"THE CUBAN INSTITUTE OF ART AND CINEMA" "PRESENTS" "I can't accept that I lived for a long time in a different society." "I have changed." "I have changed an 80% but I won't change 100% like you may, because you're young." "I may change a little more..." "up to 87% but I won't change 100%." "Women and men are equal up to a point." "UP TO A POINT" "STORY" "SCRIPT" "WITH" "PRODUCTION" "ASSISTANT DIRECTOR" "MUSIC" "EDITING" "SOUND" "PHOTOGRAPHY" "DIRECTION" "IF I WANTED, I COULD CUT ITS WINGS AND IT WOULD THEN BE MINE." "BUT IT WOULDN'T FLY AND WHAT I LOVE IS THE BIRD." "This film could help them aware of their machismo." "Much revolutionary awareness, but when it comes to women they're still in the Stone Age." "Do you think so?" "Anyone can see it." "I would like to explore more." "That's why we are going to have the interviews." "And demonstrate once more that this trade union has always been courageous, comrades." "Let's recognize the comrade." "She'll have the floor first." "Look, I won't say anything new." "This has come up before in several meeting: the state of the floors and roofs at the docks." "The floors are full of potholes." "Take a picture of that girl, Skinny!" "People keep saying that the potholes harm their kidneys." "It is 7 hours on top of that machine." "Besides, it harms the equipment." "There are leaks in the roof too." "When it rains, water falls on the things stored in there and this means money." "A piece of the roof fell yesterday right next to me." "It could have killed anyone." "It's not that bad!" "Well, perhaps not killed, but wounded, right?" "Well, in the last meeting the comrades volunteered to form a brigade to fix these things but there were no materials." "I just wonder how much we'll have to wait for them?" "Well, comrades, we want to congratulate you all for your success and especially the author of the play, which has shown that constructive and healthy criticism can be enlightening and amusing at the same time." "Congratulations." "This film should also be artistic." "Marian will be wonderful in it." "We'll get her a macho boyfriend not that sissy!" "Oh, man, stop it!" "Of course, he will be devastatingly criticized because of his macho attitudes." "Who, man?" "Who?" "Marian's boyfriend in the film." "Are you going to castrate him?" "What do you mean castrate?" "Criticize." "Don't get a complex, Oscar." "Don't." "No, love." "You don't have to." "I was criticized at a meeting some days ago." "I was called a smug." "I thought things over and saw it was true, I was." "I overcame that flaw and now am perfect." "What a pest!" "Well, what about tomorrow?" "Tomorrow at eight at the docks." "At eight?" "At eight." "So early?" "No, not that early." "Never mind him, Oscar." "Let them have their fun." "Bye, Marian." "Bye." "Well, Oscar." "Hey..." "Hey..." "Oscar!" "MACHISMO" "I can't understand." "Oh, he didn't want me working here." "He said: "Choose." "Your job or me." I said: "My job"." "Then he asked: "Why?"" "I was right." "Where would I be if he left me?" "How would I live?" "I've got my pay and don't depend on anyone." "That's what he wanted, but no way!" "Have you always been so determined?" "In my work and in everything else." "And he didn't really know you in all that time?" "He did know me but...it seems that since so many men worked here, he feared someone would grab me or something." "That's all nonsense." "If a woman is in love, there may be a thousand men about and she wouldn't mind, would she?" "Oh, but that's not the way he thinks." "He thinks different." "He may think things over or he may not, we'll see..." "There's no hope...that..." "I have hopes." "I don't know about him, but I do." "Ok, Luis." "Well, Sonia, thank you, thanks a lot." "Oscar, we must interview a man now." "That one Luis, take." "This way." "You three." "You too." "Ok." "To share with my partner." "She's my partner since we're together." "She comforts me when I'm in pain, minds my mother and everything at home..." "That doesn't mean that when a girl goes by I don't say something to her and may see her if we both want to." "And what if she did the same?" "She's got no right to do it." "She doesn't?" "No, there's a little machismo in that, isn't it?" "Some machismo." "I've asked myself: "What would happen if she came home the way you just have?"" "Because at times I'm really way out..." "What would you do?" "No, I've never said anything, but I don't think she can do what I do." "Oh, it's a film." "I thought it was a newsreel." "No, it's a film." "I need to know more about women here in the dock, how they are, what they do their problems." "Their problems too?" "Everything." "Oh'." "OK." "Look, you can help." "You can tell me about your work your studies, your trade union." "Everything you said in the meeting, for example." "About your life too..." "You want to know too much it seems." "I try, right." "That's my work." "Ok." "When do we begin?" "We've already begun." "You haven't even asked my name." "Well, what's your name?" "Laudelina." "Laudelina?" "Well, that name won't make you a famous actress." "I know." "That's why they call me Lina." "When did you begin to work at the docks?" "It's 1982, right?" "Let me see..." "72, no 71." "But in the kitchen." "As my aunt's helper." "She was in charge of Area 2." "When my aunt died, I applied for the position I now hold as a clerk." "Do you like your work?" "There are other more interesting, but I'm studying Port Management at the Technological School for Transportation." "I'll graduate in July." "And what will do when you graduate?" "That's a problem, because they say there're no vacancies in the docks." "And then?" "I could only stay here as a tally clerk, but I'm planning to go back to Santiago." "I'll be much better off there." "You'll surely be more useful." "And I'm going to earn more." "Besides, I like Santiago." "More than here?" "I don't know." "I think I do." "My family is from over there." "Besides, I won't have housing problems." "How do you live here?" "A little cramped." "My son that is already 11." "How was it for you at the beginning?" "When you began to work in the docks, I mean." "Oh..." "Ten years ago things were not what they are today." "Things have really improved." "No, I don't mean that I mean, how did men treat you?" "Imagine." "As if they'd never seen a woman before." "We were very few here at that time." "When did you divorce?" "Who said I divorced?" "Since you said you lived by yourself with your child, I thought." "No." "Then you're married." "No." "I never got married." "Look, I live here." "Well." "Want some coffee?" "Oh, perfect!" "Hi." "Hi, Lina." "Good afternoon." "Good afternoon." "Why in the docks?" "Because machismo is stronger there than in other places." "Yes?" "Really?" "Don't you agree?" "I think it's the same everywhere." "You yourself said a while ago that when you began to work there they looked at you as if you were from another planet." "That was at the beginning." "Then they got used to it." "As a whole, they're good comrades." "Yeah, I agree." "But we have some really interesting interviews and statements taped." "Well, I don't know." "I tell you what I think, but I may be wrong." "For example, why isn't there any girl working with you?" "Can't they do your work?" "And much the more so in a film of machismo, right?" "Oh, I'm sorry, but I have classes." "My son is coming in a while and I have a lot of things to do" "I'll take a quick bath and come back." "Want some help?" "With the bath?" "No, to bring the pail in..." "No, thanks." "If you want some more coffee, take it." "No, thank you." "I'll get some water." "Already." "Claudio!" "Hi, Mom!" "Look, this is Oscar, the author of the play you saw some days ago." "Remember?" "Yeah!" "We had to queue for a while to see it." "Did you like it?" "Yeah." "I laughed a lot." "Good." "Hey, you haven't told me what you thought about it." "I couldn't go." "He went with some neighbors." "Well, that means that your planning to see it, don't you?" "Of course." "And all the more so now that I know you." "How about tomorrow?" "Well, ok." "I'll get you two tickets so you won't have to queue." " Perfect." "Did you wash your hands?" " No" "I'm leaving." "I'll leave everything: the house the pool, the car." "Everything." "Hey, Yolanda." "I'm leaving for the Isle of Youth to finish the pre-fab project." "No." "You can't go to the Isle of Youth." "The play must end as it is." "I'm the prompter and it says here that you've got to marry." "Please, let me go." "That project is very important for me." "Miss, that project is no concern of yours." "You don't care for housing or anything of the sort." "You have to end the play as it is written." "I was sent very clear rules, comrade, saying you had to marry him." "Besides, this play is for the audience to have fun, for the audience to laugh, not to solve anybody's problem or to make anybody think." "Come on, what are you going to do then?" "What am I going to do?" "Yeah, what are you going to do?" "What have you done?" "Nothing, Throw the script to the audience." "The play is over." "What do you mean the play is over?" "Hi, man, how are you?" " Did you like it?" " Yes." "I want to see you." "Phone me." "I have the number." "I'll call you." "I swear I can't put up with it any more." "I can't stand it." "Every night the same, the same." "I'm tired." "I want to start working." "Well, Marian, I still have to finish the script." "Yes?" "Well, hurry up, see?" "I heard that Alberto wants me for his new play." "And it's really bad." "Besides, the guy is stupid!" "Who?" "Alberto, love..." "I heard he was talented." "Talented!" "He's nothing of the sort, love." "Besides, he's phoney." "How's it going?" "What?" "What would it be?" "The script..." "So, so." "Arturo is leaving on a trip." "What will you do?" "I'll go on writing the script and making interviews in the dock." "I think I'll be able to work more easily now." "Can you imagine if we were sent to a Festival together?" "That'd be really nice!" "Boy lights photographers autographs who would ever see you..." "Oscar." "Don't put the cart before the horse, Marian." "Why not?" "First let see what comes out of all this." "Well, I really want to begin." "Better calm down." "Do we still have aspirin?" "Yes." "I have a headache." "No, it's ok." "I'll try to get some sleep." "Good night." "I had to come." "Let's go." "I went to see your play last night." "Did you like it?" "Very much..." "Well, just like everybody else." "Don't overdo it." "I laughed a lot." "Lina, please call me Oscar." "What happened then?" "I met Claudi's father in school." "I was 17... lfell in love..." "Well, I got pregnant." "You can imagine." "My family was shocked." "He behaved like a coward." "My father didn't want to understand anything mostly because Pablo wasn't white." "I felt very lonely and decided to have my child." "I came to Havana to live with my aunt and got a job." "It was hard but I'm not sorry." "My son is almost a man now." "And now?" "Now what?" "You're not alone, are you?" "No." "I've got my son." "You can't tell most men that you work in the docks because they think you're trash, you're easy." "That's true." "Unbelievable!" "You can't say it... at least, when I meet a man I never tell him I work in the docks..." "I tell him I work somewhere else." "I don't know why that is because in the docks, really..." "That's why is important to have images of those workers." "I'm going to finish with prejudice about them." "I don't know." "I think we could have a girl with a child a child without a father..." "What do you mean without a father?" "Yes, a single mother." "Like the worker in "Moscow Knows no Tears"?" "Yeah!" "A character like that would have..." "It's broken." "Sit here." "...would have to face a lot of prejudice." "Yes, and we could also find a worker that falls in love with her and because of all the pressures on him is compelled to ask her to stop working." "He wants to run everything." "He spends his life running everything." "Put this here, do this that way this should be roasted, do this of that and exactly when he wants it done." "Everything!" "He has a solution for everything." "If they'd let him he'd run the country." "Flora!" "No way!" "Remember that song, "Women Are Worse than Men"." "Yeah, that group in Matanzas used to sing it." "Yeah!" "Don't sit there, Marian, please." "It's broken." "And the other one falls back." "Be careful with it too." "Yes." "I want to see you, woman." "With all your body burning." "See you running down the street." "While there's still some life in you." "Will you use that in the film?" "It's the one Oscar wants." "He must know why." "Well, his problem!" "Come on." "Don't take it personally!" "Marian, when are you planning to go to the docks?" "Oscar asked me to." "He says he found a girl who might be used as a model for my character." "Careful." "Artists fall in love with their models." "Boy." "I'd like to see him with a longshorewoman!" "Perhaps they'll become machistas." "Let them try." "Wait until you see her." "Take care!" "Hello!" "Hi!" "This is Lina, the girl we've been interviewing." "She is Marian, the actress that will play you in the film." "Hello." "Glad to meet you." "Take care!" "Well, she needs you to explain your work to her..." "She needs to know you, to speak with you to have you show her around." "You all do the same type of work, don't you?" "Yes, that's what women do here in the docks." "Well, those who are not engineers or work in the office." "Well, I have to go." "Arturo is waiting for me." "Bye." "Hey!" "Are you leaving just like that?" "Where are you going?" "I don't know." "I think we'll make some more interviews." "But we'll have lunch at home, right?" "No, don't wait for me." "I may be late." "Well, bye." "I need you to explain me what you do." "I'll be glad to help, but there are many others here too." "Please report all workers specially the brigade responsible." "Brigade 4." "Brigade 6." "Brigade 8." "Hi!" "Hi!" "Well, there's not much being done, it seems." "Yeah, it does seem so." "What happened?" "What do you mean what happened?" "I don't know." "Everything is so..." "People in the shift before us leave everything about and we can't find anything." "And...then?" "We have to look for things all over the docks and we can't work." "Look what a good picture of you they took at the meeting." "That's just how I imagine the worker in the film." "I'm making her more and more like you." "She'd have gone through the same things you have she will talk and move like you." "I hadn't realized my wife is the actress who's to play the character." "I've been thinking so much about you!" "Not about me, about your character." "Well, bye." "Can I see you later?" "I don't know if I can." "Why?" "I don't know." "But you'd told me." "No, I finish very late today." "Tomorrow." "I'll leave tomorrow for the provinces and won't be back until Tuesday." "Tuesday then." "Well, here at this time." "Yes, 0k, I have to go." "Bye." "Come on, comrades, the trawlers are here!" "Let's go to them." "They don't bite!" "Come on!" "Quifiones, when is the meeting to be held?" "Since it's our first one, we'll planning for Wednesday." "This Wednesday?" "Yes, with the people in this area." "Where will it be?" "Back there, in the mess hall," "I thought you had left." "No, I hadn't." "Production assemblies are held every month and the workers spoke about this problem." "There are quarterly enterprise assemblies." "The bureau holds quarterly assemblies." "There are also national quarterly assemblies and the problem was always there." "Cuban ship, electricity, domestic economy transportation...that was always said." "The problem with the lights was always brought up in production assemblies, men." "I don't know who is in charge of that." "There are immense towers over there, the dadoes are in place since the docks were built." "Then everything was torn down to put it underground." "And the towers haven't arrived." "I'm telling you to take a paper and gather the data... of all the work that was done there." "About eight months or a year working day and night, working all night long with the containers and I think, that's my idea of course, that we could have solved the problems with the lights by ourselves, just with a little more work." "I don't know whether the rest is true or not." "Hi, man." "Hi." "How are you?" "Arturo." "Glad to meet you." "Nice to see you." "I've spent a lot of time before the TV set waiting to see your interview and I haven't seen it." "You won't see it." "It's a fiction film." "We'll never use the interviews directly." "We're gathering information for the story." "What will the story be?" "A couple of workers." "He is a good worker, kind of... mvanguard, see, but with a flaw: his macho attitudes." "What?" "No!" "He doesn't want his wife to work here in the docks and he puts on the pressure on her until she leaves her job." "No, guys, now the problem is when women don't work because their salary is becoming essential for the family." "Remember the guy who married the nurse?" "She earned more that 200 pesos, but he made her leave her job." "He almost lived in the docks to make up for her salary, men." "He was there morning, night and noon, because he had to find money if it were in the bottom of the sea." "Of course, since he was never home, a situation arose." "He probably got sick." "No, he didn't." "But the lack of hot maintenance, man..." "She found another guy..." "She hit him!" "Normal, right?" "You see?" "That's why you have to let your wife work." "Hey, Look who's coming, guys!" "Hey, Domingo, another round!" "You really look shitty today!" "Don't rub it in." "I'm really pissed off!" "What happened now?" "I'm fuming, guys!" "The crane broke one hour before the end of the shift and there was no electrician around." "I went out and tell me where I found him." "At the bus stop." "No, he was at the bar, having a beer." "Oh, the guy was thirsty." "I went to him and said: "Hey, man, the crane won't work" and he comes up and says: " I don't care." "My shift is over and I'm going home."" "Well, you've got to take it into account that those people are at sea for a long time and when they're here they want to be with their family as much as they can." "That's only human." "I think that's good, guys." "Up to a point." "We're very human and whatever you want, but this has a direct bearing on production." "It also affects me, brother." "Oscar, you drive." "Careful, Oscar." "In Old Havana you can't see around the corners." "This is a preferential street, Arturo." "What do you mean preferential?" "You think we're in Switzerland?" "No way." "Those are not real workers." "Always grouching about what they are going to earn or not earn." "I think those people want things to go right." "Did you have a problem at work?" "No." "I just don't think Oscar has a real grasp of the film." "He seemed very excited." "Yes, but he falls in love with things very easily." "That's not bad, Arturo." "He's unable to see what is real and what isn't, Flora." "Oscar is no fool." "You don't have to be a fool to do foolish things." "Besides, I think he's got something going with a girl at the docks." "You don't say!" "Well, I haven't seen them coming out of a motel but he really plays dumb when he sees her of talks to her." "Can you imagine loading sacks at the docks and then going to the movies to see the same thing?" "If that's the film nobody will see it." "No, that's not what I'll do." "I'm not sure, but I think when people go to the movies after so much work and with so many problems they want to switch off and see nice pretty things." "And don't you think films may make people think solve their problems?" "Yes, no, perhaps." "Some think the film may make people aware of many of our problems, you hear?" "Yes." "I think that's good." "Of course." "If you don't see the problems, you don't solve them." "I didn't think it would be that kind of film." "Well, there's also a love story." "But I still don't know its ending." "I would like it to end well." "I don't like sad endings." "That's the only thing I didn't like in your play." "What?" "That the girl leaves everything and goes to the Isle of Youth." "But that's not a sad ending." "She goes to there to do something important." "She thinks it will be of use to herself, to others." "Well, it's nice she left that opportunistic boyfriend she had with a pool and a car, but she also leaves the guy she was beginning to fall in love with." "Don't look at me that way." "I don't mean things like that don't happen in real life, but out of the blue..." "Ok, never mind me." "I don't like sad endings myself." "Are you going to help me?" "It's very nice." "What's that funny sounding language?" "It's a Basque song." "The lyrics go more of less." "If I wanted, I could cut its wings and it'd then be mine... but it wouldn't fly and what I love is the bird." "That's very nice too." "And it makes you think, doesn't it?" "Yes, and it doesn't have much to do with the ending the film was going to have." "What?" "Boy gets girl and live happily ever after, right?" "No, that'd be nice, but it only happens in films." "Yes." "How will it end then?" "When they're about to marry, he tells her she has to leave her job and when she doesn't they fall apart, they break." "That is, he wanted to cut her wings." "That's it." "But that's rather sad." "Sad?" "Why?" "I don't know." "Perhaps it is that people spend their lives trying to cut off every wing they see." "You too?" "No." "They've tried to cut mine, but I haven't left them." "No, I mean whether you do too." "I don't think so, although at times it's difficult not to." "Look, that's my family:" "Claudio, my parents, when we were in Santiago for vacation." "Then your parents don't." "Now they're crazy with their grandchild." "That's life!" "Where's Claudio now?" "He's at the beach with his school for 15 days." "What is it?" "I'm worried." "Is it the film?" "No, it's you." "Me?" "Yes, you." "I'm also worried by something now." "What?" "What will I cook for you?" "Don't worry, really." "Oh, you'll see." "It'll be real nice." "You'll like it." "Yes, I'm sure I will." "Well, I think that when she breaks with her boyfriend it would be better if she leaves her job and goes rebuild her life somewhere else." "At the Santiago docks let's say." "There she finds a better job." "She had been studying and has become a technician." "When he's left alone, he goes after her and says he's thought things over that he won't cut her wings, and so on and so forth." "Yes, yes." "And how does it end?" "We see him arriving at the airport when the plane is about to take off and that's it: the worker about to rescue her and the plane flying like a bird its wings spread." "The End." "No, Diego has been very good to me." "He appeared in a moment when I really need him." "I was very lonely." "I never married but I'm glad I didn't." "I don't think I was ever in love with him." "This can also be used in the film, right?" "Why do you say that?" "Never mind me." "Are you always so worried?" "What about you?" "Me?" "I try not to be." "And now?" "What are your plans?" "I don't know." "I may go to Santiago." "What if I asked you to stay?" "To stay?" "Where?" "Here." "With me." "Here?" "You would come to live here?" "In this room with me and my kid?" "We frighters work ad libitum.." "...ad libitum, like musicians do we don't read paper, we play what comes to us, but we don't understand some situations." "I've talked with the management the problem with the papers." "They don't send us work orders." "Well, you do your work and at times the papers are mistaken, because we're human beings and we can make mistakes." "That created problems to the trade union and every time we went to the fellows, they were absolutely fuming." "Those who knew Aracelio lglesias know that in Area 4 people used to work full time in all the openings." "Now we have only two, and they're not too good." "The others are out of order." "Number 8 has been out for more than a year now and it has not been repaired." "Not only that." "We have a winch all those here old and new, know about." "It's on the upper floor and... its the most productive one." "It broke and the man who worked it was retired." "Each time we talk about this those in charge tell us that they'll bring a new one that they'll repair it...but it's two years now we've been asking for winches and it seems the repairman for the winch in Area 4 has yet to be born sent to school and graduate." "If we accept that, we won't be who we are, we perish because if I'm not given what I want, I must demand it." "If they don't give me what I deserve, I must demand it." "I must demand it one and a million times until I get it because if you can't come here to state the problems that are affecting you down there, they'll never be solved." "Never." "But if we make demands and speak our minds to the organizations that are in charge of these things we also have to demand things from ourselves as workers." "What will you have?" "A memo." "White rum with soda, please." "Something to nibble?" "Not right now." "Hey, I have money." "No, I don't feel like eating." "We"..." "OK." "You wanted something?" "No... really, I didn't." "Sure?" "Really, I didn't." "Well, when you get your new job and earn more I'll let you take me out for dinner." "Oh..." "If you have to wait for that." "[Song by Pablo Milanés" "This place is nice." "What are you thinking now?" "What's the matter?" "Nothing." "Will you stay?" "Listen, calm down." "No way." "Have you seen what time it is?" "I don't know why I imagine..." "Don't imagine anything." "It's a sure thing." "Oh, Flora..." "Come here, gal." "You yourself said that longshorewoman didn't look like a longshorewoman." "Yes, but see..." "Marian, don't be a fool." "Don't you know them?" "They don't care where they come from or who they are." "But I don't think Oscar...well..." "They're all alike, Marian." "Arturo... sometimes but you shouldn't mind much of that." "But..." "I'm sorry, but Arturo is real old." "Oh, don't tell him anything, please." "Don't worry." "I'm not insane." "No, you don't know how easily affected he is lately..." "He's so insecure, he needs to prove himself continuously." "It doesn't offend me now." "It rather makes me sorry." "That's why that film he's going to make with your husband is so important for him." "3-5715." "Please." "Marian, yes." "It's me." "No nothing happened." "Nothing happened, calm down." "Let me talk." "I'm going home right now and will explain you everything." "Ok." "Yes, it's late." "It's past 9." "What is it?" "Well, give me time." "To Casablanca." "Are you a guest?" "Bye." "What happened?" "Nothing." "I had to stay the night over with someone from the docks." "We taped an efficiency meeting and got very interesting things." "The problem is that I now want to put all this into the script and don't know how to link it with the love story Arturo wants." "They saw you last night, Oscar." "What's happening?" "I don't know." "I don't understand." "Me neither, Marian." "But it's no what you think." "You're really something, Oscar." "You're a real fraud." "What do I have to do now?" "Make your breakfast some coffee, bring your slippers?" "Marian, please, stop it!" "Do you think you can walk down the street with a slut?" "What if I get home tomorrow morning after spending the night with a longshoreman and tell you the same story." "Please, please." "Please..." "You don't understand." "Please, shit." "Please, please, please." "Hey, do you plan to include machismo in the film?" "Yes." "There is a whole lot of problems that are more important than that one." "That's just what I think." "Yes, women's problems can wait, can't they?" "No, no." "That's not what I mean." "I've never talked about waiting." "Well, don't worry." "We're not going to wait for men to solve our problems for us." "Isn't that so, Maricela?" "Say something, Maricela." "Don't feel intimidated." "Hey, be careful with going about picking at things that may not be right." "And you, Lina, don't go about setting a bad example to my wife." "I've got her used to my form and my manner, perhaps a little outdated but..." "Right, love?" "Let's go." "Well, guys, I'm leaving you..." "Let's dance." "They won't take me!" "They won't take me!" "It's easy to dance, I told you." "Why don't you teach me?" "Ok." "Hey, you'll get too tired." "Tomorrow morning you won't be able to get up." "Hold me, to find my keys." "I won't be able to stay tonight, ok?" "Why, Oscar?" "Because I've got a lot of work to do tomorrow." "I've got to get up early and there are some papers I've got to write." "Oh, please, Oscar." "It's not easy." "It's not." "Didn't you talk to her?" "I did." "And?" "It's not that easy." "Please, Lina give me some time." "Take all the time you want, Oscar." "Then, come see me." "Bye." "First of all, my conscience must be clean." "That's the greatest treasure you can have because if I've done something that isn't right although I may be unharmed, someone will be judging me constantly, my subconscious, my conscience, will be judging me." "It's hard to swim against the tide but I swim against those I think are wrong although they may think me wrong." "It's not the first time I've been called nuts." "Hey, what's the matter?" "No, nothing." "Flora called." "She says Arturo is coming on Saturday and she may come for us if we want to go to the airport." "When did Arturo leave?" "I don't know." "About a month ago." "I'm not sure." "What happened?" "When did you say Arturo was arriving?" "Saturday." "Well, let's see what he thinks about this." "I don't get it, Oscar." "I don't I'd like you to explain what this has to do with the story we had talked about." "With the story you yourself began." "Look, we weren't going to go into the dock workers' world." "They're there." "Look, Oscar, I asked you for this script because I loved your play and you know it." "It criticized some faults from the past, but with much skill." "Now we'll criticize machismo." "I want nothing else." "I want to show the best, the ones that may be role models." "Can't you see that a model worker is all the more shocking when he shows machismo traits?" "Bye." "Wait." "Can't we talk?" "I've got no time." "Wait." "I'm wet." "I have to change clothes." "Aren't you even going to offer me some coffee?" "Yeah, why not?" "Come on in." "Girl, you're soaking wet." "Imagine." "Then the only problem your worker has his machismo he beats his wife, doesn't let her work." "But that's not how they are!" "That's not how people are!" "People are much more complex." "Tell me how highly aware workers are...those that should be role models..." "Tell me how they are." "Claudio was 15 days in the beach, you know." "He was crazy about it." "He loved that thing that crosses the river on the air..." "what's it called?" "A funicular, isn't it?" "He gained weight." "He ate everything." "Here he's hard to please but he ate all they gave him there." "That's children for you." "He says they woke up at 6 every morning." "And he's a real sleepyhead." "When I was leaving the first Sunday he was a little sad." "I was so worried." "But in my next visit he didn't want to spend a second with me." "I couldn't say goodbye when I left." "He says he likes guitar." "He got very good grades in his tests last week." "Well, he had some problems with maths." "He says he doesn't like them too well." "Yesterday, he was talking with a schoolmate of his." "He was saying he would be an elevator operator when he grew up, to go up and down all the time." "He's crazy." "Let me go through." "Let me go through, Diego." "Lina." "Diego, please." "Let go of me, Diego." "Let go of me." "I don't want to, Diego." "Diego, you're crazy." "Diego, I said no." "Are you listening to yourself?" "And it is us who want to raise the workers awareness!" "What is our awareness level?" "We're unable to break our perceptions to find out how things really are." "Tell me, where is our awareness?" "I'm no adventurer or irresponsible." "I know where I want to get and you're not the one to question my level of awareness." "Arturo, please..." "You keep out of this, Flora." "I knew you were not going to make that film." "You've been fooling him just as you've been fooling me." "Calm down, Marian." "Arturo is going to make the film and you're going to work in it if that's what you're interested in." "And you?" "What are you interested in?" "I don't know, Marian." "It's useless." "Oscar, you're out of your mind." "Perhaps, Marian." "What happened?" "What was that guy doing here?" "Hey, what was that guy doing here?" "Shit, tell me... tell me." "Go." "We have advanced a lot." "We've been discussing for more than a year what you were saying a while ago." "Those were moments that demanded that we stayed firm that made us sit back and think but always ready to fight again the following day ready to give an answer to what was said the night before." "And we do not want to be disappointed by the workers, but at times we have been disappointed with some because they have been unfair they've been careless with their work." "But they have stumbled with a hard rock." "If they throw this way, I throw that way." "If they say something, I answer back." "That's it." "That's what we've always tried to do."