Pandora, Unfinished Business, Part A

NYC Antiquities Museum

FADE UP FROM BLACK

INT. URBAN APT, NIGHT

SLOW PANNING SHOT

Over the details of the apartment.

Hundreds of books and papers, histories, philosophies, the nature of Good and Evil, etc.

[Sounds of two people reaching orgasm out of shot. Both man and woman are noisy.]

The apartment is packed and on the sloppy side.

There are clothes on the floor.

[The sounds reach a crescendos -mutual orgasms?- and then there are panting breaths and the rustling of sheets.]

THE CAMERA continues up the bed along the naked body of a blonde woman turned away from the camera.

THE CAMERA comes to rest on the man's sad face.

She (Pandora) traces a line around one eye.

PANDORA:

You look so sad, why?

HE: (Sighs)

Its just-

HE sits up and turns towards her sitting Indian style.

HE:

Its just that its always the same.

HE looks far too young to be saying this.

HE:

I meet a girl.

I like her.

She likes me.

We have fantastic sex and then I eat her.

BEAT

Pandora brushes his face with her free hand.

PANDORA:

Well, why don't you change?

HE:

Because that's the life of a vampire.

HE looks up and his eyes are fire and his face has become hideous.

PANDORA:

Well, then you've come to the right girl.

Pandora pulls what looks like a Mexican Indian knife from under the pillows.

HE (laughs)

HE obviously doesn't believe the knife will hurt him.

Pandora plunges the blade into his chest and he explodes into black blood.

Black blood covers Pandora's nude body, the bed, the walls, etc. (But there is no male body.)

PANDORA:

Yuck!!

Pandora gets up off the bed and goes into the bathroom for a shower.

PANDORA:

Matilda is going to kill me when she sees this mess.

PULL OUT

SHOT PULLS OUT OVER NEW YORK, NIGHT.

NARRATOR:

Long ago, and not so far away.

PUSH IN

On Greece.

NARRATOR:

Zues-

EXT. OLYMPUS, DAY (Hearst Castle, Neptune's Pool)

Olympus as seen in Jason and the Argonauts

The GODS and GODDESSES are building a naked PANDORA out of magic.

NARRATOR:

... had instructed the Gods to make woman.

Shots of PROMETHEUS making MAN/Epimetheus

NARRATOR:

Man was the creation of Prometheus, and many Gods said that Man was the best thing ever created by a God. So Zeus designed Woman was to be better then Man.

Shots to match of GODS making Pandora

NARRATOR:

The Goddesses gave woman beauty, seduction, facility with words, persuasion, irresistible charms, music, curiosity and deceit.

Pandora is completed in all her naked glory but she is still a statue until Zeus gives her the breath of life.

NARRATOR:

Some time before, Zeus had collected all the evils of the universe and trapped them inside a box. He gave this box to Prometheus' idiot brother, Epimetheus, for safe keeping.

FADE TO

ZEUS hands a box to Epimetheus

NARRATOR:

And when Woman was finished, she was named Pandora, and Zeus also gave her to Epimetheus as recompense for keeping the box of evils safe. Zeus explained to Epimetheus and Prometheus, and Prometheus repeated often to Epimetheus and Pandora, that the box was never to be opened, that it contained great powers that would be dangerous to any but the king of the Gods. Epimetheus and Pandora listened and swore to never open the box.

Pandora can't take her eyes off the box.

NARRATOR:

But at Zeus' direction the gods had given Pandora a powerful dose of curiosity and the secret of the box plagued her.

Pandora tries to coerce Epimetheus into opening the box with sexual favors.

NARRATOR:

Pandora begged Epimetheus to open the box just a little so they could see what was inside but Epimetheus refused.

Pandora encourages Epimetheus to drink himself into a stupor and then she takes the box while he sleeps it off.

NARRATOR:

Finally, Pandora took the box while her husband slept.

Pandora takes the box to a small room.

She sets it between her legs and carefully opens the lid.

NARRATOR:

She carefully released the clasp

Spirits, ghosts, and a wind emanates from the box.

NARRATOR:

But the evils contained in the box leapt at their chance for freedom.

The winds and spirits tear Pandora's clothes from her body.

Tear the walls from the house.

Destroy the surrounding buildings until Pandora and Epimetheus are alone on a barren plain.

NARRATOR:

Plague, death, sorrow, loneliness, revenge, deception, greed, envy, demons and other evils were released upon the universe.

Epimetheus and Pandora wander through the ruins.

They work hard at farming.

They age and get broken bones.

NARRATOR:

Pandora and Epimetheus suffered with age and want. And even those in Olympus felt the change.

A wind blows through Olympus and there are arguments and HERA is jealous of ZEUS' affairs.

HADES steals PERSEPHONE.

NARRATOR:

Pandora was cursed and suffered with painful child birth.

Pandora huge with child at birth.

The children grow more numerous while Epimetheus and PANDORA age.

NARRATOR:

And eventually they even experienced, death.

Epimetheus dies Pandora is old and bent.

NARRATOR:

When Pandora's time came-

Pandora, very old, is standing at the ferry dock on the river Styx, waiting for Charon with the souls of her dead children.

PROMETHEUS approaches to talk to Pandora. ...

NARRATOR:

She pleaded with Prometheus for a chance to help her children. A chance to undo the evil she had done in ignorance.

Prometheus granted her wish.

Pandora is young again.

NARRATOR:

But with every gift of the gods they also exact a toll.

Prometheus gives Pandora her magical sword.

Pandora awkwardly fights a Greek monster.

NARRATOR:

Pandora would have the chance to undo the evil she had done.

Shots of Pandora battling Demons and evils in many guises and in many ages.

NARRATOR:

But she was cursed to live UNTIL she re-collected all of the evils and returned them to the box.

FADE TO BLACK

FADE UP FROM BLACK

INT. PANDORA'S APT., LATER.

[Sound of shower O.S.]

TIGHT SHOT of door.

The door opens and an elderly woman, MATILDA, enters.

MATILDA:

It's just me, back from the movies.

How was your date dear?

Pandora enters from the bedroom, naked. stepping from shower She has a towel wrapped around her head and fresh lipstick on. She kisses Matilda gently, leaving a lipstick mark.

PANDORA:

It ended predictably. How was your movie?

Matilda hangs up her coat hat and purse.

MATILDA:

Predictable too.

Matilda follows Pandora into the bedroom.

Pandora continues into the bathroom, where she removes the towel-revealing black hair.

Matilda sees the blood on the bed and begins to pull the sheets off.

MATILDA:

Pandora!! Girl when are you going to learn to clean up after yourself?

INT. BATHROOM, CONT.

Pandora is dressing.

PANDORA:

Oh, I'm sorry Matilda. I forgot. I'll help you, just give me a sec.

You should have seen the mess he made of me.

BEAT

PANDORA:

Matilda?

Pandora goes into the bedroom.

INT. BEDROOM, CONT.

Matilda has collapsed at the end of the bed with the sheets still in her hand.

PANDORA:

Matilda!!

Pandora runs to Matilda.

She puts her fingers on her throat and then listens to her chest.

Pandora sits up, she makes a fist and strikes Matilda's chest.

She listens again.

She blows air into the mouth and does five compressions and then another breath of air.

Matilda's eyes flutter open.

PANDORA:

Damn you, don't you ever do that to me again.

Matilda smiles but can't move.

PANDORA:

I'll call the paramedics.

Pandora starts to stand but Matilda has a hold of her blouse and she can't rise.

MATILDA:

How will you explain the wall?

Pandora looks up.

POV-PANDORA

For the first time we see that Pandora's body is outlined in black blood on the wall. FX

Pandora looks down again.

PANDORA:

I should have-

Matilda shakes her head.

MATILDA:

Don't grieve.

It is the natural order of things, no one knows that better then you.

Matilda reaches up and strokes Pandora's face.

MATILDA:

I always wanted to know my mother.

My best years were with you.

Matilda starts to rise.

PANDORA:

No, you must rest.

Matilda suffers a second heart attack and collapses.

PANDORA:

No!

Pandora puts her head to Matilda's chest.

She rips open Matilda's blouse and bra (Matilda's breasts are old and saggy) and puts her ear to Matilda's chest.

Pandora strikes Matilda's chest, crying.

She listens and strikes again, and again until she collapses, crying.

FADE TO BLACK

FADE UP FROM BLACK

EXT. RIVER DOCK, NIGHT

Pandora eases Matilda's body, wrapped in oil cloth and crisscrossed with ropes, into the river.

The package quickly sinks.

Pandora stands, pauses, turns, puts her headphones on and turns on her diskman as she walks away.

[Music, Waltzing Matilda or ,,,,,]

UNDER WATER, CONT. FX

[We can still just hear the music.]

The package sinks to the bottom, pulled by an anchor.

It joins four identical packages, held to the bottom by anchors.

EXT. NEW YORK ANTIQUITIES MUSEUM, DAY.

Pandora dressed in her sexy best walks up the stairs.

PAN DOWN

In the foreground is a newspaper rack. The headline: Mystery Woman Kills Man in Bar Fight.

INT. DIR. OFFICE, LATER.

Pandora is examining some unusual pieces when the Museum Director, Dr. DRAKE, comes in.

DRAKE:

Ah, Pandora, and what can I do for our benefactor today?

PANDORA:

Benefactor?

I obviously haven't been charging enough for the pieces I've sold you.

DRAKE:

Oh don't think that. Matilda is a hard bargainer. She wouldn't let you get anything but a fair price.

Where is she by the way? She usually comes for you and I had something for her.

PANDORA: (Dark Expression)

She died, ... a few days ago.

DRAKE:

Oh, I'm sorry.

I know she was very devoted to you as I'm sure you were to her. But it might have been a blessing. I know she wouldn't have wanted to suffer a long illness. And I dare say she'd lived a full life.

SHOTS of Matilda and Pandora over the last half century.

Matilda was young in the fifties but she grew older and Pandora never does.

DRAKE: (O.S.)

Pandora? Pandora?

INT. DIRECTOR'S OFFICE, SAME.

Pandora comes to.

PANDORA:

Oh, I'm sorry.

DRAKE:

Quite all right. To be expected.

I'm afraid I'm a little embarrassed, I've never learned your last name.

PANDORA:

I don't have one, Pandora is my only name.

DRAKE:

How unusual.

PANDORA:

Not really. People only needed one name for a long while.

BEAT

PANDORA:

I'm sorry, my mind is drifting and I came here to do business.

DRAKE:

Good, what can I do for you?

PANDORA:

I need information. I'm going on a trip and I need information on the Incans and Pre-Incans.

DRAKE:

I have just the girl for you.

PANDORA:

Girl?

DRAKE:

I suppose I could find you a boy if you prefer?

PANDORA:

I'd prefer, just the information.

DRAKE:

I see.

can you be more specific? What period of Incan-

PANDORA:

I need to know about Incan occult practices.

DRAKE:

Occult?

I wasn't aware that the Incans practiced the occult.

PANDORA: (nodding)

They did.

It was their occult practices that brought the plague that killed them.

DRAKE:

Really?

I always thought the Spanish brought the plague. But I wouldn't presume to argue history with you or Matilda. I learned that lesson the hard way.

Pandora smiles and then she spaces out again for a moment.

DRAKE:

Do you speak Spanish?

PANDORA: (Angry)

Of course I speak Spanish!

DRAKE/PAN (Together)

I'm sorry.

BEAT

PANDORA:

I'm sorry, my temper has-

DRAKE:

No need to apologize I got into three fist fights the week my father died.

PANDORA:

Did you kill any of your opponents?

DRAKE:

Kill?

No, I'm afraid I was never that good.

PANDORA:

Then consider yourself lucky.

BEAT

PANDORA:

Do you have any Children Dr. Drake?

DRAKE:

Yes, two daughters. But-

PANDORA:

Yes?

DRAKE:

I'm afraid I'm a bit of a cliche.

I've always been so wrapped up in my work that ...

Well, we're estranged.

Pandora nods.

PANDORA:

Married?

DRAKE:

No, not anymore that is.

PANDORA:

Girlfriend?

The Director smiles and shakes his head, no.

PANDORA:

That's unfortunate Dr. Drake.

It's the connections we make with others that are important.

I'll take both the girl and the boy. You can e-mail me their resumes. I'll send you my itinerary.

We'll leave Friday from JFK.

Pandora turns to leave and then turns back.

PANDORA:

I don't want you here, Dr. Drake, when I return from South America. You are to retire. You should have saved enough to live on, if you haven't I'll make up the difference with a considerable severance package. I want you to spend time with your daughters, travel, see some of the places who's history you store here. Consider it a bequest of Matilda's will. Your words have helped me more then you know.

And she's gone.

EXT. NIGHT OVER NEW YORK

INT. DIRECTOR'S OFFICE, NIGHT.

Dr. Drake is packing up to leave.

INT. MUSEUM, CONT.

Dr. Drake walks through the empty, dark, halls.

EXT. MUSEUM, NIGHT.

Dr. Drake exits the building and walks up the street.

JOHNSON: (O.S.)

Willard?

Drake turns around.