Contempt movie script
Text / [France] Jean-Luc Godard
Translation/Single Wanli
Title: Cinema City/Location/Day
1. Subtitles (white text on a black background): "Order No. 2 of the Film Review Pass".
2. Subtitles (black background, blue-white-red characters): "produced by COCINOR Film Company".
3. Subtitle (red letters on black background): "Contempt".
4. Filming scene (low-camera panorama): moving track, camera, photographer (Raoul Gudal) in operation. Behind him, the recording engineer and assistant are busy. The camera frame is framed by Francesca (she is flipping through her notes), a long moving lens moves from left to right, Francesca is facing the camera head-on, and turns into a silhouette (the lens pans from bottom to top, tilts upward. shoot). The photographer holds up a filter and looks at the sun. While the camera is moving, the voice-over reads the credits (the film's credits are read by the voice-over, not by the subtitles—translator).
Voiceover: "The film is based on the novel by Alberto Moravia.
Starring Brigitte Bardot and Michelle Bigley.
As well as Jack Ballance and Georgia Moore.
And Fritz Lang.
George Deleroux wrote the music for the film.
The recording is by William Seawell.
Edited by Agnes Guillaume.
Philippe Dussall and Carlo Rastriccati co-produced the film.
This is a Jean-Luc Godard film.
The film was shot on a widescreen system, with color processing by GTC in Johnville.
The film was produced by producers Georges Burrigade and Carlo Ponty for Rome Paris Films Concordia, Compania cinematograflca Champion and other companies. "
(Raoul Gudal shook the camera handle, and a 45° angle pan came, which framed the camera from the front. Another pan, from top to bottom, the two cameras framed each other, with the lenses facing each other).
The voice-over continues: "André Bazin says: Cinema is about examining the world of our desires through what we see. Contempt tells the story of this world".
Scene 1: Bedroom/Interior/Morning
5. Medium Shot: Paul and Gamil in bed. Gamil is in the foreground, lying naked on the bed, Paul lying on his back beside her under the sheets. The red filter unifies the tones of the picture.
Gamil: ...I don't know...I want to go to my mother's place...and...I don't know where to go.
Paul: Come and see me, if you will... Four o'clock in the afternoon at Cinema City. I have to go and discuss something with the American.
Gamil: Well... I'll probably go (Paul strokes her hair), do you see my feet in the mirror (she lifts them up)?
Paul: I see.
Gamil: Do you think my feet look good?
Paul: Good-looking...very good-looking.
Gamil: My ankle... do you like it?
(The camera moves slowly from left to right).
Paul: Like...
Gamil: Do you like my knees too?
Paul: Yes, I love your knees.
Gamil: So...what about my thighs?
Paul: Also like...
Gamil: Did you see my back in the mirror?
Paul: I see.
Gamil: Do you think my butt is pretty?
Paul: Beautiful...very beautiful.
Gamil: Do you want me to kneel?
Paul: No... well (he puts his hand on Gamil's shoulder).
Gamil: My breasts, do you like them?
Paul: Like it, especially like it (he strokes Gamil's breast).
Gamil: Take it easy, Paul! Don't use so much force.
Paul: Sorry.
The faces of the two were close to each other.
Gamil: Do you prefer my nipples or my breasts?
Paul: I don't know... I like both.
The red filter suddenly disappears, and we see that the quilt under Gamil is yellow. The camera moves from right to left along her body.
Gamil: Do you like my shoulders (she strokes her shoulders)?
Paul: I like it.
Gamil: But I don't think my shoulders are very round...then...do you like my arms?
Paul: I like it.
Gamil: Where's my face?
She looks at Paul (close-up of two faces, now with blue filter on camera).
Paul: Also like... (Gamil lifts his hair).
Gamil: Do you like all of them? My mouth...eyes...nose...ears?
Paul: Like all of them.
Gamil: So you absolutely love me!
Paul: Yes, I love you completely, tenderly, very much, like you!
Gamil: I love you so much, too, Paul.
Scene 2: Cinema City/Location/Sunday
6. Take 4: Paul walks from the background, he is wearing a white shirt, tie, black hat and a gray shirt in his hand. In the foreground is Francesca, Jeremy Proczy's employee who works as an interpreter on the set, wearing an orange top and gray skirt and holding a notebook.
Francesca (with Italian accent): Hello.
Paul: Good... how about you, too (he puts his shirt over his shoulders)?
Francesca: Good, thank you.
Paul: Tell me, what's going on... there's no one here, it's empty.
Francesca: Jerry fired almost everyone, which is really bad for Italian cinema.
Paul and Francesca walked towards the studio.
Paul: Where is Jerry?
Francesca: There.
Paul: Where?
Francesca: Jerry! ...Jerry! ...Jerry! ...Jerry! ...
The two of them came to a small building, and Jeremy Proczy came out of the building door. He was standing on the stairs on the second floor. He was wearing a black suit, white shirt and tie. He was the producer of the film. The filmmaker, he put up an awning in his hand and looked at the sun.
Jerry: Only yesterday, there were kings here...
Francesca: The emperors were still here yesterday.
Jerry: Kings and queens, warriors and lovers...
He went up the stairs and walked to the right again, then walked back to the left, and the camera followed.
Francesca: Emperor and Empress, Warrior and Lover...
Jerry: All kinds of real human beings...
Francesca: All human passions (here the actor preempts the following lines - original note)...
Jerry: All the real human emotions.
He paced back and forth.
Jerry: Yesterday, I sold this land...
Francesca: Yesterday, he sold everything...
Jerry: And now they're going to five build or ten stores of Prisunic on this... (He continues to walk up and down the corridor.)
Francesca: They're going to build several Prisunik stores (Note 1).
Jerry: This is my last kingdoms!
Francesca: The end of the movie has come.
Paul: People have been saying that for fifty years, but I think movies are here to stay forever.
Jerry (coming down the stairs, doesn't stop as he passes Paul and Francesca, then walks to the right): They told me it's you...write this wonderful success for motion pictures Toto against Herculus.
Francesca: They say you wrote the script for the film "The Battle of Tao Tao and Hercules"...
Paul: Yes.
Francesca (voice-over): The film was a hit in New York.
7. Medium Shot: Paul and Francesca walking side by side.
Paul: So-so...
Jerry (hands folded in front of belly): You don't have to be modest with me. I don't believe in modesty, I believe in pride, I believe in the pride of making good films.
Francesca: Don't be humble, you should be proud of making a good movie.
Jerry: Do you know the Odyssee?
Francesca: Do you know The Odyssey?
Paul: Is that the film you made with Fritz Lang?
Jerry: No! I've already lost the studio and I'm not gonna lose my shirt because of him.
Francesca: He's not very good.
Paul: Then...why did you let him intervene?
Francesca: Why did you take Lang, Jerry?
Jerry: Because the Odyssee needs a German director, everyone knows that a German, Schliemann, discovered Troy.
Francesca: Because the film needs a German director, it was the Germans who discovered Troy.
Paul: So what should I do?
Francesca: What should he do, Jelly?
Jerry: I want you to write some new scenes for the Odyssee...not just sex...but more...more...
Francesca: He wants you to add some new scenes to Odyssey, not just sex. but want more...
Paul: Actually, the producers are all the way, he doesn't know it yet.
Francesca: In fact you don't know.
Jerry took out a small notebook from his pocket, flipped through a few pages, and read the aphorisms on it.
Jerry: To know that one doesn't know is the gift of a superior spirit.
Francesca: Knowing what you don't know is a superhuman inspiration.
Jerry: Not to know and think that one does know, that is a mistake.
Francesca: It's a mistake to not believe what people know.
Paul lights a cigarette.
Jerry: To know that is a mistake, keep one from making it.
Francesca: Knowing that was a mistake, beware of repeating it.
Jerry (closes the little book, puts it on his chest): I have the knowledge here.
Paul: I don't believe Long would accept it.
Francesca: He doesn't think that Lang will accept.
Jerry: This is my money.
Paul: In 1933, Goebbels suggested Lang to lead the German film industry, and Lang went to the front that night.
Francesca: In 1933 Goebbels offered…
Jerry: But this is not 1933, this is 1963 and he will direct whatever was written. Just as I know you're going to write it.
Jerry patted Paul on the shoulder.
Francesca: It's not 1933, it's 1963, and Mr. Proczy knows you'll take the job.
Paul: Why?
Jerry draws from the left.
Francesca: why?
Jerry: I will tell you at the projection.
Jerry got into his red race car and started jerking off with a deafening sound.
Francesca: He'll tell you in the screening room. come, go from here.
She goes to the background with Paul.
8. The buildings of the movie city, background: Jerry's car passes through the shadows of the trees and disappears. In the foreground, Paul and Francesca are walking on the trail, running from time to time. Jerry's car reappears in the background, and Paul and Francesca run towards it.
9. Semi-panoramic view of Paul and Francesca: Jerry's car passes in front of them. Stop and Jerry gets out of the car.
Paul: So, why?
Francesca: He would like to know why.
Jerry (closes car door): Because you need money.
Francesca: Because you need money.
Paul: How did he know?
They stopped at a door.
Francesca: How do you know Jerry?
Jerry: Someone told me, you have a very beautiful wife.
Francesca: Someone told him you have a very beautiful wife.
Scene 3: Screening Room/Interior/Day
10. Partial panorama, Fritz Lange in a chair, backstage right is the field reporter, sitting behind a desk with a lamp on. Jerry, Paul and Francesca enter from left. Jerry and Paul passed behind Fritz Lange and took a seat, with Francesca sitting beside Lang.
Jerry (English): Looks like a lot of stuff, what are we going to see today, Fritz?
Fritz Lange: Each picture should have a definite point of view, Jerry!
Francesca: Every film should have a clear point of view.
Fritz Lange (pointing to screen with pen): Here it's the fight of individuals against circumstances, the total problem of the old Greeks.
Jerry: Oh, please translate.
Francesca: This is the question of eternity among the ancient Greeks.
Fritz Lange: I don't know if you're able to understand lt, Jerry. I certainly hope you can. It's the fight against the gods, the fight of Prometheus and Ulysses.
Francesca: It's a battle with God, a battle with Ulysses.
11. Statue of Benelope, close-up of her face, her eyes are painted blue, her lips are red, and the rest of her face is white.
12. The projection room, the projection room for the frontal shooting, the projectionist is operating the machine. He looks at the screen from time to time.
13. A large close-up of the statue.
14. The projection room, close-up of Paul
Paul: Is this Minerva?
Fritz Lange (German): Ja die Beschutzerin von Odysseus.
Francesca: She is the patron saint of the Odyssey.
Fritz Lange (German): Das ist Neptune, der Todfeind von Odysseus.
15. A close-up of the statue of Poseidon, with eyes and lips painted blue.
Francesca (voice-over): This is Poseidon, Odyssey's eternal enemy.
16. Screening room, close-up of Fritz Lange with Jeremy Proczy behind him. Fritz Lang motioned to the reporter.
Fritz Lange (German): Zweite…
FRANCESCA (VO): Put the second book on!
17. A statue of a goddess with blue eyes, yellow hair, red skirt and blue background.
Off-screen: Start!
18. In the screening room, the screen reporter sat behind a desk with a lamp on and flipped a page of the screen record.
Field reporter: The first scene of the seventeenth game of "The Odyssey" (the voice of turning over the field record sheet).
19. Same shot 17, goddess statue.
20. The chest shot of the statue, on the left is a statue of a man, wearing red clothes and black hair, with a blue sky and white clouds in the background.
Jerry (VO): Oh Gods, I like Gods! I like them very much.
21. Jerry rests his cheeks in his hands.
FRANCESCA (VO): Mr. Proczy likes God.
Jerry: I know exactly how they feel.
FRANCESCA (VO): He understands them well.
Jerry: Exactly!
22. Two statues of the goddess, one is naked, with hands on her breasts, her pussy is painted red, and her hair is blond. The other was wearing a long blue dress, with his hair tied into a conical crown, and carrying a red clay pot in his hand.
Fritz Lange: Terry, don't forget, the Gods... (23. In the screening room, featured by Francesca) have not created men, man has created Gods.
24. A close-up of a statue.
PAUL (V.O.): Look, Homer.
Francesca (voice-over): It was not God who created man, but man who created God.
25. A young girl swims naked in the deep blue sea.
26. In the screening room, Jerry looked excitedly at what was projected on the screen.
Jerry: Francesca, what is that?
FRANCESCA (VO): It's a mermaid, Jerry! That's a mermaid.
Jerry (laughs): Frutz, that's wonderful for you and me, but do you think the public is gonna understand that?
27. A mermaid with makeup on her eyes swims towards the camera.
Francesca (off-screen): It's really artistic, but does the audience understand it?
Jerry laughs.
28. In the screening room, half-length scene, Jerry raised his hands, very excited.
PAUL (V.O.): Who is that?
29. In the screening room, Paul holds a cigarette and always wears a hat.
FRANCESCA (VO): It's Benelope.
Jerry (V.O.): I have a theory about the Odyssee...(30. Close-up, a young girl in blue and red make-up, hands up her hair, behind her is a yellow wall, Jerry , outside) I think Penelope has been unfaithful.
FRANCESCA (VO): Mr. Proczy has an opinion on The Odyssey... (31. Same shot 29, Francesca, VO) He thinks Ulysses' wife is unfaithful.
Fritz Lange (German): O meine Bruder wenn ihr nach hundert tausend/Gefahren die Grenzen des Occidentes habt erreicht... (32. A bearded man, naked, he is Ulysses, behind him is A red wall) Zogert nicht den wegder Sonne folgend/die unbewohten Welnten zu ergrunden.
Francesca (outside): Oh, my brothers, those who have gone through the sea of fire and the mountain of knives... (33. Same shot 30, young girl smiling) to the western frontier, don't refuse to know them... (34. The bearded man was stabbed in the throat by an arrow, and the blood flowed. Francesca, continuing, off-screen) They came here in pursuit of the sun of a desolate world.
35. The camera starts to stop on Fritz Lang, and gradually pulls back into everyone in the screening room.
Fritz Lange: Find out where you came from, you were not born just to live, but to know science and morals.
FRANCESCA (interview reporter) Thank you, miss.
Fritz Lange (to Paul) Do you understand?
Paul: Yes, yes, this is a famous phrase, it was said by Dante (he holds his chin).
Fritz Lange: Yes.
Paul: Death is already staring at the stars, and our joy soon turns into raindrops... (36. Ulysses swims to a reef in the blue sea, he holds a sharp-edged sword) Until the sea drowns us.
VOICE OVER: Getting ready...start...playing the board.
37. Panorama, field reporter and boarder.
Field reporter: Mirror No. 701 - Article 3!
The two made a painting. The picture shows the sea and the sky, the reefs on the coast, the small trees on the steep cliffs swaying in the wind, and the sea is blue.
38. In the projection room, in the dark, only the reporters and projectionists in the projection room can be seen illuminated by the desk lamps. After the screening of the samples, the lights in the projection room gradually brighten.
Paul: I haven't introduced myself yet. My name is Paul Gerval, and Mr. Proczy introduced you to...
Fritz Lange: I know it all.
Paul: That's great, I really like widescreen movies.
Fritz Lange: It wasn't a film for humans, it was for snakes (with his hands imitating the movement of snakes), it was for funerals.
Behind Fritz Lange, Jerry stands up and walks to the left, the camera follows, Jerry is standing facing the camera, and the projectionist in the background is packing the film case.
Jerry (English): Fritz, what should I say about all this stuff you shot?
39. Fritz Lange pointed a pen at Jerry, who stood across from him, behind him on the white screen was written: "Cinema is an invention with no future - Louis Lumiere".
Fritz Lange (English): Jerry, do you want to rewrite the script?
Jerry (pointing at Fritz, English): You're lying to me, Fritz! This is not what was written in the script.
Fritz Lange (English): Why not! (Jerry tries to take the script from his hand) Oh, don't do that!
Jerry (to Francesca, English): Take that script, Francesca.
Francesca: Yes (she gets up and draws from the right).
PAUL (off-screen) What's the matter, Miss Vanini? Are they arguing over the script?
Francesca handed the script to Jerry and sat down.
Jerry (reading the script, English): Yes, the story you told was written in the script, but not on the screen.
Fritz Lange (English): Of course not, because what's on the screen is words, and what's on the screen is pictures, pictures of action.
Paul (voice-over): Oh, what he means is that what's written in the script is not the same thing as what's in the movie.
Jerry picked up a box of film and tried to throw it like a discus thrower, but Francesca stopped him.
Francesca: Hey! Jerry! ...
Fritz Lange (English): You finally got the feel of ancient Greek civilization.
Paul (voice-over): I have a date with my wife (Paul gets up and walks towards the door) and I'm going to see if she's here.
Jerry (English): You all wait a while! (He pulls out the checkbook and holds Francesca) I brought the world culture, I pulled out the checkbook, come here!
He forced Francesca to bend over and write a check on her back.
Fritz Lange (English mixed with French): A few years ago, a few years ago, the Italians used revolvers instead of checks.
Jerry handed the check to Francesca, who in turn handed it to Paul.
Jerry: I want hear you yes or no if you're gonna rewrite that stuff.
Francesca: Are you going to rewrite the script? (Paul turns to look at Fritz Lange, who answers with a shrug. Jerry draws. Paul puts the check in his coat pocket and lights a cigarette. Francesca comes to Lange, German) Ich habe etwas vergessen.
40. Francesca sat next to Fritz Lange.
Fritz Lange (German): Furchtlos bleibt, aber so muBt der Mann/Einsam vor Gott, es schutze die Einfalt ihm/und keiner Waffen braueht's und keiner/Listen, so large als Gottes Fehl hilft.
Francesca: But when man needs, he can live in peace, and only in the presence of God, his simplicity protects him, he needs no arms, no stratagems, until God helps him in his absence The time has come.
Fritz Lange: Very well.
Francesca: That's what Hedling said, right, Mr. Lang?
Fritz Lange: Yes, from his collection of poems "The Poet's Inspiration". The last sentence is obscure. He first wrote: "So lange der Gott nicht da ist".
Francesca: As long as God makes no mistakes.
Fritz Lange: He went on to write: "So lange der Gott uns nache ist".
Francesca: As long as God is close to us.
Fritz Lange: Yes, the last line contradicts the first two lines. It is not God's presence that reassures us, but God's absence that reassures us. It's weird, but it's true. How do you say "strange" in Italian?
Francesca: Stano.
Fritz Lange: strano. (They stand, Lang motions for Francesca to go first) Please.
Fritz Lange let the reporter go first.
Francesca: Thank you.
Fritz Lange: Please.
Scene 4: Cinema City/Location/Sunday
41. Francesca, Fritz Lange, and the reporter came out of the screening room. Fritz Lange handed a page to the clerk.
Off-screen: Francesca Vanini! Francesca Vanini!
Fritz Lange explained the matter to the field reporter.
Francesca (Italian): Five minutes! (She runs and draws from the left).
Fritz Lange walks towards the camera, the field reporter draws from the right. Lang lit a cigarette and walked past a red wall.
42. Paul is leaning against a wall with posters of several films (among them Adali by American director Howard Hawks and Vanina Vanini by Italian director Roberto Rossellini) "). Gamil enters the picture from the left, running to Paul's side.
Gamil: Paul!
Jerry drives the car, stops by the wall, Paul and Gamil kiss each other, then walk to Jerry's car.
PAUL (to Gamil): Let me introduce you, Mr. Proczy... (to Jerry) This is Gamil, my wife.
Jamil: Hello.
Jerry and Gamil shook hands hastily, without even looking up at her.
43. Fritz Lange continued along the wall. Paul and Gamil approached Fritz Lang, and Jerry drove away.
Paul (to Fritz Lange): Introducing my wife, Gamil... (to Gamil) Fritz Lange.
Fritz Lange: Nice to meet you, ma'am.
Gamil: Hello, sir.
As the three walked and talked, they stopped, drawing Jerry's red car on the left, a poster on the wall and a blue door in the background.
Paul: Fritz Lange, do you know the man who made that western with Marlene? It's the movie we watched on Friday.
Gamil: Oh, yes, that movie was great.
Fritz Lange: I really liked that film.
Gamil: You mean "The Curse"?
Fritz Lange: Yes.
Gamil: I saw this film on TV the other day and I liked it very much.
Paul: But, in Midnight Ranch... (Gamel leaves Paul and Fritz Lange and walks towards the car, followed by the camera).
Jerry (voice-over): Francesca!
Paul: That scene when Mel Ferry was leaning against the rocking board was awesome.
Fritz Lange (voice-over): Thank you, after I finish Odyssey...
Gamil approached Jerry's car, and Francesca walked towards Jerry.
Jerry: Let's have a drink at my home, yes or no?
Francesca: Mr. Proczy invites you to drink at his house, would you like it?
Gamil: I don't know.
Francesca: She doesn't know.
Jerry: She knows perfectly well.
Francesca: He said you know very well.
Jamil: Me? Paul!
44. Fritz Lange and Paul, Paul turned.
Paul: Well, I'd love to have a drink.
Fritz Lange: "Include me out", as one of the real producers of Hollywood once said Producer Samuel Goldwyn, who often makes Hollywood screenwriters laugh with his topsy-turvy remarks, as well as another of his famous lines: "I read part of lt all the way through." —Original note)
Fritz Lange shook hands with them.
Paul: Goodbye.
Fritz Lange: Goodbye, I'll call you...bye, ma'am.
Paul: It's a word.
45. Jerry was sitting in the car, he opened the left and right doors at the back, Paul and Gamil walked to the car, Gamil was about to get in the car.
GAMIL (to Paul): Let's go!
Jerry: Please get in the car!
Francesca: Please take a seat, ma'am.
Jerry: Paul, you won't be comfortable back there, so why don't you take a taxi.
Francesca: You'll be uncomfortable sitting in the back.
Paul: All right, all right, you go first, I'll be there later.
Paul draws.
Jerry (while talking to Paul): Or you can wait for me. I'll come back for you...
Francesca: Or, Mr. Proczy will pick you up later.
Paul: No... no need...you go first...you go first...I'll take a taxi.
He approached Gamil.
Gamil: Well, let them go first, and the two of us will take a taxi.
Jerry: Come on, let's go!
Francesca: You decide quickly. (She draws from the right).
Paul: You guys go first (Jerry starts the car, Paul helps Gamil buckle up) We'll see you later.
Gamil settled in his seat, the car drove, Jerry looked at Gamil, accelerated sharply, Gamil looked back at Paul.
Gamil: Paul!
46. On the road inside the movie city. Paul runs from the background, the sound of the car's engine.
Paul: Gamil! ! ... (he stops running) Jamil!
47. A man works on the exterior street of the movie city. Jerry's car was driving down the street at full speed.
48. Street, buildings, Paul runs in front, then turns to walking, Francesca comes over from behind him on a bicycle and overtakes him.
Francesca: Goodbye!
Paul: Goodbye. (Francesca comes out, the wall behind Paul is painted with blue, red, yellow spots, he calls to Francesca) Where is his address?
49. Statue of Neptune with a blue sky in the background.
Scene 5: Proczy's Villa/Garden/Exterior/Sunday
50. Panoramic view of the villa, a taxi stopped at the entrance, Paul got off, he quickly put on his shirt and walked towards the courtyard. On the right is Jerry's car.
51. Jerry and Gamil walk side by side, Jerry gestures, and a dog runs behind them and follows them.
Jerry: Yours, Paul! (52. Medium shot of Paul. 53. Jerry and Gamil) I'll fix you a drink, Paul. We were waiting for you, we thought you'll never get here
54. Paul and Jerry came to a table in the garden, Jerry poured Paul a glass of wine and handed it to Paul.
Jerry: what happens to you, Paul? (What happened on the way, Paul?)
Paul: What did he say?
55. A close-up of Gamil.
Gamil: My English is not as good as yours. We've all been there for half an hour...what are you dawdling on on the road...(she lowers her eyelids)
56. Jerry and Paul each have a glass of wine.
Paul: No dawdling... It's just that there is something wrong with the car, the taxi... (Gamil enters the painting, takes an art book from the table, and flips it casually) It's just around the corner... the corner...the corner of the street...(Jerry sits down) Two cars...collided...(Gamil draws from the left) So there was a traffic jam...The two drivers were arguing, what about me... ...I just... (57. Close-up of Gamil, her eyes downcast, Paul, off screen) I just got another rental car... just because of this...
Gamil: Because what's the matter? (She lifts her eyelids).
58. Paul holds a cigar.
Paul (looking at the left of the picture): What's the matter... I'm late. I should have walked, but I don't know how long. From Castel Sant'Angelo to Piazza Venezia, if you want to find a taxi (he turns to look at the picture to the right) long walk, walk a long...long...long (It takes a long time. 59. Jerry's half body King, he's wearing a pair of sunglasses, Paul, offscreen) it's going to be a long way, so...
Jerry: Yeah! (He laughs and drinks).
60. Medium shot: Gamil, sitting on a chair with her legs crossed, she puts the book on her chest.
Gamil (looking to the left): Okay, stop talking, I'm not interested in your story.
PAUL (V.O.): You'll be interested, the accident took me twenty minutes (Gamir looks at the painting, right).
61. Close-up of Jerry (he takes off his sunglasses and smiles, Paul, off screen): Don't you believe me?
GAMIL (V.O.): Let's talk about it later. (Jerry puts his sunglasses back on. 62. The camera pans to the right to frame Gamir) I want to take a walk.
Gamil got up and walked towards the background. Entered by the dog on the left of the painting, Francesca rode a bicycle into the painting, and Gamil turned around and walked back and forth.
63. Paul and Gamil in the garden.
64. Close-up of Gamil, hands in hair.
65. Semi-panorama: In the studio of the movie city. Jerry is in the car, Francesca is in the background, and Gamil is in the foreground.
66. Jamil has one hand in his hair and the other with a mirror.
67. A soundstage at Cinema City. Gamil and Paul, standing by Jerry's car. Paul helped Jamil get into the car.
68. Gamil, wearing a hat, turns around and smiles.
69. Gamil put his right hand on his left shoulder, walked with his head down, and raised his head.
70. Paul stood at the table pouring wine. Beside him, Jerry sat drinking. Francesca enters the painting from the right, hands a mail to Jerry, and paints from the left.
Jerry: Francesca! (Jerry drops the mail, Francesca comes back to pick it up) Tell Paul, to come to my office tomorrow to sign his contract.
Francesca: Mr. Proczy told you to go to his office tomorrow morning to sign the contract.
Paul: All right. (Francesca draws from the left, Paul turns to the left) What's the matter, Gamil... (71. Gamil's profile, she sits on a chair and turns 90, her back to the camera) Why don't you speak?
Gamil opened the book and turned another page.
72. Gamil continued to flip through the book. Jerry came up behind her, Francesca passed in the foreground, drawing from the right.
Francesca: Jerry! A call from London... (panning, trees in the garden) Jerry. Londo... (Voiceover) We're going to Gabriel on Friday for the filming, will you come with us?
Jerry draws from the right.
Paul (off-screen): When people ask you something, you answer. (Paul enters) Why didn't you say a word... (Gamil closes the book and puts it on his lap) What did you guys do when I wasn't here?
Gamil: Nothing special.
Paul: Why, he has courted you? (She turns around suddenly).
Gamil: Why do you remember asking this?
Paul: How else can I ask... (laughs, he strokes her knee) Well, I'm going to wash my hands (he gets up and draws from the right).
73. Gamil in the garden.
74. Cinema City, Jerry's car in the foreground, Gamil looking at the car, Francesca and a movie poster on the wall in the background.
75. Paul and Jerry sit at the garden table, Paul puts on his sunglasses.
76. Jerry and Gamil walk side by side on the garden path.
77. Cinema City, buildings. Paul came, with his shirt tucked between his elbows, from the background, with Francesca in the foreground.
Scene 6: Living Room/Interior/Day of Villa Proczy
78. At the door, Paul enters, and Francesca goes down the stairs.
Paul: Where can I wash my hands?
Francesca: Go up, right.
Paul went up a few stairs, looked back at Francesca, stopped, and went down the ladder again to Francesca.
Paul: What's the matter? Something looks wrong.
FRANCESCA (VO): Nothing.
Francesca was changing her sweatshirt, she took off the yellow one and put on a red one.
Paul (stroking her hair): Are you crying?
Francesca: No.
Paul: That boss is too strict.
Francesca: Yes.
PAUL (sitting on the sofa, picks up a cigar): Have you known him for a long time? What did he do before the movie?
FRANCESCA (on the couch next to Paul): I don't want to talk about it.
Paul: I just asked casually (he lit a cigar). I think this is outrageous, you are so lovely and yet so sad.
Francesca: Don't you have any other interesting topics?
Paul: Something else, interesting? (He stands up), talk about something? Oh, there... (he paces in front of the couch), tell the story of Rana Krina and his apprentices (as he walks, he touches the furniture in the living room). Rana Krina was an ancient Indian sage who had a disciple who absolutely no longer believed the teacher's teachings. So he decided to go to work on his own and just... gone... (Paul walks around the red sofa), and after fifteen years, he came back and said he had finally found...
Francesca: What did you find?
Paul: He said to Rana Krina, "Come here and I'll tell you". He took Rana Krina to the river, he walked on the water in the river, walked back, and said to the teacher: "You see I can cross the river without getting wet, now I know...( Paul walks past Francesca), and Lana Crina says to him, "You're a fool, because for ten years (Paul crumbles cigars) I've spent a rupee and a boat, um, all the time. doing the same thing. "
Francesca got up and walked to the left of the painting, Paul's hand on Francesca's shoulder.
Jerry (voice-over): Francesca!
Paul: Are you feeling better now? That's great.
Paul stroked Francesca's back, then her chest, arms, and then accompanied her to the door, when Gamil came in. Paul climbed a few steps.
Gamil: Paul!
PAUL (stops, turns around) What's the matter?
Jamil stood on the floor of the living room, walked over to the light switch on the wall, turned the switch on and off, and made the light flicker.
Gamil: Is that how you wash your hands?
PAUL (coming down the stairs): Um... did you see me just now? Let me explain to you (Gamil climbed a few steps) that I was just telling her the Rana Krina story.
Gamil: Anyway, I don't believe you.
Paul: You are a complete fool.
Gamil: Where is the bathroom?
Paul: There.
Gamil went upstairs and Paul walked out of the living room.
79. Living room interior, white walls. Paul enters, and Jerry comes in, flipping through a book, and Paul comes to Jerry to read the book.
Jerry: Paul, I found a book...(Francesca into the painting) on Roman paintings, I thought it will help you for the Odyssee.
Francesca (pictured left): This is a book about ancient Roman painting that will help you write your screenplay.
Paul: Was the Odyssey written in Greek?
Francesca (foreground, profile, combing her hair): Jerry the Odyssee is in Greek.
Jerry: Yes, I know.
He handed the book to Paul, who followed Jerry out.
FRANCESCA (continues brushing): Oh, he knows. (She looks out of the living room).
Scene 7: Proczy's Villa Garden / Exterior / Day
80. Facade of the villa, Paul and Jerry stand on the platform before walking down the stairs.
Jerry: I was right (I was right that day).
Paul: What? ... (to Francesca on the balcony) What is he talking about?
FRANCESCA (VO): About what? (about what?)
Jerry: About the money and his wife.
FRANCESCA (VO): About money and your wife.
Jerry came out of the painting, the camera followed, he circled around a tree, Jier walked to the right, Francesca followed Jerry, and Gamil entered the painting from behind.
Jerry (to Jamil): Why don't you stay for dinner? yes or no?
Francesca: Mr. Proczy would like to invite you to dinner, would you like to?
Gamil: I'm tired and want to go back (she goes to the left of the painting).
Jerry followed Gamil.
Francesca: She's tired.
Gamil: Tell them, let's go, Paul!
PAUL (V.O.): Um... well... let's go.
Francesca: They, must go, Jerry.
Jerry: If you decide about Capri, call me this evening, I must get the villa ready.
Francesca: If you decide to go to Gabriel, call him tonight, he wants the villa ready.
Gamil: Paul will call you (she looks at Paul).
Francesca: Paul is going to call you.
Jerry (pointing to Gamil): What about you?
Francesca: Why not you, ma'am?
Gamil (she turns to look at Paul): Because, my husband makes the decision.
Jerry (to Paul): What is it that interests you about the Odyssee?
81. Several people came into the yard, in front of Jerry's car.
Francesca: What interests you most about The Odyssey?
Paul: I don't know yet...
Francesca: He doesn't know yet.
Jerry and Francesca stop, Paul and Gamil walk to the left of the painting.
Paul: Maybe it's because making this movie can make something different from the movies that are popular and disgusting to me.
Francesca: He wants to make different movies.
Paul: Gotta go back to the Griffith and Chaplin film tradition.
Francesca: ...like Griffith and Chaplin.
Paul: That was the era of artist alliances.
Jerry (pulls out a small notebook from his pocket and reads): The wise man does not oppress others with his superiority.
Francesca: A wise man never overpowers others.
Jerry: He does not try to hurmiliate them for their impotence (Jerry and Francesca are about to turn away).
Francesca: He doesn't bully others.
Jerry and Francesca walked back, Gamil and Paul standing by the wall.
Paul: Goodbye.
Jerry closed the fence door, caught up with Francesca, and grabbed her by the shoulders.
82. Jerry's villa garden, Paul and Gamil turned and walked away, the two were side by side, Gamil turned around and left Paul.
Gamil: He's crazy, you see he kicked her.
Paul: You've turned fast enough...you haven't seen what he did on Monday afternoon.
Gamil: Now I think he's an asshole, and I have the power to change my mind.
Paul: What's the matter? What happened in the past hour?
Gamil: Nothing...if you're happy, so am I.
Paul (taking her arm): Hmmmmmmmmmm…
They run.
83. Close-up, statue of the goddess Minerva.
Scene 8: The Streets of Rome/Exteriors/Day
84. Paul and Gamil walk on the sidewalk, Paul opens the newspaper and reads the headlines as he goes.
Paul: People are touting Regina.
Gamil: It's funny.
Paul: Nicholas Ray's "Behind the Mirror" is in theaters.
Paul closed the newspaper and draped his shirt over his shoulders.
Gamil: I don't think so.
Paul: You have the keys.
Gamil: I know.
Paul: At noon, I called your mother's house and you weren't there. where do you eat?
Gamil: Just eat here, I don't want to go out. In the end I still like living here. (Paul puts his arms around her neck, Gamil, off-screen) 85. This is better than a hotel.
Paul (off-screen): You see, I'm right.
Gamil (voice-over): How much did you pay for that script?
Paul (voice-over): Ten thousand dollars...six million lire—or an apartment...comfortable, isn't it?
GAMIL (V.O.): Well, it's comfortable.
The camera pans out the window onto the street.
Scene 9: Paul and Gamil's Apartment / INT / DAY
86. Paul and Gamil open the apartment door and go in. The walls are white but not fully painted yet.
Gamil: When did you ask your buddies to bring the curtains? (She goes to the kitchen in the background) I'm bored.
Paul: When he came back from Spain (he hung his shirt on the coat hook and Gamil opened the fridge), Roberto told me that he was back on Friday.
Gamil opened a bottle of Coca-Cola and came to the living room. Paul drew a picture and walked to the black table in the background.
GAMIL (to Paul off-screen): I want red velvet, or I don't.
Paul (taking off his tie, walking to the left of the painting): I agree. While I'm taking a shower, go and spread the tablecloth.
GAMIL (V.O.): I still want to wash.
There is a door in the rear aisle, but it has not been glazed.
Paul (opens the door) Okay...you go wash...I'll do the work.
He closed the door and walked to the right of the painting.
GAMIL (V.O.): No, I'll make it later. Boil the water first.
Paul (coming out of the door): Why are there still beans here, eh?
Gamil: Same price if it pleases you (she turns to the kitchen).
Paul (at the kitchen door): Then I'm going to lay the tablecloth? (Paul draws from right).
Gamil: I'm doing it. (Gamil picks up the book Jerry gave Paul and walks into the living room, which has a blue sofa and a red couch and a tree outside the window. Paul sits on the sofa and takes off his shoes, and Gamil walks towards him). I bought this this morning... (a bronze statue of a woman in the foreground), what do you think.
Gamil put the book on the coffee table.
Paul (slackening his belt): What? (87. In the bedroom, there is a picture on the right wall. Gamil takes off his shirt, leaving only a vest. Paul, off the picture) What?
Gamil: Look, it's there.
Paul undressed as he entered the bedroom, Gamil hid behind the door, and Paul threw his pants on the bed.
Paul: Do you want to go to Gabriel? (Paul walks out of the bedroom, Gamil shuts the door, then kneels on the bed with the yellow bedspread, she picks up the white and black dotted dress on the left side of the bed. Paul, off screen) Gamil! (Sound of running water. Jamil gets up and tries on dress).
Jamil: Ugh... what's the matter?
Paul: Do you want to go to Gabriel?
Gamil dropped his skirt, bowed his head, and whispered
Gamil: I don't want to say no...but I don't want to say either.
PAUL (V.O.): Go, even on vacation.
Jamil stood up and walked out of the bedroom.
Gamil: Besides, he didn't invite me either.
PAUL (V.O.): What?
88. The picture is divided into three parts, the left is the bronze statue, the white wall is in the picture, and the right back is the bathroom, the door of the bathroom is open. Jamil crossed the aisle, disappeared behind the wall, and reappeared in the living room.
Gamil: He invited you, not me... (she is decorating the living room) Where is the mirror? Oh, remembered!
Gamil walked into the hall, the mirror on the floor against the wall, and she looked in the mirror, brushed her hair, and walked down the hallway to the bathroom.
PAUL (V.O.): No, he invited the two of us.
The camera follows Gamil.
Gamil: Look... (she stands in front of the glassless door, with her back to the camera) Look.
89. In the bathroom, Paul is in the bathtub, with a hat on his head, a cigar in his mouth, and a red bath towel on the left side of the picture. Gamil leaned against the door frame of the bathroom.
Gamil: Does this hair set look good? (She kneels beside the bath).
Paul: It doesn't look good. I like your blonde hair better.
Gamil: I prefer that you don't wear hats and don't smoke.
Gamil stood up, returned to the foreground, looked in the mirror on the left of the painting, and combed his hair.
Paul: I dressed like this to imitate Dean Martin in Somebody Running Over.
Gamil: Oh...oh, that's ridiculous.
Paul: What?
Gamil: I don't know if you want to dress up as Dean Martin, but you look like Martin the Fool (she puts her comb on the dresser and turns to Paul).
Paul: Who is he?
GAMIL (gets out of the bathroom): Haven't you heard the adventures of Martin the Fool (she walks to the left of the painting, hiding behind the aisle wall)?
Paul: No.
Gamil (appears at the door again): One day, Fool Martin went to Baghdad to buy a blanket. He saw a very beautiful one from a merchant... (90. Gamil walks back and forth in the living room and the aisle, outside the picture ) He sat on it, but the blanket didn't fly. So the businessman said to Martin, "There's nothing strange about that..." Well, are you listening? (She goes to the living room and goes to the kitchen).
PAUL (V.O.): Listening.
Gamil: "It's no wonder, in order to make this rug fly, one shouldn't think of a fool", Martin said to himself: "Well, well, I shouldn't think of a fool" (she out of the painting), as soon as he thought of it (she entered the painting from the right), the carpet flew up.
PAUL (V.O.): I don't see how this has anything to do with me.
Gamil: That's exactly what I said (she is pictured from the left, Paul in a bathrobe).
Paul: I still don't understand what it means in the end!
Gamil: Okay, let's not talk about it... Have you washed it yet?
Paul: After washing, the water in the pool is clean, you can use it, I didn't use it just now. You were a little weird just now, Jamil, what's the matter with you?
GAMIL (lowers her head): Nothing... (she raises her head again) I know you'd say that about me.
When Gamil came out, Paul stood up and took a few steps to the left.
Paul: Is it because of this girl...
GAMIL (V.O.): I told you, it's nothing, I just wanted to say you're a fool.
Medium shot: Paul goes to the bronze statue by the white wall, he touches the statue's breast with his fingers, then touches her stomach, and taps the bronze statue with his fingers all over the place.
Paul: When I knocked, it made a different sound... (he leaves the statue) Why... don't you want to go to Gabriel?
Gamil: Because you're a fool. (Paul slaps her and she turns her face against the wall.)
91. Close-up, Gamil's back, she turns) You're scaring me, Paul. Besides, this isn't the first time.
Paul: You just had to answer me just now, why didn't you answer my question, but made a fuss. Why would I marry a twenty-eight-year-old typist!
Jamil turned away again.
Gamil: Really, I apologize to you.
Paul (off-screen): I apologize to you too.
The two stood opposite each other, looking at each other.
92. Paul and Gamil hug each other and kiss.
93. The two separated.
Gamil: Go to Gabriel, Paul, if you want. I don't want to go (she walks into the aisle, looking at the painting right). Besides, I don't like that Jeremy Prockey guy, I told you (she goes into the room on the left, Paul follows her into it).
94. Close-up, Paul leaning on the door frame.
Paul: Why, he bullied you (he lowered his head)?
GAMIL (V.O.): Absolutely not.
95. Mid-range overhead shot, Gamil sitting on the toilet in the bathroom, with the window on the right, she lit a cigarette with a match and threw away the matchstick.
PAUL (V.O.): Why are you acting like this contemplative?
Gamil: Can you also think that I'm thinking about something, does that surprise you?
PAUL (V.O.): No surprise, what are you thinking?
Gamil: An idea.
Paul (off-screen): Come with me, or do I have to go alone? (96 with 94) Ever since you met that guy, I think you're a little weird, Jamil.
97. A close-up of Gamil, with a yellow bath towel on her left.
Gamil: No, I'm not weird at all... (she takes a few puffs, bows her head, then looks up at Paul off-screen) I don't understand why you say that?
PAUL (off-screen): I'm just casually saying...it was fine this morning. (98. Gamil gets up, walks over to the mirror hanging on the wall, and combs his hair. Paul is still leaning against the door frame) But now, we're suddenly arguing inexplicably... What's the matter, my little one?
She walked to Paul, took off her skirt, and stood in front of the mirror, Paul stroked her hair.
Gamil: I'm just kidding, nothing. Paul, I'm afraid I'll be troubled when I get there. I'm not going... (she approaches Paul) I'm not going... (she leaves the room, avoiding Paul) I'm not going. (99. The camera pans to the bedroom door, there is a bunch of flowers in a vase in the background, Gamil is standing in the aisle) I don't want to go... (She enters the bedroom, Paul follows her to the bedroom door, enters the bedroom, sits on the bed, Wear socks. Gamil, off-screen) I'm not going...I'm not going...
Paul: Did you see that house across the street? So ugly!
Gamil came out of the bedroom, took off his black vest, combed his hair, came to Paul again, and sat down.
Gamil: Okay, Paul, if you love me, don't say it.
She walks to the left of the painting and Paul stands up, puts on his pants, and walks out of the bedroom to the hallway.
Paul (to Gamil, pictured left): The husband has the right to know why his wife is so sad. (He wraps his arms around the red towel that Jamil throws over) I'm sure you're still thinking about that girl.
The sound of water being released from the bath (outside of the picture).
GAMIL (V.O.): You're so annoying.
ring tone. Paul went into the bedroom, took off the receiver, and sat down on the bed.
Paul: Hey... hello madam... Gamil is not here... (Gamil is in the picture, she is standing behind the wall, listening to Paul's phone call) I thought you went out for lunch at noon and did some shopping... (Add Mir walks into the bedroom and lies on the bed) She's here, just came in, I ask her to answer the phone... (Paul hands the handset to Jamil) It's from mom...
Gamil took the microphone and motioned Paul to go out.
Gamil: Hey, Mom... (Paul closes the bedroom door, but stands at the door listening. Then, Paul opens the door again. 100. Gamil lies in bed) I'll call you tomorrow, bye. (She hangs up and kicks Paul hard) You're crazy, asshole! Why did you tell mom that I'm not here?
Paul (standing by the bed, we can only see his shadow, off-screen): I don't know why I said that!
Gamil: But I know... (Paul walks from the right to the left of the picture) You want to know if my mother really ate with me at noon... Wonder if I was joking with you just now.
Paul sat by the bed.
Paul: Yes.
Gamil: If you do this again, I'll get a divorce, Paul... (she stands up, pulling off the yellow quilt and white sheet) Get up!
Paul: What are you going to do? (Gamil walks out of the bedroom)
GAMIL (V.O.): I'm going to sleep on the sofa.
Paul: When, tonight?
GAMIL (V.O.): No...every day, from now on. (Paul stands up and walks out of the bedroom, the camera is on the closed bedroom door. 101. Paul walks to the right of the painting and comes to the living room, where Gamil spreads the sheets on the couch) Don't be angry, I just want to sleep by the window.
Paul sits on the blue sofa on the left.
Paul: Well, I'll close the window.
Jamil: No. You keep saying you don't feel comfortable...no...no...have to sleep separately at night. Many couples sleep in separate beds, but they still get along very well.
Paul got up from the sofa.
Paul: Where the hell am I messing with you, tell me...I ask you to forgive me for saying you weren't here, is that why you're unhappy? I beg your pardon.
Jamil: Leave me alone.
She walks out of the picture and Paul turns around and wears his belt.
Paul: Is that why you're unhappy?
Gamil (off-screen): Yes, but it's over (she is in the painting), it's all right now, I'm fine.
Gamil put the pillow on the sofa and lay on the sofa.
Paul: I sincerely review what just wasn't. How did you suddenly become vicious!
Jamil: Me? I am still the same me. You have changed, Paul. (Paul sits next to Gamil, stroking her) Besides, since you've met people in the movie business... Once upon a time, you wrote detective stories... We didn't have much money back then, but we had a good time (she sits up , pulls a card out of Paul's pants pocket) What's this?
Paul: Here it is!
Gamil (reading cards): Membership of the Italian Communist Party. You never told me before that you joined the party.
Paul: That was when I was in Paris two months ago...you bring me...give me (he took the card from her).
Gamil (fighting with Paul): Release me, you hurt me.
Paul: Then stop talking to me like that!
GAMIL (standing up, drawing from the left): Then don't do that too!
Paul: I work for you, this house is for you, not just for me!
GAMIL (V.O.): I beg you, Paul, I don't want to fight.
102. Paul put the cards in his pocket, he sat down at the coffee table and picked up the book Jerry gave him.
Paul: Actually, I don't want to go to Gabriel either.
GAMIL (VOICE ONE) Why, don't be silly, you go...Paul...would you come over?
103. Paul was browsing the book, The Roman Love, with a fresco on one page.
PAUL (V.O.): What? (He continues flipping through the book) I don't want to go because I'm no longer interested in that job. Can you just call Proczy and say I don't want to talk to him anymore.
GAMIL (VO): Paul, come here... (Paul flips through the book) Why don't you want to write scripts anymore?
Paul: I used to write scripts... (he flips through the book casually) out of love for you. (104. Paul looks at the book) It's no use for me to write anymore, because you don't love me anymore.
GAMIL (V.O.): It's the number one news (Paul turns the book, stops on a page, reads).
Paul (aloud): "Three beauties were playing their butts, I was the judge alone, they chose me to be the judge. They showed me their stunning nudes, the first beauties' snow-white bodies, rounded Her back is in front of her eyes. The second one spreads her legs and her skin is like a bright red rose. The third beauty sits there motionless, like a calm sea. Her beautiful body trembles involuntarily. Like the gentle waves of the sea." (105. Paul was flipping through the book, still wearing his hat) If it came time to run out of money, he could only use it as a mortgage.
GAMIL (V.O.): Did something remind you that I don't love you anymore?
Paul turned a page.
Paul: Yes.
106. Paul sits on a red couch with a bronze statue in the foreground.
GAMIL (V.O.): What... what...?
Paul: All!
Gamil: Like, you give an example?
Paul put the book on the coffee table, stood up, picked up the sheets and quilt on the couch, and walked to the right of the painting.
Paul: Tell me first is this true?
Gamil: No...you have to tell me first...
Paul: What? Reminds me that the reason you don't love me anymore is the way you've been talking to me since the afternoon... (107. Paul leaning on the door frame) You weren't like this this morning... (Paul sat by the bath), Neither was yesterday. The way you look at me is wrong.
Gamil enters the painting, standing to the right of the bathtub, reading an essay by Luc Mullet, "Fritz Lange," collected in the book "Films of the Day."
Gamil (reading): "In my opinion, the question boils down to the way we conceive the world, whether it is positive or negative. Classical tragedy sees the world in a negative way, so it sees people as victims of fate God is personified, and fate blinds man to hope.”
Paul: Why do you say the window is open?
Gamil (reads on): "I'm thinking about... man can resist bad things, wrong things, must resist... (Paul picks up his shirt and puts it on) When one is trapped by circumstances, by programs... (Paul Stands up) But, I don't think moderation is a solution, it's useless for lust driven crime. (Paul shaves) I fell in love with a woman, but she cheated on me, and I killed her, So what happened to me? I lost my love and she died, and if I killed her lover, she would hate me and I would lose my love. Killing is never a solution."
Paul takes the book from Gamil.
Paul: Come on, listen, Gamil!
Gamil: Listen, I promise you, I can't sleep with the windows open, I need quiet, darkness...I promise you (Gamil stands up, walks out of the bathroom). You always turn over when you sleep, you keep waking me up, and I want to sleep alone from now on.
Paul: You don't want to have sex anymore?
Jamil went back to the bathroom.
GAMIL (smiling): Listen, asshole!
Paul: Is this laugh of yours sarcasm or gentle?
GAMIL (turning around): Gentleness.
Paul: Answer me well!
GAMIL (V.O.): If it's true, I'll tell you straight, there's always a reason a woman doesn't want to have sex. (
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