Seeking Redemption

SEEKING REDEMPTION
by
André Leon
1.
SEEKING REDEMPTION
FADE IN
EXT. VILLAGE – NIGHT
SUPERIMPOSE: The following events happened in the past 1960s

in a forgotten village in northern Europe.
Above a small church, the Milky Way cuts the sky.
EXT. CHURCH - STEEPLE – NIGHT
On the top of the roof there is a dark shape of a demonic

being squatting with its tail wrapped around the steeple
cross.
The silhouette of the being has traces of small horns,

pointed ears, pointed hook nose, prominent chin, and claw-
shaped hands and feet. It is the demon NAREBAH.
In the background, a small square, simple houses, and empty

streets.
EXT. LISA’S HOUSE – NIGHT
A plain house.
INT. LISA’S HOUSE – NIGHT
LISA, a thin lady in her 60s, sleeps in a single bed.
NAREBAH (V.O.)
Ah... The hardships you have to
face as a tempting demon!
EXT. HORTENSE’S HOUSE – NIGHT
A plain house.
NAREBAH (V.O.)
Especially here, in this
Godforsaken place!
2.
INT. HORTENSE’S HOUSE – NIGHT
HORTENSE and RAYMOND, both in their 70s, thin, lying in

separate beds. Hortense sleeps, but Raymond, an insomniac,
has his eyes wide open.
NAREBAH (V.O.)
In this miserable village, people
are so modest and so ignorant.
EXT. BELMIRA'S HOUSE – NIGHT
A plain house.
NAREBAH (V.O.)
They do not have, say, a certain
sinful ability.
INT. BELMIRA'S HOUSE – NIGHT
BELMIRA, a beautiful brunette, 30 years old, sleeps in a

double bed together with her kids EDDIE, one year old, and
VIVIAN, three years old. ELAINE, seven years old, sleeps in
a net.
NAREBAH (V.O.)
Great sins are overly complicated
for them.
EXT. AGENOR'S HOUSE – NIGHT
A plain house.
INT. AGENOR'S HOUSE – NIGHT
AGENOR is impeccably tidy sitting on the edge of the bed. He

is blind, thin, old age, dressed in a cheap suit, shirt
buttoned to the collar, without tie, wears sunglasses and a
wristwatch.
With his fingertips, he supports a cane on the floor and

rotates it alternately between clockwise and
counterclockwise in relation to the axis itself.
NAREBAH (V.O.)
And the silly sins, those that
don't make anyone lose their
souls.
3.
EXT. ABIGAIL’S HOUSE – NIGHT
A plain house.
NAREBAH (V.O.)
To those... ha! Those they deliver
by themselves, dismissing the
services of a tempting demon.
INT. ABIGAIL’S HOUSE – NIGHT
There is a small altar in the room, with a crucifix and

images of saints. ABIGAIL, 80 years old, overweight and
rheumatic, wakes up and sits on the edge of the bed. Drowsy,
she makes the sign of the cross and begins to pray.
NAREBAH (V.O.)
Lady Abigail: she thinks she is
the best and most fervent devotee
of the parish... pride is also a
mortal sin! And what will it be if
hell opens its doors to sinners of
that type? How is it going to end?
EXT. ABIGAIL’S HOUSE – DAY
A plain house.
Abigail opens the window, holding a kerosene lamp, and walks

away. Shadows indicate movements inside the house.
EXT. PRIEST’S HOUSE – DAY
A plain house.
INT. PRIEST’S HOUSE - BEDROOM– DAY
Snoring SOUND. On the wall, a calendar from the year 1970,

with the photo of Pope Paul VI, presenting the month of
April.
On the floor a pair of Franciscan sandals, a cassock

on a chair, the alarm clock, and the glasses on the table
headboard.
On the bed, the old PRIEST, paunchy, short, and bald, sleeps
4.
on his back, wears T-shirt and boxer shorts.
The alarm bell goes off and the priest, without opening his
eyes, hits the hand in full on the clock lock making the
alarm bell to stop. The priest murmurs incomprehensible
words and continues to sleep.
Uncomfortable with the rooster crowing and barking in the

distance, the Priest turns on his side and covers his head
with a pillow.
INT. ABIGAIL’S HOUSE – DAY
Abigail, confused, gets ready to leave. Her feet have

age-related deformities. Abigail puts on worn slippers with
improvised openings for bunions.
EXT. VILLAGE – DAY
Abigail leaves her home, walks with difficulty towards

the church.
INT. HORTENSE’S HOUSE – DAY
Hortense serves coffee in a mug to Raymond who sits at the

table napping. Hortense slaps the top of the
nape of Raymond, who wakes up stunned to drink coffee.
HORTENSE
Bedtime has passed, Raymond!
Abigail walks across the square.
INT. BELMIRA’S HOUSE - BEDROOM – DAY
Belmira finishes putting on a black dress, settles in front

of a mirror and leaves the room. Elaine tidies up the kids.
INT. CHURCH - STEEPLE – DAY
SOUND of footsteps going up the staircase. The bell tower

opens and Agenor appears, weaving the floor with his cane.
5.
He stops next to the bell rope, leaves the cane next to

a wall, opens the glass of his wristwatch and checks with
his index finger.
Sounds of CHIMES of the bell and BARKING of dogs in the

distance. The Priest turns in the bed and continues to
sleep.
Abigail approaches the church while checking the rear and

surroundings compulsively.
INT. PRIEST’S HOUSE – BEDROOM – DAY
The priest wakes up slowly and looks at his watch alarm

clock. His eyes widen and he jumps out of bed.
PRIEST
That damn clock!
He makes the sign of the cross, put on his glasses, put on

his sandals without buckling and goes to a basin where he
washes his face, but without taking off his glasses.
He is disconcerted. He gropes the wall with his hands. The

towel is lying on the floor.
PRIEST (CONT'D)
But is it possible?
He stretches his shirt by pulling on the hem and dries his

face. He goes to the chair and puts on the cassock. The
glasses hook onto the dress as he slips into it.
The priest shakes and rolls, the glasses fall under the
cassock.
EXT. CHURCH - STEEPLE – DAY
The daylight completely reveals Narebah's appearance. He is

naked, not short, but not tall, tousled hair, compact and
well-defined muscles, with many tattoos on his tanned skin.
6.
The bell RINGS TOO LOUD. Narebah watches the devotees who go
to church. Abigail leads the way with a lot of difficulty,
always checking the distance from the others.
NAREBAH
Faster, prouder lady, if not,
someone passes in front of you and
then you’re no longer the first to
arrive!
INT. CHURCH – DAY
Lit from the doors behind her, Abigail's silhouette moves

through the church. She goes through the corridor and the
silhouette of Narebah appears behind her.
Narebah holds the edge of the door frame with one hand and
with
his arm outstretched, he lets himself spin like a pole
dancer until he lines up with the corridor.
Narebah walks with firm steps, without making any noise.
Abigail stops walking when she reaches a bench that contains

only remnants of melted candles. She pulls out a candle and
a box of matches from her pocket and expresses a feeling of
discomfort. She looks suspiciously behind her.
Abigail fits the candle on the counter and pulls out a

match. The shape of Narebah, overshadowed by the clarity of
the portal, approaches Abigail from behind.
She lights the match and brings it close to the wick. The
face of Narebah appears over her shoulder and extinguishes
the flame.
Abigail gets angry. She scratches another match and when the
wick is lit, Narebah extinguishes the fire again.
ABIGAIL
Hell!
Narebah, leaning next to Abigail's face, makes a cynical

expression as if he is readily available to attends her.
Abigail shivers and makes the sign of the cross. More people
start arriving at the church.
7.
Narebah directs his attention to the movement. Raymond and

Hortense walk, bored, and sit close to the front rows.
Belmira, carrying Eddie, indicates a place in the bench for

Vivian and Elaine to sit down.
She heads towards the altar that has the Saint Anthony
image.
Narebah approaches Raymond and whispers in his ear. Raymond

looks vaguely at Belmira's ass.
Narebah looks at Lisa, who arranges objects in the altar

area. Lisa deflects her attention to Raymond's attitude and,
scandalized, gives a sign to Hortense.
Hortense catches Raymond's attitude and slaps the back of

his neck. He withdraws submissively.
Belmira kneels by the altar. Narebah approaches and whispers

in her ear. Belmira goes into a lustful trance, her nipples
swell to mark the dress. Suddenly she leaves the trance,
flushed and disconcerted.
BELMIRA
Forgiveness, my Saint, for mine
shameful thoughts...
Narebah makes an expression of indifference and boredom.
More people arrive at the church and sit on the benches,

clear their throats, whisper among themselves.
INT. PRIEST’S HOUSE - KITCHEN – DAY
The priest runs to the kitchen, takes a piece of bread,

smears with butter, go to the wood stove, open the lid of
the teapot with coffee that is close to the heat and dips
the bread, sips some of the porridge and runs out the
kitchen door.
EXT. SQUARE – DAY
The priest moves in a hurry, the loose buckles of his

sandals clink. Dogs BARK and chase him.
A dog bites one of the buckles, the priest tries to get rid.
8.
PRIEST
Miserable, leave me alone!
Another dog bites the hem of his cassock and Priest

struggles. He pulls the clothes and the thick fabric tear.
PRIEST (CONT'D)
Son of a bi... Not the cassock,
bastard!
The priest takes one last bite of the bread and tosses the
left over to the dogs, who start competing with each other
for that food.
The priest races for the church holding up the cassock with
both hands.
INT. CHURCH - SACRISTY – DAY
Lisa is sitting on a chair and holding on her lap the white

tunic, her gaze fixed on the wall clock that marks
6:20.
The door opens and the Priest, breathless, enters the

sacristy. He stops near Lisa with arms raised. Lisa
helps him wear the tunic over the cassock.
LISA
Frankly, Father...
PRIEST
I know, Lisa, I know!
INT. CHURCH – DAY
The priest fixes the purple stole on the tunic and goes to
the altar.
Narebah looks at the Priest with an expression of

satisfaction. During Mass, Narebah participates in the choir
and accompanies the priest's speeches making synchronized
lip movements. Behaving like an emotional devotee when
chanting “Ora pro nobis.”
9.
PRIEST
And so the Lord our God speaks: “I
assigned you to be the light of
nations, that my salvation may
work to the ends of the earth.”
The priest consecrates the host and the devotees form a

line.
Belmira remains seated under contemptuous looks from those

who are in the line of consecration.
INT. CHURCH - CONFESSIONARY SURROUNDINGS – DAY
Belmira is at a bench near the confessional. Then the

curtain opens, a lady leaves the confessional and Belmira
enters.
Dressed in rural worker clothes, Narebah occupies the bank

next to the confessional.
INT. CHURCH - CONFESSIONARY – DAY
BELMIRA
Father, I came to ask for
forgiveness.
PRIEST
What mistakes have you made, my
daughter?
BELMIRA
Since the last confession, none,
priest.
PRIEST
And why are you here then?
BELMIRA
It's because I know I'm going to
sin, Father.
PRIEST
Oh! But that's not how it works,
Belmira. First one must sin and
then, only afterwards, the pardon.
10.
BELMIRA
I will do that then, Father.
PRIEST
Wait, wait! You confuse me and I
end up not expressing myself well.
First you must resist temptations
to do not fall into sin. That's
what comes in first place!
BELMIRA
Yes, Father. And penance?
PRIEST
There is no penance, my daughter,
because there was no sin... and so
must be.
The Father expresses frustration and blesses her with the

sign of the cross.
INT. CHURCH - CONFESSIONARY SURROUNDINGS – DAY
Belmira leaves the confessional. Lisa tidies the altar and

looks suspiciously at Narebah that goes to the confessional.
INT. CHURCH - CONFESSIONARY – DAY
The priest arranges to leave the confessional when Narebah

introduces himself.
NAREBAH
Good morning, Father!
PRIEST
Good morning, my son.
NAREBAH
Narebah, priest.
PRIEST
Pardon?
NAREBAH
That's what they call me: Narebah.
11.
PRIEST
Well then, Na-re-bah, tell me what
that afflicts you.
NAREBAH
Is it really true what you said?
PRIEST
About what?
NAREBAH
About salvation to the ends of the
Earth.
PRIEST
Do I say that?
Narebah looks suspiciously at the priest.
PRIEST (CONT'D)
Ah yes! Ezekiel...
NAREBAH
Isaias, priest.
PRIEST
Yes, Isaias!
NAREBAH
And does that include hell?
PRIEST
What?
NAREBAH
The ends of the Earth.
PRIEST
Of course not! It's just to the
ends of the Earth. - Earth is
between heaven and hell, things
have limits!
NAREBAH
So there is no salvation for me?
12.
PRIEST
Of course, salvation is for all!
NAREBAH
Even for a demon like me?
PRIEST
What an exaggeration! Just your
repentance is enough.
NAREBAH
It is not a force of expression,
Father, it is true that I really
am a demon and also, it's true
mine repentance.
The Priest looks at Narebah through the trusses with a stern

look and suspicious, and smirks.
PRIEST
Oh, my son, a real demon, by
nature, they have horns. Don't say
such a thing.
Narebah pulls his hair out showing lumps like a pair of

small horns.
NAREBAH
They're right here.
PRIEST
Oh... and are they real?
NAREBAH
I swear on the most sacred thing!
PRIEST
Bah... Swear of a demon? I can not
take that seriously! And what is
sacred to the devil, if not hell?
Narebah sighs.
NAREBAH
Not for me... not anymore.
13.
PRIEST
And your tail? Show me your tail!
Lisa, cleans the floor between the sacristy and the

Altar. She looks in horror at the confessional, makes the
sign of the cross and lets the broom fall to the floor.
The priest opens the curtain of the confessional and makes a

sign for Lisa to leave. Lisa leaves the church
shocked.
The priest returns looking forward to the conversation.
NAREBAH
What difference does it make if I
can take any shape that I want?
PRIEST
Can you really? -- Then...
The priest, with a naughty expression, meditates for some

moments.
NAREBAH
Father, let's face it, I didn't
come here to do tricks.
The priest loses his grace and composes himself.
PRIEST
What did you come here for? To
regret or tempt me? I'll be right
here warning: I do not let myself
fall into temptation!
NAREBAH
I'm sorry, Father, but I already
made you fall in temptation many
times. Remember the porridge that
you ate on the past Saturday?
PRIEST
Porridge? What porridge? And why
is it bad to eat porridge?
14.
NAREBAH
At first, nothing much, except the
fact that it was in a large
amount. If this is not gluttony,
don't I know what it is.
PRIEST
It was really... and just when I
should be keeping fast.
NAREBAH
But let's leave these things
alone, I didn't come to tell you
advantages or details about my
diabolic activities.
PRIEST
What things?
NAREBAH
It's a waste of time, Father.
There are times that I don't
really have fun with on the
contrary, my tricks are becoming
boring.
PRIEST
I know what that is...
NAREBAH
Bad things?
PRIEST
Of course not! I mean boredom.
NAREBAH
Father, I need your help.
PRIEST
A demon asking a priest for help!
Do you really think I'm going to
participate in your tricks?
NAREBAH
This is not the point, Father. In
fact, it is very simple for you. I
just ask you to teach me how to do
the good.
15.
The priest is surprised, starts to laugh and tries to

control.
PRIEST
They kicked you out of hell, huh?
The priest laughs again. Narebah remains impassive.
NAREBAH
No, Father. I'm here on my own
will.
PRIEST
Sorry, I couldn't help it.
NAREBAH
You are forgiven.
PRIEST
But what is this? A priest
receiving forgiveness from a
demon!
NAREBAH
Father, just hear me out! Last
night, like every year, I went to
hell to present the report of my
activities...
PRIEST
Hey, hey! Wait! Are you saying
that there really is a hell?
NAREBAH
Father, if it has a name it is
because it exists. I was not going
to invent such a thing!
The priest, amazed, moves his eyes from side to side, then
slowly turns his gaze upward sketching a discreet smile.
PRIEST
Come on, proceed! Tell me
everything.
16.
NAREBAH
Well... I went to the Hell’s
portal...
HELL - PORTAL - FLASHBACK
Gloomy lighting with amber tones. Narebah approaches the

portal, consisting of two gigantic doors made by tempered
glass. He is greeted by the demon PLEURA who is inside a
cabin.
PLEURA
(over the intercom)
Who’s come here? No, don't say!
Doesn’t matter... Anyone can get
into hell at will! As for
leaving... That’s another thing!
Pleura laughs loudly.
NAREBAH
Greetings, Pleura. It's good to
see that you still have fun with
your work, doorman from hell.
PLEURA
Damn Narebah! I’m not a doorman, I
am the herald of Hell’s gate!
Pleura presses a button and unlocks the portal, the sound of

the ELECTRICAL SYSTEM ECHOES. The doors open and Narebah
walks until he vanishes into darkness.
INT. HELL – MAIN HALL
Luxurious ambience, gloomy lighting with orange tones and

red. From his throne, SATAN suspiciously follows the
Narebah's account. Narebah gestures with much emphasis.
NAREBAH (V.O.)
I went to Satan and, again, I had
to forge the content of my
report... Increasing others...
Satan rises from his throne and approaches Narebah. He puts

his arm right around Narebah's shoulder forcing him to walk
slowly next to him.
17.
PRIEST (V.O.)
Crazy! And if Satan discovers your
lies?
Satan stops walking and extends his arms inviting Narebah to

a hug. Narebah, awkwardly embraces him and they kiss in the
manner of mobsters.
NAREBAH (V.O.)
Does the priest forget that in
hell to lie is considered a good
quality? Furthermore, Satan
blatantly lies! Alone, he lies
more than all the demons together!
END OF FLASHBACK
INT. CHURCH - CONFESSIONARY – BACK TO SCENE
PRIEST
So you confess you're really lying
when you say sorry for your
actions!
NAREBAH
No, Father! I'm being honest!
PRIEST
Get out!
NAREBAH
I came to regret it and you reject
and drive me away!
The priest looks sternly at Narebah.
NAREBAH (CONT'D)
Forget it, Father, what the gospel
says as for stray sheep?
PRIEST
It's too much for me! Until
recently, in my whole life, I
hadn't seen not even a sign from a
demon. Now, not only do I see one
but this one tells me he knows the
gospel!
18.
NAREBAH
Yes, Father!
PRIEST
But don't go thinking I believe
without proof. So I will know your
intentions!
Narebah smiles confidently.
EXT. HORTENSE’S HOUSE – DAY
Lisa is distressed. She KNOCKS on the door. Hortense opens

the door wide enough to fit her face.
EXT. WAREHOUSE – DAY
DOCTOR EUPHRASE, 60s, is sitting at a table with a glass of

moonshine. Doctor Euphrase fans himself with his thin straw
hat. A PASSERBY approaches.
PASSERBY
How are you, Doctor Euphrase?
DOCTOR EUPHRASE
Running away from the heat, my
dear.
Doctor Euphrase makes a toast raising the glass of

moonshine, drinks it all in one sip and dries his mouth with
the back of the hand.
DOCTOR EUPHRASE (CONT'D)

Running from this hell!
INT. BELMIRA’S HOUSE - KITCHEN – DAY
Belmira, with satisfaction, irons a dress. With the back of

her hand, she wipes the sweat that runs down her face.
EXT. SQUARE – DAY
A group of people gather together with suitcases and boxes

of cardboard tied with string. An old bus heads towards the
square.
19.
INT. HORTENSE’S HOUSE – LIVING ROOM – DAY
Lisa and Hortense are standing near a window.
HORTENSE
Are you sure the priest asked
that?
LISA
I am never mistaken, Hortense.
HORTENSE
And who was with the priest?
LISA
A very strange guy. Never had seen
him before.
Hortense makes the sign of the cross.
HORTENSE
Mercy!
With the sound of the ENGINE AND BUS HISS, Lisa and Hortense
look at the window and approach to spy through a window the
bus with some seats occupied by passengers, stopping by the
square.
HORTENSE (CONT'D)
And there’s even more!
LISA
Just look!
INT. BUS – DAY
ELLIS, 20s, turns off the engine, applies thehandbrake, pull

a lever and the door opens.
ELLIS
Fifteen minutes.
EXT. SQUARE – DAY
Some passengers get off and head towards the warehouse

across the square.
20.
Ellis goes down and takes a look around. When he looks

towards the window where Lisa and Hortense are, they look
away.
Belmira appears in the distance around a corner looking at

the square. She wears the patterned dress and leaves the
corner disappearing from view.
LISA (O.S.)
Look! Look!
ELLIS
(mumbling)
Fifteen minutes!
Ellis takes a comb from his back pocket, straightens the

hair and goes in the same direction that Belmira took.
HORTENSE (O.S.)
Yeah, you were right. Belmira is
fornicating with the driver.
LISA (O.S.)
See?
INT. HORTENSE’S HOUSE - LIVING ROOM – DAY
Lisa and Hortense look at each other maliciously.
LISA
I'm never wrong!
HORTENSE
It’s not even three years since
her husband died and she is
chasing men!
LISA
It's a shame. But this is nothing
compared to what I heard today in
church.
HORTENSE
We need to take action, Lisa!
Lisa keeps a stern look while shaking her head.

21.
EXT. BELMIRA’S HOUSE - YARD – DAY
Ellis reaches Belmira, holds her by the arms and kisses her
in the mouth. Belmira, panting, looks around.
BELMIRA
Oh how I miss you. You kill me,
did you know?
Ellis and Belmira kiss.
Belmira pulls Ellis by the arm into the chicken coop, lean
back on the perch and holds up the skirt.
EXT. SQUARE – DAY
Ellis starts the ENGINE of the bus releasing a lot of dark

smoke and hurriedly HONKS the horn. Two passengers bringing
bags of cookies run across the square and get on the bus.
INT. BUS – DAY
Ellis steps on the clutch with his leg wobbly and drives the
perimeter of the square.
Belmira walks down the street and takes a discreet look at

the bus, Ellis smiles at her.
EXT. PRIEST’S HOUSE – NIGHT
Through the living room window, Narebah stands,

gesturing as he speaks. The Priest is seated, paying
attention.
INT. PRIEST’S HOUSE - BEDROOM– NIGHT
The Priest and Narebah are gathered.
PRIEST
I'm impressed! You know even the
gospel! Where did you learn?
NAREBAH
Much of it accompanying its
sermons.
22.
The priest smiles proudly.
PRIEST
Despite all your knowledge, my
friend, you still need to know a
lot. A lot!
The priest comes over and pats Narebah on the shoulder, who
walks away suspiciously.
NAREBAH
So, Father, will you help me?
The priest pauses and Narebah is apprehensive.
PRIEST
Yes, my friend. I am going to help
you. But first you will need to do
one thing.
NAREBAH
I'll do anything, Father!
PRIEST
You must renounce Satan.
Narebah is startled and terrified. The priest observes him

with distrust.
NAREBAH
But I really need to do that?
PRIEST
Aha! There it is! You didn't take
into account the implications of
your choice.
NAREBAH
Hell holds a terrible place for
traitors... is there no other way?
PRIEST
Of course there is, continue to
live your life of evil!
23.
NAREBAH
I can't live like this anymore. I
want to follow the path of virtue.
PRIEST
So?
Narebah lowers his head.
NAREBAH
(whispering)
I renounce...
PRIEST
Now, look! Do me a favor and do it
right, speak louder and with
conviction!
Narebah, scared, looks around. Recomposed, takes a breath,

raise his head, and clear his throat.
NAREBAH
Well... I renounce Satan.
PRIEST
And to all diabolic duties.
NAREBAH
And to all diabolic duties.
PRIEST
Now and forever.
NAREBAH
Now and forever!
INT. HELL - MAIN HALL
On his throne, Satan turns his head sharply to the side with
an expression of distrust, he moves his eyes side to side.
Narebah, unwell, runs his hand over his chest and belly,
looking afraid.
24.
PRIEST
Very well! I am convinced of your
purposes. Besides, I can't run
away from my craft.
NAREBAH
So save me, Father!
PRIEST
Take it easy, one thing at a time.
We have to arrange accommodation
for you.
The priest takes a kerosene lamp and signals to Narebah

follow him.
EXT. PRIEST’S HOUSE - BACKYARD – NIGHT
Priest and Narebah walk to the backyard and stop in

front of a wooden shack.
PRIEST
You can stay here.
Narebah smiles. The Priest opens the door of the shack and
holds the lantern overhead.
INT. SHACK – NIGHT
Narebah and Priest enter the shack. Narebah is amazed at the

clutter of junk, cobwebs, and dust.
PRIEST
Of course it needs a little
housekeeping.
Narebah smiles awkwardly.
NAREBAH
Thank you, Father...
The priest hangs the lamp on a hook.
PRIEST
Make this place a haven for your
preparation.
25.
Narebah nods his head in solemn confirmation.
PRIEST (CONT'D)
It is also necessary to study the
stories and writings of the
saints. I'll get the necessary
books.
NAREBAH
I don't know how to thank you.
PRIEST
Thanks will be your dedication and
commitment!
The priest leaves the shack, Narebah's eyes are full of

tears.
NAREBAH
Thank you!
PRIEST (O.S.)
God be with you!
NAREBAH
God be with you too!
EXT. PRIEST’S HOUSE - BACKYARD – DAY
Narebah removes junk from the shack.
Lisa and Hortense head towards the Priest’s house. They stop
by the fence and see Narebah at the back of the yard.
They look at each other maliciously and head towards the

house entrance. Lisa knocks on the door, after a moment the
Priest answers.
LISA/HORTENSE
Good morning, Father Giovani!
PRIEST
Miss Lisa! Miss Hortense! Good
Morning, my daughters!
26.
Lisa and Hortense stretch their necks to probe the

interior of the house.
LISA
We came to look... I mean, we came
get the cassock to fix it.
PRIEST
Let's get in!
INT. PRIEST’S HOUSE - LIVING ROOM – DAY
The priest goes to the bedroom while Lisa and Hortense,

suspicious, examine the environment.
PRIEST (O.S.)
These dogs are increasingly
audacious, I don't know what else
to do!
The priest returns with his cassock, Lisa and Hortense smile
gently.
PRIEST (CONT'D)
Please. Lisa examines the damage.
LISA
Little thing, ready today.
PRIEST
Thank you.
There’s a noise as JUNK FALLS at the bottom of the yard.
LISA
What was this?
PRIEST
That? Ah yes, a poor needy
creature who asked me help. I'm
doing it for him while he give me
some support to fix things.
Lisa and Hortense look at each other and stretch their necks
towards the kitchen door looking at the window in the
background.
27.
LISA/HORTENSE
Hmm!
EXT. VILLAGE – SQUARE
Lisa and Hortense, carry the priest's cassock inside a bag,

walk the streets.
HORTENSE
Write what I'm saying, Lisa:
Something doesn’t feel right!
LISA
Have no doubts! And what weird
fellow!
INT. PRIEST’S HOUSE - SHACK – DAY
A shelf with organized junk, a stool in front of the

improvised table with crate wood where they are books and
papers. Leaning on the bed, Narebah reads a book.
Narebah, intent, reads books sitting at the table in the

light from a kerosene lamp.
INT. SHACK – DAY
Narebah sits at the table, taking notes with an expression

of concern.
Narebah sits at the table in the lamplight, reads a book and

pauses in amazement. Take another book, read an excerpt and
is more amazed. He shakes his head.
NAREBAH (V.O.)
It is not possible... These
translations are full of errors...
contradictions everywhere! If at
least I could read the original
texts...
Narebah meditates for a moment and smiles maliciously.

28.
HELL - PORTAL
Narebah exits hell carrying some books when he is

stopped by Pleura on the portal.
PLEURA
Wait, wait... What are you doing
with these books? They are not
from our collection?
NAREBAH
I'm borrowing it.
PLEURA
Borrowing? Listen to my advice,
Narebah: steal them!
Pleura laughs loudly.
INT. SHACK - NIGHT
In the lamplight Narebah reads books and takes notes.
INT. SHACK – DAY
Narebah reads books and takes notes. The priest arrives at

the shack and gives him a plate of food.
INT. WAREHOUSE – NIGHT
Doctor Euphrase sits at a table on which are arranged his

straw hat, an ashtray with a burning cigarette amid berries
and a glass of moonshine.
He looks fixedly other FREQUENTERS scattered around the

warehouse drink moonshine forming a climate of desolation. A
BOY comes hurriedly and stops in front of the Doctor
Euphrase.
BOY
Doc, Mrs. Hortense is calling you
for help!
FREQUENTER
Finally the snake bit its tail!
29.
Amid laughter, Doctor Euphrase remains impassive, he looks

around and gets up, drinks the moonshine in a sip, put on
his hat and take the cigarette out of the ashtray.
INT. HORTNCE’S HOUSE - BEDROOM – NIGHT
Hortense and Lisa stand beside the bed where Raymond is

lying down in a state of prostration.
On a dresser there is a glass jar filled halfway with water.

Doctor Euphrase appear at the door and looks in amazement at
Hortense, who nervously bits her nails.
HORTENSE
Doctor Euphrase, my Raymond is not
well.
Doctor Euphrase approaches Raymond. The boy stays next to

the door to watch.
LISA
Come on, kid, get a chair for the
Doctor.
Doctor Euphrase examines Raymond's eyes and then his pulse.

The Boy brings the chair and the Doctor settles down.
Lisa and Hortense stands right behind Doctor

Euphrase.
DOCTOR EUPHRASE
What happened, Mrs. Hortense?
HORTENSE
How will I know? Raymond went to
take the flip flops and suddenly
fell like that. He doesn't even
answer me.
Doctor Euphrase turns to Raymond.
LISA
(whispers to Hortense)
The Doc stinks like booze.
Hortense and Lisa shake their heads negatively.

30.
DOCTOR EUPHRASE
Come on, Mr. Raymond. Can you see
me?
Raymond's eyes follow with difficulty the movements of the

index finger of Doctor Euphrase on one side to another.
LISA
Isn't it better to call the priest
right away?
HORTENSE
Go, kid, tell the priest that it's
an urgent matter.
BOY
I don't know how to say that.
LISA
Just says that Raymond is dying!
The Boy leaves the room. Doctor Euphrase takes out a box of
matches from his jacket pocket and shakes them.
DOCTOR EUPHRASE
Can you tell me what is this?
Raymond keeps his eyes fixed on the matchbox and makes an

effort as if wanting to speak.
DOCTOR EUPHRASE(CONT'D)
Come on, Raymond, talk to me.
Behind Doctor Euphrase, Lisa and Hortense pass by

indications for Raymond doing mimic scratching matches.
HORTENSE
(lip movements only)
Matches! Matches!
LISA
Matches! Matches!
Raymond's eyes go to the direction where are Lisa and

Hortense.
31.
Doctor Euphrase looks back. Lisa and Hortense stop instantly

make the directions and smile disguised.
Doctor Euphrase returns to examining Raymond.
DOCTOR EUPHRASE
Here, what is this?
Raymond looks at the direction of Lisa and Hortense and

the Doctor Euphrase sees in a glass jar the reflection of
them passing indications.
HORTENSE
Matches! Matches!
LISA
Matches! Matches!
Doctor Euphrase turns around suddenly and catches the

attitude of Lisa and Hortense.
DOCTOR EUPHRASE
Frankly, ladies, I'm trying make a
diagnosis of the patient.
HORTENSE
But it's a shame! A man his age
must know what a matchbox is.
The priest arrives.

PRIEST
Raymond, Hortense...
RAYMOND
Match-ch-fox.
Doctor Euphrase, Lisa and Hortense look at Raymond, who

smiles candidly.
The priest looks at Raymond with surprise and amazement.
INT. SHACK - DAY
Narebah, stunned, moves sheets of text looking notes and

flips through books looking for excerpts.
32.
INT. PRIEST’S HOUSE – NIGHT
Priest naps in an armchair and wakes up when there’s KNOCK

on the door.
NAREBAH (O.S.)
Priest! Priest!
The priest gets up from the chair with difficulty.
PRIEST
Get going! Get going!
NAREBAH
Priest!
The Priest opens the door and Narebah enters desperately.
PRIEST
Mercy! What is it, creature?
NAREBAH
Father, I'm confused! I read all
books and yet I don't know
anything about what is good!
PRIEST
Did you really read everything?
Read with attention?
NAREBAH
I even read texts in the original.
I came to find errors in
translations... Contradictions!
The books are full of
contradictions!
PRIEST
I knew it! You might be suffering
for the many temptations that you
did.
NAREBAH
Don't tell me such a thing... must
I suffer forever? There will be no
forgiveness for me?
33.
PRIEST
Of course, there is forgiveness.
Your journey is going be rewarded.
But now say to me what confuses
and disturbs your understanding.
NAREBAH
Then explain it to me, Father. I
read in a passage that I should
not covet my neighbor's wife, his
ox and his slave.
PRIEST
Of course, one should not covet
what belongs to others.
NAREBAH
But I can't understand, you see,
if one man keeps someone as his
slave, that one not only coveted
everything owned by the other, but
he took everything from him,
including his freedom. So, is
correct to own a slave?
PRIEST
Well...
The priest is embarrassed. Narebah looks forward to an

answer.
PRIEST (CONT'D)
(reluctant)
Of course not.
The Priest and Narebah look at each other with discomfort.
NAREBAH
What about marriage, Father?
Thinking to get married so I could
start an honorable life, I found
the following dilemma: marriage is
a lawful act or illicit?
34.
PRIEST
(laughing)
If you feel capable of getting
married...
NAREBAH
What's the fun? See your case: you
took a vow of chastity like the
other Catholic priests.
PRIEST
Yes.
NAREBAH
Still, the former patriarchs that
were also good had women and, in
some cases, had even several
women...
The priest is getting bored.
PRIEST
Hm.
NAREBAH
And if Saint Joachim hadn’t
married to Santa Anna, would not
have daughters...
PRIEST
Shut up, sinner! You really are
artful. It encourages us to fall
into heresies!
NAREBAH
Don't say that!
PRIEST
And what do you expect me to do?
NAREBAH
A clear answer, which has no
contradictions and guides me to
avoid mistakes, like when I intend
to do good, don't end up doing
evil.
35.
The priest walks slowly in circles, absorbed in his

thoughts. Narebah is apprehensive and looks at him
nervously.
The Priest stops and smiles.
PRIEST
But of course! How come you don't
recognize in the readings the most
important part of the precepts?
NAREBAH
Which one?
PRIEST
"Love your neighbor as yourself!"
The priest is beaming. For a moment Narebah smiles with

satisfaction, but very quickly loses its charm.
NAREBAH
For me this is very vague.
Practice the love of neighbor
implies practicing good, and I
still don't know what good is.
PRIEST
You're really naughty... What an
abominable spirit!
Narebah looks at the Priest with humility.
NAREBAH
I don’t want Hell ever again! I
want one day to be in Heaven. Or
is it that only angels have that
right?
The priest looks up, hands clasped close to the chest.
PRIEST
Of course not!
NAREBAH
I don't know if I will resist so
many uncertainties...
36.
PRIEST
It was my fault. I hoped that
books to do the work it should be
mine. - From now on don't worry
about readings.
NAREBAH
And what am I going to do?
PRIEST
Stroll, admire nature, entertain
the spirit. Leave the rest to me!
SEQUENCE
A) INT. PRIEST’S HOUSE – DAY
Priest absorbed in books and thoughts.
B) INT. PRIEST’S HOUSE – NIGHT
Priest absorbed in books and thoughts.
C) EXT. VILLAGE – DAY
Narebah admires the flight of a bird. A hawk appears and

catch the bird. Narebah smiles.
D) INT. CHURCH – DAY
Priest celebrates Mass sleepy.
E) EXT. VILLAGE – DAY
Narebah watches kids having fun playing football on a dirt

field. A boy misses a kick and they start beating. Narebah
enjoys.
F) EXT. VILLAGE – DAY
Priest walking from church to his house hurriedly carrying

lots of books. Narebah, who sweeps the yard, interrupts his
task to observe the priest.
G) INT. CHURCH – DAY
A priest, exhausted and dejected, celebrates Mass.

37.
INT. CHURCH - DAY
A BELIEVER prays on his knees and heads down by a bench.
Narebah looks at the “via crucis” pictures on the wall, sees

the scene in which Pontius Pilate washes his hands.
Narebah look at the scene where Christ is bent over raising

his cross over his shoulder while a Roman soldier cracks the
whip on the back of Jesus.
The sound of a powerful CRACK echoes through the church.

Narebah gets scared and looks at the sacristy.
He sees the priest bowing with very difficult to catch some

volumes that fell in the floor. Narebah approaches and helps
the priest to collect the books.
PRIEST
Thank you, my son!
NAREBAH
Father, you don't look well. Those
dark circles...
PRIEST
Is nothing. Have you been
distracted?
NAREBAH
(sneaky)
Yes, Father. Nature is really
amazing.
PRIEST
Very good, keep going. Just a
little more until I can introduce
to you the result of my studies.
CUT TO
The priest celebrates the mass exhausted, yawning now and

then. Suddenly he goes into a kind of trance and begins to
wander into thoughts with a lost look and then sketches a
triumphant smile.
38.
He leaves the altar with slow steps and continues to

increase
speed gradually towards the main door, oblivious to the

presence of the believers who follow his movements with
astonished expression.
PRIEST
If you're asked for the shirt...
(laughter)
If they give you a slap...
(laughter)
Agenor gets agitated.
AGENOR
What is happening?
A BOY who is close to Agenor shrugs his shoulders indicating

not understanding the situation.
Agenor waits for the answer by turning his head to one side
and to another.
A heap of dry leaves catches on fire. A green leaf on the

top squirms. Narebah stares at the fire, chin resting on the
back of the hands folded over the handle of a rake. Dogs
BARK in the distance.
EXT. CHURCH – DAY
The believers leave the church and look at the priest who
runs towards his house, with dogs barking at his heels.
Lisa gives Hortense a serious look. Hortense twists her

mouth, pucker cheeks and shake her head negatively.
Lisa looks at Raymond. Raymond's eyes widen and collects the

neck close to the shoulders.
The priest, panting and smiling, goes to Narebah. The dogs

are stunned in the presence of Narebah and run away YELPING.
39.
PRIEST
Narebah, my friend! I found the
solution to your afflictions!
Narebah looks at the priest suspiciously. The priest

composes himself taking a breath.
PRIEST (CONT'D)
It's so simple, it moves me... two
precepts to be followed. it is in
the sacred scriptures: if anyone
ask you for your shirt, give it,
even if you don’t you have
another.
NAREBAH
Hm... and the other one?
PRIEST
If someone offends you with a slap
on the right face, also offers the
left!
(smiles)
Practice these commandments and be
happy.
The Priest observes the reaction of Narebah, who remains

reticent for a while and ends up cheering up.
NAREBAH
Yes! That's what I need! Clear
instructions!
The priest smiles triumphantly and extends his arms in the

air.
NAREBAH (CONT'D)
Now I need to go my way with those
commandments.
PRIEST
But before...
(cough)
...finish the job. -- Oh my! My
sheep!
40.
The priest runs back to church and signals believers

gathered at the door of the church to return inside.
Narebah smiles pathetically, stokes his chest, throws the

rake, and runs towards the shack.
INT. SHACK – DAY
Narebah hurries into the shack, picks up a clay pot and

turns it over the bed, pouring a few coins and bills of
beaten money. He shoves the money in the pocket of his
pants.
Narebah takes a look at the shack and leaves.
Narebah leaves the village with only the clothes he is

wearing.
EXT. DIRT ROAD – DAY
The sun is setting, Narebah continues hitchhiking on a

ox cart.
INT. LISA’S HOUSE – NIGHT
Lisa is gathered in her home with Hortense, Raymond,

Abigail, and two other villagers. Lisa holds a letter.
LISA
We have to take action, it cannot
go on like this. Those of you are
with me, must sign this letter.
Lisa puts the letter on the table, signs and looks steadily
to the others while offering the pen.
Hortense takes the pen, sign and pass it to one of the

residents who approaches.
41.
The resident signs and passes the pen to the other resident
who, also, signs and pass to Abigail. Lisa, satisfied,
smiles discreetly.
Abigail signs the letter and hands the pen to Raymond who
holds it with difficulty. Hortense takes the pen from
Raymond.
HORTENSE
Give me that pen.
Hortense pushes Raymond aside. Lisa deflects the

look in the other direction and Hortense signs the letter
with Raymond's name. Abigail frowns.
HORTENSE (CONT'D)
Everyone witnessed that he agrees,
right Raymond?
Raymond nods. Lisa folds the letter and puts it in an

envelope addressed to the archdiocese.
EXT. CITY#1 - STREET MARKET – DAY
In a medium-sized city Narebah walks and examines the stalls

at the market.
He passes indifferently by beggars and chooses one shirt in

a clothes stall.
SALESMAN
You can take it! Here the price is
good, and the quality is even
better!
Narebah takes all his money out of his pocket and hands it
to the Salesman. He takes the money and counts.
Narebah holds his shirt admiring it.
The seller finishes counting the money, puts it in a drawer,

and takes the shirt from Narebah's hands.
Narebah is amazed at the attitude of the seller.

42.
SALESMAN (CONT'D)
Yeah, but with that money you will
have to take another one.
The seller delivers a shirt of inferior quality.
Narebah is satisfied and they close the deal.
Narebah dispenses with the shirt he wore on the salesman’s

workbench, put on the new one and walk around showing it
off.
The salesman takes the worn-out shirt, shakes and slaps to

dust off.
SALESMAN (CONT'D)
After a good wash it will be brand
new!
EXT. CITY#1 - COMMERCIAL STREET – DAY
Narebah walks with a puffed chest showing off his shirt. He

passes by beggars who extend their hands. Narebah is
indifferent.
Narebah stops in front of a tavern and looks at the day’s

menu noted in chalk on a blackboard: Fried Chicken, Chicken
Roast and Sauce Chicken.
INT. CITY#1 - BAR – DAY
Narebah leans against the counter puffing out his chest to

show his shirt. The BAR OWNER puts a glass on the counter,
Takes a bottle of moonshine and remove the cork to serve.
Narebah blocks the cup with his hand.
NAREBAH
Only lunch.
BAR OWNER
Fried chicken, roasted chicken or
chicken with sauce? Today there is
sausage...
NAREBAH
With sauce.
43.
BAR OWNER
Chicken with sauce coming in!
Narebah sits on a bench, Bar Owner takes the plate in a

narrow window overlooking the kitchen and serving balcony.
The dish has a chicken leg, pink noodles covered by bean

pits whose thin broth is pooled at the bottom of the plate.
There is a twisted hair on the food.
The Bar Owner keeps his eyes on Narebah. Narebah notes the
hair on the food and looks at Bar Owner.
Narebah, amazed, observes all the maneuver made by the Bar

Owner.
The Bar Owner looks at the plate and makes a serious

expression. He gently remove the hair with his dirty fingers
and flicks it on the floor.
The Bar Owner smiles kindly and Narebah smiles

uncomfortably.
While eating lunch, Narebah watches the miserable people

casting hungry and pleading looks.
NAREBAH (V.O.)
Don't hit me in the face... Don't
ask me for my shirt... These poor
people don't they know nothing
about the good.
Narebah finishes lunch and leaves the counter. The Bar Owner
notices Narebah's movement.
BAR OWNER
Hey, boy! Aren’t you forgetting
anything?
Narebah looks at the counter and checks where he was

seated.
NAREBAH
No.
44.
BAR OWNER
Is there anyone here who will pay
for you?
Narebah widens his eyes and checks his pockets.
NAREBAH
Sorry, I forgot that I have no
more money.
BAR OWNER
(screaming)
Bean!
BEAN (O.S.)
Man!
BEAN, a burly man, wearing a greasy apron, comes from the

kitchen door. Narebah looks at Bean’s apron and then to the
plate on the counter. Narebah covers his mouth with one hand
and makes a disgusted face.
BAR OWNER
Bean, the guy says he doesn't have
money to pay for lunch.
Bean holds Narebah firmly by the arm.
NAREBAH
Hey, you're wrinkling my shirt!
BAR OWNER
Beans, take the boy's shirt, it’s
going to serve as collateral until
he pays.
NAREBAH
Wait, just ask me and I give you!
BAR OWNER
Take it!
Bean forcibly takes off Narebah's shirt. Beggars amused to

see Narebah in trouble. Beans expels Narebah from the bar.
Narebah comes back and asks for beating his right face side,
gesturing some pats on it.
45.
Bean, angry at the affront, pulls out a cleaver attached to

his back by the apron handle and puts himself in a combat
position.
Narebah looks on in horror and runs out of the bar.
EXT. CITY#1 STREET MARKET - DAY

Narebah returns to the fair stall and does not find his old
shirt where he left it and sees it on display for sale.
Narebah approaches the Seller.
NAREBAH
Could you return my shirt?
SALESMAN
All goods here are for sale.
NAREBAH
But this one was mine.
SALESMAN
Said well. It was yours!
NAREBAH
You took all my money, and I
really need that shirt.
The Vendor examines Narebah from top to bottom.
SALESMAN
If you want to exchange for your
shoes...
Narebah looks at his shoes.
EXT. CITY#1 – DAY
Narebah, wearing his old shirt walks barefoot and down in

the streets. Beggars don't give him attention anymore.
EXT. CITY#1 - SQUARE – NIGHT
Narebah, sitting on a bench in the square, cannot resist the

fatigue and lies down to sleep.
46.
A county GUARD comes up and pokes Narebah in his shoulder

with a truncheon.
GUARD
Moving, moving.
Narebah, groggy with sleep, sits back. The Guard points with
the truncheon to the statue in the center of the square,
where there are some beggars.
GUARD (CONT'D)
Get your carcass out of here!
Narebah gets up discouraged and leans against the monument

close to beggars. Narebah expresses discomfort with the
stench and covers his nose with his arm.
EXT. CITY#1 - SQUARE – DAY
Narebah wakes up to the sound of a liquid being spilled and

sees a beggar urinating right next to him, throwing splashes
at his direction.
Narebah gets up indignantly and looks with disgust at the

environment around him.
EXT. CITY#1 – NEWSTAND – DAY
Narebah seeks to read job postings in a newspaper exposed on

the side of the stall. The NEWSTAND OWNER surprises him.
NEWSTAND OWNER
If you want to read more than
headlines, buy the newspaper.
Narebah forces a smile and pulls out the linings of the

pants pockets.
EXT. CITY#1 - COMMERCE – DAY
SEQUENCE
A) DISC SHOP
The shop OWNER shakes his head to Narebah.

47.
B) FABRIC SHOP
C) BARBER SHOP
EXT. BAR – NIGHT
Narebah passes in front of the bar and looks inside, the

owner of the bar is busy with the cash register. Narebah
remains sad. Rainclouds covers the sky.
EXT. FARMHOUSE – NIGHT
Far from the city center, Narebah passes in front of a farm.

Next to the big house there is a stable.
A terrible thunderstorm scares Narebah, and a heavy rain

starts. Narebah runs through the property's barbed wire
fence and runs towards the stable.
INT. STABLE – NIGHT
Narebah runs into the stable completely wet. He shakes his

head. He looks outside assessing the heavy rain and the big
house with some lights on inside.
Narebah turns his attention to the interior of the stable

where are three horses, a cow and a black goat. The animals
look at Narebah.
Narebah takes off his shirt and hangs it carefully. He fixes

a place to sleep on the floor in the straw. He lies down and
looks at the shirt until he falls asleep.
The goat approaches the shirt, pulls it with its teeth and
chews it slowly. Narebah sleeps soundly.
INT. STABLE – DAY
Narebah is sleeping and beside him the goat, which rests

on its collected legs, chews the remaining rag from the
shirt.
48.
Narebah wakes up with sunlight on his face and startles when

he sees the goat so close.
Narebah notices his shirt has disappeared. He looks at the

goat and sees the rag. Crazed, he grapples with the animal.
NAREBAH
Hell animal! Give it to me! Let
go, you bastard!
Narebah manages to tear off a piece of the rag and kicks the
goat.
The goat runs away. Narebah cries and screams at rage.
NAREBAH (CONT'D)
Come back here! I'm not done with
you. There is a lot more here!
Narebah suffers deeply. Hit the piece of rag against his

chest.
EXT. FARMHOUSE - GARDEN – DAY
Narebah leaves the stable upset and finds an axe next to the
woodpile. Narebah drops the rag and takes the axe.
NAREBAH
Today will be goat for lunch!
Narebah hears the goat screaming and walks around looking

for the animal.
He sees the goat next to some bushes and heads towards him.
The goat remains quiet and doesn’t see Narebah approaching

its back.
Narebah checks the direction the goat is looking and sees

several clothes extended on the clothesline.
Amid the extended clothes, the MAID holds a basket with

clothes. She looks at Narebah holding the axe, drops the
basket, and runs terrified toward the house.
49.
INT. FARMHOUSE - DINNING ROOM – DAY
The FARMER and his wife the MADAM have breakfast in a well-
served table when the Maid enters the room.
MAID
Madam, a crazy man with an axe is
chasing our little goat!
Madam chokes on food, shocked. The Farmer gets up from the

chair and goes to the window. The Maid shares her attention
between the Farmer and the Madam's reactions.
Narebah looks at the clothesline, where a white shirt is

swaying in the wind.
The movements of the shirt sleeves, due to the wind, seem to

ask him to approach.
Narebah in a trance, drops the axe and heads towards the

shirt.
INT. FARMHOUSE - DINNING ROOM – DAY
The Madam cries nervously, puts her hands on her head and
runs upstairs.
MADAM (O.S.)
Not the goat, no! Not the goat,
no!
The Farmer sees Narebah taking the shirt from the

clothesline. The Farmer is surprised and, overcome with
anger, goes to the wall where he takes a double-barreled
shotgun.
FARMER
Bastard!
The sound of FOOTSTEPS running on the stairs catch the

Farmer’s attention.
MADAM (O.S.)
Not the goat, no! No, no, no, no.
50.
The Farmer goes to a dresser, opens a drawer, takes out two

cartridges, loads the shotgun, takes another handful of
ammunition, and puts it in the pocket of his coat.
FARMER (CONT'D)
Killer thief! You will get what
you deserve!
Sound of footsteps on the second floor. The Farmer looks at

the ceiling as if he could see Madam's movements through the
ceiling.
Sound of a door slamming. The Farmer’s hatred increases.
MADAM (O.S.)
Not the goat, no!
FARMER
I’m gonna teach him some manners!
The Maid is stunned like a dizzy cockroach.
FARMER (CONT'D)
Get out of the way, woman!
Narebah smiles. He is wearing the shirt. In the background

the door of the house opens, and the Farmer appears already
aiming.
FARMER
You bastard! Your days are
numbered!
Narebah looks in the direction of the screams, widens his

eyes and runs away. The Farmer discharges two lead scatter
shots and hits Narebah in the back.
Narebah screams in pain, stops running and, enraged, turns

back planning a counterattack.
The Farmer reloads the gun, Narebah's eyes widen with dread
and start running again. The Farmer runs a little further
and fires without hitting Narebah, who is already distant.
The goat, safe, looks at fleeing Narebah.

51.
Narebah pass his fingers through the holes in his shirt

stained with blood and assesses the damage. His back is
wounded and Narebah doesn't care about that.
NAREBAH
It will keep this one.
A group of hikers comes in opposite direction on the road.

Narebah puts on his shirt and walks.
When he passes the group, Narebah turns walking on backwards

so that only the front of his shirt is visible. Hikers look
back with curious looks and amusement.
NAREBAH (V.O.) (CONT'D)

Imbeciles, idiots. Nobody asked me
for my shirt.
EXT. RIVER - LEFT MARGIN – DAY
Narebah washes his shirt in the river and spreads it over a

Bush to dry.
Near there, a YOUNG MAN struggles not to drown in a river

backwater.
YOUNG MAN
Help! Help! Help!
Narebah approaches and squats to watch the situation.
Four PEASANTS are weeding the field across the river.
YOUNG MAN (CONT'D)

(choking)
Help! Go! Help!
Narebah remains watching.
EXT. RIVER - RIGHT MARGIN – DAY
Peasant#1 looks at the river and sees the Young Man

struggling.
52.
YOUNG MAN (O.S.)

Help! Help!
PEASANT#1
Look, there's someone drowning in
the river!
The other peasants look at the river.
PEASANT#2
Come on!
The Peasants run to the riverbank.
The Peasants notice Narebah placidly sitting next to the

dying man. They look at each other in amazement.
Peasant#1 and Peasant#2 dive in the river.
PEASANT#3
(to Narebah)
Hey, do something, pal!
Narebah looks in the direction of the call but returns to be

entertained with the agony of the young man
PEASANT#4
(to Narebah)
Hey, you! This river doesn't have
sharks!
PEASANT#3
Maybe he can’t swim.
PEASANT#4
Get a twig there, look. Give it to
the boy!
Peasant#1 and Peasant#2 are getting close to the Young Man.
Peasant#4 looks towards the direction of a bridge in the

distance.
PEASANT#3
Let’s go there.
The Peasant#3 and Peasant#4 run towards the bridge.

53.
EXT. LEFT MARGIN - DAY
Peasant#1 and Peasant#2 rescue the Young Man and take him
to the margin and lay him down. The Young Man coughs a lot.
Narebah gets up irritated.
PEASANT#2
(to Narebah)
What's that? You didn’t help him.
Why? Can’t you swim?
NAREBAH
Modesty aside...
PEASANT#2
Quiet modest, damn! Can you, or
can’t you?
NAREBAH
Yes, I can, of course.
Peasant#1 and Peasant#2 look at each other in amazement.
PEASANT#2
Why didn’t you help him?
NAREBAH
I was wondering how that boy could
stay afloat while, due to the
strong flow of water, he should
have sunk already?
PEASANT#1
You should be behind bars! You
shameless coward!
Peasant#3 and Peasant#4 arrive at the site.
PEASANT#3
Why did you not help the boy?
PEASANT#1
This fellow is shameless. He can
swim and did nothing.
54.
Peasant#4 takes a branch from the ground.
PEASANT#4
And didn't even use this branch to
save the boy!
Peasant#4 strikes a blow to the top of Narebah's head.

Narebah resists hard blows and strikes back with energy.
Narebah starts to run, passing through the bush and takes

his
shirt. The Peasants follow in pursuit.
The young man extends his arm for someone to help and
gets abandoned.
The Peasants dominate Narebah by pinning him to the ground.

Peasant#2 takes Narebah's shirt and pulls it off.
PEASANT#2
Give me that shirt!
NAREBAH
(smiling)
Of course, although I don't have
another.
Narebah loosens his shirt and Peasant#3 kicks his face.
Narebah goes into daydreams with a bleeding nose.
Peasant#2 tears Narebah’s shirt and ties his hands and feet
with the rags.
INT. JAIL CELL – DAY
Narebah, badly bruised and with a swollen nose, is

unconscious, lying in a cell bed sharing the cell with THREE
BANDITS.
Narebah wakes up disoriented and with difficulty sits on the

edge of the bed. He rubs his head with discomfort and
touches his nose and winces.
Narebah notices that he is shirtless and smiles. The three

Bandits look at each other without understanding.
55.
BANDIT#2
What is that? Chipped like that,
what’s so funny?
BANDIT#1
You must have done a good job!
BANDIT#3
Yeah, spill it. Tell us your
crime.
The bandits expect him to speak.
NAREBAH
They asked for my shirt and I gave
it, although I had no other.
The Bandits look at each other questioningly. The

Bandit#1 smiles maliciously.
BANDIT#1
Ah, of course, you are innocent!
The bad guys laugh out loud showing great consideration for
Narebah.
NAREBAH
Not so much...
The bandits laugh even more.
BANDIT#1
I already saw that you are good!
Listen: now at night there is only
one guard.
Bandit#1 puts his hand on Bandit#3's shoulder.
BANDIT#1 (CONT'D)
Our friend here was going to play
sick for us take the guy. But
you're much better... I mean, well
worse.
Bandit#2 and Bandit#3 look at Narebah smiling. Bandits

awaits the response suspiciously. Narebah, dissatisfied,
look at them.
56.
NAREBAH
No more confusion for me. Is
better for me don't take part in
that.
Bandit#2 and Bandit#3 are surprised by the negative.

Bandit#1 looks hatefully at Narebah, turns to the others and
winks.
INT. JAIL CELL – NIGHT
Narebah is sleeping. Bandit#1 is standing by the bars,

paying attention to the sounds that come from the police
office.
GUARD (O.S.)
Good night, Sheriff, see you
tomorrow.
SHERIFF (O.S.)
See you.
The sound of A DOOR OPENING and then closing is clear.
Bandit#1 makes a hand signal indicating calm to the other

guys and move quick with his head pointing in the direction
of Narebah.
Bandit#2 goes on top of Narebah, trapping him next to the

bed. Narebah wakes up scared and Bandit#3 joins in to
help keep Narebah dominated.
BANDIT#1
Guard, the man is dying!
BANDIT#2
Help!
BANDIT#3
Help him!
Narebah's effort to free himself makes it seem like he

suffers convulsions.
The GUARD arrives and observes the confusion while keeping

its distance from the cell.
57.
BANDIT#1
Open that door, man. The devil is
dying!
Narebah stops struggling for a moment and looks at the

bandits with astonished expressions. The Guard is
suspicious.
GUARD
I'll call the Doc.
The Guard turns his back to leave the cell area. Bandit#1
with wide eyes and clenched teeth makes an abrupt gesture
with the head looking towards the direction of the two other
bandits.
Bandit#2 notices the signal and punches Narebah’s nose, he

lets out a terrible scream.
BANDIT#2
It's blood! The man is losing a
lot of blood!
The Guard returns closer to see the state of Narebah.
Bandit#1 grabs him by the collar and pulls crashing his face
against the bars. A second blow is delivered, the Guard
falls unconscious.
Bandit#1 takes the Guard’s keys.
The three bandits celebrate. Bandit#1 tries several keys

until one fits and the cell is unlocked.
BANDIT#1
Come on, guys!
The bandits leave the cell. Bandit#1 takes the Guard’s gun.
Narebah remains sitting on the edge of the bed, while

lightly feeling his nose, he grimaces in pain.
BANDIT#2
Hey, isn't the clown coming with
us?
58.
BANDIT#1
It's his problem.
Bandit#2 whispers in Bandit#1's ear, who makes a serious

expression and then smiles discreetly driving his attetion
at Narebah.
Bandit#1 gestures using the gun for Narebah to hurry up.
BANDIT#1 (CONT'D)
C’mon, you're coming too.
Narebah, annoyed, looks at Bandit#1 and gets up from bed.
INT. JAIL OFFICE - NIGHT
Bandit#1 watches over Narebah. Bandit#2 takes a box of

matches on the table and puts it in his pocket, opens the
Drawer.
Bandit#3 takes a piece of beef jerky, goes to a bookshelf

and take a bottle of moonshine, smiles, takes it off the
cork with the teeth, spits it out, and drinks a big
sip.
Bandit#2 takes the bottle, gives a sip and passes it to

Bandit#1.
Bandit#1 takes the bottle and with a stern look he pushes

her against Narebah's chest.
Narebah picks up the bottle, sips reluctantly and give it

back.
Bandit#1 smiles maliciously and also drinks.
The bandits and Narebah leave the jail and plunge into the
darkness.
EXT. OUT OF TOWN - NIGHT
The bandits and Narebah have set up camp. The bandits eat
the beef jerky around a campfire. Bandit#3 is busy roasting
a piece of meat. The Bandit#2 drinks the last sip of
moonshine. Narebah gets up.
59.
NAREBAH
And now, can I go my way?
BANDIT#2
Why such a hurry?
Bandit#1 casts a malicious look at Bandit#2 and looks back

at Narebah.
BANDIT#1
Are you going after your treasure?
Bandit#3 looks in surprise at the other bandits and smiles.
NAREBAH
Treasure? There is no treasure.
I'm going to meet a friend...
BANDIT#3
Look, the guy really has some
hidden wealth and don't want to
share it with us.
BANDIT#2
The business is with your partner,
right?
The bandits surround Narebah.
BANDIT#1
How about taking us to this friend
of yours?
Bandit#1 takes the belt off his pants, hands it to the

Bandit#3 and nods toward Narebah.
Bandit#3 smiles and prepares to hit Narebah with the belt.
Bandit#2 intervenes by removing the belt from Bandit#3's

hands and use it to tie Narebah's hands close to his back.
BANDIT#1 (CONT'D)
(to Narebah)
C’mon... No mess.
60.
Bandit#1 turns around and starts to urinate. Bandit#3 takes

the leftover meat and puts out the fire by throwing dirt at
it.
Narebah realizes the inattention of each of the bandits and

sneakily walks sideways while glancing between the path and
the group.
When he is into the darkness, starts to walk forward,

stepping very carefully so as not to make noise. The step
gradually increases.
BANDIT#1 (O.S.) (CONT'D)

Hey, where's the big nose?
Narebah starts to race in the dark. He tries to free himself

from the belt.
Narebah loses his balance and falls violently face down

hitting his nose against the ground. He screams.
BANDIT#2 (O.S.)
He went that way!
Narebah tries to get up with great difficulty. His hands

are still tied.
SOUND of the bandits running very close.
Narebah gets up and runs.
EXT. PRIEST’S HOUSE – NIGHT
Narebah, groaning in pain, hobbles to the kitchen door.
He raises his fist to knock on the door and then lower his
head and gives up hitting.
NAREBAH
(mumbling)
Father... Father...
Narebah lies down by the doorway assuming a fetal position.

61.
INT. PRIEST’S HOUSE - KITCHEN - DAY
Sound of the CHURCH BELL. The Priest runs to the kitchen,

takes a piece of bread and spreads butter on it.
The Priest goes out through the kitchen door, stumbles on

Narebah and falls to the ground.
The bread falls with the butter side facing the ground.
Narebah, with many wounds, gets up and helps the Priest.
PRIEST
Look what you did... And you...
You... Bah! I do not have time
now. Go wash those wounds.
NAREBAH
I'm sorry for the bread!
The Priest picks up the bread. The butter is covered by

dust.
PRIEST
It doesn't matter, I'm really in a
hurry...
Dogs head towards the Priest, and he throws the bread away.
INT. PRIEST’S HOUSE – LIVING ROOM – DAY
Narebah has many injuries. He talks to the Priest. The

Priest alternates between expressions of astonishment or
disapproval.
PRIEST
Narebah, I can see that your
journey was all lost. You gave no
bread or help to who asked. You
broke into a property and stole a
shirt. Didn't aid the dying who
drowned, in addition to attacking
those who provided help to the
poor guy. Fair when you could have
offered the other face!
62.
NAREBAH
But, Father, I tell you, it was
not a slap they gave me... and
also, it wasn’t on the right face!
Furthermore, one of those asked me
for my shirt. And I gave it, even
though I had no other!
PRIEST
Stop saying nonsense! -- In
general you are very cunning, but
when try to do the good, you act
like a real dumbass!
NAREBAH
Why do you offend me?
PRIEST
But it's the truth! You do not
understand the meaning of things!
The writings should be understood
in a broader view.
NAREBAH
But, Father, if I understand
correctly, we must fulfill the
sacred principles and don’t
interpret them.
PRIEST
Yes, it's true... but what can I
do? I can't always walk by your
side to tell you how to behave...
About for whoever asked you for
the shirt, I believe it wasn't the
request of a needy one and, to
make matters worse, you got
involved with thugs.
The Priest pauses. Narebah is sad and introspective.
PRIEST (CONT'D)
The truth is... the guilt is mine!
(in tears)
I'm the guilty for all those
damages!
63.
Narebah remains silent. The melancholy Priest stares at him

a few moments, then approaches and kisses him on the
forehead. Narebah looks at him, scared.
NAREBAH
I'm very afraid, Father... I
witnessed the horrors of hell, but
never, never been so bad. What can
be worse than to wish deeply the
good and have not even idea about
how it should be?
The priest clears his throat.
PRIEST
Many people also have no idea and
don't even care about it and even
full of sins, they manage to
sleep. Others, like you, struggle
against their own nature and
suffer from this search. Others
invent their own rules and live
satisfied with themselves.
NAREBAH
And do these people save
themselves?
PRIEST
Only God knows!
NAREBAH
There...
Narebah and the Priest look at each other with astonishment.
PRIEST
Well, I will start new studies and
I will find a solution. Have
faith, my friend, do not lose
hope. In the meantime be still,
it’s better don't take any risk.
NAREBAH
Can I stay in the belfry? It
pleases me more to stay there than
holed up in that shack.
64.
PRIEST
Well, do it! Take advantage and
help Agenor, who is weak in the
arms pulling the bell rope...
Narebah's eyes fill with tears.
SEQUENCE
A) INT. PRIEST’S HOUSE - BEDROOM– DAY
The priest consults books and writes.
B) INT. PRIEST’S HOUSE - BEDROOM– NIGHT
The priest consults books and writes under the light of a

lamp.
C) INT. CHURCH – DAY
Priest performs the wedding ceremony of Belmira and Ellis.
D) INT. STEEPLE – NIGHT
Apathetic Narebah, sitting on the floor against the wall

with his knees glued to his chest.
E) INT. PRIEST’S HOUSE – NIGHT
Priest erasing notes with an eraser and rewriting.
INT. ARCHIDIOCESIS – OFFICE – DAY
Seated at the table, a HIGH CLERIC, wearing a sumptuous

necklace with a crucifix and a rich ring, reads Lisa's
letter.
He puts the letter on the table and rests his left hand on
it, while his right hand closes the fist tightly.
Narebah and Priest sit on a bench in front of the shack.

65.
PRIEST
Let's do it like this: I will
teach the laws and you should
adapt them to situations.
NAREBAH
But it looks like we're going
around! We have already concluded
that we must not interpret the
principles.
PRIEST
I see no other way out because it
is not possible to remain tied in
such a way close to the
principles. That's why we call
them principles: they serve to
indicate the direction that we
should to take.
NAREBAH
So tell me, Father, what is the
most important law among all?
PRIEST
Well... Pay close attention not to
make a mistake! It is written: “Do
not oppose evil.”
NAREBAH
Oh, oh, oh... Damn! Too easy make
mistakes with that law, father.
Narebah and the Priest look at each other in amazement.
PRIEST
Still, try! Or better, experiment.
The best thing about this law is
that you do not need to do
anything! Leave that others do
what well understand and, if they
are wrong, pray the following
words: forgive the Lord, for they
do not know what do.
66.
NAREBAH
You're right, Father! Now you tell
me that made me more inspired!
PRIEST
Have faith... Look for a city with
more resources than this poor
village. Find a job and live
worthily. I will be praying for
you.
Narebah leaves the village.
INT. CITY#3 - WAREHOUSE – DAY
Narebah is in front of the counter, the WAREHOUSE OWNER

points to the outside. Narebah turns to see the coal
DELIVERYMAN out of the shop.
EXT. CITY#3 - WAREHOUSE – DAY
Narebah is close to the Deliveryman who removes linseed bags

containing charcoal from the wagon arranging them on the
sidewalk in front to the warehouse.
DELIVERYMAN
So you’re looking for a job?
Narebah nods and prepares to catch a coal bag of the cart.

The Deliveryman blocks with the arm the movement of Narebah.
DELIVERYMAN (CONT'D)
This work here is mine.
NAREBAH
Sorry, I thought...
DELIVERYMAN
Just follow me and I'll take you
where will get work, food and
shelter.
Narebah sighs with relief.

67.
The Deliveryman unloads another bag. The butcher approaches,

holding a pencil and a passbook, makes the silent count of
six bags unloaded and takes notes.
The Delivery Man climbs up to drive the wagon, which still

Contains lots of sacks of coal, and signals Narebah to go
up.
EXT. COAL MINE – DAY
The sun is setting, Narebah and the Deliveryman follow

slowly by wagon, which is now empty.
The bleak scenario is being revealed as the cart goes by,

the desolate site of a coal mine.
Evil-faced and armed FOREMAN guard the place, many WORKERS

with very shabby clothes and covered with soot carry
wheelbarrows full by coal out of the mine.
.
CHILDREN also work, saddened, fill bags with coal taken from
a huge pile that receives more coal dumped from
wheelbarrows.
NAREBAH (O.S.)
I don't know why, this place seems
have a kind of magic that
enchants...
INT. COAL MINE - OFFICE - NIGHT
The MINE MANAGER and two Foreman are meeting with Narebah
and the Delivery Man.
DELIVERYMAN
This man is strong, he will endure
the fight.
MINE MANAGER
Yeah, it looks like it. He can
take accommodation. He starts
early tomorrow.
Narebah accompanies the Foremen#1 and upon arriving at the

door looks back into the office and sees the Mine Manager
giving money to the Deliveryman.
68.
SEQUENCE
A) EXT. COAL PILE – DAY
Children work filling the bags with coal.
B) INT. COAL MINE – DAY
Narebah and other workers extract coal with picks.
C) EXT. COAL MINE – DAY
Narebah splitting firewood with axe.
D) INT. COAL MINE - CAMP – DAY
Narebah and workers being served and having lunch.
E) INT. COAL MINE – DAY
Narebah works.
F) INT. COAL MINE - ACCOMMODATION – NIGHT
Amid the darkness of the accommodation full of bunk beds

chairs made of plump and straw mattresses, Narebah
sleeps soundly in a lower bed.
EXT. COAL MINE - OFFICE – DAY
Guarded by two armed Foremen is the Mine Manager sitting at

a table with notebooks.
A line of Workers forms in back of Narebah, there are two

Workers in front of him.
The worker who occupies the first place in the queue moves
away crestfallen and the Mine Manager makes a note in the
notebook.
MINE MANAGER
Next!
The Mine Manager looks at the worker, closes the notebook

and picks up another notebook from the collection on the
table. Follows some pages, finds one and read the notes.
69.
MINE MANAGER (CONT'D)

Let's see. Food...
accommodation... medicines... you
owe twelve dollars, plus the
thirty you owed, now are forty-
two. Back to work. Next!
The Worker threatens to retort, but looks at the Foremen, he

retracts and leaves the line crestfallen.
Narebah arrives excitedly at the table. The Mine Manager

takes another notebook.
The Foreman speaks to Narebah while doing accounts and

annotations. Narebah is losing his strength.
MINE MANAGER
Go back to work. Next!
Narebah walks away despondent.
INT. ACCOMMODATION – NIGHT
Narebah is lying on his bunk looking at the upper bed.
NAREBAH
Okay, next month I'll have what to
receive.
WORKER#1 occupying the top part of the bunk bed, hangs

upside down.
WORKER#1
What did you not understand yet,
idiot?
NAREBAH
Hey, is that any way to talk? I
didn't give you confidence.
WORKER#1
Did you not realize yet that we
are slaves in this coal plant?
NAREBAH
What is this conversation? I
accepted it myself that service.
70.
WORKER#1
Nobody who works here gets a
penny. And the worst, every month
they come with the notes and
everybody's debt will only
increase, understood? And poor
thing the one who tries to escape,
the foremen shoot to kill.
WORKER#2 (O.S.)
Shut up, I want to sleep!
Worker#1 retires to his mattress.

CUT TO
Worker#1 sleeps soundly and wakes up to the sound of

SHOTS FIRED in the distance.
WORKER#1
You heard? Someone is trying to
escape!
Sound of more SHOTS in the distance. Worker#1 leans into
edge of the bunk and is amazed to see Narebah's bed empty.
EXT. SURROUNDINGS OF THE COAL MINE – NIGHT
Through the darkness of the night Narebah runs desperate

through the labyrinth formed by the charcoal mine stuffs and
equipment. Sound of GUNSHOTS very close.
EXT. DESERT – NIGHT
Narebah walks through the darkness and sees a spot of light

in the distance.
Narebah approaches the source of light, it is a campfire.
EXT. CAMP – NIGHT
Narebah approaches where there is a horse unhitched from the

cart and gathered around the campfire are TWO BOYS aged 7
and 9, and A GIRL aged 12, and Bandit#1, and Bandit#2 with
their backs turned.
NAREBAH
Good night!
71.
Bandit#1 and Bandit#2 are against the light, towards

Narebah, which doesn’t recognize them.
BANDIT#1
Night!
The children look grimly at Narebah.
BANDIT#2
Night! Let's get closer...
NAREBAH
Thank you! It's very cold!
Narebah heads over to sit beside the children and notices

that the children's hands are tied.
Narebah looks at the men and recognizes that they are

Bandit#1 and Bandit#2.
BANDIT#1
In fact, I think you got yourself
into hot water.
NAREBAH
You are wrong, I still feel cold.
BANDIT#1
What did we talk about during our
last meeting?
Narebah threatens to get up but Bandit#3, who is behind,

grabs he by the shoulder, forcing him to stay seated.
Bandit#1 draws and points a gun at Narebah.
BANDIT#3
He was going to introduce us to
his partner, right?
NAREBAH
Please, leave the priest out of
this.
The bandits look at each other in surprise.

72.
BANDIT#2
Are you saying that your partner
is a priest?
Narebah lowers his head and snorts impatiently. Bandit#1

and Bandit#2 look at each other with doubt and then look at
Narebah.
BANDIT#1
We have to make this story clear
Bandit#1 heads to Bandit#2.
BANDIT#1 (CONT'D)
Now we have more work to do. Early
we take the kids to the coal
plant.
Bandit#1 heads to Bandit#3
BANDIT#1 (CONT'D)
You come with me and the big nose
there. We will meet the priest.
INT. PRIEST’S HOUSE - BEDROOM – NIGHT
Total darkness. Suddenly a match is lit lighting a

kerosene lamp.
The priest sleeps in his bed, the light bothers him and
turns to face the opposite side.
Bandit#3 takes the priest's cassock over the chair and

display it.
NAREBAH
Are you satisfied now? He is a
real priest.
Bandit#1 pulls the chair close to the bed, sits down resting
one foot on the edge of the mattress, takes the alarm clock
and rotates the pin until the bell starts to sound.
The priest, without opening his eyes, gropes the bedside

table in the place where the alarm clock was. The priest
opens his eyes and he leans back at the head of the bed
stunned.
73.
PRIEST
What is happening?
The bandits look at each other smiling. Narebah is

crestfallen and is closely watched by Bandit#3.
Bandit#1 drops the alarm clock on the floor, the dial breaks
and the bell stops ringing.
He picks up the priest’s glasses on the nightstand, then

hand over to the Priest.
BANDIT#1
We came to visit, Father.
The priest puts on his glasses and examines the room.
PRIEST
What time is it?
BANDIT#1
A few in the morning.
PRIEST
Oh! But this is not the time for
visits!
BANDIT#1
We couldn't wait until the day
clears and we came up here with
your friend.
The priest looks at Narebah in the background.
PRIEST
Are you, Narebah?
NAREBAH
Yes, Father. We came here just to
clarify to them that you are just
a priest and that there is no
hidden wealth.
The priest widens his eyes in fright and notices the

revolver in Bandit#1 waist.
74.
Bandit#3 approaches the priest, pull him out of bed and

holds him close, threatening him with a knife against his
throat.
BANDIT#1
And you, Father, spill it out!
Where's the dough?
PRIEST
There is no dough.
Bandit#3 forces the knife against the priest's neck.
BANDIT#3
Spill it!
PRIEST
I already said I have nothing!
Bandit#1 looks at Bandit#3.
BANDIT#1
Go inside and see if you can find
anything.
Bandit#3 leaves that room and throws objects around the

house, making NOISE.
Bandit#1 goes to a shelf and rummages through pots, boxes,

throwing books on the floor.
He goes to bed, holds the gun to his waist, raises his

mattress and finds only the pallet. He tears the lining of
mattress spreading part of the filling on the floor.
BANDIT#1 (CONT'D)
Come on, Father. Will I have to
dismantle the whole house?
Bandit#1 goes to the dresser and notices the hesitant look

of the Priest.
BANDIT#1 (CONT'D)
Is it here, priest?
The priest looks in another direction. Bandit#1 smiles and

searches the first and second drawers always checking
Priest’s reactions.
75.
While Bandit#1 is distracted with the dresser, the Priest

signals Narebah to flee indicating to him the open window.
Narebah shakes his head.
Bandit#1 approaches his hand to the third drawer and the

Priest gets wide-eyed and makes an effort to break free.
Bandit#1 smiles opens the drawer and pulls out a rusty can
of cookies.
The priest lowers his head with his gaze disconsolate.
Bandit#1 opens the can and finds many money bills and coins.
PRIEST
Donations! They are for the works
of the parish. They were donated
with much cost by the devout poor.
You do not would do that...
BANDIT#1
Oh, are they really donations?
PRIEST
Yes.
BANDIT#1
So I can only say: thank you for
the donation, Father!
Bandit#1 and Bandit#3 laugh.
BANDIT#3
And what do we do with it?
Bandit#1 takes an image of a wooden saint and hits it over

the Priest’s head. The saint breaks in two parts and the
Priest falls unconscious on the floor.
BANDIT#3 (CONT'D)
Damm... Did you had to break the
saint? This is bad luck!
INT. CHURCH – DAY
The priest, saddened, celebrates Mass with a cross-shaped

bandage on his head.
76.
An old and rusty bike stands next to the warehouse facade.

Three BOYS play with old, rusted cans of varying sizes,
pretending they are toy cars.
The three boys stop playing and watch the bus driven by
Ellis arriving at the square and parking. They hear the
engine noise, the creaking of the brake system and the sound
of the compressed air beeping.
INT. WAREHOUSE – DAY
Ellis delivers a few correspondence tied by a string to the

MERCHANT. The Merchant serves Ellis coffee in a cup and a
plate with a slice of cake.
The Merchant breaks the string and quickly checks the

envelopes. One of them draws his attention for presenting
the emblem of the Archdiocese. The addressee is P. Giovani
Naprisco. Ellis gives a wink.
ELLIS
This one is important.
The Merchant looks at the warehouse entrance and sees the

three boys playing.
The boys IMITATE THE SOUNDS of engines, horns and brakes.
MERCHANT (O.S.)
Hey, kid!
One of the boys looks at the warehouse. Get up, imitate the
sound of a STARTING ENGINE, releases an imaginary hand brake
and pretends to hold the wheel of a bus. He follows in a
rush into the warehouse.
INT. WAREHOUSE – DAY
The Boy stops in front of the counter as if parking a bus,

chanting the sounds and HISSES OF AIR BRAKE. The Boy looks
at Ellis who smiles and makes a quick reverence holding the
cap with his fingertips.
77.
MERCHANT (O.S.)
Here, kid!
The Boy looks towards the counter. The Merchant gives him
the envelope.
MERCHANT (CONT'D)
Take this letter to the priest
urgently.
BOY
Can I take the bike?
MERCHANT
Go!
EXT. PRIEST’S HOUSE - DAY
The Boy rides without sitting on the saddle, which is very

high for him. The other two boys follow him on foot,
everyone smiles.
Panting, they stop in front of the priest's house, the Boy

throws the letter at the door, knock on the door, and rides
with the bicycle followed by the other two.
INT. PRIEST’S HOUSE – DAY
The priest, with a bandage on his head, interrupts his

writing, he goes to the door and open it. The priest sees
the boys going away, then look at the floor and notice the
envelope.
The priest opens the letter and reads it.
PRIEST (V.O.)
We ask that you attend to the
episcopal headquarters next 14th
March, to resolve issues related
to your parish activities.
BOY (O.S.)
(distant)
The last one to the river is a
rotten egg!
78.
The priest cast a vacant look at the street and read the
letter again.
PRIEST (V.O.)
Fasting is imperative one day
before.
INT. PRIEST’S HOUSE – DAY
Narebah and the Priest sit at the table in the kitchen

together. In the background the stove has a few embers.
PRIEST
Why didn't you take the moment of
distraction from the thug to flee
and ask help?
NAREBAH
Have you forgotten, Father, your
guidance?
Narebah gets up, chooses a good log and sticks it amid the
brazier of the stove.
PRIEST
What guidance?
NAREBAH
That I should not oppose the evil!
PRIEST
My God! But what... For the love
of God! You... You don't...
The Priest controls his temper and starts to cry.
PRIEST
It was me! Once more, it is all my
fault!
NAREBAH
As well? The precept of not
opposing evil serves both for me
and for you too, father.
The priest gives Narebah a hateful look, but then shifts to

a melancholy state.
79.
PRIEST
What about those poor children?
Taken from their families to be
exploited! Yeah... Maybe these
great words are not for us...
NAREBAH
So, I'm lost! You do what you
want. But for me, I want rules
that guide me.
PRIEST
Oh yes? And then you will be wrong
more times and thus will make me
sin and will end up dragging me
along with you to hell! Enough, my
dear. Enough of the rules!
NAREBAH
Oh yes? So if there are no more
rules is why not actually there is
the good!
PRIEST
Ungrateful! So what is it that I
do so long dedicating myself to
you?
NAREBAH
I recognize my difficulty in
succeeding. But perhaps your
teachings are also not being well
communicated.
The priest almost loses patience, but manages to calm down.
PRIEST
You've seen works of art, right?
NAREBAH
(impatient)
Yes.
PRIEST
Then you appreciated the beauty in
all that?
80.
NAREBAH
Some do, some don't.
PRIEST
Have you heard that there are
rules for beauty?
NAREBAH
Yes, I've heard that there are.
PRIEST
And the simple knowledge of these
rules would be enough for you to
create a beautiful work of art?
NAREBAH
I think so.
PRIEST
(triumphant)
Of course not! It takes talent!
For there is the root of yours
problems: you lack talent for the
good!
Narebah is surprised and embarrassed. He composes himself,

showing cunning expression.
NAREBAH
Yeah, but if I do a bad painting,
I won't go to hell for that. In
addition to more, painting a
picture is not an obligation,
while doing the good arrives even
to be a duty. And even if I lack
talent, do I have to pay for it
forever?
The priest is irritated.
PRIEST
How to teach the devil?
NAREBAH
If you don't feel capable of teach
the devil...
81.
The log of wood that Narebah last put in the stove catches
on fire.
PRIEST
Shut up, you bastard, or I'll put
you on the street!
NAREBAH
But it is the same as saying me
that I must return to hell.
The priest casts an air of indifference.
NAREBAH (CONT'D)
Or maybe I should look for another
priest!
The priest shows greater indifference by shaking his

shoulders.
NAREBAH (CONT'D)
Or maybe I should even look for
help from another congregation!
The priest looks at Narebah in amazement.
PRIEST
No! Not that!
NAREBAH
So give me more guidance accurate,
more detailed.
The priest meditates for a few moments, Narebah observes

him.
PRIEST
If that's what you want, I'll do a
sort of script. In it you will
find everything you should do
every day for a whole year. In
case you are unclear about some
details, it is better to do
nothing.
NAREBAH
And when the year is over?
82.
PRIEST
Simple, start next year going back
to the first page of the script!
Narebah and the Priest look at each other for a moment.
PRIEST (CONT'D)
So I have a lot to do and I'm
starting right now. Once again, I
ask that you don't get into
trouble.
NAREBAH
Ah, father, I'm sorry for the
theft of donations.
The priest runs his hand over the bandage on top of his
head.
PRIEST
Mercy!
SEQUENCE
A) INT. PRIEST’S HOUSE - BEDROOM– NIGHT
Priest erasing notes with the most worn eraser.
B) INT. CHURCH – DAY
Priest baptizes a child who cries in the arms of her

godmother.
C) INT. PRIEST’S HOUSE - BEDROOM– NIGHT
Priest amid books and notes.
D) INT. CHURCH - STEEPLE – DAY
Narebah wearily holds the bell rope, swinging it from side

to side, without ringing the bell, moves his mouth mimicking
the chimes.
83.
EXT. SQUARE – DAY
The bus is stopped in the square with the cargo compartment

opened. Priest holds a folder of documents, Narebah is at
his side. Lisa and Hortense are on the other side of the
square watching them.
PRIEST
Don't worry, they just want to
know what I am doing for my
parish. Like you, too, I have to
submit my reports.
NAREBAH
Yes, Father... Perhaps it is
better to omit some facts and
diminish others...
PRIEST
What? To lie?
NAREBAH
Just like Galileo did to escape
from holy inquisition!
PRIEST
Do not exaggerate!
Ellis gets on the bus.
PRIEST (CONT'D)
Be at peace, Narebah, and don't
get into trouble.
INT. BUS – DAY
The priest gets on the bus and stops near Ellis to bless
using a four inch crucifix made of wood, with the metal
figurine of Jesus Christ.
With sudden movements, he touches the crucifix first on the

Ellis's forehead, going to the right shoulder, left shoulder
and finally keeps it a short distance from the Ellis’s lips.
Ellis, uncomfortable, alternates his gaze between the

crucifix and the Priest.
84.
PRIEST
Kiss!
Ellis remains motionless looking at the cross. The others

PASSENGERS who want to board start to complain.
Ellis kisses the crucifix begrudgingly and, as soon as the

Priest moves away, wipe his mouth with his forearm.
The Priest goes down the corridor greeting the passengers.

He finds a vacant seat and sits down next to a BOY that is
near the window. The other passengers board.
Lisa and Hortense wave goodbye to the Priest. Ellis closes

the door by pulling a lever.
The priest waves to Lisa and Hortense and makes the sign of
the cross.
EXT. VILLAGE – SQUARE
Lisa and Hortense look at each other smiling slyly.
INT. BUS – DAY
Through the window the Priest looks at the dirt road and the
arid landscape. Some retreatants walk under the scorching
sun and they accompany the bus with their eyes.
The Priest extends the crucifix to bless them. The dust

raised by the bus covers the retreatants.
CUT TO
The bus travels quickly along the asphalt road.
The priest is dozing and waking up. The Boy offers

breadcrumb cookies to the Priest who takes one and thanks.
The Priest tastes the cookie and then eats greedily. He

takes two more without asking to the Boy.
The Priest eats greedily one more and when he is halfway

through the other, he looks at his folder and sees the tip
of the envelope of archdiocese.
85.
He chokes and returns the remaining half of the cookie into

the package. The Boy is amazed.
PRIEST
Thank you, but I am fasting.
INT. BUS – NIGHT
The priest, with sweat on his face, sleeps restlessly.
PRIEST
(sleeping)
Not the dough!
The priest wakes up scared and hears giggles from some

passengers.
INT. BIG CITY - ROAD PLATFORM – DAY
The bus arrives at the bus station. Passengers wait for

their luggage near the bus. The Priest disembarks with his
briefcase and goes away.
EXT. BIG CITY - DAY

The priest gets involved in the movement of the city,
stunned by the intense pace.
EXT. BIG CITY - EPISCOPAL BUILDING – DAY
The priest stops in front of the building and admires it.
INT. EPISCOPAL BUILDING – RECEPTION – DAY
The priest shows the letter, the RECEPTIONIST makes gestures

indicating the elevators.
INT. EPISCOPAL BUILDING – OFFICES HALL – DAY
The priest finds the door with the inscription “PAROCHIAL

MONITORING.” The priest stops for a few moments, takes a
breath, KNOCKS on the door, and opens it.
INT. OFFICE - LOBBY – DAY
The clock on the wall reads 8h:05.
Two CLERICS, crestfallen, await seated on a bench.

86.
The SECRETARY, thin and pale, works at a table.
PRIEST
Good Morning!
The two Clerics, shy, look at the Priest and greet him
timidly. The priest goes to the Secretary and delivers the
letter. The Secretary examines it.
SECRETARY
Late, isn't it?
PRIEST
If we can consider five minutes a
delay...
SECRETARY
You will have the opportunity to
learn how strict we are around
here... Are you fasting?
INT. BUS IN MOTION - DAY - FLASHBACK
The priest eats cookies greedily.
END OF FLASHBACK
INT. OFFICE - LOBBY – BACK TO SCENE
PRIEST
(recovering)
Yes...
SECRETARY
Very well, you can wait your turn.
The priest sits on the bench and directs his attention to

the two clerics.
PRIEST
How are you, brothers?
SECRETARY
Shhhhhhh!
87.
The priest, astonished, looks at the Secretary who head

negatively, keeping the index finger close to his lips
demanding silence.
The two clerics withdraw, the Priest does not hide his
displeasure. The clock strikes 8:15.
The secretary's desk phone RINGS. The Secretary answers,

directs his attention to Cleric#1, hangs up the phone and,
insolent, points with his index finger at the door of the
office.
SECRETARY (CONT'D)
Dear, it's your turn.
Cleric#1 gets up.
The clock strikes 09:30
Cleric#1 leaves the office and leaves the anteroom

crestfallen. The Secretary accompanies him with the look
showing a sadistic smile.
The clock strikes 10:40, Cleric#2 leaves the office weeping

and leaves the anteroom. The Secretary rejoices, enters the
office and shortly afterwards returns stopping at the door.
SECRETARY
Your turn.
INT. OFFICE
The priest finds no one inside the office and hears the
sound of someone URINATING in a toilet.
The priest looks amazed towards the door where the sounds
come from. Sound of a toilet flush. The priest looks at
door.
The door opens and the SUPERVISOR appears, outlining a smile

of relief as he straightens the cord of his cassock.
The Supervisor composes himself by assuming a serious

expression and offers his hand for the priest to kiss.
The Priest looks on in horror and just bends.

88.
The Supervisor quickly withdraws his hand and sits down at

the table.
SUPERVISOR
Please sit.
The Priest sits in a chair. The Supervisor places his

reading glasses and checks some papers on the table.
SUPERVISOR (CONT'D)
Do you know what is the nature of
the work do we do here?
PRIEST
Yes, it is written on the door:
parochial monitoring.
SUPERVISOR
Well, sometimes this denomination
can be a bit bland if consider
that we are dealing here not just
simple cases, but, also, the most
hideous. I am referring to those
in which we can see clearly the
demon infiltrating our beloved
institution.
The Supervisor pauses and watches the Priest swallow hard,

with a look of dread.
SUPERVISOR (CONT'D)
Let's see what we have here... Um,
complaints about certain behaviors
of yours... Do you have any idea
about those facts?
PRIEST
What facts?
SUPERVISOR
Here I am asking the questions,
priest. - I would like to know,
for example, what do you do in the
confessional.
89.
PRIEST
I do what has to be done,
according to Holy Office! I watch
the Believers. I listen to their
confessions, advise and forgive
indicating the penances.
SUPERVISOR
Well, my dear, know that we
received information that you
asked someone, during the Holy
Office in the confessional, to
show...
(clearing throat)
...the tail.
PRIEST
Tail? But what is this?
SUPERVISOR
Don’t tell me you don't know what
it is! It’s a backside!
PRIEST
Of course I know! I mean, what is
what did they say? Sincerely, I
don't know the fact, there must be
a mistake!
SUPERVISOR
I will quote the account as it was
informed. Maybe refresh your
memory...
The Supervisor consults the Lisa and her friend’s letter.
SUPERVISOR (CONT'D)
They heard you say...
INT. LOBBY
The Secretary approaches the door to listen to the

questioning.
SUPERVISOR (O.S.)
And your tail? Show me your tail.
90.
The Secretary is amazed.
INT. OFFICE
The priest moves his eyes nervously.
NAREBAH (V.O.)
Perhaps it is better to omit some
facts and diminish others...
Galileo...
The priest composes himself.
PRIEST
It's a mistake, for sure! Who said
it may not have heard well, yet
more being a confessional!
SUPERVISOR
Deny then?
PRIEST
Certainly!
The Supervisor makes notes in the report.
SUPERVISOR
There are also testimonies from
several Believers who witnessed
the priest interrupt the
celebration of the saint mass and
leave the church, behaving like
someone who lost his mind.
PRIEST
I didn't lose it, the reason is I
was assisting a poor soul who was
lost. I couldn't contain myself
when got lighting by the wise
words from the sermon...
The Supervisor makes notes in the report.
SUPERVISOR
What about your punctuality?
91.
PRIEST
Yes, excuse me, I ended up
delaying my arrival here.
SUPERVISOR
I'm talking about your punctuality
in mass services. It appears in
the report that you have arrived
often late.
PRIEST
Late, but not flawed!
The Supervisor looks at the priest with astonishment and

makes a few notes in the report.
SUPERVISOR
The reports also inform that you
said nonsense during the mass,
things without meaning. Are you
even sure about your sanity?
PRIEST
Of course I am. -- Sometimes it
can be difficult for humble people
like the ones in my parish,
understand the explanations of
someone with certain erudition,
talking about paramount issues as
the good and virtue.
SUPERVISOR
The priest does not yet know what
the good is and virtue?
The priest is motionless for a while.
PRIEST
The question I am referring to is:
how teach simply and effectively
those valuable precepts even to
who has no talent for it?
SUPERVISOR
Talent?
92.
The priest confirms by making a single and decisive nod, the

Supervisor expresses a timid agreement, turns his attention
to the papers
SUPERVISOR (CONT'D)
Now I can only decide if I should
or not take you away from your
tasks on the parish.
The priest's eyes widen with dread. The Supervisor does some
annotations. The priest tries to fish the notes, but he is
rebuked by the questioner's gaze.
The Supervisor pauses, aiming his eyes at random, removes

reading glasses, gets up and walks with his hands behind his
back, and stands looking through a window.
SUPERVISOR (CONT'D)
Brother, your answers were
concise, and I have to take into
account that there is no history
of complaints or about you.
However, I must warn that if there
are new complaints, things will be
pretty difficult for you. That
includes, also, your punctuality.
The Supervisor, keeping his eyes on the window, extends his

hand toward the Priest direction.
SUPERVISOR (CONT'D)
That's it for now. You can go back
to the parish that we entrust to
you, always taking care well of
our flock.
The priest, very excited, gets up, walks to the Supervisor

and kisses his hand.
SUPERVISOR (CONT'D)
Go with God!
PRIEST
God be with you.
The Supervisor discreetly reacts in discomfort.

93.
INT. CHURCH – DAY
The priest goes up the stairs to the steeple.
Narebah is sitting in a corner with a lost look.
PRIEST
How are you, son?
NAREBAH
I'm enduring.
PRIEST
Have you followed my
recommendation?
NAREBAH
What recommendation?
PRIEST
To do nothing until I'm done with
my work.
NAREBAH
Ah, yes... I mean... Yesterday I
killed a fly that was disturbing
me. Then I was wondering if it's
correct or not to kill flies.
PRIEST
Flies?
NAREBAH
They are living beings!
PRIEST
Of course they are!
NAREBAH
So, can we kill flies or not?
PRIEST
Bah... I'll be going. I have a job
to finish.
94.
The priest is preparing to go down the stairs.
NAREBAH
Please don't take so many days to
come here to bring food.
PRIEST
Didn't I bring food yesterday?
NAREBAH
After you returned from your trip,
it has been three days, father.
PRIEST
I'm sorry, I won't forget anymore.
NAREBAH
It's not so much for the food, I
miss it of your company and being
able to talk a little.
The priest pauses and looks at Narebah with emotion.
PRIEST
In that case it is better to stay
in my house.
Narebah smiles.
SEQUENCE
A) INT. PRIEST’S HOUSE – BEDROOM – DAY
Narebah sweeping the house while Priest writes and studies.
B) INT. PRIEST’S HOUSE – BEDROOM – NIGHT
The exhausted priest throws himself on the bed still in his

cassock. The priest close his eyes and the new alarm clock
rings, the Priest opens his eyes.
C) INT. PRIEST’S HOUSE - BEDROOM– NIGHT
Priest erases notes with a rubber stub, dusts with hand the
crumbs and suffers a coughing fit. Narebah comes to his
assistance by serving a spoonful of syrup.
95.
D) EXT. PRIEST’S HOUSE - BACKYARD – DAY
Narebah sweeps the yard and makes a pile of leaves.
E) INT. PRIEST’S HOUSE - BEDROOM– NIGHT
Priest writes, with great difficulty, while Narebah dozes in

an armchair.
F) INT. PRIEST’S HOUSE - KITCHEN – DAY
Narebah cooks.
G) INT. PRIEST’S HOUSE - BEDROOM– DAY
Narebah and the Priest have lunch. The priest, weakened,

hardly touches the food.
The priest is writing the script with great difficulty. He

uses the table in the living room, which is littered with
papers and books.
Now and then he coughs, he is very weak. Narebah sweeps the

floor while stretches his neck over the priest's shoulder to
see what he is writing. The priest stops writing and looks
at Narebah.
PRIEST
Have patience, my dear. I’m close
to finish this job.
The Priest suffers a strong coughing fit.
NAREBAH
Calm down, Father! Calm!
Narebah carries the Priest in his arms and takes him to the
bedroom.
INT. PRIEST’S HOUSE - BEDROOM – NIGHT
Narebah puts the priest to bed. Take the glass of syrup and
serves the Priest with a spoon. The priest is pale and with
dark circles.
96.
PRIEST
I'm feeling better. Come on, we
don't have time to lose. So
soon... Bring me more light and
writing material.
Narebah smiles and leaves the room. Narebah returns with a

lantern and the material. Place the lamp on the table
bedside and delivers the papers, pencils, and eraser to the
Priest.
The priest writes. Narebah sits on a chair next to the bed

and follows the work. The clock marks 10:15.
CUT TO
The clock strikes 4:00, the Priest is exhausted and goes

rehearsing a smile while writing.
He writes the final with a strong movement putting a dot in

the manuscript.
PRIEST
There, it's over, Narebah...
The priest realizes that Narebah is sleeping in the chair.

He starts to COUGH and muffle the sound with his hands. He
rests the manuscript over his chest and sleeps, some pages
slip to the bed.
Narebah awakens with the crowing of the roosters.
The priest sleeps among the papers. Narebah collects

everything, leave it on the dresser. Looks at the sleeping
Priest, turns his attention to the manuscript and flips
through its pages shyly.
The priest wakes up coughing. Narebah stops touching the

manuscript, go to the priest and serve the syrup. The Priest
is calming down.
97.
PRIEST
It's done! Now you can support
yourself in your search. Don't
notice my handwriting, mostly near
the end, were very painful for me.
(cough)
You can take your script, my son!
Narebah goes to the dresser and picks up the manuscript.
NAREBAH
Father, I have no words.
PRIEST
Are you happy? I think so! Take
care of not doing anything stupid.
NAREBAH
Now I am supported! I'm going
fulfill every line of this
manuscript!
PRIEST
I believe in your sincerity and
that you will put all the effort.
Take good care of this manuscript,
I have no strength to do
another... So, tell me, where are
you going to?
NAREBAH
I'm going out in this world!
PRIEST
If it's not too far, come to me
pay a visit whenever you can.
NAREBAH
Of course, Father!
The priest looks at Narebah in detail.
PRIEST
Funny... I thought your nose was
weird and now it seems so nice...
(cough)
What custom does to us, isn't it?
98.
The Priest LAUGHS, COUGHS and FARTS.
Narebah smiles and stretches his neck for the Priest to see
better his nose in profile.
PRIEST (CONT'D)
Come on, pack your things.
The priest has another COUGHING FIT and Narebah walks in

towards the syrup, but the Priest reaches the glass first
and drinks from the bottle while gesturing for Narebah to
go.
Narebah walks on the road carrying a bag. Open the bag and
take the manuscript out and kisses the manuscript.
NAREBAH
And now, where should I go first
place?
He pauses to think and then smiles.
INT. HELL – PORTAL
Narebah walks in darkness until a source of light appears

amber. He approaches the portal of hell and is greeted by
Pleura in his cabin.
PLEURA
Who’s come here?
Narebah looks disgusted.
PLEURA (CONT'D)
No, don't say! Makes no difference
really...
NAREBAH
Hail, noble herald!
PLEURA
Trying to be funny? Or fawning me,
Narebah?
99.
NAREBAH
I bring good news! It would be
good for you to accompany me.
PLEURA
You know the herald cannot abandon
his post... are you trying to
corrupt me?
Pleura smiles slyly.
NAREBAH
Stay there and wait until what I
bring to spread through all hell!
PLEURA
A new disease? How wonderful!
Gonna win a promotion with that
Narebah shakes his head. Pleura triggers the button opening

the portal and Narebah heads towards a red light source.
HELL – MAIN HALL
Narebah approaches the main hall that looks like a big tacky
brothel. Very bad taste in decoration. BEINGS DECREPIT,
OTHER DIABOLICAL, EXUBERANT WOMEN inhabit the place. Narebah
takes the manuscript out of the bag.
NAREBAH
Esteemed! I have good news for
you! Listen! I’ve been looking for
this, and I have traveled paths
tortuous until you get this
manuscript filled with wise words
that lead to the good and virtue!
The beings turn their attention to Narebah and approaching.

They look at Narebah and look at each other amazed.
NAREBAH (CONT'D)
It is necessary, then, that we
seek an austere way of life for
enjoy peace and understanding.
Hell will never be the same!
100.
Some beings nod, others embrace, others shake hands, others

kiss in the face.
NAREBAH (CONT'D)
Abandon vices and bad customs, the
prize will be the virtue!
The beings lower their heads in shame, some beings cry,

others provide support to the most affected.
The movement draws the attention of Satan who, from his

throne, stretches his neck looking in the direction of
Narebah.
SATAN
What an extraordinary demon! There
are times that we don't have fun
like that!
NAREBAH (O.S.)
So it is important to have a firm
and constant disposition to
practice the good!
Satan LAUGHS and begins to SING sacred songs debauched.
The beings are feeling more animated and exchange smiles and
loving looks at each other. The crowd claps to Narebah.
CROWD
Hooray! Hooray!
NAREBAH
Thank you! Thank you! You really
are extraordinary creatures!
The crowd burst out laughing, pointing at Narebah.
Narebah gets disenchanted.
Some beings begin to attack each other, until everyone is

fighting.
Satan watches everything with enormous pleasure.
Narebah looks terrified at the manuscript and holds it tight

against his chest. He turns and walks discreetly to leave
101.
the place, but some creatures notice his escape and catch
him.
They start to hit him hard and take the manuscript out of
his hands.
NAREBAH (CONT'D)
No, not the manuscript! Do what
you want with me but leave that
manuscript!
The creatures pass the manuscript from hand to hand,

soaking, soiling, crushing, claws tearing and throwing
leaves.
They use leaves to blow their nose or serve like makeshift

balls for soccer game.
The creatures tear off Narebah's clothes, leaving him

completely naked.
Narebah strikes back with strong blows against the

creatures.
A creature takes Narebah's bag, defecates inside, and wipes

himself with pages of the manuscript.
Narebah howls and continues to deliver blows while he picks

up the pieces of the manuscript. He manages to gather much
of the manuscript, turns to Satan, who laughs out of
control, and gives him the middle finger.
NAREBAH (CONT'D)
This is for you!
Satan responds with an abominable roar and chases Narebah.
Narebah, horrified, runs. Satan takes the bag full of shit

and throws it hitting Narebah in the back.
SATAN
Don't forget your purse! And don't
forget, also, that Hell always has
a place reserved for traitors!
102.
HELL - PORTAL
Narebah, covered in dirt, approaches the portal. Pleura

speaks over the intercom.
PLEURA
Who’s trying to leave the Hell? --
Narebah!
Satan's laughter echoes. Narebah hits against the portal

glass door and falls to the ground scattering the
manuscript's sheets.
PLEURA (CONT'D)
What is this? What is happening? I
think I'm missing a big party!
Pleura leaves the cabin and passes through Narebah.
PLEURA (CONT'D)
Take care of the portal, I'll be
back soon!
Narebah picks up the manuscript pages, goes to the booth,

unlocks the portal and flees in despair.
EXT. RIVER – NIGHT
Narebah is naked, squatting. His body and hair are wet. He

rearranges what's left of manuscript.
NAREBAH
Now I lost everything...
Narebah drops the manuscript to the ground. The sheets at

the top of the stack move wave in the breeze.
Narebah sits on the ground, runs his hands over his head and
let himself lies back.
Narebah looks at the stars, the wind makes the pages of the
manuscript rustle. He looks at the manuscript while keeping
his gaze vague. The wind blows and the pages shake even
more. Narebah rests his hand on the manuscript.
103.

The priest said he would have no
strength to write another. Now I
really managed to lose everything
EXT. RIVER - DAY
Narebah wakes up and looks at the manuscript for a moment

and sighs.
NAREBAH
The priest cannot write another,
but...
Narebah widens his eyes, gets up and picks up the

manuscript.
NAREBAH (CONT'D)
...perhaps he can fix this one!
EXT. DIRTY ROAD – DAY
Narebah, naked, runs down the road. A group of women and

men, heading in the opposite direction, are horrified by
seeing Narebah. Narebah remains oblivious to passersby.
WALKER
(screaming)
You shameless bastard!
EXT. PRIEST’S HOUSE - BACKYARD - DAY
Narebah walks to the kitchen door.
INT. PRIEST’S HOUSE - KITCHEN – DAY
The wood stove is off.
NAREBAH
Priest! Are you at home?
INT. PRIEST’S HOUSE – LIVING ROOM – DAY
Doctor Euphrase wakes up in the armchair, hugging an empty

bottle of moonshine.
104.
DOCTOR EUPHRASE
Glad you arrived, the priest is
doing badly. Stay with him, I need
to go home!
NAREBAH
Priest!
PRIEST (O.S.)
Who's there?
(cough)
Are you Narebah?
The priest has a COUGHING FIT and Narebah walks toward the
bedroom.
Narebah enters in the dim room, the shutters are closed. The
priest, with dry and chapped lips, is dying in bed.
NAREBAH
Father, they destroyed my
manuscript.
PRIEST
What did you say?
Narebah looks sadly at the priest and then at the destroyed

manuscript.
NAREBAH
Nothing, Father, but finding you
so weak fills my heart with
sadness.
PRIEST
I thought you did some wrongdoing.
NAREBAH
Not! No... No way, Father.
Narebah realizes his nudity and covers his pelvic area with
the manuscript.
105.
PRIEST
And as for the manuscript, tell
me, it has served for you?
NAREBAH
Yes! I have it with me all the
time
PRIEST
That's good, I'm happy! Despite my
health does not go well, my son.
(cough)
Just yesterday I felt I was close
to death, but hoping to see you,
yet again, I managed to wait a
little more... And here you are!
Narebah smiles with emotion.
NAREBAH
Yes, Father!
PRIEST
Narebah, can you open the windows,
favor? I want to take one last
look at this poor village.
Narebah's eyes fill with tears. Narebah opens the curtain.

Roofs can be seen through the window, a little bit of the
horizon and a few clouds in the sky.
The priest looks at the landscape. Narebah straightens the

pillows, putting the priest in a more comfortable position.
NAREBAH
Father, what are you seeing? What
moves you so much? There are only
a few roofs and a few clouds in
the sky.
106.
PRIEST
Ah, my friend! I was born far from
here, in a green land. I left my
small village on the outskirts of
my dear Florence.
(cough)
And I left a beautiful girl. I had
to renounce that love to follow
the priesthood!
The priest gives Narebah a nasty wink.
PRIEST (CONT'D)
All my life these memories been in
my heart, and many times I looked
at these horizons sighing with
longing.
The priest pauses to contemplate the horizon.
PRIEST (CONT'D)
Even this miserable village I
learned to love. Today, I like the
pack of dogs and even stepping on
stones through the streets. – My
dear, in my seventies, walking the
earth with love in heart, even
stones can lose its hardness...
and where am I going now, my
friend, it will be even better.
Narebah looks at the horizon and sighs.
PRIEST (CONT'D)
Why are you sighing? Do not
grieve, it is quite possible, my
friend, that you also go to
paradise... I know you’re a
demon... a truly good one!
The priest dies. Narebah, desperate and in tears, tries to

revive him.
NAREBAH
You must wait, you haven't seen
the stars! Not even the moon...
Open your eyes, priest... please!
107.
INT. PRIEST’S HOUSE - BEDROOM - NIGHT
Next to the Priest’s body, which has a serene expression,

Narebah struggles, howls, cries, wipes tears with his hands.
From the bell tower Narebah accompanies the movement in the

square.
Villagers accompany a coffin that is placed in the luggage

compartment on the roof of the bus.
The bus starts, sending smoke over the people and continues
slowly leaving the village.
INT. STEEPLE – NIGHT
Narebah sits on the floor and reads the final pages of

manuscript. His expression is transmuted as scrolls through
the text reacting with several expressions: haunt; doubt;
silly; and irritation.
NAREBAH (V.O.)
This manuscript is full of
nonsense! It's not possible! What
was the old priest thinking? And
the words "the good?" Not appear
even once! My good friend would
not mock me.
Narebah meditates for a moment with an expression of

distrust.

Unless... Unless... No! Only it
could have been him... Satan!
During all time! Knowing that I
was looking for the good, the
devil pretended to be a priest to
mock of me! Damn you bastard!
Narebah rises from the floor with an expression of pain and

hatred.
108.
NAREBAH (CONT'D)
(screaming)
I have to admit you got me! Now
appear laughing at my face,
miserable! Let's finish with this
diabolic farce!
Narebah looks around, from side to side. A shadow cast on

the wall is shaped like a head with a curved horn. Narebah
looks on in amazement.
Narebah is full of dread and retreats until he leans against

the wall.
The figure reveals itself: it is Agenor, whose shadow of the

cane raised overlapping the shadow of his head passed the
impression that it was a horned creature.
Agenor, saddened, heads to the rope, reaches it and rings

the bell, oblivious to the presence of Narebah.
Narebah, cover his ears with his hands, closes his eyes and
let himself slide against the wall until he sits on the
floor. Tears are streaming down his face.
NAREBAH (CONT'D)
Forgive my friend, you are gone,
and the uncertainties remain.
NARRATOR (V.O.)
The poor devil was not able to
recognize the good in actions and
care that he and the old priest
dedicated a to the other. Unable
to recognize these simple acts,
saw no other option but follows
what's left of manuscript.
FADE TO
The same environment without Narebah and the manuscript.
NARRATOR (V.O.)
Every time the manuscript told him

to do something, he did it. When
the manuscript indicated to do
109.
something in such a way, he

continued to do everything as
ordered. And so he got used to it
and even felt certain joy
following everything to the
letter.
FADE TO
The same environment with older Narebah, seated at the floor

against the wall with his knees close to his chest.
The manuscript beside him is open in a part where several

pages were burned, and some torn out.
NARRATOR (V.O.)
Other times he would go through
hard moments. It happens always
when some page or even pages where
missing, what forced him to spend
whole days without do nothing. A
tedious inactivity where doubts
poison ideas and bring the
thoughts more gloomy.
FADE TO
Narebah is older. His hair and beard are long and gray.
Apathetic, motionless sitting on the floor hugging his
knees close to the chest.
It looks like a statue covered in dust and cobwebs. The

dusty manuscript is at his side, more spoiled and eaten by
insects.
A fly flies dizzy and Narebah accompanies the movements with

his eyes.
FADE OUT
END

Seeking Redemption

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Seeking Redemption

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SEEKING REDEMPTION

EXT. VILLAGE – NIGHT

SUPERIMPOSE: The following events happened in the past 1960s

Above a small church, the Milky Way cuts the sky.

EXT. CHURCH - STEEPLE – NIGHT

On the top of the roof there is a dark shape of a demonic

The silhouette of the being has traces of small horns,

In the background, a small square, simple houses, and empty

EXT. LISA’S HOUSE – NIGHT

INT. LISA’S HOUSE – NIGHT

LISA, a thin lady in her 60s, sleeps in a single bed.

EXT. HORTENSE’S HOUSE – NIGHT

INT. HORTENSE’S HOUSE – NIGHT

HORTENSE and RAYMOND, both in their 70s, thin, lying in

EXT. BELMIRA'S HOUSE – NIGHT

INT. BELMIRA'S HOUSE – NIGHT

BELMIRA, a beautiful brunette, 30 years old, sleeps in a

EXT. AGENOR'S HOUSE – NIGHT

INT. AGENOR'S HOUSE – NIGHT

AGENOR is impeccably tidy sitting on the edge of the bed. He

With his fingertips, he supports a cane on the floor and

EXT. ABIGAIL’S HOUSE – NIGHT

INT. ABIGAIL’S HOUSE – NIGHT

There is a small altar in the room, with a crucifix and

EXT. ABIGAIL’S HOUSE – DAY

Abigail opens the window, holding a kerosene lamp, and walks

EXT. PRIEST’S HOUSE – DAY

INT. PRIEST’S HOUSE - BEDROOM– DAY

Snoring SOUND. On the wall, a calendar from the year 1970,

On the floor a pair of Franciscan sandals, a cassock

on his back, wears T-shirt and boxer shorts.

Uncomfortable with the rooster crowing and barking in the

INT. ABIGAIL’S HOUSE – DAY

Abigail, confused, gets ready to leave. Her feet have

EXT. VILLAGE – DAY

Abigail leaves her home, walks with difficulty towards

INT. HORTENSE’S HOUSE – DAY

Hortense serves coffee in a mug to Raymond who sits at the

EXT. VILLAGE – DAY

Abigail walks across the square.

INT. BELMIRA’S HOUSE - BEDROOM – DAY

Belmira finishes putting on a black dress, settles in front

INT. CHURCH - STEEPLE – DAY

SOUND of footsteps going up the staircase. The bell tower

He stops next to the bell rope, leaves the cane next to

INT. PRIEST’S HOUSE - BEDROOM– DAY

Sounds of CHIMES of the bell and BARKING of dogs in the

EXT. VILLAGE – DAY

Abigail approaches the church while checking the rear and

INT. PRIEST’S HOUSE – BEDROOM – DAY

The priest wakes up slowly and looks at his watch alarm

He makes the sign of the cross, put on his glasses, put on

He is disconcerted. He gropes the wall with his hands. The

He stretches his shirt by pulling on the hem and dries his

EXT. CHURCH - STEEPLE – DAY

The daylight completely reveals Narebah's appearance. He is

INT. CHURCH – DAY

Lit from the doors behind her, Abigail's silhouette moves

Narebah walks with firm steps, without making any noise.

Abigail stops walking when she reaches a bench that contains

Abigail fits the candle on the counter and pulls out a

Narebah, leaning next to Abigail's face, makes a cynical

Narebah directs his attention to the movement. Raymond and

Belmira, carrying Eddie, indicates a place in the bench for