"CASANOVA DOES CALIFORNIA"

 

                 an original screenplay

                           by

                     Charles Deemer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

                                          3550 SW Pomona St.

                                          Portland, OR 97219

                                          503-452-8277

                                          cdeemer@yahoo.com

 

                                         

 

 

 

 

 

 

 

 

 

 

FADE IN:

 

 

SUPER

 

"Venice, Italy. Summer, 1749."

 

 

EXT. VENICE - COUNTRY VILLA - NIGHT

 

A second-story window is lit by a lantern. Below, hidden

behind trees, wait three men: these are LORENZO LEBANO,

whose home it is, and two of his workers, VENNY and GIOVANNI.

 

Two figures become a silhouette at the window, a MAN and

WOMAN in a passionate embrace. Lorenzo hisses the name of

his daughter.

 

                      LORENZO

           Rosabel!

 

Venny and Giovanni comfort him.

 

                      GIOVANNI

           He will pay for this.

 

The window opens and the man climbs out and grabs the branch

of an adjacent tree. This is Giacomo Girolamo CASANOVA, 20s,

handsome, athletic, dashing. He wears the frills of an 18th

century gentleman.

 

From the window ROSABEL, a teenager, blows him a kiss and

disappears. Below, Lorenzo makes a soft sound of anguish.

Giovanni and Venny sneak forward to do their work.

 

Casanova shimmies down the tree. Giovanni and Venny are

waiting for him. They grab him, and Casanova struggles.

 

Rosabel comes again to the window and sees what is happening.

 

                      ROSABEL

           Casanova!

 

Her father steps forward to shout up at her, shaking his fist.

 

                      LORENZO

           How ashamed your mother would be of

           you!

 

Giovanni and Venny have Casanova under control. They gag and

bind him, then drag him off to follow Lorenzo.


                                                            2.

 

 

                      ROSABEL

           Father, let him go, I love him!

           Casanova, I love you!

 

 

INT. COUNTRY VILLA - SHED - NIGHT

 

A lantern casts eerie shadows in a workshed. Casanova sits

in a chair, still bound and gagged.

 

Lorenzo takes a vial from a shelf and shakes it. He glares

at Casanova.

 

                      LORENZO

           You have a reputation for performing

           great feats of magic. Now we'll see

           how well you take your own medicine.

                (to the workers)

           Remove the gag.

 

Giovanni removes the gag. Casanova quickly pleads.

 

                      CASANOVA

           I am willing to marry your daughter.

 

                      LORENZO

           How dare you make such a suggestion!

           You, the son of actors! You are scum!

                (to the workers)

           Hold his nose and open his mouth.

 

They do so, and Lorenzo forces Casanova to drink the liquid

in the vial.

 

Casanova coughs, clears his throat.

 

                      LORENZO

           In the nether world, you won't be

           such a lover.

 

                      CASANOVA

           My reputation is greatly exaggerated.

           If you'd let me explain--

 

Lorenzo steps forward and strikes Casanova, knocking him cold.

 

                      LORENZO

           Farewell, Giacomo Casanova. May God

           have mercy on your soul.

                (to the others)

           Get him out of here.


                                                            3.

 

 

SUPER

 

"Venice, California. Summer, the Present."

 

 

EXT. VENICE - PROMENADE - DAY

 

Ocean Front Walk on a weekend.

 

A Promenade is lined with palm trees and stretches along the

sand for miles. Elbow-to-elbow PEDESTRIANS wearing California

casual move through a carnival-like atmosphere.

 

 

EXT. VENICE - BEACH - DAY

 

Casanova, wearing the same 18th century frills of a

gentleman, lies on the sand. He appears to be asleep -- or

worse.

 

BIKINI-CLAD MEN AND WOMEN pass by,   giving him hardly a

notice. On this beach, in this town, at this time, the sight

of a strangely-dressed man passed out on the sand is no

cause for alarm.

 

Casanova stirs. He opens his eyes. He manages to sit up. He

looks around.

 

Shock. He blinks and looks around again. He might as well be

on another planet -- in a way he is! -- for all the sense he

can make of what he sees.

 

Nearly naked men and women continue to pass by him. They

smile, they chat -- but to Casanova, they are aliens. It's

as if he is being assaulted by bare navels, exposed breasts,

tight buttocks.

 

 

INT. VENICE, ITALY - COUNTRY VILLA - NIGHT - (MEMORY FLASH)

 

As Casanova crawls in the bedroom window, Rosabel starts

unlacing the front of her dress.

 

                      CASANOVA

           Stop it, Rosabel. You deny me the

           pleasure of doing it myself.

 

                      ROSABEL

           But there's so little time!

 

                      CASANOVA

           A woman's greatest attraction is her

           modesty. The journey must be as

           pleasurable as the destination.


                                                            4.

 

 

EXT. VENICE, CALIF. - BEACH - DAY (PRESENT)

 

Two especially lovely YOUNG WOMEN pass by, their bikinis

revealing everything. Casanova still sits on the sand,

stunned by his surroundings.

 

                      FIRST YOUNG WOMAN

           Hey, dude, nice rags!

 

                      SECOND YOUNG WOMAN

           Cool, Casanova!

 

The sound of his name floors him. His eyes dart around in

confusion.

 

He sees the Promenade along the beach and heads for it.

 

 

EXT. VENICE - SIDE STREET - DAY

 

A van pulls over to drop passengers off. On the side of the

van is written "Los Angeles County. Department of Mental

Health."

 

Getting out is DR. HENNY THOMAS, 30s, and four PATIENTS.

Before closing the door, Henny talks to the driver.

 

                      HENNY

           Pick us up here in two hours.

 

She gathers up the patients and gets them walking in a group

toward the Promenade ahead.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova hurries along the busy Promenade, oblivious to the

sauntering, sweating mass of humanity surrounding him:

pedestrians, bicyclists, skateboarders, roller bladers. He

slices through the weekend crowd like a man who is lost and

confused.

 

Someone hands him a flier. It reads: "Discover the Goddess

Energy! Classes start soon!"

 

He passes an area of beach full of weight lifters; another

where people play table tennis.

 

Along the Promenade, vendors sell T-shirts and hot dogs, sun

glasses and tarot cards.

 

There are street musicians and sidewalk preachers, portrait

artists and jugglers.


                                                            5.

 

 

Casanova continues moving, a man desperate to get anywhere

but here.

 

Another flier is shoved at him. "Unhappy Sex Life? HOLISTIC

ORGASMS RELEASE THE UNIVERSAL EROS!!"

 

A little farther along, Casanova passes a MOTHER who is

helping her BOY, who has a nose bleed. She has a handkerchief

at his nose.

 

                      MOTHER

           Tilt your head back.

 

Casanova stares at the boy.

 

 

INT. VENICE, ITALY - ROOM - DAY (MEMORY FLASH)

 

YOUNG CASANOVA's head is tilted back, just like the boy's.

His MOTHER holds a cloth to his nose.

 

                      CASANOVA'S MOTHER

           Giacomo, you are such a sickly boy.

           Every day your nose bleeds. What am I

           going to do with you?

 

 

EXT. VENICE - PROMENADE - DAY - LATER (PRESENT)

 

Henny leads her patients down the Promenade. Coming in the

other direction is Casanova.

 

A TEENAGED BOY on a skateboard grabs Henny's purse as he

zooms by.

 

                      HENNY

           Hey! Thief, thief!

 

The teenager practically runs over Casanova as he passes.

Henny is pointing at the fleeing kid and yelling.

 

Casanova reacts quickly, turning and racing after the thief.

 

 

A SERIES OF SHOTS - THE CHASE

 

The teenager moves off the Promenade onto a bicycle path.

Casanova races after him.

 

Pedestrians move out of the way of the teenager, who is

speeding recklessly on his skateboard and putting distance

between himself and Cassanova.


                                                            6.

 

 

The path begins a broad sweeping turn, and Casanova runs off

the path to cut across in a shortcut.

 

The teenager and Casanova reach a straight-away on the path

at the same time. Casanova tackles the kid, and they both

fall to the ground.

 

The skateboard and Henny's purse go flying. Casanova recovers

first and jumps on the boy.

 

But he wiggles free. He grabs a handful of sand and throws

it in Casanova's face.

 

By the time Casanova recovers, the boy is skating off again.

The purse lies on the ground.

 

Casanova lets him go and picks up the purse.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova presents Henny with her purse.

 

                      HENNY

           Thank you so much.

 

Casanova, exhausted, bows low.

 

Henny's patients are taken by Casanova's costume. They can't

hide their amusement.

 

                      HENNY

           Let me pay you for your trouble.

 

                      CASANOVA

           It is never trouble to come to the

           assistance of a beautiful woman.

 

This is the first time we've heard Casanova talk, and he

speaks a more formal English than natives do. This also is

the last thing Henny expected to hear. She's flustered,

taken off-guard.

 

Henny's patients are beginning to wander off.

 

                      HENNY

           Stay together, people!

 

She gathers them back in, then turns back to Casanova.

 

                      HENNY

           I don't know how to thank you.


                                                            7.

 

 

But while her back was turned, Casanova moved off. She can't

find him in the crowd.

 

 

EXT. VENICE - PROMENADE - DAY - LATER

 

Casanova continues down the Prominade.

 

                      CHRISTIANO

                (O.S.)

           Giacomo!

 

Hearing his name, Casanova looks puzzled.

 

CHRISTIANO, 20s, appears. He wears shorts, sandals and a

bright T-shirt, looking like a native.

 

                      CHRISTIANO

           Giacomo? It's me, Christiano.

 

He pulls Casanova aside, out of the throng of moving people.

 

                      CHRISTIANO

           Don't you recognize me?

 

                      CASANOVA

           Christiano?

 

                      CHRISTIANO

           You look terrible. You just got here,

           didn't you?

 

                      CASANOVA

           Where am I?

 

                      CHRISTIANO

           America. It's far beyond Marco Polo's

           wildest dreams!

 

                      CASANOVA

           Why am I speaking English? I don't

           know English.

 

                      CHRISTIANO

           You do now. But still thinking in

           Italian, right?

 

Casanova nods, looking very confused.

 

                      CHRISTIANO

           I can't tell you what a relief it is

           to find someone else from home.


                                                            8.

 

 

                      CASANOVA

           How long have you been here?

 

                      CHRISTIANO

           About six months. Remember Lorenzo

           Lebano? I was climbing through his

           daughter's window every night. It was

           so sweet while it lasted. Then I got

           caught, he forced me to drink a magic

           potion -- and here I am!

 

                      CASANOVA

           You and Rosabel?

 

                      CHRISTIANO

           Don't tell me ... but, of course, it

           makes perfect sense! Sweet Rosabel. I

           missed her for almost a week.

 

                      CASANOVA

           I want to go home.

 

                      CHRISTIANO

           I'm working on it. In the meantime,

           this is an amazing place, Giacomo,

           you won't believe how people behave

           here. There's so much to tell you, I

           don't know where to begin. You must

           be starving.

 

                      CASANOVA

           I am very hungry.

 

                      CHRISTIANO

           I found a place that makes wonderful

           pasta. My treat. In a few days, after

           you've had time to adjust, you can

           help me follow some leads.

 

                      CASANOVA

           Leads?

 

                      CHRISTIANO

           A couple people we need to talk to.

           We've got to find the magic that will

           get us back.

 

                      CASANOVA

           As soon as possible! I belong in Italy.


                                                            9.

 

 

                      CHRISTIANO

           Italy's the easy part. It's getting

           back to our own time that's the bitch.

           Are you ready for this? Here it's the

           twenty-first century.

 

                      CASANOVA

           I belong in 1749, I belong in Venice.

 

                      CHRISTIANO

           This is Venice -- California!

 

                      CASANOVA

           I do not understand.

 

                      CHRISTIANO

           Come on, you'll think more clearly on

           a full stomach.

 

 

EXT. VENICE - PROMENADE - PUBLIC REST ROOM - DAY

 

They pass a public restroom.

 

                      CHRISTIANO

           I gotta pee.

 

Christiano enters and Casanova, hesitating a moment, follows

him.

 

 

INT. PUBLIC REST ROOM - DAY

 

Christiano goes to a urinal. Casanova waits behind, wide-

eyed, not sure what kind of building he's entered.

 

Christiano finally notices Casanova's wonder.

 

                      CHRISTIANO

           Isn't this incredible?

 

He flushes and zips up.

 

                      CHRISTIANO

           Wait'll you see this.

 

He opens a door and presents the toilet.

 

                      CHRISTIANO

           For the bowels.

 

He flushes it. Casanova stares at the circling water.


                                                           10.

 

 

                      CASANOVA

           Where does it go?

 

Christiano shrugs off the question.

 

                      CHRISTIANO

           Not in the street! Everyone here is

           obsessed with cleanliness. Come on.

 

He leads the way out. With a final look around in amazement,

Casanova hurries behind him.

 

 

EXT. VENICE - ANGELO'S CAFE - DAY

 

They sit outside at a sidewalk cafe. Casanova is wolfing

down a large plate of pasta like he hasn't eaten in days.

Christiano sips a glass of red wine.

 

                      CHRISTIANO

           First, we've got to get you a place

           to stay tonight. And a way to make

           some spare change. You played in the

           orchestra ... if we can get you a

           violin, you'll do fine. You can be a

           street musician. Tonight, anyway, you

           can crash at the shelter, long as we

           get there early enough to reserve you

           a cot. I've been crashing at the

           studio. I've making a movie.

 

                      CASANOVA

           What is that?

 

                      CHRISTIANO

           You won't believe your eyes. Movies

           are the best thing here. What I'm

           doing is just a low budget thing --

           it's either erotica or porno,

           depending on whether you're for or

           against it.

 

                      CASANOVA

           Porno?

 

                      CHRISTIANO

           I get paid for making love to women.

           I don't know how to tell you this,

           but you're in the title. "Casanova

           Does California."

 

                      CASANOVA

           I do not understand.


                                                           11.

 

 

                      CHRISTIANO

           You won't believe the reputation you

           have here. You're considered the

           greatest lover of all time. Listen, I

           may be able to get you a small part.

           Hell, maybe Tom will even let you

           crash at the studio. We'll run by on

           our way to the shelter.

 

 

EXT. VENICE - PROMENADE - DAY

 

Henny window-shops with her patients. She keeps a close

watch on them.

 

 

EXT. VENICE - BUSINESS AREA - DAY

 

They're away from the beach, walking along a sidewalk in a

business area. Many of the buildings have flashy murals

painted on them.

 

                      CHRISTIANO

           The thing is, if you say you're

           Casanova, eventually you'll get

           locked up for being crazy. You can't

           tell the truth here.

 

                      CASANOVA

           I always tell the truth.

 

                      CHRISTIANO

           I tried to tell the truth in the

           beginning, too, and I ended up in

           jail. I'm still seeing a shrink as

           part of my parole. Believe me, it's

           an experience you want to avoid.

 

                      CASANOVA

           Who am I if I am not who I am?

 

                      CHRISTIANO

           I'll call you Amado. You're my cousin

           visiting from Venice in the old

           country. Let me do the talking. This

           way.

 

They turn on a side street.

 

 

EXT. VENICE - SIDE STREET - DAY

 

They continue walking. Ahead, a small group of WOMEN are

picketing in front of a windowless, square building.


                                                           12.

 

 

The women carry signs reading things like "Tom Snow

Productions Debases Women!," "No Porno in Venice!," and

"Casanova Does Life Without Parole!"

 

                      CHRISTIANO

           Oh shit, they're here again. We'll

           have to use the back entrance.

 

Christiano leads the way into an alley, circling around to

the back of the building.

 

 

INT. TOM SNOW PRODUCTIONS - OFFICE - DAY

 

TOM SNOW, 50s, sits behind a huge desk. He's a short stocky

man who looks older than he is. His face looks like it's

been hit by an avalanche.

 

Snow's eyes are closed. He is making little groaning sounds.

At first, it's hard to know what he's up to.

 

Then his eyes snap open, his chin drops, the groan becomes

louder and more sustained, and he grimaces. With a final

gasp, he is done.

 

He clears his throat and pushes back his chair. He reaches

down to zip up his fly.

 

Popping up from under the desk is SYLVIA, 20s, his secretary.

 

                      TOM

           Thanks, honey, that was really great.

 

                      SYLVIA

           Thank you, Mr. Snow.

 

                      TOM

           Don't forget to note it on your time

           sheet.

 

                      SYLVIA

           Anything else?

 

                      TOM

           Put on the tape of dailies before you

           go.

 

 

INT. TOM SNOW PRODUCTIONS - FRONT DESK - DAY

 

Christiano leads Casanova into the office. The front desk is

empty.


                                                           13.

 

 

                      CHRISTIANO

           Anybody home!

 

Sylvia quickly appears.

 

                      SYLVIA

           Hi, Chris. You want to see Tom?

 

                      TOM

                (O.S.)

           Chris, get your ass in here!

 

 

INT. TOM SNOW PRODUCTIONS - OFFICE - DAY

 

Tom is watching a VIDEO TAPE, where Christiano and Sylvia

are on an ornate bed, in a passionate embrace. Christiano is

dressed like Casanova, in 18th century frills.

 

Christiano and Casanova enter.

 

                      TOM

           This scene sucks. It takes too

           goddamn long for everybody to get

           naked.

 

For the first time he spins away from the TV.

 

                      TOM

           Who's this?

 

                      CHRISTIANO

           My cousin, Amado. He's just come over

           from the old country.

 

                      TOM

           How about a drink?

 

Without waiting for an answer, Tom swings his chair around

to the full bar behind him.

 

Casanova can't keep his eyes off the moving images on the TV.

He approaches the set and looks behind it, trying to

understand how it works, where the images come from.

 

Tom notices this.

 

                      TOM

           Something wrong?

 

                      CHRISTIANO

           Amado, what's the matter, you never

           seen a TV before? Your village isn't

           that primitive!


                                                           14.

 

 

He laughs like crazy and pushes Casanova into a chair.

 

 

INT. TOM SNOW PRODUCTIONS - OFFICE - DAY - LATER

 

A nearly empty bottle of Scotch is on the desk. Tom has been

holding court.

 

                      TOM

           It's the image, it's always the image!

           Fucking writers never know that. All

           they know is words. Show me a writer

           and I'll show you too many goddamn

           words!

 

Sylvia sticks her head in the doorway.

 

                      SYLVIA

           I'm leaving now, Mr. Snow.

 

                      TOM

           Wait a minute.

 

He leans over the desk and grins.

 

                      TOM

           Amado, you want to get a little head

           before she goes? She's great, trust me.

 

Casanova, not sure what has been asked, shoots a puzzling

look to Christiano.

 

                      CHRISTIANO

                (to change the subject)

           Tom, I forgot to tell you, the

           picketers are outside again.

 

                      TOM

           Goddamn ice queens. Somebody should

           fuck their brains out and give them a

           life.

 

                      SYLVIA

           Maybe I'd better go out the back way.

           If that's all right ...

 

                      TOM

           Amado, you want some?

 

Casanova shrugs, still confused.

 

                      TOM

           Get out of here, honey. See you in

           the morning.


                                                           15.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY

 

A dark basement. A LIGHT snaps on.

 

Tom leads Christiano and Casanova down a stairway into the

basement. Casanova, taking up the rear, moves with hesitation.

 

 

INT. VENICE, ITALY - STAIRWAY/BASEMENT - DAY (MEMORY FLASH)

 

Casanova's mother waits at the foot of the stairs as the boy

slowly comes down, step by careful step. The basement is

dark, cast in shadows from a lantern.

 

                      CASANOVA'S MOTHER

           Hurry up, Giacomo! You want your nose

           bleeds to stop or not?

 

The boy reaches the bottom. An OLD WOMAN comes forward,

appearing haggard, scary, maybe a gypsy, maybe a witch.

 

                      OLD WOMAN

           Bring the boy this way.

 

Casanova's mother takes his hand, and they follow the old

woman to a seaman's trunk. The old woman raises the lid.

 

                      OLD WOMAN

           Put the boy in the chest.

 

                      CASANOVA

           No, mama!

 

                      CASANOVA'S MOTHER

           Do as she says, Giacomo. This is

           going to stop your nose bleeds.

 

The mother and old woman together get the boy into the trunk.

 

                      OLD WOMAN

           Hold him down.

 

The mother holds him down while the woman sprinkles herbs

over him.

 

                      OLD WOMAN

           Let him go.

 

As soon as the mother's arms are out of the way, the old

woman slams down the lid with Casanova inside.

 

                      CASANOVA'S MOTHER

           How long must he be inside?


                                                           16.

 

 

                      OLD WOMAN

           As long as it takes.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY (PRESENT)

 

Casanova reaches the bottom of the stairs and comes into the

room.

 

The basement is a movie set. The ornate bed from the dailies

is along a wall, the focus of an array of movie lights.

 

In a corner, a sleeping bag is rolled out over a mattress.

 

                      TOM

           Amado, you got a sleeping bag?

 

                      CHRISTIANO

           I know where I can borrow one.

 

                      TOM

           It's all yours then.

 

                      CHRISTIANO

           Really appreciate this, Tom.

 

                      TOM

           I've got to get out of here. It's the

           old lady's birthday.

 

He starts back up the stairs.

 

                      CHRISTIANO

           See you in the morning.

 

Tom is gone.

 

                      CASANOVA

           This is where you sleep?

 

                      CHRISTIANO

           It's not as bad as it looks. And the

           price is right. Come on, we've got to

           get you a sleeping bag. And a violin.

           And some clothes.

 

 

INT. VENICE - PROMENADE - DAY

 

Christiano and Casanova come out of a sporting goods store.

Casanova is wearing shorts, sandals, a tank top and a

baseball cap. He carries his native clothes in a paper bag.


                                                           17.

 

 

                      CHRISTIANO

           Now the violin, the sleeping bag, and

           we're done.

 

                      HENNY

           Hello, Chris.

 

Christiano turns to find Henny and her patients.

 

                      HENNY

                (to Casanova)

           Hello again.

 

                      CHRISTIANO

           You know each other?

 

                      HENNY

                (ignoring this)

           Didn't you have an appointment to see

           me this morning?

 

                      CHRISTIANO

           Did I? God, I can't believe I missed

           it. Did you--

 

                      HENNY

           I haven't told your parole officer.

           Yet. Can I see you in the morning?

 

                      CHRISTIANO

           I got this job ... but, sure, I can

           work something out. Can we make it

           eight?

 

                      HENNY

           That's a little early, isn't it?

 

                      CHRISTIANO

           I wouldn't have to miss much work

           that way.

 

                      HENNY

           Eight it is.

 

She turns her focus to Casanova, who is staring at her. In

fact, Casanova appears to be mesmerized by her.

 

Henny offers her hand. Casanova starts shaking it and

doesn't let go.


                                                           18.

 

 

                      HENNY

           I'm Henny Thomas. Thank you again.

                (to Christiano)

           He stopped a thief from stealing my

           purse.

 

                      CHRISTIANO

           Really?

 

                      HENNY

                (to Casanova)

           You never told me your name.

 

                      CHRISTIANO

                 (quickly)

           This is my cousin Amado  from the old

           country.

 

                      HENNY

           Are you visiting long?

 

Casanova pulls her hand forward, bends down, and kisses it.

A slow gentle kiss that leaves Henny speechless.

 

                      CASANOVA

           You have extraordinary eyes.

 

Christiano pulls Casanova away and starts hurrying off. As

they depart, he talks over his shoulder.

 

                      CHRISTIANO

           Nice running into you, and I'll be at

           your office at eight! Thanks for not

           reporting me! It won't happen again!

 

Henny looks puzzled, watching them go. She holds up the hand

that was kissed and stares at it.

 

She discovers that her patients have strayed and quickly

gets into gear to round them up.

 

Christiano drags Casanova along.

 

                      CHRISTIANO

           Forget about getting her purse, she's

           not available.

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

The building is deserted, the picketers long gone. No

visible lights are on.


                                                           19.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - NIGHT

 

Christiano is sprawled across his sleeping bag, reading a

script, memorizing his lines.

 

A second mattress has been pulled near his. Casanova sits on

a sleeping bag, tuning a violin.

 

With the instrument in tune, Casanova tries it out. He plays

something classical from the 18th century.

 

                      CHRISTIANO

           Man, you're gonna wow the shit out of

           the tourists. They're not used to

           hearing classical out there.

 

Casanova sets down the violin.

 

                      CHRISTIANO

           Help me with lines.

 

He tosses Casanova his script.

 

                      CHRISTIANO

           Scene 43. I'm Casanova, you're Honey

           Buns.

 

                      CASANOVA

           Why are you pretending to be me?

 

                      CHRISTIANO

           Not the real Casanova, it's my part

           in the picture. I told you, they

           think of you as history's great

           superstud. Scene 43, the first line

           is yours.

 

                      CASANOVA

                (reading)

           "I can suck chrome off a bumper."

           What does this mean?

 

                      CHRISTIANO

                (reciting his lines)

           "You can use my bumper any time, baby.

           I got more hot meat for you than a

           Coney Island chili dog stand."

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

Casanova storms out of the building. A moment later

Christiano comes out.


                                                           20.

 

 

He catches up with him.

 

                      CHRISTIANO

           Giacomo, you don't get it. It doesn't

           matter if it doesn't make any sense.

           These kind of movies, people watch

           them with the sound off till everybody

           gets naked. Then it's all background

           music and heavy breathing.

 

                      CASANOVA

           What you said is an insult to

           lovemaking!

 

Christiano stops and lets him go.

 

                      CHRISTIANO

                (after him)

           You gonna be able to find your way

           back?

 

No answer.

 

 

EXT. VENICE - PROMENADE - NIGHT

 

Casanova walks along the Promenade. It's much less crowded

than during the day.

 

He approaches a restaurant as Henny comes out with TED

MINER, 40s. She recognizes Casanova.

 

                      HENNY

           Amado? Nice to see you again.

 

Casanova also recognizes her and bows low in her honor.

 

                      HENNY

           I'd like you to meet my fiancee, Ted

           Miner.

 

                      TED

           Hello.

 

He offers his hand. Casanova gives only a single shake.

 

                      HENNY

                (to Ted)

           Amado's the one I was telling you

           about. He's visiting from Italy.

 

                      TED

           Rome?


                                                           21.

 

 

                      CASANOVA

           Venice.

 

                      TED

           Which do you prefer, Venice, Italy or

           Venice, California?

 

                      CASANOVA

           I miss my home.

 

                      HENNY

           Already?

                (to Ted)

           He just got here.

 

                      CASANOVA

           Why are you marrying him?

 

                      HENNY

           Excuse me?

 

                      CASANOVA

           He is not the man you should marry.

           It would be a great mistake if you do

           this.

 

                      TED

                (to Henny)

           You sure he isn't one of your patients?

 

                      HENNY

           Well, Amado, it doesn't really matter

           what you think, does it? Have a

           pleasant evening.

 

She grabs Ted's hand and heads off. Casanova watches them

go, growing concern in his gaze.

 

 

EXT. VENICE - STREET - NIGHT

 

Casanova walks along a sidewalk, trying to recognize where

he is. In fact, he is lost.

 

A WOMAN PEDESTRIAN approaches from the other direction.

Seeing Casanova, she crosses the street.

 

He also crosses the street, and they approach one another

again.

 

She crosses back. He crosses back.

 

She takes something out of her purse and stops.


                                                           22.

 

 

                      WOMAN PEDESTRIAN

           I have Mace!

 

He keeps walking toward her.

 

                      CASANOVA

           Excuse me! Can you help me? I am

           terribly lost.

 

                      WOMAN PEDESTRIAN

           What's the address?

 

                      CASANOVA

           I wish I knew.

 

He reaches her.

 

                      CASANOVA

           The name is Tom Snow Productions.

 

                      WOMAN PEDESTRIAN

           Pervert!

 

The woman lets out a sudden screech and sprays him with Mace.

 

 

EXT. VENICE - PROMENADE - NIGHT

 

Casanova is at a water fountain, rinsing out his eyes. While

he's still blinded, two TEENAGERS come up to him.

 

                      TEENAGER #1

           Give me your wallet.

 

The second teenager snaps open a switchblade.

 

                      TEENAGER #2

           Now, motherfucker!

 

Casanova still can't see clearly.

 

                      TEENAGER #2

                (to the other)

           Get it!

 

The first teenager grabs for Casanova's wallet. Casanova

grasps his arm, twists it, and drops the boy to the ground.

 

The other teenager jumps on his back but Casanova bends

forward, throwing him to the ground as well.

 

The teenagers have had enough and scramble to their feet,

running off.


                                                           23.

 

 

Casanova rubs his eyes, the Mace still having its effect.

 

 

EXT. VENICE - STREET - NIGHT

 

Henny is cleaning Casanova's face with a damp handkerchief.

Ted leans against his convertible at the curb.

 

                      HENNY

           I'm so glad we passed by and saw you.

           This is such a terrible thing to

           happen on your first night in America.

           Please don't think we're all like

           those hoodlums. How are you doing?

           Feel better?

 

                      CASANOVA

           This feels very nice.

 

                      HENNY

           Good. Can we give you a ride somewhere?

 

                      CASANOVA

           Tom Snow Productions.

 

                      HENNY

           Why does that ring a bell? Do you

           know the address?

 

 

EXT. VENICE - PAY PHONE - NIGHT

 

The convertible is parked near a pay phone. Ted is looking

in the yellow pages.

 

                      TED

           Got it.

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

The convertible pulls up in front of the dark building.

 

 

INT. CONVERTIBLE - NIGHT

 

Casanova sits alone in back. Henny swings around to face him.

 

                      HENNY

           Is anybody here?

 

                      CASANOVA

           Christiano and I sleep in the basement.


                                                           24.

 

 

                      HENNY

           I thought he was staying at a halfway

           house. Interesting.

 

Casanova gets out.

 

 

EXT. TOM SNOW PRODUCTIONS - CONVERTIBLE - NIGHT

 

He goes to Henny's side. He offers his hand. When she offers

hers, he bends low and kisses it again.

 

                      TED

           Amado, how do you like California so

           far?

 

                      CASANOVA

                (reciting a poem)

           "Midway in our life's journey, I went

           astray / from the straight road and

           woke to find myself / alone in a dark

           wood. How shall I say // what wood

           that was! I never saw so dreary, / so

           rank, so arduous a wilderness! / Its

           very memory gives a shape to fear."

 

He stops and glares at Ted.

 

                      HENNY

           Is that something you wrote?

 

                      CASANOVA

           Alighieri wrote it.

 

                      HENNY

           I don't know him.

 

                      CASANOVA

           Dante Alighieri is our best  poet.

 

                      HENNY

           Oh, Dante! I didn't realize he was

           world-famous by his first name! Did

           you know that, Ted?

 

Ted has had enough of this nonsense and puts the car in

gear, laying rubber to get away from there.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - NIGHT

 

Casanova comes downstairs. Christiano has fallen asleep

while reading.


                                                           25.

 

 

Casanova turns out the light next to Christiano. He crawls

into his own sleeping bag and gets comfortable.

 

He looks at the ceiling, thinking.

 

 

INT. VENICE, ITALY - BASEMENT - DAY (MEMORY FLASH)

 

The old woman opens the seaman's trunk. Casanova's mother

watches.

 

Even though there is only lantern light in the basement, the

young Casanova squints, blinded. He sits up.

 

                      OLD WOMAN

           No nose bleed.

 

                      CASANOVA'S MOTHER

           Is he cured?

 

                      OLD WOMAN

           We'll have to wait and see.

 

 

EXT. VENICE - PROMENADE - DAY (PRESENT)

 

Christiano helps Casanova get settled at a spot along the

Promenade.

 

Outside a shop nearby, the OWNER is sweeping. He stops to

watch with curiosity as Casanova, wearing his new beach

attire, gets ready to play the violin.

 

Christiano arranges the open violin case, then takes out a

dollar and drops it in.

 

                      CHRISTIANO

           Seed money. I'll see my shrink, go to

           work and when we're done shooting,

           I'll come by to see how you're making

           out. You gonna be all right?

 

                      CASANOVA

           Such a beautiful day! I will play

           beautiful music.

 

                      CHRISTIANO

           That's the spirit.

 

Christiano heads out. Before he's far, Casanova begins a

classical piece. Christiano grins.

 

People along the Promenade gather to watch Casanova.


                                                           26.

 

 

A nearby street performer, a SWORD SWALLOWER, watches his

audience disperse to listen to the beautiful violin music.

 

 

INT. HENNY'S OFFICE - DAY

 

Christiano sits across the desk from Henny.

 

                      HENNY

           I ran into Amado last night.

 

                      CHRISTIANO

           Really?

 

                      HENNY

           He says he's staying with you -- but

           not at the halfway house. We dropped

           him off.

 

                      CHRISTIANO

           It's just temporary, for convenience.

           It's where my job is and we like to

           start early in the morning.

 

                      HENNY

           You haven't told me about this job.

           What is it?

 

                      CHRISTIANO

           It's, ah, you know, an acting job.

 

                      HENNY

           Acting! I didn't know you were an

           actor.

 

                      CHRISTIANO

           Just a small role, you know, nothing

           very important.

 

                      HENNY

           A film or a play or ... ?

 

                      CHRISTIANO

           No, it's, ah, you know, an

           instructional video.

 

                      HENNY

           Very good.

 

 

INT. HENNY'S OFFICE - FRONT DESK - DAY

 

Henny walks Christiano out of the office.


                                                           27.

 

 

                      HENNY

           Are you showing Amado the sights?

 

                      CHRISTIANO

           I left him playing the violin on

           Ocean Front.

 

                      HENNY

           He's a street musician?

 

                      CHRISTIANO

           Gives him something to do while I'm

           working.

 

                      HENNY

           Interesting.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova plays the violin. Quite a crowd has gathered to

listen.

 

The nearby Sword Swallower glares at the new competition. He

packs up and moves on in disgust.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY

 

Tom stands next to the ornate bed, where Christiano and

Sylvia are nude under flimsy "between takes" robes. A camera

is behind him, and bright lights glare down on the bed.

 

                      TOM

           The sequence is, you do a sixty-nine,

           then you sit up on top of him, facing

           the camera, and you reach around and

           grab her tits. I want lots of

           squealing.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova plays the violin. The crowd is even larger. In it

is Henny.

 

Great applause when Casanova finishes. Many people move

forward to drop change or bills into the violin case.

 

Casanova is about to begin another piece when he notices

Henny, who has moved to the front of the line.

 

                      CASANOVA

           Hello!


                                                           28.

 

 

                      HENNY

           Hi. Can I buy you lunch when you take

           a break?

 

                      CASANOVA

           Look how well I am doing! Let me buy

           you lunch.

 

                      HENNY

           In about an hour?

 

                      CASANOVA

           Good.

 

                      HENNY

           Go straight down the Promenade and on

           the left you'll run into Cupid's

           Retreat.

 

                      CASANOVA

           A good name!

 

He begins playing a passionate, gypsy-sounding piece.

 

 

EXT. CUPID'S RETREAT - PATIO - DAY

 

Casanova finds Henny at a table. He hurries over, bows low

and sits.

 

                      CASANOVA

           I feel like I met you in a previous

           life.

 

                      HENNY

           Really?

 

                      CASANOVA

           Your soul feels so familiar to me.

 

                      HENNY

           And if I don't believe in previous

           lives?

 

                      CASANOVA

           But I am living proof that they exist.

 

                      HENNY

           How's that?

 

He scoots his chair closer to her.


                                                           29.

 

 

                      CASANOVA

           My name is not Amado. I am Giacomo

           Casanova. The day before yesterday,

           by my senses, I was forced to drink a

           magic potion on a summer night in

           Venice, Italy, in 1749. When I came

           to, I was on the beach here, and

           Christiano tells me this is the

           twenty-first century!

 

Henny narrows her gaze at him.

 

                      CASANOVA

           I think we met in 1749. I feel like I

           know you.

 

                      HENNY

           A street musician, a weaver of tall

           tales -- you have many talents.

 

                      CASANOVA

           Do you believe me?

 

                      HENNY

           Of course I don't believe you.

 

She laughs.

 

                      HENNY

           You also butt into matters that don't

           concern you. Ted was very upset by

           your remark last night. I wouldn't

           marry him if he wasn't the right man.

 

                      CASANOVA

           No, you are making a terrible mistake!

 

                      HENNY

           Amado--

 

                      CASANOVA

           Casanova.

 

                      HENNY

           Amado--

 

                      CASANOVA

           Casanova!

 

A WAITER appears.

 

                      WAITER

           Are you ready to order?


                                                           30.

 

 

Henny stands up.

 

                      HENNY

           I'm sorry. I'm not as hungry as I

           thought I was.

 

She marches away. Casanova is not sure what to do under the

circumstances.

 

                      CASANOVA

           Then I am not hungry either. Am I

           supposed to pay you for your trouble?

 

                      WAITER

           If you like.

 

Casanova tips him far too much and takes off after Henny.

The waiter shakes his head and grins.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova catches up with Henny.

 

                      CASANOVA

           Why are you upset?

 

                      HENNY

           I don't like to be played for a

           sucker. Amado!

 

                      CASANOVA

           If it makes you feel better, you can

           call me Amado.

 

                      HENNY

           How noble of you.

 

                      CASANOVA

           You must still be hungry. We can go

           somewhere else.

 

She stops and stares at him.

 

                      HENNY

           No! I made a mistake coming here to

           see you. I don't know what I was

           thinking. I want you to stop following

           me.

 

Henny is quickly gone, and Casanova is crushed.

 

He turns to find a JUGGLER controlling three chain saws in

the air.


                                                           31.

 

 

Someone hands him a flier that says, "Lose 30 pounds in 30

days!"

 

 

EXT. VENICE - PROMENADE - DAY - LATER

 

Casanova plays a classical tear-jerker on the violin.  He

really gets into it, tears welling in his eyes.

 

 

INT. VENICE, ITALY - DRAWING ROOM - DAY (MEMORY FLASH)

 

The young Casanova is playing the same melody on a smaller

violin, giving a concert in a drawing room.

 

A guest whispers to Casanova's mother.

 

                      GUEST

           He has so much talent. How is his

           health?

 

                      CASANOVA'S MOTHER

           No nose bleeds in over a year.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY (PRESENT)

 

Tom films the sex action on the bed. Both Christiano and

Sylvia are trying far too hard to sound passionate with

gasps and grunts and groans.

 

But Tom loves it and gives them a thumbs up.

 

 

EXT. VENICE - PROMENADE - DAY

 

Christiano steps forward at the end of a song. He is taken

aback by all the money in the violin case.

 

                      CHRISTIANO

           Look at this! You do this well every

           day and I'm taking lessons from you.

 

 

EXT. VENICE - BEACH - DAY

 

Casanova and Christiano walk along the beach, eating hot

dogs. Casanova still has trouble keeping his eyes off the

near-bare female bodies everywhere, but he looks more

shocked than seduced by them.


                                                           32.

 

 

                      CHRISTIANO

           I got a lead on a dude named Larry

           the Eye who may be able to help us.

           He's into all kinds of magic. I'm

           trying to track down the particulars.

           Meanwhile I think I talked Tom into

           giving you a spot in the movie -- I

           thought you'd need the money, but it

           looks like you're doing better than

           me. I told him we'd stop by tonight

           and talk about it.

 

He notices that Casanova's attention has been elsewhere.

 

                      CHRISTIANO

           Tom knows a lot of girls if you're

           horny.

 

Casanova shoots him a puzzling look and Christiano gives him

the gesture of sexual intercourse, the index finger of one

hand going in and out of a circle formed by the thumb and

index finger of the other.

 

                      CASANOVA

           What has this place done to you? You

           act like one of them!

 

                      CHRISTIANO

           What did I do?

 

                      CASANOVA

           Everything here is so ... literal! So

           obvious! There is no mystery. Where

           is the temptation and the danger and

           the anticipation and the seduction?

           The teasing flash of white flesh

           under parting silk? A woman's most

           sensual gesture is her modesty - but

           no one here is modest. The women here

           sweat like farm hands -- and are

           twice as brown!

 

He storms off, leaving Christiano stunned.

 

                      CHRISTIANO

                (after him)

           Give it a few weeks! You'll end up

           loving it here! I'm even thinking of

           staying!

 

 

INT. TOM SNOW PRODUCTIONS - OFFICE - NIGHT

 

Tom is watching dailies when Christiano enters.


                                                           33.

 

 

                      TOM

           You're late. Where's your cousin?

 

                      CHRISTIANO

           I don't know.

 

                      TOM

           Goddamn it, I already had a writer

           come up with a scene for him. I want

           to shoot it first thing in the morning.

 

                      CHRISTIANO

           I'll tell him. How are the dailies?

 

                      TOM

           Terrible. I said groan with passion.

           You sound like you're stuck in the

           middle of a shit.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY

 

Casanova is tuning the violin.

 

                      CHRISTIANO

           I promised Tom you'd be here when he

           comes in this morning.

 

                      CASANOVA

           I will not be in your movie.

 

                      CHRISTIANO

           I think it's just a screen test. It

           won't take long.

 

Casanova goes about his business.

 

                      CHRISTIANO

           Do it for me. Because without me,

           where would you be now? And who's

           going to find the magic that will get

           us home again?

 

                      CASANOVA

           For you, I will stay for this screen

           test. But I will not be in your movie.

 

 

EXT. TOM SNOW PRODUCTIONS - BACK ENTRANCE - DAY

 

A van is backing up against an open door, where several

WORKERS wait.

 

Along a nearby fence picketers are hollering.


                                                           34.

 

 

                      PICKETER #1

           Pornography is rape!

 

                      PICKETER #2

           Pornography demeans women!

 

Tom gets out and gives the picketers the finger. This only

makes them holler more.

 

                      TOM

                (to the workers)

           Bring it down the stairs to the

           basement.

 

He enters the building.

 

The workers open the back door of the van. Inside is a

strange looking piece of equipment, suggesting an exercise

machine.

 

                      WORKER #1

           What the hell's he doing, going on an

           exercise program?

 

                      WORKER #2

           Look there -- handcuffs. It's some

           kind of torture machine.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY

 

MARIGOLD, young and buxom, fully-clothed, is demonstrating

the piece of equipment. She is stretched out on her back,

spread-eagled with both her feet and hands cuffed to parts

of the machinery.

 

Tom stands next to her  Watching are Casanova and Christiano.

 

                      TOM

           Amado, come over here.

 

Casanova steps forward.

 

                      TOM

           Here's the sequence. First you

           straddle her, she sucks your cock for

           a while. Then you take this here ...

 

He pulls a long dildo from the equipment.


                                                           35.

 

 

                      TOM

           ... use it vaginally, use it anally,

           then you make her suck it, then both

           it and your cock together. Can you

           remember that?

 

Casanova looks like a volcano about to explode.

 

                      MARIGOLD

           It's a piece of cake, sugar, believe

           me.

 

                      CASANOVA

           We are not animals!

 

                      TOM

                (to Christiano)

           Is he serious?

 

                      CASANOVA

           A man and woman together do not need

           machinery!

 

He makes for the stairs.

 

                      MARIGOLD

           Tom, where'd you find this guy?

 

                      TOM

                (after him)

           Hey, I already paid a writer fifty

           bucks for this scene!

 

                      CHRISTIANO

           He hasn't really adjusted from the

           old country yet.

 

                      TOM

           Fuck. This is a great scene.

                (to Christiano)

           You're gonna have to do it yourself.

 

                      CHRISTIANO

           I will make the sacrifice for art.

 

                      MARIGOLD

           Hoop-dee doo!

 

 

EXT. TOM SNOW PRODUCTIONS - DAY

 

Casanova comes out the back door. Seeing him, the picketers

get noisy again.


                                                           36.

 

 

Casanova walks over to the chain-link fence. A picketer

rushes forward and spits in his face.

 

                      PICKETER #1

           Pornography degrades women!

 

Casanova wipes himself off.

 

                      PICKETER #2

           Pornography rapes the human soul!

 

                      CASANOVA

           That is very well put.

 

                      PICKETER #3

           Pornography--

 

                      PICKETER #1

           Wait a minute! What did you say?

 

                      CASANOVA

           I agree with you.

 

                      PICKETER #1

           You do?

 

                      CASANOVA

           Do you know what they do down there?

           It is the most disgusting thing I

           have ever seen.

 

Picketer #2, whose name is SHARON, comes forward.

 

                      SHARON

           My brother writes for the weekly.

           Would you let him interview you?

 

 

INT. WEEKLY PAPER - OFFICE - DAY

 

Casanova sits in a chair while a PHOTOGRAPHER snaps photos.

Sitting next to him is Sharon.

 

VIC, her brother the reporter, rushes in and plops down

behind the desk.

 

                      VIC

           Sorry I'm late. You got what you need?

 

                      PHOTOGRAPHER

           Got it.

 

He leaves.


                                                           37.

 

 

                      VIC

           On the phone, Sharon said you're an

           employee at Tom Snow Productions and

           will go on record about the movies

           they make. True?

 

                      CASANOVA

           Yes, I know what happens in the

           basement.

 

                      VIC

           All right! First your name ... spell

           it ...

 

He grabs a pad and pen.

 

                      CASANOVA

           Giacomo Casanova. G-I-A--

 

                      VIC

           Wait a minute. What's the deal here?

 

                      CASANOVA

           You wanted me to spell my name.

 

                      VIC

           Your real name.

 

                      CASANOVA

           Giacomo Girolamo Casanova.

 

                      VIC

           You're pulling my leg.

 

                      CASANOVA

           My name is my name. I was born in

           Venice, Italy, on April 2, 1725 and--

 

Vic throws down the pen and stands up.

 

                      VIC

           Sharon, get him the hell out of here.

           This is the last time I'm letting you

           do this to me!

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova and Sharon walk along together.

 

                      SHARON

           Why did you have to carry on like that?


                                                           38.

 

 

                      CASANOVA

           I told him the truth.

 

Someone hands Casanova a flier. It reads: "Past Life

Regression. Learn about your past lives. Classes taught by a

metaphysical minister."

 

Casanova folds up the flier and saves it.

 

                      SHARON

           If you were really Casanova, then you

           wouldn't have said the things you did

           because Casanova was as bad as the

           rest of them. No, he was one of the

           worst. He used women as objects.

 

                      CASANOVA

           That is not true!

 

                      SHARON

           The greatest seducer of all time! The

           big stud of the ages! Give me a break.

 

                      CASANOVA

           Who told you this?

 

                      SHARON

           It's common knowledge.

 

                      CASANOVA

           Where would I find out about this?

 

                      SHARON

           Ask anyone. Go to the library.

 

 

EXT. VENICE - LIBRARY - DAY

 

Casanova walks into the library.

 

 

INT. VENICE - LIBRARY - DAY

 

He enters cautiously and looks around. He sees an Information

Desk and goes to it.

 

 

INT. VENICE - LIBRARY - REFERENCE ROOM - DAY

 

Casanova sits at a table, reading an encyclopedia entry

about Casanova. What he's reading is making him very upset.

 

Finally he slams the book shut in disgust. He stands up.


                                                           39.

 

 

                      CASANOVA

           This book is filled with lies!

 

Other people nearby look at him in shock.

 

 

EXT. VENICE - LIBRARY - DAY

 

Casanova races out of the library. He looks like a man on a

mission.

 

 

INT. TOM SNOW PRODUCTIONS - FRONT DESK - DAY

 

Casanova comes in, going quickly to the staircase to the

basement. He passes by before Sylvia can say anything.

 

 

INT. TOM SNOW PRODUCTIONS - OFFICE - DAY

 

Tom is at his desk when Casanova flees past the doorway.

 

                      TOM

           Hey! I want to talk to you!

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY

 

Casanova races down the stairs.

 

Christiano is going over lines.

 

                      CHRISTIANO

           You got me in deep shit.

 

Tom comes down the stairs.

 

                      TOM

           Hey!

 

Casanova rolls up his sleeping bag. He takes the shopping

bag with his native clothes and dumps them on the mattress.

 

                      TOM

           I do you a favor, I expect one in

           return.

 

                      CHRISTIANO

           Let me handle it. He's obviously

           upset about something.


                                                           40.

 

 

                      TOM

                (to Casanova)

           I didn't have to give you an

           opportunity here.

 

                      CHRISTIANO

           Tom, let me find out what's going on.

 

                      TOM

           I expect a full report!

 

He climbs the stairs.

 

Casanova is changing clothes, getting back into the frills

of the 18th century.

 

                      CHRISTIANO

           What the hell do you think you're

           doing?

 

                      CASANOVA

           History has decided that I rape women.

           I manipulate them for my own selfish

           pleasure. What books say about me, I

           would be no better than an animal, or

           the people in this movie of yours.

           History does not know the first thing

           about me!

 

                      CHRISTIANO

           So you think you can change history?

           Lots of luck.

 

                      CASANOVA

           I can be who I am until I figure out

           how to escape this insane asylum!

 

He picks up the violin, grabs the sleeping bag and heads for

the stairs.

 

                      CHRISTIANO

           Where do you expect to stay?

 

                      CASANOVA

           On the sand! There is plenty to go

           around.

 

                      CHRISTIANO

           I'm seeing Larry the Eye tonight.

           This could be our big break.

 

But it goes on deaf ears.


                                                           41.

 

 

                      CHRISTIANO

                (after him)

           I need to know how to find you!

 

 

EXT. VENICE - BEACH - DAY

 

Casanova, violin in one hand, sleeping bag in the other,

plods along the beach.

 

 

EXT. VENICE - BEACH - DAY - LATER

 

He continues walking along the beach. Far less people are

around as he moves away from town and the Promenade.

 

 

EXT. COAST - SECLUDED BEACH - DAY

 

He finally reaches a secluded area of beach. He drops to the

sand, exhausted.

 

 

EXT. COAST - SECLUDED BEACH - NIGHT

 

Casanova sits around a campfire on the beach, playing his

violin.

 

The sky is filled with stars. The ocean waves lap against

the sand. His music flows over the scene like a delicate

breeze.

 

 

EXT. COAST - SECLUDED BEACH - DAY

 

Early morning. A security patrol jeep stops next to where

Casanova is sleeping on the sand.

 

A SECURITY OFFICER gets out and nudges Casanova with his foot.

 

Casanova stirs.

 

                      SECURITY OFFICER

           You can't sleep on the beach.

 

                      CASANOVA

           Go away.

 

Casanova closes his eyes.

 

The security officer goes to the jeep and picks up the

intercom.


                                                           42.

 

 

                      SECURITY OFFICER

           Gonna need a van here.

 

 

EXT. VENICE - POLICE STATION - DAY

 

The jeep and a police van are parked in front of a small

building, the police station.

 

 

INT. VENICE - POLICE STATION - DAY

 

The security officer signs a paper at a front desk.

 

                      SECURITY OFFICER

           He's all yours.

 

 

INT. VENICE - POLICE STATION - ROOM - DAY

 

Casanova sits at a table. LT. MASTERS comes in, carrying a

clipboard.

 

                      LT. MASTERS

           You've been arrested for sleeping on

           the beach and vagrancy. Do you

           understand that?

 

                      CASANOVA

           No.

 

                      LT. MASTERS

           What part of it don't you understand?

 

                      CASANOVA

           Why is it against the law to go to

           sleep?

 

                      LT. MASTERS

           It says here you gave your name as

           Casanova. What's your real name?

 

                      CASANOVA

           Giacomo Casanova. I was born in

           Venice, Italy, on April 2, 1725.

 

Lt. Masters shakes his head and leaves.

 

 

EXT. HENNY'S OFFICE - DAY

 

A police van is parked outside. BRUCE, the van driver, is

smoking a cigarette.


                                                           43.

 

 

BETTY SUE, Henny's secretary, comes outside and quickly

lights up.

 

                      BRUCE

           Hi, Betty Sue.

 

                      BETTY SUE

           Hi, Bruce. Looks like you brought us

           a real live one today.

 

                      BRUCE

           Flashiest dresser since I brought you

           Mae West.

 

 

INT. HENNY'S OFFICE - DAY

 

Casanova, in his frills, sits across the desk from Henny.

 

                      HENNY

           Amado, I just don't understand what

           happened to you. I've been trying to

           get ahold of Chris. My first job is

           to determine whether it's safe to let

           you back out on the street.

 

A silence.

 

                      HENNY

           Clamming up isn't going to help you.

 

                      CASANOVA

           You keep calling me Amado. Address me

           by my name and I will talk to you.

 

                      HENNY

           I really can't make a decision until

           I talk to Chris.

 

                      CASANOVA

           Christiano is looking for the magic

           to take us home.

 

                      HENNY

           Us home? He dropped through this worm

           hole with you?

 

                      CASANOVA

           I know nothing about a worm hole. He

           was given the magic potion first.

 

                      HENNY

           Interesting. Okay, I have what I need.

           You can go.


                                                           44.

 

 

She stops him at the door.

 

                      HENNY

           It's a shame, Amado. When I first met

           you, you were very charming.

 

 

EXT. HENNY'S OFFICE - DAY

 

Bruce and Betty Sue are making out when Casanova comes

outside. They quickly separate, and Bruce leads Casanova

into the secure back of the van.

 

 

INT. VENICE - POLICE STATION - FRONT DESK - DAY

 

Bruce brings Casanova in.

 

                      CASANOVA

           I want to leave now.

 

                      FRONT DESK OFFICER

           Just hold it a sec.

 

Bruce hands him a clipboard. He quickly reads over it.

 

                      FRONT DESK OFFICER

           Sorry, Casanova. The doc didn't

           approve your release.

 

 

INT. VENICE - POLICE STATION - CELL - DAY

 

Casanova sits alone in a cell.

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

A couple of cars are parked out front.

 

 

INT. TOM SNOW PRODUCTIONS - OFFICE - NIGHT

 

Tom is hosting a party for a few other porno filmmakers.

They are watching a video of dailies of the scene on the

mechanical contraption.

 

                      TOM

           Is that hot or what? I'm gonna do one

           about a robot dating service. Sex

           machines are gonna be the new rage.

 

In a corner of the office is Christiano, on the phone. He

hangs up.


                                                           45.

 

 

                      CHRISTIANO

           Tom, my cousin's in jail. I gotta see

           if I can get him out.

 

                      TOM

           Let him rot in there!

                (to the others)

           Asshole thought he was too good to be

           in my movie.

 

 

EXT. VENICE - UPSCALE NEIGHBORHOOD/CANAL - NIGHT

 

Christiano walks along a canal in an upscale neighborhood.

 

 

INT. HENNY'S HOUSE - DINING ROOM - NIGHT

 

Henny and Ted are having after-dinner wine when the doorbell

rings.

 

Henny goes to the door.

 

 

INT. HENNY'S HOUSE - ENTRANCE - NIGHT

 

Henny finds Christiano at the door.

 

                      CHRISTIANO

           Sorry to disturb you at home but it's

           urgent. Amado's in jail. He can't get

           out on bail unless you sign a paper.

 

                      HENNY

           I'm not sure I can. He won't give up

           his delusions.

 

                      CHRISTIANO

           He fell on his head as a kid. He gets

           these relapses but they always go away.

 

Henny studies him carefully.

 

                      CHRISTIANO

           This trip was supposed to be therapy

           for him. Give him a change of scenery,

           maybe things would get better. Guess

           they got worse.

 

                      HENNY

           A familiar environment is very

           important to keep some people stable.


                                                           46.

 

 

                      CHRISTIANO

           I'm the only relative he's got around

           here.

 

                      HENNY

           I suppose I do owe him a favor. Come

           by my office first thing in the

           morning and we'll talk more.

 

 

TV SCREEN

 

Soft porn on a cable channel. A man's face in ecstasy,

apparently getting a blow job.

 

 

INT. HENNY'S HOUSE - LIVING ROOM - NIGHT

 

Ted sits on the divan, watching the soft porn. Henny comes

into the room.

 

                      HENNY

           I wish you'd ask before you turn on

           pay-per-view.

 

                      TED

           Do I look like that?

 

                      HENNY

           I hope not.

 

She heads off.

 

                      TED

           Where are you going?

 

                      HENNY

           To take a bath.

 

He lets her go and gets back to the soft porn.

 

 

EXT. VENICE - POLICE STATION - DAY

 

Casanova and Christiano come out of the station.

 

                      CHRISTIANO

           We have to have a serious talk.

 

 

EXT. CUPID'S RETREAT - PATIO - DAY

 

They sit at a small table.


                                                           47.

 

 

                      CHRISTIANO

           Larry the Eye wants to meet you. He

           says the magic is personal, it

           depends on how the vibrations happen

           between you. I made you an appointment.

           This guy's a night owl, so I had to

           make it late at night, tomorrow.

           Here's the address.

 

He hands Casanova a slip of paper.

 

                      CASANOVA

           The sooner, the better.

 

                      CHRISTIANO

           The thing is, I'm having second

           thoughts about going back.

 

                      CASANOVA

           You want to stay here?

 

                      CHRISTIANO

           It won't effect you going back one

           way or the other. I already asked.

 

                      CASANOVA

           How can you stand the vulgarity of

           this place?

 

                      CHRISTIANO

           It grows on you. And where else can I

           be a movie star?

 

 

INT. HENNY'S OFFICE - DAY

 

Henny gathers her things, getting ready to leave for the day.

 

Betty Sue appears in the doorway. Behind her is Casanova.

 

                      BETTY SUE

           He won't take no for an answer.

 

                      HENNY

           That's okay. Come in, Amado. Betty

           Sue, please shut the door.

 

Henny and Casanova are alone.

 

                      CASANOVA

           I want to thank you for signing the

           paper.


                                                           48.

 

 

                      HENNY

           Don't make me regret it.

 

                      CASANOVA

           I am having a very hard time adjusting

           here.

 

                      HENNY

           You want to tell me about it?

 

                      CASANOVA

           Why is there so much ... I'm not sure

           I can explain it ...

 

                      HENNY

           So much ... ?

 

                      CASANOVA

           Skin.

 

                      HENNY

           Skin?

 

                      CASANOVA

           Exposure of skin. Everyone behaves as

           if the world is one big public spa,

           all the time. Everyone wants burned

           skin. Everyone is sweating all the

           time. Where I come from-- ... I'm

           sorry, for a minute I thought you

           believed me. I should just say thank

           you and leave.

 

He turns to go.

 

                      HENNY

           Do you need a ride?

 

 

EXT. VENICE - STREET - DAY

 

Henny's car moves down a Venice street in the business area.

 

 

INT. HENNY'S CAR - DAY

 

Henny turns to Casanova.

 

                      HENNY

           Has Chris shown you any of the sites?

 

                      CASANOVA

           What sites?


                                                           49.

 

 

                      HENNY

           I'll show you. Do you have time?

 

                      CASANOVA

           For you? Of course.

 

 

A SERIES OF SHOTS

 

of Henny giving Casanova the grand tour of the coast.

 

They look at the yachts docked at a marina.

 

They watch fishermen on the Santa Monica pier.

 

They pose for a sidewalk portrait together.

 

Henny tries to teach Casanova how to rollerskate along a

beach path.

 

They hike in the hills above Malibu.

 

 

EXT. COASTLINE - CLIFF - DAY

 

Casanova and Henny stand at a scenic view overlooking the

ocean at Malibu. The sun is beginning to drop below the

horizon.

 

Casanova recites a poem. As he continues, Henny becomes more

and more the focus of his words, so that by poem's end they

are standing close and looking into one another's eyes.

 

                      CASANOVA

           If questioning would make us wise, /

           No eyes would ever gaze in eyes; / If

           all our tale were told in speech, /

           No mouths would wander each to each.

           // Were spirits free from mortal mesh

           / And love not bound in hearts of

           flesh, / No aching breasts would

           yearn to meet / And find their

           ecstasy complete. //

 

They face one another.

 

                      CASANOVA

           For who is there that lives and knows

           / The secret powers by which he grows?

                      (MORE)


                                                           50.

 

 

                      CASANOVA (CONT'D)

           / Were knowledge all, what were our

           need / To thrill and faint and

           sweetly bleed? // Then seek not,

           sweet, the "If" and "Why"; / I love

           you now until I die. / For I must

           love because I live / And life in me

           is what you give.

 

They stand closer than ever.

 

                      HENNY

           That's so beautiful ... did you write

           it?

 

                      CASANOVA

           Unfortunately, I do not write that

           well. It popped into my head. Like

           magic.

 

                      HENNY

           My training is scientific. That makes

           me very skeptical about magic.

 

                      CASANOVA

           When I was a child, I had chronic

           nose bleeds all the time. The doctors

           had no idea what to do. Everyone

           assumed I would eventually bleed to

           death. Then my mother took me to an

           old woman who practiced magic. She

           put me in a seaman's trunk and

           covered me with magic herbs, then

           closed the lid. When I was allowed to

           come back out, I never had a nose

           bleed again.

 

                      HENNY

           That's child abuse. How long were you

           in there?

 

                      CASANOVA

           Long enough. I was cured. But my

           mother abandoned me anyway. She was

           an actress and I was too much bother.

 

                      HENNY

           Interesting. Who raised you?

 

                      CASANOVA

           My grandmother -- until a nobleman,

           Matteo Bragadin, took me under his

           wing. He treated me like a son.


                                                           51.

 

 

Their lips almost touch. Henny closes her eyes. Casanova

bends forward enough to kiss her.

 

A long, gentle kiss. Then they exchange a deep look.

 

Henny is flustered. She starts to say something but Casanova

puts a finger on her lips. 

 

                      CASANOVA

           "If all our tale were told in speech,

           / No mouths would wander each to

           each."

 

But Henny won't be kissed again. She steps back.

 

                      HENNY

           I'd better take you home.

 

 

EXT. COAST HIGHWAY - NIGHT

 

She drives along the coast after sunset.

 

 

INT. HENNY'S CAR - NIGHT

 

Casanova has been staring at her.

 

                      HENNY

           You make me nervous.

 

                      CASANOVA

           Why are you so afraid of love?

 

                      HENNY

           I beg your pardon. I'm engaged to be

           married.

 

                      CASANOVA

           You felt something special when we

           kissed.

 

                      HENNY

           I don't want to talk about it.

 

                      CASANOVA

           Did I say I wanted to talk? I want to

           love.

 

                      HENNY

           Just take me to bed like that, huh?

           Maybe you really are Casanova.


                                                           52.

 

 

                      CASANOVA

           I would never do that! It is much too

           early. We would miss so many wonderful

           steps along the way. The journey

           should be as pleasurable as the

           destination.

 

                      HENNY

           You're a funny one, Amado Casanova

           whoever you are.

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

Henny's car stops in front of the studio.

 

 

INT. HENNY'S CAR - NIGHT

 

She waits for him to get out.

 

                      HENNY

           Aren't you getting out?

 

                      CASANOVA

           I stopped staying here.

 

                      HENNY

           Where are you staying?

 

                      CASANOVA

           On the beach. But for some reason,

           this is not allowed.

 

                      HENNY

           I see. So what do we do now?

 

                      CASANOVA

           This is not your problem.

 

He opens the door and gets out.

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

Casanova starts walking away. The car doesn't move.

 

 

INT. HENNY'S CAR - NIGHT

 

She doesn't know what to do. Finally she drives up beside him.


                                                           53.

 

 

INT./EXT. HENNY'S CAR - NIGHT

 

                      HENNY

           If you sleep on the beach, you'll be

           arrested again. I can't help you a

           second time.

 

                      CASANOVA

           Stop worrying about it.

 

He keeps walking, she keeps creeping along beside him.

 

                      HENNY

           Get in.

 

                      CASANOVA

           I'll be fine.

 

                      HENNY

           You can sleep on the couch. Only

           tonight!

 

He keeps walking.

 

                      HENNY

           Goddamn it, get in!

 

Casanova stops and smiles. He gets in.

 

 

EXT. VENICE - UPSCALE NEIGHBORHOOD/CANAL - HENNY'S HOUSE -

NIGHT

 

Henny parks and they get out. Casanova admires the canal

passing by.

 

                      HENNY

           Originally Venice was designed to be

           like your home. Most of the canals

           got destroyed years ago. It's still

           beautiful, isn't it?

 

                      CASANOVA

           I would like to take you to Italy.

 

 

INT. HENNY'S HOUSE - LIVING ROOM - NIGHT

 

Henny tosses a pile of sheets on the divan.

 

                      HENNY

           You have to make your own bed.


                                                           54.

 

 

                      CASANOVA

           And lie in it, too.

 

                      HENNY

           Goodnight.

 

                      CASANOVA

           May you have sweet dreams.

 

                      HENNY

           Of you, right?

 

                      CASANOVA

           That is up to you.

 

He smiles. She leaves.

 

 

INT. HENNY'S HOUSE - NIGHT - LATER

 

Late, dark. Casanova sleeps on the divan.

 

The door cracks open. A figure creeps in.

 

Casanova opens his eyes, listening. The figure moves slowly

across the carpet next to him.

 

The figure moves into the hallway. Casanova slips out of bed

and tip-toes after him.

 

 

INT. HENNY'S HOUSE - BEDROOM - NIGHT

 

The figure enters Henny's bedroom.

 

Suddenly Casanova leaps through the doorway, jumping him.

Both fall on the foot of Henny's bed.

 

Henny wakes and turns on the bedside lamp.

 

Wrestling at the foot of the bed are Casanova -- and Ted.

 

                      HENNY

           Ted! Amado, stop it, it's Ted!

 

Casanova has a grip on him.

 

                      HENNY

           Amado, stop it! Casanova!

 

She looks around for something to use as a weapon. All she

can find is her briefcase. She picks it up and raises it

over her head, looking a little ridiculous.


                                                           55.

 

 

                      HENNY

           Stop it!

 

Seeing her, Casanova releases his grip. He stands up.

 

Ted brushes himself off and picks up a bouquet of flowers

off the floor.

 

                      HENNY

           What the hell are you doing here?

 

                      TED

           I can see you weren't expecting me.

 

                      HENNY

           Amado, leave us alone, please.

 

                      CASANOVA

           Casanova.

 

He bows, turns and leaves.

 

                      TED

           Casanova?

 

                      HENNY

           It's a long story.

 

                      TED

           What the hell's he doing here?

 

                      HENNY

           I asked you first.

 

                      TED

           I thought I'd surprise you. Make up

           for our little spat.

 

He holds out the bouquet for her.

 

                      HENNY

           I don't believe this.

 

 

INT. HENNY'S HOUSE - KITCHEN - NIGHT

 

Henny is putting the flowers in a vase. Casanova and Ted sit

at a table.

 

                      HENNY

           I'm helping him get settled at the

           shelter.


                                                           56.

 

 

                      TED

           What's that got to do with me spending

           the night?

 

                      HENNY

           Because I don't want you here tonight.

           It's just not a good time.

 

                      TED

           I see.

 

He stands up.

 

                      HENNY

           Quit acting like you're jealous.

 

                      TED

           Of Casanova? Don Juan, I'd have

           trouble with.

 

Ted heads for the door. Henny puts down what she's doing and

chases him.

 

 

INT. HENNY'S HOUSE - ENTRANCE - NIGHT

 

She catches him at the door.

 

                      HENNY

           It was a sweet thought.

 

                      TED

           But timing is everything.

 

                      HENNY

           Quit trying to make me feel guilty. I

           haven't done anything wrong here.

 

 

INT. HENNY'S HOUSE - KITCHEN - NIGHT

 

Henny returns and finishes arranging the flowers.

 

                      HENNY

           I'm going back to bed.

 

Before she is gone, she stops and turns.

 

                      HENNY

           Thank you. It was a courageous thing

           for you to do, actually.

 

                      CASANOVA

           I had no time to think about it.


                                                           57.

 

 

INT. HENNY'S HOUSE - LIVING ROOM - NIGHT

 

Casanova gets back into bed.

 

 

INT. HENNY'S HOUSE - BEDROOM - NIGHT

 

Henny gets into bed and turns out the light.

 

 

INT. HENNY'S HOUSE - LIVING ROOM - NIGHT

 

Casanova closes his eyes. He hears a voice in his head.

 

                      CASANOVA

                (V.O.)

           "If questioning would make us wise, /

           No eyes would ever gaze in eyes."

 

 

INT. HENNY'S HOUSE - BEDROOM - NIGHT

 

Henny hears Casanova's voice in her head.

 

                      HENNY

                (V.O.)

           "If all our tale were told in speech,

           / No mouths would wander each to

           each."

 

She sighs and rolls over.

 

 

EXT. VENICE - SHELTER - DAY

 

Casanova is in line with other homeless people in front of a

storefront. He carries the violin and the sleeping bag. He's

still in his frills but nobody pays this any mind.

 

Henny comes out of the building.

 

                      HENNY

           Okay, you're all set. You'll have to

           fill out a registration card.

 

She leans close to speak softly.

 

                      HENNY

           Don't say you were born in the 18th

           century. Use 1977, that's about right.

 

She suddenly looks at him differently.


                                                           58.

 

 

                      CASANOVA

           Why are you looking at me like that?

 

                      HENNY

           You're so young.

 

                      CASANOVA

           My soul is immortal.

 

She starts away. He grabs her hand.

 

                      CASANOVA

           When will I see you again?

 

                      HENNY

           I don't know.

 

                      CASANOVA

           Dinner tonight.

 

                      HENNY

           I'll have to think about it.

 

                      CASANOVA

           Come to Cupid's Retreat at six.

 

                      HENNY

           I'm not promising anything.

 

She pulls free. As she goes, she looks back to find him

smiling at her. She can't help herself -- and smiles back.

 

In line, Casanova notices that everyone is looking at him.

He bows theatrically.

 

 

INT. SHELTER - DAY

 

Casanova reaches a table and is given a registration form to

fill out.

 

                      SHELTER CLERK

           Fill as much of this out as you can.

           Curfew is nine p.m.

 

                      CASANOVA

           I don't understand.

 

                      SHELTER CLERK

           After nine, the doors are locked. At

           8:45, vacant reserved cots are given

           out on a first come, first served

           basis.


                                                           59.

 

 

                      CASANOVA

           But I'm meeting Larry the Eye at ten.

 

                      SHELTER CLERK

           Curfew is nine, sir.

 

Casanova moves out of line, and the next person steps up.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova gets ready to play his violin.

 

The owner of the adjacent store is sweeping outside.

 

Nearby the sword swallower is back and doing his routine to

a small crowd.

 

Casanova starts playing a melancholy piece. People gather.

The business owner stops sweeping to listen. The sword

swallower sees his audience disperse to gather near Casanova.

 

Casanova keeps playing, the music sad and haunting. People

drop bills into the open violin case.

 

The sword swallower appears in the crowd. He maneuvers his

way to the open violin case. He drops in a one-dollar bill,

then takes a large handful of bills back.

 

Casanova catches him doing this. The sword swallower turns

to go, and Casanova stops playing.

 

                      CASANOVA

           Put the money back!

 

The sword swallower turns and grins.

 

                      SWORD SWALLOWER

           You're new here. We share all of our

           proceeds. It's a community

           togetherness thing.

 

                      CASANOVA

           Put it back!

 

Casanova points the violin bow at him, a threat.

 

The sword swallower grins and draws his sword.

 

                      SWORD SWALLOWER

           Are you sure you know what you're

           getting into?


                                                           60.

 

 

                      CASANOVA

           You have no right to take my money.

 

                      SWORD SWALLOWER

           Consider it paying your dues.

 

Casanova makes a thrust with the violin bow. The sword

swallower counters with a thrust of his sword.

 

Casanova realizes his disadvantage and backs up as the sword

swallower advances with amateurish thrusts. Casanova easily

dodges the sword but has no weapon for offense.

 

The nearby store owner holds up his broom.

 

                      STORE OWNER

           Music man! Use this!

 

He tosses the broom, and Casanova one-hands it. He drops the

violin bow and uses the broom like a sword.

 

Now they fight in earnest, though the sword swallower is no

match for Casanova, a skilled swordsman. The sword swallower

retreats until he is trapped against a doorway.

 

With one powerful thrust, Casanova knocks the sword to the

ground.

 

                      SWORD SWALLOWER

           Okay, you win! You don't want to be a

           community person, fine. I'll give you

           your money back.

 

                      CASANOVA

           Yes, you will.

 

The sword swallower holds out the bills he took. Casanova

grabs them. Quickly the sword swallower picks up his sword

and disappears into the crowd.

 

Suddenly the crowd applauds. Casanova is surprised but then

recovers, grins, and bows.

 

 

EXT. HENNY'S OFFICE - DAY

 

Ted's convertible skids to a stop outside, almost running

into the building.

 

 

INT. HENNY'S OFFICE - DAY

 

Ted storms inside past Betty Sue's desk and into Henny's

office.


                                                           61.

 

 

Henny is on the phone.

 

                      TED

           I don't fucking believe you.

 

                      HENNY

           I'm on the phone.

 

He reaches forward and hangs her up.

 

                      TED

           Breaking our engagement on voice mail!

           You're supposed to be a psychiatrist

           and have better communication skills

           than that!

 

                      HENNY

           And you're supposed to be a lawyer

           and know about diplomacy! You're

           behaving just the way I feared you

           would.

 

                      TED

           That Casanova lunatic has something

           to do with this, doesn't he?

 

                      HENNY

           He made me realize I'm not ready to

           get married again. I still want to

           see you, but--

 

                      TED

           We'd set the date. The invitations

           are at the printer.

 

                      HENNY

           That's just money. I'm talking about

           my life. I have to know I'm ready.

 

                      TED

           Well, great. If you ever decide,

           you've got my number.

 

                      HENNY

           Why can't we go on like before?

 

                      TED

           Because you've changed, that's why!

 

He bolts out of there.

 

Betty Sue appears in the office doorway.


                                                           62.

 

 

                      BETTY SUE

           Are you okay?

 

                      HENNY

           I know it doesn't look like it, but I

           think I'm really pretty good here.

 

 

EXT. CUPID'S RETREAT - PATIO - DAY

 

Casanova sits alone at a table, waiting. His sleeping bag

and violin are on a chair.

 

 

EXT. CUPID'S RETREAT - DAY

 

Across the Promenade, Henny paces back and forth. Should she

or shouldn't she?

 

 

EXT. CUPID'S RETREAT - PATIO - DAY

 

Casanova stands up. He picks up his stuff.

 

 

EXT. CUPID'S RETREAT - DAY

 

Henny still hasn't made up her mind when Casanova comes out.

She turns her back to him, retreating into a doorway.

 

She watches him head down the Promenade. She looks like she

made a mistake.

 

 

EXT. VENICE - PROMENADE - DAY

 

Someone shoves a flier at Casanova. It reads: "Is Your Inner

Child Gay?"

 

Casanova crumples it and throws it back.

 

 

EXT. VENICE - POOR NEIGHBORHOOD - NIGHT

 

Casanova looks for the address Christiano gave him. He's

getting close.

 

 

EXT. POOR NEIGHBORHOOD - HOUSE - NIGHT

 

He finds the address, a run-down house from which loud rock

music blares.


                                                           63.

 

 

Casanova steps up onto the porch. He rings the doorbell.

Nothing. He knocks as loud as he can. Nothing.

 

The music blares out but inside there is only candlelight.

 

Casanova sees that the front door is cracked open.

 

 

INT. POOR NEIGHBORHOOD - HOUSE - NIGHT

 

Casanova comes inside.

 

                      CASANOVA

           Hello?

 

Candles are everywhere, the only illumination. Suddenly the

music stops.

 

                      CASANOVA

           Hello?

 

                      VOICE

                (O.S.)

           In the kitchen!

 

 

INT. HOUSE - KITCHEN - NIGHT

 

Casanova enters the kitchen. At the stove is a giant of a

man, LARRY THE EYE, 50s, bald, graying beard. His name comes

from a patch over one eye, which gives the visible eye great

intensity.

 

He is stirring something in a large pot on the stove.

 

                      CASANOVA

           Christiano made an appointment for me.

           I assume you are ...

                (looking at slip of paper)

           ... Larry the Eye?

 

                      LARRY THE EYE

           I've been expecting you. Stand still

           a minute.

 

Casanova obeys.

 

                      LARRY THE EYE

           Good vibes, good vibes. Sit down, I

           won't be a sec.

 

Casanova takes a seat at a small table.


                                                           64.

 

 

                      LARRY THE EYE

           I'm going to be upfront with you.

           Time travel ain't exactly my deal.

           But I've read about it, I'm willing

           to try it. Since I can't guarantee

           the results, I'll only charge half my

           usual price. Two-hundred and fifty

           dollars, payable in advance.

 

                      CASANOVA

           It will take me a few weeks to save

           that much.

 

                      LARRY THE EYE

           No hurry. Meanwhile, I'm going to

           need something from the time and

           place of your destination.

 

                      CASANOVA

           A piece of my clothing? A coin?

 

                      LARRY THE EYE

           If it's from where you want to go,

           it's perfect.

 

He steps away from the stove and approaches Casanova. He

takes out a switchblade and snaps it open. Before Casanova

can react, he's grabbed his hair and cut off a piece.

 

                      LARRY THE EYE

           And a hair sample. You got money you

           can put down to get me started?

 

 

EXT. POOR NEIGHBORHOOD - HOUSE - NIGHT

 

Larry the Eye walks Casanova outside.

 

                      LARRY THE EYE

           I don't know why but I thought you

           wanted to go back to the Middle Ages

           or something. 1749 shouldn't be too

           difficult.

 

                      CASANOVA

           And if this does not work?

 

                      LARRY THE EYE

           Well, I've found three different

           formulas, and I'm still doing research.

           We can keep trying.


                                                           65.

 

 

EXT. POOR NEIGHBORHOOD - STREET - NIGHT

 

Casanova is walking on a dark street when TWO HOODLUMS come

out of the shadows. They jump him, knocking him to the ground.

 

Casanova takes both of them on. He's holding his own.

 

He gets tripped to the ground, and one of the hoodlums runs

off with the violin and sleeping bag.

 

The other hoodlum jumps at Casanova, who rolls out of the

way. He scurries on top of the hoodlum, then knocks him cold.

 

Casanova slowly gets to his feet. He nudges the hoodlum on

the ground. Nothing.

 

He touches his own nose, which is bleeding.

 

 

A SERIES OF SHOTS (MEMORY FLASH)

 

of Casanova as a child with nose bleeds.

 

A nose bleed in a park.

 

A nose bleed at his grandmother's.

 

A nose bleed at home in bed.

 

 

INT. HENNY'S HOUSE - NIGHT - (PRESENT)

 

Henny, in her robe, responds to a knock on the door. She

looks through the peep hole and gasps. She opens the door.

 

The blood at Casanova's nose has dried and one eye is bruised.

 

                      HENNY

           My God, what happened?

 

 

INT. HENNY'S HOUSE - KITCHEN - NIGHT

 

Henny is tending to Casanova's wounds.

 

He looks up at her. Their eyes meet. She bends down and

kisses him.

 

 

INT. HENNY'S HOUSE - LIVING ROOM - NIGHT

 

Casanova goes to the divan.


                                                           66.

 

 

                      CASANOVA

           May I have sheets?

 

                      HENNY

           You don't have to sleep on the couch

           unless you want to.

 

He looks at her, studying her meaning.

 

                      CASANOVA

           Are you seducing me?

 

                      HENNY

           Yes, I guess I am. Does it bother you?

 

                      CASANOVA

           I think it does. We still have much

           to learn about one another.

 

                      HENNY

           But you're Casanova, I thought you'd

           turned seduction into an art form.

 

                      CASANOVA

           You are mocking me.

 

                      HENNY

           I'm sorry. I only meant that Casanova

           was always taking women to bed.

 

                      CASANOVA

           Only if they wanted to, and only

           after courting them.

 

                      HENNY

           Fine. Back to the point. I'm inviting

           you to come to bed with me.

 

                      CASANOVA

           Why?

 

                      HENNY

           Why? Because I find you attractive

           and I want to explore my feelings for

           you.

 

                      CASANOVA

           You can still do that if I spend the

           night right here.

 

                      HENNY

           You're a funny one. Most men would

           jump at the opportunity.


                                                           67.

 

 

                      CASANOVA

           I am not most men.

 

                      HENNY

           It's hard to believe Casanova, the

           great lover, would turn me down.

 

                      CASANOVA

           Because you really know nothing about

           me. What I read in the library, this

           is no one I recognize. I have never

           taken a woman against her will in my

           life.

 

                      HENNY

           This is not against my will, Amado.

 

                      CASANOVA

           See? You still refuse to believe me.

 

                      HENNY

           Shit. Is that what this is about? Me

           going along with you? Fine. I'll call

           you whatever you like.

 

He moves for the door.

 

                      HENNY

           Where are you going?

 

                      CASANOVA

           I can sleep on the beach.

 

                      HENNY

           You'll be arrested again.

 

He doesn't reply and leaves her upset.

 

 

EXT. TOM SNOW PRODUCTIONS - NIGHT

 

Casanova goes to the back of the building. He snuggles as

best he can into the doorway.

 

 

EXT. TOM SNOW PRODUCTIONS - DAY

 

The back door opens, jarring Casanova awake. Christiano

comes outside.

 

                      CHRISTIANO

           What happened to you?


                                                           68.

 

 

                      CASANOVA

           I got robbed.

 

                      CHRISTIANO

           Did you see Larry the Eye?

 

                      CASANOVA

           I need to give him some money, but

           they took my violin.

 

                      CHRISTIANO

           Shit. I don't know if I can get

           another one or not. Come on, I'll buy

           you coffee.

 

 

EXT. VENICE - BEACH - DAY

 

They wade in the waves, carrying styrofoam coffee cups.

 

                      CHRISTIANO

           I can loan you maybe half.

 

                      CASANOVA

           You need it for yourself.

 

                      CHRISTIANO

           You'll be going back first. I want to

           make sure the magic doesn't kill you.

           Just kidding. I promised Tom I'd do

           another movie after this one. He's

           got a sequel, "Casanova Does

           Casablanca." He wants me to play

           Bogart.

 

                      CASANOVA

           You are like a stranger to me.

 

                      CHRISTIANO

           Should've seen me six months ago, I

           was like you, in total shock.

 

                      CASANOVA

           This place will always shock me.

 

                      CHRISTIANO

           You get used to it. Life is so much

           easier here. I mean, look at this

           beach! Look at that ocean!

 

Spontaneously Christiano runs into the water, diving,

swimming out. He shouts for joy.

 

Casanova watches a moment, then turns and goes.


                                                           69.

 

 

EXT. VENICE - PROMENADE - DAY

 

Casanova turns down a flier thrust at him. He remembers the

flier he saved and takes it out, unfolding it.

 

He reads it again: "Past Life Regression. Learn about your

past lives. Classes taught by a metaphysical minister."

 

There's an address.

 

 

EXT. VENICE - CHURCH OF METAPHYSICAL TRUTH - DAY

 

Casanova finds the small church, which is located in a

Spanish bungalow, a residence. A hand-painted sign over the

porch reads "Church of Metaphysical Truth."

 

 

INT. VENICE - CHURCH OF METAPHYSICAL TRUTH - DAY

 

Casanova comes into an entryway. Hearing him, REV. SUN comes

out of an office. He wears a priest's collar, looks about 40.

 

                      REV. SUN

           May I help you?

 

                      CASANOVA

           I hope so. I have your flier about ...

 

He looks at the flier.

 

                      CASANOVA

           ... past life regression.

 

                      REV. SUN

           Our next class starts in August. I

           can give you a brochure.

 

                      CASANOVA

           I do not want a class. I want to go

           back to 1749 where I belong. To

           Venice, Italy. I thought maybe you

           could help me.

 

Rev. Sun studies him.

 

                      REV. SUN

           Come into my office.

 

 

INT. CHURCH OF METAPHYSICAL TRUTH - OFFICE - DAY

 

Casanova has told Rev. Sun his story.


                                                           70.

 

 

                      REV. SUN

           Let me see if I understand you. You

           actually are not visiting a past

           life -- but a future life. You've

           done past life regression in reverse.

           Future life premonition, I suppose

           it's called.

 

                      CASANOVA

           I  want to return where I belong. I

           found someone who can do the magic.

           The problem is, I have no money.

 

                      REV. SUN

           No money. I see.

 

He is thinking.

 

                      REV. SUN

           Well, then: how would you like to

           make some money?

 

 

EXT. SECLUDED BEACH - DAY

 

An old station wagon comes down a dirt road to a dilapidated

cabin along a secluded beach. It parks, and Rev. Sun and

Casanova get out.

 

                      REV. SUN

           It's not much but it's better than

           being a vagrant.

 

Casanova is impressed, especially with the view.

 

                      REV. SUN

           I haven't been here yet this season.

           Let's see what kind of shape it's in.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

They come inside. Lots of garbage, evidence of people having

used the place.

 

Sunlight streams through openings in the roof. But it's

livable.

 

Rev. Sun opens a cupboard.

 

                      REV. SUN

           They even left you some canned food.

           What do you think?


                                                           71.

 

 

                      CASANOVA

           It is wonderful!

 

                      REV. SUN

           I'll be back in a day or two with

           more supplies. How's Chef Boyardee

           sound? I need to get publicity out

           right away. Think you can have your

           first lecture ready in two weeks?

 

                      CASANOVA

           Two weeks is fine.

 

                      REV. SUN

           Excellent. You have a question about

           anything?

 

                      CASANOVA

           How far is it to walk to town?

 

                      REV. SUN

           The nearest community of any size is

           Malibu. It's too far to walk, you'd

           have to hitch-hike.

 

                      CASANOVA

           Please tell me how to do this.

 

 

EXT. BEACH HIGHWAY - DAY

 

Casanova, still in 18th century frills, holds out his thumb.

A car zooms by.

 

 

EXT. HIGHWAY - NEAR MALIBU - DAY

 

A car lets Casanova off. He holds out his thumb for another

ride.

 

 

INT. HENNY'S OFFICE - FRONT DESK - DAY

 

Henny comes out of her office.

 

                      HENNY

           I'm leaving early today.

 

                      BETTY SUE

           Don't forget you have a nine o'clock

           tomorrow.


                                                           72.

 

 

                      HENNY

           Damn. Cancel it. I'm taking a few

           days off.

 

She walks out before Betty Sue can respond.

 

 

EXT. HENNY'S OFFICE - DAY

 

Henny gets in her car and drives off.

 

As soon as she's gone, a car pulls in front of the office

and lets Casanova off.

 

 

INT. HENNY'S OFFICE - FRONT DESK - DAY

 

Casanova enters.

 

                      CASANOVA

           I'm here to see Henny.

 

                      BETTY SUE

           She just went home for the day.

 

Casanova looks crestfallen.

 

                      BETTY SUE

           She said she's taking a few days off.

 

                      CASANOVA

           Thank you.

 

 

EXT. HENNY'S OFFICE - DAY

 

Casanova sticks out his thumb again.

 

 

INT. HENNY'S HOUSE - KITCHEN - DAY

 

Henny is opening a bottle of wine when the doorbell rings.

She's changed into comfortable clothes.

 

She opens the door to find Casanova.

 

                      HENNY

           Hi.

 

                      CASANOVA

           Are you busy?


                                                           73.

 

 

                      HENNY

           No. I was just opening a bottle of

           wine. Join me?

 

                      CASANOVA

           We can take it to my new home.

 

                      HENNY

           Oh?

 

                      CASANOVA

           Wait till you see it!

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Henny's car comes down the dirt road and stops.

 

She and Casanova get out.

 

                      HENNY

           How did you get this?

 

                      CASANOVA

                (ignoring this)

           Come on.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

They step inside. Henny can see blue sky through the gaps in

the roof.

 

                      HENNY

           Very romantic. You're trespassing,

           aren't you?

 

                      CASANOVA

           I have a job. I get to use this while

           I prepare a lecture. I get half the

           gate receipts.

 

                      HENNY

           Slow down, you're losing me.

 

Casanova takes her hand.

 

                      CASANOVA

           I want to walk on the beach.

 

 

EXT. SECLUDED BEACH - DAY

 

They walk, holding hands, along the beach.


                                                           74.

 

 

They stop, look at one another and kiss. Slow, deep.

 

                      HENNY

           You're getting me hot. I need a swim.

 

Keeping on her shorts and blouse, she runs into the water.

Casanova chases her.

 

They swim and frolic. A water fight starts. They are like

adolescents in love.

 

They stand close. Another kiss, slow and deep. Casanova

kisses her neck.

 

                      CASANOVA

           Will you stay with me tonight?

 

                      HENNY

           You couldn't get rid of me.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

There is a mattress on the floor, some blankets heaped on

top of them.

 

                      HENNY

           I don't know about your sleeping

           arrangements.

 

Casanova finds clean sheets in a closet.

 

                      CASANOVA

           Look!

 

                      HENNY

           A definite improvement.

 

They make the bed together, kissing now and then, flirting,

teasing one another.

 

When they are done, Henny starts to undress.

 

                      CASANOVA

           No! Let me. You should be modest.

 

She stops, letting Casanova take over. He kisses her neck,

moving his lips to the top button of her blouse.

 

He kisses the button, then undoes it. His lips move to the

next button. He works slowly, teasingly, undoing each button

as if it's a great pleasure and revelation in its own right.

 

The teasing slowness just gets Henny more excited.


                                                           75.

 

 

                      HENNY

           Please ...

 

                      CASANOVA

           Everything in its time ...

 

He continues to undress her, step by slow step, teasing her

unmercifully.

 

 

INT. SECLUDED BEACH - CABIN - DAY - LATER

 

Finally they are having intercourse. He looks deeply into

her eyes and kisses her as his rhythm, and hers, increases

to a passionate, mutual climax.

 

He collapses beside her. Both are breathing heavily.

 

                      HENNY

           My God ...

 

                      CASANOVA

           You saw Your God?

 

Henny chuckles.

 

                      HENNY

           Enough to make a believer out of me.

 

 

EXT. SECLUDED BEACH - CABIN - SUNSET

 

They sit close together, watching a spectacular sunset.

 

 

INT. SECLUDED BEACH - CABIN - NIGHT

 

They make love again.

 

Overhead, stars can be seen through the gaps in the roof.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

The morning sun hits the cabin.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

Henny opens her eyes to find Casanova looking at her.

 

                      HENNY

           Good morning, sir.


                                                           76.

 

 

                      CASANOVA

           Good morning.

 

                      HENNY

           I can't remember the last time I

           slept so well. This must be paradise.

 

 

EXT. SECLUDED BEACH - DAY

 

Casanova and Henny walk along the beach. Both wear shorts

and tank tops.

 

They become playful, playing water tag in the waves.

 

 

INT. HENNY'S OFFICE - FRONT DESK - DAY

 

Ted comes in, carrying a large bouquet of flowers.

 

                      TED

           May I walk in and surprise her?

 

                      BETTY SUE

           She's not here. She took a few days

           off.

 

                      TED

           Really? Did she go somewhere?

 

                      BETTY SUE

           She didn't say.

 

 

EXT. HENNY'S HOUSE - PORCH - DAY

 

Ted stands at Henny's door with the flowers. He rings the

doorbell again. No answer. He knocks. Nothing.

 

He gives up and leaves. Walking along the canal, he tosses

the bouquet into the water.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Casanova and Henny are on a blanket, embraced and kissing.

 

Henny leaps up to her feet.

 

                      HENNY

           I feel so damn good! I'm going for a

           run. Want to come?


                                                           77.

 

 

                      CASANOVA

           Running where?

 

                      HENNY

           Down the beach.

 

                      CASANOVA

           What for?

 

                      HENNY

           To keep my heart healthy!

 

She jogs off. Casanova's expression reveals that he has no

idea why she is suddenly running down the beach.

 

 

EXT. SECLUDED BEACH - CABIN - DAY - LATER

 

Casanova is dozing when the sound of a motor wakes him. He

sits up to find the reverend's station wagon pulling up.

 

Rev. Sun gets out. He opens the rear door of the station

wagon.

 

                      REV. SUN

           I found a small auditorium in L.A.

           Not the best neighborhood, but it'll

           do. And I already sold five tickets!

 

He takes out a box of supplies.

 

                      REV. SUN

           I brought you a note pad and pen, I

           assume that will suffice. And lots of

           Chef Boyardee.

 

He carries the box to the cabin. Casanova follows.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

Rev. Sun puts the supplies in the cupboards. He sets out the

yellow notepad and a box of pens on the table.

 

Henny's purse is also on the table. Rev. Sun picks it up.

 

                      REV. SUN

           You have company?

 

Casanova nods.


                                                           78.

 

 

                      REV. SUN

           You sly devil! Well. Don't forget

           you're giving your first lecture a

           week from Saturday.

 

                      CASANOVA

           I will be ready.

 

                      REV. SUN

           You know what this reminds me of? The

           Chataugua Events in the 19th century,

           when public lectures were commonplace.

           In some ways we've lost the

           intellectual vitality this country

           used to have.

 

 

EXT. SECLUDED BEACH - DAY

 

Henny is jogging along the wet sand.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

The station wagon is pulling up the hill. Casanova is back

on the blanket, looking out at the ocean.

 

Henny returns from her run in time to see the station wagon.

 

                      HENNY

           Who was that?

 

                      CASANOVA

           Rev. Sun brought me supplies.

 

                      HENNY

           Rev. Walter Benjamin Sun of the

           Church of Metaphysical Truth?

 

                      CASANOVA

           You know him?

 

                      HENNY

           I had the misfortune of being on a

           panel with him once. You're not

           working for him, are you?

 

                      CASANOVA

           Is something wrong with that?

 

                      HENNY

           Only that's he's a charlatan.


                                                           79.

 

 

                      CASANOVA

           This is my lecture, and I can say

           anything I want.

 

                      HENNY

           I think it's time you told me

           everything.

 

 

EXT. SECLUDED BEACH - DAY

 

They saunter along the wet sand.

 

                      CASANOVA

           As soon as I have the money, I can

           pay Larry the Eye and hopefully be

           able to return home.

 

He notices that Henny's expression has changed.

 

                      CASANOVA

           You look so sad.

 

                      HENNY

           You don't know why?

 

                      CASANOVA

           I know that it will be sad to part.

 

                      HENNY

           Sad to part! It's not like you're

           moving to New York.

 

                      CASANOVA

           I belong in my own time and place.

 

                      HENNY

           What about me?

 

                      CASANOVA

           Are you saying you want to come with

           me?

 

                      HENNY

           For the sake of argument, let's say I

           am. Can that be done?

 

                      CASANOVA

           Good question. I had to give him a

           piece of my clothing, something from

           home. This must be an important part

           of the magic.


                                                           80.

 

 

                      HENNY

           Magic, magic, magic. I thought this

           was our magic.

 

                      CASANOVA

           You are right: this is wonderful.

 

                      HENNY

           Then why do you have to leave it?

 

                      CASANOVA

           We cannot stay here forever.

 

                      HENNY

           No, but we can live a little longer

           in the here-and-now, can't we? Amado,

           we've just begun.

 

Casanova glares at her.

 

                      HENNY

           I'm sorry. That just slipped out.

 

                      CASANOVA

           You still doubt me.

 

                      HENNY

           It's a real stretch for me to believe

           you're really Casanova.

 

                      CASANOVA

           Maybe I would be the same way in your

           shoes. I will not let this ruin

           things for us. I forgive you.

 

                      HENNY

           You forgive me?

 

                      CASANOVA

           You look surprised.

 

                      HENNY

           I'll forgive you, too, then.

 

                      CASANOVA

           For what?

 

                      HENNY

           For being hooked up with a charlatan.

           For running away from paradise to go

           ...  God, all the way back to the

           18th century! This is madness!


                                                           81.

 

 

                      CASANOVA

           Why are you so angry?

 

                      HENNY

           Because I feel cheated!

 

                      CASANOVA

           I feel blessed.

 

                      HENNY

           Then that's how we're different.

 

She turns and starts running back to the cabin. Casanova

takes off after her.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Henny is still in front as she reaches the stretch of beach

in front of the cabin. Casanova jogs up, out of breath.

 

                      HENNY

           Are you all right?

 

Casanova musters a second wind and picks her up. He carries

her out into the water and drops her.

 

 

EXT. SECLUDED BEACH - CABIN - SUNSET

 

They sit close on the sand, arms around one another, watching

the red globe of the sun slip into the sea.

 

                      HENNY

           I've made a decision.

 

                      CASANOVA

           What?

 

                      HENNY

           I'm not going to think about the

           future. I'm going to enjoy every

           moment I have with you like this.

 

They kiss.

 

 

INT. HENNY'S OFFICE - FRONT DESK - DAY

 

Christiano is talking to Betty Sue.

 

                      CHRISTIANO

           It's really important that I find him.


                                                           82.

 

 

                      BETTY SUE

           All she told me is she was taking a

           few days off.

 

The door opens and Henny comes in.

 

                      CHRISTIANO

           Where's Amado?

 

                      HENNY

           Wait for me outside.

 

                      CHRISTIANO

           This is really important.

 

                      HENNY

           I'll be right out.

 

Christiano goes outside.

 

                      HENNY

           I'm taking the rest of this week and

           all next week off. Reschedule my

           appointments and whatever else you

           have to do.

 

                      BETTY SUE

           Ted came by looking for you.

 

                      HENNY

           Don't tell him where I am.

 

                      BETTY SUE

           Where are you exactly?

 

                      HENNY

           Paradise.

 

Betty Sue looks confused. This is not like her boss.

 

 

EXT. COASTAL HIGHWAY - DAY

 

Henny's car zooms down the highway.

 

 

INT. HENNY'S CAR - DAY

 

Christiano is riding shotgun.

 

                      CHRISTIANO

           I don't know how much he told you.


                                                           83.

 

 

                      HENNY

           A lot. He thinks he's Casanova. He

           slipped through a worm hole or

           something.

 

                      CHRISTIANO

           You know about Larry the Eye?

 

                      HENNY

           He has magic to help him go back to

           the 18th century.

 

                      CHRISTIANO

           Exactly. Only it's more complicated

           that he thought at first.

 

                      HENNY

           Chris, you sound like you believe him.

 

                      CHRISTIANO

           Ah, you know, I go along because I

           don't want to tilt the delicate

           balance he's in ... know what I mean?

 

Henny isn't sure.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Henny's car is parked outside the cabin. Casanova, Christiano

and Henny stand nearby.

 

                      CHRISTIANO

           Larry the Eye says doing the magic

           during a full moon will quadruple the

           chance of success.

 

                      CASANOVA

           So what is the problem?

 

                      CHRISTIANO

           The problem was I didn't know how to

           find you. A full moon isn't that far

           away, and you still need the money.

 

                      CASANOVA

           I will have the money.

 

 

EXT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova, Henny and Christiano sit around a campfire on the

beach near the cabin. An empty wine bottle lies in the sand,

a second one is half full.


                                                           84.

 

 

                      CHRISTIANO

           Sex is a basic human need. A basic

           human right, like food and drink.

 

                      HENNY

           Which has nothing to do with

           pornography.

 

                      CHRISTIANO

           Pornography is like advertising.

 

                      HENNY

           That demands an explanation!

 

                      CHRISTIANO

           You turn on TV, you see an American

           family sitting in McDonald's having a

           grand old time, it makes you want to

           take your kids to the Golden Arches

           so you can have a really nice family

           experience, too. It plants the idea

           in our minds, right? When you watch

           porno, it's the same thing. You see

           people aroused and  getting it on, so

           it makes you want to get it on

           yourself. What's the difference? It's

           all advertising.

 

                      HENNY

           I don't even know where to begin to

           refute that.

 

                      CHRISTIANO

           Porno's a booming business! It must

           have something to do with how people

           want to spend their time.

 

                      HENNY

                (to Casanova)

           You're being very quiet.

 

                      CASANOVA

           I think porno is vulgar the same way

           eating so fast you miss the taste of

           the meal is vulgar. The destination

           becomes more important than the

           journey. Which is backwards.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Henny is sunning herself. She gets off the blanket and

enters the cabin.


                                                           85.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

Casanova is working on his lecture when Henny comes in. He's

wearing shorts and a tank top.

 

                      HENNY

           I'm going out. Need anything at the

           store?

 

                      CASANOVA

           I need a break. Let me change and

           come along.

 

                      HENNY

           What you're wearing is fine. You look

           like a native.

 

 

EXT. SANTA MONICA - STREET - DAY

 

Casanova and Henny stroll along, checking out the shops.

 

Ted drives by in his convertible. He does a double-take when

he sees them.

 

There's a parking place across the street. Ted does a U-

turn, cutting off another car, to get it. As he gets out,

the other DRIVER rushes out to confront him.

 

                      TED

           Sorry. I'm a doctor. I have a medical

           emergency.

 

It works. He crosses the street and starts following Henny

and Casanova.

 

He catches up with them and confronts Henny.

 

                      TED

           We need to talk.

 

                      HENNY

           Ted, not now.

 

                      TED

           Yes, now. I love you.

 

                      HENNY

                (to Casanova)

           Can I have fifteen minutes?

 

                      CASANOVA

           Of course.


                                                           86.

 

 

He moves off.

 

Casanova pretends to window shop but glances back to find

Ted doing all the talking. Casanova enters a store.

 

 

INT. SANTA MONICA - STORE - DAY

 

Casanova moves among the shelves, passing time. A SECURITY

GUARD starts following him.

 

After looking around, Casanova heads for the door.

 

                      SECURITY GUARD

           Hold it, sir.

 

                      CASANOVA

           Is something the matter?

 

                      SECURITY GUARD

           Do you play the violin on the

           boardwalk in Venice?

 

                      CASANOVA

           Sometimes.

 

                      SECURITY GUARD

           I thought I recognized you! I caught

           you a couple times. I really enjoyed

           it.

 

                      CASANOVA

           Thank you.

 

 

EXT. SANTA MONICA - STREET - DAY

 

Casanova comes outside and starts back toward Henny. He

freezes, a shocked expression on his face.

 

Henny and Ted are in the middle of a long kiss.

 

Casanova steps rapidly away.

 

As soon as his back is turned, Henny pulls away and slaps

Ted -- hard. But Casanova doesn't see this. He's already

lost in the crowd.

 

 

EXT. SANTA MONICA - CITY LIMITS - DAY

 

Casanova reaches the city limits and sticks out his thumb

for a ride.


                                                           87.

 

 

EXT. SANTA MONICA - STREET - DAY

 

Henny waits for Casanova's return.

 

Giving up, she moves off to go looking for him.

 

 

EXT. SANTA MONICA - ANOTHER STREET - DAY

 

Cruising through town, Ted sees Henny's car parked at the

curb. He pulls into a spot where he can watch it and waits.

 

 

EXT. SANTA MONICA - CITY LIMITS - DAY

 

A car stops and Casanova gets in.

 

 

EXT. SANTA MONICA - STREET - DAY

 

Henny keeps looking for Casanova.

 

 

EXT. SANTA MONICA - ANOTHER STREET - DAY

 

Henny gets into her car alone. She pulls out.

 

Ted pulls out to follow her.

 

 

EXT. COASTAL HIGHWAY - DAY

 

The car pulls over and Casanova gets out. He sticks out his

thumb again.

 

 

EXT. COASTAL HIGHWAY - DAY - LATER

 

Henny's car drives up beside Casanova. She pulls over and

leans over to talk through the open window.

 

                      HENNY

           Please get in.

 

Behind her, Ted sees this and slows down.

 

 

INT. HENNY'S CAR - DAY

 

Casanova gets in.

 

                      HENNY

           Why didn't you come back?


                                                           88.

 

 

                      CASANOVA

           You were kissing him.

 

                      HENNY

           He was kissing me, but I was not

           kissing back! I have a bruised hand

           to prove it.

 

                      CASANOVA

           I had no idea what was going on.

 

                      HENNY

           You didn't care enough to come back

           and find out?

 

                      CASANOVA

           Who you kiss is none of my business.

           I thought the best thing to do was

           leave.

 

Henny can't believe it. She's speechless.

 

 

EXT. COASTAL HIGHWAY - SIDE ROAD - DAY

 

Henny pulls off the highway to drive down to the cabin.

 

Ted slowly passes by the dirt turnoff, watching her approach

the cabin.

 

 

INT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova and Henny cuddle in bed after making love.

 

                      HENNY

           You really would have let me go

           without a fight?

 

                      CASANOVA

           It is not my place to tell you who

           you can kiss.

 

Henny starts to say something and stops. She stares up at

the ceiling, looking disappointed.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Casanova and Henny sit in adjacent beach chairs. He works on

his lecture. She reads.


                                                           89.

 

 

EXT. SECLUDED BEACH - NIGHT

 

They sit at a campfire. Overhead a quarter moon shines.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

They are in the beach chairs again, Casanova writing, Henny

reading.

 

Their eyes meet. They smile. But as soon as Casanova goes

back to work, Henny's expression changes, she looks concerned

about something.

 

 

EXT. SECLUDED BEACH - NIGHT

 

Henny walks the beach alone, thinking. A gibbous moon, less

than a week before full, shines overhead.

 

 

INT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova rolls over, reaches for Henny -- and finds the bed

empty. He gets up.

 

 

EXT. SECLUDED BEACH - CABIN - NIGHT

 

Henny returns to find Casanova sitting outside.

 

                      HENNY

           I couldn't sleep.

 

                      CASANOVA

           Neither can I.

 

                      HENNY

           You were snoring up a storm when I

           left.

 

                      CASANOVA

           I woke when I noticed you were gone.

 

                      HENNY

           Missed me, huh?

 

                      CASANOVA

           Very much.

 

                      HENNY

           I'm going to miss going back to the

           real world.


                                                           90.

 

 

                      CASANOVA

           So am I.

 

                      HENNY

           You're still determined to go back to

           your Venice?

 

                      CASANOVA

           This is where I belong. I wish there

           was a way to take you with me.

 

                      HENNY

           I don't belong there any more than

           you belong here.

 

                      CASANOVA

           You are right, of course.

 

                      HENNY

           It's our curse, isn't it?

 

                      CASANOVA

           No. It does not mean I love you any

           less. Love is more important than

           convenience.

 

                      HENNY

           Oh Casanova, Casanova ...

 

She moves into his arms.

 

                      HENNY

           You're so much better at this than I

           am.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Casanova sits in a beach chair, going over his lecture.

Henny is swimming in the distance.

 

Ted appears. He is carrying a flier.

 

                      TED

           Good afternoon, Casanova. In shorts,

           you look like any other California

           beach bum and gigolo. I have your

           flier.

 

He reads it aloud.


                                                           91.

 

 

                      TED

           "History's Greatest Lover Reveals All!

           The opposite of Past Regression is

           Future Premonition, and tonight we

           are honored by a visit from the

           historic Casanova. Casanova will

           discuss the Battle of the Sexes from

           an 18th century perspective. Learn

           how to increase your Seductive Powers!

           Discover the Secrets of Sexual Mind

           Power!" And so on and so forth.

 

Casanova grabs the flier.

 

                      CASANOVA

           Where did you get this?

 

                      TED

           They're everywhere. You obviously

           have a good marketing team.

 

                      CASANOVA

           I did not write this!

 

                      TED

           Oh, of course not.

 

                      CASANOVA

           This is not what I am lecturing about.

 

                      TED

           Casanova, whoever you are, I don't

           give a rat's ass what you're talking

           about. I'm here to tell you to stop

           seeing Henny.

 

                      CASANOVA

           I will stop when it is time to stop.

 

                      TED

           You'll stop starting right now.

 

                      CASANOVA

           No.

 

                      TED

           Then we'll settle this here and now,

           man to man.

 

                      CASANOVA

           I do not want to fight you.


                                                           92.

 

 

                      TED

           Don't tell me the great Casanova is a

           chicken.

 

                      CASANOVA

           I have work to do. Please go.

 

                      TED

           Not until you fight me.

 

Casanova thinks a moment.

 

                      CASANOVA

           If you want to fight, then we shall

           do it honorably. At sunrise, on

           Sunday, the morning after my lecture.

           In the park about a mile up the beach.

           Christiano will bring the weapons.

 

                      TED

           Weapons?

 

                      CASANOVA

           Pistols, for a duel. Perhaps you want

           to change your mind.

 

                      TED

           You want a duel, you've got one.

           Sunrise Sunday it is.

 

He climbs the hill to his car.

 

As he disappears out of sight, Henny returns from her swim.

 

                      HENNY

           Was that Ted?

 

He hands her the flier.

 

                      CASANOVA

           He gave me this. More lies about me!

 

 

INT. CHURCH OF METAPHYSICAL TRUTH - DAY

 

Casanova storms into the church.

 

 

INT. CHURCH OF METAPHYSICAL TRUTH - OFFICE - DAY

 

Casanova barges in on Rev. Sun having sex with a young

FEMALE STUDENT, who sits astride him on a chair. She quickly

flees and Rev. Sun composes himself.


                                                           93.

 

 

Casanova finds a flier on the desk.

 

                      CASANOVA

           What is this? This has nothing to do

           with my lecture!

 

                      REV. SUN

           Calm down, calm down. Have I ever

           said anything about the content of

           your lecture? Of course not. You are

           free to talk about whatever you want.

 

                      CASANOVA

           Then what is this?

 

                      REV. SUN

           Marketing. It will fill the house.

 

Casanova doesn't know what to say. With a sweep of his hand,

he knocks a pile of fliers to the floor.

 

 

EXT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova and Henny sit on the sand under a moon that's

almost full.

 

                      CASANOVA

           I heard someone use an expression:

           take the money and run.

 

                      HENNY

           If that's the plan, I'd make sure you

           get paid before you go on stage, not

           after.

 

                      CASANOVA

           You think he would cheat me?

 

                      HENNY

           There's another expression we have:

           better safe than sorry.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

Casanova helps Henny unpack groceries from the car.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

Henny takes a flier from a sack of groceries.


                                                           94.

 

 

                      HENNY

           You're not the only Casanova show in

           town.

 

She hands him the flier. At the top, it reads: "Tom Snow

Productions Presents Casanova Does California."

 

                      HENNY

           Are we going?

 

 

EXT. L.A. MOVIE HOUSE - NIGHT

 

A bright spotlight in front of a dilapidated movie house

shoots "opening night" beams into the sky.

 

The theater marquee reads: "One Week Only! Casanova Does

California. X-Rated. New erotica from director Tom Snow."

 

 

INT. L.A. MOVIE HOUSE - LOBBY - NIGHT

 

The scene resembles the opening of an art gallery. Chic,

casually formal and arty PEOPLE mingle amidst posters from

other Tom Snow movies. Hired HELP circulate with trays of

champagne and goodies.

 

Casanova and Henny stand alone, looking like strangers

invited to the wrong party. A white-clad MAN with a tray of

snacks passes by, and they help themselves.

 

                      HENNY

           "Oh those or-dervies, ain't they neat.

           Little piece of cheese and a little

           piece of meat." I can't believe I

           still remember that. I learned it in

           college.

 

                      CASANOVA

           This happens often?

 

                      HENNY

           I have no idea. I've never been to a

           porno opening before, believe me. I'm

           a little shocked, to tell the truth.

 

In another part of the lobby, Christiano spots them and

hurries over. He's wearing a tuxedo top with bermuda shorts.

Matching purple.

 

                      CHRISTIANO

           I can't believe you're here! I

           could've gotten you passes but I

           didn't think you'd come.


                                                           95.

 

 

                      HENNY

           Checking out the competition.

 

Christiano looks puzzled.

 

                      HENNY

           This is the "other" Casanova show.

 

Casanova stares at her.

 

                      HENNY

           It's a joke.

 

 

INT. L.A. MOVIE HOUSE - AUDITORIUM - NIGHT

 

People get seated. Casanova and Henny sit in back.

 

Tom Snow takes a podium set up beside the screen.

 

                      TOM

           Thanks for coming. This is the fourth

           in my series of Historic Erotica,

           following my films about Atilla the

           Hun, Mark Anthony and St. Augustine.

 

 

INT. L.A. MOVIE HOUSE - AUDITORIUM - NIGHT - LATER

 

The movie has begun. On screen, the usual couplings with

squeals and groans from Christiano and Sylvia.

 

In the audience, rapt attention and grins, as if campy wit

is being presented.

 

In the back, Henny and Casanova look like they have

indigestion.

 

                      HENNY

           I can't watch any more of this.

 

She gets up to go and Casanova follows.

 

 

INT. L.A. MOVIE HOUSE - LOBBY - NIGHT

 

They pass through the lobby to find Tom Snow at the bar,

pacing nervously with a drink in hand.

 

                      TOM

           What the hell are you doing here?

 

                      CASANOVA

           We're leaving.


                                                           96.

 

 

                      TOM

           Good! Go back to Disneyland where you

           belong! Cocksucking fascists.

 

 

EXT. L.A. MOVIE HOUSE - NIGHT

 

Casanova and Henny come outside and begin walking to her car.

 

                      HENNY

           I never knew something like this took

           place. So many "respectable" people

           are here.

 

                      CASANOVA

           If they expect my lecture to be like

           this, they'll be disappointed.

 

                      HENNY

           What are you going to talk about, if

           I may ask?

 

                      CASANOVA

           That every woman wants to be adored.

           Every man wants to be respected.

 

                      HENNY

           You think it's that simple?

 

                      CASANOVA

           Where I come from.

 

 

INT. HENNY'S CAR - NIGHT

 

They are driving along a city street. Henny discovers that

Casanova has been looking at her.

 

                      HENNY

           What?

 

                      CASANOVA

           I want to talk to Larry the Eye.

 

                      HENNY

           Why not? It's that kind of night.

 

 

INT. POOR NEIGHBORHOOD - HOUSE - NIGHT

 

Larry the Eye lets Casanova and Henny in.

 

                      LARRY THE EYE

           You get my message about the full moon?


                                                           97.

 

 

                      CASANOVA

           I'll be ready.

 

 

INT. HOUSE - KITCHEN - NIGHT

 

They sit at a table, drinking beer.

 

                      LARRY THE EYE

           Maybe with a different protocol, I

           can do something for her. But that's

           gonna take a lot more research, even

           if it's possible.

 

                      CASANOVA

           I was just wondering.

 

                      LARRY THE EYE

           You know, the magic can only do so

           much and under the right circumstances.

           Most people expect us to do whatever

           we want. No way. Magic has its rules

           and regulations, just like anything

           else.

 

 

EXT. POOR NEIGHBORHOOD - HOUSE - NIGHT

 

Larry the Eye walks them out.

 

                      LARRY THE EYE

           See you in a few days.

 

                      CASANOVA

           I'll be here.

 

                      LARRY THE EYE

           I'm excited. I think it may actually

           work.

 

 

EXT. POOR NEIGHBORHOOD - NIGHT

 

Casanova and Henny stroll up the street to where her car is

parked.

 

                      HENNY

           "It may actually work." How can you

           go through with this?

 

                      CASANOVA

           I don't see any alternatives.

 

Henny bites her tongue. They get into her car.


                                                           98.

 

 

INT. HENNY'S CAR - NIGHT

 

Henny puts the key in the ignition but doesn't turn it.

 

                      HENNY

           Why did you ask him about me?

 

                      CASANOVA

           I wanted to know if there was a way.

 

                      HENNY

           I never said I'd go back with you.

 

                      CASANOVA

           There'd be no point to try and change

           your mind unless it was possible.

 

                      HENNY

           I wish you'd give it more of a chance

           here. I think we've made progress.

           Maybe not in all areas, but I think

           most people are more happy here and

           now than they were in 1749.

 

                      CASANOVA

           Were you happier before you met me? I

           don't think so.

 

                      HENNY

           That's not fair.

 

She starts the car.

 

 

EXT. SECLUDED BEACH - DAY

 

Henny jogs along the beach.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

She comes up to the cabin. Casanova sits in a deck chair,

going over his lecture.

 

                      CASANOVA

           How was the run?

 

She goes inside without answering.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

Henny looks around, thinking. She fetches her suitcase and

opens it.


                                                           99.

 

 

EXT. SECLUDED BEACH - DAY

 

Casanova stands at the edge of the water, looking out over

the ocean.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

He returns to the cabin to find Henny putting a suitcase in

the trunk of her car.

 

                      CASANOVA

           What are you doing?

 

                      HENNY

           Going home. Going back to work.

 

                      CASANOVA

           But we have another day.

 

                      HENNY

           I'm as ready to say goodbye as I'll

           ever be.

 

                      CASANOVA

           Why now?

 

                      HENNY

           Why not? Goodbye.

 

She turns before she loses it and gets into the car.

 

Casanova goes to her window.

 

                      HENNY

           Don't ask me to stay.

 

                      CASANOVA

           I wasn't.

 

                      HENNY

           Bastard ...

 

She starts the engine and peels out.

 

Casanova goes back to his beach chair -- and kicks it.

 

He takes off running down the beach.

 

 

EXT. SECLUDED BEACH - DAY

 

Casanova runs until he is exhausted. He falls onto the sand,

gasping for breath.


                                                          100.

 

 

EXT. OCEAN HIGHWAY - DAY

 

Henny's car is parked at a phone booth. She's talking to

someone.

 

 

EXT. HENNY'S OFFICE - DAY

 

She pulls in front of her office.

 

 

INT. HENNY'S OFFICE - FRONT DESK - DAY

 

Ted is waiting for her. Betty Sue is at her desk.

 

                      HENNY

           Thanks for coming, Ted.

 

She leads Ted toward her office.

 

                      BETTY SUE

           Good morning!

 

                      HENNY

           Good morning.

 

 

INT. HENNY'S OFFICE - OFFICE - DAY

 

Henny gestures for Ted to sit. She takes the big chair

behind her desk.

 

                      HENNY

           I guess I've been hard to understand

           lately.

 

                      TED

           Very.

 

                      HENNY

           I'm not going to tell you everything.

           But I do want your professional

           advice on something.

 

                      TED

           Anything.

 

                      HENNY

           Amado has become dangerous to himself.

           He needs to be hospitalized. How can

           I do that?


                                                          101.

 

 

                      TED

           Is there a relative who would put it

           in writing?

 

                      HENNY

           Would that be enough?

 

                      TED

           It's enough under the law. You have a

           good relationship with the department.

           They'll trust your judgment.

 

She buzzes Betty Sue.

 

                      BETTY SUE

                (on intercom)

           Yes?

 

                      HENNY

           I want Chris here as soon as he can

           make it. Tell him it's an urgent

           matter about his parole.

 

She clicks off.

 

                      HENNY

           Thanks, Ted.

 

                      TED

           Dinner tonight?

 

                      HENNY

           No.

 

                      TED

           I see.

 

He stands.

 

                      HENNY

           Call me in a few days.

 

                      TED

           Seriously?

 

She manages a smile and nods.

 

 

INT. TOM SNOW PRODUCTIONS - BASEMENT - DAY

 

Sylvia comes halfway down the stairs.

 

                      SYLVIA

           Chris, phone call! Sounds important.


                                                          102.

 

 

                      CHRISTIANO

           I'll take it down here!

 

He picks up a phone.

 

                      CHRISTIANO

           This is Chris.

 

 

EXT. SECLUDED BEACH - CABIN - DAY

 

The sun hangs above the horizon.

 

Rev. Sun's station wagon pulls up.

 

 

INT. SECLUDED BEACH - CABIN - DAY

 

Casanova is in his native clothes when Rev. Sun enters.

 

                      REV. SUN

           You look splendid!

 

                      CASANOVA

           How many tickets did we sell?

 

                      REV. SUN

           We're sold out. I'm already selling

           standing room only.

 

 

EXT. L.A. - OLD NEIGHBORHOOD - EVENING

 

The reverend's station wagon passes by the L.A. movie house

where Tom Snow's movie is playing.

 

In the next block, the station wagon pulls in front of an

old building.

 

 

INT. OLD BUILDING - SMALL AUDITORIUM - EVENING

 

Rev. Sun leads the way into a small auditorium. Casanova

follows.

 

They climb onto the stage and go behind the curtain.

 

 

INT. SMALL AUDITORIUM - DRESSING ROOM - EVENING

 

They enter a small dressing room. It's dark, dirty, dreary.

 

                      REV. SUN

           Quite nice, don't you think?


                                                          103.

 

 

                      CASANOVA

           I want my money before I go on.

 

                      REV. SUN

           That's not possible. We'll be selling

           tickets at the door till the last

           minute.

 

                      CASANOVA

           I want a three-hundred dollar advance.

 

                      REV. SUN

           You're going to make twice that, but

           we don't settle accounts until we

           have a final tally.

 

                      CASANOVA

           Then I'm not going on.

 

He starts out.

 

                      REV. SUN

           Wait a minute! I suppose I should

           understand this since we've never

           worked together before. You have no

           reason to trust me until you have

           reason to trust me. I have two-

           hundred on me, will that do?

 

                      CASANOVA

           Two-fifty. Not a dollar less.

 

Rev. Sun starts counting out the money.

 

 

INT. SMALL AUDITORIUM - ENTRANCE - NIGHT

 

A long line of people, mostly men, buy tickets at a table

and enter.

 

 

INT. SMALL AUDITORIUM - NIGHT

 

The small auditorium, which holds about 300, is packed to

standing-room only capacity.

 

 

INT. SMALL AUDITORIUM - DRESSING ROOM - NIGHT

 

Christiano enters.

 

                      CHRISTIANO

           We're in deep shit.


                                                          104.

 

 

                      CASANOVA

           What's the matter?

 

                      CHRISTIANO

           Never trust a shrink you go to bed

           with. She double-crossed you.

 

                      CASANOVA

           What happened?

 

                      CHRISTIANO

           She forced me to sign your commitment

           papers. They're going to pick you up

           right after the lecture and haul you

           off to the booby hatch. Fortunately,

           I have an idea. I'll be you, and you

           get the hell out of here and get your

           ass over to Larry the Eye's.

 

                      CASANOVA

           How can you be me?

 

                      CHRISTIANO

           I'm an actor.

 

                      CASANOVA

           What will you say?

 

                      CHRISTIANO

           I'll wing it. They won't know the

           difference, trust me.

 

                      CASANOVA

           I was going to start with a poem.

           I'll write it down for you.

 

                      CHRISTIANO

           What about sunrise? The duel still on?

 

                      CASANOVA

           Yes.

 

                      CHRISTIANO

           Won't you be gone by then?

 

                      CASANOVA

           To be honest, I hope I am. The duel

           is a stupid idea.

 

 

EXT. OLD BUILDING - NIGHT

 

Casanova, in Christiano's shorts and tank top, rushes out of

the building. He hurries off, looking up the street for a cab.


                                                          105.

 

 

INT. SMALL AUDITORIUM - DRESSING ROOM - NIGHT

 

Rev. Sun finds Christiano wearing Casanova's native costume.

 

                      REV. SUN

           Where's Casanova?

 

                      CHRISTIANO

           You're looking at him.

 

                      REV. SUN

           He cheated me!

 

                      CHRISTIANO

           With all due respect, do you think

           anybody in the audience gives a rat's

           ass who talks to them, as long as

           they hear what they want to hear?

 

                      REV. SUN

           You can do this?

 

                      CHRISTIANO

           I'm an actor, I can do anything.

 

 

EXT. L.A. MOVIE HOUSE - NIGHT

 

Casanova passes by the movie house where Tom Snow's movie is

playing. A small group of female protesters is picketing

outside.

 

Among the picketers is Sharon. She runs up to him.

 

                      SHARON

           We tried to crash the entrance but

           there weren't enough of us to force

           our way in.

 

Casanova gets an idea.

 

                      CASANOVA

           Don't go away. I'll be right back.

 

He runs back toward the old building.

 

 

INT. SMALL AUDITORIUM - NIGHT

 

Two UNDERCOVER DEPUTIES stand in the back of the auditorium,

looking very official. They look over the packed house with

expressions of stoic menace.


                                                          106.

 

 

INT. SMALL AUDITORIUM - STAGE - NIGHT

 

Christiano comes out to applause and cheers. He bows very

theatrically, then goes behind the podium.

 

                      CHRISTIANO

           We're hear to talk about sex. Right?

 

Yells and applause.

 

                      CHRISTIANO

           Great. I'll start with a poem.

                (reading)

           "If questioning would make us wise, /

           No eyes would ever gaze in eyes; / If

           all our tale were told in speech, /

           No mouths would wander each to each."

 

 

INT. SMALL AUDITORIUM - NIGHT

 

In the back, the deputies listen.

 

                      CHRISTIANO

                (O.S., reading)

           "Were spirits free from mortal mesh /

           And love not bound in hearts of

           flesh, / No aching breasts would

           yearn to meet / And find their

           ecstasy complete."

 

One deputy shrugs to the other, What the hell is this all

about?

 

 

INT. SMALL AUDITORIUM - STAGE - NIGHT

 

Christiano continues reading when Casanova rushes onto the

stage, interrupting him.

 

                      CASANOVA

           I need men to come with me to a porno

           movie!

                (to Christiano)

           Tell them to come with me.

 

                      CHRISTIANO

           Let's go to a porno movie!

 

Hundreds of men get to their feet, cheering and yelling.


                                                          107.

 

 

EXT. OLD BUILDING - NIGHT

 

Casanova leads hundreds of men out of the building and onto

the street. They start marching toward the nearby movie house.

 

 

EXT. L.A MOVIE HOUSE - NIGHT

 

They reach the movie house, where the picketing ladies are

outside. Seeing all the men and not knowing what is going

on, the women make room for them to pass by.

 

Sharon sees that Casanova is leading the mob and smiles.

 

Casanova leads the men to the entrance.

 

 

INT. L.A MOVIE HOUSE - NIGHT

 

The men storm inside the movie house. A few GUARDS try to

stop them at first but quickly understand the situation and

retreat.

 

Tom Snow is at a portable bar.

 

                      TOM

           What the hell? Get out of my movie!

 

The mob ignores him, storming into the auditorium. Casanova

slips out of their way.

 

Tom sees him.

 

                      TOM

           You did this!

 

                      CASANOVA

           I'd love to have a drink with you,

           but I'm late to an appointment.

 

He moves past the advancing mob for the exit.

 

 

INT. L.A MOVIE HOUSE - AUDITORIUM - NIGHT

 

Men fill the aisles of the movie house. And more. And more.

 

The situation quickly turns chaotic, the movie ignored in

the packed confusion of all the men rushing into the

auditorium.

 

The movie is turned off. The house lights come on. The

situation is more chaotic than ever.


                                                          108.

 

 

EXT. L.A MOVIE HOUSE - NIGHT

 

Sharon runs up to Casanova.

 

                      SHARON

           Thank you, so much!

 

                      CASANOVA

           The Casanova in that movie is a lie.

           I have my reputation to protect.

 

He hurries off, leaving Sharon puzzled.

 

 

INT. POOR NEIGHBORHOOD - HOUSE - KITCHEN - NIGHT

 

Larry the Eye holds up a small bottle filled with colored

liquid.

 

                      LARRY THE EYE

           Have a safe trip.

 

Casanova takes the bottle, looking intensely at the liquid.

 

 

EXT. OCEAN HIGHWAY - NIGHT

 

Casanova, who has been hitch-hiking, runs to a pick-up truck

that has stopped for him. He climbs inside and the truck

takes off.

 

 

EXT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova walks down the dirt road to the cabin. The full

moonlight is high and casts his shadow.

 

He continues onto the beach.

 

He untwists the cap off the small bottle. He raises the

bottle to the full moon, as if making a toast.

 

He drinks down the colored liquid in one gulp.

 

He takes a deep breath, waiting. Nothing happens.

 

 

INT. HENNY'S HOUSE - BEDROOM - NIGHT

 

Henny tosses and turns, unable to sleep.


                                                          109.

 

 

INT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova tosses and turns, unable to sleep.

 

 

INT. HENNY'S HOUSE - BEDROOM - NIGHT

 

Henny gives up and rolls out of bed.

 

 

INT. SECLUDED BEACH - CABIN - NIGHT

 

Casanova is snoring.

 

Henny tip-toes in. She undresses and crawls in bed beside

him. He stirs.

 

                      CASANOVA

           What are--?

 

She puts a finger on his lips, hushing him. They kiss and

begin to make love.

 

 

EXT. OCEAN HIGHWAY - PARK - SUNRISE

 

Ted's convertible pulls into the park. Christiano is waiting

for him.

 

                      TED

           Where is he?

 

                      CHRISTIANO

           He'll be here.

 

 

INT. SECLUDED BEACH - CABIN - SUNRISE

 

Casanova, dressed in his frills, bends to kiss Henny on the

forehead. She makes a little sound.

 

 

EXT. SECLUDED BEACH - CABIN - SUNRISE

 

He comes out and heads up the beach toward the park.

 

 

EXT. PARK - BEACH - SUNRISE

 

They see Casanova approaching up the beach.

 

                      CHRISTIANO

           Here he comes.


                                                          110.

 

 

INT. SECLUDED BEACH - CABIN - SUNRISE

 

Henny wakes to find the bed empty. She gets up.

 

 

EXT. SECLUDED BEACH - CABIN - SUNRISE

 

She comes outside.

 

                      HENNY

           Casanova?

 

She looks up the beach and makes out a figure in the distance.

She heads out in that direction.

 

 

EXT. PARK - SUNRISE

 

Casanova and Ted are back to back, each holding up a small

pistol.

 

                      CHRISTIANO

           Ten steps, turn and fire. Are you

           ready?

 

                      CASANOVA

           Ready.

 

                      TED

           Ready.

 

                      CHRISTIANO

           One ... two ...

 

At each count they take a step.

 

                      CHRISTIANO

           Three ... four ...

 

 

EXT. BEACH - NEAR PARK - SUNRISE

 

Henny gets closer. She realizes what is going on. She starts

running.

 

 

EXT. PARK - SUNRISE

 

Christiano continues the count.

 

                      CHRISTIANO

           Seven ... eight ...

 

Henny is close enough to be heard.


                                                          111.

 

 

                      CHRISTIANO

           Nine ...

 

                      HENNY

           Casanova!

 

                      CHRISTIANO

           Ten!

 

                      HENNY

           Casanova!

 

At ten, Casanova hears Henny and turns. At the same time,

Ted fires and hits him. Casanova falls to the sand.

 

Henny screams and runs up to him. Christiano runs to him as

well.

 

Ted stares at what he's done.

 

Henny takes Casanova in her arms, embracing him.

 

Casanova stirs. He opens his eyes.

 

                      HENNY

           Casanova ...

 

With difficulty, Casanova reaches into his pocket. He brings

out a coin, which he gives to Henny.

 

Henny looks at the coin. It's an old Italian coin.

 

                      CASANOVA

           It's from the old country ... in case

           you need something ...

 

He closes his eyes.

 

 

SUPER

 

"Venice, Italy. Summer, 1749."

 

 

EXT. VENICE - A FIELD - NIGHT

 

Rosabel cradles Casanova in her arms in the exact same

position that Henny was holding him on the beach. Looking on

is MATTEO BRAGADIN, 50s, a nobleman.

 

Casanova opens his eyes.

 

                      CASANOVA

           Rosabel ... Matteo ... what happened?


                                                          112.

 

 

Bragadin stoops and offers a vial of medicine.

 

                      BRAGADIN

           Take this ... it will counteract the

           other ...

 

Casanova does.

 

                      BRAGADIN

           Thank God the girl fetched me in time.

           I've made arrangements for you to

           leave Venice.

 

                      CASANOVA

           Why?

 

                      BRAGADIN

           Because if you don't, you'll be

           arrested. I brought you a fresh horse.

           A stage leaves for Rome first thing

           in the morning. Are you strong enough

           to ride?

 

                      CASANOVA

           I think so.

 

 

EXT. VENICE - A FIELD - NIGHT - LATER

 

Casanova is on the horse. He bends low to kiss Rosabel.

 

                      ROSABEL

           I love you so much.

 

                      CASANOVA

           Then don't forget me.

 

                      BRAGADIN

           God speed, my boy. Send me a letter

           when you get settled.

 

Casanova nods and spurs the horse. He's away in a gallop.

 

 

EXT. VENICE - POOR NEIGHBORHOOD - HOUSE - DAY (PRESENT)

 

Henny pulls up in front of Larry the Eye's house. She gets

out and hurries to the door.

 

Larry the Eye opens the door. Henny says something to him,

and then he lets her in.


                                                          113.

 

 

INT. HOUSE - KITCHEN - DAY

 

Larry the Eye leads Henny into the kitchen.

 

                      LARRY THE EYE

           I can't do this unless you have

           something from--

 

She's ahead of him. She holds out the old Italian coin.

 

                      LARRY THE EYE

           That should do the trick.

 

 

EXT. STAGE STATION - SUNRISE (BACK TO HISTORIC VENICE, ITALY)

 

A stage is being boarded as Casanova races up on the horse.

He jumps off and hurries to the STAGE DRIVER.

 

                      CASANOVA

           Is it too late to board?

 

                      STAGE DRIVER

           You got fare?

 

Casanova pays him with an old coin like the one he gave Henny.

 

                      STAGE DRIVER

           You have the last seat.

 

 

INT. STAGE COACH - SUNRISE

 

Casanova climbs up into the stage. An ELDERLY COUPLE sleep

next to the only vacant seat.

 

Across from the vacant seat is a beautiful YOUNG WOMAN. She

is a dead-ringer for Henny. The young woman's GUARDIAN dozes

next to her, large enough to take up two seats.

 

Casanova squeezes in and exchanges a smile with the young

woman.

 

                      CASANOVA

           Just made it.

 

                      YOUNG WOMAN

           I guess you did.

 

                      CASANOVA

           I'm Giacomo Casanova.

 

He offers his hand.


                                                          114.

 

 

                      YOUNG WOMAN

           Henriette. But everyone calls me Henny.

 

She offers her hand and he takes it, then bends forward and

kisses it.

 

                      CASANOVA

           Have we met before?

 

                      YOUNG WOMAN

           I don't recall when ... but it feels

           like we have.

 

                      CASANOVA

           I have the same feeling. I always

           trust my feelings.

 

                      YOUNG WOMAN

           Are you going all the way to Rome?

 

                      CASANOVA

           Are you?

 

                      YOUNG WOMAN

           Yes.

 

                      CASANOVA

           Then so am I.

 

                      YOUNG WOMAN

           What will you do there?

 

                      CASANOVA

           Play the violin, I hope. I'm

           auditioning for the orchestra.

 

                      YOUNG WOMAN

           I play the cello.

 

                      CASANOVA

           Maybe we'll have the opportunity to

           play together sometime.

 

                      YOUNG WOMAN

           I'd like that.

 

The guardian snorts herself awake, then settles down back to

sleep.

 

Henny hides a giggle with the palm of her hand.

 

Casanova winks at her. She blushes.

 

He blows her a kiss. She blushes even more.


                                                          115.

 

 

EXT. STAGE STATION - SUNRISE

 

The stage driver snaps the reins, and the stage coach moves

off.

 

 

INT. STAGE COACH - SUNRISE

 

The jolt of starting up has thrown Casanova and Henny

together. They kiss. And stay kissed ...

 

 

EXT. STAGE STATION - SUNRISE

 

... as the stage coach bounces along toward the horizon.

 

FADE OUT.