Roma

Written and directed by Alfonso Cuarón

The dates in red are indicated only as a tool so that the different departments have a historical
specificity of the scenes to be filmed and won’t appear on screen.

3 September 1970, Thursday

INT - COURTYARD - TEPEJI 21 -- DAY

Yellow triangles inside red squares.

Water that spreads over the mosaics, with cloudy foam.

It’s the floor of a long and narrow courtyard that extends along the house. In the background is the door
that faces the street, metal and frosted glass, two of which are broken, the fault of some defeated
goalkeeper.

Cleo, Cleotilde Gutiérrez, a 26-year-old Mixtec Indian, runs along the yard pushing with a rubber the
water from the wet floor.

At the other end, the foam has accumulated in a corner, shy, boasting its bright white bubbles until-

A jet of water surprise them and they are dragged to the corner where the bubbles, foolish, melt in a
whirlpool that disappears in the sieve.

Cleo picks up the brooms and the buckets and carries them to-

The small courtyard

Which is enclosed between the kitchen, the garage and the house. Cleo opens the door of a small room
and stores the brooms and buckets, then enters in a small bathroom and closes the door.

The courtyard is in silence, just a radio host with his enthusiasm that dissolves in the distance and the
sad singing of two jailed little birds.

The discharge from the toilet is heard and then the sink water. After a while, is open the door.

Cleo goes out drying her hands on the apron, enters the kitchen and disappears behind the door that
connects to the house.

INT – GROUND FLOOR - TEPEJI 21 -- DAY

Cleo crosses the old and dark wood anteroom, then the modern light, light and pointed wood dining
room, and when she reaches the hall, she climbs the stairs.

Passing the hall there are two rooms, one with heavy green velvet sofas and antique cabinets with discs
and stereo. There is a piano stuck to the wall.

The other room tries to be more modern, with light sofas and a and a cocktail trolley with a siphon.

In one room hangs the enormous painting of a woman in a clay jar, in red and purple tones.
 In the other, another picture, also large but somber. In a dark stone cell, a monk gives comfort to a
shackled prisoner who, desperate, covers his face with his hands.

INT -UPPER FLOOR - TEPEJI 21 -- DAY

The stairs leads up to a central hall which is surrounded by four bedrooms and a huge bathroom.

Cleo arranges a bedroom, the king bed is already laid, it has a mahogany headboard with ornaments
that matches the night tables.

She collects dirty laundry from the floor and loads it into the hall, where it stacks over the pile of clothes
that accumulates.

The upstairs hall serves as a TV room. The bathroom has yet to be washed, but three of the rooms are
already tidy.

Cleo enters in a room with two small beds for children. At first, she lifts the clothes and arranges the
toys of boy and girl that are scattered on the floor.

She starts laying one of the beds when she hears a scream from the floor below-

ADELA (O.S.)

¡Sista…! ¡It’s almost one o'clock…!

Cleo startles and exclaims

CLEO

¡Ay chicú…!

And she leaves the bedroom carrying the dirty laundry.

At the hall, she picks up the pile of clothes and loads it. She rushes downstairs.

INT – GROUND FLOOR- TEPEJI 21 -- DÍA

Cleo comes downstairs the stairs carrying the pile of clothes

She crosses the hall and the dining rooms and disappears behind the door to the kitchen.

After a while, through

THE WINDOW-

We see her going out into the small courtyard.

She leaves the laundry at the feet of the metal stairs that goes to the roof and rushes towards the street.

EXT - HOUSE - TEPEJI 21 -- DAY

The Tapeji Street extends just two blocks away, departed from Avenue Monterrey, from tired houses
built in the 1930s.
Tepeji twenty one rests, sad and resigned, over solid foundations that merge with the gray concrete on
the sidewalk right in the middle of the block.

It’s all white except the strip of red almost brown running along the facade, and the blacksmith
windows and door that are painted black.

Next to the upper left corner of the door is the number, mosaics: 21.

The door opens and Cleo goes out.

She hurries to the Avenue and at the corner, turn right.

EXT – STREET – AV. MONTERREY – TLAXCALA -- DAY

Cleo leaves Tepeji and walks along the avenue, where it circulates a considerable traffic.

When she gets to the corner, crosses the avenue and continues along-

TLAXCALA STREET

And she passes a pharmacy, a miscellany, a bakery and a beauty salon.