Cinema Paradiso Page #12

SALVATORE:

(Alarmed)

Boccia, what's wrong?

(He runs over to help his

friend. Behind the bush he

discovers BOCCIA humped up

between the legs of

TERESA, a prostitute. He

moves with all the fury

of his young years.

SALVATORE has never seen

people making love before

and is speechless.)

Damn you, what are you doing?

BOCCIA:

(Shouting)

Oh, Christ, it's so good!!!

(And he goes on ramming it

home.)

TERESA:

Hey, cut it out! Go away. Shoo!

With a confused look on his face, SALVATORE picks up the sack and walks away,

looking over his shoulder at the couple who go on tossing around more and more

frantically.

BOCCIA lets out a shriek of pleasure that rings through the countryside, as

SALVATORE pedals off like a madman and disappears into the trees.

52 CINEMA PARADISO. INT. DAY/EVENING

Music and the naked body of Brigitte Bardot. A row of youngsters on the main

floor stare at the naked actress, all excited. A regular rhythmic tremor runs

through them, half-hidden by the back of the seats.

A scene from a horror film. The frightened faces of the audience. Off in one

corner, the door of the men's toilet opens and a MAN with a contented look comes

out, followed by TERESA, who motions another one to come in. In the projection

booth, SALVATORE is eating the meal his mother has brought him.

A gangster film. The tense faces of the audience. A gun battle. Rounds of

machine-gunfire in the night. The shots echo through the theatre. A LITTLE BOY

claps his hands over his ears. Alternating with the machine-gunfire on screen, a

real pistol shoots the back of one of the spectators, the landowner DON

VINCENZO, who slumps down in his seat without anybody noticing...The shooting

continues up on screen...

SALVATORE'S hand holds a lighted match under a piece of film, before the

horrified eyes of SPACCAFICO and the USHER, and the puzzled expression of

ALFREDO.

SALVATORE:

What'd I tell you? It doesn't catch

fire!

ALFREDO:

Progress! It always arrives too late!

A scene from Seven Brides for Seven Brothers. The only empty seat

in the theatre is the one where DON VINCENZO was killed. A flower

has been tied to it with string. All the other seats are taken.

Fade to:

ROSA and ANGELO are sitting next to each other. They are watching a

different film. But she has a baby in her arms they have got married,

have set up a family.

In the balcony, the MAN with the face of a public notary spits down

below with a contented look. But this time the main floor takes its

revenge and a blob of sh*t hits him square in the face.

53 CINEMA PARADISO. INT. MORNING

In the morning the theatre is empty. All the doors are shut. Light filters in

through the open windows up above, illuminates the posters of coming attractions

and the yellowish screen. Off-screen, a woman's voice

and a boy's voice are heard.

TERESA'S VOICE

(Off-screen)

Come on...That's right...relax...

(Laughing)

...Don't be scared...

SALVATORE'S VOICE

(Off-screen)

Is it true that if I bleed I've got

to squeeze lemon juice on it?

TERESA'S VOICE (Off-screen)

(A loud laugh)

Lemon juice?...That's a new one for

you! Who tells you this crap...Take

it easy...That's right...You see,

it's not painful, is it?

Slow pan along the walls of the theatre, the empty aisles,

discovers SALVATORE on the floor between the seats with

TERESA, the prostitute who has already been seen. SALVATORE is

making love for the first time in his life. He is awkward and

clumsy. There is an uncertain look in his eyes, his livid face is

dripping with sweat.

TERESA:

...There you are! That's right,

that's right! Keep going...

(SALVATORE is quicker, has

learned the lesson. TERESA

goads him on.)

Ah!!! There, now you're a real man! A

man! ? A real calf!

(SALVATORE's panting

slackens into a deep sigh

of pleasure.)

54 VARIOUS SETTINGS. INT/EXT. DAY

The blade of a knife, clutched in a hardened hand. A blow. A cry of pain. A calf

falls like a dead weight to the ground...SALVATORE photographs the animal in

the throes of death with his 8mm movie camera. As well as the faces of the MEN

who now bleed and skin it quickly. In the vast slaughter-house, the voices of

the men and animals mingle together.

SALVATORE'S eye is quick to catch the most unexpected expressions of ordinary

people. His movie camera is always ready, like a hunter's rifle. Now he is

shooting...

A meeting in the square: the passionate reactions of the peasants listening to a

speaker who flails his arms around.

At school:
the old SCHOOLMISTRESS sitting at her desk, sunk in God knows what

dreams, her eyes staring off into empty space, as a tear runs down her pale,

unhappy face, and the unknowing STUDENTS carry out their assignments.

At the railroad station: the nervous excitement of the people waiting on the

platforms. SALVATORE pans his camera on to TWO MEN fighting. But an arriving

train comes in between. Salvatore follows the train, pans along the cars. The

train stops.

-A door opens and the passengers climb out. Several TRADERS, a CARABINTERE, a

group of commuting STUDENTS, the TICKET-COLLECTOR, a distinguished looking

COUPLE and lastly, a GIRL who stops in the middle of the viewfinder. SALVATORE

is immediately attracted by her face. He goes on shooting without leaving it a

moment. He follows her through the lens. She is very beautiful, must be around

sixteen, a simple, sweet face, blue eyes. She is certainly the daughter of the

distinguished looking COUPLE who got off just before she did. The little family

moves off down the platform. Salvatore follows the girl's movements, as if

hypnotized. Now she passes by him, turns towards him for one moment, as if

trying to figure out where he is aiming that funny-looking gadget. SALVATORE

smiles at her, entranced.

55 HIGH SCHOOL. COURTYARD. ENTRANCE. EXT. MORNING

The JANITOR is ringing the bell. In the courtyard, on the other side of

the gate, the STUDENTS prepare to enter. SALVATORE is with a group

of schoolmates, including BOCCIA. And they all stare, wide-eyed, at

the GIRL from the station. She has her books under her arm and is

walking by herself.

SALVATORE:

You know that one there?

BOCCIA:

She's new. Not bad though. Nice-

looking.

(SALVATORE has the look of

somebody seeking for an

idea, some way of picking

up a conversation with

her.)

SECOND STUDENT:

Her father s the new bank director.

Loaded, luxury and easy living!

FIRST STUDENT:

People who jerk off with a shirt so

they won't get their hands dirty.

(Laughs.)

All at once, BOCCIA and SALVATORE notice that the GIRL drops

her lunch without noticing as she is about to enter the school. They

fly off, swift as arrows. It's a chance not to be missed. BOCCIA is

the quicker, is already in the lead. SALVATORE gives an angry

gesture. A flash come into his eyes, the same flash he had as a little

boy when he finds the right way to hit home. He picks up his step,

trips BOCCIA and brings him to the ground. He pounces on him

and lets go with his fist. He starts running again. Picks the

bundle off the ground. Catches up with the GIRL from the

station, nervous and inexperienced, but polite.

SALVATORE:

Look, you dropped this.

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