#1 in Screenplay (Highest ranking) A mute orphan boy rises against all odds to build a global media empire in a world of magical reality, but a vow of vengeance consumes him, driving him to destroy his long-lost friend who, unknown to him, is th...
RAHUL: (talks to us) And that's how I ended up hanging out with Wallstreet White Wharton in wartime Manila.
DISSOLVE TO:
EXT. INTRAMUROS MANILA (1942) - DAY
Manila after its declaration as an open city in 1942. We see banners and posters that proclaim: "MANILA IS AN OPEN CITY", "OPEN CITY" and "NO SHOOTING." Amidst the rubbish and rubbles, the city struggles to survive in a war that is bashing and snatching its very soul.
There are now more cars, calesas and PEOPLE in the streets as there are Japanese military vehicles and checkpoints. Three JAPANESE SOLDIERS are dismantling an American anti-Japanese propaganda billboard. Checkpoint SOLDIERS check CIVILIANS and cars.
We are interested in one particular car, the black 1938 Packard of the DE VEGA family, it navigates its way towards Intramuros, Manila's walled city of the affluent.
We are looking at the DE VEGAS, upper middle-class Spanish-Filipino family. FERNANDO, 43, soft-spoken gentleman with a ready smile, is driving.
His wife, BEATRIZ, 39, a woman with quieting aristocratic beauty, intelligence and an aura of authority, sits beside him, reading a book.
At the backseat, their only daughter, VICTORIA, 11, everything her mother is, plus her father's charm, plays with her dog, B.T. (yes, good old stray B.T.), now leashed and well-groomed and obviously well-fed.
(NOTE: All instances of the Spanish, Filipino, Japanese and Chinese languages shall be indicated by being enclosed in brackets. On screen, text will appear in subtitles.)
BEATRICE: Victoria, I told you not to bring your dog.
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HOLLYWOOD VERSION
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