway. There are Boris and Janna. Janna reads the newspaper aloud.

JANNA
An accident or deliberate murder.
At night since Thursday to Friday near the cemetery on 17 kilometer was found a dead body. According to the night watchman, the victim was knocked down by red Mustang, then the car stopped, and the driver took some package from the injured and disappeared from the place of incident. Everyone, who knows about this incident, is asked to inform the police urgently.
Boris abruptly stops the machine, seizes the newspaper and begins to re-read to himself. In the newspaper we see identikit resembling Boris.

JANNA
Don’t speak anything, I’ve understood all. They’re searching for you. I know, where you can hide. My aunt has a summer cottage on the thirteenth kilometer. I think, it is time to escape. You will live there for a while, and I shall buy the tickets on the nearest ship.

NAT.   NEAR SUMMER COTTAGE NIGHT
The light is burning in the window. The car approaches to the house, Janna goes out, knocks conventionally. Boris opens the door. Janna is anxious.

INT.  SUMMER COTTAGE  NIGHT
Janna comes in.

JANNA
They're searching you. Everywhere.
Your photos are all around the city They think, that you killed drug dealer and then got rid of your partner. The police shadows your flat.

BORIS
But I haven’t killed anybody

Janna embraces him, cries.

JANNA
I believe you. And it is me only, who believes you, that is the problem, dear.

BORIS
Maybe I should surrender?

JANNA
I wanted to tell you something. I am pregnant. We will have a child. I do not want, you to be in prison when it’ll be born. We should make everything to escape.
I’ve already done all. We have two tickets on a ship. We’ll sail tomorrow at night.

BORIS
(kisses her)
Dear maybe, you’ll stay tonight?

JANNA
I must prepare things and documents. We’ll meet tomorrow.

BORIS
Well. But where?

JANNA
In the city it is impossible, it is dangerous. ThereТre patrols on the road. How do you think, where they wait us the less?

BORIS
(smiling)
Near the cemetery, on seventeenth kilometer.

JANNA
Quite a good idea.

BORIS
Are you kidding?

JANNA
It is not a time for jokes. If you really knew the situation, you would agree with me.

BORIS
Well. But where and when?

JANNA
Near old chapel at three o’clock. I shall drive, twinkle two times by headlights, you will answer to me by the lamp. Two times. So:
Janna blinks two times by the lamp, gives it to Boris.

JANNA
(continues)
We will meet and go.
Take with yourself only the most necessary. Probably, tomorrow will be a rain, I brought you a raincoat.

NAT.   CEMETERY NEAR CHAPEL  NIGHT
Boris in the raincoat stands and smokes. It is raining. The car approaches. The headlights flash two times. Boris takes a package, goes on a signal. In the answer Boris blinks two times by the lamp. Towards him goes an unindentified figure, dazzling him by a light.

BORIS
Janna, is it you? Janna, where are you?
The lantern blinds him, he closes by hand. Two shots are heard. In the sky are lightning and thunder.
Boris runs on pools, making his way through the trees and branches.

JANNAS VOICE
Boris, it is me, Boris, stop!

He runs out on the road, the car drives towards him, it has no time to brake and knocks him down.
The driver goes out. He approaches to Boris, feels his pulse.

INT.   HOSE’S HOUSE NIGHT
Mona Lisa on the wall. Before it sits Hose.
He stuffs a cigarette. Takes a toy pistol - lighter. Knocking at the door is heard. Hose stands up, opens the door. There stands Janna in black hat with a veil.

INT.  THE CAR  NIGHT
Raining. Boris is driving the car. The Flight of Valkiries is heard from the car radio, it is supplemented by the uniform sound of working windscreen-wipers.

INT.   HOSE'S BEDROOM  NIGHT
We see fat Hose’s ass in trousers, revolver sticks out of his belt, а female legs in black stockings and high-heeled shoes clasp his thighs. The woman groans, Hose wheezes.

INT.  THE CAR  NIGHT
Boris drives the car, windscreen-wipers work. The car passes a pole of 16 kilometer.

INT.   HOSE'S BEDROOM  NIGHT
We see the Janna’s face, she groans rhythmically. If to conjecture her pose, she stands on fours.

INT.  THE CAR  NIGHT
Boris drives, windscreen-wipers work. Sounds Flight of Walkiries
Boris notices something on the road. It is a cat. He brakes, the creaking car, stops right before the cat. He leans back on the seat dripping with sweat. Switches off the music. Drives back, stops on the side, lights a cigarette. Silence, only rain taps and windscreen-wipers go there and here with a weak sound. The cat pretentiously goes further and disappears in darkness.

INT.  THE CAR  MORNING
Sunny day. Boris awakens in his car. Some car passes him. Boris lights a cigarette. The car starts. It passes 17 kilometer pole. He turns on the radio, there is cheerful music.

NAT.   HIGHWAY  MORNING
We see the straight road in the perspective, Boris’s car goes in the distance. As the road falls down and rises up, the car disappears behind a hill and emerges again. Cheerful music sounds from the radio, the car disappears in the distance.





PART FOUR: RETURN OF RED MUSTANG

NAT.   THE HOUSE IN THE INDIAN RESERVATION  NIGHT
Camera shows one-storied little house.

INT.    THE HOUSE IN THE INDIAN RESERVATION  NIGHT
At the table sits young Indian BILL, he has long hair and checkered shirt. Behind him on the wall is American flag with Indian, photos of the chiefs. Bill is drinking. A dog barks in the yard. Somebody knocks at the door.

BILL
(Nods aside)
Go, open the door!

Appears a young Indian woman - MAY, she is the grand daughter of those May, who was in the beginning. She opens the door.
We see Bill’s face. He is trying to make out who is on a threshold.
The figure on a threshold is dim, then Bill’s sight is focused on it, we see JOE Bill’s friend.

BILL
Joe! Hi, brother!

Joe sits at the table with him, puts a new bottle.

BILL
(aside)
Fry meat!

MAY
(behind the screen)
We have no meat!

Bill beats the table by hand.

BILL
No meat! When they return our buffalo?

JOE
Want to return the buffalo?

BILL
Yes, I want, if not the buffalo, then compensation at least.

JOE
(Rises)
Imagine, Bill: knock in the door,
(he knocks on a table)
Who is it?
You come to the door, open it,
(opens the door)
And there stands indian agent, in the white jacket and hat, with a cigar in his mouth. You look on him and you аcan understand nothing.
And he comes to the table,
(approaches to the table)
Pours a glass of vine
(pours a glass)

BILL
And speaks: brother, let’s have a drink

JOE
(Overturns a glass)
No, he takes some paper, and begins to read in English without any accent:
(assumes a dignified air, reads on his palm)
The American government, dear mister Bill, is sorry for innocent killed buffalo and stolen ground. Our commission estimated a damage, caused personally to you, mister Bill, as 100 buffalo heads and a box of Scottish whiskey.
And you do not trust your ears! And you go out, move aside the agentЕ
(goes on a threshold, moving May)
And you see the entire herd of wild buffalo, peacefully nibbling grass on your garden.

NAT.   BILLS HOUSE   NIGHT

JOE
(continuing)
Bill, come here, and look! Hundred buffalo! You want to touch them, to count them.
Bill and Joe begin to swing their arms in the darkness, trying to fumble for an animal.

INT.   BILLS HOUSE  NIGHT
May collects a traveling bag.

BILL
May, where are you going?

MAY
I should be in the city tommorow. Bye.

BILL
So you do not want to count our buffalo with us? And what if the government deceived us again! What for you want to become a film-director. What for to go to that city of whites.

May passes them, stops, turns and looks in Bill’s eyes, light outgoing from the door covers her face.

MAY
My grandfather Red Mustang spoke, that the art is a great medicine. It can cure people. The same as our ancient ceremonies.

BILL
Who is your Red Mustang, who knows him? Joe, do you know Red Mustang?
Joe spreads his hands.

JOE
No.

BILL
I do not know him too, nobody knows. Maybe these buffalo remember him?
(peers into darkness, from under his hand)
Buffalo, do you know Red Mustang?

May stands looking on Bill.

MAY
I know.

She goes into the night.
May is going away from the house, behind her on a threshold stands Bill’s drunk silhouette with a gun.

BILL
(Shouts)
May! Forgive me!

He shoots in the air.
May doesn’t turn, she goes, looks in the sky, smiles to a star.

BILL
Forgive me! May!

NAT.   PRAIRIE   DAY
Red Mustang rides the horse.
May walks.
Red Mustang drives to her, but she does not see him.
May stops, Red Mustang stops near her.
May turns and sees her great-grandfather.

RED MUSTANG
I wanted to see you. You’re very beautiful and clever. You’re like your grandmother. I shall be always with you. Even if you lose my amulet. I love you, May.

INT.   GRANDMOTHER’S HOUSE  MORNING
May opens her eyes. The face of Red mustang turns to the portrait which has been stuck together from four parts. The portrait hangs on a wall. May smiles to a portrait and looks on the wooden red horse.

GRANDMOTHER MAY
May! Get up, dear. It is time.
Grandmother May puts in a bag parcels with food.

GRANDMOTHER MAY
Your parents and your grandfather couldn’t even dream about it. You have chosen a good path.

She gives May a bag. Embraces and kisses her.

NAT.   NEAR GRANDMOTHERS HOUSE  MORNING
The granddaughter May runs downstairs. Her grandmother stands at the door and looks on her, they wave in farewell to each other.

NAT.   HIGHWAY  MORNING
The granddaughter May is going along the road. Some car passes her.
Suddenly May stops and turns. The red car is approaching to her.
It stops, the door opens, we see Boris. He smiles.

BORIS
I hope you will not take my scalp

MAY
(smiling)
Crow never were at war with the Whites.

BORIS
Well, then get in.
They go further.

BORIS
The car is old, but good.

MAY
My grandmother had the same car. It was stolen. But I have another red Mustang.
May takes from the bag a red horse.

MAY
My grandmother spoke, that nobody needs it except us

BORIS
And what is it?

MAY
Grandmother spoke, that it is the telephone, by which we can speak with everyone, whom we like. Even with those, who passed away.
Boris looks suspiciously, thinking, that she is a little bit mad. They go in silence, he smokes.

BORIS
(behind the screen)
Can I talk on your telephone?

MAY
(after a small pause, seriously)
If you have somebody to talk with

In silence the car goes afar.