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- This any time to show up? - What time is it?

Tonight we're doing Poverty and Nobility, move!

At last!

- Give me two as well. - They're all sold out.

- One! - They're sold out.

- Standing room at least. - Not even that, come back tomorrow.

The shopkeeper died. How did he die? Suddenly! Good.

The wine merchant died. How did he die? Suddenly! Good!

If they'd bled each other slowly they wouldn't have died.

We won't die that way for sure!

You wanna die suddenly? We'll die of weakness.

The landlord came by a while ago.

- He just left. - That's the trouble.

3,220... 30, 40, 50...

It doesn't add up.

I'll explain it again: this is the money for the boxes,

and this is for the stalls.

- Check that the sums are correct. - Let's check then.

That'll be him. Pupella, let him in.

It's Peppiniello, Don Felice's son.

Good morning.

Good day, when is your father coming?

He's on his way.

- Don Eduardo, you're on next. - Thanks, Sebastiano.

- How's the house? - Full, as always.

- All of the same stripe! - Guess what I snacked on?

Two Easter breads, four fried pizzas and a penny of carob.

Wait, Papa.

He bought me pizzas and I put them where the letter was.

And when I came to the gentleman,

he nearly threw me down the stairs.

The letter was all greasy and he yelled at me:

"Tell that piggish father of yours

that such a letter is for a shopkeeper like him, not for a gentleman!"

You put the pizzas where you had the letter!

He kicked you in the pants? I would have killed you.

Learn a trade and find a job, because we can't support you.

I know that and have no doubt I'll get out of your hair.

The patron is a broker for servers, he likes me

and he said he'd find me a job.

So I'll be able to pay for my own pizzas, Easter bread and carobs.

All light snacks!

Is your father bringing some money? We're waiting for him.

You're waiting for him? You'll be lucky! He didn't earn a thing today.

Here he is. Pupella, let him in.

Don Felice Sciosciammocca.

Once there was only Pulcinella, but not anymore,

now people only want to see Felice Sciosciammocca. Look!

- Good day, Felice. - Good day, Pasquale.

Felice, we've been waiting for you.

Go ahead and start, I'll eat later.

And what do we eat, Felice?

We're waiting for you because I didn't make a penny today.

And you're waiting for me, Pasquale?

I've been swearing my head off.

Since eight this morning, not so much as one person came to get a letter written.

I feel like a block of ice.

I feel like a block of ice.

Just now, I knocked over my table with all my pens.

This morning I gave my good-for-nothing son

a letter for a gentleman...

There you are!

Be quiet now, be quiet!

He's a kind gentleman who's known me for a long time,

he knows the situation I was in before.

Whenever I needed a hand he helped me out,

two lire here, four lire there...

And at Easter and Christmas as much as ten lire!

So, this morning, he brings him a filthy, greasy letter.

Leave him be, he's just a kid.

It wasn't me, it was the pizzas.

Did I not give you satisfaction?

Just listen to him! What satisfaction did you give me?

Of the three pizzas that soiled the letter, I only had three bites.

You had three bites?

Let go of me, Pasquale.

You're making me lose respect! Let me be a father.

And what a father!

What a nerve! Shame on you!

Jesus! Good thing Pasquale was holding me back.

Think about what to do tomorrow, find a master

and learn a trade, or you'll end up...

End up like a rat or a cockroach.

Do I start selling cockroach poison now?

Pasquale, let go of me!

- Leave him be, he's just a kid. - He's a kid...

Still here, Eduardo? No school tomorrow?

I've been wanting to break him in for so long!

Who wants to break me in? Do you take me for a horse?

I'm leaving!

You beat me at times, you always yell at me.

I'm not a dog!

I'll go to our patron and he'll get me a job, I'll work and I'll eat.

I might find a master who likes me and I'll never come back here again!

Look what a flower! Do you know who she is?

- She's his niece. - His wife's niece.

Anyway, she's the niece.

She was the company's seamstress.

Shameful!

- She's beautiful though. - Excuse me, can you be quiet?

You haven't finished yet.

I can't keep watching you. I have to study too.

Come on, let's do it.

I've got a little while before I go back on stage.

We looked all over the theater for you, you're on!

Move it.

Papa!

Cavaliere...

Papa!

Cavaliere!

Excuse me! This is heavy.

Because this isn't?

Give it to me.

What a beauty!

Mamma! Look what Uncle gave me.

Your uncle loves you...

Of course I love him.

I have a twinge in my foot.

Did they give you tight shoes backstage?

You're spiteful, you've got it in for my seamstresses.

Saintly women!

Salvatore, cook the bream, the octopuses and the sea bass.

Three go to Luisa's house and the rest in the refrigerator.

Are you sure that thing works?

Or the fish will stink and we'll have to throw it out.

A loyal admirer of mine had it sent to me from France.

They use them a lot over there.

Salvatore, the world's changing.

Yes, but brooms are still the same.

What will we do with all these brooms?

Couldn't you have said our broom closet's full?

- Mamma, how would I know? - You never know anything!

Rosa, leave Domenico alone,

he has more important things to think about.

- What time are you seeing the lawyer? - At five.

Domenico, I'm relying on you,

I'm not giving 3,000 lire severance pay

to someone who, if their line was longer than "Yes, sir",

would put the audience to sleep.

Not even if the police come!

Yes, sir.

You making fun of me?

Never! I shall obey.

The King's son.

Rosa, I want my brooms new.

You know what it took to get this house, this building,

the apartment downstairs for your sister,

the attic, the laundry, the storerooms.

We're the Scarpettas now, people tip their hats when we pass.

And if they come here, I want the floors to gleam.

- Old brooms make dust! - You wash them.

Some dust doesn't even come out with soap.

I want new brooms!

Eduardo, you're the boss.

That's right.

Salvatore, how's it coming? It smells delicious!

In half an hour you can sit down at the table.

Look at this, it doesn't miss a beat.

Donna Anna, leave it, the maids can do it.

They clean up after they serve at table.

I'll do something at least... I'll clean up.

You're still not ready, your son will be hungry.

Mirone, mind your own business.

He's playing with his father's gift.

Papa, papa, uncle, uncle...

Little Eduardo, come, I've brought you spaghetti.

Eat up.

- Where's Vincenzo? - He just woke up.

You may serve it now.

Papa?

I saw a dress I liked a lot.

- Mamma says it's too grown-up. - Show it to me.

If your mother's right, as she surely is, nothing doing.

But if we look at it from another point of view...

- You spoil the child. - I'm not a child anymore.

Good morning.

- You show up dressed like this? - I didn't want to make you wait.

- Couldn't you have gotten up earlier? - Papa, we finished late last night.

Your father's company's not enough for you.

It's not a theater company. We play music, we have fun.

You play music, do variety, you have fun.

Vincenzo, I've never liked artistes who have more fun

offstage than onstage.

You have to study Felice Sciosciammocca.

- Don't I know how to do him? - No, you don't.

I demand fidelity to the written page.

Do we improvise? Do we do commedia dell'arte?

I only forgot one line.

One, two, three, and who knows what you'd come up with!

Felice Sciosciammocca is an important legacy.

A legacy and an income.

Do you know who the Petitos were?

They passed Pulcinella down for generations, now it's our turn.

We're still at war with Pulcinella? Let's look ahead.

There's no war, I killed Pulcinella.

But Sciosciammocca's funeral is a long way off.

Your son, your son's sons and their sons

will all have to play Sciosciammocca.

- There's no way out? - No.

Bon appétit.

Your uncle said you're eating sea bass. Look at this.

Salvatore cooks better than at the best restaurant in Naples!

- Is he coming later? - I don't know.

He fought with Vincenzo, he says he can't do Sciosciammocca.

He usually picks on his oldest son.

Yesterday he yelled: "You're a fraud."

"You signed another undated promissory note in my name."

"You want to see me on the skids!" Mamma defended him.

They're always like this with this son.

Don Domenico's not suited as an administrator.

But he certainly couldn't have acted.

The King's son who's an actor... never been seen before.

- Not in front of the children. - Things are looking bad.

But I think you'll find he shows up later.

It's salty.

Be good, Titina, be quiet and eat.

Why don't you cook? You're so good at it.

Aren't you happy to receive a princely lunch every day?

- Like in the fairy tales. - I'm leaving.

- Enjoy! - Take care, Mirone.

Eduardo, you came.

- Would you like a coffee? - Thank you, Luísa.

- I'll go make it. - Sit down for a minute.

Look what I've brought you.

Gosh, Eduardo! They're beautiful.

Put them on.

I already have so much jewelry, am I the Madonna of Pompei?

You're more beautiful than the Madonna,

you shouldn't be ashamed of anything.

Wear them to the theater tonight.

I want everyone to see you sparkle.

Eduardo, what am I to do...

Don't speak, give me a kiss.

- Are the children studying? - They just started.

Let's go check on them.

Caught you! You're not doing anything.

- It's not true, Uncle, we're studying. - Look.

I'll pretend I didn't see anything.

Titina, go get the music, we'll see if you've made progress.

You come too, Eduardo.

- How about that coffee? - Right away.

Titina, you have to do better.

- Does she practice? - Continually.

Again, from the top.

That's better.

- She's good. - Yes, she's good.

Eduardo...

When are we going to get Peppino? He's all grown.

Soon, Luisa.

Titina, you're too old to play Peppiniello.

No, Uncle, I want to act!

- I'll work harder on the piano. - Don't worry.

I'm going to write a young lady's part for you.

- Really? - Of course.

Eduardo, next week you'll play Peppiniello.

- Get Titina to give you the lines. - I've already memorized them.

Good boy.

I want to see if you can do it.

Papa wants me to marry the lawyer Antonio De Vito.

- But I don't want to! - Don't worry.

Stamp your feet and don't marry him.

- I can't stamp my feet. - Why, do you have corns?

- Or else I'll lose 300 thousand lire. - So this lawyer is rich.

Not at all.

Not at all...

He hasn't got a penny to his name.

Eduardo...

You have to make a will.

Why? The bronze crown I received this morning isn't enough?

Boy, is it ugly!

Does he think we're at the cemetery?

Rosa...

Gorky came to see Poverty and Nobility and he liked it a lot.

He's a great Russian writer who speaks about poor folk

and I know how to depict suffering.

The crown he sent me is an homage, although it seems like bad luck to us.

In any case...

you have to make a will.

- Why do you insist? - You only have eyes for Maria.

- That's not true. - It's very true and that wasn't the deal.

We have three children and they must be equal.

I want to check what you write in your will.

Rosa, I'm still young.

Sure... meanwhile, make a will.

- What do you want? - You can't stand Domenico.

It's not his fault if I did it with His Majesty.

- Rosa... - Quiet, don't speak.

The King's check for your theater came in handy,

now whaddaya want?

Then just to annoy me you brought Maria into my house.

Did I oppose it?

Haven't I brought her up as if she were my daughter?

Yes, ma'am.

So stop making children and stepchildren.

Our children are three and they always will be.

The inheritance is divided equally among them.

And only among them, Eduardo. Are we agreed?

We're agreed.

And poor Vincenzo...

He's our only son, you mustn't be so hard on him.

Sciosciammocca, Sciosciammocca!

Show-show his acting in something else!

Can't you see how good he is?

Give him some satisfaction.

Do you have a papa and a mamma?

I do, but it's as if I didn't.

- Why? - Because they're worse off than me.

At my house, one day we eat and the next we don't.

You don't think your parents yell at you

because you left home to be a server?

Not at all, they said to me:

"Learn a trade and leave because we can't support you."

What fine parents!

Peppiniello, don't worry, I'll take care of you.

If you want to stay in this house, you must say I am your father.

And if the master asks: "Who is Vincenzo to you?"

You must reply: "He's my father, excellency."

Understood?

If you feed me I'll even call you "Mamma".

Whoever asks, you must always say you're my son.

Good job, Eduardo. Gennaro, do you agree?

We have a fine Peppiniello.

Now comes the scene with the famous line, do you know it?

- Vincenzo, where are you? - Here.

Did you see the boy? He's perfect.

- Papa, with age you're growing kinder. - No, he's doing a good job.

Say the line like when you were a kid and you played Peppiniello.

- Can I do it for him? - No, Titina.

Vincenzo was the first and you have to learn it from him.

Vincenzo is father to me!

Like that.

Are you ready? Vincenzo, you'll play the cook.

At your service, excellency.

- Are you Vincenzo's son? - Yes, sir.

He is father to me.

Of course, if you're his son, he must be your father.

Yes, I like him, he's a good boy. Keep him on.

For now we'll pay ten lire a month, if he's good, we'll increase it.

Thank you, excellency. Kiss the gentleman's hand.

- Vincenzo is father to me. - All right, I get it.

But he can't dress like that.

So, go and dress up like a server, got it?

Yes, Uncle.

Now let's rehearse the finale. Rosa, let's get ready.

Why were you in Bettina's room?

And why did you say "my son" to Peppiniello?

Because I am Bettina's husband and Peppiniello's father.

It's true, excellency.

To keep him at home I said he was my son.

So much trickery!

That rascal says so naturally: "Vincenzo is father to me."

Where is he?

Yes, excellency.

Peppiniello, tell me something, whose son are you?

Eduardo, don't stop!

From the top.

Tell me something, whose son are you?

Vincenzo is father to me.

I'll give you a slap! It's not true, they told you to say that.

Your father...

is this fellow here.

Papa!

Yes, your father, who's had so many troubles,

from real poverty to false nobility.

Go to the dressing room, get some rest.

Filomena, you have sewing to do.

Vincenzo is father to me.

I'll give you a slap!

It's not true, they told you to say that.

Your father is this fellow here.

Papa!

Yes, your father,

who's had so many troubles,

from real poverty to false nobility.

Rosa, well done!

You too, Adelina. Where's the boy?

Where's the boy?

You've been in the company for two weeks. You made me look good.

Bravo, Eduardo.

Next week we do Poverty and Nobility in Rome, are you happy?

- What will we do about school? - What Titina has always done.

He'll have to work his behind off!

Here, take it to Sebastiano so he stops bothering me.

These new costumes are beautiful, Donna Rosa.

The old ones were worn out.

When you were dressed as nobles onstage

you looked worse off than when you play paupers.

Eduardo needed a new costume, it's his first tour.

Aunty, Eduardo's costume looks too big to me.

No, it's right, it's funnier.

Eduardo, D'Annunzio's latest play is on in Rome,

it has had a great success, The Daughter of Iorio.

- Shall we go to see it? - What's it about?

It's set in the mountains of Abruzzo.

The protagonists are reapers, mountain folk, peasants.

- Dialect. - Will you take me too?

"Rustic tragedy with subject matter from Abruzzo..."

This is perfect to do a parody of.

There's even a leading role for Vincenzo,

we'll have him play the son of Iorio!

- Are you pleased, Vincenzo? - Of course!

Eduardo, he's D'Annunzio.

So what? I'm Scarpetta!

Isn't it wonderful?

Blessed one!

God will favor you on earth and in heaven. You have it!

Perdition is above me.

She has passed on!

Iorio's daughter,

I came for you

and I brought you this basket to ask you for grace.

Voice of Heaven,

always heard in the depths of my soul.

I came from Acquanova for you.

What? Are you Cornelio?

Ornella... Are you Ornella?

- It's me. - Dressed as a woman?

So I'm not recognized.

Brother, the heavens have sent you! May you prosper!

You were the first to console this poor boy.

For being the first, I did great penance.

If you knew the tears, the bitter penance I did for you,

to be the first to help you.

Why are you in mourning? Who died?

Maybe your sister-in-law?

- You'd like to see her dead. - No!

- Who croaked? - Respect for the dead or I'll biff you!

I mean, who died in your family? The groom perhaps, Carminiello!

You would like to see him dead. No one died.

No one has died on us yet. A black summer came for us.

The intoxicated, bitter fall arrived,

the leap year could not have been sadder for us.

Hit me, I'm here.

I've done nothing wrong, but I'll take the beating in silence.

I am a wretched and miserable soul.

No, you're a true bad omen.

From that day on, our house is like a hospital.

Carminiello has grown skinny, Papa goes out every day with a fever

and so does Mamma, my siblings are wracked with pain.

Even the cat is poorly!

With this weather all the way to Tuscany?

We're drenched, there were no carriages at the train station.

I've come to pay homage to Italy's greatest poet.

I'll take the opportunity to introduce you to my newborn, The Son of Iorio.

I came in person to ask you

to grant me permission to stage it.

This is Gennaro Pantalena, you might know him.

He's one of the finest actors in our city.

In the parody he will play...

A parody doesn't need permission.

But I am happy to meet you in person.

You've given me many jolly nights out at the Teatro Valle.

You really don't want to read the script?

It's a parody, not a desecration, I assure you.

It's in two acts because the third act couldn't be parodied.

So, how does the second act end?

Torillo, that's what Iorio's son is called,

confesses his misdeeds and goes to jail,

but he's happy to go.

And in the place of Mila, who in your drama goes to the pyre

shouting: "The flame is beautiful",

my Torillo shouts: "The pickle is beautiful!"

The pickle, yes!

The pickle is beautiful!

Because the police chief told him:

"You're going to jail where you'll eat a few pickles."

I'm just making an innocent joke,

but I absolutely do not wish to displease you.

If you'd take a quick look at the script and give me written permission...

- Not that. - Look, on the train...

I composed verses in your honor, they are a parody of yours.

"If because of this, you..."

No, give it to me.

"If because of this you beat me up,

God will forgive you.

If you break my legs,

God will forgive you.

If you make me cry,

God will forgive you and the angel will call you.

But if you send me away without permission in writing,

if you do this, Gabriele,

God's ire...

you're inciting!"

Permit me to thank you in prose for your visit

and the verses I hope you will leave as a keepsake.

Of course! It's an honor for me.

May I hope for two lines?

I must cover the production costs and I wouldn't want to find myself...

You are a man of the theater and you can understand me.

Can I stage it without fear of unpleasant surprises?

Can I count on our friendly relations?

Rest assured, I will do you no harm.

- In which theater will the parody debut? - At the Mercadante.

I know it, it's a theater with a large audience.

Cavaliere Scarpetta is the king of the box office!

Kensaku, see the gentlemen out.

It appears to have stopped raining.

Prophet...

Are we sure?

Come along now...

- Farewell. - Goodbye.

What are you doing? We'll wake Eduardo.

We'll do it in silence.

When did you get back?

- Does Rosa know? - Forget Rosa.

Come here, turn over.

- Did he give you permission? - He gave it verbally.

He didn't give it to him.

It's D'Annunzio's word and I had a witness.

His best friend!

"And you're still my best friend..."

Vincenzo, what do you want from me?

Best just to drop it.

I've never liked this son of Iorio.

I write a lead role for Vincenzo and you're not happy about it.

I'll have him do Sciosciammocca all his life.

You're doing it for Vincenzo? Please!

You're only doing it to compare yourself with Don Nunzio.

D'Annunzio, Rosa.

Salvatore, the tomatoes are here.

Prepare Luisa's lunch immediately so Mirone can finish.

He has to go and pick up the scripts.

Papa, what's D'Annunzio like?

An angel, my child,

an angel.

So, he's doing it.

I know, so what?

You still don't know who Scarpetta is.

You all seem to be scared of him.

Your uncle is a great man.

Now sit down and eat, you're too thin.

Did you see how florid Peppino is?

- When is he coming back? - I don't know, Uncle will decide.

Why does Uncle get to decide? We're on our own.

On our own...

Did you hear Mirone?

Your uncle's putting on this play, it's a huge undertaking.

He mustn't have other worries.

When it's all over, Peppino will come back to us.

And we'll welcome him with love.

Right, children?

- But where will he sleep? - I don't know, we'll see.

I want to dress all in yellow!

All yellow, silver and gold, like San Gennaro's miter.

San Gennaro's day is tomorrow, may he help us and give us bread.

- Don't come any closer. - Don't touch him.

No, you say, "Don't come any closer" and he says, "Don't touch him".

Sebastiano, why are you tormenting us?

That's right!

Wait and see when sir arrives. You don't know your lines.

Coffee!

- It's nice and hot. - A cup of coffee, just what we needed.

- Thanks, Filomena. Thanks, Michele. - You're welcome.

Now we have to debut the new play,

then we perform Neapolitan Turk in Rome, Santarella in Florence,

and for starvation pay.

Woe betide who gets a word wrong, you must know it all perfectly.

What are you going to do? This is our life.

- A dog's life, yet we love it. - It's true.

Because you're the lead players.

Who knows when Don Eduardo will write a juicy little part for me?

But if you didn't live this life, what would you do?

Good evening, all.

So, are we ready?

Let me hear!

Eduardo, ready.

Well, is the costume ready? I want to see it.

Here, Don Vincenzo, the tacking just has to be taken out.

One and two.

- The fur's over there. - And here's the hat.

I'll try it on straightaway.

I can't wait.

Mamma, did you make me look handsome?

I made you handsome when you came out of my belly. Kiss.

Enjoy the rest of the show.

When I start up, you guys come in after me.

- All right. - Don't worry.

Ferdinando, make sure it's the right moment.

- We'll find the moment. - Look at this.

He even copied D'Annunzio's illustrations.

- Unbelievable! - He's shameless.

What a nerve!

The first act's over, the audience seems happy.

- I see a lot of sour faces. - You're always the voice of doom.

Meanwhile, we took in 3,500 lire.

Good!

Quiet, it's starting.

Here, this is the nose, this is the eye and this is the mouth, all done.

Torillo, look how beautiful our angel is.

You didn't sleep to make it, you must be tired.

One never sleeps thinking of the angel.

Tomorrow he's coming with me on the donkey.

I'm going to Rome, I'll get there slowly, slowly.

The Pope, when he hears I'm suffering,

poor little me, he will surely bless me and forgive me.

Father Francesco is talking in his sleep.

Do you hear these voices, Alice?

It's the litany the maidens sing when they ask for a grace.

But I'm going to Rome

and I'm taking this angel to help me.

What's she saying?

Yes, but before going to Rome...

you have to drop in at your house.

My house?

"I want to go to my house with you."

Then Father Francesco will wake up...

- Do I have to tell him my dream? - "I was tilling..."

I said to get a prompter.

I was tilling what little land there was at our house...

in Pozzuoli, near Cuparella.

- That's enough. - Enough!

They don't even know their lines, it's an outrage!

It's a disgrace!

D'Annunzio is sacred, he is off limits!

Long live Italian art!

Down with counterfeits!

Down with profiteers!

Down with Scarpetta! Long live Gabriele D'Annunzio!

Long live Gabriele D'Annunzio!

Stay here, I'll go and see what's happening.

Keep going, Vincenzo!

On September third Mamma told me...

Mamma told me...

Sebastiano, turn the house lights up.

House lights! Turn them up!

Calm down...

Show your disapproval at the end,

but let us continue.

Lower the curtain!

Lower everything!

Gennaro.

Go out and announce that the parody stops here.

In its place we'll do a one act play...

The Last Word in Desperation.

An hilarious farce, you're to say that.

You're to announce I have taken ill

and that I cannot perform in it, go!

Sebastiano.

Put a chair here and don't let anyone touch it.

Lively, move it! Go and get changed.

Gentlemen...

Cavaliere Scarpetta has never failed to satisfy his audience.

This evening, instead of The Son of Iorio,

we shall perform The Last Word in Desperation,

an hilarious farce,

in the hope serenity and merriment may return.

Hurry up.

Buffoons!

- I'll help you get changed. - I can do it myself.

Ladies and gentlemen, just a moment longer.

- A travesty. - Utter nonsense.

The cavaliere has taken a little ill.

- Mamma, I'll go. - Let us know.

The role of Sciosciammocca will be performed by his son Vincenzo.

Enjoy the show.

How dare they?

Damn me! How can this be?

How can this be?

He ruined himself in here!

Your nephew rarely comes here.

Rarely? He comes every day.

I've heard he's courting a floozy.

Who is this floozy?

Now you're driving me crazy!

That's a sign you're his beloved!

Yes, I'm!

Now I'll rip those four rollmops off your head!

I won't lower myself by talking to you.

The great lady has spoken!

- Want to play cards? - I have ten francs.

- One game. - As you wish.

Come with me on an errand to Via Toledo.

- I told you so! - It was an ambush.

It took 6,000 lire to buy Rapagnetta's permission.

- Who's Rapagnetta? - That's D'Annunzio name!

The great poet, the prophet, his real name is Rapagnetta.

Why, didn't you know?

They said: give him 6,000 lire and he won't make trouble.

But couldn't you have paid this 6,000 lire?

What do you know about managing a company?

Does 6,000 lire not seem much to you?

But then why?

Why do I have to pay

to do something that has always been done?

We all know that D'Annunzio has saints in heaven.

He went to the prime minister in a bid to stop me.

And you didn't tell us?

What was I supposed to tell you?

My strength is the audience.

Rapagnetta would like my box-office takings.

Tonight the audience didn't seem so happy.

- Vincenzo! - Wait, let him speak.

What do you mean? That the audience has abandoned me?

Did you hear when I went out for the farse?

It brought the house down!

It's true.

Papa...

It was an ambush.

Peppino, come here.

Look what I made for you.

Can Carminiello sleep in my bed tonight?

If he'll stay there! But he wants to sleep with his mom.

Let's go.

I don't want to go there.

- Don't you want to see your mamma? - You're my mamma!

I love you like a mother, but they want to see you at home.

It's not my home.

Peppino, don't be like this.

I want to stay here, I don't want to go.

I want to stay here with you, that house is ugly.

Do you realize? They're suing me as if I were a criminal.

So it's not just D'Annunzio.

It's the author's society and D'Annunzio is heading this band of thieves.

The authors, those deadbeats shouting from the gallery

under the command of Salvatore Di Giacomo, Roberto Bracco,

Libero Bovio, Ferdinando Russo.

Jesus.

They go by the name "theater of art", as if I weren't an artist.

- And now? - Now they're taking me to court.

I knew it.

Aunt Rosa said it, why didn't we listen to her?

Because now we'll devour them.

The man's not born who can put one over on Scarpetta.

D'Annunzio won't be paying for his luxuries with my money.

Who's that?

It's Peppino who's come to visit us.

- Has it been three months already? - Yes, Eduardo.

This is all we needed.

Go, Peppino.

Come here, let me give you a kiss.

You've gotten so handsome, mamma's baby boy.

Come with me.

- What time do I pick him up? - At seven.

- But there are no more trains. - I'll arrange a carriage for you.

Hi, Peppino. Did you give Mamma a nice kiss?

Give him time, Eduardo. You know he's shy.

Shy? Come to your uncle.

Say hello to Uncle.

Good boy.

Look what Uncle's giving you. Do you know how much it is?

It's five lire.

Eduardo, it's too much.

Peppino, what are you doing?

Shy...

Call his brother and sister.

You don't do that.

Titina?

Eduardo?

Come see how your brother's grown.

The countryside suits him.

Hi, Peppino.

- Do you want to come play with us? - No, I want Carminiello.

- Who's Carminiello? - My lamb. I don't want to be here.

I want to go.

Don't worry, we'll see what we can do.

I don't want to be here with you, I want Carminiello.

- I'm going out, I'm not in the mood. - Come back later, he'll calm down.

Luisa, be patient, I'm not in the mood today.

Children, goodbye. Study and be good for Mamma.

Take care.

I want Carminielllo, I don't want to be here.

I was forced to interrupt the performance.

D'Annunzio has damaged me, that's for fucking sure!

The law does not provide any weapon against him?

- We must keep to the facts. - He's accusing me of plagiarism.

He has often been accused of plagiarism and they even convicted him.

Scarpetta.

Come forward.

Be seated.

Counselor, take a seat.

Now, let us read the charges.

"The director actor Eduardo Scarpetta has made a play in verse,

The Son of Iorio that he calls a parody.

The so-called parody is nothing but plagiarism

of D'Annunzio's play The Daughter of Iorio,

both in its nature and its intent,

which is uniquely that of taking the work of another and redoing it

so it may circumvent the law

and profit from it to the detriment of the author."

Your Honor, I vigorously reject the accusations.

My work is not plagiarism, it is a parody.

The accusations come from the very people

who organized disorder at the theater.

Cavaliere, compose yourself!

We are in court here, not at the theater.

The Italian law, consolidated text dated 19 September 1882,

in Articles 1, 3, 12, 14 and 40

sanctions authors' rights.

You will be put on trial if I decide to prosecute you.

And I shall do it after hearing the witnesses.

Let's proceed.

Without a doubt the form of parody has been adopted

with the sole intent of avoiding the provision of Article 32...

HERE I LAUGH

That's it.

Just look at this.

Domenico, how many are there?

There are ten, Mamma.

Holy Mother!

- It's nice, Eduardo. - Come out, I'll show you.

Have you seen where Villa Santarella is?

I've taken an apartment opposite for you,

so the children are close by, I've taken it until September.

Does Aunt Rosa want to stay up here that long?

Rosa mustn't get in the way. We have to fight back.

No one must think that Scarpetta was saddened by the trial.

Parties, dances, coteries of artists and poets, we mustn't let anything show!

Down there they have to be astonished!

Children, are you happy?

Take the suitcases in.

And I want all Naples to see that I have a big family that loves me,

not like Rapagnetta who only has whores.

So you must promise me.

In September, we'll take Peppino back with us.

We'll see, Luisa.

I can see him here, the little one, with his siblings.

It's too painful for me.

- He's my son, I gave him away. - Luisa...

Do you know how many actress' children are brought up by nannies?

Peppino is just fine in the country.

I'm not an actress!

I'm a mother.

Promise me.

All right, then.

Can you see I can't say no to you?

But now will you give me a smile?

Did you hurt yourself?

Get up.

Was it you?

I said, "climb up", I didn't say "fall off".

Get down, move it.

Look at her!

Counselor!

- Thank you for the invitation. - The pleasure's all ours.

Excellency.

Professor!

Donna Rosa, didn't you recognize me? I'm the photographer.

Jesus, dressed like that...

With those enormous photographs commissioned by your husband

I could have bought the whole tailor shop.

Don't get me started.

Don Eduardo will have to live to a hundred!

This is the famous Villa Santarella,

built with the takings from a single play.

"Here I Laugh."

Laugh, go on!

Good evening and welcome.

Here we are this year too, July 7,

to celebrate the birthday of our beloved daughter Maria.

You've watched her grow from year to year,

now she is a young woman and she is fond of fine literature.

And so, this evening we are honored to have great writers with us.

Professor, let's hear the most beautiful Neapolitan song

in honor of its author Salvatore Di Giacomo.

And I have the pleasure of welcoming an important journalist,

Ferdinando Russo.

And Roberto Bracco, who writes plays like me.

Exactly the same...

There are others too, younger, making their own way.

And they are also great songwriters.

Libero Bovio, there he is.

I invited them all, in the name of that artistic concord

that unites us all as brothers.

Come here, come closer.

I asked these young fellows to compose a sonnet in honor of Maria.

We'll hear them after we've eaten

and we'll award a prize to the one Maria judges the finest.

And now, enjoy your dinner.

Look how he's playing the noble and indulgent father.

He's hoping to shut us up in court.

But it won't work.

We've been called to testify as authors.

We'll see he goes to trial.

It's plagiarism plain and simple, anything but a parody.

For sure, but could we turn down the invitation?

Of course not.

Friends, the man is not under discussion here.

We can each think of Eduardo Scarpetta what we will.

- If someone asked his wife. - Or her niece!

He's arrogant.

The actors who fled his company say so too.

That's not the point.

We must ensure that Neapolitan theater regains its popular purity.

Ours is a cultural battle for the theater of art.

- Exactly. - Popular doesn't mean comical.

Look around you.

Tradespeople, doctors, lawyers.

They adore Scarpetta as they identify with his easy-going characters.

There's no violence.

Tragedy? Heaven forbid!

Only laughter.

So they go home happy and satisfied.

And what happened to life?

The drama in life is found in the street, among the poor.

The people must be brought to the stage with sublime verses,

as D'Annunzio has done.

"Tonight, each of us would like to hear a voice

from afar, from who knows where,

tender and sweet, wafting through this air.

A voice either beloved,

or forgotten, or never heard,

that says: 'Its me. Tell me what you want. I'm here!"'

Beautiful!

Compliments to Maria for her choice.

You really like the weepy ones!

All that remains is to reveal the author.

Our Ernesto!

A round of applause for Ernesto Murolo.

Professor, strike up his song.

Fragrant Posillipo, go!

Many happy returns.

Bravo, Murolo.

My compliments, Ernesto, only you could have won.

Thank you.

- Shall we dance? - Yes.

See him?

They say he's another son of Scarpetta's.

- How many does he have? - Who knows! Look, the spitting image.

Don't you want to go? They're dancing.

- Can't you see my belly? - I see it.

I don't understand why you like playing the servant, leave it to us.

What are you talking about?

All I understand is that you shouldn't mortify yourself like this.

Go be with your family.

Mirone, be quiet. Do your work and leave me in peace.

Scarpetta's having a party!

Scarpetta's here!

The cavaliere has arrived, look!

Scarpetta, were you expecting to be prosecuted?

Is it true that D'Annunzio repeatedly refused permission?

What arguments will you use in your defense, cavaliere?

A statement for the Giornale d'ltalia!

A statement for the press!

Examination of the dispute between the two authors will take place

in the sage and serene environment of the magistrature,

like sea water, which is colorless if contained in a glass

and is blue in the ocean.

The accused was warned

when at the theater, profanation was recognized

together with cunning, improper and trivial usurpation.

Drawn by an uncontrollable wave of disgust,

the indignation of the audience rose unanimously,

which struck down and buried

the ill-omened, illegal performance.

Imposing, sententious vox populi!

The magistrate's judgment will complete the amendment

already inflicted by public awareness.

Peppino..

Didn't Mamma teach you not to eavesdrop at doors?

Luisa, do me a favor and leave.

Come here, you.

Mamma, help!

What has he done now?

We've had no peace since he's been here.

Don't worry, Peppino.

Tonight you're sleeping with me.

Titina, go and open the door.

Donna Filomena, this skirt has to be let out a bit.

I'll take care of it.

The children are sleeping.

Peppino wanted to sleep in your room?

Yes, don't wake him up.

- He's a rascal. - He's not a rascal, he's little.

Go, don't worry.

- Thank you, Filomena, be well. - Good night.

Push, it's coming out.

Get the scissors ready.

Go, it's coming out. A little bit more!

Push!

Holy Mother, he's so beautiful.

He's so beautiful!

Did you heat the water?

Listen to how your brother screams.

Melisurgo.

Gargiulo.

Caravella.

Juliano.

De Filippo.

Why don't you open it?

Well done, Peppino, your grades are good.

Eduardo, does yours also say "son of unknown"?

What does it mean?

It means "I don't know".

What's wrong, Mamma, are you unwell?

It's nothing, just a little nausea.

Don't tire yourself out.

Eduardo, I don't do anything from morning till night.

Carmela, bring a couple of taralli.

This time I'm getting nausea in continuation.

Probably because it's a long time since the last birth.

- How long has it been, five years? - Longer!

Peppino's seven.

- Little Eduardo, how old is he? - Seven, like Peppino.

My husband got busy that year.

Aunty, don't talk like that, it's embarrassing.

Luisa, in this house we don't know what embarrassment is.

We've never known and we never will.

Glory to our children and to hell with our enemies.

Vincenzo's here!

Hello, everyone!

Well done, you brought pastries.

Sfogliatelle and babà, Sundays must be consecrated.

And who's this sweet little pastry at your side?

Angela's a singer, we're rehearsing duets for the next review.

If she's as good as she is beautiful, it'll be a success.

It's a great honor to meet you.

Let's sit, the smell of this rice sartù is befuddling me.

Titina, come.

No, today I'll do the portions.

Here.

If the ladies allow, we'll start with children, nieces and nephews.

Now, for Miss Angela

we'll do a nice portion.

For Vincenzo just a little bit.

What do you know!

For this little good-for-nothing Eduardo

we'll do a double portion.

But we'll only give meatballs to Domenico.

What did I do?

I know what you did, you only deserve meatballs.

And for Peppino...

we'll do a regular plate.

Maria, are you hungry?

Because you know, Papa would give you the whole dish!

Thank you, Papa, just a little.

You're right, young ladies must watch their figures.

So we'll give Titina the same as Maria.

You want to starve these girls.

And for Eduardo we'll do

the finest portion.

Nennella, bring Pasquale here.

Thank you, uncle.

Bring me Pasquale.

Bring me my little Pasquale.

We'll let him eat from my plate.

Are you happy, Uncle's baby boy?

Dig in, enjoy!

- Eat up! - Have a good Sunday!

Do you see Rosa?

Eat up!

Maybe they'll notice me, I'd like to work with these actresses.

- Gennaro Pantalena has arrived. - Send him in.

- You don't what you missed! - Salvatore's cooking...

- We consoled ourselves! - You only think of one thing.

- Sit down, there are pastries. - No, thank you.

Carmela, bring a nice coffee to Don Gennaro.

- So, have you heard anything? - Yes, they're testifying in your favor.

- Murolo too? - And Bovio.

There's nothing personal with them.

It's true, Papa.

Eduardo, I have to give you some bad news.

The judges have asked Di Giacomo and Bracco

to write their findings in favor of D'Annunzio.

Is that so?

- And will they do it? - I'm afraid so.

Fine, we'll hear what they have to say.

Who'll play a game with me, Vincenzo?

Don't ask me, Papa, I have a headache.

I'll play, Papa.

Come.

Let's see if I'm still lucky.

Let's not think about it. Do you remember The Geisha?

It was so beautiful.

- Can you play it? - Of course.

Donna Rosa, come with us.

Go ahead, it'll be fun. I'm going to rest.

Golly!

Gentlemen of the orchestra A word of advice

Instead of the geishas On your instruments keep your eyes

Or else the conductor will miss his cue

Looking at these lasses His nose goes up too

Chin, chin, China chin The female school

To please, to give pleasure That's what you want to do

Chin, chin, China chin The female school

Paradise of voluptuousness...

Eduardo...

How old were you when you debuted in The Geisha?

Four.

He couldn't wait to throw you onto the stage!

Come here.

- You like acting, don't you? - Yes, and writing too.

What do you write?

Plays, like Uncle.

A chip off the old block. You'll end up outshining me.

That could never happen, I like you too much.

- Then you're Uncle Eduardo's son. - Why, you're not?

He even gave you his name.

What's wrong?

Don't tell me you didn't know.

Yes, we know.

Look here.

We're all siblings, brothers and sisters.

See, there's another one on the way.

What a fine family.

Salvatore Di Giacomo is finishing up a drama,

you could take the lead role,

the Neapolitan public is dying for it.

What do I do about Scarpetta?

Don Gennaro, Scarpetta's day is over.

Yes, audiences still applaud him,

but no one expects anything new from him.

Just as Pulcinella ended, Sciosciammocca will too.

Do you understand the importance of a Di Giacomo play for our city?

At last a popular drama with real characters, with feelings.

- What's its title? - Assunta Spina.

All right, give it to me to read as soon as it's finished.

I won't hide the fact it interests me, and to be honest...

I can't bear Scarpetta anymore either.

- Where's Maria? - She's gone out with friends.

With them? "The artists"?

She asked for my permission. I wasn't supposed to give it?

Bovio came to the house to pick her up,

but I think Ernesto was downstairs too.

- And Domenico? - At the theater, it's payday.

Vincenzo's performing...

and the two of us are here.

Eduardo, what do the lawyers say?

Don't worry, Rosa,

they won't take the chairs out from under our asses.

You'll want for nothing when I'm dead.

Eduardo!

I'm going out for a bit, I'm not hungry.

It's hot, I can't breathe.

Peppino, bring the watermelon, easy does it.

- Aunty, can I cut it? - Of course, Titina.

Cut it, Grandpa's girl!

Be careful with the knife.

Careful of your hands.

A friend of mine brings these to me.

I knew it wasn't ripe.

Are you a seer?

It's the same old story every year, Lucariello,

you buy the watermelon and it's never ripe!

Peppino, come to Grandma. How handsome you are!

Pa, we'll dine together tomorrow as well.

We'll take advantage of the school being closed.

Yes, if you like.

We'll have pizza.

Wait till you try the pizza with mushrooms... you'll love it!

You're not giving any to Grandma?

Who is it at this hour?

It'll be Filomena bringing me embroidery.

Don't eat too much!

This is how you're raising these children!

And you need to teach them how to choose watermelon!

You need to choose the sweet ones, not the unripe ones!

Good evening.

- Please, don't get up. - Sit down, cavaliere.

I don't mean to disturb you, may I drink a glass of wine with you?

You're the master, sit down.

Rosina, congratulations. Today we're celebrating your name day.

Thank you.

- Did you give Aunt Rosa a nice party? - Of course.

- Give my sister our best wishes. - Our sister...

I will.

Luisa, get one of the good glasses for the gentleman.

- Of course. - No, don't bother.

Sorry, Eduardo, we didn't put it in the carafe because it's just us.

Please.

To your good health.

All right...

It was just to say hello, I'll leave you to it.

Stay, it's an honor to have you with us.

No, Donna Concetta, it's late, another time with pleasure.

Come to dinner at Palazzo Scarpetta.

How lovely! Thank you, sir.

Say goodbye to your uncle.

We're nearly there, Eduardo.

- Are we making another boy? - I feel it's a girl.

Eduardo.

I brought you these to copy. I finished it today.

The Doctor for Lunatics. Thank you, Uncle.

- I'll go at once. - No, it's late.

- Now he won't sleep. - Leave him be, he'll learn.

Good evening, Luisa.

Good evening.

Pasquale, you can go home, I'll walk.

As you wish, sir.

Be careful.

Don Eduardo, we've looked all over Naples for you.

Hurry to Luisa's house, she's given birth,

but the girl was stillborn.

First of all, the two long acts of The Son of Iorio

have revealed a mediocre adapter.

But even if fleeting references to local Neapolitan customs

were enough to make its author a witty and clever parodist,

it would nevertheless be foolish

to expect that the legislator protected such a poor right,

when the misappropriation and deformation of another's product

appears so ample and certain.

Friends brimming with kindness and brilliance in art and thought...

- What are you doing here? - We got out of school early.

- Why didn't you go home? - I want to see how they talk.

...plagiarism will serve to dispute the eminent poet D'Annunzio

in defense of what he has produced.

He is endowed with the gift that is the only true wealth:

talent,

thanks to which he produced a drama that is so noble, harmonious

and beautiful.

- Don Benedetto. - Good day, Scarpetta.

What a pleasure! Have a seat.

I don't know how to thank you, you're the greatest philosopher in Italy.

For me it's a pleasure to take up this case

that is distressing you so.

It was an opportunity to study the history of parody in depth, especially...

Don Eduardo.

Sorry, I don't know what's come over me.

Concetta, bring a glass of water, please.

Forgive me, perhaps it's the excitement of being at your house.

Forgive me, Don Benedetto.

- It's not the case that distresses me. - I know.

You're hurt that Di Giacomo and Bracco railed against you.

They hate me.

Did you read what Ferdinando Russo wrote about me?

They are young and just and I am old and wrong?

You laugh about everything,

don't you know how to laugh at time passing?

Don Eduardo,

for me all these disputes on the theater of art are vain.

Theater more or less of art doesn't exist.

Thank you, Concetta.

Thank you.

Artists exists.

If they have genius they make people laugh or cry

and if they are not gifted by nature,

they still make people laugh or cry but at them.

So, parody or plagiarism?

The matter needs to be clarified.

In plagiarism the intentions of the entire work remain identical

and the spirit remains identical, which is the most important thing.

Plagiarism implies deceit, fraud.

But your text is totally independent from D'Annunzio's.

Thank goodness!

I realized it, it was an illumination,

only Benedetto Croce could save me!

Listen to me.

Where D'Annunzio arouses emotion, crying,

you arouse hilarity, laughter.

Parody is in art because it is in life.

Next to the infinitely great is...

the infinitely small.

Next to a burst of lightning is a burst of a match igniting.

The ridiculous is nothing more than the other side of the sublime.

A parody, more than an insult, is a tribute to the author.

What matters here is to demonstrate this single point:

The Son of Iorio has parodied and not copied D'Annunzio's original.

It is D'Annunzio who is the parody.

- What did you say? - Forgive me, Don Benedetto.

But D'Annunzio who acts as a prophet is ridiculous to me.

Whereas the part of the clown falls to me.

Why be sorry about it?

Let us look at the spirit of D'Annunzio's work.

A gloomy and savage drama,

set in a dark and distant era

where grim souls fight ingenuous souls

giving rise to a catastrophe

that arouses both terror and pity.

Instead, what is the meaning of your work?

The meaning of my work?

A trivial setting.

No intimate fights,

but intrigue, rumors, gossip.

It is all outward appearances.

This difference between the two works is sufficient

to prove your innocence.

But that's not all.

I shall also refer to your special condition as an author and an actor

who adds a specific note to everything you say and put on stage.

If you played Hamlet how would you come across?

Like a buffoon. And if you played Count Ugolino?

"Then hunger did what sorrow could not do..."

You'd look comically down and out, forgive the jibe!

Do not take umbrage.

I have told you what I think about the talent of individuals

and you have always had it in spades.

But with this key your lawyers will be able to overturn the trial.

What do you mean?

Coughs, the hubbub, the shouts in the theater...

Your The Son of Iorio was attacked that night

not because it was plagiarism,

but simply because the audience thought it was bad.

But to write a bad play is not a crime

that you can be tried for in court, right?

Right.

I'll get to work straightaway.

Gentlemen, for tonight only

at the Salone Margherita the great Luisella Viviani!

Hurry to the Salone Margherita! The great Luisella Viviani!

Look, they're looking for extras at the theater as if it were the pictures.

The world is changing.

Shall we go? Pantalena is performing.

It's sold out.

You're fine.

You'll do like that too.

Good evening.

- Maestro! - How are you?

- I know the young lady. - Pleasure to meet you.

Good evening everyone, carry on.

Go in, come on.

A huge success! We're extending for two more weeks.

- Are you happy? - Yes.

Don Gennaro, I must put the irons on you.

But I've already taken off the real handcuffs.

What are you doing? Go away!

We have enough problems without dozy ones like you.

Papa, shall I have them bring you a coffee?

Thank you, Vincenzo, I don't want anything.

So I see. What's happened?

Nothing, Vincenzo, everything's fine.

Did Domenico reach an agreement with De Stefano?

They're negotiating, but he wants a lot of money.

Naturally.

The mistake was giving that traitor Pantalena such high pay.

I've been offered the lead role in a film.

Really?

And what did you say?

That I can't without your permission.

I won't give you permission.

And now moving pictures!

You want to drive me crazy!

Damn me!

There isn't just you.

I owe everything to you but now I must live my life.

I have to write my plays and I want to take on moving pictures.

But you're nobody.

Your plays? Don't make me laugh.

Do we want to bankrupt the family with your plays?

What do I care about this family?

I know, I'm nobody.

But I am alive.

You're dead.

- Peppino, we've all done it. - I don't want to!

I hate our father.

Then a bit of Apulia and maybe Calabria,

we wonder up here on Sunday with Santarella

and then we go to Aversa.

Weren't we staying in Naples until the end of the month?

I'm not discussing this with you!

These are the towns and this is the repertoire!

- Well, is the stage ready? - It's all done, sir.

I'll try with Peppino, let me know what you think of him.

He's in a mood!

Are you ready?

Adelina, let's begin.

Bettina!

You? You wretch, what are you doing here?

How dare you, Madam?

I know not who you are or what you say, I am the Prince of Casador.

- You're the Prince of casseroles? - Yes, of colanders!

What do I care? Where's my son?

Get back, you slattern!

Or I'll call a servant and have you thrown out.

Go!

Peppino!

Come out or I'll give you a thrashing!

Come here.

Come here!

Eduardo, don't you dare.

Let him go!

Peppino, come here!

What do you want to do, run away? You want to be free?

Then go, our freedom is up there.

At your service, excellency!

What did you say to him?

That we are the De Filippo siblings...

and we must never be split up.

Let's move on.

- What a gorgeous dress. - It's really beautiful.

Peppino, get the hats.

What elegance!

Show us how Angela did it.

Now I'll show you.

PLAYS BY EDUARDO DE FILIPPO

- Look at this one. - Beautiful, you look like a chanteuse.

What are you doing, Mamma?

You mustn't imitate your father...

your uncle, you hear me?

You need to find a serious job!

Do you like the theater? Work in it as an electrician.

And you, take that dress off.

Who are you to stop me from acting?

The court is now in session.

Be seated.

Let us proceed with the interrogation of Eduardo Scarpetta.

As you command, Your Honor.

- Be seated, Scarpetta. - Thank you.

Registrar, excuse my back.

Do you know what you are accused of?

Again, Your Honor?

How many years has this trial been going on?

Thank goodness we have come to the final hearing!

Silence.

I am not a good orator,

but I'll do my best, so...

Your Honor,

gentlemen of the jury!

Silence, there is no jury,

this is a hearing, Scarpetta.

Excuse me, I thought we were doing the third act of The Bed Warmer.

Silence.

Your Honor, gentlemen of the hearing.

I already told a lot to the investigating magistrate so long ago

and I do not have much to add, but...

I have brought this, see?

And this.

And this one.

And this.

Your Honor, I am merely a comedian.

And for this blessed The Son of Iorio, let's call it blessed,

I did everything that was right for a comic artist to do.

However I would like to insist on one thing.

I would like to point out,

to the experts for and against,

that my parody cannot be considered a work at fault.

If it fails it is because people want to make it fail.

The ruckus at the theater was not from the audience who had paid

40 lire for a box, five lire for a seat, three lire for the stalls.

The clamor came from those who had received free tickets.

If to create a success you need the consensus of the whole audience,

to create a flop it only takes ten people.

Silence!

Silence!

Silence or I'll empty the room.

Let us return to the matter of permission.

Is it true that D'Annunzio sent a telegram

notifying you that he would not authorize the parody?

Your Honor, we have a collection of telegrams from D'Annunzio.

What does the one he sent you today say? Here it is.

"I was not able to undertake the journey

as I am tormented

by an obstinate headache."

Really, as if!

Silence!

Your Honor, D'Annunzio is not here and I cannot look him in the eye,

but his laughter echoes in my ears

from when I read him the final act

where he writes "the flame is beautiful"

and I write "the pickle is beautiful".

He authorized my parody.

In 40 years on the stage I have never seen such a thing.

Did Marulli not parody the Divine Comedy recently?

And did anyone say anything to him?

But Dante has been dead for some years!

No, dear counselor!

Dante is still alive!

There he is! Ferdinando Russo.

D'Annunzio's friend, the people's friend.

How can he be a friend of D'Annunzio's and of the people at the same time?

He was the first to shout, "Down with Scarpetta!"

"Long live Italian art!" Am I a Turk? Am I Chinese?

That cry was an agreed signal,

the watchword for the youngsters to open fire.

But my work was not plagiarism, it was a parody.

Where, Professor Cocchia, are the rules against parodying a work?

What are the boundaries of parody? In which treatise have you read them?

By condemning me, you condemn an entire art form!

Silence!

Silence or I'll clear the room!

Your Honor, I wish to know if Scarpetta paid...

Who? What?

If he paid the author's rights

Cat and Dog, A Mongrel Dog...

Of course I paid!

But they're not parodies, they're adaptations.

The truth is in Italy you can't deride anyone close to those in power,

freedom is in danger!

Silence!

Enough, let us conclude this hearing.

Your Honor, allow me to read some verses from The Son of Iorio

to prove to you that I did not get the parody wrong.

"Run, bad luck, get out!

Mute spirit untold, ugly cuckold!

Broken Rod, hurry, flee, in your pants do not pee!

I raise my voice high, and cross myself do I.

Garlic, whitebait, this spell can't operate.

The fake goes in the pocket, it'll break if you knock it.

But if the cow does attack it, it fills the whole jacket.

You're welcome I say, now please come this way!"

The court of Naples passes down an historic sentence,

it approves the right to parody and absolves Eduardo Scarpetta:

the matter does not constitute a crime.

Shortly afterwards, Scarpetta unexpectedly leaves the stage

and hands the company over to his son Vincenzo.

Titina, Eduardo and Peppino De Filippo are never recognized by their father.

They are destined to become the most beloved theater company in Italy

and Eduardo one of the most important playwrights in the world.

THE KING OF LAUGHTER