"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