Viva!

Logline: "An ailing but cheerful young priest follows his conscience during a religious oppression in Mexico... and pays the ultimate price."

In my life, "Viva!" represents many firsts and many lasts: it was the first screenplay that I completed, my only musical to date (featuring nine original songs and the lyrics to a tenth), and my first and last script based on a true story (the life and death of Miguel Pro). Originally designed to be a stage production (hence the lengthy pieces of dialogue and discussion), it will require a future rewrite due to some screenplay formatting errors that are immediately evident to the practiced eye.

Below the script, I've even uploaded two full songs for those who are musically inclined, or at least for those who know someone who can play the piano. :)

"Viva!" remains a special story in my heart, and one that I sincerely hope will be soon told.

It is a story of particular significance to all those of Hispanic or Catholic origin.

VIVA! by Kyle Patrick Johnson Represented by: Canton Literary Management (CLM) Contact: Eric Canton (866) 429-3118 ECanton@Prodigy.net www.CantonLiteraryManagement.com Registered with: Writers Guild of America, West, Inc. Registration #1321467 2. An excerpt from page 60. INT./EXT. ESSEX/STREETS - DAY Humberto is driving, Roberto is in the front passenger’s seat. Miguel is in the backseat, dressed in disguise as a wealthy young dandy, and strange GURGLING SOUNDS are coming from him. Roberto keeps turning around with an odd look on his face. Large bags of rice and grain are on the floor next to Miguel, ready to be distributed to the needy. Roberto continuously tosses small unbound stacks of pamphlets out the window. The pamphlets, pro-Catholic and pro-League, scatter in the wind and disperse. MIGUEL I sure will miss this car, Humberto. HUMBERTO I will, too. But you can’t live in a car. ROBERTO Father’s trying so hard to get a job, but no one wants to mine anymore. They just want to fight and booze. HUMBERTO Booze? How do you know about boozing? ROBERTO Um... in the newspapers? MIGUEL (to Humberto) How much can you get for it? We notice that the sounds are not from Miguel, but from the bundle on his lap: a tiny Newborn in swaddling blankets. HUMBERTO For the car? Probably quite a bit. I’m thinking of selling it to Luis Vilchis, you remember him. He’s an engineer, got some money. The Newborn begins to cry. 3. ROBERTO Can you feed it some of that rice? MIGUEL Can I feed it, what? Do you know how little this baby is? You don’t feed a little baby rice. HUMBERTO Of course. You feed it beans, Roberto. Easier to chew. MIGUEL You two. Unbelievable. You’ll never get married at this rate. You’d better be priests. HUMBERTO Nah, too dangerous. MIGUEL Have you seen any married couples lately? Dangerous? That’s dangerous. ROBERTO Whose baby is that? MIGUEL I don’t know. Another stray. Someone said that Senor Flores and his wife might adopt another baby. We’ll try them first. The Essex hits a large bump in the road, and the Newborn, which naturally is not seat-belted, flies straight up out of Miguel’s arms. A comic moment follows, with Roberto and Miguel both trying to catch it and keep the baby safe. With no harm, the Newborn is soon back in Miguel’s lap. ROBERTO Why is it crying? It’s safe now. MIGUEL Why does it rain? shine? Huh? ROBERTO Why does the sun The Newborn relieves itself of nervous tension by promptly barfing all over Miguel’s nice dandy suit. Miguel pulls it out of the swaddling suit and holds it up, trying to use the blankets to catch the vomit. 4. While he is thus entangled, the Newborn urinates. Miguel gives up and hugs the Newborn, while Humberto and Roberto roar with laughter. EXT. STREETS - THE ESSEX continues down the road, and we again notice, as it fades away, the prominent LICENSE PLATE NUMBER 10101 FADE TO BLACK. INT. EUCHARISTIC STATION #3 - LIVING ROOM - MORNING Miguel is saying Mass with about thirty in the congregation. He is wearing a cap, blue shirt, tan sweater, brown pants, and a dirty khaki overcoat. As he finishes distributing Communion, a SERVANT GIRL dashes in. SERVANT GIRL The police are coming. They’re at the front. MIGUEL Be calm, be swift. Hide your veils. Disperse into different rooms of the house, and be quiet. As the congregation scatters, Miguel calmly pulls out a cigarette and cigarette holder, fits them together, and puts them in his mouth. He puts the Eucharist into an inside pocket on the overcoat. As he proceeds to light his cigarette, Detective #2 and FLATFOOT #1 burst into the room, trailed by the frightened Servant Girl. DETECTIVE #2 There’s public worship going on here. MIGUEL Come, now. You’re making fun of me. But that’s not a bad idea. DETECTIVE #2 There’s a public service here. MIGUEL There’s nothing public about it. 5. FLATFOOT #1 We saw a priest enter this house about half an hour ago. MIGUEL That’s ridiculous. I’ll bet you money that there’s no priest here. DETECTIVE #2 We have orders to search the house. And we will. MIGUEL I tell you, if you find some public worship going on, let me know. The police move off through the house, Miguel trailing. HALLWAY They come to a door. DETECTIVE #2 What’s in here? MIGUEL Just a bedroom. Detective #2 throws OPEN the DOOR and reveals a sitting room with fireplace, and about ten people. A bedroom? DETECTIVE #2 Miguel shrugs humorously, having no knowledge of the house. DETECTIVE #2 What are you all doing here? MIGUEL It’s a literary society. We enjoy reading and discussing classic texts. Miguel gives Detective #2 a cherubic smile. Detective #2, whose patience is running thin, indicates another door. DETECTIVE #3 And in here? MIGUEL A sewing room. Flatfoot #1 OPENS the DOOR to reveal a rather dingy bathroom. 6. MIGUEL Some women do their best sewing in there. Detective #2 thrusts his face at MIGUEL. DETECTIVE #2 If I could prove what I know, you’d be dead tomorrow. I’m going to station my men outside this house, and the first wrong move your priest makes, you’re all going to die for it. Detective #2 and Flatfoot #1 leave. The congregation regathers, and insistently sends Miguel out the back door. EXT. EUCHARISTIC STATION #3 - BACK ALLEY Miguel comes out of the door, thinking all is well, but a shout from the far side of the alley reveals Flatfoot #2, who rushes at Miguel. Knowing the jig is up, Miguel races away from Flatfoot #2, and turns a corner onto a busy street. He knocks over an attractive YOUNG WOMAN. MIGUEL quickly picks her up and backs her against a wall. She is surprised and not very amused. MIGUEL Quick, please, I’m a priest and they’re after me. The Young Woman understands immediately, and she pretends to kiss Miguel passionately, but she misses his lips entirely in order to preserve his chastity. Miguel has his back to the street, and Flatfoot #2 emerges from the alley and runs right by. When the coast is clear, Miguel pulls away. Thanks. MIGUEL You saved my life. YOUNG WOMAN If only every life could be so much fun to save. Miguel wonders about her sanity, and quickly escapes. FADE TO BLACK. 7. An excerpt from page 80. EXT. COURTYARD - A FEW HOURS LATER Miguel steps out into a pitch-black night. The only illumination is from some eerie half-light a few buildings away. Miguel lets his eyes adjust to the night, then looks furtively around him while he cups his hands to his face, about to light a cigarette. He spies Detective #1 and DETECTIVE #2 standing at the courtyard entrance, blocking his path to the street. Miguel does not recognize them, but he is put on edge. Miguel adjusts his suit and walks straight for the detectives. MIGUEL Excuse me. My matches must be wet. Can you light my cigarette? Detective #2 lights Miguel’s cigarette, and both detectives eye him with glittering, suspicious gazes. MIGUEL Um, could you do me another favor? Point me to the San Tomas Hotel? DETECTIVE #1 Where’re you from? Don’t I know you? MIGUEL (breezily) Out of town. I’m staying at the San Tomas Hotel, but I don’t know my way around the city yet. It’s a big city, you know. Detective #1 points. DETECTIVE #1 The center of town is that way. DETECTIVE #2 I think I know you, no? MIGUEL Thanks for the light. night. Have a good 8. Miguel boldly walks away from the detectives, who stand dumbfounded. Miguel does not risk a backward glance. DETECTIVE #2 (two long beats) I’ve never heard of the San Tomas Hotel. Detective #1 whips his head around, staring at Detective #2. Both stride off purposefully after Miguel, in unison. STREETS - MIGUEL hears their feet on the pavement fifty yards behind. Without moving his head, he looks skyward and utters a silent prayer. He does not increase his pace, but begins scanning the road ahead of him, looking for escape. Miguel emerges onto a moderately busy intersection, and fortuitously sees a taxicab sitting right in front of him. Without breaking stride, he opens the door and gets in. INT./EXT. TAXICAB/STREET Miguel slides in the taxi, behind a TAXI DRIVER. MIGUEL (with urgency) Drive. Where? Straight. TAXI DRIVER MIGUEL Miguel glances behind and sees the two detectives hailing another cab. Soon they are in pursuit. MIGUEL So, how’s the world? The world? Father. What? TAXI DRIVER It’s a mess, brother. MIGUEL TAXI DRIVER MIGUEL You called me brother. 9. TAXI DRIVER I call everyone brother. MIGUEL But I’m a father. No. TAXI DRIVER You a priest? MIGUEL (gauging him) Am I? TAXI DRIVER You got a license to be a priest? Better. MIGUEL I was ordained. TAXI DRIVER Father, I’m a Catholic. I haven’t seen a priest in... months. MIGUEL And you’re not likely to see this one again any time soon. See the cab following you? TAXI DRIVER There’s one behind me, yeah. MIGUEL They’re after me. TAXI DRIVER Anything I can do, Father. know that. You MIGUEL Good man. Tell you what. Make a left turn up ahead. Get up some speed and I’ll jump out. Hopefully they’ll follow you, but they won’t do you any harm if I’m not in here. OK? OK. TAXI DRIVER Land on something soft. it into his so his white the corner, the curve. Miguel takes off his hat, crumples it and stuffs jacket pocket. He takes off his jacket as well, shirt is showing. As the taxicab careens around Miguel jumps out the door on the outside part of 10. EXT. STREET - MIGUEL lands hard on his side, but bounces up quick as a flash. He grabs his jacket and leans up against a lamppost, pretending to lounge there. The cab door closes on its own from the force of the curve, and the taxicab disappears down the road. THE DETECTIVE’S TAXICAB comes around the corner, and they do not give Miguel a second glance, not expecting a white-shirted idler to be their prey. As they, too, disappear, MIGUEL walks in the opposite direction. He comes up a bit short, limping, injured slightly in the fall. MIGUEL Ooo. Pride goeth before the fall, and health after it. FADE TO BLACK. INT. GARAGE - HANDHELD SHOT - EARLY EVENING (MOS EXCEPT DIALOGUE) (BLACK AND WHITE) Pale autumn light from an unseen opening garage door spills over the floor, and, moving up, reveals an automobile with the license plate 10101. The shadows of four men fall upon the car. The men enter the garage, and suddenly fill up the screen with their bodies, then grow smaller as they approach the car. Wordlessly, they execute their preconceived plan. Vilchis picks up a couple homemade bombs and places them carefully in the backseat. The Driver slides into the driver's seat. RUIZ picks up some ammunition and climbs into the backseat. TIRADO also has firearms, and sits in the back seat. Vilchis looks into the camera with an inevitable, timeless, piercing, oddly passive gaze, and then climbs into the front passenger seat. The driver starts the car and smoothly pulls out of the garage, right by the CAMERA, which PANS to follow it. SUPER: SUNDAY, NOVEMBER 13, 1927, MEXICO CITY. MOVING WITH CAR (SAME TAKE) The car pulls out onto the street, and drives for a block. The car turns left, drives for a block, turns left again into a busy plaza and parallel parks. PAN DOWN to car interior. The men have clenched jaws. Driver looks worried. 11. VILCHIS There’s no other way. TIRADO When Obregon was President, he sanctioned attacks on Catholic churches. He is a terrorist. A monster. RUIZ VILCHIS Monster or man, the end is the same. It is us or it is him. Juan, pistols. Tirado hands Vilchis two pistols and ammunition. begins to load his guns. RUIZ We only have two bombs, we should spread them out. Juan, you want to throw one with me? OK. TIRADO Vilchis RUIZ Two hands are better than one. VILCHIS They should be coming soon. The assassins wait. PAN TO two distinct vehicles coming lazily around the crowded plaza. The first contains bodyguards, and the second is a semi-bulletproof limousine with GENERAL OBREGON inside. The assassins begin to come to life, readying themselves. The first car passes by their parked position, and the limousine comes by broadside. Tirado and Ruiz each throw a bomb, both of which bounce off the limousine and onto the ground before exploding, and harming no one while shattering car windows. Vilchis, hoisting himself out of the car while shouting profanities, empties two pistols dead into the side of the limousine. Driver starts the car, ready for the getaway. After the bombs explode and the pistols are emptied, Vilchis, Tirado, and Ruiz reach for their shotguns as they jump back into the car. Driver peels out of the plaza while the assassins reach their heads and guns out of the car, looking backwards. 12. The bodyguards in the first car have reacted swiftly, and give close chase, firing heavier automatic weapons than the assassins have. TIRADO is winged in the shoulder and falls back in his seat with a thud. RUIZ is struck in the head by a bullet and falls, senseless, onto Tirado, knocking him to the floor of the car. Driver, panicked by his comrades’ apparent demise, crashes the car into oncoming traffic. Driver disappears on foot. VILCHIS flees in the other direction. THE BODYGUARDS AND OBREGON get out of their cars and approach the Essex warily, Obregon gesturing wildly. They see the unconscious Ruiz lying on top of Tirado, with Ruiz’s blood flooding the scene. The bodyguards, rightfully furious, are not gentle. They haul Tirado and Ruiz to their feet and slap them around. EXT. BULLFIGHT ARENA (COLOR FADE IN) (SOUND FADE IN) Vilchis is out of breath and traumatized by the “deaths” of Tirado and Ruiz. He falls into a seat, even while the rest of the crowd is standing and cheering. He puts his head down and weeps. 

Here are two songs from the musical. "Polite Company" is a lament, sung by Miguel in his deepest moment of despair. "Heavenly Ardor" is a gutwrenching song of joy, sung by Miguel as he looks forward to his reward hereafter.