(Note to myself: save up enough money or be so powerful that you can produce this, or choose not to).
INT. RUINED HOUSE IN THE WOODS -- DAY
Three masked characters are sitting down on a ruined, one-room shack in the woods, a crude parody of one of the doll houses of yore.
They all drink from empty cups, in front of an old, wooden table, made for children. They are all much larger than the table and the chairs.
The first character is a man in his 20s, completely naked, except for a long hood white hood, reminiscent of Holly Week Spanish processions and the Klu Klux Klan. He pretends to drink from a blue cup.
In front of him stands a short, robust woman, with a very large head resembling an old rabbit plush toy and a Victorian wedding dress. She pretends to drink from a red cup.
At the head of the table is a twelve-year-old boy, in an ancient school uniform stained with blood. He has an elaborate Huichol mask and pretends to drink from a green cup.
The scene plays very slow, while they pretend to drink solemnly.
A fourth character joins them. He is an old man, dressed in an old Red Army uniform, with his face covered by a small japanese mask depicting a woman. He pours thick, boiling tars in the cups of the remaining characters and sits down, pretending to drink from a yellow cup.
EXT. WOODS -- DAY
The naked man, with the Inquisition hood, stares at a couple of naked men in their 30s making love with white wigs. Instead of screams of pleasure, out of their mouths come out lines of beatles.
The scene plays slowly. The naked man with the hood is covered by the beatles.
INT. LARGE LIVING ROOM -- DAY
A large living room in a Barragán house, with a peach-colored carpet. The furniture is all covered in drapes, except for a huge projection TV from the late 70s. Sunlight filters in through the heavy red drapes convering the windows.
The small, woman, with her huge rabbit head, dances a very complicated medieval dance with trained French poodles. Around them runs an old electric train.
The scene plays slowly, honey drips out of her mask, staining her Victorian wedding dress.
EXT. SMALL LAKE -- DAY
The boy in the old school uniform stained in blood, with his Huichol mask, rows a destroyed glass-bottom boat in a small lake. The water around him is full with small, floating, plastic dinosaurs.
From trees around the lake hang 12 beautiful naked women of all kinds, with their eyes covered by leather bandages and their arms tied around their backs.
The plastic dinosaurs move up in slow motion and cover the boy.
INT. WINE CELLAR -- NIGHT
The old man in the Red Army uniform and the Japanese mask slowly pretends to eat a lush turkey out in front of a wooden table in the middle of a full wine cellar. Each time, he takes a bite of turkey, it falls off the mask.
Next to the turkey lies a body of of a naked person on its belly, sex indefinite. On its back, there are six long lines of cocaine.
Out of the man's mask runs a long stream of tears.
INT. RUINED HOUSE IN THE WOODS -- DAY
The naked person of the last scene stands absolutely still on the table. It is a transexual, with small breasts and a large penis.
The four characters, sitting around the table, are drawing.
The naked man with the Inquisition hood draws up a crude superhero, something between Captain America and Superman, but all in red, white and green.
The small woman with the giant rabbit head draws up a crude vampire in the style of Bela Lugosi, next to a naked woman. The drawing is that of a very young kid, but the scene it depicts is rather pornographic.
The school boy with the stained dress and the Huichol mask draws a complicated anatomic drawing, straight out of the Rennaisance. Men and women intermingle in the human he is depicting.
The old man in the Japanese mask and Red Army uniform draws something with small felt-tip pens. At every stroke, he takes the pens to the mask's mouth, staining it.
He is drawing a large moth with small points. The moth exhibits a skull over the large, thick worm body.
A monarch butterfly flies into the room and slowly poses herself on a large piece of bread from the Mexican Day of the Dead, in the form of a face, which has replaced the transexual person.
INT. RUINED HOUSE IN THE WOODS -- LATER
The four figures are sitting down on the table, absolutely still, their cups in front of them over their stained drawings.
Monarch butterflies cover every inch of the room.
They look disgusting, instead of beautiful.
On the stove, an old tea pot, the only surface that has been spared by the butterflies, blows with an annoying sound.
