There are several film scripts in this (PLAYS) directory. My favorite (in style) is Wild Strawberries by Bergman.
(The Adventure)
script by
Michelangelo Antonioni
Elio Bartolini
Tonino Guerra
translated by
Louis Brigante
It is the afternoon of a summer's day. Anna, a twenty-five-year-old brunette, comes out from the entrance of a stately building and walks along a pathway that leads up to a dirt road. She is in a great hurry and becomes a little annoyed and surprised at seeing her father, a meticulously dressed and elderly gentleman, standing near the curb busily talking to his chauffeur in front of a black British car.
ANNA: So, there you are... I've been upstairs looking all over for you...
There is a moment of silence during which Anna's father deliberately ignores her presence. She stares at him intently, trying to determine his mood and wondering how she is going to tell him what she has to say before she leaves.
Finally, he turns around and faces her.
FATHER: Oh, I thought you were already on the high seas.
Anna is barely able to control her temper, but realizing that the discussion is about to take the usual sarcastic turn, she immediately checks herself.
ANNA: No, not yet, Dad.
Her father fixes her with a long ironic look. Conscious of his daughter's haste, he is apparently trying his best to detain her.
FATHER: Isn't it fashionable any more to put on a sailor's cap with the name of the yacht?
ANNA: No, Dad, it isn't.
There is another moment of silence. Meanwhile, a car has pulled up on the other side of the road. It is Claudia, a twenty-four-year-old blonde and a friend of Anna's. Both she and the driver get out of the car and remain discreetly in the background, waiting for the conversation to end. Anna's father resumes speaking, after a cursory nod to Claudia who, in turn, responds with a polite but half-hearted smile.
FATHER: And how long will you be away?
ANNA: Four or five days.
FATHER (resignedly): Oh, very well. I'll just spend the weekend
alone by myself and take a little rest. I
should be used to it by now.
Anna glares at him furiously but still manages to restrain herself.
ANNA: Used to what?
FATHER: To the fact of my retirement, not only as a diplomat but also as a father.
ANNA (protestingly and with a deep sense of compassion): But how could you say such a thing?
FATHER: Because it's true. After thirty years -- not having ever spoken the truth to anyone, I should at least allow myself to do so with my own daughter.
ANNA: And have you any other truths to tell me?
FATHER: You already know what they are.
ANNA: You mean Sandro, don't you? Well, I beg of you, please, spare me that. Goodbye, Dad.
She kisses him on the cheek but the father remains unmoved. It is obvious
that he still has something else he wants to say to her. In fact, after
gazing upon his daughter with a certain amount of pity, he finally does say
it.
FATHER: That type will never marry you, my child.
Anna has a difficult time restraining herself but manages somehow to keep
calm as she answers.
ANNA
Up until now, Dad, I've been the one who hasn't
wanted to marry him.
FATHER
It's the same thing. Goodbye, dear.
He now returns the kiss his daughter had given him a short while ago. Then,
without once turning around, he heads slowly towards the entrance of the
house, as Claudia comes into the foreground.
Anna, still very tense and upset over the scene with her father, gets into
the car. Claudia follows after her, as the driver puts her suitcase into the
trunk.
CLAUDIA
Have you been waiting long? You'll have to
excuse me.
Anna doesn't answer. She merely pats Claudia's hand. The car takes off, as
Anna's maid, standing to one side of the road, waves a warm goodbye. Claudia
responds by waving back, but Anna doesn't even look around. Instead, she
turns to the driver and says:
ANNA
Please hurry, Alvaro. We're late.
The car speeds ahead along the dusty road, across a verdant strip of land,
until it reaches the archway of a stone-wall fence around which it turns and
disappears. It is seen again emerging from behind a cement wall and continues
racing swiftly onward over a road that runs between two high walls. There is
no sign of traffic. Only silence. It is an ancient road, and a very elegant
one. Claudia looks at it admiringly. Anna continues to remain wrapped up
within herself. The car now makes another turn, heading into a small, narrow
road flanked on each side by gardens of patrician villas. Suddenly, it
emerges on a drab, modern street amid the kind of traffic typical of any
modern town.
Finally the car enters the street where Sandro lives and pulls up in front of
a small but very fashionable palazzo. Anna and Claudia get out. And as the
driver starts to remove the suitcases from the trunk, Claudia turns to Anna
and says:
CLAUDIA
I'll wait for you here.
Anna starts to walk across the street and is about to enter a building.
Surprised, Claudia calls out to her:
CLAUDIA
But where are you going?
ANNA
I'm thirsty.
CLAUDIA
If I had a man waiting for me for half an hour
and whom I hadn't seen for a month ...
All of a sudden, Anna stops. She is pensive, almost sullen.
ANNA
You know, I could just as well go without
seeing him today.
CLAUDIA
What! After giving us such a run around...
Claudia stops, smiles, and jokingly tries to laugh it off.
CLAUDIA
I see... so it's farewell to the yacht...and
farewell to the cruise...
Anna pays no heed to Claudia's teasing comments but follows her own original
line of thought.
ANNA
You know, it's terrible to be far away from one
another. Really, it's difficult to keep an
affair going when one is here and the other is
somewhere else. But, at the same time...it's
comforting. Because it gives you a chance to
consider what you want and how you want it...
but when he's right there before you all the
time... well, he's right there...
(Then, with a sense
of exasperation)
Oh, let's go back....
Claudia notices Sandro leaning out of the window from his apartment on the
first floor of the building. He is looking at them attentively. He is a young
man of thirty-five. His shirt is unbuttoned and the tie around his neck is
unknotted. Realizing that he has been spotted, he smiles and waves a cheerful
hello.
SANDRO
I'll be right down.
As if seized by a sudden powerful impulse, Anna heads straight towards the of
the building. Claudia looks at her with astonishment, and watches her
disappear into the doorway. Then she looks up again at the window. But Sandro
is no longer there.
***
Sandro's apartment is extremely small. Although it contains many books, it
has the atmosphere of a place that is very seldom lived in. Sandro has just
finished knotting his tie. He closes his suitcase and heads toward the door.
He turns back, however, to pick up a towel fallen from the bed. He takes the
towel into the bathroom. Then he goes to the door again, opens it, and sees
Anna. She appears a little anxious. Without giving Sandro a chance to say a
word, she enters the apartment, closing the door behind her. Sandro puts down
his suitcase and is about to embrace her, but Anna steps aside and begins
staring at him with an intense look upon her face. Taking him all in with her
eyes, she examines his suit, his hands, his legs, his shoes. Then her gaze
moves back up to his face which she proceeds to scrutinize. Sandro is unable
to understand her behavior, so he shrugs and jokingly exclaims:
SANDRO
Would you like to see my profile?
He snaps himself into profile, then turns, slowly, in the manner of a store
window mannequin. Anna continues to stare at him. This time she peers
directly into his eyes. Sandro is no longer amused.
SANDRO
Well, what is it?
Finally, Anna puts an end to her staring, and taking Sandro by the hand she
leads him around the room. She stops in front of a mirror and looks at
herself. The expression on her face becomes taut, determined. She starts
unbuttoning her dress as she continues looking at herself in the mirror.
Sandro comes up close to her shoulders, caresses her hair, and whispers
softly into her ear.
SANDRO
But your friend is waiting downstairs.
ANNA
She'll wait.
Anna turns around and presses herself up against him with such a violent
passion that Sandro is somewhat dismayed. But only for an instant. Soon they
are feverishly kissing each other, and it is almost with a sense of sheer
animal pleasure that Sandro abandons himself.
***
Meanwhile, left alone, Claudia is pacing back and forth outside in front of
the building. She is bored and obviously tired of waiting. Then, as she is
about to cross over to the other side of the street, she sees Sandro and Anna
coming out of the doorway. The expression on Anna's face hasn't changed --
she appears sad and gloomy. But Claudia doesn't take note of it; she is too
busy fuming over Anna's lack of consideration, eager to let them both
understand that she is sick and tired of waiting around.
As Sandro opens the window of the car, which is pointed towards Milan, he
says to Claudia:
SANDRO
I have a feeling that you're not used to being
alone.
CLAUDIA
(glancing first at Sandro
and then at Anna)
That seems to apply to you also...
Meanwhile, the driver has taken Anna's suitcase out of the black car and puts
it into Sandro's. Claudia picks up her own suitcase and is about to do the
same but Sandro intervenes and takes it from her.
SANDRO
Don't be so humble.
CLAUDIA
How should I be ... arrogant?
SANDRO
But of course... arrogant, haughty... Hasn't
Anna ever told you?
While this exchange was going on, Anna has already climbed into Sandro's car.
Sandro follows and takes his place at the wheel; Claudia gets in alongside
him. The car takes off at high speed.
***
Heading south along a state highway, Sandro's car is traveling at high speed
over a straight open road. It is twilight and as the evening shadows begin to
fall, the surrounding countryside is bathed in an aura of mystery.
Inside the car Anna, Claudia and Sandro sit in complete silence. Anna is
deeply absorbed in her own thoughts. Claudia is looking out of the window,
enthralled by the dark beauty of the landscape. Another car draws up
alongside of Sandro's and is about to pass him. But Sandro steps on the
accelerator and pulls ahead with a tremendous burst of speed. The other car
lags behind and then turns off at a crossroad. However, Sandro makes no
attempt to slow down. In fact, spurred on by what has now become a definitely
hostile atmosphere, he drives even faster.
As Sandro suddenly switches on the headlights, the violent glare that
polarizes the roadside cuts off Claudia's view. She turns to Sandro with a
look of disappointment
CLAUDIA
It was lovelier before.
To please her, Sandro turns the headlights off and once again the countryside
is covered by a veil of thick but romantic shadows.
SANDRO
Like this?
Now Claudia again peers out at the landscape -- but only for an instant.
Sandro abruptly turns the headlights on again, revealing a sharp curve in the
road up ahead, only about a hundred yards away. He quickly shifts into lower
gear, and the car swerves slightly. The sudden shift from fourth to third
gear causes the motor to emit a sound that resembles a cry. The car races
swiftly towards the curve, getting closer and closer. But at such high speed
it appears impossible the car will be able to make the turn. Further up
ahead, where the curve fades, there is a stone wall that runs along the side
of the road. At this point, even Anna is attentive, her eyes wide open. Both
she and Claudia are petrified and terror-stricken as the curve and the wall
loom closer and closer. Fifty yards, forty, ten. All of a sudden, the
headlights illuminate a large gap in the wall about three or four yards away,
just on the other side of a small ditch that separates the road from the wall
itself. There seems to be no other choice. With a frightening leap -- and
going well over fifty miles an hour -- the car barely makes it over the ditch
and right through the opening in the wall. The car comes to a sudden halt,
but skids along on the muddy ground of an empty lot until it finally stops
near the door of a small farmhouse in front of an old man. He is seated on a
bench and has been observing the entire scene without budging an inch.
There is a brief pause -- silence. Then Sandro comes out of the car followed
by Claudia and Anna. Claudia is visibly shaken. She leans up against the
building for support, as though in search of something solid and dependable.
She is also unnerved by the feeling that she is responsible for what has just
happened.
CLAUDIA
It's all my fault!
But instead of reproaching her, Sandro turns to the old man and excuses
himself for having broken into his property. Imperturbably, the old man looks
up at him and says:
OLD MAN
And who do you think made that hole over there?
Even before he has a chance to be surprised at the old man's remark, Sandro
becomes aware that Anna is laughing. It is not the hysterical laugh that
normally might be expected after such a close call. It is, instead a pure and
simple laugh, almost a happy one, and leaves both Sandro and Claudia plainly
baffled.
CLAUDIA
There's nothing much to laugh at.
SANDRO
And that's what I say, too. We could have all
been killed.
Anna looks at them as she continues to laugh.
ANNA
I'm sorry ... but I can't help laughing...
***
On a calm sea, amid the Aeolian Isles, just off the coast of Sicily, a motor
yacht is moving quietly and smoothly over the water. It is heading directly
towards a small island that appears like a huge rock jutting up from the sea,
sharply silhouetted against the sky, about a hundred yards away. A few sea
gulls are lazily wheeling around up above.
Aboard the yacht, a sailor is at the helm, peacefully smoking his pipe, while
another peers out over the water as he munches on a sandwich. It is almost
noon.
Raimondo, a deeply bronzed young man in his thirties, is lying outstretched
in the sun on top of the cabin. Towards the prow, lying flat on her stomach
upon a small rubber mat, is Claudia. Her arms are dangling over the side of
the boat, catching the cool, fine spray of water splashing gently against the
prow. Corrado comes out of the cabin. He sits down on a bench near the stern
after placing a cushion under himself so as not to soil his suit, which is
white and of an elegance that is slightly out of style. Corrado has a
sensitive face, with a look that is both sharp and intelligent. In age, he is
closer to his fifties than his forties. Following directly behind him is
Giulia, one of those impossible women who are so terribly sweet and coy and
yet so demanding of attention. The pose she strikes as she looks out over the
water, and the saccharine tone of voice in which she speaks, are precisely
characteristic of her nature.
GIULIA
It's as smooth and slick as oil.
CORRADO
I detest comparisons made with oil.
Anna also appears on deck, looks around and, noticing Claudia, goes over and
lies down beside her. Claudia rolls over on her back to embrace all that
wonderful sun but her outstretched arm comes in contact with Anna, who smiles
and joins her in a friendly embrace.
CLAUDIA
Did you sleep well?
ANNA
Yes, fairly well. But I went to bed last night
planning to do some thinking about a number of
things ... instead, I fell asleep.
CLAUDIA
I didn't know one could sleep so well on a
yacht. It lulls you ...
Their conversation is suddenly interrupted by Sandro's voice shouting
"Hello." He comes up to them and gives Anna a warm hug, then nods hello to
Claudia. He is in a jaunty mood. Stretching himself out on the deck, he opens
a picture magazine he had brought with him and starts to read. But Anna
places her hand over the page he is looking at and says to him:
ANNA
It would be better for you to get some sun.
Sandro closes the magazine and throws it overboard. The pages come apart in
the water. Some of them are quickly swept under by the waves, while others
float and slowly drift away: white specks upon which a few sea gulls converge
emitting their guttural cries.
As Sandro stretches himself out in the sun, Anna looks upon him with
tenderness. She is about to embrace him but stops midway, and then finally
changes her mind. Instead, she proceeds to stare at him with a profoundly
troubled expression. Then, momentarily dismissing her anxiety, she cuddles up
close to him in an effort to provoke his affection. Sandro responds, but only
with a fleeting kiss. Seeing them together like this, Claudia gets up and
moves away to the far side of the prow. Sandro and Anna remain as they are
until they are suddenly enveloped by a dark shadow. Sandro opens his eyes and
sits up. Anna does the same. The rocky island is now quite close, almost
directly upon them. It is larger than it previously appeared and casts a
long, dark shadow over the yacht. The water beneath the overhanging cliffs is
extremely clear and almost motionless. Sandro rises to his feet and shouts
out to everybody aboard.
SANDRO
Shall we go for a swim?
CLAUDIA
Oh, no... please... not here. It looks too
dangerous.
The yacht proceeds to encircle the island. Up ahead, another island comes
into view. It is smaller, brighter, and less foreboding. Corrado gets up and
comes over to the prow to join Sandro, Anna and Claudia. He is immediately
followed by Giulia, who peers intently at the landscape.
GIULIA
At one time the Aeolian isles were all
volcanoes.
CORRADO
You must know your third grade geography book
inside out.
Giulia looks at him resentfully and abashed. Claudia points to an island
which they have just passed.
CLAUDIA
What is that one over there called?
CORRADO
That must be Basiluzzo.
CLAUDIA
Sounds like the name of a fish -- merluzzo,
basiluzzo...
Corrado then points to an even smaller island which they are now approaching.
CORRADO
Now that one is Lisca Bianca.
Anna, who had been absorbed all the while in contemplating the landscape,
though still preoccupied with certain personal thoughts of her own, suddenly
unfastens her thin dress. Stripping down to her bathing suit, she turns to
the group and exclaims with a note of exasperation:
ANNA
Oh, my goodness... All that yapping just for a
little swim.
She then goes to the edge of the boat, which has slowed down somewhat, and
before Sandro has a chance to call out to her, she dives into the water.
SANDRO
Anna!
Once in the water, Anna starts swimming towards the island. The sailor at the
helm slows the boat even more so as to keep it within Anna's range. Raimondo,
meanwhile, has gotten his skin-diving equipment ready; around his waist he is
tightening a belt to which a long knife is attached. The yacht continues to
slow down. Sandro now dives into the water and starts swimming towards Anna.
Claudia and Giulia are removing their clothes and they too get ready to go
into the water. But Claudia is afraid to dive in while the boat is still in
motion, so she turns to the sailor and shouts:
CLAUDIA
Stop ... stop the boat!
The motor is turned off and the yacht soon comes to a halt. A sailor places a
ladder over the side of the boat. Claudia goes down the ladder, easing
herself into the water. She moves away from the side of the yacht by swimming
backwards. Giulia follows her down the ladder but stops on the last rung.
GIULIA
How's the water?
Sandro looks up and, pointing to the rocks at the highest part of the island,
answers her.
SANDRO
Let's see you dive from the top of those rocks,
Giulia. That would be really sensational. Come
on, Giulia ... your life is much too
circumscribed.
GIULIA
What has everybody got against me this morning?
From inside the cabin, a feminine voice is heard shouting:
PATRIZIA
Raimondo!
Solicitously, Raimondo goes over to the door of the cabin, from which
Patrizia emerges wrapped in a filmy nightgown. She is a woman of great
elegance, somewhere in her thirties.
PATRIZIA
Why have we stopped?
RAIMONDO
(kissing her hand)
Lady Patrizia!
Then, holding her by the hand, Raimondo leads her towards the prow, where
Corrado greets her and likewise kisses her hand.
CORRADO
Aren't you going in for a swim, Patrizia?
PATRIZIA
What makes you think I would even dream of such
a thing? Raimondo, why don't you go in for a
dip?
She turns around to look at Raimondo and becomes somewhat startled to see him
all rigged out in his diving equipment, complete with mask, spear-gun, etc.
PATRIZIA
Raimondo... Do you enjoy fishing underwater?
RAIMONDO
I detest it. But, after all, what can you do...
It's the latest...and I try my best to adapt
myself.
He dives in. As soon as he hits the water, he starts shivering and exclaims:
RAIMONDO
Who ever said that man was originally a
creature of the sea!
Then, lowering the mask over his face, he begins to submerge. On deck,
Patrizia peers out over the sea and covering her eyes to shade them from the
sun, remarks:
PATRIZIA
I have never understood the islands. With all
that water around them, poor things ...
***
Out on the water, Sandro and Anna are almost at a standstill, keeping
themselves afloat with only the slightest movement of their arms. Sandro is
laughing and joking as though all this purely physical enjoyment of sun and
water has freed him of all other cares. Anna tries to emulate him but is not
entirely successful. Every now and then, her face becomes clouded with that
same worried expression.
ANNA
When do you have to go back?
SANDRO
I don't know... It depends on Ettore... He's
now in the process of negotiating for a
contract here in Sicily...
ANNA
Then how come you're not with him?
SANDRO
What a question... Because I want to be with
you, naturally. I hope he doesn't close the
deal so he'll leave me alone at least for a few
days... Isn't this water wonderful!
He is lying on his back in the water, with his eyes closed, his face to the
sun, cradled in the gentle movement of the waves. Anna looks at him, then
after a moment of silence, she says:
ANNA
I'd like to find a place where I can get some
peace and rest, maybe around here somewhere.
I'd like to try...
SANDRO
What could be more restful than this?...
(He opens his eyes and
is upright in the water)
Excuse me, what is it that you want to try?
Instead of answering him, Anna starts swimming rapidly out to sea. Sandro
tries to hold her back but because she swims much faster, he gives up and
finds himself alongside of Giulia.
GIULIA
(referring to Anna)
Where is she going?
SANDRO
Ask her.
Giulia is not much of a swimmer; she bobs up and down in the water, doing a
crawl, and it seems she is always on the verge of going under. Still, she
manages to stay afloat, enjoying herself like a little child. Slightly off to
one side, Raimondo is exploring the depths, with his spear-gun in hand, ready
to shoot. He seems to be chasing a fish that is apparently trying to elude
him. But the water is so clear that it would be difficult even for a fish to
hide. In fact, only a moment later, Raimondo takes aim with his spear-gun,
pulls the trigger and the little harpoon shoots out. Then, with a great
splash, he swims off in hasty pursuit of the fish. A rubber raft, piloted by
one of the crew and bearing Corrado ashore, comes passing through the
swimming area. The sailor is carrying on a conversation with Corrado.
SAILOR
I've always worked on pleasure boats... even
though it's more tiring.
CORRADO
Why?
SAILOR
Because the owners never seem to have any fixed
hours. For example, last night we kept right on
sailing... We didn't even have a chance to get
some sleep. Still, I like it better.
The raft passes alongside of Sandro, and Corrado calls out to him:
CORRADO
I'm going ashore to take a look around the
island. There are some ruins up there...
SANDRO
There too...
CORRADO
Well, we're still in Italy, you know!
The raft continues on its way towards shore. A little distance away, Claudia
is floating on her back, basking in the sun, with her eyes closed -- almost
motionless. Her arms are outstretched and only the very slightest movement of
her fingers in the water is sufficient to keep her afloat. Suddenly, her hand
comes in contact with something viscous... which seems to be a fish that has
shot up to the surface of the water. At first, Claudia merely withdraws her
hand without bothering to see what it is, but since it persists in following
her, she opens her eyes and notices something moving right next to her.
Frightened, she lets out a tiny yelp. At that very moment, directly behind
the fish, Raimondo's rubber fins appear above the water, and she realizes
that it is Raimondo himself. He removes his mask and breaks out into a hearty
laugh as Claudia playfully splashes some water into his face.
Observing them from a few yards away is Anna. Having returned from her swim
out in the open sea, she was about to join Claudia. But Claudia, involved now
in chasing after Raimondo, doesn't notice her.
Meanwhile, Raimondo, outdistancing Claudia, finds himself alongside of
Sandro.
SANDRO
What kind of a fish is that?
RAIMONDO
It's a cernia.
SANDRO
My God, it's enormous.
Claudia, having given up trying to catch Raimondo, swims up alongside of
Giulia, who is busy observing Corrado disembark on a little strip of beach
that stands out distinctly white against the dark rocks. Claudia is in a
playful mood. She dives underwater, grabs hold of Giulia's leg, comes up, and
then dives under once again. Giulia, caught up in the spirit of all this
playfulness, drops her concern with Corrado and joins in with the fun and
merriment.
Suddenly there is a loud shriek, then Anna's voice is heard screaming:
ANNA
A shark!... A shark!
They all turn around to look at her. Anna is swimming furiously towards the
boat. Then, immediately, the booming voice of the sailor aboard the yacht
sounds out:
SAILOR
Don't move, lady... Stay where you are...
Stop! Everybody keep still.
But Sandro ignores the warning and starts swimming out towards Anna like a
demon. Raimondo, who was about to climb aboard the yacht, grasps his
spear-gun firmly in his hand, hurls himself back into the water, and also
starts to swim in Anna's direction. Claudia is stricken with fear, and holds
on tight to Giulia. Anna has stopped swimming and is cautiously looking
around to see if anything comes up out of the water. Then, she looks up and
seeing Sandro and Raimondo approaching, she shouts:
ANNA
Stay away!
They both stop. Then, Raimondo hurriedly dons his mask and disappears under
water while Sandro again starts swimming out towards Anna. Sandro comes up
alongside her.
SANDRO
Anna...
But Anna doesn't say a word. Instead, they both swim silently back to the
yacht, where Claudia and Giulia are already climbing aboard. Patrizia comes
out of the cabin to see what is happening.
They all lean over the side of the boat, looking down into the water,
expecting the shark at any moment to come into view. But the water remains
unruffled, the seaweed below is clearly visible, waving like so many fans.
Even the rocks at the bottom can be seen with all sorts of small-gilled fish
darting about. A mysterious, fascinating world and yet, because of what
happened, one that arouses fear. Everyone aboard is silent. Until Anna and
Sandro, followed by Raimondo, finally arrive and climb aboard. Sandro
immediately takes Anna to her cabin, and the others follow, making various
comments.
CLAUDIA
(to Anna)
But how did you become aware of it? Did it
touch you?
Anna doesn't answer but continues on ahead amid the overlapping remarks.
GIULIA
I would have died.
PATRIZIA
... and how ugly they are ... with all those teeth...
CORRADO
(shouting from the shore)
What happened?
GIULIA
(shouting from the prow)
There's a shark in the area. Don't move from
where you are!
CORRADO
Who's moving?
***
Inside the cabin, which is partitioned into separate rooms, the general
layout is neat and orderly, with a number of prints decorating the walls.
Sandro and Anna, followed by Claudia, enter from the outside deck and cross
over into Anna's room. It is extremely small, with two cots on one side and a
long curtain that partially conceals a bureau from which several dresses are
seen hanging.
Anna is soaking wet in her bathing suit and her hair is all knotted into
clusters that hang down over her face. Without bothering to dry herself, she
crouches down on the cot and, assisted by Claudia, wraps a blanket around her
body. Sandro and Claudia look at her with great concern. A member of the crew
enters carrying a tray on which there is a half-filled glass of liquor, which
Sandro takes and offers to Anna.
SANDRO
Here, drink some cognac.
Anna positively refuses it, and the sailor leaves as Sandro sets the glass
down on a shelf. Looking up at both Sandro and Claudia, Anna appears pleased
with their solicitude.
ANNA
It's nothing... really. Let's go back... It's
all over now.
A pause and then an instant later, she begins shivering under the blanket.
ANNA
Only, I'd like to change. I'm a little cold.
Leaving Anna and Claudia alone on their own, Sandro turns and goes outside
the cabin where the others are still congregated, busy chattering. Among the
remarks exchanged, one that is distinctly heard is Patrizia's.
PATRIZIA
But where did the shark go to?
As soon as Sandro closes the door to the cabin, Anna is suddenly and
completely changed. She gets up from the cot, goes over to the curtain and
draws it aside, revealing an array of feminine attire. Wondering which dress
to choose, she finally selects two and tosses them on the cot.
ANNA
Which one shall I wear?
CLAUDIA
(picking up one of the two dresses)
This one is gorgeous.
ANNA
Then why don't you try it on?
As Anna begins to dry herself with a large bath towel, Claudia slips on the
dress and looks at herself in the mirror with a coquettish expression on her
face.
ANNA
It looks better on you than it does on me...
You keep it.
Anna is removing her bathing suit as she continues talking to Claudia with a
tone and manner that reveal a sense of excitement mixed with one of amusement.
ANNA
You know, that thing about the shark was all a
joke.
Claudia looks at her as though dumbfounded, as though she had never known her
before. She is obviously piqued and angry, but more with herself than with
Anna.
CLAUDIA
There's the difference between you and me: you
know how to put over certain things, and I
don't. Sometimes I envy you.
Anna is all dressed and ready. She opens the door and steps outside, as
Claudia follows behind.
***
Out on the deck, Sandro, Patrizia, Raimondo and Giulia are looking over the
side of the boat, watching the sailor as he approaches the yacht with a
rubberized raft. Giulia, with her usual air of affectation, looks down at
the water splashing up against the raft and asks the sailor:
GIULIA
But aren't you afraid?
SAILOR
Ma'am, sharks never attack anybody. Anyway, the
raft is dark, and they wouldn't be able to see
it.
PATRIZIA
So, it is true that they're blind...
Anna appears at the door of the cabin and Sandro rushes over to meet her, a
little surprised to find her looking so cheerful, as though the incident that
had just taken place were completely forgotten.
SANDRO
How are you?
ANNA
Fine. Can't you see so yourself?
Anna goes over to the edge of the boat and stands at the head of the little
stairway leading down to the water.
ANNA
I have an urge to put my feet on some land.
Aren't you coming?
As she starts to go down the steps, Sandro quickly comes over to her.
SANDRO
Anna... Maybe it would be better to wait a
while.
ANNA
Wait for what?
PATRIZIA
Well, with a shark running loose around the
place, I for one won't get aboard that raft!
They'll have to catch it first. I want to see
it right here before my feet, dead or alive.
CLAUDIA
Better dead.
But Anna has already stepped aboard the raft, and Sandro follows her. Giulia
has her eyes fixed on the beach where Corrado in his white suit is waiting
for them. Her desire to join him is greater than her fear of the shark, so
she looks down at the sailor and asks:
GIULIA
Will the three of us fit?
SAILOR
Sure, sure. There's plenty of room.
Patrizia, instead, turns around and heads back to the cabin. And Raimondo
follows her shortly after. Giulia descends into the raft and, as it moves
away from the boat with a slight pitch, she lets out a few hysterical shrieks.
Anna laughs and then shouts out to Claudia:
ANNA
Claudia, aren't you coming?
CLAUDIA
I'm certainly not going to swim across.
ANNA
We'll send the raft back to you.
GIULIA
And bring some cushions when you come, and a
towel...
Claudia nods assent, and remains there looking over the side and watching the
water splash against the boat. Suddenly, she looks up at the sky and realizes
that the sun has disappeared. Actually, it is hidden behind a cloud, and over
on the horizon a group of other clouds have accumulated.
The sailor left aboard the yacht is now signaling the other sailor on the
raft who, having deposited Sandro, Anna and Giulia on the beach, is returning
to pick up Claudia. He sounds the depths with his oar and then shouts up:
SAILOR
Okay. Come ahead, come ahead.
The sailor aboard the yacht goes over to Claudia and says:
SAILOR
I'm taking the boat right up to the shore, and
we'll let you get off from the gangplank as
soon as we get there.
Then he disappears inside and soon the yacht starts moving towards the shore.
Claudia peers out over the landscape; the islands are sharply silhouetted
against the sea and sky, the volcano on Stromboli smokes feebly, and in the
distance a ship passes by. Claudia is plainly enchanted by the view. Then she
collects her thoughts and slowly heads towards the cabin.
***
Patrizia, seated at a small table inside the cabin, is busy working on a
complicated jigsaw puzzle, which, once completed, is supposed to represent a
typically classical scene. One by one, she selects the various pieces of
cardboard and inserts them in their rightful places. Simultaneously, she is
munching on some crackers spread with jam, and a piece of cold fruit. Beside
her is Raimondo. He is staring at Patrizia with such an intense expression
that she becomes thoroughly annoyed and says to him, as she continues working
at her puzzle:
PATRIZIA
What do you want, Raimondo? Do you want me? A
few years ago, maybe... but now... And, then,
at this hour of the day!
Coming down the steps that lead into the cabin, Claudia overhears the end of
the conversation, and decides to withdraw. But Patrizia sees her and calls
her back.
PATRIZIA
Come, Claudia, do come in... There's no
romance going on here.
Claudia enters. Raimondo continues to stare at Patrizia, particularly at her
legs. Patrizia becomes aware that Raimondo is staring at her, and with a
condescending gesture, she lifts her skirt a little higher to make him see
better.
PATRIZIA
There, have you seen enough now? Are you
satisfied?
Raimondo nods yes. Claudia is amused by their behavior but also a little
surprised.
Patrizia calmly resumes her game and Raimondo again begins to stare at her.
This time, at her breasts. And again Patrizia becomes conscious of the fact
that he is staring at her. She assumes a bored attitude and looks up at the
ceiling in a gesture of quiet forbearance. Raimondo reaches out with his hand
and gently caresses Patrizia's breast. Claudia looks on in amazement.
Raimondo withdraws his hand.
PATRIZIA
(regretfully)
Now, tell the truth, aren't you a bit
disappointed?... But I already told you...
RAIMONDO
If women's breasts were colored, yours would be
blue...
Patrizia laughs at Raimondo's remark and looks at him sympathetically. Then
she turns to Claudia.
PATRIZIA
Tell me, Claudia, what do you think of Raimondo?
CLAUDIA
I would say he's pretty depraved.
PATRIZIA
Oh no; quite the contrary. He's really just a
child.
RAIMONDO
Patrizia, don't start in again... I would
rather be called depraved. Unless you happen to
love children.
PATRIZIA
You know, I don't love anybody.
RAIMONDO
(angrily)
I know, dammit, I know!
(turning to Claudia)
And just think -- if there ever was a woman so
right, so perfectly cut out for all kinds of
dissipations, degradations, infidelities...
of.. . of... of debaucheries, it's her. Well,
anyway, she's faithful. Faithful out of
laziness... of unwillingness.
Raimondo has such a disgruntled look on his face that Patrizia laughs.
PATRIZIA
He amuses me. I don't know of anything more
amusing. Outside of this jigsaw puzzle. Don't
you find it so, Claudia?
CLAUDIA
One would have to be in love with somebody to
know that.
PATRIZIA
Have you ever been in love?
CLAUDIA
Not really... It's suffocating in here... Shall
we go out?
Claudia leaves the cabin and goes up to the deck. Patrizia returns to her
game, and Raimondo continues to stare at her.
***
Along a narrow strip of beach on the island of Lisca Bianca, Sandro, Anna,
Corrado and Giulia are waiting for Claudia to come ashore. There are some
patches of vegetation growing here and there, but by and large the island is
one huge rock with rugged cliffs which descend perpendicularly to the water.
Jutting promontories give the place a sense of raw, primitive beauty. Seeing
Anna and Sandro climbing a short distance up along the rocks to find a
comfortable place where they can lie down and stretch themselves, Corrado
remarks:
CORRADO
If any of you get into your bathing suits
again, you can be sure we won't be seeing one
another for the rest of the year. I just can't
stand seeing anybody in the city after having
seen them naked on the beach.
The yacht finally has arrived and the gangplank is laid out between the boat
and the shore. Claudia descends and as she wades ashore she stops, bends over
to dip her hand in the water, and with a tone of voice resembling that of a
mother speaking to its newborn child, she pretends she is speaking with
someone or something in the water.
CLAUDIA
Oh, how sweet... What a dear little darling!
They all turn around to look at her, wondering to whom or what she is
referring.
GIULIA
Who are you talking to?
CLAUDIA
To the shark.
They all break out into a laugh, and Claudia continues her comic bit as she
playfully pretends to lose her balance on the slippery pebbles along the
shore. Corrado looks at her somewhat surprised, as though up until now he had
never seen her comport herself with such a lively sense of humor and wit.
CORRADO
Say, Claudia, wouldn't you like to climb up
with me and take a look over there?
CLAUDIA
At what?
CORRADO
At the ruins. They're very ancient, you know.
Out of the entire group, Claudia is perhaps the only one who really has the
desire to explore, to see, and to generally take advantage of whatever the
cruise has to offer.
CLAUDIA
That sounds like a good idea. But why don't we
all go together?
Though Claudia's suggestion is heard by all, none of them make a move.
Relaxing so comfortably in the sun as they are, it seems the last thing they
would want to do is to climb up the rocky slopes. So Claudia starts to go up
on her own, following Corrado who is already under way. But Giulia
immediately comes up to him and, squeezing his arm to emphasize her plea,
whispers to him:
GIULIA
Please, I beg of you, stay here.
Giulia's plea is expressed with such a pitiful sense of humility that Claudia
is immediately taken aback, although she does not fully understand its
motive.
CORRADO
(noticing Claudia's hesitancy)
Well?
CLAUDIA
Well, what?
CORRADO
Have you decided?
CLAUDIA
All I said was that it sounds like a good idea.
Disappointed and rather irritated, Corrado turns back, while Claudia looks
around for a place on the rocks where she can comfortably set herself down.
Giulia, in turn, approaches Corrado.
GIULIA
Why didn't you ask me to go with you?
CORRADO
Do you know why? Because if you saw those ruins
I'm sure you would have said they were very,
very beautiful. You always say "how beautiful"
to everything -- whether it's the sea, or a
baby, or a cat! You have such a sensitive
little heart that it throbs for anything.
CORRADO
(ironically)
But Corrado... If something is beautiful why
shouldn't one say so?
GIULIA
(referring to Corrado)
He never misses a chance to humiliate me, to
let me know that he doesn't care about me any
more.
CORRADO
Giulia, that remark is not worthy of our twelve
years of honest concubinage. I repeat, once and
for all, and publicly, that I admire you. Does
that please you?
CLAUDIA
(under her breath to
Anna and Sandro)
Twelve years ... But why haven't they married?
SANDRO
(with a faint smile)
And why haven't they left each other?
CLAUDIA
I'm beginning to have my doubts. It couldn't be
that they're in love?
SANDRO
Could be. They're the kind of people who are
capable of anything.
Sandro suddenly grabs Anna around the waist and pulls her to him. His action
is so unexpected that even Anna is astonished. But Giulia's voice is heard
again.
GIULIA
(to Corrado)
The trouble with you is that nobody can speak
to you, that's all.
SANDRO
(placatingly)
Giulia, don't you understand that the more
involved you become with people, the more
difficult it is to speak with them?
GIULIA
You men are all so dreadful!
SANDRO
I know we are. But as the years go by, we
become even worse. Isn't that so, Corrado?
CORRADO
I hope so.
Breaking the nervous tension that has spread itself throughout the group, a
seaman appears with a small basket of frozen peaches brought from the yacht.
Claudia runs to the basket, picks up a peach and quickly bites into it.
CLAUDIA
How wonderful!
CORRADO
That's Patrizia's way of letting us know she's
with us.
Claudia takes another peach from the basket and gives it to Corrado.
CLAUDIA
I think you're very sweet, Corrado.
CORRADO
More so than the shark?
CLAUDIA
There's no comparison.
CORRADO
Then why don't we go up and see the ruins?
***
Anna and Sandro have left the group and are ensconced further up among the
rocks, on a grassy slope overlooking the beach.
ANNA
Sandro... A month is too long a time. I have
become used to being without you.
SANDRO
You'll get over it soon. It's the usual anxiety.
ANNA
A little more so this time.
SANDRO
So, it will just take you a little longer to
get over it.
ANNA
(angrily)
But I think we should talk about it. Or are you
fully convinced that we too won't understand
each other?
SANDRO
There will be plenty of time to talk about it
later. We'll get married soon. That way
we'll have more time...
ANNA
In this case, getting married means nothing.
Aren't we already the same as being married?
And Corrado and Giulia -- aren't they already
the same as being married?
SANDRO
But why rattle your brains by arguing and
talking... Believe me, Anna, words never help
at all. They only serve to confuse. I love you,
Anna. Isn't I that enough?
ANNA
No. It's not enough... I told you before that I
would like to get away for a while and be alone.
SANDRO
But you just said that a month was too...
ANNA
(interrupting)
I mean, to stay away longer -- two months... a
year... three years... Yes, I know, it sounds
absurd. And I feel awful. The very idea of
losing you makes me want to die... And yet...
I... I just don't have the same feeling for you
any more.
SANDRO
And what about yesterday... at my house...
didn't you have any feeling for me, even then?
ANNA
(angrily)
There you go... Must you always spoil
everything!
She turns and walks away in a rage. Sandro breathes a deep sigh, as though
the scene had exhausted him, then stretches himself on the ground, his face
turned skyward, his eyes shut tight.
***
The sky over the island of Lisca Bianca is completely filled with clouds. It
is early afternoon, the atmosphere has darkened, and occasional sounds of
thunder are heard in the distance.
Sandro is asleep with his arms folded under his head. Further below, Claudia,
Corrado and Giulia are also taking a nap. Gradually, however, with the sound
of thunder, they become aroused.
GIULIA
Looks like the weather is changing.
CORRADO
Please, Giulia; must you always emphasize the
obvious? I can see for myself that the weather
is changing.
Corrado rises and looks around lazily, listening to what appears to be the
sound of a motor boat and which seems to be coming from the other side of the
island. Claudia, spotting a sailor approaching, also rises.
SAILOR
We'll have to get going.
Claudia turns around, looks up, and sees Sandro asleep by himself.
CLAUDIA
And where's Anna?
(then, turning to the sailor)
Isn't she on the yacht?
SAILOR
I don't know... you see... we were taking a
little nap...
***
Out on the yacht, Patrizia is completing her puzzle. Only a few pieces are
missing but the area to be filled in is a very difficult one. Raimondo, who
has grown impatient over Patrizia's long and tedious concentration, exclaims:
RAIMONDO
You've made some mistake there with the
bushes... that's why you can't finish it.
PATRIZIA
Take it easy, Raimondo. Why are you getting so
impatient?
Claudia's voice is heard, calling out from the shore.
CLAUDIA
Patrizia! ...
Patrizia raises her eyes and gives a quick, casual glance at the porthole.
Raimondo immediately takes the hint that she would like him to get up and see
what Claudia wants. So he goes out to the deck where he sees Claudia calling
from the shore.
CLAUDIA
Is Anna there?
RAIMONDO
I don't think so.
He goes over to the cabin, and looking through the portholes, calls out
Anna's name. But there is no answer, so he returns to the side of the boat
and shouts back.
RAIMONDO
She's not here.
***
Meanwhile, on the beach, Sandro is also looking for Anna, disturbed and
amazed that she is not in sight.
SANDRO
(angrily, to himself)
This is the kind of behavior that drives me
crazy!
Down at the shore, Giulia is getting ready to step on the gangplank and go
aboard the yacht but, anxious about Anna's whereabouts, she changes her mind
and turns back. Claudia, also deeply concerned, decides to remain and look
around for herself. She turns and starts climbing up towards the rock in an
opposite direction than that taken by Sandro, who has now reached the top.
The search is fruitless; there seems to be no trace of Anna. But Sandro
continues to explore the area, stopping every now and then to call out Anna's
name. Then, looking down over the slope, he notices Claudia, Giulia and
Corrado coming towards him.
SANDRO
Did you find her?
None of them answer but it is clear from the worried expressions on their
faces that they too have found no trace of Anna. Still they continue the
search, each going off in different directions. Claudia, walking over land
covered with large white rocks and clumps of dry brush, spots something
moving behind one of the bushes. Anxiously, she starts to walk up closer.
Suddenly the branches begin to move and a stray lamb emerges. Surprised, but
also somewhat relaxed, she turns around and calls out to Corrado, who is
following her only a short distance away.
CLAUDIA
It's a lamb!
Corrado looks at her without answering, then stops and notices further up
ahead a jumbled pile of rocks which he feels might very well be the ruins he
had previously intended to explore. He is about to head towards them but
suddenly realizes that Giulia is following directly behind him. He quickly
changes his direction in an effort to avoid her.
Sandro comes upon a small stone hut that leans up against a high section of
rock. As he starts to approach it, another stray lamb appears, as if from
nowhere, and runs off, frightened by Sandro's approach. He tries to open the
door to the hut but finds it locked. As he looks around the area, uncertain
as to his next move, he sees Claudia and Corrado coming towards him.
CLAUDIA
Find anything?
SANDRO
No.
CORRADO
Perhaps she's taking a swim somewhere...
Though no less concerned over Anna's disappearance than any of the others,
Corrado attempts to lighten the tension by feigning a calm and sensible
attitude. Taking note of the stone hut before him, he observes it carefully
and remarks:
CORRADO
It's really a fact -- there's nothing new under
the sun. Now, look here. Look at this
structure... a kind of natural shelter. Sandro,
that's how you should design your houses.
SANDRO
Me?... I no longer have any interest in
building... And, then, where can you find
boulders of rock like this in Milan?
Claudia comes up close to the hut and tries to peer through the tiny window
but inside it is so dark that nothing can be seen. Suddenly, she finds a
small piece of bread on the ledge of the window. She picks it up and starts
examining it. Then, realizing the bread is still fairly fresh, exclaims:
CLAUDIA
Somebody must live here!
CORRADO
(after examining the bread himself)
But Anna wouldn't be staying with the kind of
people who live here.
The discussion is suddenly interrupted by the arrival of one of the sailors
who has come up from the shore.
SAILOR
We had better get started. The storm may
break any minute now.
CLAUDIA
(angrily)
What do you mean! What about Anna?
SANDRO
(to the seaman)
Tell Lady Patrizia that we can't leave now. In
fact, we'll have to make a tour around the
island...
SAILOR
Wouldn't it be better if you told that to the
Lady yourself. I can't assume the
responsibility for keeping the boat here.
There's no place to tie it up... And then,
you know, it's got a flat bottom, and if the
sea gets a little too rough...
SANDRO
(angrily)
That doesn't make any difference! If we have to
stay, we'll stay!
***
Aboard the yacht, which is circling the island, Sandro, Patrizia, Raimondo
and one of the sailors are peering out over the side, scrutinizing the banks
and rocky slopes in hope of finding some trace of Anna. The jagged cliffs
appear enormously tall and ominous, harboring tiny grottoes in which someone
could easily hide.
PATRIZIA
Perhaps she wasn't feeling well... Maybe a
cramp or something...
SANDRO
Anna is an excellent swimmer. Even with a
cramp, she would have managed to reach shore
somehow.
PATRIZIA
But you have to consider all possibilities,
Sandro.
Incensed by her remark, which he considers to be absurd, Sandro moves away
from Patrizia and goes towards the stern of the boat where he notices Corrado
signaling to them from a remote section of the beach.
CORRADO
(calling out)
There are some footprints around here...
But he stops in the middle of the statement, and throws up his arms to
indicate that the discovery is really of little significance. So he proceeds
to climb back up along the pathway from which he descended, and the yacht
continues on its way.
SANDRO
(calling from the stern, excitedly)
Patrizia!
Both Patrizia and Raimondo come rushing over to the stern and look towards
where Sandro is pointing at something dark and obscure afloat on the water up
ahead.
RAIMONDO
(to the sailor)
Mario...Steer the boat that way.
The yacht heads in the direction of the black object in the water, but as
they come up close, they realize it is nothing more than some wooden piece of
furniture. The turn has taken the boat slightly away from Lisca Bianca and
they now find themselves closer to the little island of Basiluzzo.
SAILOR
Shall I turn back?
SANDRO
No. Now that we're here, let's have a look
around Basiluzzo.
(then turning to Patrizia)
When we were swimming, she swam out in that
direction.
SAILOR
It won't be easy to find a place to go ashore.
***
The first shadows of evening begin to fall over the island of Lisca Bianca.
The sky is now even gloomier, streaked with flashes of lightning. Rumbling
sounds of thunder are heard in the distance. The entire group is once again
reunited on the beach, and the impending storm has heightened their fears and
anxiety. They are cold, restless, and exhausted, but profoundly moved and
shaken by the reality of Anna's strange disappearance.
SANDRO
Let's try to be practical about this. The best
thing to do is for all of you to go to the
closest island that has a police station, or
something, and report the disappearance. I'll
remain here... because... well, I don't know,
but it seems to me that something may turn up.
Anyway, I just don't feel like leaving.
CORRADO
Then let's get started... It's senseless to
waste any more time.
PATRIZIA
(to the sailor)
How long will it take to go there and come
back?
SAILOR
If there's a police station at Panarea, it
should take us a couple of hours. But if we
have to go to Lipari, it will take much longer.
Then it also depends on how rough the sea is.
Giulia is about to get on her way but she stops and turns around to look for
Corrado, who notices her looking at him.
CORRADO
I'll stay here also.
GIULIA
(alarmed)
But why?... What if it starts to rain?
CORRADO
If it rains, I'll buy myself an umbrella.
Claudia, who has remained to one side, wrapped up in her own thoughts,
doesn't make a move to leave. Sandro and Corrado look at her in surprise.
CORRADO
(to Claudia, understandingly)
Claudia, I know how you feel, but there are
already two of us staying...
SANDRO
I'll go even further and say that her presence
here -- I don't want to sound offensive -- could
be a great hindrance.
Ignoring Sandro's remark, Claudia turns and determinedly heads towards the
interior of the island. Meanwhile, Patrizia and Giulia have gone aboard the
yacht.
GIULIA
(calling to Corrado
from the boat)
Do you want some blankets? ... and something
to eat?
Corrado makes an irritated gesture signifying no, then together with Sandro
starts climbing up the rocky slope towards the stone hut. As they meet up
with Claudia midway, the first drops of rain start to fall and it is clear
that the storm is on the verge of breaking. The three of them reach the door
of the hut and Corrado tries to pull it open, but the lock resists. Then
Sandro comes to his aid, and placing their shoulders up against the wooden
door, they finally manage to force it open.
***
Inside the hut it is pitch black. Sandro strikes a match and finds a kerosene
lamp on a nearby table. He lights it and the room is suddenly illuminated,
revealing a miserable interior with a few broken chairs, several empty boxes,
a shovel and a few other utensils. Over to one side is a small pile of straw
suggesting a makeshift bed.
CLAUDIA
As far as I'm concerned, I think she's alive...
Why, even this morning... that business about
the shark... it wasn't at all true.
SANDRO
And why do you tell us this only now?
CLAUDIA
I... I don't know... I didn't think it was
worthwhile... She was laughing over it...
CORRADO
Really! Still, it remains to be seen why she
invented a shark. What was her purpose in that?
CLAUDIA
(indicating Sandro)
Maybe you'd better ask him.
CORRADO
(to Sandro)
What were you and Anna arguing about?...
Excuse me for being so indiscreet, but this is
serious...
SANDRO
Nothing but the usual argument... The only
thing was -- if I remember correctly -- that
she said she had a need to be alone.
CLAUDIA
And how do you explain that?
Ignoring the question, Sandro begins pacing back and forth across the room.
The silence is broken only by the sound of the rain outside which is now
coming down harder and harder. Suddenly, footsteps are heard approaching the
hut. Sandro, Claudia and Corrado quickly turn around and face the door, their
faces clearly revealing the expectation that it might be Anna. Finally the
door begins to open and an old man appears, carrying a sack in his hand.
SANDRO
Are you the owner of this place?
OLD MAN
No. The owners are in Australia.
SANDRO
But where did you come from?
OLD MAN
From Panarea. Why?
CORRADO
Ah, then it was you... I heard a boat leaving
here at two o'clock today...
OLD MAN
(scratching his head)
It must have been around four or five...
CORRADO
In the afternoon?
OLD MAN
No... in the morning. Why? What's happened?
SANDRO
Nothing... nothing at all!
CLAUDIA
But why don't you tell him?
(then turning to the old man)
A girl who was with us has disappeared.
OLD MAN
What do you mean... disappeared? Was she
drowned?
CLAUDIA
No, she didn't drown... She just disappeared,
and nobody knows where.
SANDRO
And I suppose it's my fault... Why don't you
tell him that too. That's what you believe,
isn't it?
CLAUDIA
Rather than being so occupied with my thoughts,
you would have been better off trying to
understand what Anna was thinking.
OLD MAN
Have you searched in back of the house to see
if she might have fallen off that cliff? Last
month that's what happened to one of my
sheep... I looked all over for it all day long
and it wasn't until late at night that I heard
it bleating... It had been there the whole
day... and was almost dead.
Claudia suddenly jumps up and runs out of the hut and into the dark, calling
out desperately.
CLAUDIA
Anna! . . . Anna!
But her cries are lost in the sound of the storm. Drenched by the rain, her
shoes full of mud, her dress soaked, she stops, as Corrado, who had followed
after her, grabs hold of her arm and leads her back to the hut.
CORRADO
Come, Claudia...come back inside.
***
It is early morning inside the hut, and the flame of the kerosene lamp has
dwindled down to a tiny, flickering light. Claudia awakens with a bewildered
look upon her face, wondering where she is and how she comes to be there. She
notices Corrado dozing on an empty box in a corner of the room, then
realizing that Sandro and the old man are no longer there, she gets up and
goes out the door.
Outside, everything is covered by a thick haze, which is gradually beginning
to lift. Sandro, who is standing a short distance away from the hut, hears
Claudia approaching and turns around to greet her.
SANDRO
Are you feeling better?
CLAUDIA
(nodding yes)
I'm sorry about last night. Please forgive me.
SANDRO
You're very fond of Anna, aren't you?
CLAUDIA
Yes, very much so.
SANDRO
Has she ever spoken to you about me?
CLAUDIA
Occasionally, but always with affection.
SANDRO
And yet, she seemed to feel that our love for
her -- mine, yours, even her father's, in a
certain sense -- weren't enough for her, or
didn't mean much to her.
CLAUDIA
I know. I keep asking myself what I could have
done to prevent all this from happening.
There is a pause, then suddenly they both hear the sound of a motor growing
louder and louder. They look out over the shore but the haze is so heavy that
it is impossible for them to determine the source. Then, seeing the old man
coming up the path, Sandro impulsively runs towards him and seizes him by the
collar.
SANDRO
Whose boat is that?
OLD MAN
(astonished)
What boat?
SANDRO
Just a moment ago... didn't you hear the sound
of a motor?
OLD MAN
At this time of the year there are so many
boats...
SANDRO
And how come you're up so early?
OLD MAN
Early? Is four in the morning early for you?
Sandro is visibly deflated by the old man's casualness, and he decides to
abandon his questioning. He turns away from him and looks up to see Claudia
walking slowly towards the top of the cliffs, directly behind the hut where
the night before the old man had said Anna might have fallen. She looks down
over the side and quickly withdraws, almost in fear of being sucked down into
the swirling waters below. She turns away and starts walking towards the
interior part of the island. In the rocky hollows around her, she notices
small accumulations of yesterday's rain and, scooping up some of the water
from one of these rocks, she rinses her face. As she gets up again, Sandro is
there, standing directly before her. Claudia is almost startled. They
continue to gaze at one another in silence. Then Claudia abruptly turns away
and heads towards a higher point of land. A moment later, Sandro joins her
again and once more they find themselves staring into each other's eyes,
almost embarrassed by their own behavior, yet unable to control it.
The wailing siren of a police boat resounds through the air like a shrill
lament. Only then do Sandro and Claudia detach themselves from their trance-
like state, from the sudden compulsion of being drawn towards each other.
Through the haze, they notice a landing taking place down at the shore.
Realizing it is their friends returning with the police, they both start
descending the slope to greet them.
Stepping ashore are Patrizia, Giulia and Raimondo, followed by a Marshal of
the carabinieri and two police agents. As Sandro and Claudia come rushing
down over the rocks, Claudia suddenly stops and lags behind so as not to
arrive on the beach simultaneously with Sandro.
Meanwhile, Corrado has already gone down to the shore and as he goes out to
meet them, Patrizia, Giulia and Raimondo anxiously look to him as though
expecting some good news. But Corrado remains silent, then throws out his
arms in a gesture of despair.
GIULIA
How did you spend the night?... In that hut?...
And what did you have to eat?
CORRADO
What do you think?
GIULIA
We, too, you know. It was disastrous. First at
Panarea, where there weren't any boats... then
at Lipari, where everybody was asleep... And
the phone call to Rome...
PATRIZIA
We had to notify her father.
CORRADO
Yes, that was a very good idea.
PATRIZIA
He'll be here sometime today.
(then turning to Sandro who
has just arrived on the scene)
I also phoned my house in Milan... but Ettore
had already left.
MARSHAL
(to Sandro)
Anything new develop?
SANDRO
Unfortunately, no.
MARSHAL
Very well. First of all, I'll have them search
the waters around the island. I brought two
frogmen with me... Meanwhile, we'll take a look
up around here.
SANDRO
Look, Marshal, with those deep crevasses,
you'll need some rope and ladders...
MARSHAL
Don't worry, we've got everything.
SANDRO
Another thing; there's an old man who lives
here on the island...
MARSHAL
(interrupting)
I know, I know. One thing at a time.
The Marshal starts climbing up towards the interior of the island, with
Sandro following behind. As Claudia sees them coming in her direction, she
moves away to a lower section of the island to avoid coming in contact with
Sandro. Peering over a precipice, she sees the frogmen below, and watches
them slide into the clear water like two enormous fish.
Sandro and the Marshal have arrived on the edge of the same precipice, where
two men are lowering a rope ladder into the depths. Moving up further to
watch the operations, Sandro becomes aware of Claudia standing alone just a
short distance away. He heads towards her but she tries to avoid looking at
him. Sandro, however, is unable to take his eyes from her and continues
walking in her direction. But seeing Patrizia and Raimondo approaching, he
suddenly stops. A small stone, accidentally loosened from the ground, rolls
along the path and comes to a halt directly in front of Claudia, almost like
a message. She picks it up, looks at it, then throws it away. Sandro moves
away and heads back to the edge of the precipice.
Patrizia and Raimondo join Claudia. Raimondo, who is carrying a box of
crackers in his hand, offers them to both Claudia and Patrizia.
PATRIZIA
No, who wants crackers... Why don't you go and
have some coffee made instead?
Meanwhile, Sandro has arrived at the edge of the precipice where he finds
Giulia and Corrado. They are looking down at one of the carabinieri who is
dangling from a long rope over the side of the rock, exploring the crevasses
where a body might have fallen from the precipice above. The Marshal leans
over to see if anything has been discovered.
CARABINIERE
(calling up to the Marshal)
Nothing here!
The Marshal turns around in disgust and looks at Corrado who is frankly sick
and tired of the whole operation.
CORRADO
Don't look at me like that, Marshal... I had
nothing to do with it.
PATRIZIA
(referring to the frogmen below)
Let's hope they don't find her... If they do,
they would find her dead.
All of a sudden, Claudia breaks out into tears. Patrizia doesn't say a word.
She just lets Claudia cry, knowing it will do her good. Sandro comes over and
as soon as Claudia sees him there, she stops crying, and avoids looking up at
him.
SANDRO
Listen, Patrizia... The Marshal says there's a
current that passes by here and ends up at
another island... I don't know which... He
wants to send one of his men over to have a
look... One never knows... Do you mind if I ask
Raimondo to go with him?
PATRIZIA
I don't see why I should mind.
CLAUDIA
(to Sandro)
I think that you might go and have a look
yourself.
SANDRO
Yes, maybe that is better.
He turns and starts heading down towards the beach.
PATRIZIA
(to Claudia)
What amazes me, is Sandro. He seems so calm.
CLAUDIA
(rising)
Calm?... He doesn't seem so to me... He was
awake all night.
One of the frogmen emerges with an ancient vase in his hand, evidently found
in the depths below. Raimondo, who has just arrived with a thermos of hot
coffee, puts it down and goes over to the frogman to fetch the vase.
RAIMONDO
(to the frogman)
What is it?
FROGMAN
An ancient vase. There's a buried city under
here. It's full of this stuff.
Raimondo takes the vase and shows it to Patrizia and Claudia. It is an
extremely beautiful amphora, in terra cotta, with a figured design around it.
Patrizia and Claudia momentarily drop their thoughts to examine it. Then
Corrado, who had observed the scene, comes over, followed immediately by
Giulia.
PATRIZIA
(ironically)
Come on, Corrado, tell us what century it
belongs to.
Corrado smiles, then comes closer to examine it. Claudia also kneels down to
look at it. A moment later she feels a presence at her side, and even without
turning around she knows it is Sandro. Taking advantage of the discovery that
was made, he purposely has returned to join the group in order to be near
Claudia. They both now feel between them the warmth of that contact, and for
a brief moment, succumb once again to that sudden sense of wonderment which
they already had experienced at dawn.
GIULIA
Corrado, why don't you ask them to give it to
us as a gift?
CORRADO
Really! So that you can stuff it with your
geraniums.
PATRIZIA
(to Sandro)
But aren't you supposed to be on your way?
Claudia, stricken with dismay, immediately detaches herself from Sandro, who
replies with a certain sense of embarrassment.
SANDRO
Yes... I'm going... I'm going now.
***
A patrol boat is anchored off the cliff of a small island where the current
running through the surrounding waters comes to an end. Sandro is leaning
against the wall of a dilapidated building, which is constructed right on
that part of the rock where the sea close by discharges all kinds of refuse.
Four or five islanders are busy scouring through the accumulated rubbish.
They are taciturn, poorly dressed people who every now and then come to blows
over the possession of some article washed ashore by the waves. Sandro is
watching them, feeling distraught and melancholy. One of the carabinieri who
had accompanied him is walking up and down beside an elderly gentleman who is
obviously one of the local gentry.
SANDRO
(to the carabiniere)
It's already two hours... What are we going to
do?
CARABINIERE
It takes about twenty to twenty-two hours for
the current to reach here from Lisca Bianca.
ELDERLY GENTLEMAN
And sometimes even twenty-four... depending on
the wind...
CARABINIERE
If the girl disappeared yesterday afternoon,
we'll have to wait at least until three or four
o'clock.
Sandro looks at them without commenting, then turns and walks away towards
the center of the village. The houses and shops around the square are very
plain and shabby. Sandro spots a barber shop and, fingering his day-old
beard, enters for a shave.
Shortly thereafter, a clamor of voices is heard outside and Sandro comes
dashing out of the shop. Seeing the islanders fighting and arguing about
something drawn up from the sea, he runs over to find out what it is. As he
arrives on the scene, two policemen step out of the confusion dragging a
large crate, which they carry over to the door of a nearby shack, amid the
protests of the islanders who are still arguing and shouting among
themselves.
VOICES
It belongs to me... We found it...
GENTLEMAN
Back... Stand back!
The two policemen set the crate down and lift the lid. It is full of
cigarettes.
CARABINIERE
(to the islanders)
You see? It contains cigarettes. We'll have to
confiscate it.
The islanders react violently, shouting out all sorts of epithets. But the
policemen manage to restrain them and soon the commotion is quieted down.
CARABINIERE
(to Sandro)
These people are contemptible. They have no
sense of dignity at all.
SANDRO
(referring to the crate)
And you say that came from Lisca Bianca?
CARABINIERE
It couldn't have come from anywhere else. At
least, somewhere from that vicinity... But I
really can't understand it. Contraband
cigarettes on that island! It's the first time
that ever happened.
SANDRO
Look... I'd like to get back to Lisca Bianca.
CARABINIERE
But how could we...at a time like this when we
just... well, let's at least first have a look
around the other islands. Could be that
something might turn up there.
SANDRO
(impatiently)
But even here we were supposed to find who
knows what... And all we bring back with us is
a crate of cigarettes.
CARABINIERE
(shrugging his shoulders)
As you wish.
***
At Lisca Bianca, a helicopter is hovering above the island and preparing to
land. Waiting for it to descend are Claudia, the old man, the Marshal and
Anna's father, just arrived from the mainland.
MARSHAL
(to the old man)
... Is it also true that you saw no boat around
here at Lisca between yesterday and this
morning?
OLD MAN
How many times do I have to tell you, Marshal,
that I was at Panarea.
MARSHAL
I believe you, I believe you... But I'm also
certain that you're hiding something from me. I
can see it written all over your face... And
you know that I have never liked your face. And
if you want to know something, that gentleman
over there...
(indicating Anna's father)
...who's a very important person... doesn't
like it either. So, just keep that in mind.
I'll talk to you later.
The Marshal moves away from the old man and goes over towards Anna's father
who is watching the helicopter come down.
ANNA'S FATHER
I presume by this method that you'll be able to
uncover some new clue, either a handkerchief or
an article of clothing... In other words,
something which your men have not been able to
find as yet.
MARSHAL
Without any doubt, sir. If anything belonging
to the girl who has run away is still here on
this island...
ANNA'S FATHER
(resentfully)
Allow me to inform you that my daughter is not
a fugitive.
MARSHAL
I'm sorry, sir. I didn't mean to put it that
way. But, you must understand, sir, that I...
ANNA'S FATHER
I understand very well. Only I don't want any
rash assumptions to be made.
One of the carabinieri appears with Anna's valise which he sets down on the
ground.
MARSHAL
Here's her valise, sir.
The helicopter is now a few feet above the ground, and everyone steps aside
to allow it room to land. The rush of wind from the propeller sends up a
cloud of dust, and finally the helicopter touches down. The propeller stops,
the door opens, and out comes two large bloodhounds accompanied by a police
attendant. He immediately says something to the dogs in German which suddenly
creates an atmosphere of resentment among the group assembled there.
Anna's father goes to his daughter's valise, bends down, but doesn't dare to
touch it.
CLAUDIA
Do you want me to open it?
ANNA'S FATHER
Yes, please.
Claudia opens the valise and starts pulling out several dresses, a few
intimate garments, and several other items of clothing. As she continues
rummaging, she suddenly comes upon two books, Fitzgerald's Tender Is The
Night and a copy of the Bible, which she hands to Anna's father who, in turn,
examines them with great care and deliberation.
ANNA'S FATHER
This looks to me like a good sign. Don't you
think so? As far as I'm concerned, anyone who
reads the Bible could not have committed an act
of impropriety. Why... as a matter of fact, I
remember when I was in China, many years ago, I
happened to be involved in a similar situation,
concerning an English woman, the wife of
Ambassador Shafford, a good friend of mine.
There, too, we found a Bible... And I said at
the time that whatever had happened, that clue
alone had definitely ruled out the possibility
of... suicide. Why, it was logical, I said,
that whoever reads the Bible believes in God
and therefore...
(then, turning to Claudia in an
almost supplicating tone of voice)
No? You don't believe it? Well, as a matter of
fact, I was right... The woman was found two
days later. It was a case of amnesia.
MARSHAL
Sir, if you have no objections, may we start
the search?
Anna's father turns around to look at the bloodhounds who are already
sniffing the air for a scent and anxious to get on with the hunt. Then he
throws a quick glance at his daughter's valise once more, and with an air of
disgust and irritation, walks off in a huff, followed by Claudia.
ATTENDANT
(to the Marshal)
Get everybody out of the way...
MARSHAL
Okay. I'll send them down to that part of the
beach over there...
After they all have left the area, the attendant leads the two bloodhounds
over to Anna's valise, instructs them to pick up the scent, then takes them
up to the very top of the island, where he subsequently unties them from his
leash and sets them off.
Claudia and Anna's father arrive on the beach where Patrizia, Giulia,
Corrado, Raimondo and one of the sailors are seated on a pile of rocks.
As the dogs begin running in different directions over the island, trying to
track down the scent from Anna's valise, the entire group remains silent,
awaiting the outcome of the search. Suddenly, the bloodhounds come racing
down the slope, heading directly towards the beach where they are gathered,
apparently hot on the trail of some familiar scent. To everybody's amazement,
the dogs stop in front of Claudia, jumping excitedly and barking at her as
though they had found their prey. Claudia is nonplussed and almost petrified
with fear. She turns around and sees the others all staring at her. But she
cannot understand why they are looking at her that way nor why the dogs have
stopped right in front of her. Then, as if struck by a sudden flash of
memory, she touches her dress and cries out:
CLAUDIA
It's because of this... The dress... It's
because of this dress. Anna gave it to me
yesterday, right after the swim.
Completely relieved, Claudia smiles and bends over to pet the dogs, as the
attendant comes up to them and ties the leash back on to their necks. Then he
leads them away and heads once again upthe slope towards the top of the
island. Anna's father seems almost disillusioned by the negative results of
the search. Corrado also feels dissatisfied, and addressing himself to the
Marshal, says:
CORRADO
And what are we going to do now?
MARSHAL
We'll try again.
PATRIZIA
But is it really necessary? Those two
beasts... How absurd!
Meanwhile, the patrol boat has returned and is pulling ashore. Giulia is the
first one to notice its arrival and she calls out to the others that Sandro
is back. Then she goes over to where Anna's father is standing.
GIULIA
Sandro's here.
ANNA'S FATHER
(coldly)
I don't know him.
GIULIA
It seems to me that at a moment like this...
ANNA'S FATHER
I don't want to know him.
By this time, Sandro has come ashore, followed by the carabiniere, and
immediately goes up to Claudia.
SANDRO
Claudia, listen ... Claudia.
But Claudia hardly looks at him, and seeing Corrado approaching, she moves
away from Sandro.
CORRADO
(to Sandro)
I didn't think you'd be back so early.
CARABINIERE
(interrupting)
We didn't check the other islands, so...
CORRADO
And why didn't you go there?
CARABINIERE
(referring to Sandro)
He wanted to come back.
The sailors have unloaded the crate of cigarettes from the patrol boat and
the Marshal is getting all the details from the carabiniere.
MARSHAL
Up until now those smugglers were operating
only around the Palermo area. This will be a
nice surprise for the Lieutenant in Milazzo...
Call up headquarters. Bring them up to date and
have them give you instructions on what to do
with this crate.
CORRADO
So... the boat we saw yesterday afternoon might
have also been that of these smugglers. Could it
be possible, then, that Anna...?
MARSHAL
(evading Corrado's question
and pursuing his own thoughts)
I wonder where they could have unloaded the
stuff ... Maybe right here at Lisca.
CORRADO
I was saying... it might even be possible that
Anna had left with them.
MARSHAL
But for what reason would she have wanted to go
away?
CORRADO
Listen, Marshal... As for there being reasons
for going away, anyone of us might have three
thousand of them. So you can assume that she
had them. What I want to know, is it possible
that the smugglers might have taken her aboard?
MARSHAL
I think it's possible.
A SAILOR
(calling from the patrol boat)
Marshal!... Headquarters is calling. They have
an important message.
MARSHAL
What is it about?
SAILOR
They've stopped a suspicious-looking boat a
few miles from here... yesterday afternoon. The
crew has been taken to Milazzo for questioning.
The Marshal takes off for the patrol boat, and Corrado goes over to Anna's
father.
CORRADO
Did you hear that? What do you plan on doing?
ANNA'S FATHER
(resignedly)
We are in the hands of God.
SANDRO
That's true...But in the meantime, as far as
I'm concerned, it's absolutely necessary to go
to Milazzo.
(directly to Anna's father)
I know that you have no desire to meet me, and
I shall take pains not to impose myself upon
you. But, besides you, I am the closest person
to your daughter...
ANNA'S FATHER
However that may be, at this moment my daughter
has more need of her father than of you.
SANDRO
Pardon me for being so frank, but there are
certain things that a father -- especially a
father like you --cannot understand. So don't
be stubborn. I'm coming with you.
As soon as he finishes saying this, Sandro turns around and looks at Claudia,
as though he had just now realized that she was there listening to him.
Claudia goes to the gangplank and boards the yacht, disappearing into the
cabin. Having followed her with his gaze, Sandro then turns to Patrizia.
SANDRO
Patrizia, what are you going to do?
PATRIZIA
What do you want us to do? I don't know
myself... But we'll do something.
SANDRO
I'll go and get my valise.
Sandro goes aboard the yacht and enters the cabin. On the way to his room he
meets Claudia who has just changed clothes and is about to return ashore.
They stare at each other for a moment without saying anything. But the
intensity in Claudia's look, mixed with fear and desire, is so overpowering
that Sandro takes her in his arms and kisses her. Claudia immediately
releases herself from his embrace, but for the moment it lasted, the kiss was
full and passionate. Then she turns and goes out on deck. Sandro remains
there, momentarily stunned, then picks up his valise and returns ashore.
As Claudia, followed by Sandro, steps back on the beach, she is met by
Patrizia.
PATRIZIA
We've decided to go to Montaldo's place. In
fact, Ettore should already be there.
SANDRO
(intervening)
Good. Then I'll meet you there.
He says this primarily for Claudia's sake, hoping to catch her eye. But she
keeps her head bowed low, and doesn't look up. After a moment of hesitation,
Sandro turns away and heads towards the small motorboat in which Anna's
father arrived from the mainland. And without saying another word, he climbs
aboard. Patrizia places her arm around Claudia's waist and together they
start walking towards the yacht. But upon reaching the foot of the gangplank,
Claudia stops.
CLAUDIA
I'm going with the patrol boat to make a tour
around the islands.
PATRIZIA
To do what?
CLAUDIA
I just can't leave without first searching
those islands, one by one.
PATRIZIA
But aren't you tired? I can just about manage
to stand on my feet!
(then turning around to look
for Raimondo, she calls out)
Raimondo!
RAIMONDO
Here I am, Patrizia. I'm always here.
PATRIZIA
Claudia isn't coming with us. Will you please
take care of her luggage? Thanks.
Raimondo goes aboard the yacht and returns with Claudia's valise. He consigns
it to one of the carabinieri who, in turn, takes it aboard the patrol boat.
Claudia follows him aboard. The Marshal comes out of the radio room, steps
ashore, then joins Sandro and Anna's father on the motorboat, while Patrizia,
Giulia, Corrado and Raimondo go aboard the yacht.
***
In the seaport town of Milazzo, on the Sicilian mainland, Sandro and Anna's
father are seated in an office at police headquarters. The sailors picked up
on a charge of carrying contraband are being questioned by the police
Lieutenant.
SAILOR
No, sir, Lieutenant, we weren't even able to
drop anchor once ... the sea was too rough.
The Lieutenant motions for the sailor to come up to the desk, then points to
a sheet of paper in front of him.
LIEUTENANT
Okay. Just sign here.
(turning to a guard
standing at the door)
Have the next one come in. He's the last,
isn't he?
Another sailor enters and timidly approaches the Lieutenant's desk. He is
rather young, and his face is completely bronzed by the sun.
LIEUTENANT
They tell me you have a lot of trouble at home.
Is that right?
YOUNG SAILOR
Yes, sir. My sister is sick... and my
father, too.
LIEUTENANT
So that's why you've turned to smuggling, eh?
You need the money. Now, I can help you. I can
see that you get some assistance from the
government. But first there's a little
formality we've got to take care of. Just a
few questions and then we can all go to
lunch... Your friend tells me you dropped
anchor three times...
The sailor starts, as though taken by surprise, then quickly answers.
YOUNG SAILOR
Yes, sir. Three times.
LIEUTENANT
(to Sandro and Anna's father)
Now, we're getting somewhere! They're beginning
to contradict each other.
(then, facing the sailor again)
Now look here, your friend just swore to me
that you weren't able to do any fishing at all
because the sea was too rough... And what about
the other boat?
YOUNG SAILOR
What other boat?
LIEUTENANT
Now look, my men saw it and they also saw you
men throwing those crates overboard. What have
you got to say about that?
YOUNG SAILOR
(stuttering)
I ... I ... wasn't feeling well ... I.. I was
sleeping... I don't know anything ... I ...
I'm all mixed up and ...
Sandro is unable to control himself any longer. He gets up, walks over to the
sailor and yells in his face.
SANDRO
But what are you saying?... What are you
saying?
The Lieutenant motions to Sandro to be quiet, then calmly rises from his desk
and continues.
LIEUTENANT
Now look here, I'm ready to forget the whole
thing: the cigarettes, the contraband --
everything. If you would only tell me... you or
your friends... whether the girl was aboard
your boat and how far she went.
They all remain silent. The Lieutenant motions to the guard who then leads
the sailors out of the office.
LIEUTENANT
(to Anna's father)
Just as I thought. Even if you caught them in
the act, they'd deny it. They always deny
everything. And then, in this case, if they
were to admit having had the girl aboard, it
would mean they'd be admitting to the charge
of carrying contraband. Oh, it's easy to say:
talk! But if they did talk, the following
morning you'd find them cold dead in front of
their doorstep.
ANNA'S FATHER
I think it would be worth my while to take a
run over to Palermo. The Chief of Police there
is a very good friend of mine and I'm sure
he'll do whatever he can. I feel we're wasting
our time here... Excuse me, Lieutenant. I hope
we see each other again under better
circumstances. And thanks for everything.
Bidding goodbye to the Lieutenant, Anna's father leaves, without looking at
Sandro. A moment later, Sandro folds the newspaper he was reading, tucks it
under his arm, and starts heading towards the door.
LIEUTENANT
At any rate, we'll continue investigating. I
know that headquarters has sent out an alarm to
all areas...
SANDRO
(showing the newspaper
to the Lieutenant)
Tell me, Lieutenant, do you happen to know this
F.Z. who wrote this article here?
The Lieutenant takes a look at the paper which carries a two-column story
headed: DISAPPEARANCE OF A ROMAN TOURIST AT LISCA BIANCA.
LIEUTENANT
That's Francesco Zuria. He's the news
correspondent.
SANDRO
Where can we locate him? Don't you think that
by offering a reward to anyone who can give us
some information...
LIEUTENANT
Zuria is in Messina. You might try him. Shall
we phone him?
From the opposite end of the corridor through which Sandro and the Lieutenant
are walking, appears the Sergeant who was in charge of the patrol boat on
which Claudia toured the islands in search of Anna. After saluting his
superior, the Sergeant says:
SERGEANT
Have you any instructions for me, Lieutenant?
May I return to Lipari?
LIEUTENANT
Yes. With whom did you leave the crate of
cigarettes?
SERGEANT
I left it at the warehouse.
The Sergeant again salutes his superior, then continues on his way along the
corridor. Sandro abruptly turns around and follows after him.
SANDRO
Pardon me, Sergeant, but when did you get back?
SERGEANT
About two hours ago.
SANDRO
And the young lady who was with you?
SERGEANT
I don't know... She said she had to catch a
train.
Sandro remains a while, absorbed in his thoughts, then hurriedly leaves the
building, and heads towards the station.
***
On her way to the waiting room of the station, Claudia purchases a newspaper,
then goes over to an empty bench and sits down. Turning to the local news
section, she suddenly comes upon the article announcing Anna's disappearance.
A moment later, Sandro appears at the door. Claudia looks up at him but
doesn't say a word. He walks over and sits down beside her.
SANDRO
Where are you going?... To Montaldo's?
CLAUDIA
Yes.
SANDRO
Then I'll go with you.
There is a moment of silence, then Claudia shows him the newspaper article.
CLAUDIA
Have you read it?... They're asking for anyone
with information to get in touch with them.
SANDRO
Yes. I had also thought of going there to talk
with them...
CLAUDIA
Yes, you should go.
SANDRO
But then when will we see each other?
Claudia looks at him imploringly, intent on making him understand, without
having to tell him outright, that it is not a question of their seeing each
other. Sandro, of course, does realize and suddenly springs to his feet and
nervously begins pacing back and forth across the waiting room. Claudia, in
turn, also rises and goes over to him.
CLAUDIA
I know it's difficult. But if you go on like
this it will become even more difficult.
The bell announcing the train's arrival is sounded. Sandro turns around and
faces Claudia, almost with a sense of helpless despair.
CLAUDIA
Please, don't look so solemn... And don't wait
for the train to come in.
But Sandro doesn't move. And again Claudia insists, imploring him not to
stay, although she realizes full well that this may mean a final goodbye.
CLAUDIA
Please, please leave. I don't want to look out
of the window and wave to you with a
handkerchief.
Sandro still doesn't move, and is about to say something, but Claudia looks
at him so pleadingly and with such a determined expression, that he finally
succumbs and starts walking towards the exit behind the train tracks.
The train has just pulled into the station. The platform is completely empty
and Claudia is the only one to board the train. She climbs up the steps and
the door is closed behind her. A second later, she appears at the window,
looks out briefly, then disappears into her compartment. The station master
raises the signal for the engine to start, a short whistle is heard, and soon
the train gets under way.
Sandro dashes out across the tracks, swings open one of the doors, and boards
the train as it picks up speed and pulls away from the station.
Claudia is seated in a corner near the window, looking out. She appears
completely relaxed and totally drained of energy, fatigued after so much
tension. After a few seconds, she turns around and is abruptly startled to
see Sandro standing nearby in the corridor. He comes over to her compartment
and takes a seat directly opposite to hers. Claudia is absolutely furious.
CLAUDIA
Go ahead, now say something! I want to know
just what it is we have to say to each other.
Sandro remains silent, waiting for Claudia to settle down and calm herself.
But she continues to reproach him.
CLAUDIA
Sandro, I don't want you to come with me, I
don't want to see you... How can I make it
clear to you?...Why did you come?
SANDRO
I don't know why. I just couldn't help it.
CLAUDIA
But sooner or later we've got to end this
relationship. And it's better to do it right
now.
SANDRO
I have no desire to sacrifice myself... It's
idiotic to sacrifice oneself... Why?... For
whom? If Anna were here I might understand your
scruples. But she's not...
CLAUDIA
(deeply wounded)
Oh, Sandro...
SANDRO
I'm sorry. I didn't want to sound cynical. But
isn't it better to look things squarely in the
eye?
CLAUDIA
For me they are exactly as they were when we
met three days ago -- just three days ago...
don't you realize? And you and Anna... No, I
guess they aren't like that any more. My God,
is it possible to forget in such a short time,
for things to change so quickly?
SANDRO
It takes even less.
CLAUDIA
But it's so sad. So terribly sad. I'm not used
to it, I'm not ready for it... You know... I
have never been so upset in my life. Sandro,
why don't you help me?
SANDRO
I think the only way to help ourselves, Claudia,
is for us to be together.
CLAUDIA
No, I'm sure it won't. Move over there. Let's
make believe nothing happened. And when we get
to the next station, get off.
SANDRO
And what about you?
CLAUDIA
Me... I... I... Please leave me alone.
Suddenly, she stands up and goes into the corridor. The car is of an old type
-- one half is first class, the other second. Claudia stops in front of a
second-class compartment from which the sound of two voices is heard. One is
that of a woman -- sweet, very delicate and very feminine; the other is that
of a man with a Sicilian accent. Sandro joins Claudia. Standing there
together they hear the conversation.
WOMAN'S VOICE
I work there but I'm really a stranger.
MAN'S VOICE
I tell you this acquaintance of mine knows you
and she has often spoken to me about you.
WOMAN'S VOICE
And who is she? Does she work in Catania?
MAN'S VOICE
Yes, she takes care of the garden.
WOMAN'S VOICE
Then it's impossible for her to know me. In the
villa where I'm at, we have a male gardener.
MAN'S VOICE
So? That's logical. You see, both being
gardeners, they spoke about you to one another.
WOMAN'S VOICE
And what did they say about me?
MAN'S VOICE
They told me that you were a very nice girl,
that you always mind your business... In other
words, things of that sort.
There is a moment of silence. Then, the sound of music is heard coming from
the compartment. Claudia and Sandro look at one another with a smile on their
faces. Then Claudia leans over to peek into the compartment. The woman is
young; she has thick, wavy brown hair. He is one of those typical seducers
from the provinces, with black hair. There is a tiny radio between them.
Sandro also takes a peek into the compartment. Then they withdraw as the two
resume their conversation.
WOMAN'S VOICE
We have a radio like this, too.
MAN'S VOICE
No, not like this one.
WOMAN'S VOICE
And why wouldn't we have one like this?
MAN'S VOICE
Because this is a Chinese radio.
Another pause. Sandro takes hold of Claudia's hand and presses it. She
doesn't resist, but allows him to do it.
WOMAN'S VOICE
Certainly a radio this small is very practical.
It's especially useful for... I don't know...
for traveling.
MAN'S VOICE
But for you, what comes first: music or love?
Claudia presses up close to Sandro, amused and, at the same time, obviously
moved.
WOMAN'S VOICE
Music, of course. To get a sweetheart, one has
to look around, but to get a radio, all you
have to do is buy one.
MAN'S VOICE
Ah, no... For me, love comes first. I'm a man,
and I know what's what: first love, and then
music.
Claudia laughs but she is still very upset. All of a sudden, she starts and
looks out the little window. The train is coming into a station and is
beginning to slow down. Claudia grabs Sandro by the sleeve and pulls him
through the corridor. Sandro tries to resist.
SANDRO
Claudia, listen to me...
CLAUDIA
No, Sandro, please... I ask you as a favor...
She continues to drag him through the corridor, until they finally reach the
platform. Then she opens the door. They are both highly emotional. Claudia is
almost hysterical.
CLAUDIA
Promise that you won't try to look for me...
you shouldn't try to look for me any more...
SANDRO
But why, Claudia?... Why?
Sandro tries to grab her in his arms, but Claudia pushes him away, almost
with a sense of violence, as though she were afraid she might change her mind
once in his arms. In the meantime, the train has come to a stop in the
station. Sandro pauses to look at Claudia once more.
SANDRO
Even if you chase me away, I... Claudia, let's
not wait any longer... After, it will be too
late ... Come with me.
Claudia is visibly battling with herself. Then, in one last moment of
decision, she pushes Sandro towards the door and goes back into the car.
Once on the ground, Sandro walks back and forth along the platform to see if
he can find Claudia, hoping she might look out the window to wave goodbye.
But she doesn't appear. The train starts to move, as Sandro desperately tries
to catch a glimpse of Claudia. But she is not to be seen. Sandro starts
running along the platform, but the train is now going too fast. He stops --
angry, disappointed and upset.
***
At the entrance-way of a luxurious villa, Claudia, who has just arrived, is
greeted by the Princess. She is an elderly woman, rather ordinary in
appearance but very aristocratic in taste and manner.
PRINCESS
Did you have a good trip? It is such a
magnificent day! I am very happy that Sicily is
able to give you so warm a welcome. And you do
deserve it. You're such a lovely blonde. Come,
my dear.
Claudia smiles, and follows the Princess into the garden.
PRINCESS
And where are you from?
CLAUDIA
From Rome.
PRINCESS
Oh, how nice! So, you're from Rome... And would
you happen to know of some intelligent
clergyman in Rome who might be willing to come
here and stay with us? We have our own private
little chapel... It is a masterpiece, with
seventeenth-century frescoes... and the
remains of all our dead ancestors, a wonderful
collection... He would find it very convenient
there, and could say his own masses. Then he
would have to spend a little time with my
husband, who never sees anyone, to keep him
occupied.
CLAUDIA
An intelligent clergyman, Princess? But I
think the intelligent clergymen of today have
so many other things to do.
PRINCESS
Well, perhaps one with a little physical
handicap. One who is slightly lame, for
example.
In the meantime, they have arrived at a shady alcove where, seated in various
wicker lounge chairs, are Patrizia, Giulia and a young man dressed in simple,
casual clothes. The first one to notice Claudia and to greet her with warm
cordiality, is Giulia.
GIULIA
Well, finally! We were beginning to get worried
about you, too.
Claudia plunks herself down in one of the lounge chairs next to Patrizia. The
young man rises and bows slightly.
PATRIZIA
But where did you finally end up?
CLAUDIA
It was futile. We went all over.
There is a moment of silence; the thought of Anna returns to weigh on the
group. Claudia pours herself an orange drink from a pitcher on the table
beside her.
CLAUDIA
(referring to Anna)
But why does she do these things?
(she takes a sip from
her glass, then rises)
I can't stand it any more.
She takes a few steps, looks around at the villa, and at the other end of the
alcove sees Corrado and Ettore saying goodbye to a pair of elderly gentlemen.
GIULIA
(to Corrado and Ettore)
But how can you carry on a discussion in this
heat?
CORRADO
When one approaches fifty, my dear, he is
affected only by the cold.
ETTORE
(noticing Claudia)
And who is this?
PATRIZIA
This is Claudia, Anna's friend...
(to Claudia)
You've never met my husband, have you?
Ettore immediately recalls Claudia's name from a previous conversation that
was apparently held before she arrived.
ETTORE
By the way, have you phoned him?
CORRADO
You mean Sandro? I told you already. He's not
in. At least he's not at the hotel.
ETTORE
Now look what has to go and happen... At a time
when I'll be needing him. How can we discuss
things when we lack dates and figures?...
PATRIZIA
But didn't he say he was coming here...
Now, with all this talk about Sandro, the sense of relaxation Claudia had
felt upon her arrival, has changed into a feeling of anxiety that becomes
more and more noticeable.
ETTORE
Well, what are you all waiting for? Send a car
out to get him. He can't be more than a couple
of hundred miles away...
GIULIA
To me, the fact that hasn't shown up is a good
sign. Do you want to bet that he's found Anna?
ETTORE
Maybe. But do you know that forty thousand
persons a year disappear in Italy without
leaving a single trace behind them. Forty
thousand! Almost as much as the entire
population of San Siro... Raimondo, will you go
and see if you can locate Sandro?
RAIMONDO
Okay.
A gong announcing lunch resounds throughout the garden.
PATRIZIA
First let the poor thing have something to eat.
ETTORE
It wouldn't really do you any harm to skip a
meal.
PRINCESS
I've never met this Sandro. What kind of a
person is he?... He couldn't have done her in
himself, by any chance?
ETTORE
(breaking out into a loud laugh)
Sandro?... Oh, sure... I can see Sandro call
