printable version
	
	
	
	
	
	THE ROUTINE
	
	
	by Leonardo Monti	
	
	
	
	
	
	
	
	
	
1.	INT. FILM STUDIO WORKSHOP - NIGHT
	
	A Fresnel light suddenly fails.
	In the dimness of the night, TIBERIO reaches out quickly
	for the distribution board, he restarts it and the light
	returns showing the small part of a film studio.
	RUDY is sitting in silence on the floor, slowly sipping
	his glass of wine, holding the bottle which is placed in
	front of him. Between his legs he is holding a folder.
	Nearby, Tiberio adjusts the barndoors of the Fresnel
	light and goes to Rudy.
	Rudy, around forty-five years old, looks up and sees him.
	
					RUDY
			I still have to thank you for the
			bottle.
			
					TIBERIO
			Oh, there's no need.
			
					RUDY
			I don't know if you realise that
			I'm completely drunk.
			
					TIBERIO
			I've also done nothing but drink…
			
	Rudy scratches his head.
	
					RUDY
			It's disgraceful.
			
					TIBERIO
			Yes, it is.
			
					RUDY
			Tomorrow I won't remember a thing.
			
					TIBERIO
			Shame.
			
					RUDY
			Oh, don't think about it.
			
					TIBERIO
			What shall we do now?
			
					RUDY
			Do we still have the four
			kilowatts?
			
					TIBERIO
			Yes.
			
					RUDY
			OK.
			
	Rudy gets up with effort.
	
	
2.	INT. FILM STUDIO - NIGHT
	
	Rudy goes towards the lights in the Film Studio keeping
	his folder. He clears the table of the mess of things and
	reflects.
	
					RUDY
			Think about this little woman,
			madly uncombed, who meets Rosanna:
			something clean, harsh, precise.
			
	Rudy puts the folder on the table, lights a cigarette and
	empties the bottle into a glass.
	
					RUDY
			She is entirely a sharp image with
			strong shadows.
			It needs that black is truly black
			on this woman: the light goes where
			it must…
				(Starts to draw on a
				sheet in the folder)
			… and where it can't go, it's dark.
			I want this area to be rough. Not
			violent, but rough.
				(Takes a sip)
			Whereas Rosanna from there:
			completely soft.
				(Drawing to the
				right of the sheet)
			The light comes from her and not
			the opposite; goes onto the face,
			returns to shadow… I want Rosanna
			to be in a side on diffused light.
			Not white, but by those reflectors
			in the old lights, which give a
			delicate, pearlescent, easy light…
	
	
	CLOSE-UP: THE DRAWN DRAFT
	
	His lines come out as we see Rudy's draft.
	
					RUDY (V.O.)
			It's all becoming incredibly simple
			and we'll do it tonight. So, if you
			like: here we have the two women.
			And this will be the set.
			
	The draft, which doesn't portray any woman, is in fact a
	lighting setup: white/silver reflectors, a 2,5 k
	discharge light, a pair of black net scrims, a 4 Kw
	Fresnel on a stand and then a plan of the scenery
	depicting the hold of a boat.
	The THEME MUSIC COMES UP as we go to the NEXT SCENE.
	
	
3.	INT. FILM STUDIO - NIGHT
	
	Tiberio looks around, calmly smoking a cigarette.
	He's now alone and slowly walking around looking at the
	result: the lights designed by Rudy are now completely
	ready.
	Now there is a long slow walk accompanied by the same
	MUSIC as before, which finishes when Tiberio stops in
	front of the only scenery there: the hold of an old boat
	next to a cabin with two portholes.
	A storm is brewing with DISTANT THUNDER. Tiberio turns
	towards the studio entry. We hear the RAIN starting to
	fall.
	
							DISSOLVE TO:
	
	
4.	INT. FILM STUDIO - NIGHT
	
	Now the noise of the rain quickly invades the room.
	Outside it's raining furiously.
	In the dimness, we briefly catch a glimpse of a small
	film crew about seven people that is filming a scene with
	the actresses ALMA and ROSANNA.
	
	
	FILM SCENE:
	
	ALMA, twenty-five years old, moves silently to the centre
	of a dark room. Her hair is uncombed and a bit soaked.
	ROSANNA appears out of the darkness. She has a stage
	costume under her arm and a pair of high heels in hand.
	
					ROSANNA
				(playing)
			Come on, we're not staying here.
			
	Rosanna retraces her steps.
	
					ROSANNA
			Let's go back there.
			
	Alma agrees, but doesn't move. Rosanna goes back to her
	and takes her hand. Rosanna is around fifty.
	
					ROSANNA
			Do you still feel any attachment to
			your old job?
			
					ALMA
				(playing)
			Yes.
			
					ROSANNA
			It's… a laudable feeling… but the
			tasks were far too simple.
			
					ALMA
				(vaguely)
			Yes.
			
					ROSANNA
			Now you get the position. Do you
			remember what you say of this
			place?
			
					ALMA
			I say that this place involves all
			of us.
			
					ROSANNA
			All of us.
			
	Rosanna arrives on set where the hold of an old boat is
	mounted.
	
	
	HOLD OF AN OLD BOAT
	
	It's a scenery, but it looks like the real hold of an old
	boat.
	
					ROSANNA
				(playing)
			Let's go and try on the costume,
			Alma.
			
	Rosanna puts her stage costume and shoes on a chair.
	
					ROSANNA
			Anyway, we've never had this love
			for an easy job, have we?
			
					ALMA
			No more easy jobs.
			
					ROSANNA
			Yes, no more. Come and look.
			
	Rosanna opens one of the two portholes and indicates with
	stretched arm what is outside.
	
	
	INSERT: PORTHOLE
	
	We see a bonfire outside.
	
	
	BEHIND THE SCENES
	
	It's clearly a lighting effect. In fact, Tiberio is
	getting this effect with a light behind the scene.
	Outside the RAIN has almost stopped and it is - again -
	Tiberio lowering the SOUND with the mixer.
	
	
	FILM SCENE:
	
	Alma moves close the porthole and looks out.
	
					ROSANNA
				(playing)
			You'll be a new woman before you
			realise.
			
	Looking up at the fake starry sky above the fake bonfire,
	Alma answers vaguely.
	
					ALMA
				(playing)
			Yes.
			
	Now it's stopped raining and silence has returned to the
	set, Alma turns to look at Rosanna.
	
					ALMA
				(who hasn't
				realized)
			A new woman?
			
	Rosanna leans a hand on Alma's tummy.
	
					ROSANNA
		You know what's going on, right?
			
			
					ALMA
			Yes, and…
			
	Rosanna's hand is still on Alma's tummy. Alma gently
	removes it.
	
					ALMA
			… I don't know if I like it.
			
	Alma runs out of the studio.
	
	
5.	FILM SCENE: EXT. COUNTRYSIDE OUTSIDE STUDIO - NIGHT
	
	Outside it is night and there is a real large bonfire,
	without anyone around. The rain has stopped and the
	reflection of the bonfire lights the humid countryside.
	Rosanna is with Alma, she followed her.
	
	
	BEHIND THE SCENES
	
	Behind, we see the small film crew shooting the two
	actresses. At the head is the director, a big lad around
	thirty five called PAOLO.
	
	
	FILM SCENE:
	
	Alma is so amazed to find herself in front of this
	enormous bonfire that…
	
					ALMA
				(playing)
			I really must talk to Silvano.
			
					ROSANNA
				(playing)
			Do you want to talk to Silvano?
			
					ALMA
			It just occurred to me that I had to
			tell him something. I waited until
			the storm stopped to tell him, but
			then I forgot.
			
					ROSANNA
			And what was it?
			
					ALMA
			I can't remember. But it will
			change everything if I tell him.
	
	
	BEHIND THE SCENES
	
	Behind the camera, Paolo watches attentively at the
	actresses and starts to smile.
	
					ROSANNA (V.0.)
				(playing)
			Change what?
			
					ALMA (V.0.)
				(playing)
			Me, that I'm staying here.
			
	Paolo is happy with the take of this absurd dialogue
	between the two actresses and laughs; but he doesn't want
	to be heard and covers his mouth with his hands.
	
	
	NEARBY THE SET
	
	Behind the crew, sitting not far from the set, is
	GERARDO, fifty-five years old, and SERGIO, around eighty.
	
					PAOLO (V.0.)
			Cut!
			
	Two crutches are leaning against the bench on which the
	two men are sitting. The bonfire (which is not included
	here) reflects the flickering on their two bodies.
	The sounds and the shadows which are projected on this
	couple imply that the previous shoot is finished and the
	crew is dismounting the set.
	Gerardo, calmly in his place, is rolling himself a
	cigarette. Sergio looks up to the sky.
	
	
	INSERT: THE SKY
	
	The image is a sky covered in clouds.
	
					SERGIO (V.O.)
			What's today?
			
					GERARDO (V.O.)
			The fourteenth.
	
	
	BACK TO:
	
	Sergio ponders.
	
					SERGIO
			I think it's a full moon, tonight.
			
					GERARDO
			Really?
			
	Gerardo looks up to the sky, then returns to his
	cigarette.
	
					SERGIO
			In a bit, it'll all be lit up.
			
					GERARDO
			Umm…
				(he licks the paper)
			Clouds permitting.
			
	Sergio looks at the countryside around him.
	
					SERGIO
			I know a footpath down there which
			is very pleasant. Today, I went to
			see the river. Do you see those
			hills? It was something I've wanted
			to do for a while and today, I've
			done it: there was the sunset, the
			day had ended and I'd done
			everything there was to do. Right,
			Gerardo?
			
					GERARDO
			Right.
			
	He puts the cigarette to his lips.
	
					GERARDO
			Sometimes you need places like
			this…
				(Pause)
			That you know.
			
	He lights the cigarette and smokes it looking at the
	landscape in front of him.
	
					GERARDO
			Some places enter your head and
			never leave…
			
					SERGIO
			Ah, you bring the Philippines to
			mind…
			
	Sergio sighs.
	
					GERARDO
			Didn't you have to go back there
			last month?
			
					SERGIO
				(nodding)
			To the Palawan islands.
			
					GERARDO
			Palawan.
			
					SERGIO
			You know, Gerardo, the Philippines
			have been the islands of my life.
			
					GERARDO
			Yes, I've heard you talking about
			them.
			
					SERGIO
			I was supposed to return with
			Paolo, but we had to give up.
			
					GERARDO
			And why?
			
					SERGIO
			First off, we're taken by this
			film. And then Paolo had a bad
			omen.
			
					GERARDO
			Oh, really?
			
					SERGIO
			… a question of the cards, I think.
			They suspected that we would die
			during the journey…
			
					GERARDO
			Ah, Sergio, that really is a pity!…
			
					SERGIO
			I agree.
			
	Silence. Sergio says no more.
	
					GERARDO
			It's almost worse that having that
			other fear, isn't it?
			
					SERGIO
			Which fear?
			
					GERARDO
			… the 'plane… the fear of flying…
			
					SERGIO
			Living forever where you've spent
			your best years…
				(looks at him)
			Wouldn't that be splendid?
				(He thinks for a
				moment and adds)
			If, after I die, I also reached my
			islands, I could do without
			listening to Paolo.
			
					GERARDO
			Rather than these trips, it would
			be better to remember you for your
			drawings.
			
					SERGIO
			I want to tell you a secret,
			regarding Palawan Islands. The
			Palawan Islands are mostly
			Christian.
			
					GERARDO
				(who doesn't
				understand)
			It doesn't seem to me a secret.
			
					SERGIO
			The secret is… that those islands
			are still in the hands of pirates.
			
	Gerardo looks at him.
	
					SERGIO
			Because, you know, once it was a
			Spanish Dominion. And there, if you
			wanted to become a pirate, you had
			to be more than a Spaniard. Above
			all, you had to be a "lapsed"
			Christian.
			
	Sergio looks into his eyes without adding anything.
	
					GERARDO
				(who wants to know)
			Sergio?
			
					SERGIO
			Huh?
			
					GERARDO
			Satisfy my curiosity.
			
	Sergio listens.
	
					GERARDO
			You're of Spanish origin, true?
			
					SERGIO
				(nodding)
			Castilian.
			
					GERARDO
				(cheerful)
			Good luck to you, because you
			believe it!
			
	Gerardo throws his cigarette on the ground and pulls his
	tobacco from his jacket. Pause for silence.
	
					SERGIO
			What time will we finish tonight?
			
					GERARDO
			Don't you want to stay here a bit
			longer?
			
					SERGIO
			I'm very tired.
			
					GERARDO
			Wait. First smoke this…
			
	Gerardo lets him smell the tobacco after which he starts
	to make him a cigarette.
	
					GERARDO
			So, today you went to see the
			river?
			
					SERGIO
			Umm, yes… But I didn't see
			anything. When I arrived it was
			already dark.
			
	Sergio turns to look up to the sky.
	
					SERGIO
			It's this moon, which doesn't want
			to come out. Come out if you have
			the courage, Moon!
			
					GERARDO
				(taking his cue)
			Go ahead!
			
	They both look at the sky. Sergio raises his arm and
	points at the sky.
	
					SERGIO
				(serious)
			Go Ahead!
			
	Gerardo pulls a match out of the box, lights it and moves
	towards Sergio's cigarette; and while he's doing it, he
	notices and old tattoo on Sergio's wrist. Gerardo stops
	to look at it.
	
	
	INSERT: THE TATTOO
	
	He sees the tattoo represents the skull of a pirate.
	
	
	BACK TO:
	
	Sergio makes a first draw on his cigarette, while Gerardo
	turns to look at Sergio through different eyes.
	
					SERGIO
				(enjoying his
				cigarette)
			We're having a great evening, don't
			you agree?
			
	Gerardo doesn't reply.
	
					SERGIO
			You haven't been here recently.
			How's the treatment going?
			
					GERARDO
			It's going. Slowly.
			
	Gerardo continues to stare at Sergio who has glanced at
	the sky remaining silent as if for an instant enjoying
	only the taste of the cigarette. Then he murmurs.
	
					SERGIO
			Now we can all imagine being in a
			far away place.
			
					GERARDO
			Old loony.
			
					SERGIO
			Huh?
			
	Sergio looks at him. Gerardo has an amused look.
	
					SERGIO
			What?
			
					GERARDO
			You… old loony.
			
							DISSOLVE TO:
	
	
6.	INT. FILM STUDIO: DRESSING ROOM - NIGHT
	
	We return to the studio. Now, we are BEHIND THE SCENES of
	the film. What appears is just the half figure of actress
	Alma - back to us - holding a stage costume between her
	thumb and fore-finger: the same costume we saw during the
	PREVIOUS FILM SCENE.
	Rudy, the director of photography, is checking the
	lighting effect on her while. He takes a couple of
	photos.
	
					ALMA
			How do you feel, Rudy?
			
					RUDY
			Well, you know, Alma…
			
					ALMA
			Huh?
			
					RUDY
			Going smoothly…
			
	Rudy takes a last photo.
	
					RUDY
			I feel no-one is chasing after us.
			
					ALMA
			They woke you with a brandy again
			today, eh?
			
	Alma, who has raised her hands to her head, immediately
	becomes another person as her untidy hair is nothing more
	than a wig. With her own hair, the actress has a totally
	different aspect although, showing us only her shoulders,
	no-one yet knows.
	
					ALMA
			You have a taste for it…
			
					RUDY
			Eh? Oh yes!
			
	Alma passes him the wig which in taking, he seems very
	drunk. With a quick and precise movement, she takes her
	dress off. She has a bare back.
	
					ALMA
			I heard that you've been up all
			night.
			
	Alma slips into the stage costume that, in the OPENING
	FILM SCENE, Rosanna held under her arm.
	
					ALMA
				(adjusting her
				dress)
			Have you been here long?
			
					RUDY
			I've been here for ages,
			sweetheart.
	
	
	FILM SET: HOLD OF AN OLD BOAT
	
	Nearby, Paolo, the director, moves towards a trunk which
	he opens. Behind him, we can recognize the scene which
	reminds us of the steerage of an old boat. Paolo is on
	the next set which shows a cabin with a bunk and small
	wardrobe, clothes hooks and a desk, on the other wall a
	porthole.
	
					PAOLO
			I've been here all day… I've tried
			a sort of relief.
			
	Paolo speaks to Rosanna while rummaging for something in
	the trunk.
	
					PAOLO
			Listen, wouldn't you be willing to
			work with us until Friday?
			
					ROSANNA
			Sure, but this thing of standing in
			front of the camera doesn't appeal
			to me much.
			
	Rosanna, who is beside him, sees Paolo pull out some
	photos.
	
					PAOLO
			I have written a new scene,
			Rosanna: we'll start with Silvano
			and his cigarette…
				 (looking through
				some photos)
			As to Alma, the main character,
			I've already spoken to her about
			this. I imagined that Alma was
			rummaging through this trunk for
			the souvenirs of her father.
			
	Rosanna glances at Alma, who we see in the dressing-room
	office.
	
					PAOLO
			I told myself: in this movie Alma
			will shortly bring out her past and
			she will be very unhappy. I decided
			this because the secrets end when
			you throw them to the wind.
	
	
	DRESSING ROOM
	
	Always showing only her shoulders, Alma removes a shoe
	which has a broken heel and shows it over her shoulder to
	one of the crew.
	
					PAOLO (V.O.)
			This evening Silvano will go to
			Alma and ask her what she sees in
			the trunk. She'll respond. She'll
			say: "I see nothing special".
			
	Alma throws the shoe into the air. It's Rudy who jumps to
	catch it. It's like a game between old friends, which
	Alma and Rudy have just created.
	
					ALMA
			So, Rudy.
				(With irony)
			How do you feel?
			
					RUDY
			How do I feel? I feel that the
			lighting of this film is all an
			idea… which comes to me at night,
			no? And if we are all drunk, it's
			because we are still here working.
			Where's Tiberio?
			
	A man is approaching them leaning heavily on a pair of
	crutches.
	
					RUDY
				(to himself, but
				looking around).
			The distribution board… why haven't
			they told Tiberio to have switched
			it off?
			
	The man who approaches is Gerardo. We see him arriving
	from far off.
	
					RUDY
				(to Alma)
			What happened last night, do you
			know? Darkness!
				(Gesturing darkness)
			Sudden darkness!
			
	Gerardo comes closer to them finishing in a CLOSE UP.
	
					RUDY
			But you, Alma, who knows how to
			Really enjoy yourself… I think you'd
			have laughed a lot last night…
				(changing tone)
			… and you'd have been frightened,
			too…
			
	Rudy stops as Gerardo suddenly springs up in front of
	him.
	Pause in which Rudy looks at him closer.
	
					RUDY
			You've changed a lot. What have you
			done?
			
					GERARDO
			I'm sure you'll get it, if you give
			it a thought.
			
					RUDY
				(after a pause)
			Uhu.
			
					GERARDO
			You've got it?
			
					RUDY
			I reckon so.
				(Pause)
			Yes, I'm sure. It's the beard.
			
	Alma greets Gerardo with a warm embrace.
	
					ALMA
			Hi Gerardo.
			
					GERARDO
			Hi Alma.
			
	Alma caresses his cheek.
	
					ALMA
				(tenderly)
			Do you want anything? Cigarettes?
			Tobacco?
			
					GERARDO
			Cigarette.
			
					ALMA
			Light? Normal?
			
					GERARDO
			Normal, thanks.
			
	Alma passes him a cigarette which Gerardo takes but does
	not smoke immediately.
	Instead, he looks around where the film production is
	installed.
	
	
	FILM STUDIO
	
	Gerardo wanders between the sets and the film equipment.
	Then, pointing a sign at Rudy - who has come close to him
	- asks:
	
					GERARDO
			Why don't you heat this place? Have
			you no power again, or what?
			
					RUDY
			You've got to do us a favour.
			
					GERARDO
			What kind of favour?
			
					RUDY
			A favour for Tiberio. A light?
			
					GERARDO
			No thanks, I'll smoke it later.
	
	
	FILM STUDIO WORKSHOP
	
	Tiberio is attending to one of the electrical boxes. Rudy
	and Gerardo, who are by him, stop and look.
	
	
	INSERT: ELECTRICAL BOX
	
	In front of them, one box is completely dismounted but
	still connected to the current.
	
					GERARDO (V.O.)
			Have you news of the mains
			connection?
	
	
	BACK TO:
	
	Tiberio goes without any enthusiasm to the dismounted
	box, he restarts it as best he can and immediately the
	lights return.
	Gerardo and Rudy look up in front of them. Feeling
	slightly apologetic, Gerardo lights his cigarette.
	
					RUDY
			Only Tiberio knows better than me
			the current load.
			
	Rudy points a finger towards the illuminated set.
	
					RUDY
			A thousand… two thousand… eight
			hundred…
			
	Tiberio now also looks up. MUSIC comes up during this
	action: Rudy counts with his finger while Gerardo and
	Tiberio are looking off.
	
	
	FILM STUDIO
	
	The MUSIC continues on RUDY'S POV with finger pointed
	towards the film studio, counts the watts of the lit
	bulbs.
	
					RUDY (V.O.)
			Two thousand… a thousand… five
			hundred…
			
	Along the walls, between one light and the next, there
	are many photos of locations, large boards, a long
	production plan full of penned corrections.
	
					RUDY (V.O.)
			… five thousand… a thousand… two
			thousand…
			
	On stands, very varied objects, scripts, folders, some
	stage costumes, rolls of drawings etc.
	
					RUDY (V.O.)
			… two thousand… a thousand… four
			thousand…
			
	The count gets overtaken by the THEME MUSIC which leads
	us to the FOLLOWING SCENE of their film:
	
	
7.	FILM SCENE: INT. TATTOO ROOM - NIGHT
	
	This scene is a "tableau vivant" of a picture by André
	Francois entitled 'Chez le tatoueur' which we now see in
	the reconstructed environment. It describes a small
	rather squalid room with a large mirror on the blue wall,
	a yellow lamp shade and an entrance covered with an
	Arabian tent.
	In the middle of the room a sailor is sitting with a
	naked torso in front of the mirror.
	It is clear by lighting and scenery that this is Paolo's
	film scene, but we do not immediately appreciate that the
	sailor is a character.
	He is played by actor SILVANO, who we see here for the
	first time: a young man around thirty, robust, with a
	hard face, silent, with small and penetrating but tender
	eyes.
	Some lights which are illuminating the set are switched
	off. Under this light the sensation is that of a man who
	appears so alone, so desperate…
	
							DISSOLVE TO:
	
	
8.	INT. FILM STUDIO: DRESSING-ROOM - NIGHT
	
	Alma and Silvano are making up. Now we are BEHIND THE
	SCENES.
	Rosanna has Alma's wig in her hand which she is fixing
	with her fingers.
	Alma - who we see now with her own hair - is in front of
	the big mirror, smartly dressed and is putting the final
	touches to her stage make-up.
	
					ALMA
			We're having our drink; and we're
			doing it well. Extremely well. Say
			what you like.
			
					ROSANNA
			So, you've really thought about it?
			
					ALMA
			I think this drink is a
			masterpiece.
			
	Alma looks at herself very carefully from the front and
	side glance; gets up and moves a lock of hair.
	
					ALMA
			When you talk about a man who
			treats you well, I would never
			leave him. No, Silvano?
			
					SILVANO
			Thank you!
			
					ALMA
			Specially if it's the young sea
			salt who treats me like that.
			
	Silvano raises his glass.
	
					SILVANO
			And I thank you.
			
	Rosanna moves in front of the mirror and finishes
	arranging the wig on Alma's head.
	
					ROSANNA
				(to Silvano)
			I saw you last evening. You danced
			all the time.
			
	Alma makes another touch with the comb and gives herself
	a last side glance.
	
					ALMA
			Silvano was so drunk he could have
			danced for hours.
				(to Silvano)
			Huh?
			
	Silvano tries to remember.
	The two women look at each other for a moment as each
	guesses what the other is thinking.
	
					ALMA
			Silvano, the dancer.
			
					ROSANNA
			Yes, Silvano with the golden feet.
			Dancing… and how.
				(to Silvano)
			What were you really thinking
			about?
			
					SILVANO
			I thought about the room. It
			swayed… and it fell in on me…
			
	The two women look at each other seriously, then smile
	again; they don't know if Silvano is making fun of them
	or not.
	
					ALMA
				(ironically)
			It's not easy to say that.
			
					SILVANO
				(serious)
			My daughter once said that if I had
			danced all my life… forgetting
			every problem… any woman would have
			fallen in love with me.
			
					ROSANNA
			Damn, then I've only got to ask.
			
					SILVANO
				(to Rosanna)
			I'd say that if I had to… I'm
			almost afraid to say… but if I
			think about how you would press
			yourself to me and how you would
			move those legs… It doesn't matter
			if you don't know how to dance… you
			would be my favourite evening lady…
			
					ALMA
				(to Rosanna)
			So, what do you think?
			
					ROSANNA
			Cheers! If we're nearly at the end
			of the shooting, this evening I'm
			willing to wait for you.
			
					SILVANO
			Sure?
			
					ROSANNA
			Do you know what you can tell by
			dancing?
				(To Alma)
			You tell him, Alma. If I don't
			dance with him, who else?
			
	Alma winks at Silvano, showing him real feelings of
	friendliness.
	
	
9.	INT. FILM SET: TATTOO ROOM - NIGHT
	
	We are again on the set depicting the "tableau vivant"
	from 'Chez le tatoueur'. Sitting on a director's chair,
	actor Sergio - dressed in his stage costume - is waiting
	for someone.
	Paolo arrives. He takes a chair and sits beside him. The
	director looks at his costume: a coat and striped
	trousers. Also Sergio looks at his own costume.
	
					SERGIO
			Now I'm an André Francois'
			character.
			
					PAOLO
			It suits you well.
			
					SERGIO
			Do you know that it's from his
			drawings that I understood how to
			do the well-known 'slippery
			sketch'. Normal people like you and
			I can't do it immediately… With all
			those lines…
				(tracing lines in
				the air with his
				thumb)
			… which go like this… and then
			this… Piff paff…
	
	
	INSERT: PICTURE BY ANDRÉ FRANÇOIS 'CHEZ LE TATOUEUR'
	
	The real true picture of André Francois appears and here
	we see the full screen: the man sitting has his torso
	covered by an enormous tattoo, which did not appear on
	the body of Silvano on the tableau vivant that we saw
	previously.
	The tattoo shows a woman who holds a man's torso. The man
	standing up with the coat and the striped trousers is the
	tattooer… and the costume Sergio is wearing is the same.
	Meanwhile, their dialogue continues OUT OF THE FRAME:
	
					PAOLO (V.O.)
			You knew Francois when you were in
			Bucharest, didn't you?
			
					SERGIO (V.O.)
			Yes.
			
					PAOLO (V.O.)
			… and during the first few years
			after your studies… where were you?
			
					SERGIO (V.O.)
			At first - I've never told you - I
			was at Poliakoff's.
	
	
	BACK TO: TATTOO ROOM SCENERY
	
					SERGIO
			And then there was that other
			theatre… I can't remember what it
			was called… but mostly I was at
			Poliakoff's.
			
					PAOLO
			Do you want… would you like a glass
			of wine?
			
					SERGIO
			Wine, wine. Yes, thanks.
			
					PAOLO
			Tell me more about when you were in
			Bucharest.
			
	Paolo leans towards the small table in front and moves
	the bottle towards Sergio.
	
					SERGIO
			In Bucharest I didn't work for the
			theatre. I wore a vest full of
			holes and a pair of shorts held up
			with a piece of twine. At the good
			age of sixteen, I earned my money
			on the streets. I played many
			instruments at the same time. On my
			front I put a card "I'll give a
			thousand crowns to who can play
			like me".
			
	Sergio takes the bottle and fills his glass.
	
					SERGIO
			Sometimes someone tried. So I
			passed them my equipment and I
			enjoyed myself lots watching them
			struggling so much for nothing.
			
	Sergio drinks.
	
					SERGIO
			Then one evening… perhaps because
			I'd drunk too much… I was a bit
			down… Well, I couldn't face
			wandering around with this stuff
			any more… I took a hammer, smashed
			wildly and reduced the whole thing
			to smithereens.
			
	Paolo and Sergio were pondering this thought when
	suddenly a blackout comes.
	
	
	TATTOO ROOM IN THE DARK
	
	Paolo and Sergio are plunged into darkness.
	
					SERGIO (V.O.)
				(changing his tone)
			Last night, Paolo, I tried to
			remember a dream.
			
					PAOLO (V.O.)
			Ah yes?
			
					SERGIO (V.O.)
			Yes… But I failed.
				(Hesitates,
				restarts)
			I was walking in a small market and
			my hand… I thought it was free,
			instead I realised I was holding
			someone else's. Looking down, it
			was the hand of a child. Then I
			woke up and as I did there was this
			music on the radio…
			
	Sergio starts to hum.
	
					SERGIO (V.O.)
				(in Italian)
			"Mio cuore, tu stai soffrendo… cosa
			posso fare per teee?…"
			
					PAOLO (V.O.)
			What is it? Ah! Rita Pavone! She's
			one of my favorite singers.
			
					SERGIO (V.O.)
			I thought immediately that the
			child in the dream could be you.
			
					PAOLO (V.O.)
				(happy)
			Me? Really? And how was I?
			
					SERGIO (V.O.)
			Oh, you were a tubby child, very
			tubby… I remember that you gave me
			something and I saw it was a photo.
			At first, you looked at your hand
			as well because you thought it was
			free. But, you realised that you
			were holding a photo. It was the
			picture of a captain… standing on a
			beach. You said you took it - in
			passing. Then… several hours later…
			when you passed the same spot… the
			captain was already dead. That's
			what you said in the dream:
			vanished in the twinkle of an eye.
			A corpse thrown onto the sand by
			the waves.
			
	In that moment, the light returns on the set.
	
	
	TATTOO ROOM ILLUMINATED
	
	We see Sergio is holding Paolo's hand. Of course, Paolo
	let him. There is a brief pause for silence.
	
					SERGIO
			Do you know? I still can't cope
			with the idea of the dark…
			
					PAOLO
				(giving him a nod)
			I think we are all fed up with this
			damned power line.
			
							DISSOLVE TO:
	
	
10.	INT. FILM SET: TATTOO ROOM - NIGHT
	
	The atmosphere of the set is different, because the film
	crew is now filming. We see a clapperboard. On it is
	written "Tattoo room". It shuts and withdraws, leaving a
	medium shot of the tattoo room.
	
	
	FILM SCENE:
	
	The tattoo room is still the tableau vivant of 'Chez le
	tatoueur'. Besides actor Silvano, this time we see also
	Sergio, who plays the tattooer.
	
	
	BEHIND THE SCENES
	
	Rosanna and Paolo observe the filmed scene.
	Behind them, actress Alma is in her stage costume and is
	walking, rehearsing her part.
	
	
	FILM SCENE:
	
	Sergio, playing the tattooer, has just finished drawing
	the tattoo as we saw it in the André Francois' picture.
	
	
	CLOSE UP
	
	He is now tattooing the hands of the woman holding
	Silvano's back.
	
	
	BACK TO SCENE
	
	Sergio uses his brush, moving it as he said in the
	dialogue with Paolo: "With all those lines… which go like
	this… and then this…"
	Sergio now puts his brushes away.
	Silvano takes his shirt and starts to button it up.
	Sergio then slowly leaves the set.
	
	
	BEHIND THE SCENES
	
	Sergio walks keeping a straight face, as if he was still
	the character in role. MUSIC accompanies this SCENE. We
	leave with him the set and follow his way, which Sergio
	does without hurry; almost as if no-one needs his acting
	anymore.
	
	
	SERGIO'S WORKSHOP
	
	Sergio goes to his small workshop and slips his shoes off
	with his feet.
	Then he slides them under a make-shift bench on which he
	stretches out.
	
							DISSOLVE TO:
	
	
	FILM SCENE:
	
	Tattoo room. Silvano, the sailor, takes a cigarette from
	the packet, gets up carefully from his stool and sits
	himself on the only ramshackle armchair near the mirror.
	There is a shaded lamp on a small table which throws on
	his face a warm but uncertain light with much shadow and
	yellowish darkness. He lights the cigarette.
	
	
	BEHIND THE SCENES
	
	While the crew shoots actor Silvano, Paolo is sitting in
	a corner behind the scene, his jacket thrown on a chair.
	He is not really noticing the shooting; in fact he's
	looking at one of the photos taken from the trunk, when
	he was with Rosanna.
	
	
	INSERT: THE PHOTO
	
	It shows a man on the beach in the uniform of a CAPTAIN:
	the same photo that Sergio talked about in his dream. The
	captain in the photo laughs casually and happily at the
	camera.
	
	
	BEHIND THE SCENES
	
	A sudden feeling of fatigue has induced Gerardo to stop
	on a nearby chair. On the set, there is a complete
	silence. Gerardo leans his crutches on one side of the
	chair and carefully pulls his legs up which have become
	rather weak. He closes his eyes tightly to combat his
	tiredness. When he opens them again, in front of him is
	the crew observing Silvano's acting with attentive eyes.
	
	
	FILM SCENE:
	
	We see Silvano sat on the armchair. Serious and
	reflective, he is smoking a cigarette. We hear the tired
	and slow breathing of Silvano, who smokes. The hair on
	his forehead is damp with sweat.
	
	
	BEHIND THE SCENES
	
	… and then we see the entire crew, in the middle of which
	is Gerardo who observes the scene, such that a group of
	men stare at the one who smokes.
	
							DISSOLVE TO:
	
	
11.	FILM SCENE: INT. OLD BOAT'S HOLD - NIGHT
	
	Filming is in progress: the lamp on the writing desk
	gives a faint light on the bunk. Sitting on the ground,
	Alma is playing her own role and in her acting there is
	something intense: we see that Alma is gathering her
	things into a trunk (the same trunk that Paolo was
	looking at) with a strange and obstinate calm, an
	abandoned numbness and full of mystery. Alma moves those
	objects and almost hides in the bottom of the trunk, as
	if they were palpable and offensive things.
	
	
	INSERT: THE TRUNK
	
	Among those, stands out a child's CABIN BOY UNIFORM.
	
	
	BACK TO:
	
	Alma is suddenly tired and has a great desire to leave
	there.
	When Silvano stops a few steps away from her, Alma is
	distracted looking towards Sergio's workshop.
	
	
	SERGIO'S WORKSHOP
	
	From the other part of the studio, a beam of light
	appears behind the scene…
	Sergio enters carrying all his instruments on him: he's
	returned to do his one-man-band, exactly as his story.
	Sergio starts to play all the instruments, wandering
	around the film studio, swaying his body in rhythm to
	music we don't hear… These instruments have a surreal
	form…
	… and this FRAME opens in SLOW MOTION with NO SOUND,
	because it is clearly a phantom only seen by Alma.
	
	
	BACK TO:
	
	When she turns back again, Alma finds Silvano in front of
	her, looking at her. He is playing his role of sailor in
	a very natural way. There is a silent pause.
	
					ALMA
				(playing)
			That old man… You know each other
			well, right?
			
					SILVANO
				(playing)
			Yes.
			
					ALMA
			Is he still there?
			
					SILVANO
			Yes.
			
	Alma glances once again at the workshop.
	
	
	SERGIO'S WORKSHOP
	
	She sees that Sergio is laid out on the bench and seems
	to sleep. He also seems dead.
	
					ALMA (V.O.)
			But staying here inside… and
			meeting people like him… is that
			part of our job?
	
	
	BACK TO:
	
	Silvano looks round the room: sees that around the open
	trunk, several things are lying around.
	
					SILVANO
				(playing)
			Why do you ask?
			
	Alma seems absorbed, after a few moments, she goes and
	sits herself on the edge of the bunk.
	
					ALMA
				(playing)
			If you take me with him… to tour
			the world… would the nightmares get
			out of my brain?
			
	Silvano goes and sits next to her. She is struggling to
	explain herself.
	
					ALMA
			Before leaving my job I had a
			frightening image of myself…
			And I told no-one. Rosanna said it
			was because of the way I lived.
			
					SILVANO
			What image are you talking about?
			
	Alma hesitates at this question; she leans her head on
	the cushion and looks at the deep shadows made by the
	lamp on the ceiling.
	
					ALMA
			There is a straw dummy and four
			women who toss him in a sheet… and
			each time I seem to be there in his
			place. At the top of the tosses, I
			see people who go to work, who come
			out of shops… who go about their
			every day lives with pleasure… and
			that life for me is terrible. I
			must get down from there if I want
			to feel free… I must clear the air.
			
	Alma's words reflect her sad expression.
	
					ALMA
			I'm very tired Silvano. I want to
			go away as well… and be brave like
			you.
			
	Silvano looks at her attentively. His face is completely
	calm.
	
					SILVANO
			Stop these thoughts. They only come
			at night.
			
	Under Silvano's stare, Alma's eye-lids get heavier.
	
					SILVANO
			It's late, you know?
			
	Alma lays back.
	
					ALMA
			… You… yes you are brave…
			
					SILVANO
			… and it's very long, Alma, the
			journey is very long.
			
	Silvano, staring at her, goes to her and talks calmly to
	her.
	
					SILVANO
			You would like… to be able to
			sleep… now…
			
					ALMA
			How can I?
			
					SILVANO
				(in a low voice)
			Close your eyes…
			
	Alma obeys and closes her eyes.
	
					SILVANO
			Now, do as I do… Now you don't
			exist…
			
	Silvano, at the side of the bed, looks at her and says
	nothing more. On his face there is a strange
	tranquillity. Alma falls deeply asleep.
	Silvano looks at her attentively.
	
							FADE TO BLACK
							
	
	
	FADE IN:
	
	
12.	EXT. ESTUARY - MORNING
	
	It's the first light of dawn. A small boat floats over a
	boundless lagoon area accessible only by water and
	swathed in mist.
	Paolo is sat at the stern of the boat; he is rowing gently
	doing little more than drifting with the flow of the
	river - Paolo seems particularly taken by this lagoon, in
	which total silence contrasts with the vastness of the
	surroundings…
	
	
	INSERT: LAGOON LANDSCAPE
	
	The CAMERA moves back from him, panning down onto that
	evocative place.
	
	
	BACK TO THE RIVER
	
	Paolo's boat arrives at the mouth of the river, from
	where someone - the voice of a child - is calling.
	
					DANILO
			Paolo! Paolo!
			
	Paolo turns. It's a distant voice.
	
	
	SET NEARBY THE ESTUARY
	
	In the middle of a sparse wood, on the grassy banks of
	the river, Rosanna and a child called DANILO are walking.
	They are holding hands.
	As the boat moves along the river, as a slow tracking
	shot, we see through PAOLO'S POV the whole crew in open
	marshy countryside.
	
	
	PAOLO'S POV
	
	Rosanna and Danilo, who is about eleven years old, walk
	trying to keep pace with Paolo.
	Alma and Silvano, seated on the edge of a canal, are
	talking between themselves.
	A little further over, there is all the film equipment,
	left lying around an off-roader, next to an umbrella and
	a seat.
	Lastly - Tiberio, Rudy and Gerardo walk together in
	silence over a clearing with weeds and few plants. They
	are immediately over taken by Danilo, who has separated
	from Rosanna and is running to Paolo.
	
	
13.	EXT. UNDERGROWTH NEAR SET - MORNING
	
	Gerardo is looking up at the sky. He looks at it as
	something which gives him almost a solemn calmness. Dawn
	is breaking and the landscape is already beautiful. Then,
	suddenly, he stiffens and points with his finger to the
	horizon at a black spot under the soft fringe of the
	clouds.
	
					GERARDO
			Look down there. A crane! And we're
			only in February.
			
	He stops, waiting for agreement that perhaps it is, even
	if Rudy and Tiberio don't see anything extraordinary
	about the arrival of a crane.
	
					GERARDO
			That's a Siena goose. That beat of
			the wings is typical of the
			species. Let's wait a minute, here
			comes the female.
			
	The three wait.
	
	
	INSERT: THE UNDERGROWTH
	
	In fact, from the clump of trees, a second black spot
	appears.
	
	
	BACK TO:
	
	Satisfied, Gerardo nods. A subtle but insistent THEME
	MUSIC comes up.
	
	
	GERARDO'S POV
	
	From his POV we see that Gerardo raises his arm to
	indicate the landscape in front of him. It's a long PAN.
	The sun, very low, is a light pink circle.
	A light breeze rustles the leaves in the trees.
	
							DISSOLVE TO:
	
	
14.	EXT. BANK OF THE CHANNEL - MORNING
	
	There is a small landing stage for the boats from which a
	narrow path climbs up to the edge and which rises again
	to the canal. There, Danilo is waiting.
	Paolo rows the tiny boat and he quickly nears the bank.
	
					DANILO
			Is it true you will teach me to
			fly, today?
			
	Paolo quickly takes off his back-pack without speaking.
	Danilo, who everyone here calls DILO, stops and looks at
	him for a moment: he's a child with a round clear face
	with straight hair and small eyes.
	
					DANILO
			My uncle says that the real
			magician here, amongst you, is
			Sergio.
			
					PAOLO
			And… does your uncle Gerardo know
			that Sergio was a pirate?
			
					DANILO
			I only know that he punched out 
			the teeth of a man who made him
			angry, just with the power of his
			thoughts.
			
	Paolo unloads his back-pack on the pier, the oars, then
	gets out of the boat and ties it to the landing stage.
	Every movement says - despite his size - he is familiar
	with the area.
	
					PAOLO
			You have to be very careful with
			magic.
	
	
15.	EXT. BANK OF THE CHANNEL - MORNING
	
	We see that Silvano and Alma have their stage costumes,
	but they are clearly waiting to start the day's shooting.
	They are sitting on the edge of a lagoon, their backs to
	us. Silvano puts his bag on the grass and pulls out a
	bottle.
	
					SILVANO
			We must celebrate our departure.
			
	Silvano pours the wine into a glass which he gives to
	Alma. Alma is without her dress wig.
	
					ALMA
			So, in the morning, you'll sail.
			
					SILVANO
				(pouring himself
				wine)
			What about you?
			
					ALMA
			Yes, me too… but I'll use the car.
			Like everyone.
				(Raises her glass)
			Cheers.
			
					SILVANO
			Cheers.
			
	The two drink. Alma smiles. Silvano doesn't. Alma,
	looking at him, asks:
	
					ALMA
			Why do you never smile?
			
					SILVANO
			Oh! I've got a ruined lip.
			
					ALMA
			But when you're drunk, of course
			you laugh. And a lot.
			
					SILVANO
			Do you think I can do it?
			
					ALMA
			It would be better, you're very
			handsome when you smile.
			
					SILVANO
			Do you want to know something?
			Working on a set is not serious at
			all.
			
					ALMA
			You've got it, damn it!
			
					SILVANO
			You always have a narrow escape.
			Don't believe I didn't realise it.
			
	Behind them a dog is heard panting.
	
					ALMA
			And you? Are you always a
			fisherman?
			
					SILVANO
			Once a fisherman, always a
			fisherman.
			
	With a long hanging tongue, the dog nears and puts its
	nose between Silvano's knees.
	Alma looks at Silvano with some admiration.
	
					ALMA
			How many sailors do you think there
			are on the seas at this moment? A
			million?
			
	Silvano, playing with the dog, shakes his head.
	
					ALMA
			Ten million?
			
					SILVANO
			A hundred million.
			
	Silvano raises his sleeve, bare up to his shoulder.
	
					SILVANO
			Touch my muscles here.
			
	Alma looks at his body.
	
					SILVANO
			Once I used to drive the fishing
			boats alone. Big ones, small ones.
			The only thing they can blame me
			for is being too disciplined and a
			drudge.
			
	Silvano lowers his sleeve.
	
					SILVANO
			Two months ago, my father sold the
			boat and then gambled away the
			money at a casino. He lost it all 
			in one night. So, I went to a friend
			and started to repair his boat. I
			put it straight in a month.
				(He pats the dog)
			I earned ten thousand Dollars and
			immediately took back to the sea.
			
							DISSOLVE TO:
	
	
16.	EXT. SET NEAR ESTUARY - MORNING
	
	Paolo's stare is fixed on Dilo: they are both under the
	umbrella beside all the film equipment around an off-roader.
	
					PAOLO
			I am seeing many things…
				(peering at his
				face)
			this… and this… and this other…
			
	Dilo is comical, because of the crushed costume he's now
	putting on: a CRUMPLED UNIFORM of a cabin boy. He feels
	no discomfort by this.
	
					PAOLO
			Give me your hand.
			
	Paolo takes Dilo's hand. There is a moment of silence
	while Paolo looks at it with a calmness which becomes
	increasingly strange. Dilo looks at him uneasily.
	
					DANILO
			What are you doing?
			
					PAOLO
			I only need a look there to know
			someone.
			
					DANILO
			I know… I mean, I understand why…
			
					PAOLO
			This line, for example, should
			finish here. But it continues… to
			the end… and that's a warning.
			
					DANILO
			I don't see anything.
			
					PAOLO
				(reading the hand)
			Gosh…
			
					DANILO
			What?
			
					PAOLO
			A curse.
			
	Paolo indicates the central line on Dilo's hand with his
	forefinger.
	
					PAOLO
			I told you there was a curse.
			
					DANILO
			Why?
			
					PAOLO
			Every flower that you touch will
			wither immediately.
			
	Danilo draws back his hand immediately.
	
					DANILO
			I don't want to know that!
			
					PAOLO
			You are still afraid of death.
			
					DANILO
			No!
			
	An evil but tender voice, comes from Paolo's lips.
	
					PAOLO
			Listen, Danilo, do you still love
			me?
			
	Dilo, offended, runs away.
	
	
17.	EXT. UNDERGROWTH NEAR SET - MORNING
	
	Immediatley after this dialogue, Danilo is seen beating
	the trunk of a sapling with a stick until he breaks it.
	It's a long job which tires him, but he doesn't stop
	until the tree has completely fallen.
	After which, Dilo steps away, stands still to look at the
	beaten tree, turning his gasping back to us.
	
							DISSOLVE TO:
	
	
18.	FILM SCENE: EXT. TRACK ALONG THE LAGOON - MORNING
	
	Filming is in progress: Silvano walks holding Alma in his
	strong arms.
	Here, the Alma character is still asleep.
	Both of them are in their costumes and clearly in their
	role - Alma with her wig.
	In one long TRACKING SHOT moving backwards, we follow
	them to the lagoon.
	
							DISSOLVE TO:
	
	
19.	FILM SCENE: EXT. WOODS OF THE LAGOON - MORNING
	
	Silvano and Alma are in a small motor boat in a channel.
	Alma continues to sleep heavily, under a thick blanket.
	
	
	BEHIND THE SCENE
	
	Along the bank, we see a camera dolly, placed on tracks,
	following the motor boat in the channel. The camera is
	moving under the silent direction of Paolo: pushing the
	dolly is Tiberio, while Rudy operates the camera.
	The positioning of the film crew shows that a masterly
	routine has been established among them.
	
							DISSOLVE TO:
	
	
20.	FILM SCENE: EXT. UNDERGROWTH NEAR ESTUARY - MORNING
	
	Filming continues: Silvano, with the motor boat, arrives
	in the river delta area which no tourist knows and where
	there is no animated life.
	Only the shadow of the motor boat accompanies him. A pale
	sun projects itself onto the water.
	Away from the bank a group of houses appears on the coast
	and then the pine spinney again.
	
	
21.	FILM SCENE: EXT. OLD PORT QUAY - DAY
	
	Silvano's boat slows and the motor is switched off. A
	young sailor, around eleven, comes to the quay where the
	motor boat stops, exactly next to a fishing boat. The bow
	lights - normally used at night - are still lit. Silvano
	gets out of the motor boat. The character of the young
	sailor, of a round and clear face, is interpreted by
	Dilo. He's wearing a CRUMPLED UNIFORM, full of stains.
	The two greet each other in dialect, then Silvano gives
	him his shoulder bag.
	Dilo takes a few steps towards the boat and stops…
	
	
	CLOSE UP ON ALMA
	
	… to look at Alma's face.
	
							DISSOLVE TO:
	
	
22.	FILM SCENE: INT. SILVANO'S CABIN - DAY
	
	Silvano reaches his bunk with Alma in his arms: opens the
	door with a push and enters. A dog next to the bunk bears
	his teeth and raises his hackles.
	
					SILVANO
				(playing)
			It's me, stupid.
			
	When the dog hears the voice, it lowers its ears and
	starts to wag its tail and runs to meet him. It doesn't
	bark nor whine but writhes against him.
	
					SILVANO
			Go away.
			
	Close up of the dog.
	
							DISSOLVE TO:
	
	
23.	EXT. OLD PORT BAR ROOM - DAY
	
	We are outside the vacant bar room used for make-up and
	dressing.
	The crew is having a break. There's Rudy, Alma, Tiberio
	and Gerardo. They are all sitting about a round table and
	have started to eat the fish which Gerardo has just
	placed in the middle of the table. Rosanna greets them
	one after the other, she doesn't know what is happening
	because the crew are eating and drinking and whispering
	in an indistinct way. Rosanna is carrying in two clothing
	dummies with female stage costumes on them.
	Gerardo, standing upright, looks at his friends who are
	eating with gusto, then he drops a couple of olives into
	two glasses full of gin (it's clear from the bottle on
	the table).
	
					GERARDO
			In Madrid… I think it was the
			Plaza… For the alcoholics, they
			pour iced water with an olive and
			peddle it as a Martini cocktail.
			The trick is simple: enough to say
			to anyone with a finger pointed at
			their nose: "this is your Martini"
			that people become like dogs with
			tongue out. Isn't that so, Rudy?
			
	Rudy applauds. He's drunk.
	
					RUDY
			That's the truth.
				(He points his
				finger at his nose).
			Life is often juuust like that!
			
					GERARDO
			Be good, eh.
			
					ALMA
			We need a toast, Gerardo.
			
					GERARDO
			Whereas here…?
				(Smiles)
			Well, here…
			
	Gerardo refines his cocktail with mint.
	
					GERARDO
				(whispering to Rudy)
			Now offer this to our sweet friend.
			
	Rudy obeys and offers the glass to Alma. Tiberio
	intervenes.
	
					TIBERIO
				(to Alma)
			First, drink this…
			
	Tiberio gives her another drink.
	
					ALMA
			With great pleasure!
			
					GERARDO
			Here instead… I said… We have "The
			Bastardo": a refined bomb, softened
			with one leave of mint and one of
			basil.
			
					ALMA
			OK, let's have a slightly more
			serious toast, this time.
			
	Tiberio sees the tears on Gerardo's face.
	
					TIBERIO
			What's wrong, are you crying?
			
	Gerardo dries his eyes and raises his glass as if to
	suggest a toast.
	
					GERARDO
			Now you give me the pleasure to
			raise and… ssssh, no more joking,
			now.
				(Serious)
			I want to toast my brother.
			
	Gerardo takes the last cocktail, he adds the basil and
	offers it to Tiberio.
	
					GERARDO
			I don't know why I'm here… I just
			know that you all seem to
			appreciate your work, drinking and
			everything else. I raise my head to
			this table and renew my pledge.
			
					TIBERIO
			Pledge?
			
					GERARDO
			Yes, my pledge! Goodbye to worries
			and old remorse.
			
	After which, he raises his glass again saying as if
	casually.
	
					GERARDO
			"When you feel alone and you are
			alone and it's almost midnight and
			you don't know what to do…"
			
	… he seems to end in: "so you drink!". Indeed, Gerardo
	drinks it in one gulp.
	
	
24.	INT. OLD PORT BAR ROOM - DAY
	
	The toast is now seen through the eyes of Rosanna from
	the inside of the room, through the window, thus it
	becomes a SILENT SCENE. We see the party standing around
	the table and raising their glasses.
	
	
25.	EXT. OLD PORT BAR ROOM - DAY
	
	When we return outside, with them, the atmosphere seems
	to have returned to that at the beginning. They are all
	seated. Tiberio, who has just finished drinking, is
	saying:
	
					TIBERIO
			I remember during the shooting of
			the last film, one day I was very
			unhappy looking at what was
			happening around me. I remember it
			was raining hard and we were asking
			ourselves what we could do. We
			couldn't continue to shoot with
			weather like that. We had worked
			hard and in spite of the sweat,
			making the movie was easy. Anyway,
			I remember we were all worn out. We
			were worried about learning nothing
			else. We covered the equipment and
			waited under a church porch; then
			we went back to the hotel. I was
			thinking how strange we're no
			longer excited. The director
			carried on working, but for us he
			was one person with whom we had
			nothing left to do.
			During dinner, I asked the gaffer
			if he knew why we were all so
			strangely silent. He thought about
			it; he looked at me and said that
			it was the loneliness. It was this
			he wanted to tell me: the
			loneliness of who spends too much
			time on set…
			
	CLOSE UP of Tiberio.
	
							DISSOLVE TO:
	
	
26.	EXT. FISHING BOAT - DAY
	
	Paolo is walking alone on the fishing boat, silently. The
	floor is covered in a mass of electric cables and along
	the external corridor are some lights switched off. At
	the portholes, there are the gel sheets which lower the
	lighting.
	
	
	BOAT BOW
	
	When he arrives at the boat bow, he finds himself in
	front of Dilo who is fishing. The weather is bad and Dilo
	is well wrapped, wearing a woollen scarf which covers his
	neck and part of his face. They stare at each other for a
	moment. Then, seeing the end of his rod moving, Dilo
	whips it into the air so strongly that the rod almost
	flies out of his hands.
	Paolo follows the cables again along the internal passage
	until…
	
	
	COCKPIT
	
	… he reaches Rudy.
	
					PAOLO
			Rudy, it's me.
			
	Paolo opens the small door and meets Rudy, who is
	checking the effect while the Fresnel light is being
	repositioned.
	
					PAOLO
			How's it going?
			
	Rudy has a drunken face, but seems to have the situation
	in hand and on top of things.
	
	
	PORT PIER
	
	Tiberio is on the pier underneath, in the middle of
	fluttering sea-gulls and pointing the light inwards to
	the fishing boat. He moves it to create…
	
	
	COCKPIT
	
	… a subtle back-light towards the windows of the cockpit.
	Rudy, very serious, glances at Paolo.
	
					RUDY
			So, Paolo.
			
					PAOLO
			Huh?
			
					RUDY
			In the movie, someone dies, or
			something like that, huh?
			
					PAOLO
			Something like that.
			
					RUDY
			Umm…
			
	Rudy nods and moves slowly towards the boat deck.
	
	
	BOAT DECK
	
	Rudy leans on the side aft of the boat deck. With a nod,
	he tells Tiberio to switch off the light.
	
					RUDY
			It's a serious question.
			
					PAOLO
			Yes.
			
	Rudy offers him a cigarette. Paolo takes it and leans
	next to him.
	
					RUDY
			Who are we burying this time?
			
					PAOLO
			We're burying the captain of this
			boat…
			
	Paolo quickly lights his cigarette. Then, he says:
	
					PAOLO
			… And Gerardo's brother. And
			Danilo's father.
			
	Rudy thinks about it for a moment.
	
	
	BOAT BOW
	
	Dilo is still on the bow. He's put the rod on the stand
	and is staring at something in the water. He seems to be
	following a fish which has evidently escaped him…
	
					RUDY (V.O.)
			So, it's as I thought.
			
					PAOLO (V.O.)
			What?
	
	
	BOAT DECK
	
	Rudy looks at Paolo.
	
					RUDY
			This time the drama is on the set;
			it's not in the movie.
			
	The two turn to look at the port.
	
	
	PORT PIER
	
	Above is Tiberio: there's no-one else. Evidently Tiberio
	tries to make the time pass in a routine which this
	circumstance makes particularly sad: gathering up the
	cables, closing the stands and taking down the
	reflectors…
	
					RUDY (V.O.)
			Do you know Paolo? I was thinking
			we could film with a hand-held
			camera.
			
					PAOLO (V.O.)
			Yes. OK.
			
					RUDY (V.O.)
			I'll tell Tiberio to switch on the
			lights in an hour.
	
	
	BOAT DECK
	
	Paolo looks at the lighting set.
	
					PAOLO
			Have you got the light you want?
			
	Rudy nods indicating slowly behind him.
	
					RUDY
			A Fresnel there… One here…
	
	Rudy points at the lights.
	
					RUDY
			… the entire sky… and then the
			clouds… there…
			
	Rudy points above. Paolo calmly listens to him. Suddenly,
	Rudy totters.
	
					RUDY
			Hold my hand tightly, boy, I feel
			my legs weak.
			
	CUT TO Rudy who is looking for Paolo's hand.
	
	
27.	INT. OLD PORT BAR ROOM - DAY
	
	Time has passed. Gerardo is alone in the main hall of the
	bar.
	He looks at everything carefully: four female dummies
	with costumes stand out; while a corner of the lounge has
	been reserved for make-up.
	In the frame of the make-up mirror - which is lit -
	Gerardo finds a photo. He goes to check it.
	
	
	INSERT: PHOTO
	
	It's a picture of a captain on the beach: the same photo
	Paolo looked at in a PREVIOUS SCENE.
	
	
	BACK TO GERARDO
	
	Something is clearly moving in Gerardo's mind, because
	the man shown is probably his brother - as well as the
	father of Danilo; yet his face doesn't show any emotion.
	While he looks again at the photo, suddenly he sees
	something strange in front of him. He looks up. There: he
	sees his reflection in the mirror with his crutches. He
	stares at the mirror and no longer knows what to do.
	In that moment Rosanna appears in the entrance hall.
	Gerardo sees her and moves from there to sit on the
	couch. He asks:
	
					GERARDO
			What time are you starting?
			
					ROSANNA
			We're waiting for the sun, which
			means a few technical problems.
			
					GERARDO
			But there are many things you could
			shoot.
			
					ROSANNA
			And if it starts to rain? It'll be
			a problem.
			
					GERARDO
			If it starts to rain, I'll send the
			coast guard to the church. Ask the
			priest to plead with the angel of
			calm rather than that of storm.
			
					ROSANNA
				(who doesn't
				believe)
			Yes?
			
					GERARDO
			You can all calm down.
			
					ROSANNA
			And if the rain doesn't stop?
			
					GERARDO
				(quickly)
			If the rain doesn't stop then it
			means the priest got the wrong
			angel.
			
					ROSANNA
			It didn't rain at all last month…
			
					GERARDO
			Meaning?
			
					ROSANNA
			I want to know about something.
			
					GERARDO
			What d'you want to know? Is it why
			I didn't come, eh? Is that it?
			
	Rosanna stares at him, upset.
	
					GERARDO
			Well, I don't know.
			
					ROSANNA
			Don't mess with me, Gerardo. Do you
			know what you are now - rain and
			everything else apart?
			
					GERARDO
			What am I?
			
	Rosanna looks at his crutches.
	
					ROSANNA
			Does anything else come to mind?
			
	Gerardo is vexed, because he notices what Rosanna is
	looking at.
	
					ROSANNA
				(smiles)
			A cripple with crutches, think what
			a scene!
			
					GERARDO
			Elegance doesn't enter into your
			character, right, sweetheart?
			
					ROSANNA
			How is it that you suddenly
			disappeared? Paolo wants you to
			have a part in the film. Don't you
			think you've thought enough about
			your accident?
			
					GERARDO
			Thought… think… You know well what
			I think. What does the film have to
			do with me, now? Come here, come
			on.
			
					ROSANNA
			Uhm?
			
					GERARDO
			Don't say anything else now. Have a
			pastis with me, if I offer it to
			you.
			
	Gerardo sits in a way that he can look directly in her
	eyes.
	
					GERARDO
			You're so beautiful, one never
			forgets it.
			
					ROSANNA
			Eh, I believe it: you're drunk.
			What is it? A Ricard?
			
					GERARDO
			Go on, sit down.
			
	Rosanna sits. The two look at each other.
	
					GERARDO
			What is it you like so much about
			me? Once you said it was my face.
			This inglorious face.
			
					ROSANNA
				(who looks into his
				eyes)
			I still haven't understood what's
			changed.
			
					GERARDO
			It's changed what's inside here…
				(pointing to his
				head)
			… it's been wiped off, paved over,
			get it? You know that I adapt
			myself to anything… And anyway, you
			can't always drag me around with
			you.
			
					ROSANNA
			How is Danilo behaving?
			
					GERARDO
			Now he's living with me, I think he
			seems better. Why this thing for
			the film? What does Paolo care
			about someone who can hardly walk?
			
					ROSANNA
				(shrugs her
				shoulders)
			What do you want to hear? There are
			those who take women, the friends
			and the life of others and then…
			simply… they thank them. Paolo is
			like that. You get it don't you?
			You don't have any ambition left,
			do you?
			
	Gerardo doesn't speak.
	
					ROSANNA
			Well?
			
					GERARDO
			Well, what?
			
	Rosanna looks at him.
	
					ROSANNA
			Huh?
			
	Gerardo looks at her.
	
					GERARDO
			What I understand is that when I
			look at you, I think of fire.
			
					ROSANNA
				(ironically)
			Oh!
			
	In truth Gerardo had said it with much affection. Rosanna
	smiles, she is embarrassed.
	
					ROSANNA
			If I inspire you to think like
			that, one should be frightened…
			
					GERARDO
			You still owe me a couple of
			drinks.
			
					ROSANNA
			No sir, absolutely not.
			
					GERARDO
			There are loads of women who look
			for men like me. My brother made
			this very clear and you know it.
			Men like me take centre stage.
			
					ROSANNA
			Many women loved your brother.
			
					GERARDO
			My brother was always in love. He
			loved the world. In my family we do
			everything with enthusiasm. We even
			die with enthusiasm.
	
	
28.	EXT. FISHING BOAT BOW - DAY
	
	Paolo is deeply reading the script, comfortable on his
	chair and is still on the bow with Dilo. Dilo is
	concentrating on fishing. However, Paolo sometimes looks
	at Dilo in silence.
	
					PAOLO
			Are you still angry?
			
	Dilo, who is concentrating on his fishing, doesn't
	respond.
	
					PAOLO
			What do you think has happened?
			
					DANILO
			Nothing, why?
			
					PAOLO
			You were frightened, though.
			
	Dilo doesn't reply.
	
					PAOLO
			Tell me you were afraid.
			
	Dilo doesn't reply.
	
					PAOLO
			So, you won't tell me?
			
					DANILO
				(resentful)
			You said I couldn't touch flowers
			any more.
			
					PAOLO
			But it could have been worse for
			you.
			
					DANILO
			Absolutely no.
			
	Paolo observes him for a moment in silence, then
	continues to speak to him in a different tone.
	
					PAOLO
			Last month I had prepared a trip
			with Sergio to the Philippines and
			I had to cancel it. Do you know
			why? Because, before I departed, a
			magician had spent an afternoon
			reading my hand; he told me I would
			die in a faraway sea.
			
					DANILO
			If I had been there that afternoon,
			I would have sent you anyway.
			
	Paolo, who is now no longer looking at him, lingers to
	look at the sea in front of him, in silence.
	
					PAOLO
				(to himself)
			Reading hands is always a trap. My
			star told me that there's danger…
	
	
	INSERT: THE PORT
	
	A couple of sea-gulls fly low over the sea. Below, the
	water sometimes laps onto the deserted and half destroyed
	pier.
	
					PAOLO (V.O.)
			And to think that Sergio made a
			beautiful film in the Philippine…
	
	
	BACK TO BOAT BOW
	
	Paolo looks at all this with some nostalgia. Then he
	turns to look at Dilo.
	
					PAOLO
			You do well to fish today because
			no one wants to work.
			
					DANILO
			Nor you?
			
					PAOLO
			No, nor me. But, tell me, is it
			true that you are very good at
			juggling with spheres?
			
					DANILO
			Yes.
			
					PAOLO
			So, you'll show me later?
			
					DANILO
			OK.
			
					PAOLO
			As a kid, I wanted to be a juggler.
			Can you image, me, a juggler?
			
	Now, Dilo seems to have other thoughts in his head… Dilo,
	instead of listening Paolo, raises his arm in front of
	him and stares curiously at the palm of his hand. After
	which, struck by a sudden idea, gets up quickly from the
	stool and runs away, leaving the fishing rod unattended.
	Paolo is momentarily surprised and subconsciously
	curious.
	
	
	PIER
	
	Dilo is walking quickly along the pier looking at his
	palm in front of him.
	
	
	BOAT BOW
	
	At that moment, a fish pulls on the line and the rod
	bends.
	Paolo catches the rod just in time. He sees that the rod
	is pulling but that the fish doesn't surface.
	
	
	DANILO'S POV
	
	With his hand still raised, Dilo is quickly approaching
	the statue of St Apollinare…
	
	
	BOAT BOW
	
	Meanwhile, the rod has stopped pulling. Paolo has lost
	the fish. On the hook, is a ball of wet paper.
	
	
	PIER
	
	Dilo's run ends in front of the statue of St Apollinare
	which we see through his eyes.
	
	
	BOAT BOW
	
	Paolo is opening the paper taken from the hook. Something
	is written on it.
	
	
	PIER
	
	Dilo puts his hand in the font under the statue, leaving
	it there for a few moments.
	
	
	INSERT: PAPER FROM HOOK
	
	Paolo has put the paper up to the light and reads in
	block capitals: "The bait".
	
	
	BOAT BOW
	
	Paolo, arm extended, is holding the piece of paper in
	front of him. This whole sequence is accompanied by
	MUSIC…
	
	
	PIER
	
	… which takes us to Dilo pulling his hand out of the holy
	water and picking up A BUNCH OF JASMINE nearby.
	He carries them away holding them tightly in his hand.
	
							DISSOLVE TO:
	
	
29.	INT. OLD PORT BAR ROOM - DAY
	
	Two crystal glasses clink together… Two mouths sip at
	their wine… They are those of Rosanna and Gerardo.
	Sensual music coming from a radio underlines the intimacy
	of this moment.
	
	
	BAR AREA
	
	Rosanna and Gerardo are drinking while they sway together
	to the music of a gentle blues.
	They are truly two friends now. Gerardo is wearing a navy
	Captain's jacket. She seems very relaxed and lets herself
	sway; he also, even if he is clearly drunk and sometimes
	staggers (he doesn't have the crutches), continues to
	hold himself tightly and elegantly to Rosanna's body.
	An atmosphere has grown between the two which goes well
	with the music coming from the speakers, lasting only
	until Gerardo sees himself in the mirror on the wall
	behind the bar top.
	He realises that he is still in his underpants. He
	explodes with laughter, almost incredulous.
	Rosanna also laughs and continues until the arrival of
	Dilo.
	
	
	ENTRANCE OF THE BAR
	
	Dilo enters at this moment to go and sit himself at the
	dressing table. During his walk, Dilo slows a few times
	to look at the two, at once sensing their intimacy.
	
	
	MAKE-UP CORNER
	
	Dilo sits at the dressing table.
	
					DANILO
			Where's Alma?
			
					ROSANNA
			Alma?
			
					DANILO
			Yes.
			
	Dilo starts to change and unbuttons his shirt as best he
	can.
	
	
	BAR AREA
	
	Gerardo - standing up leaning on a table - only now
	realises it's Dilo.
	
					GERARDO
			I am the captain of the boat.
			
	Dilo looks at his bare legs.
	
	
	INSERT: GERARDO'S LEGS
	
	On his legs, scars are visible from his ankle to his
	thigh.
	
					GERARDO (V.O.)
			Big noise, Danilo…
	
	
	BAR AREA
	
	Gerardo looks at himself in the captain's jacket,
	laughing again.
	
					GERARDO
			Many, many thanks!
			
					ROSANNA
			Before, you weren't so pleased.
			
					GERARDO
			That was before.
				(Gerardo grabs the
				trousers of the
				uniform)
			But now I'm the captain.
	
	
	MAKE-UP CORNER
	
	Dilo intervenes.
	
					DANILO
			Silvano is the captain.
			
	Gerardo, cheerful, moves close to him.
	
					GERARDO
			Silvano will never take me…
			
	Gerardo and Rosanna raise their glasses and look into
	each other's eyes. They sip and swallow together.
	
					GERARDO
			Do you know, Dilo? With this
			jacket… and with this gracious
			lady… Your father and I have spent
			the most beautiful evenings
			together. Rosanna remembers all the
			places.
				(To Rosanna)
			Sure you do, eh?
			
	Rosanna interrupts the allegory with a blunt comment and
	recovers Gerardo's arm.
	
	
	BAR AREA
	
	Rosanna moves him to the other side of the bar.
	
					ROSANNA
			Come on, let's be calm here…
			
					GERARDO
			Do you remember? We always believed
			the fun was just around the corner…
			
	Rosanna seats him on a chair, while he talks with the
	slurred voice of a drunkard.
	
					GERARDO
			We truly believed in this - the
			three of us… And you know what I
			think?
			
					ROSANNA
			Eh?
			
					GERARDO
			We were no slouches in our
			evenings.
			
					ROSANNA
			It's true. We were no slouches.
			
	Rosanna reaches out to get the trousers of the uniform.
	Neck a little raised, Gerardo looks for Rosanna's glance
	moving his neck awkwardly.
	
					ROSANNA
				(laughs)
			Before, I thought that with your
			laughter, you'd bust a gut!
			
					GERARDO
			Huh? Ah yes, yes.
			
	Rosanna puts the trousers into his hands and gets up.
	
					ROSANNA
			What are you doing, eh? What are
			you trying to teach this boy?
			
					GERARDO
			Don't go, please.
			
	Rosanna who sees something childish in him, looks at him
	tenderly.
	
					ROSANNA
			Wait for me here, thick head.
			
	Rosanna moves towards the make-up corner, where Dilo is.
	
	
	MAKE-UP CORNER
	
	Moving towards the child, she takes with her a glass of
	rum. Then, suddenly lucid, Rosanna lets herself fall onto
	the small armchair next to Danilo and looks at the
	ceiling of the room. The music continues to play loudly
	from the speakers.
	Rosanna turns to look at Dilo and stays in that position;
	she has a serene face and we see that she wants to talk
	to him.
	
					ROSANNA
			D'you like it here?
			
					DANILO
				(looks around
				himself)
			Yes, I like it.
			
					ROSANNA
			No, I mean, working with us. Our
			film. Gerardo has spent all his
			money on it.
			
					DANILO
			Is it true we finish tonight?
			
	Rosanna nods sweetly.
	
					DANILO
			And then?
			
					ROSANNA
			Then we say "arrivederci".
			
	Dilo thinks for a moment.
	
					DANILO
			But how does the film end?
			
					ROSANNA
			Oh, well, you'll have to ask Paolo.
			
	Dilo is thoughtful. Rosanna looks at him; we see that she
	really likes him.
	
					ROSANNA
			Given that it's the last scene,
			what do you say if we make it
			special?
			
	Rosanna puts the glass on the floor.
	
					ROSANNA
			You'd like that, wouldn't you?
			
					DANILO
			Yes.
			
	From behind the small arm chair, Rosanna picks out and
	puts, as if by chance, a package near Dilo's hand.
	
					DANILO
			What's this?
			
					ROSANNA
			Open it.
			
	Dilo takes the package. He puts it on the dressing table
	to see it better. Then Rosanna gets up and stands behind
	him. Dilo pulls a NEW UNIFORM of a cabin boy out of the
	package which, full of curiosity, he opens out with his
	hands.
	
					ROSANNA
			Paolo sent it to you.
			
	Rosanna puts her arm round his waist from behind.
	
					ROSANNA
			And when Paolo sends something…
	
	
	INSERT: ROSANNA'S HAND
	
	Rosanna slips a letter into the trouser pocket.
	
					ROSANNA (V.O.)
			… so the fun starts.
			
	Cut to the letter.
	
							DISSOLVE TO:
	
	
30.	INT. OLD PORT BAR ROOM - DAY
	
	Time has passed and MUSIC has now changed.
	Gerardo and Rosanna's arms are entwined again. The couple
	have started dancing again and they are serious and
	concentrated. Gerardo is now in full uniform.
	
	
	MAKE-UP CORNER
	
	Sitting under a small table, Dilo - with his uniform
	under his arms - is opening the letter Rosanna gave him.
	He seems immersed in his thoughts and takes no notice of
	the other two…
	The letter is a message from Paolo:
	
					DANILO
				(reads to himself)
			"As soon as you hear the boat
			siren, run to me at the pier and
			I'll do whatever I can for you.
			Paolo."
	
	
	BAR AREA
	
	The whole building is now illuminated by the bright light
	of day which comes from outside.
	Gerardo and Rosanna dance slowly and tightly together not
	wanting to stop.
	
	
31.	EXT. PORT PIER LIGHTHOUSE - DAY
	
	Large grey clouds hang over the lighthouse and pier.
	Alma - during this work break - has decided to go with
	Silvano onto the small beach at the end of the pier. We
	see him, followed by his mongrel dog, climbing up the rocks
	and going towards the edge of the pier. Now, in front of
	Silvano there is nothing but sea. The sky is even darker,
	but he is very calm. So, he starts to undress himself
	completely to his underpants. At Silvano's whistle, the
	dog goes towards Alma - who is going onto the beach - so
	it runs quickly further away. Silvano dives into the sea,
	disappears under the waves, emerges and swims a perfect
	crawl.
	Alma watches him while she walks along the shore with the
	dog. From her position she sees that Silvano is swimming
	out to sea, so she waves strongly to him. But in vain.
	She puts her hand into the water and bathes her face to
	refresh herself and then stops and turns her eyes to look
	across the sea.
	
	
	THE SEA
	
	Silvano, floating on his back, is observing the cloudy
	sky above him.
	
	
	INSERT: CLOUDY SKY
	
	He watches it for a long time…
			
	
	beach nearby the pier
	
	When Silvano decides to return, rubbing his face with
	water, he realises that Alma is no longer there. Silvano
	looks for her. Meanwhile, his dog, jumping across the
	rocks, suddenly stops and starts to bark at its master as
	if it had heard a call.
	Then, it is distracted by something else and so it runs
	OUT OF FRAME.
	
							DISSOLVE TO:
	
	
32.	INT. OLD PORT BAR ROOM - DAY
	
	A different music fills the bar.
	Dilo is looking around the scene using the make-up
	mirror, which he holds to his cheek.
	It is the enlargement side, such that the images are all
	distorted.
	
	
	DANILO'S POV
	
	There is the long reflection of Gerardo, for example, who
	is laughing because he can't believe that the trousers
	Rosanna got for him are right…
	… or that deformed image of Dilo who turns the mirror on
	himself and we see him in an EXTREME CLOSE UP.
	
	
	BAR AREA
	
	We continue to walk with him back and forth inside the
	bar, not caring whether what Dilo sees is realistic or
	not. A mumbled conversation between Gerardo and Rosanna
	is occasionally broken by spontaneous laughter.
	
	
	DANILO'S POV
	
	There is a suspended atmosphere: distorted images,
	indistinct voices and isolated actions by characters who
	contribute to this sensation.
	So, there is now a distorted and flickering image of
	Rosanna who falls onto the couch and continues to laugh
	at Gerardo's advances.
	
					ROSANNA
			Oh, oh, ah!…
			
	… and then there are make-up items, the ashtray full of
	ends, Alma's wig, some photos in the frame of the mirror,
	among which is that of his father - who here is veiled
	and blurred like a distant memory.
	Wandering restlessly, Dilo looks at the entrance of the
	bar because he has heard someone enter.
	It is Alma, who passes by Danilo as she sees him.
	Alma (who in Dilo's eyes is a type of grasshopper) gives
	him a solemn wink. Then she turns her back on him and
	quickly starts to  make herself up, taking off the
	elastic band to let her hair fall.
	Dilo now points the mirror towards the exit. His eyes are
	now firmly fixed upon the gap between the door and the
	jamb.
	
	
	INSERT: THE GAP
	
	We see the fishing boat at the pier of the harbour.
	
	
	ENTRANCE OF THE BAR
	
	This is where Dilo finally takes the mirror away from his
	eyes.
	The exploration has ended: Dilo is still in front of the
	bar entrance and only now we see him dressed completely
	in the cabin boy's NEW UNIFORM. Concentrating on the
	door, he gnaws the cuticle of his nails.
	
	
	BAR AREA
	
	Meanwhile, the conversation between Gerardo and Rosanna
	has completely relaxed them.
	Rosanna is taking off his shoes.
	
					ROSANNA
			Give me your foot.
			
	Gerardo clings to the arms of the chair to throw a glance
	at Alma.
	
					ROSANNA
			Hey, help me!… Where are you going?
			
					GERARDO
				(to Alma)
			And you, how long have you been sat
			there?
	
	
	MAKE-UP CORNER
	
	Alma, who is putting on her make-up, gives him a slight nod
	without looking at him.
	
					ALMA
			Gerardo, how fit are you? Better?
			
					GERARDO (V.O.)
				(sarcastic)
			Much better.
			
					ALMA
			Oh yes?
			
					GERARDO (V.O.)
				(more seriously)
			Much better.
			
	Alma peers at him through the mirror.
	
					ALMA
			I see you're drunk.
			
					GERARDO
				(reflected in the
				mirror)
			Yeah.
			
					ALMA
			Yeah.
			
	She seems not to want to add anything else.
	
	
	BAR AREA
	
	But when Gerardo turns to recline on the sofa, easing
	Rosanna's work of putting on new shoes, Alma intervenes
	again.
	
					ALMA
			Soon, we'll all be on the boat.
			
					GERARDO
				(irritated)
			Yes, I know. And I already
			understand what it means.
			
					ALMA
				(pressing)
			This evening you'll show the honest
			face of your character.
			
					GERARDO
			Huh, the honest face of my
			character… I do really want to see…
			
	Gerardo pushes away the glasses on the floor and grabs
	his crutches.
	
					GERARDO
			… then what'll I do tonight? Will
			it be another sleepless night? Eh?
			You tell me, ladies.
			
	The two ladies look at each other without saying
	anything.
	
					GERARDO
			How does a man who provoked his
			brother's death, sleep?
			
	Gerardo starts to rise, but Rosanna quickly grabs his
	ankle as to show a certain determination.
	
					ROSANNA
			So? What do we do now?
			
					GERARDO
			I want to drink.
			
					ROSANNA
			Sssh!
			
	Gerardo lets himself fall on the chair and turns his head
	away, while she continues dressing him. Now he is really
	sad and Rosanna knows it.
	
	
	MAKE-UP CORNER
	
	Touched by Gerardo's words, Alma lights a cigarette to
	cover her discomfort. With a piece of cloth, which she
	dips in the water, continues to prepare her make-up. In
	time, she sees on the table the letter Paolo wrote to
	Dilo.
	She reads it quickly.
	Still in the middle of the room, Dilo watches her.
	Alma, who realizes, glances at him.
	Their stares meet; a strange melody fills the bar.
	Alma puts the letter on the table.
	Dilo turns to her almost whispering, he seems calm, it's
	clear that he hasn't heard Gerardo's words.
	
					DANILO
			I thought of something wonderful,
			Alma.
			
					ALMA
			Tell me.
			
					DANILO
			I don't know if I can
			
					ALMA
			Go on. Tell me
			
	Alma is even more attractive with the make-up incomplete:
	her hair dishevelled, the cigarette held in her lips her
	eyebrows arched…
	
					ALMA
			Please, tell me.
			
					DANILO
			I thought that we could go and see
			the bonfires this evening. Just you
			and me.
			
	She looks at him with a vaguely mischievous air.
	
					DANILO
			Will you go with me to see
			bonfires?
			
	Alma looks down and sees his trousers. Dilo also looks
	down.
	
	
	INSERT: DILO'S NEW UNIFORM
	
	Dilo notes that his trousers are a bit too big.
	
	
	BACK TO THEM
	
	So he turns his eyes back to Alma and again Alma looks at
	him with a cordial smile, a bit ironic.
	
					ALMA
			Do you see how handsome you've
			become in this costume?
			
	Behind Dilo a shadow has approached. When he turns, he
	finds Gerardo who is waiting for him standing upright on
	his crutches with a good natured face.
	At that moment the sound of the BOAT SIREN is heard from
	the pier. It's Paolo's signal. Dilo would have been ready
	to go, but for a moment had the feeling of upsetting his
	uncle.
	
					GERARDO
			So, Danilo, where did we get to?
			
	Nephew and uncle finally face each other, both in
	uniform.
	
					DANILO
			We got to the captain.
			
					GERARDO
			Ah yes, the captain and his ship's
			boy.
			
	The siren is sounding louder. Dilo has to hurry.
	
					GERARDO
			Are you ready?
			
	Dilo hesitates, stays there a few seconds. Then he
	decides and runs away a bit too quickly.
	
	
	INSERT: GAP OF THE DOOR
	
	Now in the gap between the door and the jamb, we see him
	running along the pier.
	
	
	BACK TO:
	
	Gerardo, who follows him staring, has become serious.
	A slow TRACKING SHOT joins Dilo running with a CLOSE UP
	of Paolo's letter on the dressing table
	
	
	INSERT: PAOLO'S LETTER
	
	With this message, there is also a sketch of a flying
	child. The flying child is Danilo in his cabin-boy's
	uniform.
	
	
33.	EXT. PORT PIER - DAY
	
	On the pier, Dilo has just finished running and stops in

	front of Paolo, who was already waiting for him.
	Dilo is panting. Soft PIANO THEME accompanies this SCENE.
	
					PAOLO
			Hi, Dilo.
			
					DANILO
			Hi.
			
					PAOLO
			How old are you now?
			
					DANILO
			Eleven.
			
					PAOLO
			I thought you were already on the
			boat with the others.
			
					DANILO
			Not yet.
			
	Paolo tries to talk to him more directly.
	
					PAOLO
			Did Rosanna tell you that this
			uniform was on your father's boat?
			
					DANILO
			No.
			
					PAOLO
			Do you often think of him?
			
					DANILO
			Yes.
			
					PAOLO
			But you're not afraid of death,
			uh…?
			
	Dilo shakes his head.
	
					PAOLO
			So if I give you my hand, will you
			take it?
			
	Paolo tries to gather the effect of these questions
	through his gaze.
	
					DANILO
			Teach me to fly.
			
					PAOLO
			But you don't learn it in a flash.
			Mysterious tricks are needed.
			
	Paolo offers him a hand.
	
					DANILO
			Use your power.
			
	Paolo lowers his hand.
	
					PAOLO
			I'll use my tricks.
			
					DANILO
			So how is it, then, I never see
			anything?
			
					PAOLO
			OK, come here.
			
	Paolo offers his hand again, looking for approval.
	Then Dilo takes it, which Paolo holds gently saying:
	
					PAOLO
			Turn towards the water, now, and
			open your arms.
			
	Dilo obeys and turns towards the canal. He waits. But as
	Paolo says nothing more, Dilo opens his arms wide. After
	a moment's hesitation, his feet start to leave the ground
	as if without any force. After a bit, Paolo - who is
	controlling the game - lets his hand go and Dilo is
	flying alone.
	The trick is not seen and the effect has a formidable
	visual impact.
	Dilo is looking under his feet, more amazed than
	frightened.
	
							DISSOLVE TO:
	
	
34.	FILM SCENE: INT. SILVANO'S CABIN - DAY
	
	This is a scene from Paolo's film: we see a woman who
	sleeps in Silvano's camp. It's the form of Alma, even if
	we are not sure because the image is in dim-light.
	A bunch of flowers in a vase appears on the side table.
	
	
	INSERT: A VASE OF FLOWERS
	
	It's the JASMINE taken by Danilo from the statue of St.
	Apollinare…
	
							CUT TO:
	
	
35.	INT. OLD PORT BAR ROOM - DAY
	
	Gerardo, now without the captain's jacket, holds the two
	female dummies with his hands and has his back to us. In
	front of him is the make-up mirror.
	The MUSIC in the bar is now more vivacious.
	Gerardo pours himself a last generous dose of cocktail
	"Bastardo" which he sinks with an "amen".
	
					GERARDO
			Alma, bring me the "Bastardo", ti
			prego!
			
	Gerardo is in the mood to show his exuberant feelings in
	a cheerful way.
	
					GERARDO
				(calls out)
			Alma!…
				(Listening to the
				music)
			Listen to this, Alma… Let's get
			together… me and you… nice and
			slow… cheek to cheek.
			
	Gerardo hits a chair and staggers away from the table,
	the jacket held in his hands, very crushed. He wants to
	reach Alma, but has to lean on a table.
	
					GERARDO
			… calm, elegant… Above all intense.
	
	
	INSERT: THE HANDLE OF THE FRONT DOOR
	
	At that moment a hand enters INTO FRAME and grabs the
	handle of the door.
	
	
	BACK TO:
	
	The door opens slowly, Silvano appears at the door. He is
	looking at Rosanna.
	Rosanna realises it's him when she hears him entering the
	bar.
	In turn Gerardo also realises and gets up, having seen
	Silvano at the door.
	Silvano walks without taking his eyes off her: he is just
	back from the sea and still has wet hair.
	These are moments filled with promises.
	Rosanna looks at Silvano in silence: she realises the
	significance of his appearance in front of her; and when
	he gets close, it's like her heart is beating harder.
	
					ROSANNA
			What's on your mind, now?
			
					SILVANO
			I don't know and I don't care. Do
			you care?
			
					ROSANNA
			Nor do I.
				(She thinks)
			Or perhaps yes, I do.
			
					SILVANO
			And how much?
			
					ROSANNA
			I don't know… and you?
			
	Silvano grabs her waist and at once pulls her to him.
	
					SILVANO
				(as a real charmer)
			Listen to me Rosanna. I want your
			attention, 'cos I'm going to throw
			you to the ground and, for doing
			this, I need to have you very
			close.
			
	Their dialogue is so ironic that even Rosanna is
	delighted.
	
					ROSANNA
			Right, Silvano.
			
	She immediately stretches her hands around his back…
	
	
	EXTREME CLOSE UP ON ROSANNA'S HANDS
	
	… and the stretch of those hands reminds us for a moment
	Silvano's tattoo.
	
	
	BACK TO:
	
	Rosanna and Silvano start dancing. Something which could
	be impulsive quickly becomes something between two people
	who know each other well. There is nothing intimate, they
	dance together with nonchalance as if they have already
	done in the past.
	With an empty glass in his hand, Gerardo - with his eyes
	already lit with alcohol - is spellbound looking at
	Silvano and Rosanna. He perceives that there is a confidence
	between them. Gerardo would like to add something but
	seeing Silvano and Rosanna so allied, he keeps quiet.
	Alma, however, is laughing like a child at this dance and
	now she wants to dance as well.
	Gerardo lurches and leans on the bar tables. He feels
	excluded. He grabs a towel to dry his sweaty face; he
	wants to drink but on the table the bottle of "Bastardo"
	is already empty… Then this happens: outside, the BOAT'S
	SIREN sounds; so at least we hear this.
	Gerardo is listening: he hears that the PROPELLER of the
	boat is running and suddenly, as if fed up but actually
	only drunk, Gerardo goes behind the speakers. He grabs
	the cord and pulls the plug out of the wall.
	Rosanna and Silvano stop dancing and stand still.
	Now, the music only comes from the little radio's tiny
	speaker. Thus, Alma is also obliged to stop, while
	Gerardo - ever more distracted from the outside noises -
	has already gone to the bar to switch it off.
	Now the silence is broken only by the rumbling propeller
	of the boat…
	Staggering to get his crutches, Gerardo nears the window,
	and looks out through it.
	
	
	INSERT: OLD PORT QUAY
	
	On the pier, at that moment, Paolo is unhooking the rope
	from the mooring, while Dilo mounts the gang-plank.
	
	
	BACK TO:
	
	Gerardo quickly throws his uniform jacket on the floor,
	leans badly on his crutches and gets OUT OF FRAME.
	The others stare at him as he goes.
	Commotion (probably the tables Gerardo moved to get by
	with his crutches) and finally a door that opens and
	closes, predominate the SOUND of this FRAME.
	
							DISSOLVE TO:
	
	
36.	FILM SCENE: INT. FISHING BOAT - DAY
	
	Gerardo is very slowly climbing the last steps of the
	gang-plank.
	Moving with great difficulty, he drags himself along the
	external corridor towards the cockpit.
	
	
	COCKPIT
	
	Now Gerardo comes into the cockpit; lets go of his
	crutches and clings as best he can to the unattended
	wheel. He holds it firmly with his hands and straightens
	his back with confidence.
	
					GERARDO
			I'm the captain.
			
	A man appears behind him. It's Silvano.
	
					SILVANO
			You?
			
	Staring at Gerardo darkly, Silvano holds his arm straight
	ahead and points a finger at Gerardo.
	
	
	SILVANO'S POV
	
	Silvano moves forward with his arm pointed at Gerardo
	until he presses his finger on Gerardo's chest.
	
	
	BACK TO COCKPIT
	
	We see Gerardo - clutching at the wheel spokes - who does
	not give way. Therefore Silvano pushes him slowly but
	with force, until Gerardo falls and throws the wheel
	completely around. Silvano seizes it at once, corrects it
	and pushes Gerardo's crutches away.
	
	
	BEHIND THE SCENES
	
	PAN on Rosanna and Paolo.
	Gerardo drags himself slowly towards his crutches: before
	he is able to seize them, Rosanna stoops slowly to the
	floor and moves them away from him. Once again Gerardo
	wants to get them and Rosanna - with an almost defiant
	gesture - pushes them further away from him. In a certain
	way she guides him towards herself.
	Gerardo now looks up to tell her something.
	
					GERARDO
				(slowly)
			I am the captain…
			
	The boat headlight is flashing, Silvano is at the wheel
	and Rudy is filming him with hand-held camera.
	Around him are standing Paolo, Tiberio, Rosanna and Alma.
	Now we get the facts: they are filming a shot where
	Gerardo is playing his part as defined by the script.
	Nonetheless, in Gerardo's eyes the others now seem to be
	powerful and hostile figures.
	Gerardo looks around a little disconcerted.
	
					GERARDO
				(at the crew)
			You're chasing me away…
			
	The others seem to nod, but they are mostly staring at
	Silvano, because it's him they are filming now. They put
	themselves in a semi-circle around him and when Silvano
	says to them in an imperious tone:
	
					SILVANO
			Don't bother me!
			
	The crew back away, as per the script; but instead of
	keeping their original positions, they gather and pan the
	camera towards Gerardo to film him again.
	
	Gerardo throws a last hopeless glance at Rosanna and
	Paolo. But the two, involved in the scene, don't exchange
	no more than a glance of cruel comprehension.
	
							DISSOLVE TO:
	
	
37.	FILM SCENE: INT. SILVANO'S CABIN - DAY
	
	The film continues: Silvano's bunk is dark, illuminated
	only partly by a glimmer of light which filters through
	the curtain of the port hole. The light and the obscurity
	in this room, are quite distinct. The noise of the sea-gulls
	penetrates the room. Alma, who is very slowly
	walking, looks around the inside of the cabin.
	
	
	INSERT: FLOWERS BOWL
	
	The JASMINE which Dilo collected are next to her.
	
	
	BACK TO:
	
	Slowly Alma rises and goes to the door. She looks across
	the opening for a moment.
	
	
38.	FILM SCENE: EXT. FISHING BOAT DECK - DAY
	
	When she exits, the day-light is so strong it dazzles her
	and she is unable to see the horizon. She seems only to
	realize that Silvano is in the cockpit and at the wheel.
	Around him, an open sea.
	
	
	EXTERNAL CORRIDOR
	
	Alma comes silently forward and peeps inside the cabin
	next to hers. Finding the door ajar, she leans her hand
	on the handle and opens it carefully.
	
	
39.	FILM SCENE: INT. DANILO'S CABIN - DAY
	
	The cabin is furnished only with a table lamp and a
	pinball. A radio stood on a corner shelf is playing
	"Cuore" by Rita Pavone. Someone, a shadow, is playing the
	pinball and Alma can hear the NOISE of the balls.
	
					DANILO
			Come in. Come in, but don't close
			the door.
			
					ALMA
			Dilo?
			
					DANILO
			Yes… but don't close the door.
			
	Dilo interrupts his game of pinball. Wearing the NEW
	UNIFORM of the cabin boy, now his movements are
	pleasantly more effeminate and his voice is clear - even
	if a little lower.
	
					DANILO
			This is your home… Also my pinball
			is yours.
			
	As Alma moves forward, the shadow of Dilo becomes more
	clear and distinct. Alma sees that Dilo is holding some
	pinball balls in his hand. Alma is, however, as if
	saddened and stops.
	
	Dilo now starts to play a conjuring trick and with
	elegant movements of his hands, makes the balls disappear
	and reappear. Alma sees how Dilo plays in a masterly way
	and smiles like a child. She asks for a ball - which
	seemed animated between Dilo's fingers - and tries to
	repeat the movements. She proves to be clumsy.
	Meanwhile from the radio, RITA PAVONE'S SONG is filling
	the cabin:
	
					RADIO
			"Mio cuore, tu stai soffrendo… cosa
			posso fare per teee?…"
			
	Dilo puts the pinball on the floor.
	
					DANILO
			Do you know what, Ami? Look, you'll
			have to learn as well. Be careful.
			
	Cut to Alma's face. Dilo turns his back to her.
	
					DANILO
			When I raise my arms, it's the
			signal.
			
	Dilo raises his arms and slowly starts to raise himself
	from the ground flying in the air. A slow tracking shot -
	which brings Alma's face to Dilo's - let's us see the
	trick, which is that of the false leg in the cabin-boy's
	trousers, the costume given to him by Paolo.
	
	There is immediately something tender in his act. Dilo
	goes down again to the floor, lowers his hands and lets
	them fall to his thighs. So for Alma the magic finishes
	in that moment. Suddenly, the cabin is silent.
	Now the contented expression of Dilo has gone. Alma
	understands what Dilo is thinking and says to him:
	
					ALMA
			Come and sit next to me.
			
	Dilo goes and sits next to Alma.
	
					ALMA
			Tomorrow, I'll take you to the old
			boat. I want to show you a photo
			that you've never seen: it's in the
			trunk in the hold. A photo of Daddy
			on the beach.
			
	Alma's eyes look for Dilo's.
	
					DANILO
			It's for him you went away, 
			isn't? For Daddy?
			
					ALMA
			Yes.
			
	Alma lowers her glance for a moment. Then she raises it
	to look at Dilo.
	
					ALMA
			How are you now I'm back?
			
	Dilo is happy to have his sister with him again.
	
					DANILO
			Today while you were sleeping,
			Silvano showed me some magic: he
			took my hands… he wanted them to
			reach out to you… So I felt two
			strong sensations - at the same
			time. One was Daddy who protected
			you… and the other that you're
			pregnant…
				(Pause)
			It's important isn't it?
			
	Dilo seems really content; he gets up and runs to the
	port hole.
	
					DANILO
			Alma.
			
	Alma doesn't reply. Her face is different now.
	
					DANILO
			Alma?
			
	Alma raises her eyes and looks at him.
	
					DANILO
			I've thought of something great.
			
					ALMA
			Tell me.
			
					DANILO
			I don't know if I can.
			
					ALMA
			Tell me. Come on.
				(Silent. Continues)
			Please tell me.
			
					DANILO
			Tonight there'll be bonfires, uh?
			
	Alma nods.
	
					DANILO
			We could go along the coast
			
	Dilo stands looking out of the porthole, towards the sky
	(which we don't see).
	
					DANILO
			Would you come with me to see the
			bonfires?
			
	Alma goes towards the porthole and now looks up at the
	sky. Together they seem to be the same age now. Shortly
	after they both look down, perhaps towards the coast.
	
					ALMA
				(surprised)
			Look!
			
	Alma raises her arm and points to the countryside outside
	the porthole. CUT TO Alma with arm straight and finger
	pointing.
	
	
	INSERT: BLACK FRAME
	
	A CAPTION gradually appears onscreen: "Then the lights
	appear in the fullness of the night".
	
							DISSOLVE TO:
	
	
40.	INT. FILM STUDIO - DAY
	
	In the dimness, two Fresnel lights are switched on…
	Complete silence in the room… The film studio differs
	from how the crew left it the last time. The scenery has
	gone; the production plan has been taken down from the
	walls. The floor is no longer covered with a jumble of
	cables. Here and there some lights are off - like a film
	studio being dismounted. It's not clear where the crew
	are, nor the film equipment.
	
	
	CUT TO: MAKE-UP CORNER
	
	The CAMERA falls on the make-up mirror which still has
	lights switched on.
	
							DISSOLVE TO:
	
	
41.	INT. FILM STUDIO WORKSHOP - DAY
	
	Rudy is sitting in dimness at the table and slowly sips
	his wine. He is drinking in front of his papers, when a
	little further away Tiberio starts to appear. Rudy
	doesn't see him.
	Tiberio adjusts the barndoors of one of the Fresnel
	lights and goes to Rudy.
	Rudy raises his stare and finally sees him. He's drunk.
	Tiberio looks at him in silence, as a good friend.
	
					RUDY
			Have I ever thanked you for all the
			bottles?
			
					TIBERIO
			Oh, forget it
			
					RUDY
			I can't get to the end of the day
			anymore without drinking something.
			
					TIBERIO
				(sincere but
				resigned)
			Laugh it off, 'cos it's finished.
			
	Rudy turns with some difficulty to look at the empty set
	behind him.
	
					RUDY
			We've done well.
			
	Rudy is satisfied as only a drunkard can be.
	
	
	INSERT: A FRESNEL LIGHT
	
	At that moment, we see one of the two lamps EXPLODE.
	
	
	BACK TO RUDY

	
					RUDY
			Given that everything works
			magnificently, I'm going.
			
	Rudy makes to get up, while behind him the Fresnel light
	has started to smoke. Then he falls on his knee right in
	front of Tiberio. For a moment he is amazed because Rudy
	doesn't immediately get up: he seems completely rigid.
	Tiberio looks at him sadly as if he doesn't recognize his
	boss any longer.
	Then he takes him by the arm and very slowly, with much
	care, helps him to sit down.
	
							DISSOLVE TO:
	
	
42.	INT. FILM STUDIO - DAY
	
	The Fresnel light continues to smoulder. Tiberio is
	quickly crossing the set.
	At the back people are coming and going as usual.
	In the centre of the studio is the dolly on track and we
	can see in the darkness the profiles of Paolo and
	Rosanna.
	
	
	SERGIO'S WORKSHOP
	
	We see this FRAME from that corner of the set where we
	find Sergio on the bench. He is not yet awake from his
	long sleep.
	No-one has disturbed him until now.
	Dilo - still in his cabin-boy's uniform - is the only one
	now standing in front of Sergio. He observes him with
	interest. Moving himself quietly around the body, Danilo
	stops at his bare feet.
	On one ankle, he spots something where the trousers end
	and which Danilo notes immediately.
	It's a faded tattoo. Dilo now lowers the hem of this
	sock.
	
	
	INSERT: THE TATTOO
	
	It is the drawing of a matador, facing a bull.
	
							DISSOLVE TO:
	
	
43.	INT. FILM PRODUCTION OFFICE - DAY
	
	Silvano is with Gerardo.
	They are in the kitchen nook of the office.
	Silvano has his dog and shoulder bag.
	
					SILVANO
			Have you seen Alma?
			
					GERARDO
			She's gone to pack her bags.
			
					SILVANO
			Have you found the flight she asked
			you for?
			
					GERARDO
			And you, Silvano, have you put
			currants in the spirit?
			
					SILVANO
			Certainly… Do you know what?
			
	Silvano pulls a bottle out of his bag.
	
					SILVANO
			Now we'll have a snifter.
			
	Gerardo goes towards the sideboard; takes two glasses.
	
					GERARDO
				(serious but with
				irony)
			You did your job.
			
					SILVANO
			We did our job.
			
	Silvano opens the bottle of currants in spirit.
	
					SILVANO
			Oh… The "Bastardo" yesterday was
			really good.
			
					GERARDO
				(puts the glasses on
				the table)
			Ah, yes, the "Bastardo".
			
	Silvano starts to pour.
	
					SILVANO
			Even if in the last drinks there
			wasn't much water.
			
					GERARDO
			If there wasn't much water, it was
			only to give the day a lift.
			
	The two friends toast and drink.
	
					GERARDO
			They only think of starting a new
			day with the job.
			
	Gerardo slowly pulls out a cheque book. While he signs
	one, he says.
	
					GERARDO
			Put the job out of your minds and
			think only about what you've done.
			
	Gerardo pulls the cheque from the stub and puts it in
	Sivano's hand.
	
					SILVANO
			Okay.
			
	But then Silvano shakes his head. He cannot stand
	Gerardo's little lectures. Gerardo, who knows, smiles at
	him with a smug twinkle in his eye.
	Silvano pockets the cheque; then he pulls a couple of
	cigars from his bag and offers one to Gerardo. Silvano
	had reserved them for this moment. Gerardo lights the
	cigar, followed by Silvano and they both smoke, smiling
	at each other.
	
	
44.	PICTURE BY ANDRÉ FRANÇOIS "COUPLE, LUNE, ARAIGNÈE"
	
	We see on full screen a picture by Andre Francois
	("Couple, lune, araignèe").
	
	
45.	INT. FILM STUDIO - DAY
	
	The crew has mounted the camera on the dolly and move it
	slightly towards the burnt lamp, which had caught fire
	and is now smoking on a completely darkened set. We
	discover immediately that the fire is false: with the
	crew is Tiberio who operates the smoke machine. The SCENE
	could remind us of the bonfire we saw at the beginning of
	the story.
	Amongst the people we also see Silvano, who watches the
	shooting from the side.
	The only absence is Rudy. Paolo is operating the camera,
	helped by Rosanna.
	
	
46.	INT. SERGIO'S WORKSHOP - DAY
	
	Dilo is playing behind the crew: in the half-light of the
	fire, he's tied something to the hook, which now he
	raises from the ground. It's a model spider which is
	holding a paper moon between its feet.
	Dilo fixes the fishing rod on its stand and goes to
	stretch out next to Sergio. As if to try an experiment on
	him.
	The paper moon has stopped swinging, it has arrived above
	them, hence the SCENE is identical to Andre Francois'
	drawing "Couple, lune, araignèe".
	
	
47.	INT. FILM PRODUCTION OFFICE - DAY
	
	Now Gerardo is alone. He is looking in the mirror, his
	arms leaning on his crutches.
	His reflected image is very comforting: so Gerardo lets
	his crutches fall to the floor and he stands on his own
	feet. Pleased with himself, he continues to smoke the
	cigar Silvano gave him.
	A haunting TRUMPET SOUND leads us back to the set.
	
	
48.	INT. SERGIO'S WORKSHOP - DAY
	
	LONG SHOT on Sergio and Dilo laid down with the paper
	moon above their heads. We realise that they meanwhile
	are levitated and now stay like that: suspended in 
	midair a few inches from the moon - as if hypnotised.
	The FRAME lingers over them, as if to fix that
	moment of suspension, while the TRUMPET SOUND stops
	on the following scene.
	
							DISSOLVE TO:
	
	
49.	INT. CAR - DAY
	
	On the dashboard of the car there are takeaway leftovers…
	The car is slowly moving forward on the cobblestones
	alongside the film studio…
	Beyond the dashboard we see the tall side of the building
	passing by…
	The wind is blowing and the trees look somewhat sinister,
	under the clouds of a stormy sky…
	Paolo is in the driver's seat, he juts out the window,
	looks around and finally turns on an unmetalled wide
	clearing behind the film studio, stopping next to the
	truck carrying the film equipment.
	The rest of the crew seems to have left.
	
	
	CLEARING BEYOND THE STUDIO
	
	Paolo gets out of the car slowly moving forward to the
	center of the clearing. Inside the truck, all the film's
	equipment is neatly loaded.
	We catch a sight of Tiberio arranging the last stands.
	
	
	EQUIPMENT TRUCK
	
	As Paolo listlessly looks around the clearing, we see
	Tiberio tightens his hand into a fist, pointing his thumb
	at his chest again and again, as if to say that the deal
	is his. He does so with such calmness that is hard to
	grasp the true meaning of the gesture.
	
	
	CLEARING BEYOND THE STUDIO
	
	At that moment Alma appears, walking quickly and carrying
	a suitcase and a purse. Paolo turns around, he looks at
	her without saying anything. Then he starts walking
	steadily towards her.
	Alma slows down…
	Paolo, still walking, moves his hand under his jacket…
	Alma puts down the luggage…
	From the inside pocket he pulls out an envelope full of
	cash…
	Paolo and Alma are now facing one another.
	Paolo looks at the girl with a knowing glance.
	Alma's expression is now also unequivocal.
	They are both playing their role.
	
					PAOLO
			So, what would you like as a
			souvenir of our work together?
	
					ALMA
			Do I really need to want
			something, darling?
	
	The tone of her reply is ironic, but clearly to the point
	and Paolo can only keep playing the part.
	
					PAOLO
			I spoke to Gerardo.
	
					ALMA
			I know you did. I raise my hat,
			in front of that crazy man.
	
	Paolo waves a bunch of bank notes, then casts one last
	glance at Alma, who's still confidently standing there,
	and tells her:
	
					PAOLO
			It's a pile of money.
	
					ALMA
			I'm sure it is	.
	
	Paolo hands her the money, which she takes without
	glancing down.
	
					ALMA
			And now do me another favour.
			Make sure you hit the gas pedal,
			my plane leaves in two hours.	
	
	Moving like an actor in a gangster's movie, Paolo heads
	towards the car. Alma observes him with a light, really
	tender smile. Then, for a moment, she takes a look at the
	money she's holding, she places it with care inside the
	purse and she finally heads carelessly towards the car as
	well.
	
	
	CAR INTERIOR
	
	Paolo opens the door and starts clearing the leftovers
	from the dashboard. Instead, Alma kneels down behind the
	passanger's seat and stretches herself trying to fit the
	luggage.
	
	
	CLEARING BEHIND THE STUDIO
	
	Paolo is now throwing the leftovers aiming at the trash
	can in front of him. However he's so clumsy that none of
	his throws hits the target.
	
	The title "THE ROUTINE" appears on screen.
	
	
	CAR INTERIOR
	
	Paolo, once more - big as he is - with masterly slowness
	goes back to the car and makes himself confortable at the
	driver's seat.
	He then closes the door and starts the car…
	Alma takes her place next to him, and sits down lazily on
	the seat…
	They don't show it, yet both of them are glad to be
	leaving the set together.
	
	CUT TO:
	
	
50.	EXT. CLEARING BEHIND THE STUDIO - DAY
	
	The car steers past the equipment truck and rapidly races
	aways towards the main road.
	A BACKWARD PAN brings us back to the truck and stops on
	Tiberio. He is leaning on the hood while placidly rolling
	a cigarette. He then begins to smoke.
	
	The ending credits start rolling on screen.
	
	Tiberio has just finished loading the truck and we now
	look at him as if expecting something.
	
	
	SURROUNDING COUNTRYSIDE
	
	A strong wind announces the sun coming out, which is
	still hiding behind the rumbles of a distant storm: the
	trees and bushes next to the studio are shaken.
	
	
	BACK TO THE CLEARING
	
	We return on Tiberio: the sky starts clearing up and the
	first ray of sun lands right on him.
	He then stays there, inside the ray, facing up, holding
	the cigarette with his fingers.
	
	
	The End.