The Ray Bradbury Theater (1985–1992): Season 6, Episode 8 - Sun and Shadow - full transcript

[theme music]

RAY BRADBURY
(VOICEOVER): People ask,

where do you get your ideas?

Well, right here.

All this is my
magician's toy shop.

[typing]

I'm Ray Bradbury.

And this is--

[theme music]

[music playing]

[seagulls squawking]



[children's laughter]

[chicken clucking]

[chatter]

Breakfast, husband--
and son of the father

who is my husband.

Oh, good.

I could eat the dog
that ate the cat.

[dog groans]

[chatter]

[sighs]

Look at that sky.

[seagulls squawking]

[chatter]

Listen to the music of life.



MARIA: Don't say it.

It's bad luck.

It might be taken away.

Maria, you are
so superstitious.

What could happen?
- Don't say that either.

You'll bring it on.

Bring what on?

[horn honking]

Drink before this gets warm.

Eat before this gets cold.

Maria, you are
one of the gods come

down to earth to make me happy,
only to leave and make me sad.

Shh!

[chatter]

[rumbling]

[whoosh]

[horn honking]

[chickens clucking]

Pedro?
15 feet.

Starts here.

Finish this here.

Flat, no build.

You have eight minutes.

ANDREW: All right, guys.

Wrap it up, the sun
from there to there.

But it won't last long.

Don't go mad with your toys.

[inaudible] We'll have
diffusion number three.

Tell makeup and wardrobe
if they're not ready,

they're dead.

ANDREW: Right away, sir.

Shadows.

ANDREW: Makeup?

LAZLO: Texture.

[inaudible]?

You must come and look.

It's manifique.

Where's Tomas?

Andrew?

Andrew!

Coat hangers over here now.

They've been tarting
themselves since first light,

and the light is now perfecto!

Done!

Oh lord, why does no one want
to roll this camera except me?

RICARDO: You down there.

Ricardo, come away.

You down there.

That's all I need.

Ricardo, stop!

Don't tell me to stop.

Tell them to stop.

They're not hurting anything.

You there!

All right, darling,
let's put you right here

and the bottle here.

Keep the label turned to
the camera. after all,

we are trying to sell something
and [inaudible] thirsty.

RICARDO: Tomas?

LAZLO: The light and shadows
will hit you absolutely--

Tomas is in the street.

Our own son, loafing there.

Don't

No, no.

I'll cut off their heads.

They eye of the
master, Kirsten.

Now I save myself.

Cool, dark mystery of shadow.

The hot, passion of the sun.

And you, entrancing.

If that doesn't sell
that sick-making stuff,

I'll drink some myself.

Andrew, let's have
a rehearsal now.

ANDREW: Done!

Places, everyone.

That's my banister.

LAZLO: Amigo?

We're filming.

Making a movie.

Everything's all right.

A-- a few setups and
we'll, uh-- we'll move on.

Everything is not all right.

She is on my house.

We're filming a commercial.

It's costing lots and lots of--

[chuckles] I get it.

Silly me.

Andrew, give this gentleman
some portraits of his president.

- Huh?
- Dinero.

Pesos.

Ah.

No, you-- you insult me.

I work for my money.

Please go, huh?

What?

Move my crew?

All this equipment?

Now?

Tomas, get in the house.

But papa--

Huh?

In all my years in
the film industry,

no one has behaved as
that man is behaving.

It is past time
someone behaved.

I am the one.

All right.

We'll use the street
I found on the survey.

It has cracked
walls, deep shadows.

It's not as good, but I shall
be able to make it work.

[mutters]

ANDREW: You heard Lazlo.

We're moving out.

Look, you must understand.

It is not you I am
mad at, or even him.

I have my job, you have yours.

You know, we should
understand each other.

But I will not have
my alley used because

of its pretty shadows, or my
sky used because of its sun,

or my house used because
there is an interesting crack

in the wall.

LAZLO: Is that guy
pestering you, Kirsten?

No, no.

I am explaining.

Look, you must understand,
I'm not a mean man.

You should have thought
to ask permission.

Well, do I have
permission, Senor?

No.

Why are you angry?

I am the one to be mad.

Why ask permission
if it's refused?

Politeness.

Good manners.

The world runs mad for
lack of politeness,

the loss of good manners.

Thanks for the enlightenment.

This way, guys.

On the double.

It's the locals who
take the siestas.

[chicken clucking]

One moment!

One moment, please.

Do I look like a
cardboard cutout?

What do you mean, cardboard?

Well, you see?

The places where the tourists
stick their heads to pretend

they are toreadors or dancers.

So if they're there, why not?

And we're here,
so why not, huh?

We do not exist
to be backgrounds

for your smiling ladies.

My life is my life.

My alley is my alley.

Exactly, buster.

And they're both over there,
the other side of the square.

They're off your
little hacienda now,

so behave yourself and vamoose,
or I'll call the federales.

[music playing]

Ricardo, they have
their work and so do you.

And we both should do our
work where it is fitting.

We are not a film studio.

We're people.

And we must be given
attention as people.

We did not plan our cracked
walls and peeling paint.

Ricardo--

Maria, if I had not
sent Tomas inside,

they would have used
my honorable son in his

not-quite-best clothing
like a-- like a poster,

or a potted plant, or a cactus!

Ricardo!
Tomas--

- Yes, Tomas.
- --is not inside.

[music playing]

Tomas.

Naomi, I'll put you here.

The sun will cross
light you perfectly.

Lucky for you guys I
can pick up my feet.

OK.

We'll come off
Naomi [inaudible]..

Cross the statue.

The broken [inaudible]
is fabulous.

And we move in to
discover Kirsten

leaning against the door
and the A1 mythical beast.

Don't you belong back at
that loudmouth's place?

I'm free to go where I wish.

Damn right you can, kid.

Hey, look.

I am going to put
you in my movie.

What do you think of that, huh?

This'll fix that dead
spot between the fountain

and the wall.

Now, when I call "action,"
I want you to start here,

walk in that direction,
and don't stop

until I call "cut," all right?

Andrew?

ANDREW: Sir?

Give him a few pesos.

Done.

[inaudible] Americano.

LAZLO: I hate impromptu, but,
on the other hand, it's here.

OK, we'll shoot the rehearsal.

We've lost enough time already.

Now, kid?
Kid, sit down.

Sit down.

yeah.

And no smiles.

Sad.

Your poor mother's just sent
you out with her last few pesos

to buy half a fish
and five beans.

Motivation for today, fellas.

[chuckling]
Give him five.

OK, stand by, kid.

And remember, this is serious.

RICARDO: Serious indeed.

[birds chirping]

[grumbling]

Now it seems you have
vandalized the whole town.

Tomas?

Vamanos.

I warned you, Pancho.

This is not your house and
we never knocked it down.

My home is intact.

And my name is Ricardo
Juan de Silva Ortiz.

A good name for the
mayor of the town.

No, I'm not the mayor.

Oh.

Then with or without
our permission, citizen,

we shall proceed.

Same position for you, Naomi.

Kirsten, the shot'll
pick you up on the move,

walking to the door.

I'll kill you if you walk.

Excuse us, citizen.

We're working.

Andrew?
- Sir?

The old man out of it.
He's in the shot.

Done.

What next?

ANDREW: Senor, come over here.
- Jorge?

You can sit over there.
LAZLO: All right, girls.

Get ready.

Look gorgeous, wait
for my cue, and don't

forget your motivation.

It's very [inaudible].

Jorge?

Jorge, what are you doing?
LAZLO: And roll camera.

I'm standing here watching.

CAMERAMAN: Rolling!

Isn't that your doorway?

I mean, you're gonna
let them use it?

[inaudible]

Jorge, they're
using your property

like a movie actor's place.

Aren't you insulted?

I haven't thought about it.

LAZLO: Slowly, slowly.

[inaudible], think!

JORGE: I see little harm.
LAZLO: Go, Kirsten!

Cut!

ANDREW: What are you doing?

[inaudible]

Hey!

Am I the only one in the world
with a tongue in his mouth

and taste on his tongue?

Is this a town of picture sets?

Won't anyone do
something about this?

Except me.
- Get the cops.

Done!

Oh, producers know how to
pick their moments, huh, guys?

[taxi drives off]

Lazlo, how goes it, guy?

Great, Vincent, great.

Getting terrific footage.

What else would I expect
on a film by Lazlo Quick?

RICARDO: You want the quaint
man in the background?

You want me by this
wall here with--

with my hat thus, my feet
thus, the light thus, and, uh--

and my sandals-- which,
by the way, I made myself.

[laughter]
- Using the locals?

Marvelous.

Good thinking.

This guy doesn't
even want any money.

Perfect.

He's a little
loco, but I'm getting

some good atmosphere with him.

Oh, you want me to rip this
hole in my shirt a bit larger,

huh?
Like this?

OK, buddy.

Buddy, that's-- that's fine.

[laughter]

Is-- is my face smeared
with enough perspiration?

Uh-- uh, is-- is my
hair long enough, sir?

He's pretty sharp, huh?

Just stand right there.

Oh, I will not
look in the camera.

No.

Kirsten, [inaudible].

Now let me get set.

Roll camera.

CAMERAMAN: Rolling!

Slow tracking and action!

[birds chirping]

Now, Kirsten.

[footsteps]

[unzips]

Cut!

[laughter]

I did not know
I would do that.

LAZLO: Sorry, Vincent.

He's the village idiot.

Call the cops.

I've done that already.

May I suggest a
change of location?

Something like a beach?

That's a good idea.

Sure, I-- I've
got just the spot.

Beautiful sand, old boats,
blue sky, sparkling water.

It sounds good to me.

RICARDO: And me.

[zips up]

[music playing]

Two minutes.

Time is money.

Hurry up, people,
before the tide

comes in and ruins
Vincent's wonderful idea.

The light's fantastic, huh?

All this fishing stuff,
great set dressing.

[seagulls squawking]

Oh my god.

What are we gonna
do about this idiot?

We'll buy him off.

We tried that.

Well, try harder.

More money.

Now I'll show you
what a producer does.

Police will soon be here.

[laughter]

Attention!

Look.

Look at what the dog
has done for you.

What-- what patterns, huh?

What art!

Well, quick, before it dries!

Here they are.

Police.

Maria.

Esteban.

Look, it's Esteban.

[laughter]

Got him, sir.

What seems to be the trouble?

That man over there.

We want him removed.

This man over here seems only
to be leaning against a boat.

Well, sure, now he is.

But just watch this space.

OK, girls.

Down there by the nets.

[waves crashing]

[music playing]

See?

He-- Take your poses, girls.
Roll camera.

CAMERAMAN: Rolling!

LAZLO: And action.

[laughter]

[unzips]

[laughter]

Cut.

[seagulls squawking]

Ah.

And we have all
the evidence on film.

ESTEBAN: So what do
you want me to do?

Do?

Arrest him!

ESTEBAN: Ah.

Indecent exposure.

He's wasting our money.

This man over
here, I know him.

His name is Ricardo.

Hola, Esteban.

Ricardo, que pasa?

Things could be
better, Esteban.

Well?

He is doing nothing
that I can see.

He's half naked.

We're not making a porno.

[laughter]

ESTEBAN: This man, he's
doing nothing immoral.

If he were doing something with
his hands or with his body,

something terrible to view,
then I would act [inaudible]..

However, since he
is simply standing

there, not moving
limb or muscle,

heh, I can see nothing wrong.

He's-- he's naked!

He's naked!

[laughter]

Naked.

His shirt is long.

I am not offended.

They are offended.

JORGE: There are naked
people and naked people--

goods, bads, some sober,
some with drink in them.

I judge this man, Ricardo, to
be a man with no drink in him.

He's a good man by reputation.

Half naked, heh, si.

But he is standing very still so
as not to frighten the fishes.

What are you?

[inaudible]?

Yes, compadre, si.

Madness!

All right, everybody,
out back to the square.

We'll find another location.

RICARDO: France.

[chatter]

What?

France, Sweden, Spain.

Sweden, ah.

I have seen nice pictures
of walls in Sweden.

I'll find a place without you.

I think not.

I will be there tomorrow, the
next day, at the bullfights,

at the market, anywhere.

Everywhere you go, I go--

quietly, with dignity-- to
perform this necessary task.

Who the hell do
you think you are?

[chuckles]

I didn't know till now.

I came upon myself by surprise.

As long as there is one man
like me in a town of 10,000,

the world will go on.

Without me, chaos.

VINCENT: Lazlo,
we'll need to talk.

I warned you, Lazlo--

hah-- I hate location.

We had this fabulous raunchy
ranchero studio set, but no.

You demanded the real thing.

Well, if this is the real thing,
give me artificial every time.

I'm disappointed.

I'm very disappointed.

[music playing]

[laughter]

[zips up]

[applause]

[sighs]

OK, folks.

As we've spent the big
bucks coming down here,

we'll have to shoot it
here, in lovely Santa

Misery, or something.

50 miles down the coast
from location [inaudible]..

I'll give you two
hours' travel, lunch.

Save your receipts.

Start at 1:00 and going on.

An extra overnight.

[chuckles]

All right!

Yay!

Your fees are not
looking so good, Laz.

18 multiplied by 125,
subtract from, equal--

[whistles]

Serious.

[chickens clucking]

[clanking]

Ah.

Now I have walked up
the street to my house,

which has paint
peeling from the door

where I have brushed it
1,000 times in passing,

and walked these stones that I--

I have worn down in
30 years of walking.

I have run my hand
over the crack

in the wall of my house,
which is the crack

made by the earthquake in 1980.

When you and I were
much in love, and thought

it was our love that moved
the house, warm and great

in the night.

Mm.

But it was the
earth trembling.

And in the morning,
that crack in the wall.

And I have climbed up the steps
to the latticework balcony

of my father's home,
which latticework

he made with his own hands.

And we shall sit,
eating and talking,

not photographs, not
backdrops, not paintings, not

stage furniture, any of us--

but in our own way,
actors, all of us.

Very fine actors indeed.

Tomas?

What is he doing?

Is he still stage struck?

I think not.

Senor?

[dog whining]

RICARDO: Tomas, our
son that we created.

That is good.

It is very good.

I think, Maria, the
world will go on.

[music playing]