"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.