2

In great disgust Rocco turns from the SINS OF PARIS
and looks for stronger stuff. HER TERRIBLE MISTAKE hits him
in the eye. He drops another Penny in the slot.

Nearby a mechanical Gypsy Queen in a glass case offers
the future for a penny. Rocco doesn't see the girl with
dove's eyes searching her purse for a penny. She is young and
full-breasted, with the mellowed olive skin of Sorrento. This
is Della Madrone, a little bewildered by the wonders of the
Park. With her is Hilda Jenkins, less attractive and not
bewildered at all.

Della giggles as she reads her fortune. Then Della
stops giggling. Standing before her is a dark man devouring
her with his eyes. Never has Rocco Stefani seen such a woman.

"Never," he says aloud.

Della drops her fortune card and backs away. Hilda
simpers. Della grabs her arm and pulls her into the Midway.

Rocco picks up the card and reads it. Della's
fortune reads:

"Your disposition is too romantic.
Beware! A dark man is about to
enter your life."

He smiles, looks after her and follows.

In front of the Scenic Railway, Della glances back, her
heart in her throat. The dark man is following them. She is
too frightened to say anything to Hilda.

Barker: "This way, folks. The trip of a lifetime!
See the beauties of Venice! The Arctic wastes of the Klondike!
The golden sands of Araby the Blest! All aboard!"

bk

3

Della pulls Hilda into a seat on the miniature train and it chugs away, tiny bell clanging.

"Golly, what's yo ur hurry?" Hilda wants to know.

"A man was following us." She glances back and is horrified to find Rocco sitting, cheerfully behind them. Della gulps and points frantically, but before Hilda can comprehend, the darkness of the tunnel envelops them.

Passing the canals of Venice, the e is an audible groan of pleasure from Rocco as he inhales the fragrance of her hair.

"Aaash, Mama mio! Like the flowers of Abruzzi!" He sighs.

Della strains forward and away from him, panic-stricken.

Clumsily Rocco pats her with a big work-scarred hand.

"Don't be scared, kiddo," he says softly.

Della emits a piercing scream. Laughter from the couples
in the rear-coaches.

The Klondike's icy wastes fail to cool Rocco's ardor.

"I'm Rocco Stefani. I wouldn't hurt you for nothin'."

But Della isn't convinced and continues to lean forward.

Hilda snaps back at Rocco: "If you ain't the gally
article. They got coppers here to take care of mashers like
you!"

"But you make big mistake," he protests. "Rocco Stefani -
he's no masher. I like this woman. I wish to know her name and
where she live."

"Gee, wouldn't that sting you?" says Hilda.

"Don't talk to him, Hilda," Della cautions.

Rocco leans over and whispers into Della's ear. "I read
your fortune. Pretty good, huh?"

4

To avoid him, Della tries to stand, but a low beam at the end of the tunnel approches.

"Sit down," Rocco says. His hands clasp her tiny waist and he pulls her to safety.

Now the little journey is ended. They leave the train and Della walks away quickly, not altogether sure of her anger.

"Wait a minute," Rocco calls.

Hilda turns. "Oh, go sell your papers!"

They hurry down the Midway, Rocco following persistently. In front of the grotesque Foolish House Hilda spots a policeman.

"Officer, that man's annoying we ladies."

The cop hitches up his belt and twirls his mustache. "Oh, he is, is he?" He starts toward Rocco, who stops uncertainly.

"No, he isn't," says Della. "I mean - not exactly."

"Well, I like that!" from Hilda.

The Cop: "Make up your mind, Girlies. Is he or ain't he?"

Della (firmly): "He ain't. I mean, he isn't." Turning to Hilda, she says: "Let's go in here. I'll treat you."

She buys tickets and they cross the boardwalk to the entrance. Rocco stands watching them. The cop eyes him. Della glances back at Rocco, and tosses her head proudly. At this moment a blast of air from below forces Della's skirts above her knees. Horrified, she beats them down and turns a scarlet face toward Rocco. He is laughing uproariously.

"Beautiful!" he says, throwing her a kiss. "Beautiful!"

Della pulls herself together, turns on her heel and walks bravely inside, stepping into the huge rolling barrel which tumbles her into all sorts of embarrassing positions.

dhl

DISSOLVE TO:

5

CRYSTAL MAZE. Della and Hilda find themselves in the room of mirrors, faced by a thousand reflections. Della looks around expectantly.

"He'll never find us here," she says. "Will he?"

"He better not."

Della examines her hair pensively in a convex mirror.
"You know, Hilda - I never use any perfume. Does my hair really smell like flowers?"

Hilda sniffs. "Smells just like hair to me," she says.

"The way he grabbed me," Della says wistfully. "He had the strongest hands....." She stops abruptly as a hundred reflections of Rocco Stefani fill the room. He is standing there, somewhere - she isn't sure where.

"Hilda - come on!" She takes her friend's arm and whirls away from the images - into the arms of Rocco.

"Oh, dear!" says Della. She tries to draw away but he holds her firmly.

"Why do you run from me?" he asks. "Why?"

"Why do you keep after me?"

"The little card told the truth," he says. "You mustn't run from Rocco no more."

Della is surprised at herself for not wanting to get away.

Hilda: "You leave her alone! She's a nice girl."

Rocco: "I think so too." He smiles and looks down at Della fondly. "She is a wonderful girl!"

DISSOLVE TO:

dhl

6

CABLE CAR - NIGHT. Rocco and Della sitting side by side. Rocco is holding Della's hand, stroking it like a kitten. She is shy and embarrassed, breathless at her own audacity. She glances at the other pasengers: a shanty Irish family with tired kids draped sleepily around their enormous mother; and an ageless Chinese with rheumy eyes.

Rocco speaks softly: "The first time I see you, I say to myself: 'Rocco Stefani, here is the one woman for you. Why fool around any more?'"

Blushing, Della laughs and looks at the other passengers, but they are not interested. Suddenly the cable car dips down a sharp hill and Della slides tightly against Rocco.

"Good," Rocco says, patting the car seat. He speaks to the car: "Do it some more." He slips his hand around her waist. "I build you beautiful house. Fine kitchen, big fireplace, real bathtub. Ah, Della mia - we be so happy together!"

"But I don't know anything about you," says Della.

Rocco snorts impatiently. "I know nothing about you... what difference that make? My heart she holler 'Go get her.'"

He slips to his knees, his hand on his heart.

"Please, Rocco," she says. "Get up. People are looking at you."

"Only you and me here." He gets back beside her and speaks fervently. "You think I tell you lie? You think me be I can't support you? Look!" He shows her his calloused hands. "Plenty work - plenty brains. Rocco Stefani someday he's best architect in whole San Francisco!"

dhl

7

"Architect?" She looks doubtfully at his horny palms.

He smiles. "I know what you think. But this is America!"
He gestures triumphantly. "Chance for everybody. Rocco Stefani -
Rocco Feller." He roars at his joke. Then he is tender again.
"Look at me, Della. You have little children swimming in your
eyes."

She hides her face, blushing with shame. "You mustn't
say things like that, Rocco - it's a sin."

"What's a sin about having big family? You and me - we
have seven - eight - ten little sins! What you say?"

DISSOLVE TO:

STREET IN LITTLE ITALY - NIGHT. Rocco brings Della to
her home, a middle-class brick facade, set snugly in a slanting
two-story building filling the block of a steep hill.

They pause in the shadow beyond a pool of light from
the street lamp.

"It's so late, Rocco. Please let me go."

"No kiss for Rocco?"

"Oh, I couldn't do that!"

He sits on the curb, buries his head in his hands. She
is astounded.

"Rocco, what's the matter?"

"I love you and you treat me like a dog!"

"Get up, Rocco. I don't mean to hurt you."

He stands up. "Then why don't you kiss me?" he says,
gesturing to the night. "I give you my heart on a dish - and
you push him away."

dhl

8

"It's not that," she says. "But I've never been out
this late before - alone."

"Oh, so I am nothing!"

"You don't understand - it's my family - they'll be
worried. My brothers are probably looking for me now."

For answer he takes her in his arms, kisses her long
and passionately. When he releases her she walks weakly to the
railing by the steps and leans there breathless, her body afire.
He looks at her, takes a step toward her.

"Don't, please, Rocco. I couldn't stand any more."

"Come, Angela mia," he says, taking her arm and leading
her up the steps.

"No," she says. "They'll be mad. You go home now."

"Nobody gets mad at Rocco Stefani. I wish to meet
this family. I tell them about you and me."

He opens the front door.

INT. MADRONE PARLOR. With stony belligerent faces the
Madrone family waits in dangerous silence. Mama Madrone, big
and formidable, stands with her hands clasped across her
prodigious belly. Papa sits in a rocker, peeling the rind
from a half-pound ball of boat's cheese. Della's two brothers,
Victorio and Tony, look up coldly from their card game. They
are shirtless, black-jawed, grim. Uncle Salvatore peers over
his Italian newspaper. Grandpa Madrone wakens from a cat-nap
and smiles foolishly, his happy grin vanishing as he catches
Mama's dirty look.

Della, trying to be gay: "Hello, Mama and everybody!"

dhl

9

Dead silence.

Della gulps: "Guess I'm a little late."

More silence. Della: "Oh, this is Mr. Stefani - he
brou ght me home." Her voice is strained and not her own.

"Do you know what time it is?" says Mama.

Rocco seizes his watch fob and yanks out his gold watch.
"It's hap-past nine," he says.

Tony looks at the cuckoo clock on the wall. "It's
nine-thirty-five," he says ominously. "And that clock's right."

Rocco smiles. "Don't be mad with Della - she's a good
girl. Everything my fault - I keep her out."

Tony, to Della: "Where'd you pick him up?"

Della, defensively: "It wasn't that way at all. Hilda
and I were at the park - and I had my fortune told - and we
went on the scenic railway - and, well, we just met --. Gee
Willikens, can't people meet without you thinking bad things
about them?"

Tony: "No."

Rocco: "Don't talk to your sister like that!" He
crosses to him. "You oughta have reverence for your sister -
she's like an angel - with wings."

Mama: "Everybody shaddup! This is my house. I am
boss here."

Della: "Rocco, this is Mama."

Rocco reaches for her fat hand and kisses it. She
snatches it away, makes a face and grunts.

Della: "And this is Papa."

dhl

10

"pleased to meetcha," says Rocco, estending his hand.
But Papa doesn't take his hand, so Rocco helps himself to a
piece of cheese. He mucnhes it with the air of a connoisseur.

"This cheese - how much she cost?" Rocco asks him.

Rocco: "Too much." He puts the unfinished piece of cheese on the table.

Della, frantically: "And these are my brothers, Vic
and Tony. They're in the fruit business."

Rocco, tossing his hand jauntily: "Hi."

They mutter coldly. Della turns to her uncle behind the
newspaper. "And this is Uncle Salvatore. He's a shoemaker."

Without a word Uncle Salvatore puts his paper down and
stalks out of the room. Rocco calls after him: "Pleased to
meetcha!"

Della turns and smiles to the old man who is grinning
again. "And last, but not least, Grandpa. Shake hands with
Rocco, Grandpa."

The old man extends his thin hand. "How you say?" he
says.

"How you say?" answers Rocco.

"Purdy good."

"That's a boy." Rocco says. Everyone watches him as he
walks critically about the room. Standing in the doorway, he
puts his eye against the wall and plumbs it. Then he shakes
his head sadly.

"What's the matter?" Mama asks.

"Who built this house?"

dhl

11

Mama shrugs. "How do I know? She was built a long time ago."

Still critical, Rocco walks to the center of the room, surveys the floor, then stams it with his heel. The chandelier and the bricabrac tremble.

Mama: "Why you do that?"

Rocco shakes his head again. "No good," he says. "Won't last. Bad foundation."

Della quickly explains. "I forgot to tell you - Mr. Stefani's an architect. He's from Sausalito."

Vic: "He looks it."

Della tries to laugh it off. "Won't you sit down, Mr. Stefani?"

"Sure," says Rocco, dropping himself into Salvatore's chair. "I like sit with you and your family. Talk. Get acquainted." He leans back expansively, loosens his tie.

Mama indicates that Della is to get rid of the intruder.

Della, to Rocco, almost pleading: "Well, it was awfully nice of you to see me home, Mr. Stefani. Could I get you something - before you go?"

Rocco, considering his wants: "If it make you happy - a little glass of vino."

Mama and the rest of the family trade looks. Della hurries to the sideboard and pours a drink with trembling fingers.

Mama, witheringly: "Mr. Stefani, where you Mama and Papa come from?"

Rocco: "Italia."

Mama: "Sure, sure, Italia! Where in Italia? What province?"

dhl

12

Rocco, proudly: "Abruzzi. Belle Abruzzi!"

"Abruzzi? Bruta animale!" Mama explodes. "Mannagia -
vagabonda! Dona pi niete! Get outa you!" She shakes her
skirts at him as though he were a brood of chicks. "shoo!
Go home!"

He rises, laughs and playfully pinches her jowls.
"Ahh! Fine, strong woman! Make good mother-in-law!"

She swats his hand away, goes to the door and opens it.
"Now go! Subito! Twenty-six skidoo!"

He follows to the doorway, smiles back at Della.
"Goodnight, Angelia mia. Don't worry - I come back."

He goes out. Instantly a torrent of abuse descends
upon Della.

Mama, holding her nose: "Abruzzi! Phew!"

Papa, shaking the cheese: "Who does he think he is?"

Tony: "Architect! Huh! Boilermaker!"

Mama, looking at wall: "No last, eh? She last through
earthquake!"

Vic, shaking fist under Della's nose: "Don't ever let
me catch you with that bum again!"

Della, quietly: "I like him."

They glare at her, all but grandpa, who winks.

FADE OUT

13

FADE IN

FIVE-A-DAY VAUDEVILLE HOUSE. A pair of Dutch comics
doing the following routine:

"Vat makes you itch?"

"Underwear."

"Under vere?"

"Under here."

"Vat iss under dere?"

"Me."

The straight man kicks his partner in the face. The
comic spits the beans. Orchestration with heavy cymbal crash
and trombone smear.

Della and Rocco are seated in the audience. Coatless,
Rocco's big arm surrounds her, and she squirms as he shakes with
belly-laughter, wiping away tears with his free fist. She
looks at him with a patient smile.

DISSOLVE TO:

SKATING RINK. "Over the Waves" from the band. Della
and Rocco roller-skating together in the maelstrom of moving
figures. Rocco glides confidently, his arm tightly around her
waist. Bearing down on them in a foursome. Adroitly Rocco
sweeps Della off her feet and spins to safety. "Prat fall
optional."

DISSOLVE TO:

nt

14

BEACH CONCESSION. "Sousa March". Strength Testing machine. Della holds Rocco's coat and bowler hat, which is cramed with cigars. Perspiring like a horse, Rocco swings the sledge hammer with a mighty effort. The gong clangs. A small crowd applauds. Della beams with pride.

Concession Owner: "You're wipin' me outa business!"

Rocco: "No more cigars?"

Concession Owner, shaking his head: "You got all my stock. Here - the Grand Prize." He pins a large badge on Rocco's wet shirt. Swelling with pride, Rocco expands his chest for Della to read.

The badge says:

I'M
AFRAID
2
GO HOME
IN THE DARK

A tiny lantern hangs from the inscription.

DISSOLVE TO:

BEACH. Della, in rented bathing suit, gathers her skirts about her black stockings and stands excitedly in the shallow water, looking for Rocco. He suddenly appears, his head between her legs, blubbering like a joyous seal. She shrieks in mock terror. Laughing, he jumps to his feet, in a long striped bathing suit. They scamper to the beach where they open a picnic basket under an umbrella.

With his arm around her shoulders, Rocco bites from a length of salami, then kisses her.

"Och, Rocco, Garlic!"

pt

15

"Good for you." He pushes the salami toward her, and she bites daintily. They kiss again. A big hound dog comes loping up the beach, sniffs at the salami in Rocco's hand and slinks away, nauseated. Rocco, unaware of the dog's inspection, bites off another hunk.

DISSOLVE TO:

INSER Sign:

SOCIAL TONIGHT

Gents 25¢

Ladies 15¢

KELLY'S BALIROOM. Nile green walls, Welsbach lights, a band playing, "The Bird on Nellie's Hat" or, "You Don't Know Nellie Like I do." Signs on the walls read: "No Profane Language"; "No High Kicking" and "No Splits Allowed."

Rocco and Della dance, her shirtwaist crumpled by his bear hug. Her face, nestling against his great chest, is radiant with dreamy pleasure.

A bouncier taps Rocco on the shoulder.

"Dance society, you," he cautions.

"What you talkin' about?" Rocco says belligerently.

"She's gonna be my wife!" He continues to dance in his own fashion.

DISSOLVE TO:

MADRONE PARLOUR. The family is assembled in brooding expectancy; Mama paces the floor heavily; Papa sits in his chair cracking walnuts; Salvatore reads his paper; Vic and Tony play cards; Grandpa dozes.

16

Mama, exploding: "All the time you sit, sit! Why you no do something? You want to have Abruzzi goat in Madrone family?"

Vic, shuffling the cards: "Don't worry, Ma. I got somethin' to tell that loud-mouth when he comes in. Wait and see."

Papa cracks another nut. Mama jumps, her nerves frayed. The cuckoo strikes eleven. Suddenly Mama bursts into tears.

"My poor little Della," she sobs. "This animale - what he do to you!" She crosses to the chrome of the Virgin on the wall, and entreats Her with clasped palms: "Ahh, Santa Maria - what I do to you that you give me Abruzzi skunk for son-in-law? Forgive me, forgive me!" She rolls her eyes in pious dismay, staggers to the Morris chair and collapses in a heap, weeping and wailing. No one pays any attention to her. Papa cracks another walnut, the clock ticks, and Grandpa snores, mouth open.

Tony, tossing his hand down: "I pass."

There are footsteps outside. The door opens and Della and Rocco enter, flushed and happy. In Rocco's coat pocket is a long roll of blue paper.

Rocco, exuberantly: "Hello, everybody - Mama - Papa - hello, hello!"

Salvatore puts down his paper and goes out.

Rocco crosses to Grandpa, ignoring the cold reception. Grandpa awakens, beams at him and shakes his hand.

Rocco: "How you say, Grandpa?"

"Purdy good," Grandpa says. "How _you_ say?"

Rocco kisses his own fingers. "Wonderful! We have such good time tonight. Big moon, wind in the trees like music.

17

Earth smell rich and clean." He sighs, looking at Della.
"Pretty soon the whole night belong to you and me!" Seeing
the wall, his mood changes. He goes to the door and plumbs
the wall again. Then he shakes his head with professional
displeasure.

The Madrones watch him murderously, except of course,
Della and Grandpa. Now Rocco crosses to Papa Madrone and
helps himself to a walnut. He cracks it between his teeth,
tastes the meat, and puts it back.

"Where you buy these?" he wants to know.

Mama can't stand any more. She gets to her feet and
screams: "Fillia di assaccini! Lingua di serpenta! Abruzzi
jackass!"

Rocco grins and shakes his finger in mild reproof.
"Now Mama - let's not make the compliment!" He pulls out his
watch, compares the time with the cuckoo clock, and says to
Tony: "Your clock's five minutes fast." Then he sits in
Salvatore's chair and pulls out the roll of blueprints.
"Anybody got a cigar?" Nobody makes a move. There is a
humidor of cigars in plain sight. Della, taking her life in
her hands: "Try one of Papa's, Rocco."

Papa glares as Della opens the humidor and Rocco takes
a Toscanelli, a black twisted stogie. Rocco smells it. The
others sit tensely, waiting to spring on him if he criticizes
it. He bites off the end, spits it out, and reaches toward the
lighted match which Della holds. He draws a deep draught.

"Not bad," he says. He unrolls the blueprints. "Sit
with me, Angela mia," he says to Della. "We talk about out
house some more." She sits on the arm of his chair, and he

18

presses his head against her breast. "Where you want the bathtub, huh?"

Della, shyly: "Oh, Rocco. You know more about these things than I do."

Rocco turns a sheet of blueprint. "Look at those wall. Best construction. Thick." He tosses a deprecatory glance at the Madrone wall. "We never have trouble like that."

Papa: "We never had no trouble with our wall."

"Look, Della," Rocco says. "The floor. Look how she's braced."

Vic throws down the cards in disgust. "I'm sick of this windbag. I got a bellyful."

Studying his plans seriously, Rocco ignores him. Then he nods judiciously.

"You," Vic says. "I'm takin' to you! You might fool my sister with that architect stuff, but you can't fool me."

Rocco, surprised: "Fool you? Rocco Stefani don't fool nobody --" -- there is an undercurrent of danger in his -- "and nobody fool Rocco Stefani."

Vic gets to his feet. "Listen, you. We put up with your lies long enough."

Rocco jump up, his fists hard.

Vic turns to the family. "I done a little checkin' up on this blabber-face. Tryin' to pull the wool over my kid-sister's eyes! Sayin' he's an architect! Well, he ain't. He ain't no more an architect than I am. I took a little trip over to Sausalito yesterday, and do you know what I saw him doin'? Buildin' an ashpit! He's a hod-carrier, that's what he is!"

19

Rocco, outraged: "Who's a hod-carrier? I'm a bricklayer --
and I'm an architect too. I take the brick - put one here - one
here - put one on top a that, and pretty soon, I got big house!
What you call that?"

Vic: "A hod-carrier."

Rocco starts across the room after him, but Della
intervenes. "Please, Rocco."

Rocco purples, holding himself back. Hoarsely he says:
"I build fine house for Della in Sausalito. You don't believe
it - go spy on Rocco some more. Della and me, we get married,
live there, have lotsa, lotsa kids!"

"Big talk," says Tony.

Rocco: "I prove! I show you!" He looks at Della and
his anger melts. "You believe Rocco, eh, Angela mia? You
have faith in Rocco."

She nods with big gazelle eyes.

Mama, shou ting: "Diavolo! You turn Della's head upside-
down. She no think straight since you come."

Tony, scornfully: "Bricklayer!"

Rocco, hotly: "Sure, I am bricklayer. What's wrong with
bricklayer? What you do? You sell the peach, the prune, the
banan'. What kinda work you call that? People eat, throw away
the peel, somebody come along and (he whistles) Boom! Fall
down, break the butts. Over, finish." Then glowing, slapping
his chest. "But me. I build the walls that keep out the
thief - I build the fireplace that make you warm - the chimney,
that push 'em out the smoke, Fifty year from now, a hundred
year, people look and say: 'Oh, that Rocco Stefani! What a
fine architect he was!'"

20

For once the Madrone family is speechless, and Della
is proud with her tears. Grandpa applauds as best he can.
"Bravo!" he shouts. "Purdy good!"

Rocco takes Della in his arms. "Della," he says, "what
for we wait? Next week we quit this foolishness and go see
Father Picolo. And then I take you across the bay to your
new home in Sausalito - Mrs. Rocco Stefani, R.S.V.P.!"

DISSOLVE TO:

FERRY. Della and Rocco standing at the rail. Gulls
dip and mew over the wake. The engines throb. The wind blows
Della's hair like a dark flame. Rocco picks kernels of rice
from her hair and dress and eats them, looking at her proudly.
Della finds rice in her bosom, and without shame she searches
it out and puts it into his mouth.

DISSOLVE TO:

CITY LIMITS OF SAUSALITO - HILLS. A street car stops at
the end of the tracks, and the conductor gets out and reverses
the trolley.

"End of line," he shouts. Della and Rocco step down,
Rocco carrying two suitcases. It is hot and she carries his
coat.

"Just a little way more, Angela mia," Rocco says tenderly.
Side by side, they tramp the burning road, puffs of dust rising.
Telegraph wires hum. The borwn rolling hills shimmer sensously.
As they walk, beads of perspiration form rivulets down their
faces.

21

"Let's stop a minute," Della pants. "My side hurts."

They stop and Rocco drops the suitcases in the deep grass at the side of the road. "It's your corset -- why you wear those things? Take 'em off - throw 'em away!" He pulls up her blouse. She squeals. "Hold still," he orders. "I make him loose." She is so small that he gets to one knee as he unlaces the corset. She wiggles and sighs with relief. Suddenly he holds her to him tightly. She turns and looks down at him, her fingers playing at his face.

"My husband," she says softly.

A billboard advertising Bull Durham shields them from the community of houses beyond. He pulls her down into the tall grass. It engulfs them like a great yellow sea. Rocco lies on his back, his legs outstretched. She bends over him and he draws her not neck to his lips and kisses her. He tastes the moist throat.

"Della mia - salt of the earth."

His hands fumble in the rick blackness of her hair, loosening the thick locks, so that they tumble down over his face in a dark cascade. He inhales the fragrance of her hair.

"Ahhh," he sighs. "I have come home, Angela mia. Once more I walk among the flowers of Abruzzi." His eyes are filled with tears of happiness.

"Thank God for you, Rocco. Thank God I found you."

He kisses her.

She smiles. "Take me home, Rocco. Take me to our home."

As he starts to help her up,

DISSOLVE TO:

22

SURBURBAN STREET. Della and Rocco stop before a box-like two-story weather-beaten frame building. The thirty-by-ninety lot is devoid of trees or shrubbery and rich in golden weeds.

Rocco gestures with a false enthusiasm. "How you like it, huh? All right?"

Della, stunned: "Is this the house, Rocco?"

"You bet your life. We pay for him like rent. Pretty soon - all belong to us." His enthusiasm dies as her great sad eyes see through his pitiful deception.

"Why did you do this to me, Rocco?"

Tears come in his eyes. He puts his arms around her.

"Rocco, tell me. Why did you say you built me a house?"

"What can I say?" he asks. "I try so hard. I am so afraid somebody steal you from Rocco. I say to myself, Rocco, you have no money to build house now; pretty soon you work hard, save the money, get more better house." A new dream inspires him. "How you like house with tower, like a castle - windows like cathedral, sun come through, rainbow on the floor. How you like that, Della?"

Della, sadly: "Oh, Rocco."

"Forgive Rocco, Angela mia. He do the best he can. Sure I tell the lie. I love you so much. I lie, I steal, I kill - I do anything so I don't lose you."

Della leans against him. "Rocco, carry me into our house."

He lifts her into his arms, his strength returning, his hope reborn, and he carries her across the threshold and into the house.

23

INTERIOR LIVING ROOM. Still holding her like a child,
he beams with pride and turns so that she can see all of the
room. "See!" he says. "All for you."

There is a table with a horrible beaded coal-oil lamp.
The chairs are Mission, not even good Grand Rapids. The thin
carpet has a design of gaudy roses entwined with woodbine.
From the walls hang side by side portraits of King Victor
Emanuel and McKinley. McKinley's portrait is draped with a
withered wreath and bears the caption: OUR MARTYRED PRESIDENT.
There is also an imitation tapestry depicting a German beer-
drinking bacchanal. Near the base-burner is a wooden Indian
head with matches and mirror and a comb on a chain. In the
corner is a talking machine with a large horn. There is a
false mantel with a plaster-of-Paris Billiken upon it.

Rocco puts Della down. "Something special, just for
my Della," he says. He picks up a brand-new phonograph record
and plays it. From the horn comes the voice of Caruso, singing
"Come Back to Sorrento." They listen a moment; then they look
at each other. He goes to her, picks her up, and carries her
upstairs.

The wonderful voice of Caruso fills the house.

FADE OUT

24

FADE IN

KITCHEN. Morning sunlight. Della is preparing a big lunch, packing it into Rocco's dinner pail. Egg and pepper sandwiches on thick-crusted Italian bread, small bottle of Chiani, a hunk of cheese and a banana.

Rocco finishes breakfast, wipes his blue denim sleeve across his mouth, leans back, caresses his stomach and belches.

"Ahh, mia moglia - you are fine cook - fine everything. Tomorrow you try little more garlic with the egg - everything be one hundred percent okay."

He gets up, pats her intimately, takes his lunch pail. and arm in hers, walks with her through the living room.

A pair of mortar-splattered shoes, cracked and distorted, lie on the table.

"Take 'em to my paisano, Joe di Lucco. Half sole and heel. Tell 'im for Rocco - he do A Number 1 job."

Dell, hating to bring up the subject: "Rocco, before you go, you'd better leave me some money."

Rocco: "You don't need no money. Everybody here trust Rocco."

They reach the porch. He embraces her. "You glad you marry with Rocco now, eh? Nice fella - no?"

Tenderly she wipes an egg stain from his chin. "I'm so proud to be your wife, Rocco. So proud. I hope it's always like this."

"Sure! Last for all time." He kisses her. "I go now. I work hard. All day I lay brick; I say to myself, this one, she's for Della - this one, she's for Della too - this one, she's for bambino."

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25

Della hides her face in his arm.

Rocco: "All day long Rocco's heart sing boom boom boom
for you. Six o'clock whistle blow - Rocco run home to Della
like choo-choo train. You have big dinner. We eat. Caruso,
he sing for us. Then we have whole night for love. Dream
like candy. Goo'bye now." He holds her at arm's length,
drinking in her beauty. "Never has Rocco Stefani known such
a woman - never." He turns and swaggers away, swinging his
lunch pail and singing, "Funiculi, Funicula."

Della waves and watches him stride into the morning.
Then she returns to the house.

The unsightly shoes on the table disturb her. She puts
them on the floor by the stairs. Then she goes to the
phonograph and starts, "Come Back to Sorrento." Humming with
the music, she busies herself in the room, straightening
pictures, rearranging furniture.

There is a knock at the front door. She crosses and
opens it. A woman stands there.

Woman: "Howdy do. I'm Mrs. O'Farrell from next door.
You're Rocco's new wife, ain't you?

Della, proudly: "Yes, I am."

Woman, surveying her: "You're a cute little thing."

Della, shyly: "Won't you come in, please."

Woman: "Don't mind if I do."

She enters. "Everybody likes Rocco," she says, looking
around. "He's a card." She listens to the music from the
phonograph. "If you ain't through with that talkin' machine
yet, it can wait for awhile."

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26

Della, surprised: "Oh. Does it belong to you?"

"Why, yes. Didn't Rocco tell you? Well, if that ain't just like him. He borrowed it so's you could have music for your honeymoon."

Della stops the machine. "Please take it, Mrs. O'Farrell. And thanks so much." She stands there with the Caruso record in her hand. "Is this yours too?"

Mrs. O'Farrell: "No. I don't care for that kind of singin' myself. Harry Lauder's my favorite." She picks up the talking machine and looks around the room. "Mrs. Wetzel's things don't look bad in here, do they? I always thought they looked awful tacky in that house of hers."

Della, incredulous: "Mrs. Wetzel? Who's Mrs. Wetzel?"

Mrs. O'Farrell: "She's got a furnished house for rent down the street. Been empty all Summber. Rocco borrowed the furniture till you folks got settled."

Della, sickened: "Then everything here belongs to somebody else? Nothing belongs to us?"

Mrs. O'Farrell: "Well, I don't know what all you folks got. But Mrs. Vigran loaned the bed clothes, and that's my tapestry on the wall - I don't have a place for it yet. And the rest of the things - well, I don't know, but Rocco was carryin' stuff in here all day Friday. Cletus - that's my husband - he says to Rocco, 'Say, Rocco, you're gonna be all wore out for your honeymoon.'" Wish I could tell you what Rocco yelled back." She laughs.

Della, shamed, coldly: "Mrs. O'Farrell, would you please tell all of Rocco's friends to come and get whatever belongs to them? I couldn't be happy with things that aren't my own."

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27

Mrs. O'Farrell: "Oh shoot, child. There's no need to do that. They ain't using them - besides, you need 'em here. Come to think of it, I guess I don't need this talkin' machine for a few days yet." She puts it back on the stand.

Della is near tears. "Please don't make me say anymore about it, Mrs. O'Farrell. Please don't."

Mrs. O'Farrell is moved by Della's pathetic helplessness. Her voice softens to a motherly tone. "Aw, Mrs. Stefani, don't feel bad. Lots of folks set up housekeepin' with less than you got. There's no disgrace in being poor. And you got a husband any woman'd be proud of." She kisses her on the forehead. "But I know how you feel," she says. "I'll tell the others." She goes out. No sooner does the door close than Della bursts into tears and runs into the kitchen.

Throwing herself into the kitchen chair, she sobs among Rocco's breakfast dishes.

The CAMERA MOVES to an INSERT of a small card thumb-tacked to the kitchen wall. It reads:

DISSOLVE TO:

EXT. ROCCO'S HOUSE. Late afternoon. The shadows are long. Three tow-headed kids are carrying furniture from the house. A mongrel is under their feet and in the way.

"You ain't liftin'!" says the oldest boy to his brother.

"I am too. Get away, Queenie."

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28

As they walk down the street, an overcrowded buggy
stops before Rocco's house. Crushed like sardines, the
Madrone family unload themselves; Vic and Tony leap out,
followed by Papa. Then the buggy sways under the tremendous
weight of Mama as she descends, gasping. Grandpa creaks out,
his old joints falling into place.

The driver looks back. Uncle Salvatore sits cramped
in the rear seat, reading a newspaper.

Driver: "You gettin' out, sir?"

Salvatore merely lowers his paper a moment, but says
nothing, as he sits there.

The Madrones stare at the week-choked yard and the
delapidated house.

Tony, to driver: "Sure this is the right place?"

Driver: "That's the address you gimme."

Vic, nastily: "Well, wouldn't you know!"

Mama: "My poor little Della!" She waddles toward
the front door, followed by her family.

As they step onto the porch, the combined weight
is too much. With a splittering of rotten wood, the floor
collapses. Mama screams.

Della appears in the doorway, startled and frightened.
The Madrones are standing like dwarfs in the wreckage.

Vic: "So this is the fine house he built cha!"

Papa, picking himself up: "Good foundation, huh?"

The two brothers climb out of the hole and stand in
the doorway, where they pull Mama to safety with a mighty
effort. Papa is mumbling in Italian and Grandpa is giggling.

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29

Della: "Are you hurt, Mama? Come in and sit down."

INTERIOR HOUSE. The living room is bare except for the phonograph and the pictures on the wall. Mama, moaning and clutching her knee, flounders about, looking for a place to sit down. The others enter.

Mama: "Wassa goin' on? You got no furniture!"

Della: "Well, not yet. That is, we did have, but Rocco said it wasn't good enough. We're buying a brand new set tomorrow."

There is an uproar from the whole family, everyone yelling at once, except Grandpa, who is examining the phonograph.

Tony: "What's that bum doin' to you?"

Vic: "She wouldn't listen to us - we weren't smart enough. We were just a couple fruit peddlers!"

Papa: "Figlia di cana!"

Mama weeps.

Vic and Tony are circling the room like wolves, hands in pockets, faces wrinkled in disdain. Vic stamps the floor with his heel. The house shakes. McKinley and King Victor Emanuel crash to the floor. Mama grabs Della protectingly. "Stop! Whole house fall down!"

Vic, mimicing Rocco: "Best architect in Sausalito! - Huh! Best liar!" Ridiculing Rocco, he squints down the wall derisively. "Who built this house? he sneers. Then he pounds the wall in a frenzy. A slab of plaster breaks loose from the ceiling and falls on his head. Infuriated, he shakes his fist at the ceiling. "Abruzzi skunk!"

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30

Della can't stand anymore. She runs into the kitchen, sobbing into her hands. The Madrones troop after her.

### INTERIOR KITCHEN.
The furniture is gone. Instead, Della's pathetic effort is a makeshift table, fashioned from a mortar-board, spread over a barrel and set for two. On either side are wooden crates for seats. Food is cooking on the stove. Papa takes an apple from the table, bites into it. "Ugh," he says. "Worm." He tosses it away.

Mama, appalled: "Ah, my poor little girl!"

Papa: "Live like Hooligan fella in the funny pitch."

Tony: "Yeah. Next thing you know, you'll be livin' in the street."

Grandpa pats the improvised table and grins. "Purdy good," he says.

Vic shoves him aside. "Lemme handle this." He goes threateningly to Della. "Now you listen to me. You disgraced the good name of this family long enough. Get your hat - you're comin' home with us."

With quiet courage Della speaks: "No. This is my home now. I belong here. When I married Rocco, I promised to love and cherish him. I do. I worship the ground he walks on. I love everything about him - even his lies. So don't say anything against him, because he's Rocco, and he's my husband, and I'm his wife."

Pause.

Mama is crying softly, but there is love and pride for Della in her eyes. Suddenly she turns on her family.

"Shoo! she commands. "She's right. Get outa you! Everybody go home."

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31

They look at her speechless.

"Shaddup!" Mama yells. "I'm boss. Go!"

Papa and the brothers exchange looks, as though to say all women are crazy. They shrug and leave. Grandpa comes over and pats Della on the shoulder. "Purdy good," he says, and winks. Then he leaves. Mama and Della walk into the bare living room.

Mama puts her heavy arms around Della, as if to give her strength. "Mama knows," she says. "Mama knows." She dries her eyes and walks wearily out the door, a very old woman who has taken a hard blow.

Della sees Rocco's twisted shoes, sprawled near the phonograph. Tenderly she gathers them to her and looks around with tired eyes. She crosses to the stairway and sits wearily on the bottom step. Then she crushes Rocco's shoes to her like a child.

EXT. STREET. Down the street, the overloaded buggy carries the Madrones away. Through the heavy clouds of dust, they pass Rocco, on his way home from work. He is smeared with mortar and perspiration, his coat slung over his shoulder.

"How you say, Rocco?" yells Grandpa happily.

"How you say?" answers Rocco. He indicates his house with him thumb and grins broadly. "Purdy good, huh?"

But the dust swallows up the buggy and clings to Rocco's wet face. He does not heed the dust and the joy in his face is for his home and his Della. Swinging his empty lunch pail, he swaggers to his house.

32

Smoke rises from the kitchen chimney. He pauses,
looks at it and smiles. Hitching up his belt, he walks up
the path.

At the broken porch he hesitates, but only for a
moment. He shrugs, leaps across the wreckage and opens the
door. Again he pauses in the open door. Then he enters and
the door closes. For a long time there is no movement or
sound. Then the voice of Caruso fills the air, singing,
"Come Back to Sorrento."

FADE OUT

THE END

MY FRIEND BONITO

by
Norman Foster and John Fante

This is the story of a little boy who loved a great
fighting bull. The boy's name was Chico, and the bull's name
was Bonito. A bullfight is not a contest between man and beast;
it is a predestined tragedy. All bulls die, as all men die.
Some meet death ignominously, while others die gloriously in
battle. Like all brave bulls, Bonito was destined to fight
and die in the Corrida de Toros.

Our story opens on the great ranch of Don Luis Ortega
Alvarado, breeder of the finest fighting bulls in all Mexico.
It begins on the night that Bonito was born...

As this foreword is being spoken, we see:

EXTERIOR HACIENDA - NIGHT. The massive stone buildings
are dark. The only light comes from the stable windows. THE
CAMERA MOVES IN until we are looking through one of the barred
windows.

A ponderous cow is giving birth to a bull calf.
Miguel, the mayoral, or head vaquero, a shirtless old man with
bloody hands and arms, works over the gasping mother. A little
boy holds a lantern. This is Chico. He is startled, shocked
and fascinated. When it is over, Miguel lifts up a grotesque
and slimy calf and offers it in triumph for the boy to see.

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2

Half-frightened, the boy hesitates. Then a great compassion
takes possession of him. Tenderly he strokes the foolish little
head. The cow looks up, then settles back, exhausted. Bending
over, Chico shows her the calf. The cow licks it and the boy
smiles.

FADE OUT

3

FADE IN

PLAZA OF A SMALL VILLAGE. From all directions come men, women and children leading all manner of domestic animals toward the church. It is the day of the blessing of The Animals. An old man leads a scarred burro adorned with ribbons; a woman carries a squealing pig under one arm and a turkey under the other; dogs try to shake off their decorations; a parrot screeches; sundry animals, some proud, some defiant as they are led to the church yard.

Chico appears, leading his bull calf Bonito, whose red coat is spotted with white markings. Both are aloof from the others. Bonito's head is crowned with a wreath of white flowers. Boy and bull are immaculate, scrubbed and shining. Already displaying the pugnacity of his forebears, Bonito stops and glowers at the other animals. Chico kicks up dust with his bare foot and whistles at the same time with two fingers. Bonito understands this signal. Dutifully he follows his little master, and is rewarded with a scratch between the ears.

The priest blesses the animals. There is a commotion when a burro refuses to kneel and his master kicks him in the shins. The burro kicks back. Without force and by adroit handling, Chico manages to get Bonito to his knees.

As they receive the blessing with lowered heads,

DISSOLVE

OPEN HILLS. White lumps of clouds overhead. Across the rolling green hills Chico runs and Bonito pursues him.

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4

It is a game of hide-and-seek. Chico disappears behind a wild
berry bush. Bonito stops, looks about intelligently, then seeks
him out. Chico laughs when Bonito's pink tongue laps up berries
from his palm. Then Chico easts too.

DISSOLVE

INT. MIGUEL'S HOUSE - NIGHT. It is raining. In one corner sleeps Miguel. Waking, Chico sits up and listens to the beat of the rain. He rises quietly so as not to waken his grandfather, pulls his sarape about him, and tiptoes out.

EXT. CORRAL - NIGHT. Quickly Chico makes his way through the downpour, skirting mud puddles. The animals are huddled together protectively against the stable wall. Chico finds Bonito we and miserable beneath his mother. Something like joy comes into the bull's eyes when he sees his faithful friend. He follows Chico through the rain to the stable, his tail lashing.

INT. STABLE - NIGHT. Chico rubs the calf dry, makes a warm bed in the straw, and the two lie down together. Rain drips steadily from a hole in the roof. Chico spreads his sarape over Bonito, protecting him from the leak. Bonito licks the boy's nose, and the two fall asleep.

DISSOLVE OUT

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5

DISSOLVE IN

HERRADERO - THE BRANDING DAY. The noisiest, dustiest, most confused of all operations in bull raising. Bonito and other yearling calves are in one corral, the fire and irons in another. A swinging door connects them.

A bawling calf, freshly branded, is released and charges away. Old Miguel, the mayoral, signals for the next calf to be brought in. It is Bonito's turn.

Resigned, Chico watches from the corral fence. His small face reflects pity for his friend.

Now the vaqueros drive Bonito into the branding corral. He is thrown, but it takes five men to hold him while his legs are tied together and his tail pulled forward between his legs. To protect his eyes and budding horns, his head is placed on a sack of straw.

Chico can't bear it. He runs in and kneels before Bonito, caressing the sweating dusty head. Bonito's frightened eyes look at him as though to say: what is your kind doing to me?

Methodically a vaquero sears Bonito's right hind quarters with the brand of the rancho. The flesh hisses, smokes. Chico looks away, stroking Bonito's neck. Then the brand numbers are applied along the flank.

Miguel writes in a notebook. The name "Bonito" is entered with his number and heritage.

Now the vaqueros slit Bonito's ears and clip the hairs at the end of his tail so that they will grow out long and silky.

6

Then Bonito is released. Furious, he gets up and charges everything and anything in the corral. Everyone scatters -- all but Chico, who stands there alone. Bonito, his dignity outraged, looks at the boy and then charges out the open door of the branding corral. Chico watches him a sense of betrayal clouding his face.

DISSOLVE

OPEN RANGE. A herd of bulls grazing on the countryside. Chico comes into the vast panorama looking for Bonito. He kicks up dust and gives his familiar whistle. Bonito's ears pick up and he comes soberly from the herd, his tail lashing.

Chico smiles with relief as he sees his friend approaching. The smile vanishes when Bonito lowers his head and the hump of muscle on his back rises in warning. Chico has never known this Bonito. Almost frightened, he waits.

Bonito paws the earth and bellows fiercely. He is bluffing and Chico knows it. Again Chico kicks dust and whistles. Bonito comes toward him, no longer menacing. Playfully he butts the boy, nosing under his arm, raising him off the ground. Chico slaps his flanks and mounts him, whispering into his ear and scratching his neck. Tossing his head proudly, Bonito carries his friend away.

DISSOLVE

TIENTA - THE TESTING OF THE BULLS. This is the ordeal by which the brave two-year-old calves are selected, while the

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7

others are sent away to become veal. A gala day, with music and feasting. Don Luis and his entourage ride out in colorful costumes to watch the test. They are mounted on beautiful horses laden with silver trappings. The closed corral is fitted with *burladeros*, or plank shelters, for the professional fighters with capes to stand behind. These fighters have been invited to the test by Don Luis. In turn they take the calves for their workout tests. This corral is about thirty yards in diameter, half the size of a bull ring.

The two-year-old bulls are in an adjacent corral. One at a time the vaqueros let them into the testing corral. A picador wearing leather chaps and the short jacket of a bull-herder waits for them. He holds a pie about twelve feet long with a trianglusr steel point at the end. Placing his horse with back turned to the gate, he waits quietly.

Breatlessly Chico watches as Bonito is released into the ring. No word is spoken. The picador does nothing to excite Bonito, for the most important part of the test depends upon Bonito's willingness to charge without being harrassed.

Suddenly and without warning, Bonito charges. Everyone notices his magnificent style. Reaching the horse, he keeps his feet well back and thrusts with full power, and continues pushing forward to reach man and animal -- even after the steel pic has been plunged into the great muscle in his back. He uses the full force of his hind legs and all the power in his shoulders.

Miguel nods approvingly, and Don Luis signifies that Bonito is a *toro* -- and therefore approved for the ring.

8

But Bonito doesn't stop at this. He tumbles horse and man, and the bullfighters rush out to take him away with their capes. Chico waves wildly, proud of his mighty friend.

In a moment Bonito has cleared the ring, lashing his tail and looking around for anyone who deares challenge him. The gates to the open range are thrown open, and Bonito goes free in triumph. At the gates he stops and looks back, reluctant to leave the battle. Here, unquestionably, is a great bull. The *mariachis* play and enthusiasm runs high. Miguel hugs Chico and pats him on the back.

The onlookers are concerned to see little Chico scramble over the fence and into the open range after the bull. The great animal seems to wait for the boy. Chico embraces him, pats and kisses him, soothing the pic wound. The spectators are amazed that the bull doesn't gore the boy. But old Miguel understands, and he grins.

DISSOLVE

FENCE - MOONLIGHT. Chico is perched on the fence, smiling down at his Bonito, who makes love-noises through the railing at a gorgeous young cow. He paws the earth and butts the fence.

Chico glances around warily, then unlatches the gate. Bonito pushes it open and lumbers proudly to his rendezvous. Chico watches a moment, then feels that he is an intruder and leaves them alone.

FADE OUT

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9

FADE IN

EXT. HACIENDA - DAY. On a bright morning Don Luis, with a group of men from the City of Mexico, are selecting six bulls for the Corrida the following Sunday. A famous matador is among them. He is lithe and lean, with a white scar across his forehead. Without his costume he seems almost sinister. His manager is fat and florid, with big rings on his fingers. Chico doesn't like their appearance. The boy is older now.

Proudly old Miguel shows them a photograph of Bonito, who is full grown at four and half years -- in his prime -- with glistening coat, fine horns, and a long silky tail.

El Matador nods approvingly, and the men mount horses to go out and look at the bulls. Chico runs after them.

WIPE

OPEN RANGE - DAY. Bonito is fighting another bull as big as himself. We recognize him by his white markings. It is a beautiful battle. Don Luis motions for the Vaqueros to stop the fight, but the two beasts continue to struggle, despite the tricks of the horsemen.

The great bulls use their horns as a fencer does his weapon. Striking, parrying, feinting, they have an amazing exactitude of aim. Their horns clatter as they knock them together.

Suddenly Bonito's adversary gets enough and he turns and quits. Chico looks at Miguel and smiles proudly.

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10

The matador's manager shakes his head and gestures. The bull is too large and dangerous. But the matador needs a good fight to re-establish his fame. Ignoring his manager, the torero selects Bonito as the most promising bull he has seen. He and Don Luis shake hands, consummating the deal.

Chico tugs at Miguel's sleeve, but Miguel waves him aside. Then Chico looks up pleadingly at the great hero, killer of bulls.

The matador smiles at him, reaches into his pocket and tosses a peso to the boy. Chico makes no move to catch the coin. It falls at his feet. Miguel looks at him sternly. The boy is stubborn.

Don Luis signals to Miguel to have Bonito brought in for shipment. The breeder and his party ride on to look at more bulls.

Miguel picks up the coin and hands it to the boy. Chico hurls it away with all his might. He turns and Bonito is looking at him.

Miguel shrugs, waves the order, and the Vaqueros ride up with the steers, who are trained to lead fighting bulls wherever it is necessary to move them from place to place.

The steers surround Bonito, who heeds the herd instinct, and allows himself to be led away.

Chico stands there with his soul in his eyes, for he knows his beloved Bonito is doomed to die.

DISSOLVE OUT

11

DISSOLVE IN

COUNTRY RAILWAY STATION - DAY. Bonito and five other
bulls are being caged in the *jaulones*, the individual boxes in
which they are shipped from the ranch to the ring. These crates
are marked with the brand of Don Luis, the name of the rancho
and return address.

Miguel superintends the loading. There is great
excitement, with the train crew gesturing wildly, and the
vaqueros having a hell of a time getting Bonito into his box.
The great bull has them frightened and respectful of his
menacing power.

Standing apart from this, Chico watches. He is
heartbroken, a sad Indian, his face displaying the dignity of
his people.

After much prodding and effort, Bonito is secured
inside his cage. Through the bars, Chico strokes the bull's
hot muzzle. Digging out a fistful of golden maize from his
blouse, he offers it to Bonito. But Bonito will not eat.

Miguel appears and watches this farewell with sympathy.
The whistle toots. The train jerks to a slow start. Miguel
takes the boy by the shoulder and squeezes him affectionately.
Then he carefully swings him to the ground.

As the train gains speed, Miguel waves goodbye.
Chico stands there, crying. As the last car passes, a wild
determination flames the boy's face. He runs down the cindered,
weed-grown roadbed, catches up to the last car, and pulls
himself aboard.

DISSOLVE OUT

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12

DISSOLVE IN

MOVING TRAIN - DAY. Chico has hidden himself as close
as he can to Bonito's cage. Reaching through the bars, he strokes
the bull's neck.

Ahead, Miguel sits, unaware of the boy's presence, his
sarape blowing in the wind.

The train rounds a curve and is forced to slow down
and stop by a herd of sheep blocking the track. The engineer
gets out and gestures to the sheepherkers, who are throwing
stones at the bleating milling sheep.

This is Chico's opportunity. He looks at the open
hills stretching away to freedom. Miguel's attention is riveted
on the confusion ahead. Carefully Chico unlocks Bonito's cage.
Then he jumps to the ground and runs like mad up the hillside.
Turning, he kicks up dust and whistles shrilly.

Bonito's ears rise. Tossing his head, he butts the
stall and the door crashes open. Joyfully the big fellow lumbers
out of his cage and jumps to the ground.

Chic runs. Bonito follows as he did in his childhood
romps.

Miguel has heard Chico's whistle. Now he gestures
frantically for the boy to come back. But Chico and the bull
are running to freedom. Miguel starts to organize a party to
pursue them.

DISSOLVE OUT

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13

DISSOLVE IN

PICTURESQUE COUNTRYSIDE - DAY. Chico and Bonito are resting from the chase in the shade of an old adobe ruin. Huge organ cactus shield them from the hills. Chico is feeding Bonito tender shoots of corn from what remains of a deserted crop. It is a scene of idyllic peace, with Bonito munching contentedly. Chico is in paradise.

The quiet is shattered by the onrush of horsemen looming over the hills. It is Miguel and neighboring ranch hands. Bonito whirls savagely, his hump of muscle rising at the impending danger. The horsemen surround them.

Now Bonito becomes a wild beast, cornered, fearless, and spoiling for a fight. Without warning he charges the nearest horseman, who reins abruptly and retreats over the hill. Bonito pursues him relentlessly. The others follow.

Miguel rides up to Chico, cuts him savagely across the buttocks with his quirt, then seizes him by the scruff of the neck and yanks him into the saddle beside him. They ride after the others.

At the crest of the hill, Chico and Miguel look down upon a scene of utter confusion. Below them is a village and Bonito is in possession of it.

The bull stands in the small plaze, daring anyone to come out and fight. The horseman that Bonito first chased, has taken refuge in the bandstand. Townspeople cling to iron gratings, and some have retreated into the trees

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14

A peon, reckless with pulque, swaggers from the multi-colored cantina. Seeing Bonito in front of him, he waves the hallucination away. This is all Bonito needs. He charges. The drunk rushes back into the cantina, Bonito hot on his heels. There is a crashing of glass, a splintering of wood, howls of terror.

The habits of the pulqueria burst from the building in all directions, as Bonito plunges out through the wall, draped in colored paper, shreds of clothing clinging to his horns.

Miguel and Chico have reached the street facing the plaza.

Bonito is making a rubble of the open air market, samashing pottery, overturning a dulce stand, and wading through a tamale and taco stall. Here he pauses to nibble a tortilla reflectively.

From the office of the Policia, two soldiers armed with carbines dash from the door, one of them pulling on his coat.

At the same moment a fat priest comes out of the church to learn the cause of the uproar.

Seeing the priest's cassocks fluttering in the wind, Bonito lowers his head and charges the holy man. One of the soldiers raises his 30-30 and takes aim. Quickly Miguel beats the weapon down, for Bonito is a valuable bull.

Meanwhile Bonito has pursued the priest up the church steps.

15

Chico leaps from the horse and runs into the plaza.
He whistles sharply. Bonito stops on the threshold of the
church and looks back. Chico kicks a cloud of dust and
whistles again -- this time a command. To the amazement of
the entire village the powerful brute comes meekly down the
steps, and the boy strokes his soft nose.

DISSOLVE

MOUNTAIN ROAD - DAY. Old monastery in ruins beside
the road. Miguel has hired a battered truck to transport
Bonito the remaining distance to the City of Mexico. Miguel
sits quietly with the driver, looking back frequently and
taking no further chances with Chico and the bull.

Bonito is caged in a box again, and Chico sits stolidly, jostled by the rutty road. Bonito's great weight splays the worn tires. Above in the sky, a flock of vultures wheel and soar with a premonition of carrion.

DISSOLVE

TREE-LINED ROAD - DAY. Eucalyptus lane, with the
ruins of an old aqueduct in the background. The truck passes
an oxcart and several peons on burros.

The vultures still follow, nearer now. Chico looks
up at them.

The truck goes on.

DISSOLVE OUT

JJ

16

DISSOLVE IN

OLD SPANISH BRIDGE - DAY. Mount Popocatépetl and the Sleeping Woman white against the blue sky. The truck rumbles across the ancient bridge; empty guard towers from the days of the Conquest stand at each end. Black-braided woman kneel along the river bank, washing clothes.

The vultures are upon them, brazen and unafraid.
Chico hurls a stick at them. They lumber away, their black wings
plopping.

DISSOLVE

HIGHWAY ALONG CEMETERY - DAY. Beyond the walls are
countless crosses, statues and monuments with a profusion of
wreaths, flowers, and colored paper offerings hanging from them
and spread over the grave mounds.

Against this macabre background the truck comes to a
stop. The rear tire is flat. Miguel and the driver get out.
In order to jack up the truck, Bonito must be unloaded. The
rear gate is lowered to make a runway for the bull. The
vultures light on the cemetery wall and watch in patience.

Chico takes charge of Bonito, but Miguel keeps an
eye on them. While the tire is changed, the vultures preen
themselves. Now a long funeral proscession creeps past, turning
into the cemetery. As the horse-drawn hearse passes, the hump
of muscle on Bonito's back rises. Scenting the bull, the horses
rear. The boy soothes the rising muscle and the bull relazes.
The procession passes. Chattering among themselves, the bultures
look on, amused. Chico grabs a handful of rocks and scatters them.

DISSOLVE OUT

JJ

17

DISSOLVE IN

CITY OF MEXICO - DAY. The great city, with modern
buildings, the gigantic Arch to the Revolution, and the towers
of the Cathedral rising in the sky.

The truck makes its way through the colorful streets
of Mexico.

WIPE

PASEO DE LA REFORMA - DAY. The truck proceeds along
the wide boulevard lined with statues and trees. Fast motor
traffic, honking taxis, efficient policemen, smartly dressed
men and women; all the movement of a great modern city.

For the first time Bonito rolls his eyes nervously.
Chico, excited by his first view of the city, strokes the bull
reassuringly. At a stop signal the truck comes abreast of a
meat truck piled high with skinned carcasses of headless
butchered steers.

Chico pulls Bonito by the ear, turning his head away
from the grisly sight.

The truck goes on.

DISSOLVE

GRAN PLAZA DE TOROS - DAY. The magnificent steel and
concrete structure dwarfs everything around it. The truck drives
up to one of the entrances. While they wait for the gate to be
opened, Chico studies a poster advertising tomorrow's event.
The matador is depicted in the act of giving the death thrust to
a gallant bull.

18

Chico glares at the poster with bitter hatred, and
spites at it.

The truck goes inside.

DISSOLVE TO

CORRAL OF PLAZA DE TOROS - NIGHT. Bonito is quartered
in the enclosure with the other five bulls that were shipped by
train. Feedboxes, salt and fresh water are at their disposal.
Old Miguel is in charge of the bulls, seeing to it that they are
fed and watered.

Out of the shadows creeps Chico, a rope halter in his
hand. This is his last desperate attempt to save his friend.
While Miguel and the ring attendants are occupied with other
bulls, Chico unlocks the corral gate and makes the signal with
his foot, gesturing for Bonito to follow him. At once the bull
comes to him.

As Chico puts the halter around the bull's neck,
Miguel turns and sees him. There is a scuffle, the boy biting
and kicking. Bonito is returned to the corral, the other bulls
champing nervously at the excitement.

Miquel is furious. Seizing the halter, he punishes
Chico cruelly. The boy stand there, taking his beating. His
tears are not for his own pain but for the fate that awaits
Bonito. Shoving him, Miguel sends the boy away.

DISSOLVE OUT

19

DISSOLVE IN

ZOCALO - NIGHT. The huge cathedral looms up, a dark mass in the cold moonlight. The figure of Chico crosses the great square and moves hesitantly through the courtyard and up the wide steps to the massive doors.

INTERIOR CATHEDRAL - NIGHT. In the eternal quiet of centuries, Chico walks down the corridor, seeking out Our Lady of Guadalupe. He tiptoes along, awed by the grandeur of the largest and oldest church on the American continent.

Now he kneels before the sweet face of the Indian Virgin and prays in silence. Then he rises and reverently pins the small silver image of a bull to the Queen's robe. Other images are cluttered there, tiny figures of kneeling men and women; hands, feet, eyes, hearts, animals -- even fish. These figures have been pinned to the Virgin's robe by devout Indians seeking her favor for special indulgences.

Untying a knot in his blouse, Chico removes a lone centavo and drops it into the offering box. Then he kneels again, and rises a moment later with hope singing in his inspired face.

As he turns to go, this hope vanishes. For kneeling before the image of the powerful Christo Rey is the Matador, arms folded, praying with uplifted eyes.

With pounding heart Chico watches him take a thick wallet from his well-tailored topcoat and pulls out a twenty-peso note, which he stuffs into the offering box.

src

20

Now Chico knows that the Divine Powers will favor
the killer of bulls. Dismayed, he hides in the shadows until
the Matador leaves.

Then Chico kneels before Christo Rey, his eyes
beseeching, his brown fingers supplicating. It is as though
he were telling the King of Heaven that if he were rich, he
would give more. Then his small hands search for an offering.
They come upon his belt -- a cheap piece of leather studded
with glass and tin. Humbly he removes it, his face an apology
for so unworthy a gift. Then he rises, genuflects, and walks
away, one hand holding up his pants.

FADE OUT

21

## FADE IN

CORRAL IN PLAZA DE TOROS - DAY. Next morning, Miguel is being questioned by the representatives of the matadors who are to fight that afternoon. These men are the oldest and most trusted banderilleros of the matadors. Bonito is the center of attention, and Miguel is very proud. Chico watches, surly and miserable.

The brand numbers of the bulls are written on three cigarette papers, two bulls together, and these papers are rolled into balls and placed in a cap. Now the banderilleros draw, unroll the paper and discover which bulls their matadors are to fight, and in what order.

Our matador's representative draws Bonito's number, as the first bull to be fought. He takes a final look at Bonito and goes out to tell his employer. Chico watches him with hatred in his eyes.

Now comes the Apartado, the sorting out of the bulls in the corrals with the aid of steers and by the use of swinging doors, runways, and trap doors, separating them into individual chiqueros, where they are to stay and rest in semi-darkness until they come out into the ring.

Again Miguel finds Chico too near Bonito's stall, and orders him away. Chico goes out sullenly.

## DISSOLVE

ELRETIRO - DAY -- a restaurant across the street from the bull ring, where the professionals and aficionados hang out

22

before the fight. Our matador, surrounded by members of his
cuadrilla and admirers, is drinking manzanilla and reading a
paper. His representative, the banderillero, whispers to him.

Handsome wenches sit at nearby tables, grateful for
his slightest glance.

The famous matador doesn't notice the little Indian
boy watching from the doorway. But a waiter does. He gestures
the boy away, and when Chico makes no move the waiter starts
toward him. Before the waiter can reach him, Chico turns and
walks away with dignity.

DISSOLVE

BACKSTAGE OF THE PLAZA DE TOROS - DAY. Chico makes
his way past the Infirmary, the Chapel, and the Patio de
Caballos, where horses and mules are being lined up for the
parade.

Miguel sees the boy go to the <u>chiquero</u>, the closed
stall where Bonito waits his entrance into the ring. The old
man feels great sympathy for the boy.

In the dim light, Chico leans disconsolate against the
stall. Bonito senses the boy's presence and stomps in recognition.
Chico tries to get a glimpse of Bonito through the cracks. Then
he searches the ground and finds a stem of alfalfa which he pushes
through a knot-hole. The alfalfa disappears. Chico, tears
running down his cheeks, pokes his finger through the hole.
When he takes it away, the finger is wet with Bonito's aliva.

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P3

Miguel appears. Anxious to get the boy out of the way, he gives him a ticket for the fight. At first Chico refuses, but Miguel stuffs it into his blouse and gently ushers him away.

PATIO DE CABALLOS - DAY. The bullfighters are lined up in three columns, the matadors abreast in the order of their seniority. Behind them their banderilleros and picadors; then the ring attendants with shovels, wheelbarrows, and the belled mules who will later drag out the dead bulls.

The bullfight music begins, the gates are thrown open.
The pasco starts across the bright sand.

PLAZA DE TORROS - DAY. EXTREME LONG SHOT FROM ABOVE.
Twenty thousand spectators cram the bowl. The crowded boxes are decorated with bright shawls. The pasco, in three columns, advances to the Presidente's box, where they bow low and remove their monteras.

Our matador bows, humble, yet confident.

High in the cheap seats in the sun, Chico makes his way through the real aficionados, the street boys and wise cynics of bullfighting.

The Toreros replace their hats and go to the barrera.
The bullring servants smooth the sand in the ring that has been disturbed by the parade.

Meanwhile our matador selects a heavy fighting cape,
and takes his position behind a shelter.

sbp

Now the alguacile ride up under the Presidente's box,
requesting the key to the _toril_. The Presidente throws it and
the alguacil catches it in his plumed hat. The crowd applauds
sardonically.

The alguacil gallops across the ring to the man who
stands ready to open the red door of the _toril_. Then he gallops
back, salutes the Presidente, and gallops out. The ring servants
smooth away his horse's tracks.

Now the ring is quiet. Everyone watches the red door.
Chico waits breathlessly.

The matador is ready behind the _burladero_, and his two
banderilleros wait tight against the barrier on each side of
the ring.

The Presidente signals with his handkerchief, the
trumpet sounds, and the attendant unlocks the door of the _toril_.
The door swings open, exposing a low passageway.

Chico's face is a tempest.

Bonito comes hurtling out of the darkness like an
express train. The crowd roars in anticipation. The bull is
in all his strength and glory, the colors of the rancho clipped
into his hump of muscle.

One of the banderilleros runs across the ring, trailing
his cape. Bonito drives at it, hooking with one horn.

The matador watches, noting which horn he favors,
whether he follows the zig-zagging cape on both right and left
sides; whether he runs straight, or if he cuts ground toward the
man as he charges.

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25

Bonito rushes with such speed and accuracy that the banderillero scampers to the shelter. The other banderillero comes from the opposite side, trailing his cape. Bonito instantly drives him from the ring.

The crowd is in a frenzy of excitement. Already they know that this will be a fight to remember.

Chico is laughing hysterically.

The matador gestures to his banderilleros that he is ready to incite the bull. He makes an entrance, holding out the cape in both hands.

Bonito needs no inciting. With great courage, the matador stands still as the bull charges him. Moving the cape just ahead of Bonito's horns, he passes them close to his body with a slow movement of the cape.

Bonito turns and recharges. The matador repeats this *veronica* five times, and then finishes off with a swirl of the cape that turns his back on Bonito. This cuts the bull's charge abruptly, fixing him to the spot.

The crowd roars approval of the matador's genius.

Chico watches, not applauding.

The trumpets sound for the entrance of the picadors. They ride in on well-padded scarecrow horses.

Bonito stands there baffled, perhaps saying to himself: "I am being made a fool; I am charging shadows; I must give my charges more effect."

Now Bonito's attention is drawn to the first picador

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26

on horseback, and he is encouraged: here is an enemy with whom
he is familiar. He charges the picador and receives the sharp
lance in his hump of muscle. Enraged, Bonito keeps on pushing.
He unseats the bulky picador, who falls grotesquely to the ground
is his heavy armor.

The matador rushes forward to make the *quite*, distracting
the bull's attention by flapping the cape.

Bonito reacts to this and responds, so that the matador
is able to play Bonito with many superlative passes, finishing
with a *recorte*.

Now Bonito is in position for the next horse. He
charges with more zeal and ferocity than before. He is more
dangerous, having learned his lesson.

Chico flinches, as though the cruel pic had pierced
his own flesh.

Now it is the other matador's turn to make the *quite*.
He does his utmost to make a better showing than our matador.
But his nerve fails as Bonito charges relentless, time after
time, growing more dangerous with each pass.

The crowd has gone mad. "Ole!" shout the twenty
thousand as one, for today history is being made.

Finally the second matador loses his courage as he
looks into the eyes of this noble bull who never tires. Bonito
charges. Dropping his cape, the second matador runs to the
*barrera*, and pulls himself frantically over it, Bonito trying to
follow after him.

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27

Chico is on his feet, screaming with triumph.

The trumpets blow once more and the picadors ride out
with their horses.

Inspired by the enthusiasm of the crowd, our matador
insists on personally placing the banderillas. He waves aside
his banderilleros and takes a pair of the colored darts, one in
each hand, points downward. Lifting his arms over his head, he
spreads them apart like wide horns, grimacing at the bull and
grunting a defiance to the enraged black eyes.

Instantly Bonito accepts the challenge and charges.
Running forward at an angle, the matador stops suddenly, feet
together for the instant, leans forward over the horns, and
nails the banderillas into the hump, where they stick by reason
of the barbs.

Bonito checks, tosses his head up, distracted by the
sudden pain. The matador gracefully eludes his horns.

Chico turns away in anguish. Beside him a street boy,
older and bigger than himself, applauds vigorously. He seems
to be taunting the bull. Chico can't stand it. He strikes
the bigger boy. A fight is averted only by a quick separation.

Three pairs of banderillas have been placed in
Bonito's hump, marking around the exact spot where the matador
will plunge the sword for the death-thrust. Bonito shakes his
great neck, trying to dislodge the darts.

To prove his bravery, the matador takes the last pair
of banderillas and breaks them across his knee. With the short
barbs in his hands, he again incites Bonito to charge. He meets

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28

the bull's onrush midway and with adagio grace hooks the barbs
in the animal's neck. The crowd cheers.

The Presidente gives the signal for the final act
in the tragedy.

Now the assistant brings the muleta to the matador.
He folds it over a sharp stick, and goes out alone. After the
salutation to the Presidente, the matador dedicates the bull
to him. Then he tosses his hat away.

Punishment has sobered Bonito. He has kept his
bravery and now he is saving his strength. He watches the
matador come forward with the muleta. Not once has Bonito
pawed the ground or bellowed or opened his mouth, and still he
charges without provocation as the torero plays him with
various spectacular passes.

The crowd is on its feet. Never have they seen a
bull like this, or such brilliance from a matador. One charge
is so close that Bonito's horn snags a tassel from the matador's
trousers.

"Ole!" the crowd chants with each charge. "Bravo,
toro!"

Now the matador pauses to make a difficult adorno,
kneeling with his back toward the animal. Then on one knee
he performs a *pase natural*. Bonito's huge body brushes him,
knocking him off balance. The bull turns sharply. From all
directions come members of the cuadrilla waving capes.

But Bonito is not to be distracted. With lowered
horns he rushes the matador, who scarcely has time to get to

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29

his feet and reach the shelter, with Bonito close behind him.
There is a splintering of planking as the bull's power crushes
the wood, sending the ring monkeys scattering helter-skelter
for safety.

Chico cheers wildly, almost forgetting what is to
follow.

Now the matador has lost some of his calm. To redeem
himself, he attempts a difficult and valiant veronica, either
a farol or templar, or whatever Solorzano prefers. But all too
quickly Bonito has learned a great deal. The matador is lucky
to get out of the ring with only his tight pants slit open.

Chico jumps up and down, pounding the street boy
on the head in his excitement. Then the trumpet sounds --
ominous signal announcing the time for the kill. Slowly Chico
sits down, his face once more a tragic mask.

The matador, perspiring and resolute, is given the
leather sheath that holds the razor-sharp sword curved downward
at the tip.

In the center of the ring stands Bonito, a king who
refuses to abdicate. The crowd is suddenly quiet.

Slowly the matador advances. A short distance from
Bonito he stops, his feet together, his whole body poised
straight, the muleta held in his left hand and hanging down
over his legs and feet, the sword in his right hand, stretched
toward the bull.

Chico covers his face with his hands.

The matador sights along the sword to the exact spot

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30

where the death thrust must be delivered. Bonito charges obliquely, causing the sword to miss its mark. It strikes a bone, and Bonito tosses it, flashing, into the air. Once more the matador escapes with his life, the crowd roaring.

Chico peeks through his fingers to find his Bonito still very much alive. The trumpet blows the second warning.

The matador, his hands trembling, his breath coming in gasps, takes another sword from the leather sheath. With indomitable courage, he again steps out to face the mighty bull. Before he can get into position, Bonito is upon him like a bolt of black lightning. Once again the matador is forced to take shelter. Cushions rain from the foolish ones in the stands. Soldiers quickly preserve order.

The matador looks up at his manager in the first row. The manager waves his arms frantically, indicating that he should kill the bull in any fashion possible. But the matador shakes his head.

He goes out once more. As he looks into Bonito's fierce eyes, a determination to destroy this beast with the finest volapie takes possession of the matador.

In the tense silence he again sights down the sword, his face twitching with taut nerves.

Chico clasps his hands and closes his eyes in a last desperate prayer.

Bonito lowers his head for the charge. Then the trumpet sounds, signifying the matador's failure to kill in the alloted time. The great matador leaves the ring amid a storm of applause and a few cushions

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31

From his box the Presidente rises to his feet and
announces that this magnificent bull shall go free in order
that he may beget more of his kind.

Chico's happiness is boundless. He looks down on
Bonito and his eyes overflow.

Now the trained steers are brought into the ring to
remove Bonito. But Bonito is not so easily led away. He
scatters them. For a moment it looks as though Bonito cannot
be taken from the ring alive.

The crowd is thunderstruck to see a small boy leap
over the barrier and into the ring. Chico kicks sand and
gives his familiar whistle. Bonito's blood-stained ears perk
up. Then he trots over like a huge dog and follows his young
master out through the gates amid a shower of flowers and hats.

DISSOLVE

COMPOSITION SHOT. Beautiful Mexican countryside.
The boy and the bull are silhouetted against the sky, moving
across the cloud-banked horizon.

FADE OUT

THE END

# MY FRIEND BONITO

## ORSON WELLES

This is the story of a little boy who loved a great fighting bull. The boy's name was Chico, and the bull's name was Bonito. As you probably know, a bullfight is not a contest between man and beast: it is a predestined tragedy. All bulls die, as all men die. Some meet death ignominiously, while others die gloriously in battle. Like all brave bulls, Bonito was destined to fight and die in the *Corrido de Toros*.

Our story opens on the great ranch of Don Luis Ortega Alvarado, breeder of the finest fighting bulls in all Mexico. It begins on the night that Bonito was born --

As this foreword is being spoken:

### FADE IN

#### EXT. HACIENDA - NIGHT

1. WIDE ANGLE - BOOM SHOT. In the f.g. a mellowed ornamental sign bears a curious brand insignia of *La Punta*. Beyond, the century-old hacienda of the Alvarado family, high walls surrounding the patio and house. The building is dark.

CAMERA MOVES UP, leaving the sign, disclosing a comprehensive view of the hacienda, and the rolling hills beyond. Great herds are dimly visible in the b.g. A campfire glows brightly on the hillside.

CAMERA CENTERS on the campfire in the distance and starts to ROLL FORWARD.

#### DISSOLVE

#### EXT. HILLSIDE - NIGHT

2. MED. ANGLE - group. In the flickering light of the campfire, we see a ponderous cow giving birth to a bull calf. An old man with bloody hands and arms works over the gasping mother. This is Miguel, the *mayoral*, or head *vaquero*. A little boy squats near the cow's head, stroking it. This is Chico, small for his eight years. He is startled, shocked and fascinated.

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(CONTINUED)

3

FADE IN

EXT. SMALL VILLAGE PLAZA - DAY

3

FULL SHOT. From all directions come Mexican peasants' men, women, and children leading all manner of domestic animals toward the village church across the plaza. It is the day of The Blesing Of The Animals.

The CAMERA on a boom MOVES IN slowly with the general movement, picking up various types as they cross the plaza: an old man leads a scarred burro adorned with ribbons; a woman carries a squealing pig under one arm and a turkey under the other; ragamuffins with their nondescript dogs trying to keep the animals from shaking off their decorations; a somber widow heavily veiled carries a pair of love birds in a cage; sundry animals, some proud, some defiant as they are led to the churchyard.

EXT. CHURCHYARD - DAY

4

FULL SHOT. The priest is blessing the animals one by one, sprinkling a few drops of holy water on each. There is a commotion in f. g. when a burro refuses to kneel and his master kicks him in the shins. The burro kicks back. Chico leads the ox-cart with Bonito through the crowd. Somewhere a dog fight breaks out. With yells, howls, squeals, cackles and bleats, the animals join the cacophony.

5

CLOSER ANGLE - priest. The holy man continues his blessing, unperturbed by the uproar.

6

REVERSE SHOT - Chico and Bonito in ox-cart. The priest blesses the ox. Chico indicates his bull-calf. The priest hides a smile and sprinkles holy water on Bonito's wreath-crowned head. But Bonito is atheistic in his objections.

DISSOLVE

EXT. OPEN RANGE - DAY

7

LONG SHOT. Across the rolling hills Chico runs and Bonito pursues him. It is a game of hide and seek. Chico disappears behind a wild berry bush.

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4

8 CLOSER ANGLE - Bonito. The bull-calf stops, looks around intelligently, then seeks out the boy, CAMERA PANNING with him.

9 CLOSE TWO SHOT. Chico holds a handful of berries in his palm. He laughs as Bonito's pink tongue laps up berries from his hand. Then he pushes the nose away and eats some himself. Bonito comes back for more, munching with pleasure.

DISSOLVE

INT. MIGUEL'S HOUSE - NIGHT

10 MED. SHOT. Miguel sleeps heavily. Chico sits up, rises quietly so as not to waken his grandfather, pulls his <u>serape</u> about him, and tiptoes out.

EXT. MIGUEL'S HOUSE - NIGHT

11 PAN SHOT. Quickly Chico makes his way around the side of the adobe house, where he kneels and unearths something from a hiding place.

12 CLOSER SHOT. Chico brings forth a sack, slings it over his shoulder, and furtively exits shot.

WIPE

EXT. FIELD - NIGHT

13 FULL SHOT. In b.g. a herd of cows, some with calves, huddle together under the scrubby trees. A lone bull stands with Mormon aloofness. Chic o enters <u>in</u>ot. Beside the fence in the f.g. are feeding pots. Chico opens his sack and pours delicacies for Bonito into one of smaller pots. Then he whistles with two fingers. It is a unique whistle, which, once heard, will be remembered.

14 CLOSER ANGLE - herd. Bonito comes from the herd, his ears perked up. Dutifully, he trots offscene toward the boy.

15 ANGLE at fence. Chico watches from the fence as Bonito comes up and goes directly to his pot, where he eats quickly.

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5

16 Bonito. The bull-calf finishes greedily and looks up for more.

17 Chico. The boy smiles, reaches into his blouse, and brings out a _taco_, which he holds just out of the bull's reach.

18 TWO SHOT. Bonito begs, his neck stretched and his big eyes pleading. Laughing, the boy gives it to him.

DISSOLVE

EXT. CORRALS - DAY

19 INSERT OF BRANDING IRON. The branding insignia is the same as one the _La Punta_ sign. The iron is white-hot, as a hand removes it from the fire.

20 FULL ESTABLISHING SHOT. The yearling calves are in one corral - the fire and branding irons in another. A swinging door connects them. This is the _herradero_, the day of branding; the noisiest, dustiest, most confused of all operations in bull-raising.

21 MED. SHOT - branding corral. The _vaqueros_ release a bawling calf, freshly branded. It charges away. Miguel signals for the next calf to be brought in.

22 SHOOTING through gate toward Bonito. The _vaqueros_ drive Bonito toward the gate as it swings open.

23 CLOSE - Chico on corral fence. Resigned, the boy watches his small face reflecting pity for his friend.

24 FULL SHOT. Bonito races around the branding corral until he is thrown. It takes five men to hold him while his legs are tied together and his tail pulled forward between his legs. To protect his eyes and budding horns, Miguel places a sack of straw beneath his head.

25 ANGLE on Chico. The boy leaps down and runs into the corral, CAMERA FOLLOWING. He kneels beside Bonito.

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6

26 CLOSE - Bull and Chico. Bonito's frightened eyes look at the boy as though to say, what is your kind doing to me? Chico caresses the sweating, dusty head.

27 Vaquero at fire. The vaquero removes a white-hot branding iron and exits shot toward the offscene bull.

28 Chico and Bonito - LOW SETUP. The vaquero kneels in the foreground with the branding iron close to camera. Chico looks away, stroking Bonito's neck as the brand descends just out of bottom of frame. Sound of hissing flesh, smoke rising into shot. Bonito's head jerks, and the boy soothes him.

29 CLOSE - Miguel. He makes an entry in a notebook.

30 INSERT - NOTEBOOK. Beneath the record of the bull's heritage, Miguel's hand writes the name: "Bonito - 7444 - 1 ano."

31 Miguel puts the pencil behind his ear and gestures to the vaqueros.

32 GROUP SHOT around bull. The vaqueros slit Bonito's ears and clip the hairs at the end of his tail so that they will grow out long and silky. Chico watches, petting the bull's forehead. Then Bonito is released.

33 WIDER ANGLE. Furious, the bull gets up and charges everything and anything in the corral. Everyone scatters - all but Chico, who stands there alone. Bonito, his dignity outraged, looks at the boy and then charges out the open door of the branding corral.

34 CLOSEUP - Chico. The boy watches the bull, a sense of betrayal clouding his face.

SLOW DISSOLVE

EXT. OPEN RANGE - DAY

35 WIDE ANGLE. A herd of bulls grazes on the plain. Chico appears in the f.g., looking for Bonito. He kicks up dust and gives his familiar whistle.

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36 Bonito - in the herd. The bull's ears prick up, and he comes toward camera, his tail lashing.

37 CLOSE - Chico. The boy smiles with relief as he sees his friend approach. Then the smile fades.

38 Bonito. The bull lowers his head and the hump of muscle on his back rises in warning. He advances menacingly toward camera.

39 Chico. He has never known this Bonito. Almost frightened, he waits.

40 MED. FULL SHOT - boy in f.g. - bull in b.g. Bonito paws the earth and bellows. Again Chico kicks dust and whistles. Bonito comes toward him, no longer menacing. Playfully he butts the boy, nosing under his arm, half raising him off the ground. Chico slaps his flanks and mounts him, whispering into his ear and scratching his neck. Tossing his head proudly, Bonito carries his friend away.

FADE OUT

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### FADE IN

41 INSERT - NOTEBOOK. After Bonito's name and number, a hand changes the "i ano" to "2 anos."

### DISSOLVE

### EXT. HACIENDA BULL RING - DAY

42 HIGH ANGLE. The closed corral, half the size of a real bull ring, is fitted with burladeros, or plank shelters, for the professional fighters to stand behind. This is the Tienta, the testing of the cows. This is the ordeal by which the brave cows are selected, in order that their charging ability and courage may be passed on to future fighting bulls. It is a gala day, with music and feasting. Women hold babies high, so that they may see.

43 GROUP - Don Luis and party. In high spirits Don Luis and his entourage await the next test. Servants in Andalusian costumes pass among the guests offering refreshments. Don Luis signals for the next cow to be admitted.

44 FULL SHOT. The vaqueros drive a splendid cow through the gate that opens into the testing corral. A picador wearing leather chaps and the short jacket of a bull-herder waits quietly, his back toward the gate. He holds a pic about 12 feet long, with a triangular steel point at the end.

The crowd is silent. The picador does nothing to excite the cow, for the most important part of the test depends upon her willingness to charge without being harassed. Suddenly the cow charges, hitting the padded horse and thrusting with full power, even after the steel pie has been plunged into the muscle in her back.

45 Don Luis and group. Don Luis nods, signifying that the cow is approved as a mother of fighting bulls.

46 Bull ring. The gates to the adjacent field are opened and the cow goes free. The mariachis strike up a merry tune. Don Luis and his party enter an open car and drive toward the open range.

47 CLOSER ANGLE. Miguel, the head vaquero, mounts his horse and hoists little Chico into the saddle with him. They rise after the car, followed by other vaqueros.

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EXT. OPEN RANGE - DAY

48 WIDE ANGLE. Don Luis' car comes to a stop on a knoll, where they can view the open range testing. In the b.g. the vaqueros ride out for the testing of the bulls. If a bull fails to show bravery or any lack of fighting qualities in this test he is labeled for veal.

49 Group of vaqueros - Chico and Miguel in f.g. Chico's face is tense with anticipation as he strains forward in the saddle, looking offscene.

50 Bonito. We recognize the two-year-old Bonito by his white markings. He looks around, curious and beligerent.

51 Don Luis and party - in car. Don Luis signals for the test to begin.

52 MOVING SHOT - vaqueros. Two vaqueros gallop toward Bonito. The bull turns and runs away. The vaqueros gain on him. A third vaquero comes from the opposite direction, heading Bonito off. As the bull turns to avoid him, the other two horsemen are suddenly upon him.

53 CLOSE FOLLOW SHOT. The nearest vaquero reaches down and seizes Bonito's tail. He twists it, pinching it in a certain spot. Bonito tumbles to the ground in a cloud of dust.

54 Miquel and Chico. They are watching intently.

55 ANGLE on Bonito. He gets to his feet, infuriated. Again the vaqueros are upon him. This time Bonito refuses to retreat. Holding his ground, he challenges them all. When one of the vaqueros attempts to grab his tail again, the angry bull whirls and hooks at the horse, almost unseating the rider. The other vaqueros ride in to distract the bull. Bonito scatters them all.

56 Chico and Miguel. Chico waves wildly, proud of his mighty friend. Miguel chuckles with pleasure.

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57 Don Luis and group. Don Luis nods proudly, signifying that Bonito is a <u>toro</u>, and therefore approved for the ring. The society folk in the car yell excitedly, and all attention is riveted on the bull.

58 FULL SHOT. Bonito is chasing the mounted <u>vaqueros</u> over the rolling hills. Other <u>vaqueros</u> run in, shouting and waving their hats. Bonito stops, lashing his tail, and challenges them. The horses rear and the <u>vaqueros</u> are forced to retreat.

59 Miguel and Chico. Miguel hugs Chico in his excitement, and Chico turns in the saddle and embraces the old man. They ride out of scene.

60 FULL GROUP around car. Enthusiasm runs high, everyone congratulating Don Luis for his brave stock. Miguel and Chico ride up. Don Luis motions to Miguel. The old man dismounts and goes to the car, where he is met by Don Luis' open arms, and the owner embraces his <u>mayoral</u> and pets him on the back. Miguel is so excited and pleased that he returns the embrace, and all the society folk laugh. During this action, Chico has ridden out of shot. Don Luis looks offscene, and an expression of concern crosses his handsome face.

61 Range - their ANGLE. Chico rides into the open range after his bull. Bonito turns and seems to be waiting for him. The boy dismounts and goes toward the bull.

62 Don Luis and group. They react in amazement that the bull does not gore the boy. Don Luis looks toward Miguel, worried for the boy's safety. Miguel smiles reassuringly, shrugging with his hands. Then he looks offscene toward Chico.

63 Chico and Bonito. The boy is soothing the injured tail.

SLOW DISSOLVE

64 MOON IN SKY - NIGHT - (STOCK)

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EXT. FENCE NEAR GATE - NIGHT

65 COMPOSITION SHOT. In the bright moonlight, Chico is perched on the fence, looking down on Bonito, who is bellowing and pawing the earth in a mysterious fashion. The boy is worried by his friend's strange conduct. Reaching down, he tries to quiet the bull, but Bonito's roar increases, and his alert eyes peer into the distance.

66 CLOSE - Chico. Baffled, the boy cups his chin in his hands, trying to understand the bull's uneasiness. Something offscene catches his attention.

67 FULL SHOT - from Chico's ANGLE. A young peon and his sweetheats are disappearing into the woods, arm in arm.

68 Back to Chico. He ponders a moment, then glances down at Bonito, and quickly looks toward the hills.

69 LONG SHOT - rolling hills. A gorgeous young cow comes down the hill toward camera.

70 Chico's face lights up with sudden understanding.

71 Bonito paws the earth and butts the fence.

72 MED. SHOT. The cow approaches the fence and moos endearingly. Chico reaches over and starts to unlatch the gate. A figure enters shot. Chico starts, guiltily.

73 Miguel. The old man shakes his head sternly, motioning the boy away.

74 Chico on fence - Bonito in f.g. Sadly, Chico pats the bull and exits after Miguel.

FADE OUT

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FADE IN

EXT. HACIENDA - DAY

75 LONG SHOT. A bright spring morning. An open tou ring car with a <u>District Federal</u> license drives up to the hacienda.

76 CLOSER SHOT - car. The chauffeur gets out. In the back seat sits Pedraza, the famous matador, and a beautiful woman. Pedraza is lithe and lean, with a white scar across his forehead; in his well-tailored clothes he seems almost sinister. His manager is in the front seat, fat and florid, with big rings on his fingers. Quickly a small crowd gathers, recognizing the matador. The chauffeur gestures the kids away from the car.

77 Miguel and Chico. The boy isolder now, and it is obvious that he doesn't like these visitors. Old Miguel sends him away to tell Don Luis of their arrival.

78 GROUP SHOT at car. The hacienda folk watch Pedraza with a mixture of awe and admiration. A young <u>vaquero</u>, bolder than the others, pushes his way up to the car with a magazine, which he offers the great matador to sign.

79 CLOSE SHOT - Pedraza. The matador takes the magazine, reaches for his manager's pencil, and writes on the back.

80 INSERT - MAGAZINE. The back page is an advertisement for cigarettes with a picture of Pedraza in costume. Boldly, the matador's hand writes:

JOAQUIN PEDRAZA

81 GROUP SHOT. Pedraza returns the autographed magazine to the <u>vaquero</u>, who exhibits it proudly to the others. Chico appears with Don Luis. Miguel clears a path for Don Luis, who welcomes the newcomers with grandiose formality. The chauffeur opens the door for him and he sits beside Pedraza, who is smiling at someone in the crowd.

82 Indian girl and her mother. The girl lowers her long lashes, embarrassed by his frank appraisal. Her mother, realizing that his smile was for her daughter, suddenly pushes the girl away.

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83
MED. SHOT at car. The beautiful woman gives Pedraza an exasperated look, as the chauffeur drives the car away. Chico runs into shot, looks after the car, then dashes after it. Miguel and the vaqueros mount horses and follow.

DISSOLVE

EXT. OPEN RANGE - DAY

84
FULL SHOT. Bonito is fighting another bull as big as himself. We recognize him by his white markings. He is full grown at four years. The great bulls use their horns as a fencer does his weapon, striking, parrying, feinting, they have an amazing exactitude of aim. Their horns clatter as they knock them together.

85
GROUP SHOT at car. They watch the battle from the car. Don Luis motions for the vaqueros to stop the fight.

86
ANGLE on bulls. The two beasts continue to struggle, despite the shouts and tricks of the vaqueros. Finally Bonito's advarsary gets enough; he quits and turns away.

87
Miguel and Chico. The boy looks up at Miguel on his horse and smiles proudly.

88
GROUP SHOT in car. Pedraza points to Bonita as the most promising bull he has seen. The manager shakes his head and gestures, indicating that the bull is too large and dangerous. But Pedraza needs a good fight to re-establish his fame. He waves the manager aside and watches the bull with admiration. Now the beautiful woman touches his arm and nods proudly at the brave matador.

89
PAN SHOT - Chico and Miguel. The boy tugs at Miguel's chaps as though to protest Pedraza's choice, but the old man ignores him. Then Chico walks to the car, CAMERA PANNING with him. He looks up, pleadingly at the great hero, killer of bulls. Pedraza doesn't notice him, but the beautiful woman smiles down at the boy, reaches into her purse, and tosses him a silver peso.

90
Chico - Miguel in b.g. The boy makes no effort to catch the coin. It falls at his feet. He stands there stubbornly, Miguel in b.g., looks at him sternly.

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91 CLOSE SHOT - woman. The woman frowns.

92 Miguel and Chico. Miguel dismounts, picks up the coin, and hands it to Chico. The boy hurls it away with all his might. Miguel glares at him.

93 GROUP SHOT at car. The woman is annoyed at the boy's rudeness. She looks at Pedraza, who is watching the off-scene bull with admiration. Don Luis signals to Miguel to have Bonito brought in for shipment. Then he motions to the chauffeur to drive on, that they might select more bulls. The car moves away.

94 Miguel and Chico. Miguel mounts and waves the order for the vaqueros to bring on the steers who are trained to lead fighting bulls whenever it is necessary to move them from place to place. He rides out of scene, leaving Chico standing in the dust and gazing at Bonito.

95 CLOSE SHOT - Bonito. The great bull returns the boy's look. Then he turns as he hears the sound of the approaching herd.

96 WIDER ANGLE. The steers surround Bonito, who heeds the her instinct and allows himself to be led away. Miguel and the vaqueros drive the herd away, yelling and waving their sombreros.

97 LARGE CLOSEUP - Chico. The boy stands there with his soul in his eyes, for he knows his beloved Bonito is doomed to die.

SLOW DISSOLVE

EXT. COUNTRY RAILWAY STATION - DAY

98 ESTABLISHING SHOT. In the f.g. the locomotive belches smoke. Down the track Bonito and five other bulls are being loaded into cars.

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99 CLOSER ANGLE - cattle train. The bulls are caged in the *jaulones*, the individual boxes in which they are shipped from the ranch to the ring. These crates are marked with the brand of the rancho, thename and return address. Miguel superintends the loading. There is great excitement as the *vaqueros* have a hell of a time getting Bonito into his box. The great bull has them frightened and respectful of his menacing power. The train crew gestures wildly, for they are behind schedule.

100 Chico. Standing apart from this, the boy watches, his heart broken, a sad Indian, his face reflecting the dignity and resignation of his people.

101 MED. SHOT - cattle car. After much prodding and effort Bonito is secured inside his *jaulon*. Chico enters shot, climbs up beside the cage and reaching through the bars, he strokes the bull's hot muzzle.

102 CLOSER ANGLE - Chico and Bonito. Digging into his blouse, Chico pulls out a fistful of golden maize, which he offers to the bull. But Bonito will not eat. Miguel enters shot and watches this farewell sympathetically. The whistle toots o.s. The train jerks to a slow start.

103 MOVING SHOT - SHOOTING toward rear of train. Miguel takes the boy by the shoulder and squeezes him affectionately. Then he carefully swings him to the ground. Waving goodbye, Chico recedes in b.g., as the train gains speed. Miguel waves back.

104 Chico. The boy stands there crying, the passing cars flashing shadows across his face. As the last car passes, a wild determination flames the boy's face. He runs out of scene.

105 REVERSE SHOT - SHOOTING down tracks. Chico runs down the cindered weed-grown road-bed, away from camera. He overtakes the last car and pulls himself aboard.

DISSOLVE

INT. MOVING TRAIN - DAY

106 MED. CLOSE SHOT. Chico has hidden himself as close as possible to Bonito's cage. Reaching through the bars, he strokes the bull's neck, looking ahead to see if he is observed.

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107 Miguel from Chico's ANGLE. Miguel sits facing forward, unaware of the boy's presence, his **sarape** blowing in the wind. The whistle toots sharply.

108 MOVING SHOT - SHOOTING forward from engineer's cabin. The whistle continues to toot. The train rounds a curve, disclosing a herd of sheep blocking the track. The sheep herders are throwing stones at the bleating, milling sheep, trying to get them off the tracks. The train slows down.

109 FULL SHOT - sheep in f.g. The train comes to a halt, and the engineer and fireman get out, gesturing furiously at the sheep herders.

110 Chico and Bonito - hills in b.g. The boy looks ahead, realizes that this is his opportunity. Then he gazes at the open hills in the b.g., stretching away to freedom. Cautiously he glances at Miguel o.s.

111 Miguel. His attention is riveted on the confusion ahead.

112 Back to Chico and Bonito. Carefully the boy unlocks Bonito's cage. Then he jumps to the ground and runs like mad up the hillside. Turning, he kicks up dust and whistles shrilly. The bull's ears rise. Tossing his head, he butts the stall and the door crashes open. Joyfully the big fellow lumbers out of his cage and jumps to the ground, CAMERA PANNING as he follows Chico up the hill as he did in his childhood romps.

113 Miguel. The old man has heard Chico's whistle and has seen the escape. He gestures angrily for the boy to come back.

114 LONG SHOT from Miguel's angle. Chico and the bull are running over the hills to freedom.

115 Back to Miguel. He jumps from the car and looks around for help.

FAST DISSOLVE OUT

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DISSOLVE IN

EXT. COUNTYSIDE - DAY

116 MOVING SHOT. Miguel leads a mounted party of ranch hands in pursuit of the boy and bull.

DISSOLVE

EXT. OLD ADOBE RUIN - DAY

117 MED. FULL SHOT. The crumbling adobe ruin is shielded from the hills by huge organ cactus. On the bull's back, Chico guides the animal to the cool shade. Bonito's great body glistens from the exertion. They stop near an old stone well, and the boy dismounts.

118 CLOSER ANGLE. Chico draws a bucket of water from the well, and the bull drinks with him, the boy scooping water with his cupped hands. Then he bathes the bull's hot face. It is a scene of idyllic peace, Bonito sucking up the cold water with gurgling contentment. As the bull nibbles a patch of grass, Chico sprawls on the ground, relaxed and happy. Suddenly Chico's expression changes. He presses his ear to the ground, listening. Then he sits up in alarm.

119 LONG SHOT. The quiet is shattered by the onrush of horsemen looming over the hills. It is Miguel and the neighboring ranch hands he has collected. Miguel points out the boy and the horsemen gallop forward, surrounding them.

120 Chico and Bonito. The bull whirls savagely, his hump of muscle rising. The horsemen have surrounded them.

121 WIDER ANGLE. Cornered, Bonito becomes a fearless wild beast, spoiling for a fight. Without warning, he charges one of the horsemen, who reins abruptly and reteats over the hill, Bonito pursuing him relentlessly. The others follow, except Miguel, who rides up to Chico.

122 Miguel and Chico. Miguel cuts Chico savagely across the buttocks with his quirt, then seizes him by the scruff of the neck and yanks him into the saddle beside him.

CAMERA PANS as they ride after the others over a hill.

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EXT. CREST OF HILL - DAY

123 Miguel rides into f.g. with Chico in the saddle before him. Looking down, Miguel reins suddenly.

EXT. VILLAGE - DAY

124 LONG SHOT from their ANGLE. Below them is a picturesque village, and Bonito is in possession of it. The bull stands in the small plaza, daring anyone to come out and fight. Townspeople are fleeing in all directions.

EXT. PLAZA - DAY

125 MED. FULL SHOT. The horseman Bonito first chased has taken refuge in the bandstand. Bonito turns and glowers about the Plaza. Townspeople retreat into the trees, others cling to iron gratings.

EXT. CREST OF HILL - DAY

126 Miguel and Chico. Miguel rides his horse down the hillside.

EXT. CANTINA - DAY

127 MED. ANGLE. A peon, reckless with *pulque*, swaggers from the multicolored *cantina*. Bonito's huge figure, head lowered, blocks his path. The drunk waves the hallucination away. This is all Bonito needs. He charges. The drunk runs back into the cantina, Bonito hot on his heels.

INT. CANTINA - DAY

128 FULL SHOT. The habits of the *pulquería* are taken unawares by the appearance of Bonito chasing the drunk. Leaping over the bar, they scatter for safety, bedlam breaks loose. One man sits alone at a table, undisturbed by the havoc. There is a crashing of glass and a splintering of wood as Bonito wrecks the place. The bartender leaps from the bar and clings to the swinging oil lamp. Oehlers escape as best they can.

129 CLOSE SHOT - man at table. He is in a reverie, smiling foolishly, taking no notice of the howls of terror and smashing of furniture about him.

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EXT. CANTINA - DAY

130 FULL SHOT. Townspeople and the *vaqueros* have barricaded the door to the *cantina* with an ox-cart and barrels, shutting the bull inside. The town mayor who has been supervising this public work, rubs his hands in satisfaction. Suddenly there is a thud. The wall gives way, and Bonito comes roaring through it, draped in colored paper, shreds of clothing clinging to his horns. Everyone scatters.

INT. CANTINA - DAY

131 FULL SHOT. Everything is wrecked save the lone table, where the man still sits, the same foolish grin on his face. Sunlight streams through the gaping hole in the wall.

EXT. PLAZA - DAY

132 MED. ANGLE - Chico and Miguel. Miguel's horse rears, frightened by the bull. Miguel is yelling orders and Chico is shouting to the bull, but in the confusion their voices are drowned out.

133 AKELEY SHOT - Bonito. The bull is making a rubble of the open air market in the plaza, smashing pottery, overturning a *dulce* stand, and wading through a *taco* and *tamale* stall. Here the bull pauses to nibble a *tortilla* reflectively.

EXT. CASE MUNICIPAL - DAY

134 MED. SHOT. Two soldiers of the *policia* armed with carbines dash from the door, looking around wild-eyed and obviously late, one of them pulling on his coat.

EXT. CHURCH - DAY

135 MED. FULL SHOT. A fat priest comes out of the church and down the steps to learn the cause of the uproar, his cassock fluttering in the wind.

136 Bonito. The bull lowers his head and charges the holy man.

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137
MED. ANGLE - soldiers. One of the soldiers raises his
30-30 and takes aim. Quickly Miguel rides up, with
Chico still in the saddle, and beats down the weapon,
for Bonito is a valuable bull.

138
FULL SHOT. Bonito is pursuing the priest up the church
steps. The good man waddles frantically, a few feet
ahead of Bonito's horns.

139
Miguel and Chico. Chico leaps from the horse and runs
toward camera, pausing in f.g. to whistle sharply.

140
Bonito. The bull stops on the threshold of the church
and looks back.

141
Back to Chico. The boy kicks a cloud of dust and
whistles again, this time a command.

142
FULL SHOT. To the amazement of the entire village, the
powerful brute comes meekly down the church steps to the
f.g., where Chico strokes his soft nose.

DISSOLVE

EXT. MOUNTAIN ROAD - DAY

143
LONG SHOT. A battered truck winds down a circuitous
mountain road toward camera. In f.g. stands the ancient
ruin of a monestary. As the truck nears camera we see
Miguel sitting quietly beside the driver, looking back
frequently at Chico and Bonito. He takes no further
chances on their escape.

144
MOVING SHOT - Chico and Bonito. Bonito is caged in a
heavy box. Chico sits stolidly beside him, jostled by
the rutty road.

145
RUNNING INSERT - REAR WHEEL. The weight of the bull
splays the worn tire as it bumps the rocky road.

146
WIDE ANGLE - truck - moving - LOW SETUP from insert car.
The truck rumbles along. Above in the sky, a flock of
vultures wheel and soar.

DISSOLVE OUT

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DISSOLVE IN

EXT. TREE LINED ROAD - DAY

147 COMPOSITION SHOT. The truck approaches camera travelling down a lane of eucalyptus trees, passing an ox-cart and several peons on burros. By the side of the road are the remains of an old aqueduct.

148 MOVING SHOT - Bonito and Chico. The boy looks into the sky, his attention attracted by something there.

EXT. SKY - DAY

149 MOVING SHOT - from Chico's ANGLE. The vultures are following, soaring nearer now, with a premonition of carrion. Tops of trees pass slowly along both sides of frame.

DISSOLVE

EXT. OLD SPANISH BRIDGE - DAY

150 LONG SHOT. In the distance Mount Popocatepetl and the Sleeping Woman are white against the blue sky. The truck rumbles across the ancient bridge; empty guard towers from the days of the Conquest stand at each end. Black-braided women kneel along the river bank, washing clothes. The vultures are still following the truck.

DISSOLVE

EXT. HIGHWAY ALONG CEMETERY - DAY

151 WIDE ANGLE. In the distant b.g. the City of Mexico is visible, with the towers of the Cathedral rising into the sky. Beyond the walls of the cemetery stretch countless statues, monuments, and crosses. There is a profusion of wreaths, flowers, and bright paper offerings spread over the grave mounds. Against this macabre b.g. the truck comes to a stop.

152 CLOSER ANGLE - truck. The rear tire is flat. Miguel and the driver get out. In order to jack up the truck, Bonito must be unloaded. They lower the rear gate to make a runway for the bull. Chico goes to the side of the road, kicks dust, and whistles. The bull comes down the ramp obediently.

153 ANGLE on cemetery wall. The vultures light on the wall and watch patiently.

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154 FULL SHOT. Miguel and the driver jack up the car and go to work on the tire. Miguel keeps an eye on Chico, who permits Bonito to graze. A long funeral procession approaches, turning into the cemetery. As the horse-drawn hearse passes, the hump of muscle on Chico, who permits Bonito to graze. A long funeral procession approaches, turning into the cemetery. As the horse-drawn hearse passes, the hump of muscle on Bonito's back rises.

155 CLOSER ANGLE - funeral procession. Scenting the bull, the horses rear and plunge.

156 Chico and Bonito. The boy soothes the rising muscle and Bonito relaxes.

157 Funeral procession. The procession passes. Weeping women behind black veils. Staring children.

158 Vultures on cemetery wall. They preen themselves, brazen and unafraid, amused by the spectacle.

159 Chico and Bonito in f.g., vultures in b.g. In anger the boy picks up a handful of rocks and scatter the vultures. They lumber away, their black wings plopping.

DISSOLVE

EXT. AVENIDA DEL 5 DE FEBERO - DAY

160 LONG SHOT - SHOOTING toward cathedral. The truck makes its way past the modern buildings of the City of Mexico. The huge cathedral rises in magnificent splendor in the b.g. beyond the Zocalo.

EXT. ZOCALO - DAY

161 PAN SHOOT - WIDE ANGLE. CAMERA FOLLOWS the truck as it crosses the broad street around the plaza.

DISSOLVE

EXT. AVENIDA JUAREZ - DAY

162 MOVING SHOT. We follow the truck past the National Theatre and the Alameda with the Juarez Memorial glistening white against the green b.g. of the park.

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163
MOVING SHOT - Bonito and Chico. Fast motor traffic, honking taxis. Bonito rolls his eyes nervously. Chico, excited by his first visit to the city, strokes the bull reassuringly.

DISSOLVE

EXT. PASEO DE LA REFORMA - DAY

164
FULL SHOT. The truck proceeds along the wide boulevard lined with statues and trees. A traffic policeman blows his whistle, halting traffic in front of the Hotel Reforma. Smartly dressed men and women cross the street, and there is all the movement and color of a great modern city. A meat van comes abreast of the truck.

165
Chico and Bonito - SHOOTING toward meat van. The van is piled high with skinned carcasses of headless butchered steers. Chico pulls Bonito by the ear, turning his head away from the grisly sight. The traffic whistle blows and the truck goes on.

DISSOLVE

EXT. GRAN PLAZA DE TOROS - DAY

166
LONG SHOT. The magnificent steel and concrete structure dwarfs everything around it. The truck pulls up to one of the entrances and stops, waiting for the gate to be opened.

167
CLOSER ANGLE - truck. Chico looks up at the enormous building. A flamboyant poster catches his eye. It advertises tomorrow's event.

168
INSERT - POSTER

TOROS
DOMINGO
6
Toros de la Punto
- PEDRAZA -
- ZUMAYA -

The colored lithograph depicts Pedraza in the act of giving the death thrust to a gallant bull.

169
CLOSE SHOT - Chico and Bonito. Chico glares at the poster with bitter hatred and spits at it. The gate is opened and the truck goes inside.

DISSOLVE OUT

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DISSOLVE IN

INT. CORRAL OF PLAZA DE TOROS - NIGHT

170 FULL SHOT. Bonito is quartered in the enclosure with the other five bulls which were shipped by train. Feed boxes, salt and fresh water are at their disposal. Old Miguel is in charge of the bulls, seeing to it that they are fed and watered.

171 CLOSE SHOT - Bonito - Miguel in b.g. Miguel is busy with the other bulls, his back turned to Bonito. The bull's ears perk up as he looks at someone o.s.

172 MED. ANGLE - Chico. The boy creeps out of the shadows, a rope halter in his hand. This is his last desperate attempt to save his friend. Seeing that Miguel and the ring attendants are occupied with the other bulls, the boy goes quietly to the corral gate, CAMERA PANNING with him. He unlocks the gate and makes the familiar signal with his foot. At once Bonito comes to him.

As Chico puts the halter around the bull's neck, Miguel turns and sees him. The old man runs up and grabs the boy. There is a scuffle, the boy biting and kicking. The ring attendants force Bonito back to the corral. The other bulls champ nervously at the excitement.

173 CLOSE SHOT - Miguel and Chico. Miguel is furious. Seizing the halter, he punishes the boy cruelly. Chico stands there, taking his beating. His eyes are on Bonito. Shoving him, Miguel sends the boy away.

DISSOLVE

EXT. ZOCALO - NIGHT

174 LONG SHOT. The huge cathedral looms up, a dark mass in the cold moonlight. The figure of Chico crosses the great square and moves hesitantly through the courtyard.

EXT. CATHEDRAL - NIGHT

175 Chico walks up the wide steps and enters the massive doors.

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INT. CATHEDRAL - NIGHT

176 WIDE ANGLE. In the eternal quiet of centuries Chico walks down the corridor seeking out the shrine of Our Lady of Guadalupe. He tiptoes along, awed by the grandeur of the largest and oldest church on the American continent.

177 MED. FULL SHOT - shrine of Guadalupe. Chico stops and kneels before the sweet face of the Indian Virgin and prays in silence.

178 CLOSE SHOT - Chico. Finishing his prayer, he draws a small silver image of a bull from his blouse and rises.

179 MED. SHOT. Reverently he pins the image to the velvet frame under the picture, where many other images are fastened.

180 INSERT - SILVER IMAGE OF BULL. His hands pin the small bull to the velvet. In this detail we see the other images; figures of kneeling men and women, hands, feet, eyes, hearts - even fish, pinned to the Virgin's robes by devout Indians seeking her favor for special indulgences.

181 Chico. Backing away, he unties a knot in his blouse and removes a lone centavo which he drops into the iron studded offering box. Then he kneels again and rises with hope X singing in his inspired face. As he turns to go this hope vanishes.

182 MED. ANGLE - adjoining shrine of Christ. Pedraza is kneeling before the image of the powerful Christo Rey. The Matador's arms are folded, his eyes are closed.

183 CLOSEUP - Chico. A sense of understanding comes over the boy's face as he realizes the great matador is praying for his own life.

184 Pedraza. The matador takes a thick wallet from his well-tailored topcoat and pulls out a twenty-peso note, which he stuffs into the offering box.

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185 Chico. He looks up in the direction of Christo <u>Rey</u>.

186 Statue of Christ. The realistic figure bleeding from
the crown of thorns seems almost alive.

187 Back to Chico. The boy knows that the divine powers
will favor Pedraza, killer of bulls. Dismayed, he steps
back into the shadows.

188 COMPOSITION SHOT - LOW ANGLE. The <u>matador</u> leaves, and Chico steps from the shadows. Then he kneels before Christo <u>Rey</u>.

189 Chico. His eyes are beseeching, his brown fingers supplicating. It is as though he were telling the King of Heaven that if he were rich he would give more. Then his small hands search for an offering. They come upon his belt. A cheap piece of leather studded with glass and tin. Humbly he removes it, his face an apology for so unworthy a gift. He places it at the feet of Christ. Genuflecting, he rises.

190 HIGH SETUP - SHOOTING from back of Guadalupe. The boy passes the Virgin, holding up his pants with one hand. He gives Guadalupe a look of apology and walks away.

FADE OUT

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FADE IN

INT. CORRAL IN PLAZA DE TOROS - DAY

191 GROUP SHOT - Miguel is being questioned by the representatives of the matadors who are to fight that afternoon. These men are the oldest and most trusted *banderilleros* of the matadors. They give most of their attention to Bonito, who can be seen in the corral in b.g. Miguel is very proud, smoking a small cigar.

192 ANGLE on Chico in archway. The boy watches, surly and miserable.

193 TIGHT GROUP. Miguel writes the brand numbers of the bulls on three cigarette papers, two numbers on each paper. He then rolls them into balls and drops them into his hat. Now he stirs them up. The *banderilleros* each draw a paper. They unroll them to discover which bulls their matadors are to fight and in what order.

194 CLOSE - Pedraza's representative. He reads the numbers on his paper, and he smiles. Then he looks off scene into corrals.

195 Bonito is looking belligerently at the men.

196 Chico is watching sadly.

197 FULL SHOT. Miguel gives the signal for the Apartado, the sorting out of the bulls in the corrals, with the aid of steers, and by the use of swinging doors, runways, and trap doors, separating them into individual *chiquaros*, where they are to stay and rest in semi-darkness until their turn to come out into the ring.

198 Bonito's stall. Bonito is driven into his *chiquero*, and the gate is locked. Miguel turns to find Chico near Bonito's stall. He orders him away. Chico goes out sullenly.

DISSOLVE OUT

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DISSOLVE IN

EXT. MAIN ENTRANCE - PLAZA DE TOROS - DAY

199 Across the street in the El Retiro restaurant, where the professionals and the aficionados gather. The street is crowded with cars and pedestrians assembling for the bullfight. Street vendors are hawking bullfight weeklies, programs, and cigars.

A small crowd has gathered around the main entrance, awaiting the arrival of the torreros.

A big open car drives up and stops before the entrance. Pedraza in costume sits in the rear seat with a banderillero on either side of him. His manager sits in front beside the chauffeur. Admirers crowd around the car, calling "Viva!"

200 Chico in entrance. He watches Pedraza with hatred.

201 GROUP at car. The chauffeur opens the door and Pedraza gets out. The members of his caudrilla clear a path for him through the crowd, as though he were a visiting monarch.

CAMERA PANS the group through the entrance HOLDING on Chico, who looks after them resentfully.

202 CLOSE - Chico. As the boy continues to glare after Pedraza, a bullfight weekly is thrust into shot, in front of his face. Its cover is a large photograph of Pedraza in the act of fighting a bull.

Turning, Chico sees the detested matador before his eyes. Enraged, he tears it from the vendor's hand and throws it to the ground. Then he turns and walks inside.

INT. PLAZA DE TOROS - DAY

203 TRUCKING SHOT. Chico makes his way past the Infirmary, the Chapel, and the Patio de Caballos, where the horses and mules are being lined up for the parade. He continues on in the direction of the chiqueros, where Bonito waits his entrance into the ring.

This DOLLY SHOT should display all the color and activity of the backstage atmosphere of the bullfight.

204 CLOSE - Miguel. The old man watches the boy o.s., feeling great sympathy for him.

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205
MED. SHOT - Chiquero - dim light. Chico approaches the stall where Bonito is quartered. In the dim light Chico tries to get a glimpse of his bull through the cracks. Failing in this, he leans disconsolately against the stall. Then he searches the ground and finds a stem of alfalfa.

206
CLOSE - Chico. The boy pushes the stem of alfalfa through a knothole. The alfalfa disappears. Chico, tears running down his cheeks, pokes his finger through the hole. When he takes it away, the finger is wet with Bonito's saliva.

A shadow dims the boy's face, and he looks up.

207
TWO SHOT - Chico and Miguel. Miguel is a little shame-faced as he draws the boy away from the stall. He is anxious to get the boy out of the way. He presses a ticket into the boy's hand. Chico looks at it.

208
INSERT - TICKET. It is an admission for a seat in the cheap section in the <u>sol</u>.

209
BACK TO SCENE. Chico refuses the ticket. Miguel stuffs it into the boy's blouse and gently sends him away.

INT. PATIO DE CABALLOS - DAY

210
FULL SHOT. The bullfighters are lined up in three columns, the matadors abreast in the order of their seniority. Pedraza looks calm and magnificent in his embroidered gold costume.

Behind the matadors are their <u>cuadrillas</u>, <u>banderilleros</u> and <u>picadors</u> on their horses. Then the ring attendants with their shovels and wheelbarrows, and the belled mules who will later drag out the dead bulls.

The stirring bullfight music begins - the gates are thrown open, and the <u>paseo</u> starts across the bright sand.

EXT. PLAZA DE TOROS - DAY

211
EXTREME LONG SHOT from above. Twenty thousand spectators cram the bowl. The crowded boxes are decorated with bright shawls. Signs advertising cigarettes, cognac, whiskey, patent medicines, and perfumes are prominently painted around the ring. The three columns advance toward the <u>Presidente's</u> box.

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212 CLOSER ANGLE - Peseo. The toreros bow low and remove their monteros.

213 Pedraza. The matador, cynically humble, radiating confidence, bows.

214 ANGLE on Presidente in box. He accepts the greeting with easy grace.

215 MED. SHOT - seats in the sun. Chico takes his seat among the real aficionados, the street boys and wise cynics of bullfighting. Beside him is a tough lad, a little older and bigger than Chico. Grudgingly he moves to make room for Chico on the bench.

216 FULL SHOT - bull ring. The toreros retire to the barrera while the bull ring servants smooth the sand in the ring that has been disturbed by the parade.

217 Pedraza - in barrera. The matador selects a heavy fighting cape. CAMERA FOLLOWS him as he takes his position behind a shelter or burladero.

218 MED. ANGLE on ring. - SHOOTING down. The alguacils ride up under the Presidente's box, performing the ritual of requesting the key to the toril.

219 Presidente's box - SHOOTING up. The Presidente rises and tosses down the key.

220 ANGLE on algueil. He catches the key in his plumed hat.

221 WIDE ANGLE - the crowd applauds sardonically. The alguacil gallops across the ring to the man who stands ready to open the red door of the toril. Then he gallops back, salutes the Presidente, and rides out. The ring servants smooth away his horse's tracks.

Now the ring is quiet. Everyone watches the red door. The two banderilleros wait tight against the barrera on each side of the ring.

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222 CLOSE - Chico. The boy waits breathlessly.

223 CLOSE - Pedraza. The matador is ready behind the burladero.

224 ANGLE on Presidente. He signals with his handkerchief.

225 ANGLE on musicians. The trumpeter sounds his call.

226 Door of toril. The uniformed attendant unlocks the door of the toril. It swings open, exposing a low passageway.

227 Chico. The boy's face is a tempest.

228 WIDE ANGLE - bull ring. Bonito comes hurtling out of the darkness like an express train. The crowd roars in anticipation. The bull is in all his strength and glory, the colors of the rancho clipped into his hump of muscle, infuriating him.

One of the banderilleros runs across the ring, trailing his cape. Bonito drives at it, hooking with one horn - then the other.

229 Pedraza - at shelter. The matador watches, noting which horn the bull favors, whether he follows the zigzagging cape on both right and left sides, whether he runs straight, or if he cuts ground toward the man as he charges.

230 AKELEY SHOT - Bonito. The bull rushes with such speed and accuracy that the banderillero scampers to a shelter.

231 WIDER ANGLE. Now the other banderillero comes from the opposite side and runs across the ring, trailing his cape. Instantly Bonito drives him from the ring.

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232 Chico. He is laughing hysterically.

233 ANGLE on Pedraza. The matador gestures to his
*banderilleros* that he is ready to incite the bull. He
makes an entrance into the ring, holding out the cape
in both hands.

234 Bull ring. Bonito needs no inciting. Displaying great
courage Pedraza stands still as the bull charges. Moving
the cape just ahead of Bonito's horns, the matador passes
them close to his body with a slow movement of the cape.

The crowd roars approval of the matador's work.

235 Chico. The boy watches, not applauding, although people
around him are enthusiastic.

236 FULL SHOT. The trumpet sounds for the entrance of the
*picadors*. They ride in on well-padded scarecrow horses.

237 CLOSE - Bonito. The bull stands there, baffled: perhaps
saying to himself, "I am being made a fool; I am charging
shadows; I must give my charges more effect."

Now his attention is drawn to the *picadors*.

238 WIDE ANGLE - Bonito is encouraged; here is an enemy with
whom he is familiar. He charges the mounted picador and
receives a sharp lance in his hump of muscle. Enraged,
Bonito keeps on pushing into the padding on the horse.
This unseats the bulky *picador*, who falls to the ground,
kicking grotesquely in his heavy armour, unable to get up.

239 CLOSER SHOT. Pedraza rushes forward to make the *quite*,
distracting the bull's attention by flapping the *cape*.

Bonito responds to this and charges the matador. Pedraza
is able to play Bonito with many superlative passes,
finishing with a *recorte*.

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240 WIDER ANGLE. Now Bonito is in position for the next horse. He charges the picador with more zeal and ferocity than before. He is more dangerous, having learned his lesson. The _picador_ aims his lance.

241 CLOSE - Chico. The boy flinches as though the cruel _pic_ had pierced his own flesh.

242 Bull ring. Now it is the other matador's turn to make the _quite_. He does his utmost to make a better showing than Pedraza. Bonito charges relentlessly, time after time, growing more dangerous with each pass.

The crowd has gone mad. "Ole!" shout the twenty thousand as one. For today history is being made.

243 FOLLOW SHOT - matador and Bonito. The matador looks into the eyes of this noble bull who never tires. Bonito charges again; hooking the cape from his hands. Now the bull turns sharply, knocking the matador off his feet. The _banderilleros_ draw Bonito away before the matador is gored.

244 Chico. He leaps to his feet, screaming with triumph.

245 _Barrera_ - including first row. Don Luis with a party of well-dressed friends look on, proud of the fighting spirit of Bonito.

Miguel looks up at Don Luis and smiles broadly. Don Luis is so pleased, he leans forward and shakes old Miguel's hand.

246 LONG SHOT - once more the trumpets blow, and the _picadors_ ride out of the ring.

247 Pedraza - SHOOTING toward spectators in b.g. Inspired by the enthusiasm of the crowd, Pedraza insists on personally placing the _banderillas_, He waves aside his _banderilleros_ and takes a pair of colored darts, one in each hand, points downward. His manager in the first row looks worried.

Pedraza enters the ring.

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248 FOLLOW SHOT - Pedraza and bull. Pedraza carries a <u>banderilla</u> in each hand, points downward. Lifting his arms over his head, he spreads them apart like wide horns, grimacing at the bull and grunting defiance to the enraged animal.

Instantly Bonito accepts the challenge and charges. Running forward at an angle, Pedraza stops suddenly, feet together for an instant - leans forward over the horns and nails the <u>banderillas</u> into Bonito's hump, where they stick by reason of the barbs.

Bonito checks, tosses his head up, distracted by the sudden pain. In this instant Pedraza gracefull eludes his horns.

249 Chico and street boy. Chico turns away in anguish. The street boy applauds wildly. Chico looks at him. The street boy seems to be taunting the bull. Suddenly Chico strikes him. A fight is averted only by a quick separation.

250 Bull ring. Three pairs of <u>banderillas</u> have been placed in Bonito's hump - marking around the exact spot where the matador will plunge the sword for the <u>volapie</u>. Bonito shakes his great neck, trying to dislodge the darts.

251 Pedraza. To prove his bravery, he takes the last pair of <u>banderillas</u> and breaks them across his knee. Then he holds up the short barbs for the audience to see.

252 The Manager. The fat man holds his face in his hands, rolling his head in dismay.

253 FOLLOW SHOT - Pedraza. The <u>matador</u> incites Bonito to charge, holding the short barbs in each hand. He meets the bull's onrush midway, and with adagio grace hooks the final pair of darts in the animal's hump.

The crowd cheers.

254 Presidente's box. Pleased by Pedraza's genius the Presidente gives the signal for the final act in the tragedy.

The trumpets are heard.

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255
MED. ANGLE - Barrera. Pedraza's assistant brings the mulete, which the matador folds over a sharp stick. Then Pedraza goes out alone, CAMERA PANNING with him.

The matador gives the salutation to the Presidente, dedicating the bull to him.

256
Presidente's box. The Presidente nods in acknowledgement.

257
SHOOTING down into ring. Pedraza tosses his hat away and goes out toward the bull.

Punishment has sobered Bonito. He has kept his bravery and now he is saving his strength. He watches Pedraza as the matador comes forward with the muleta. Not once during the fight has Bonito pawed the ground, bellowed, or opened his mouth, and still he charges without provocation as the matador displays his entire repertoire of skilful passes.

258
Crowd. The spectators are on their feet, chanting "Ole!" with each charge. "Bravo, toro!" Never have they seen a bull like this, or such brilliance from a matador.

259
Pedraza and bull. Bonito charges and hooks so close that his horn snags a tassel from Pedraza's trousers.

260
The Manager - first fow. He mops his fat, sweating face with a large handkerchief.

261
Bull ring. With great daring Pedraza pauses to make an adorno, kneeling with his back toward the animal. Luckily Bonito does not charge. Instead he stands there, studying this object he is unable to strike.

Pedraza rises, and without looking back at the bull acknowledges the tumult of the crowd. Then he turns toward the bull, and on one knee performs a pase natural. Bonito's huge body brushes him, knocking him off balance. The bull turns sharply and eyes the matador on the ground.

From all directions come members of the quadrilla, waving capes.

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262 CLOSER ANGLE - follow shot. Bonito is not to be distracted. With lowered horns he rushes Pedraza, who scarcely has time to get to his feet and run for the shelter. Bonito close behind, like a bolt of black lightning.

There is a splintering of planking as the bull's power crushes the wooden burladero, sending the ring monkeys scattering helter-skelter for safety.

The crowd roars.

263 Chico. The boy cheers wildly, almost forgetting what is to follow.

264 Pedraza - behind shelter. The matador has lost his calmness. He breathes heavily from his last escape.

Determined to redeem himself, he again enters the ring.

265 Bull ring. Pedraza now attempts a difficult veronica, either a farol or templar, or whatever Solorzano prefers.

But all too quickly, Bonito has learned a great deal. He charges the matador and Pedraza is lucky to escape alive, his tight pants slit open at the seat, as he is hoisted over the barrera by the ring monkeys.

266 TWO SHOT - Chico and street boy. Chico jumps up and down, pounding the street boy on the head in his delirious excitement.

Then the trumpet is heard - ominous signal announcing the time for the kill.

267 CLOSE ANGLE in barrera. Pedraza, resolute and perspiring, is handed the box that holds the killing swords. The matador selects a weapon and draws it from the leather sheath.

268 Bonito. The bull stands in the center of the ring, a king who refuses to abdicate. The crowd is suddenly silent.

269 WIDER ANGLE. Slowly Pedraza advances. A short distance from Bonito, he stops - his feet together, his whole body poised straight, the muleta held in his left hand and hanging down over his legs and feet, the sword in his right hand, pointed toward the bull.

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270 CLOSE - Chico. He sinks his head into his hand, covering his eyes.

271 Bonito - sword in f.g. CAMERA SIGHTS along the sword to the exact spot where the death thrust must be delivered.

272 Chico. He cannot avert his eyes from the horrible sight. He peers through his fingers. With despair twisting his face, his small fingers steal to his lips.

273 Bonito and Pedraza. The sword is poised for the kill. Bonito lowers his head for the charge.

In the tense quiet the bull begins his charge. At this instant a small familiar whistle breaks the silence. Bonito's charge is halted. He turns his head, looking toward the sound.

274 Pedraza - bull's horns in f.g. The bull's sudden turn has thrown Pedraza out of position. He backs away, using his muleta to hold the bull's attention and fix him to the spot.

275 Miguel in barrera - Don Luis in first row b.g. All eyes are fixed intently on the bull ring.

276 Pedraza and Bonito. Again Pedraza edges slowly into position, his eyes fixed on those of the bull.

277 CLOSEUP - Bonito. The bull's fierce eyes gleam defiance.

278 CLOSEUP - Pedraza. Once more the sword rises in aim, pointing directly into CAMERA, the matador's face twitching with taut nerves.

279 Pedraza and Bonito. Almost imperceptibly the matador moves the muleta. The bull lowers his horns for the charge.

280 Chico. The boy clasps his hands and closes his eyes in a last desperate prayer.

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281 Beautiful girl in box. Overcome by her admiration for the bull, the girl takes a white silk handkerchief from her bag and waves it.

282 Two American tourists. One is busy clicking snapshots with a miniature camera; the other - who wears horn-rimmed glasses - has turned his head away from the ring. He sees the o.s. girl waving her handkerchief. At once he brightens, pulls out a big handkerchief, and waves back. His friend looks and does likewise.

283 MED. SHOT - large family. Papa, mama, and six kids in descending order, babies on their parents' laps: Mama waves her handkerchief and the family picks it up.

284 SHOOTING up at section of crowd. Here and there handkerchiefs begin to appear in growing profusion.

285 Pedraza and Bonito - favoring Pedraza. The sword is still poised for the kill. In the b.g. white handkerchiefs appear in greater number. Pedraza's eyes turn from the bull to the crowd.

286 EXTREME LONG SHOT - the entire bowl is a sea of waving handkerchiefs.

287 Pedraza. He looks back at Bonito. He too wishes to spare this magnificent bull. Slowly he lowers the sword and turns with uplifted face to the Presidente's box, pleading for pardon for the bull.

288 Presidente's box. The Presidente looks at the thousands of waving handkerchiefs. Then he looks back at Predraza, smiling slightly. He removes his handkerchief and waves, The trumpet sounds.

289 EXTREME LONG SHOT - SHOOTING down into bowl. The great matador leaves the ring amid a storm of applause and a sprinkling of hats. Unperturbed, Bonito stands in the middle of the ring.

290 Presidente's box. The Presidente rises to his feet and announces that this brave bull shall go from the ring alive so that he may beget more of his kind.

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291 CLOSEUP - Chico. The boy's happiness is boundless. He looks down on Bonito and his eyes overflow.

292 Bull ring. Now the trained steers are brought into the ring to remove Bonito. But Bonito is not so easily led away. He scatters them. It looks at though Bonito cannot be taken from the ring alive.

293 FULL FIGURE - Chico in ring. The boy kicks sand and gives his familiar whistle.

294 Bonito. The bull turns, and his blood-stained ear perk up. Then he trots toward Chico, like a huge dog.

295 WIDE ANGLE - bull ring. The bull follows his young master out through the gates amid a shower of flowers and hats.

Music; cheers from the crowd.

LAP DISSOLVE

EXT. COUNTRYSIDE - DAY

296 LONG COMPOSITION SHOT. The boy and the bull are silhouetted against the sky, moving across the cloud-banked horizon.

FADE OUT

THE END

NOTE:

The authors hope that somewhere in Mexico there can be found a bull so intelligent, so literate, and so movie-struck that he will perform the miracles that are required of Bonito in this script.

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