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Take a Deep Breath


#1

 TAKE A DEEP BREATH
 by
 Omer Fast

 In the summer of 2002, Martin F. was standing outside a falafel
 shop in Jerusalem when it exploded. A trained medic, he went in
 and discovered the body of a young man on the floor. The young
 man had lost both legs below the waist, as well as an arm, but
 his eyes were open and focused. A few seconds passed while the
 two looked at each other. Knowing it was probably in vain,
 Martin F. decided to administer mouth-to-mouth resuscitation.
 After a minute or two, the young man’s eyes rolled up into his
 head and he expired. As he walked out, Martin F. saw that a
 group of people had gathered, including two policemen, who
 wanted to know how many casualties were inside. When he
 responded that there was only one, Martin F. realized the young
 man he had just left inside was a suicide bomber.

 In the following script, extracts recorded from a conversatio
 with Martin F. in 2008 alternate with fictional scenes in which
 a team of actors attempts to stage his ordeal for the camera.

 There are two cameras shooting simultaneously. 

 Each shoots a different view.




1 I/E. FALAFEL SHOP IN JERUSALEM. DAY.

 Off-screen sound of a muffled explosion.

 CAMERA "A" AN EXPLODED FALAFEL SHOP ON A STREET IN JERUSALEM. THE
 STORE WINDOW HAS BEEN BLOWN OUT. SMOKE IS COMING OUT. THE STREET IS
 EMPTY. THERE IS SHATTERED GLASS AND BLOOD ON THE SIDEWALK, AS WELL
 AS A SINGLE SEVERED HUMAN ARM.

 CAMERA "B" PARALLEL SHOT, REVEALING MF FROM BEHIND, STANDING
 FARTHER DOWN AND LOOKING TOWARDS THE EXPLODED FACADE.

 MARTIN F. (V.O.)
 Where do I start here? That morning I took off
 from work for an hour or so. I went with my wife
 out on a few chores. And when I came back I
 decided to go for lunch. I headed for my favorite
 falafel place on Prophets Street. And within
 fifteen seconds I heard this boom. Not as noisy as
 you'd really expect. And I see smoke emerging from
 the falafel place itself.

 MF begins to walk towards facade.

 BOTH CAMERAS MOVE TOWARDS THE BLASTED WINDOW.

 MARTIN F. (V.O.)
 The plate glass window is all shattered. There's
 complete silence. Maybe a few car alarms go off.
 There's glass on the sidewalk. And the first thing
 that really hits me is a human arm by the door.

 MF pauses just in front of the facade.

 MARTIN F. (V.O.)
 But I am a medic. I was trained in the army to
 deal with casualties. So I headed over there. Not
 too fast, mind you. I was not in a rush. I was
 hoping that some magic ambulance was going to come
 out of nowhere; they'd do all the dirty work.
 They'd go in and I would be able to be on the
 outside looking in. But nobody was there, so I
 walk in.

 MF walks through the open door into the shop.

 CAMERA "A" TRACKS THROUGH BLASTED WINDOW INTO THE SHOP AS MF WALKS
 IN THROUGH DOOR. IT CLOSES IN ON AN INJURED BODY LYING IN A PUDDLE
 OF BLOOD. IT IS A YOUNG MAN, PRACTICALLY A TEENAGER. HE IS MISSING
 BOTH LEGS AND AN ARM. THE GROIN AREA OF HIS PANTS DISPLAYS AN
 AWKWARD TUMESCENCE.

 CAMERA "B" OVERTAKES MF AS HE APPROACHES THE FACADE, CROSSING AND
 FOLLOWING MF'S POV. AS IT APPROACHES THE BODY, IT TILTS UP TO
 REVEAL CAMERA "A" AND THE CREW.

 MARTIN F. (V.O.)
 Glass all over the place. And blood, but... I see
 this one fellow lying on the floor. He had no
 legs. I leaned down and looked at him for a second
 or two.

 CAMERA "A" ZOOMS IN; THE LEGLESS MAN SUDDENLY OPENS HIS EYES AND
 LOOKS AT THE CAMERA.




2 INT. FALAFEL SHOP IN JERUSALEM. DAY.

 OMER
 Oh no, Cut...

 Legless Man immediately closes his eyes.

 ASSISTANT DIRECTOR
 (Loudly)
 Cut!

 CAMERA "A": CUTS BRIEFLY.
 CAMERA "B": STAYS ON THE CREW.

 SOUNDMAN
 Dude, that was perfect! What happened?

 OMER
 He opened his eyes.

 CAMERA "A" BACK ON TO CLOSE-UP OF SOUNDMAN. FROM NOW ON BOTH
 CAMERAS CUT BETWEEN VARIOUS CREW MEMBERS AS THEY SPEAK.

 SOUNDMAN
 Who did?
 OMER
 I forgot his name. He looked right at the camera.

 ASSISTANT DIRECTOR
 Are you sure?

 CAMERMAN
 Eyes wide shut, Omar. It's like the third time he
 does that.

 CAMERA "A" CU OF BOMBER. HIS EYES ARE CLOSED. HE DOESN'T MOVE.

 CAMERMAN
 Actually, there was another problem. I don't know
 how to put it but...

 People look the Camerman questioningly.

 CAMERMAN
 (Smiling, embarrassed)
 Um, he's got a lump in his pants.

 ASSISTANT DIRECTOR
 A lump? What are you talking about?

 CAMERMAN
 His pants. Um, look, there's a bump, a lump, it
 looks like...

 OMER
 A what?

 Pause. Some people notice. Suppressed laughter. Bomber opens eyes.

 SOUNDMAN
 Whoa, dude, is that what I think it is?!

 OMER
 I don't get it. Am I missing something?

 SOUNDMAN
 (Laughs)
 The guy's got a boner! For real! Hey, you're in
 the wrong film, man!

 BOMBER
 (Smiles)
 What? Where?

 Pause. Everyone notices. Bomber strains to look down at his crotch.

 SOUNDMAN
 (To Bomber)
 You're not turned on by this whole thing, are you?

 BOMBER
 (Still smiling but less sure)
 Come on, it's not me...

 SOUNDMAN
 Uh-huh...

 ASSISTANT DIRECTOR
 It's not him, you idiots. It's just a bump in his
 costume!

 CAMERMAN
 Man, I don't care what it is! If you look through
 the camera, it looks just like a hard on!

 SOUNDMAN
 I heard this shit happens when people are hanged...

 BOMBER
 (More concerned)
 Seriously! It's not me!

 SOUNDMAN
 Hey, no worries, dude. It happens to everyone.

 BOMBER
 But this is all a prosthetic, remember? I'm
 actually under the platform.

 OMER
 Well, could we get the make-up guy in here?

 CAMERMAN
 And a bucket of ice!

 Cameraman and Soundman high-five each other, laughing. FX guy runs
 in, reaches into Bomber's pants and starts fiddling. A PA runs in
 with ice and is shooed away. The crew loves it.

 ASSISTANT DIRECTOR
 (Disgusted)
 Would you guys grow up already?!

 FX guy finishes and runs off. Bomber relaxes.

 ASSISTANT DIRECTOR
 Ugh. All right. On to the next problem: Did you
 look at the camera?

 BOMBER
 (Shrugs)
 I thought it already passed me.

 OMER
 OK, could we stop messing around and do it again?
 Just the last shot? The close-up?

 ASSISTANT DIRECTOR
 Just a second, Omer. I'm not sure he gets it. Hey
 look, the camera was not yet past you when you
 opened your eyes, OK? Just stay dead with your
 eyes closed until we're finished.

 BOMBER
 Well, how am I supposed to know where the camera
 is if my eyes are closed?

 CAMERMAN
 Listen Einstein, you're a suicide bomber! You're
 dead! You don't care about cameras!

 BOMBER
 (Points to Cam "A")
 Not even this one?

 ASSISTANT DIRECTOR
 It's really simple. You close your eyes when we
 say "action." You open them when we say "cut."
 That's all there is to it. (to Omer) Has he ever
 acted before?

 BOMBER
 Isn't it better if I keep my eyes open?

 Pause. Disbelief.

 BOMBER
 I mean, it's not a peaceful death, right? I just
 think that it'll look more real.

 Pause. The entire crew stares at the Bomber.

 BOMBER
 Fine. I'll keep my eyes closed if that's what you
 want.

 SOUNDMAN
 (Seriously, to Omer)
 Maybe we should try water-boarding?

 OMER
 (Ignores him)
 No. He's right. Let's do it again. From the top.
 With his eyes opened.

 CAMERMAN
 What, the whole scene, Omar?

 ASSISTANT DIRECTOR
 I'm not sure that's such a good idea, Omer...

 OMER
 What can I say? He's right. It will look more
 realistic.

 CAMERMAN
 How's he know what's more realistic?

 SOUNDMAN
 Yeah, man, like have you died in a suicide bombing
 before?

 BOMBER
 Have you ever seen a dead body?

 CAMERMAN
 Have you?

 BOMBER
 Yes.

 CAMERMAN
 Where?

 BOMBER
 At home. Where I'm from... (Shrugs) I've seen many.

 SOUNDMAN
 What are you? Like an undertaker on weekends?

 BOMBER
 I'm a Kosovar.

 SOUNDMAN
 (Laughing)
 A Crossover? What's that supposed to mean?

 ASSISTANT DIRECTOR
 He's from the Balkans, genius.

 SOUNDMAN
 Oh right! The Balkans. Now everything's clear.
 That's where Frodo's from, isn't it?

 Someone laughs.

 OMER
 Ok, I think we should re-

 CAMERMAN
 (Cuts him off)
 Nah, nah, hold on, Omar! I got to ask this guy a
 question...

 Cameraman leans aggressively towards Bomber.

 CAMERMAN (CONT'D)
 Who died? Come on, man. Give me some names. Where
 was it? When did it happen?

 Pause. Bomber closes his eyes and settles back into his pose.

 CAMERMAN
 (Laughs dismissively)
 Just what I thought. This guy is pulling your leg,
 Omar...

 ASSISTANT DIRECTOR
 (To Omer)
 Are you sure you want to do the whole thing all
 over again? We're an hour behind. All the extras
 are waiting...

 Pause. Omer thinks.

 SOUNDMAN
 (To Camerman)
 Did they have Arabs in Lord of the Rings?

 CAMERMAN
 He's not an Arab.

 SOUNDMAN
 What is he then?

 CAMERMAN
 He's a liar.

 BOMBER
 I'm an Albanian.

 SOUNDMAN
 Arabian, Albanian... (turns) Could somebody get us
 an atlas?

 OMER
 (Fumbles, taking out an iPhone)
 Here. I can google it...

 ASSISTANT DIRECTOR
 Hey Omer? We really don't have time for this. If
 you're not happy with how things are going, I'd
 suggest we try one take without him.

 BOMBER
 (Opens his eyes)
 Are you serious?

 Omer looks up from the iPhone.

 CAMERMAN
 (Laughing)
 But he's the suicide bomber! What am I going to
 shoot? A puddle of fake blood and some pieces of
 latex?

 SOUNDMAN
 You can shoot some falafel balls, man. Look, this
 stuff's got great texture!

 ASSISTANT DIRECTOR
 Why don't we break for lunch and talk about it?

 OMER
 But he's right; we can't just pretend the guy
 isn't here. I mean, he IS the suicide bomber.
 That's kind of a big part of the story!

 ASSISTANT DIRECTOR
 All right. Then let's get someone else. (takes out
 her own iPhone) I know this casting agency...

 BOMBER
 Wait a minute! I have a contract!

 CAMERMAN
 You had a contract.

 Bomber tries to get up, struggling with the prosthetics.

 OMER
 (Runs towards Bomber)
 Please just stay where you are! I promise:
 Whatever we decide, you'll get paid for today...

 BOMBER
 (Still struggling)
 I'm not doing this for money!

 Bomber finally manages to get up. AD looks up from iPhone.

 CAMERMAN
 No? Then why are you doing this? To be famous? For
 your showreel?

 SOUNDMAN
 (Quietly)
 For like the seventy virgins, man, I'd do it...

 Bomber steps menacingly towards Cameraman. AD walks in to break
 them up. Omer sits down in despair.

 ASSISTANT DIRECTOR
 OK, that's enough. Let's break for lunch everyone!
 Now! I mean it.

 Pause. Cameraman and Bomber stare at each, huffing and puffing.
 Cameraman struts off. Soundman bumbles after him. Bomber sits down
 next to Omer, exhausted.

 OMER
 Listen, I'm really sorry about this. I didn't
 realize you had this - you know - history...

 Bomber looks at Omer without responding.

 OMER
 Did you lose someone close?

 Bomber and Omer look at each other.

 ASSISTANT DIRECTOR
 Omer? I think we should talk for a minute.

 BOMBER
 I need to make a phone call.

 OMER
 Sure.

 BOMBER
 I don't have a phone.

 AD doesn't offer her iPhone. Reluctantly, Omer hands over his.

 OMER
 Here. Just be careful. (Smiles apologetically)
 It's an iPhone...

 Bomber quietly takes phone. He then reaches up and slowly peels off
 his nose, it's a bumpy prosthetic.

 BOMBER
 (Gives nose to Omer)
 Here. This is yours.

 Bomber walks off.

 ASSISTANT DIRECTOR
 (Smiling)
 All right. That's one casualty. Can I call the
 casting agency now?

 Pause. Omer thinks. Assistant Director starts scrolling through
 contacts again.

 ASSISTANT DIRECTOR
 Come on, Omer. He's just a day player. There's
 nothing special about him. Oh, and while we're at
 it, we should fire that burn victim chick.

 OMER
 But she's the only woman on our whole set!

 ASSISTANT DIRECTOR
 Yeah, but she's not in the original story, right?
 Plus she's a bad actress.

 OMER
 It's a small role. She's just a casualty!

 ASSISTANT DIRECTOR
 I'm not sure you were watching her face, Omer. She
 was vamping, not dying.

 OMER
 What is that supposed to mean?

 ASSISTANT DIRECTOR
 (Sighs, angry)
 All right. Fine.
 Why don't I just call them all back and do it over
 again? Eyes open, eyes closed, shirt on, shirt
 off. Whatever you want. Frankly, I think you're
 too caught up in details.

 Pause. Omer looks around, unable to decide.

 ASSISTANT DIRECTOR
 Well? (Carefully) Omer?

 BOTH CAMERAS CUT.




3 INT. FALAFEL SHOP IN JERUSALEM. DAY.
 Everything is the same as at the beginning of Scene 2, except for
 the Bomber. He's now played by an older, decidedly lighter-skinned,
 blue-eyed man (Amputee).

 CAMERA "A": MEDIUM CLOSE ON BOMBER.
 CAMERA "B": SHOOTING ALONGSIDE, MEDIUM WIDE ON MF STAND-IN.

 MARTIN F. (V.O.)
 His eyes were open. He was a mess, but I don't
 remember any blood in or around his face.

 MF approaches.

 MARTIN F.
 He was a mess. He was missing his legs. He was
 missing one arm. But he was focused on me.

 MF leans down and carefully looks into the Amputee's face.

 MARTIN F.
 So I thought: "Maybe the medical crews will
 arrive? Some miracle will happen. I'm going to
 give him an extra few seconds..." So I started
 giving him mouth-to-mouth.

 MF presses his lips to the Amputee's, breathing and then begins
 administering CPR.

 MARTIN F.
 His eyes flashed on me for the first couple of
 seconds. After that I didn't really have eye
 contact with him. I would say that his body was in
 complete - what's it called? When you lose
 tonus... He was in bad shape. I said,
 "Everything's gonna be OK. Tinshom Amok," -
 breathe deeply.

 MF continues the CPR. The Amputee starts to fade.

 MARTIN F.
 And then I saw one guy who was leaning in the
 doorway. His hands were on his hips. And he was
 kind of shaking his head from side to side, like,
 "The guy's a goner..."

 MF looks up. The Amputee dies quietly.

 MARTIN F.
 He looked for some reason very authoritative to
 me. I stoppped the CPR. I got up and walked
 outside.

 MF stands up slowly.

 CAMERA "A" FOLLOWS MF AS HE STANDS UP.
 CAMERA "B" CUTS TO THE TEAM AGAIN.

 OMER
 And...cut. Thanks a lot.

 CAMERMAN
 All right! What a difference!

 CAMERA "A" CUTS.
 CAMERA "B" CONTINUES.

 Crew members clap, visibly relieved. FX guy and PA's walk in and
 begin helping the Amputee up.

 ASSISTANT DIRECTOR
 (Sits near Amputee)
 Didn't I tell you this guy would be great?

 SOUNDMAN
 Yeah man, great suicide bombing! Mazal Tov!

 OMER
 (Sits near Assistant Director)
 I still think he's too old for the part. I mean,
 the real bomber was just a teenager...

 ASSISTANT DIRECTOR
 Who cares about the real bomber? At least this guy
 can act! The other one couldn't even play dead for
 one minute.

 AMPUTEE
 (Getting up)
 If you think that was good, I can also roll over
 and fetch a ball...

 Crew is having difficulties helping the Amputee up. Omer and
 Assistant Director watch, uncomfortably. The Amputee is finally
 extricated, getting up and brushing himself off.

 AMPUTEE
 I'm going to go for lunch.

 Amputee stumbles off, still wearing a bloodied shirt and stump.

 CAMERA "B" CUTS.




4 EXT. CATERING STAND. DAY.

 A buffet of soft drinks and fast food. Several extras are milling
 about. Amputee walks in and stands in line behind a young, pretty
 woman, whose face is partly burned. Burned Woman picks through the
 buffet, putting food on her plate. Amputee takes a plate and
 follows.

 Cameras are behind the table on a track, spaced apart but parallel
 to each other. They shoot simultaneously.

 AMPUTEE
 So...How did you die?

 BURNED WOMAN
 You know what? I don't care.

 AMPUTEE
 Really? Most people do.

 BURNED WOMAN
 Do they? Well, like most people then, I guess it
 was the explosion.

 AMPUTEE
 So why don't you care?

 BURNED WOMAN
 Because I quit.

 AMPUTEE
 You died - and then you quit?

 BURNED WOMAN
 No. I quit before I died. I mean, I didn't die. I
 refused to.

 AMPUTEE
 Good for you. (Chews)
 So why'd you quit?

 BURNED WOMAN
 Because they lied to me.

 AMPUTEE
 About your dying?

 BURNED WOMAN
 About how they wanted me to die: They wanted me to
 die with my shirt off!

 Amputee shakes his head laughing. Burned Woman also smiles.

 BURNED WOMAN (CONT'D)
 Can you believe it? They never said anything about
 that in rehearsals and now it's supposed to be
 more realistic! Like the blast just ripped it off...

 AMPUTEE
 At least you got to rehearse.

 Woman finally looks at him, holds out her hand. Amputee smiles,
 unable to shake hands he gestures at his stump.

 BURNED WOMAN
 Oh sorry. I guess we haven't met. So what's your story?

 AMPUTEE
 Me? I'm the suicide bomber.

 BURNED WOMAN
 (Laughs)
 No way, really? Aren't you a little old for the part?

 AMPUTEE
 Actually, I'm just doing this as a favor to my
 agent. They called her one hour ago. Totally
 desperate. Apparently the young guy I'm replacing
 couldn't follow directions.

 BURNED WOMAN
 Yeah, I heard he had problems. I didn't know they
 got rid of him too...

 They continue loading their plates, moving down the lunch line
 while nibbling.

 AMPUTEE
 It's a shame. There's some good people here. The
 real story is quite poignant. Unfortunately the
 director, what's his name, Omar something? He's
 more interested in gimmicks than storytelling.

 BURNED WOMAN
 You mean the explosion?

 AMPUTEE
 There was an explosion?

 BURNED WOMAN
 Real loud, a big fireball! I guess they wanted
 authentic reactions.

 Amputee nods. Burned Woman pauses, angry.

 BURNED WOMAN
 It's totally irresponsible. You know, I bet they
 don't even have a permit for that! Jerks. Someone
 should report them.

 Burned Woman looks around, losing interest in her food. Amputee
 studies a tortilla chip.

 AMPUTEE
 Anyway, so I'm also wrapped for the day. Got any
 plans for the evening?

 BURNED WOMAN
 Taking a bath and cuddling with a good book.

 AMPUTEE
 Wow! That sounds good! (Reaches for another
 tortilla chip. Winks.) Like some company?

 Pause. Burned Woman smiles.

 BURNED WOMAN
 I'm afraid not.

 AMPUTEE
 Why not?

 BURNED WOMAN
 It's against the rules.

 AMPUTEE
 What rules? It is a non-union shoot.

 Bomber from Scene 1 enters, holding an iPhone.

 BURNED WOMAN
 Let's see, Rule Number One? (Taps his stump,
 smiling) Never go out with a victim.

 BOMBER
 So how do we get home? Do they even have a car? Is
 somebody driving us?

 AMPUTEE
 Is this your boyfriend?

 BURNED WOMAN
 (Laughs)
 What him? Oh no!
 (To Bomber)
 Sorry, I can't even remember your name!

 BOMBER
 That's all right.
 (To Amputee)
 We were both fired.

 Bomber throws the iPhone into a plate of tortilla chips. Amputee
 looks on with amusement. Burned Woman looks embarrassed, possibly
 hurt. Pause.

 BURNED WOMAN
 Hey, you know what? I know a good car service.
 (Reaching out for phone) Let me call one for you.

 Burned Woman picks up the iPhone and starts dialing. Amputee and
 Bomber are suddenly left facing each other.

 BURNED WOMAN (CONT'D)
 Hello? Could you please send a car to Melrose and
 Kenmore ASAP. (Listens) It's a storefront on
 Kenmore. I don't know the exact number but you
 can't miss it. There's been an explosion.
 (Listens) No, no, it's a film set, we don't need
 an ambulance. (Listens) My name? (Looks up at
 Bomber) Sorry, what was your name again?

 BOMBER
 Keith.

 BURNED WOMAN
 Keith, what?

 BOMBER
 Keith Richards.

 Burned Woman stares at him for a moment before finally finishing
 the call.
 BURNED WOMAN
 Just send someone quickly. A young guy called
 Keith will be waiting.

 Hangs up and holds up the iPhone for Bomber.

 BOMBER
 That's OK. It's not mine. Keep it.

 Pause. Burned Woman continues to hold out the iPhone.

 AMPUTEE
 So do you ever bend your rules? I mean, they're
 there to be broken, right?

 BURNED WOMAN
 Rule Number Two: Never go out with a beggar.

 Burned Woman walks away, this time not smiling. She joins the
 Bomber on the other side of the table. Amputee looks on.

 AMPUTEE
 (Approaches)
 What if I told you my injury's real?

 BURNED WOMAN
 (Smiles)
 Yeah, sure. You're crippled and he's Keith Richards.

 AMPUTEE
 I prefer differently-abled. But, yes, I'm a real
 amputee.

 Burned Woman stops smiling. Bomber looks up with interest.

 AMPUTEE (CONT'D)
 Oh please don't stop smiling...

 BURNED WOMAN
 I don't think this is funny.

 AMPUTEE
 And don't lose your sense of humor! That's always
 the worst part!

 Burned Woman moves away. Amputee pockets the iPhone, follows.

 AMPUTEE (CONT'D)
 I had a career. Nothing spectacular, mind you,
 never a Hamlet. Just a few supporting roles, a
 couple of features, theater, television...
 (Looks at stump) Then this happened. I won't bore
 you. The details are dreary. Needless to say, my
 agent stopped taking my calls. I stopped getting
 callbacks. You know, with one arm you can't even
 work as a waiter!

 BURNED WOMAN
 Can you please leave me alone?

 AMPUTEE
 About one year ago, the phone started ringing
 again. It's a niche, sure, but it's growing.
 There's a lot more demand for amputees now, for
 various reasons.

 BOMBER
 Hey man, aren't you laying it kind of thick?

 AMPUTEE
 (turns to Bomber)
 In the beginning, I also thought it was weird. But
 you know what? Times are changing. We're fighting
 two wars now. One hour ago, I was home, watching
 TV. Then my agent called. "Suicide Bomber? Sure!
 What could be easier?"

 Burned Woman tries to walk off but Amputee steps in front of her.

 AMPUTEE (CONT'D)
 So I get lots of work. I can even start being
 selective. And best of all: since my arm's already
 gone, I don't have to spend hours in make-up!

 BURNED WOMAN
 Bravo. I'm all choked up. I get it.

 BOMBER
 This guy is putting you on!

 BURNED WOMAN
 Do I care? Does it matter?

 AMPUTEE
 It doesn't. (Moves to Bomber) And I'm not.

 Amputee steps in front of Bomber. Bomber looks up at him slowly

. BOMBER
 OK, so why don't you prove it? Come on (Taps at
 Amputee's stump) Come on, show us your moneymaker.

 AMPUTEE
 Don't touch me!

 Amputee pushes Bomber away but he persists, touching, tugging more
 forcefully at the stump.

 BOMBER
 Come on! Show us that money-maker!
 (To Burned Woman) You wanna see it? You want to
 see his moneymaker?

 The two start to struggle more intensely, the Amputee mainly trying
 to protect his stump and the Bomber pushing him backwards. Finally,
 the Amputee suddenly reaches out to slap at the Bomber with his
 good hand. Bomber has just been waiting for this and expertly
 throws him to the ground. Several extras break up the fight.
 Bomber looks down with disdain and is escorted away. Amputee slowly
 sits up, visibly shaken. He tries to tidy himself. Burned Woman
 leans down next to him. A moment passes.

 BURNED WOMAN
 Are you all right?

 Amputee does not answer. He looks quite shaken up.

 BURNED WOMAN
 Look, for whatever it's worth, I'm really sorry.

 Pause. Burned Woman helps Amputee get up.

 BURNED WOMAN (CONT'D)
 So, is it really true?

 AMPUTEE
 (Mutters)
 Well, there's only one way to find out, isn't there?

 Burned Woman looks at him, a smile finally breaking her otherwise
 concerned expression.

 BURNED WOMAN
 And what happens if you're not a real amputee?

 A tense moment passes. Suddenly Burned Woman cannot suppress a
 laugh.

 VOICE 1
 Cut.

 VOICE 2
 (Loudly)
 Cut!

 VOICE 3
 Ok, that's a cut.

 CAMERA "A" CUTS.

 VOICE 2
 What happened now?

 VOICE 1
 She laughed.

 VOICE 2
 Was she not supposed to?

 VOICE 1
 No. She wasn't.

 BURNED WOMAN
 (Still laughing)
 Oh my God, Omer! I'm so sorry.

 VOICE 1
 Well that's great. But the scene was not over!

 BURNED WOMAN
 I'm so sorry! I know! It's just. (Laughs) My scars
 started peeling!

 VOICE 2
 Fuck. Could we get makeup in here?

 AMPUTEE
 They're not scars yet, darling. They're burns.

 Pause. Burned Woman and Amputee walk away.

 CAMERA "B" TURNS ON, FOLLOWING THE TWO ACTORS AND STOPPING SUDDENLY
 AT THE FACADE OF THE FALAFEL SHOP.




5 EXT. FALAFEL SHOP. DAY.

 A small crowd of policemen and onlookers are standing around. A
 team of medics are inside the shop, sorting through the debris,
 collecting body parts, photographing.

 CAMERA "A" SHOWS THE SCENE FROM OUTSIDE, SHOOTING THROUGH THE
 FROZEN CROWD.
 CAMERA "B" SHOWS THE SCENE FROM INSIDE, FOLLOWING THE MEDICS WHO
 PERFORM THEIR ROLES IN A SERIES OF STILLS.

 MARTIN F. (V.O.)
 By this point, there was a whole scene outside
 the falafel place. I was shunted across the street
 by the police, and I joined the onlookers. And it
 was only then that it dawned on me: "When you have
 a suicide bombing and you only have one casualty -
 maybe I had just taken care of the suicide
 bomber..." And I remember a wave of nausea that
 rolled over me. And I don't think the nausea was
 because I had any moral reprehension at treating
 this guy. It was the shock of what had just
 happened. Plus I think there was the smell of
 blood in my mouth... I realized that I had to get
 the police to test this guy for diseases. So I
 went back to my office. The first thing I did was
 scrub my hands. I noticed some blood on my thumbs
 - in the cuticle area - and I was scrubbing at it
 and getting dish-soap, and soaping up my lips,
 inside and out... I wanted it out. Afterwards, of
 course, I was thinking: "What made you do this? Was
 it because you thought this was some polluted sub
 human?" No. It wasn't that at all. It was really
 very rational. People who had diseases had been
 recruited. They'd go into crowds with bombs filled
 with rat poison, in order to enhance the effects
 of the explosives... If anything, this was a real
 face-to-face confrontation with evil! On the other
 hand, maybe I'm building this up too much. Because
 at that point, I don't think I was thinking of him
 as evil. He was a human being I was trying to
 save. And he was seventeen-and-a-half, eighteen
 years old. Afterwards comes maybe all the
 editorializing and adding the little ethical
 finishing touches on things. For my own benefit,
 by the way, I never really looked into too much of
 his background. I didn't want to personalize him
 more than I had to.

 BOTH CAMERAS BEGIN TO TRACK ACROSS THE SCENE OUTSIDE.

 MARTIN F.
 As it happens, a day and a half later, I did get a
 phone call. They finished the blood work on him
 and it turned out he proved positive for Hepatitis.
 So I don't think I was trying to scrub away the evil.
 It was more just, "There's something potentially
 very bad about this blood here..."

 Two LAPD officers enter the scene and walk between the extras who
 are still frozen in their poses. They pause in center frame of CAM
 "A" looking towards the crew.

 CAMERA "B" CONTINUES SHOOTING FROM BEHIND.




6 EXT. ON SET OUTSIDE OF FALAFEL SHOP. DAY.

 ASSISTANT DIRECTOR
 (Whispering)
 Oh, shit!

 SOUNDMAN
 What? Not again!

 CAMERMAN
 Are these guys in the script? Should I cut?

 ASSISTANT DIRECTOR
 (Whispering)
 Yes. I mean, no they're not in the script. Cut!!

 The extras un-freeze. The two Cops approach CAM "A".

 ASSISTANT DIRECTOR
 Can we help you, Officer?

 GOOD COP
 You guys have a permit?

 ASSISTANT DIRECTOR
 Sure. The director has it. Where the hell is he?
 (On walkie talkie)
 Can someone get Omer?

 BAD COP
 (Peering into CAM "A")
 Is that thing running? Let's shut it down, OK?

 CAMERA "A" CUTS BRIEFLY.
 CAMERA "B" CONTINUES CUTTING BETWEEN ACTORS.

 ASSISTANT DIRECTOR
 Is there a problem, Officer?

 BAD COP
 You bet there's a problem. We got calls. Complaints.

 ASSISTANT DIRECTOR
 Really? From whom? About what?

 GOOD COP
 People who live here. Someone complained about
 hearing explosions.

 SOUNDMAN
 What people? The homeless?

 ASSISTANT DIRECTOR
 (Whispering)
 Shut up!

 BAD COP
 You being a wise guy? 'Cause we can do this in ten
 minutes or we can stay till our shift is over.

 Omer stumbles in, breathless, walks up to Cops.

 OMER
 I'm really sorry, Officer. It's gonna be a little
 while until the permit can get here. Can somebody
 get you guys coffee or something?

 GOOD COP
 Are you in charge here?

 OMER
 (Unsure)
 Yes.

 GOOD COP
 I'm gonna need to see some ID please.

 ASSISTANT DIRECTOR
 Oh boy.
 (Loudly)
 All right, break for five minutes everyone!

 Omer hands the Good Cop his ID. The set starts to clear.

 GOOD COP
 So what's going on here? Are you making a film
 about terrorism?

 Pause. No one answers. Good Cop looks up from the ID.

 BAD COP
 Well? Is it an action film or a thriller?

 SOUNDMAN
 It's a pastiche.

 OMER
 It's not!

 ASSISTANT DIRECTOR
 (Whispering to Soundman)
 Be quiet.

 CAMERMAN
 (Laughs)
 A pastiche? Where d'you pick that one up, Webster?

 SOUNDMAN
 You know, like a comedy.

 OMER
 It's not a pastiche!

 CAMERMAN
 It's a tragedy.

 BAD COP
 Hey, hey, hey! Hold on! What is this, the Three Stooges?

 OMER
 No, no. It's just hard to explain. We're trying to
 make a short film about filming a suicide bombing,
 which is based on an interview with a guy in
 Jerusalem. But it's shot as a series of stills.
 Like a wax museum. Or a frozen ballet...

 Other crew members start looking uncomfortable

. OMER (CONT'D)
 But with real people, not dummies. (Pauses.
 Unsure.) No one's supposed to be moving.

 Indeed no one moves. Soundman guffaws. Good Cop hands back the ID.

 GOOD COP
 Here you go. My son's in Afghanistan.

 Pause. No one knows what to say.

 GOOD COP (CONT'D)
 What's your movie called?

 OMER
 "Regarding the Pain of Others".

 BAD COP
 Recording the what?

 ASSISTANT DIRECTOR
 Not recording, regarding. Maybe you've heard of
 Susan Sontag?

 BAD COP
 I've heard of Susan Sarandon. (Smiles) Is she
 around? Can I get an autograph?

 A PA gives the Good Cop a film permit. He looks at it.

 GOOD COP
 Have you been using explosives?

 OMER
 No sir.

 GOOD COP
 No pyrotechnics? No firearms?

 SOUNDMAN
 I got a lighter.

 OMER
 We have a smoke machine. But it keeps breaking
 down. Please, look around if you like.

 GOOD COP
 (Holding permit)
 Because you do not have a permit for explosives.
 (Looks up) You guys know that?

 ASSISTANT DIRECTOR
 It's not a Hollywood film.

 BAD COP
 It sounds like a B movie.

 GOOD COP
 Is it a political film?

 CAMERMAN
 It's a tragedy.

 ASSISTANT DIRECTOR
 Like we said, it is a silent film. (To crew) No
 one's supposed to be talking.

 BAD COP
 So it's a silent film. Like Charlie Chaplin.

 OMER
 (Smiles)
 No, no. It's nothing like that, Officer. (Thinks)
 Do you know what tableaux vivants are?

 BAD COP
 Yeah. Sure. (Winks) That's mineral water, no?
 French? Sparkling?

 Burned Woman approaches.

 BAD COP
 Let me ask you a question: Are you guys faggots or
 something?

 ASSISTANT DIRECTOR
 Wait a second here!

 GOOD COP
 (Taking over)
 Here's the problem: Someone in the area complained
 about hearing explosions. Now, I'm not accusing
 you guys of anything, but the call was specific
 and credible. We'd just like to get to the bottom
 of this. Is there a Keith around here?

 BURNED WOMAN
 I think I know what's going on, Officer.

 Everyone looks at her.

 BURNED WOMAN (CONT'D)
 I think it was the suicide bomber, Keith Richards.

 GOOD COP
 The who?

 SOUNDMAN
 (Air guitar)
 Not The Who, man! The Stones!

 ASSISTANT DIRECTOR
 (To Burned Woman)
 What are you talking about?

 BURNED WOMAN
 Keith Richards! The young suicide bomber you fired!

 No one believes her.

 BURNED WOMAN (CONT'D)
 He was on the phone during lunch. He said he was
 calling a taxi but I could swear he was lying!

 OMER
 Oh my God! (Frantically checking pockets) That guy
 stole my iPhone!

 BURNED WOMAN
 Anyway, he didn't know the address here so he put
 me on the phone. When I tried to give driving directions,
 the dispatcher said a police car was coming.

 Pause. Soundman whistles.

 GOOD COP
 And why would he do this?

 ASSISTANT DIRECTOR
 (Shrugs)
 Because we fired him. Because he was vengeful.

 SOUNDMAN
 Because he's a fucked up albino cross-dresser.

 CAMERMAN
 (Laughing)
 Would you stop it already? The guy was a Kosovar.

 BURNED WOMAN
 Whatever he was, you should press charges against
 him. He also assaulted someone. What's his name?
 The amputee! The older guy who replaced him.

 ASSISTANT DIRECTOR
 What amputee??!

 OMER
 (To Assistant Director)
 Was there an amputee in the cast?

 The crew looks confused. The Cops look at each other.

 ASSISTANT DIRECTOR
 (Angry, to Burned Woman)
 Hey, what are you doing here anyway? Didn't we
 fire you?

 A tense staredown between the Assistant Director and Burned Woman.

 BAD COP
 (Laughing)
 Man! You should all go on "Springer".

 Burned Woman loses the staredown. She exits.

 GOOD COP
 (To Omer)
 So this suicide bomber, Keith Richards, do you
 know what his real name was?

 SOUNDMAN
 Pete Townsend.

 OMER
 Actually, we don't know his name, Officer. But I
 can describe what he looks like.

	 Good Cop takes out a pad. Pause. Omer thinks.

 OMER (CONT'D)
 He had black hair. It was gelled. He was about
 this tall...

 SOUNDMAN
 No, no! He had brown hair and was much shorter!
 Oh, and he had this nose!

 ASSISTANT DIRECTOR
 The nose was fake! It was a prosthetic. We did it
 in make-up.

 Pause. Bad Cop rolls his eyes and sighs.

 OMER
 Well, he had brown eyes. We can all agree on that.

 CAMERMAN
 His eyes were green, Omar! Don't you remember? He
 kept opening them. That's why you fired him!

 OMER
 All right, they were brown-green.

 SOUNDMAN
 They were hazel.

 GOOD COP
 Don't you guys take polaroids of your actors?

 SOUNDMAN
 You mean like a lie-detector test?

 BAD COP
 That's a polygraph.

 OMER
 Of course, we have headshots. But they're all on
 my iPhone and that guy stole it.

 Pause. Good Cop puts his notepad back in his pocket.

 GOOD COP
 All right, here's my card. When you get your story
 straight, come down to the precinct.

 The two Cops leave. The crew looks crestfallen.

 CAMERMAN
 (Slaps his forehead)
 No! No! Wait a minute! We got him right here on camera!

 Cameraman excitedly fiddles with CAM "A" while everyone watches him
 without much enthusiasm. Camera rewinds. Cameraman peeps into
 viewfinder excitedly and presses stop.

 CAMERMAN
 Look! Let me just play it back.

 Soundman gets up. Assistant Director continues peering into her iPhone
 and Omer peers into space.

 CAMERMAN
 (Triumphantly presses play)
 Voila!

 BOTH CAMERAS CUT BACK TO SCENE 1.

 SOUNDMAN
 A picture is worth everything man!

 End/Loop to beginning

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