Feature Drama | 1920 | Silent | B/W
Intertitle: 'The wide world over, cruelty is disguised as a sport to satisfy man's lust for excitement. From the early ages, humanity has congregated to watch the combating forces of man and beast.' - dissolves to show image of gladiator and lion, beneath text.
Intertitle: 'To the Spaniard, the love of the bull-fight is inborn. A heritage of barbarism - its heroes embody the bravery of the knights of old.' - dissolves to show image of bullfight, beneath text.
Intertitle: 'Our story is of a toreador - a son of the people, who becomes its idol - and sunny Seville is his birthplace.'
A busy square in Seville; arcaded building at far end, a throng of street vendors and their wares, a cart stationary in foreground; another being drawn by a horse in mid-distance, as well as a sort of horse omnibus.
Close view of the far end of the square; in centre foreground a fountain with a central figure of a female water carrier with her back to us; several women at the fountain either washing clothes or filling large jugs; beyond it the omnibus passes R to L - it appears to have three rows of seats, with drawn curtains beside each.
A hill in Seville, looking towards the cathedral; a horse-drawn vehicle drives away from us on the R side of the hill, while an automobile approaches on the L side.
Intertitle: 'And in a land of shadow in the suburb de la Feria - '.
A dingy cobbler's; a woman standing at L, in shawl and shabby skirt; a seated man in check shirt, overalls and hat, at R; at far R, sundry shoes hanging on the wall.
Cobbler: "Not a sign of your son Juan! He is either playing at bull-fighting or at the slaughter-house chasing bulls! Apprentice him to a butcher instead of to me!"
Similar scene to the previous, the woman putting her hands on her hips.
Intertitle: 'The widow Gallardo's patience was sorely tried by hard work and her son's failure to work at his father's trade. Rosa Rosanova.'
Close shot of woman, chest up, looking off L; she has large pendulous ear-rings. The two continue speaking.
Intertitle: 'Antonio, the saddler, took a deep interest in the widow's affairs. Leo White.'
Antonio looks shiftily to the R, as he rubs at a leather strap; a woman comes in from L, in shawl and apron, and sets down a basket beside him, he reading out to help her down with it.
Intertitle: ' - because he was married to her daughter, Encarnacion. Rosita Marstini.'
Half-length shot of Encarnacion talking and smiling; she has a loose pendant round her neck. Half-length shot of Antonio replying, smiling; he has a kerchief knotted at his throat. The two talking.
Antonio: "It is time I gave your mother a present for that good-for-nothing brother of yours!"
He waves the strap in front of her face, then continues to polish it, still speaking.
The widow talks to the cobbler, and walks off R behind him, as he hammers at a shoe.
Intertitle: "It is but a short distance to the Andalusian foothills, where, with other ragamuffins, the widow's son tramped the dusty roads, playing at bull-fighting.'
Three young men walk jauntily towards us on a dusty country road; they are arm in arm, or arm round shoulder, and carry bundles; a small church is in middle distance.
Intertitle: 'For on fast days, the rural populace waited for the "amateurs" from Seville to gratify their love of the sport.'
A small arena, at the far end trees behind a wall with gates, above which is a small waving crowd; in the foreground are a couple of two-wheel carts; the amateurs enter the arena one by one, from the R, one laying down his cloak and holding out his arms in appeal to the audience. Closer shot of the three, the centre - cap in hand - turning, arms up, taking the crowd's applause; he goes over to the stands, while the other two put their things down on the ground. The watching crowd. The amateurs re-assemble their belongings and walk off L. Another section of the watching crowd, now looking expectantly to L. A black bull enters the arena at R. The three toreadors, in triangular formation, taunt the bull with their capes. A toreador in foreground, as the bull charges another off screen at L; he runs in and round to the R, pursued by the bull. He ducks behind the wooden barrier, just in time, then peers around it smiling gleefully; he is in check shirt and soft cap.
Intertitle: 'RODOLPH VALENTINO as Juan Gallardo. They called him "Zapateria" (Little Shoemaker).'
Juan looks round, smiling. The crowd, waging their hats. Looking back, smiling, Juan beckons with a jerk of his head. Juan comes out from behind the screen, with his cape. Toreador in checked shirt and headscarf, making taunting gestures with cape. Longer view of him and the bull, as he kneels, then runs when the bull charges. Juan looking on. Toreador pursued by bull. Juan runs, cape out, to his assistance. The bull charging Juan's cape.
A man in a wide-brimmed hat, leaning on the left side of a large tree, on which a poster is pinned; it appears to be night-time. Closer shot of the man, his arm up beside the poster. Close-up of the poster, with a picture of him and the text 'AVISO. La Comandancia de la Guardia Civil Offrece 2000 pesetas por la captura del bandolero PLUMITAS Par la Comandanci . . .'. Dissolve to same poster in English: 'NOTICE. A Reward of 2000 pesetas is offered for the Capture of the Bandit PLUMITAS. Commandant of the Civil Guard.' Plumitas crosses his arms, looking very pleased with himself.
In the bullring, the bull charges the cape. Juan shaking the cape. The bull charges, as Juan swings the cape behind his back. Juan readies the cape again. The bull charges L to R, Juan jumping out of its path.
Plumitas by the tree.
Juan, beside the screen, shakes his cape. The bull, now with spears hanging from its back, charges in a cloud of dust. Toreador in peaked cap shakes cape. Two toreadors, the further one walking R. Toreador in peaked (baseball-type) cap. Juan, jeering at the bull and gesticulating. The two, as the bull charges the first. Juan runs to his aid, looking aghast; the fallen toreador. The crowd, anxious. Juan attends to the fallen man, as a man in a hat comes over, followed by another; Juan and the man lift the injured toreador, and carry him off R. The bull ring, as the toreador is carried off R, the other man collecting up the capes. The crowd, above the arena wall. A wagon at R, and a two-wheeled trailer, as three men carry in the toreador, from L; a fourth man joins them from R; the man in the hat, on instruction from Juan, runs off R, as the other leaves L; a girl and another man come in from L. The crowd settle down again. As the others attend the gored toreador, Juan rushes off L. Someone opens the heavy wooden bullring gate, and Juan comes through it, stops, and beckons to someone, who follows him through and gives him a sword and cape, following behind, shaking his own cape. The crowd stands and cheers.
Plumitas at the tree.
Juan walks around, taking the applause. The crowd. Long shot of Juan, cape draped over sword. Half-length shot of Juan, ready for the bull. The crowd, above the screen. From behind, Juan poises the sword. The bull's head at L, Juan at R with his sword pointed at it. From behind, Juan runs l at the bull. Pan over jubilant crowd with hats waving.
Palmitas at the tree, looking pleased.
The two toreadors take the applause, as the bull lies dead in the centre of the arena. Crowd throwing their hats in. The arena, as the toreadors walk off L, many hats on the sand.
The injured toreador, a number of people coming on from L to see what's happening; he is still alive. The arena, people getting up and leaving. The injured toreador, in pain, speaks to Juan, kneeling beside him; Juan takes him in his arms as the toreador dies; Juan looks up sadly, kisses him tenderly on the cheek, lays him down, takes off his cap, crosses himself, then bows his head, sobbing; fade to a second of black screen.
Looking down a street, drapes overhead; a woman in a shawl walks away at L, a man astride a mule comes towards us. A busy courtyard - people at work, a rickety wooden gallery above, as Juan, mid-shot, walks R, a bundle on a stick over his shoulder. Closer shot of Juan as he stops before a door, to take notice of a white goat; a woman in a shawl, carrying a basket, has her back towards us at L; Juan takes some carrots from her basket, without her noticing, and gives them to the goat; he approaches the door. Closer shot, as he contemplates knocking on the door with his stick; putting a cigarette in his mouth, he removes the stick with the bundle from his shoulder, throws off L the two sticks, and enters. His angry mother waiting for him inside, with raised besom. She berates him in their kitchen; centre table, three chairs, a large fire place at rear; patches of brick showing through large holes in wall plaster; she turns away, looking sad and angry; Juan approaches her. Juan and his mother, as he takes her hand and she turns towards him as he speaks. Longer view of them, as he evidently tells her what has happened; she withdraws her hand and crosses herself.
Widow: "Oh, Juanillo, you give me so much worry - it might have been you."
Shaking her hand and wringing her apron, she rounds the chair and sits down, slumping her head on her hand on the table, as Juan rushes round the table, embraces her and tries to reassure her; going over to the side-board at R he unties a small bundle and counts out coins into her open hands, then stands back, hands on hips, pleased with himself; she puts the money on the table, still shaking her head, as he skips round in front of her and sits jauntily on the table.
Juan: "Some day I will build you a fine house - and you shall have a grand carriage - ".
As he talks, she plucks at the rip in his trousers; he turns to her and pinches her cheek.
Juan: " - and all the silk dresses and shawls you want!"
She smacks at his knee, and he stretches out his leg as she begins to stitch a repair, he holding her head affectionately.
Intertitle: 'The news of the "Little Shoemaker's" prowess spread through Seville, attracting the wealthy patrons of the national sport.'
The busy courtyard, as two strangers look around, ask directions, then go up to Juan's door. Juan, in toreador's costume, at L, as his mother dusts a cup at R, turning to him.
Juan: '"Madre mia, are you not going to wish your little Juanillo luck?"
The two, as she lowers the cup.
Widow: "The only luck I wish you is that you get some sense in your head! A second-hand suit does not make a toreador!"
Long shot of the whole room, as Juan walks dejectedly off l, trailing his cape, his mother looking after him, before turning back to her dusting. Juan looking down as he leaves the door. Outside, he joins the two waiting patrons, who pat him on the back as they walk off L, an old woman with a stick standing up behind him and pointing. People standing either side of a high archway, as Juan and the two patrons come through, talking; they turn R and walk off, as three girls skip through behind.
Antonio and Encarnacion, the latter holding two young children; he takes an orange out of his pocket.
Antonio: "I am going to the bull-fight to see them pelt that vagabond brother of yours with oranges."
Encarnacion: "Give him one for me!"
They laugh as she squeezes the children, giving him an orange as he walks off R. Crowds milling in front of Seville cathedral. Juan and a patron seated in a vehicle, being mobbed by fans. People hurrying to see. The crowd in front of the cathedral. The courtyard nearly deserted, as the last people go to watch. Juan and the patron taking turns standing in the car, taking the applause.
Antonio: "Make way for the greatest toreador in all Spain - and he is my brother-in-law."
A jubilant Antonio raises his hat. Encarnacion looks on in surprise. Antonio, in the car, yields to Juan, who stands. Antonio, cane out, rushes in from L, taking his hat off, as Gallardo, at R, drops her basket of fruit.
Antonio: "Just as I've always said - Juan is the greatest toreador since Roger de Flor!"
Waving hat and cane, Antonio leaves L. Juan basking in the acclaim. Three excited young women, waving. Close-up of Juan, nodding and smiling. Watching crowd, waving. Juan smiling. Crowd. Dissolve to close-up of a young woman. Juan smoulders at her. The woman, standing between a man in boater and bow-tie and an old man with a beard, throws a flower to Juan. He catches it, smells it, and nods. The applauding crowd. Juan steps down. The courtyard, five children holding hands at R, dancing clockwise in a circle round another; young women rush towards the widow's house.
Woman: "Blessed be the mother to have born so brave a son! Never has there been such bravery in the arena!"
Woman talking passionately to a seething widow Gallardo. Juan in the arena, taking applause as hats are thrown in. Three excited girls, of whom the centremost strips off her blouse and throws it to him. Juan taking the applause. The woman talking to Juan's mother. Back through the arch comes the triumphant Juan, pursued by a throng. The girls who had been dancing enter the courtyard, ahead of Juan and the others; he stands taking the applause. The cloaked Antonio at his side, Juan takes the cheers then stops when he sees his mother. Gallardo holds her hands out towards him. Holding his out, he goes over to her. Entering from L, Juan embraces her. Antonio and Encarnacion look on. Close shot of Juan kissing his mother's eyelids and wiping away one of her tears. He cuddles her. The girl looks on, smiling. Juan sees her, and lets go of his mother, who looks round.
Intertitle: 'Carmen, the playmate of his childhood. Lila Lee.'
Carmen. Juan starts to go to her. She moves out of the crowd, towards him, the man in the boater behind. She enters from R and goes up to him, as he takes his hat off; they shake hands. Smiling, Gallardo wipes her eyes on her apron. Juan and Carmen talking; she reaches from the flower he's still holding, but he pulls it back. The man in the boater follows. Gallardo, Juan and Carman, as the man enters R, putting his hand on Carmen's shoulder; she introduces him to Juan, who shakes his hand, and to Gallardo, who makes a slight bow; Carmen shakes Juan's hand, and she and the man leave L; Juan looks at the flower. Antonio and Encarnacio.
Antonio: "Oh yes, my wife and I have always had great hopes for the boy!"
Close-up of Juan, holding the flower, looking up in surprise. Antonio gesticulating, with Encarnacion. Juan chuckles, and smells the flower; fade.
Intertitle: 'In the same quarter lived Don Joselito, a student of humanity. Charles Belcher.'
A cluttered room, door at L, joselito seated centre, facing us, at a table on which are, inter alia, a skull and a globe; a large open book rests against the table legs; he is writing with a quill pen.
Intertitle: The philosopher surrounded himself with barbaric relics of torture - grim testimony of man's inhumanity to man."
Against the wall is a bookcase, books at all angles, three frames for torture stand in front; dissolve to show people being tortured in these frames; then dissolve back.
Intertitle: 'He searched deep into men's hears, ever willing to excuse weakness, and in a master ledger, recorded the lives of those who interested him.'
Close-up of the script: Spanish text dissolves to English, reading ' . . . Reached his goal. Will success spoil him or will his love for little Carmen overcome the plaudits of the populace and the cruelty of the national sport?"
Joselito turns over his hourglass, and sits back, resting his head on his hand; fade.
Fade in to a restaurant; through an arch can be seen people dancing, in a lower section; Juan and a woman are escorted to a table at R. Showily dressed, Juan shakes hands with a couple of other diners. He sits with four other men, all but one still wearing their hats.
Intertitle: 'A successful matador must have a manager, so he has chosen Don José, a wealthy patron of the sport. Fred Becker.'
Close shot of the suave José, in boater and waxed moustache.
Intertitle: 'And also a cuadrilla of skilled men - headed by El Nacional, a matador, who fought for a living and not for glory. George Field.'
Plain-looking, clean-shaven Nacional, in coat and wide-brimmed hat.
Intertitle: 'Potaje, a popular picador. Jack Winn.'
Older man in wide-brimmed hat, looking a bit unwell, taking a bite of a roll as he speaks.
Intertitle: 'And the Ponteliro. Harry Lamont.'
Rascally-looking Ponteliro, sitting back, cigar in hand.
Intertitle: 'Last and least, old Garabato, who served Gallardo in order to cling to the arena and regain his pigtail. Gilbert Clayton.'
Garabato in profile, taking off his hat to emphasize the pigtail.
Intertitle: 'While Antonio basked in the reflected glory of his brother-in-law.'
Seated, smiling, Antonio, smoking cigar in hand. The men watch people dancing behind them. Musicians, including fiddle, dulcimer and guitar; woman at back, in mantilla, fans herself; young woman and man dancers pass through the band. The diners applaud. The dancers smile. The men round the table, smoking, watching; on the far wall is a display of plates on shelves. The dancers. The men. The woman dancer saunters towards them, hands on hips. The men, as she speaks to Juan, over her shoulder. The woman takes a rose from between her teeth and caresses Juan's cheek with it; he grabs for it. Band member talks to woman. Juan sniffs the flower as the girl flirts with him. The scene round the table. The musician and the woman. Juan and the girl, leaning close to each other; he gets up to follow her onto the dance floor. On the dance floor, two women dancing as Juan speaks to a seated woman. Juan, beside a dresser with a large vase, adopts a flamenco dancing position, and starts to dance. He and the girl dancing together. The enthusiastic band. The couple dancing. The band. Close shot of the dancers. The band, and people clapping. The dancers pirouetting. People clapping. The dancers. People egging them on. Close shot of the two gazing into each other's eyes. Smoky diners. The dancers, people watching. The couple viewed over the guitarist's hat. Very close shot of her gazing up at him, then pouting her lips for a kiss, then his face turning hard and sneering as he suddenly thrusts her away. She falls to the floor. Musicians and others look on in dismay. Juan tugs at his bolero and walks back to his table. The band. Huffily, he puts on his cloak. Close-up of Jan, now in his hat, explaining.
Juan: "I hate all women - but one!"
He beckons to the others. He crosses the dance floor to leave. Ponteliro, with guitar, follows him out, speaking to the others on the way. Juan leans against the wall outside, smoking below a casement window, at which a girl appears, opening it. Carmin, in long plaits and night dress, looks out through the bars. Juan looks up, throwing away his cigarette. Carmen looks pleased. Her view of a bashful Juan, taking his hat off. Addressing her, he springs onto a ledge below the window, to be closer; he puts his hat on again. Ponteliro sings and plays the guitar. Juan and Carmen talk through the bars; she gives Juan her hand, which he kisses. Ponteliro serenading. Close-up of Carmen looking sad but doting.
Carmen: "They tell me you drink a great deal!"
The two - he looks dismissive.
Juan: "Only to return friends' courtesies - a toreador cannot live like a monk!"
They talk; he seeks her hand, but she withdraws it. She looks sad. The two.
Carmen: "They also tell me that your companions are bad men - and women!"
The two: Juan points to himself, shakes his head, and raises his hand.
Juan: "By the figure of Faith on the Giralda tower, I swear I love no one but you!"
Close shot of Juan. Close shot of Carman. He proffers his hand, and this time she takes it, before standing up and closing the window. Juan jumps down from the ledge. Ponteliro singing, looking tired and/or drunk. Juan gazing up at the window, hat in hand, then blowing a kiss.
Intertitle: 'Gallardo's wedding was a gala event - far into the night there was music and dancing [Motto: 'To him whom God loves he gives a house in Seville.]'
View from the dark outside, Juan leaves the gay party and throws coins to the beggars outside, then re-enters. The dancing within, as a girl rushes across and speaks to a seated man. The bride, and a few men. Couple dancing, as Antonio enters, children in arms. Carmen and older man in close shot, holding hands; he lifts her chin; she shakes her head, looking sad as she turns away. Juan turns towards her, and the older man steps between them, his arms round their shoulders. Juan and Carmen clasp hands, moving together as the other man steps behind Juan, clasping his shoulder, then turning away to shake other people's hands. The festivities. People leaving. The couple thanking people as they leave. Closer shot on same theme. People leaving. Juan's mother carries in a baby, whose hand Carmen kisses, as Antonio carries in the two children, each of whom Juan kisses, then Carmen; they leave, leaving Juan and Carmen alone; the widow returns and kisses Carmen on both cheeks; Juan embraces his mother, as Carmen walks off R. Carmen walks away, looking back thoughtfully. Juan, beside a draped armchair, sees his mother off, then looks round for Carmen. Carmen. Juan goes towards her. He joins her at the window, takes her by the shoulders. Hesitantly she turns round to face him, then smiles, but her face falls again as he clasps her hands, pointing off camera; he guides her off L. Through the window grille, we see him guide her up the
Intertitle: 'Madrid is the Mecca of the bull-fighter.'
Inside a building with a tiled floor, men behind a screen opposite; man in boater, carrying umbrella, enters and shakes hands with man behind screen (Juan), and another who had been seated at L; three other men enter from R, all doffing their hats.
Intertitle: 'Gentlemen of the press.'.
The three men bow. Juan and other man bow back. The three man. Three other man.
Intertitle: 'Dr Ruiz, the famous surgeon of the bull-ring. Sidney De Gray.'
The second three men bow. The whole scene, six men bowing at L and R. The outer two of the second three men shake hands. A man brings in a box, skirts the table with it, and takes it towards Juan. From behind the screen, Juan speaks and sits down. The second three men. Man kneeling, fingering bare toes of Juan, whose foot projects from behind screen, resting on box. Men pointing and watching. Man manipulating Juan's foot. Ruiz talking with the other two.
Ruiz: "Just like the gladiators of old! Gallardo, your feet did not need such are when you fought as a lad!"
The naked top half of Juan leans back from behind the screen, smiling. Ruiz and the other two. Juan leans back in. Juan's feet, a sock being rolled on. The three reporters taking notes.
Juan, in costume, exits R with the others. A man in a white apron leads the party down a hotel stairs, as people come out to see Juan, who stops and poses on the stairs, before walking off L, in their company. Joyful crowds wait outside. Hat-waving crowd. Juan, amid the throng, pats a child's head and talks to it. The child, holding a stick. Juan holds up the stick, then gives it back, and lifts up the boy.
Juan: "Just like me - when I was little!".
He kisses the boy, puts him down, and pats his head again, and gives him a coin, before entering his carriage. Juan joins two others in the carriage, taking several salutes before sitting; it drives off L, the crowd eager to follow; another horse and carriage follows; a policeman in shot.
The carriages pass R to L in front of the awning of the Hotel de la Paz, crowds waving their hats following; a horse bus behind.
Intertitle: 'On the way to the bull-fight.'
Location shot of horse and motor traffic passing L to R. A high Moorish arch, the carriage passing below, followed by a single horseman. Juan's carriage pulls in from R, people rushing up; he dismounts. Juan acknowledging and shaking hands. Huge crowd. Plumed dignitary arriving, crowd.
In the bullring, Juan takes the applause; other bullfighters. People milling in the ring, apparently after the fight. The victorious Juan is raised shoulder high. People rushing into the bullring. Juan shoulder high among hat-waving crowds.
A bearded man shaking hands with others, in a special box behind an ornate rail. Crowd waving hats round Juan. Six toreadors, in formation, approach stand and raise their hats. Five men in ?royal box raise their top hats in reply. The toreadors. Woman, the bearded man, and others, applauding from their box. Close-up of the bearded man, in top hat and spectacles. Woman.
Juan passes over his cape. Woman talks to the bearded man. The toreadors. Horsemen in the ring, including a team preparing the ground.
Intertitle: 'Two years of triumph had made Gallardo the idol of Spain.'
Toreadors enter, crowd wave hats. Hat-waving crowd. Carmen sadly praying in church; fade.
Toreador running away to make bull chase him. Bull fighter on horseback with lance. Box with bearded man. At the edge of the ring, Juan draws a sword. The presidential box. Juan prepares his swords and cape, takes off his hat, addressing the box.
Juan: "Señor Presidente, I toast you and dedicate this bull to your honor!".
President raises his hat, and the others in the box clap. Juan waves his hat, catching sight of woman. Woman gazes passionately at him. Juan looks back.
Juan: "And also to all the beautiful ladies of Spain!".
She raises her eyelids and smoulders. Juan turns and goes into the ring. The box with the woman and the bearded man (and two others).
Toreador goading bull with cape on sword. Juan in close shot. The bull, barbs in neck, attacking the cape as the toreador dodges. The box with the woman. The fight. Juan shaping up for the kill, and lunging. The bull gallops off R, toreadors pursuing. Applauding crowd. Box with woman. Toreadors and three plumed horses rush towards us. Juan approaches man other side of ring fence, and exchanges sword for bull's ears, and changes capes. The woman looks apprehensive. Juan taking the applause, close shot; he looks towards the woman. She throws him her handkerchief. He catches it, pleased. Hand to chest, she looks passionate. Kissing her handkerchief, he smoulders. She looks about to swoon. He kisses her handkerchief, nodding and smiling, and tuck it in his pocket. He takes a final bow, as hats rain down, and leaves L, other bullfighters walking behind, picking things up. She smiles. He sniffs the hankie, shakes his head wryly, then notices something - it's a little heavy. Close-up of his hands, unwrapping something. He looks up thoughtfully, an indiscernible small object in his hands.
Man with cane and boater rounds corner, heads off L followed by bearded man in top hat, the woman, and another. Leading man shakes Juan's hand. Woman gently fans herself. Mid-distance shot of whole group; man in boater introduces Juan to woman. She closes her fan as they talk.
Woman: "Your daring thrilled me."
He gives her the small object - a ring?
Woman: "It once belonged to an Egyptian queen who gave it to a Roman conqueror for his bravery."
She passes it back to him. He looks serious. The two, as he mouths 'For me?'. She nods, smiling.
Woman: "Let it be my tribute to YOUR bravery."
She walks round behind him. Mid-distance shot of the scene, as she resumes talking to other man, and bearded man walks over to speak to Juan, shaking his hand before he and the woman walk off R; she looks back. She stops at the corner, looking back seductively. He looks after her. Other toreador looking dejected. Juan turns to man and speaks.
Juan: "Send the usual telegram to Carmen - that all is well." - dissolve to big superimposed ? Question Mark.
Man nods, and leaves Juan, L; he looks dreamy, then looks down as he remembers the ring. He fingers the serpentine ring.
At home, standing before a bookcase, one foot on a chair, he plays with two children, one of whom is pretending to be a toreador, while the other, with a pair of horns strapped to his head, is the bull; Juan is orchestrating the action, apparently with a ruler. The attentive Juan, smartly dressed in suit and tie, chomping on a cigar. The mock fight; Juan laughs; the toreador gives a shove to the bull; Juan arranges the stabbing sticks for the toreador; Carmen, in layered flamenco dress, looks on at R. Juan puffs and smiles. Carmen looks on, a slightly rueful smile on her face. The bull paces and charges, changing places with the toreador. They grapple, and disappear off L, Juan following, Carmen also entering, wagging her finger No. The children fighting; Juan hauls them to their feet, smacking their bums and sending them off Carmen, holding a bunch of flowers, watches them as they pass her. Thumbs in waistcoat, Juan walks R. He clasps Carmen by the shoulders, addressing her.
Carmen: "It is good to have you home, Juan - to feel that you are all mine."
He caresses her chin and cheek as she smiles up at him.
Joselito, standing, speaks to ?Ponteliro, seated at his desk; globe at R, skull in foreground; Ponteliro opens the great ledger, and Joselito turns the pages, showing him an entry.
Spanish text dissolves to English: 'Happiness and prosperity built on cruelty and bloodshed cannot survive.'
Woman reclines smoking on draped couch, as man seated on floor beside her plays lute. A Moorish-looking servant in a turban crosses an atrium, columns at L, to double doors opposite; he looks through, then opens them to admit two men in top hats, who are joined by another man from L, the latter hatless, bowing. The woman smoking, the man playing the lute. The boudoir, the couple in mid-distance as the butler enters from L, to advise them of the visitors; the woman rises, puts out her cigarette, and lifts up a mirror. The two visitors walk towards us, in the atrium. The woman looking, and walking to L. First man kisses her hand, and she approaches the second; her gown has a long train. The second man - Juan - wipes his hand on his trousers then shakes hers; she walks off R. She invites him to sit on a draped couch; he kicks aside some loose drapery and sits; she sits beside him; the first man pulls up a pouffe and sits on it. The lute player, sitting on the other couch, one leg crossed under him, looks on with interest. The man introduces Juan.
Man: "Well, here he is at last!".
The three, as the woman leans towards him, then reaches for a box of comfits, which she offers to him and the other man; they each take one, as does she, as a servant lights their long candy-striped cigarettes from a candle in a metal goblet. Juan looks up at the servant open-mouthed, in apparent recognition; he looks away and nods, looking up at him again. The three smoking, Juan looking ill at ease.
[end of part one]
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