Scene 8

"The Signorino! The Signorino!"

When Al arrives on his Lambretta, escorted by the family's car, there is another commotion among the locals waiting to be seated -- and who by now know about the Lubentini girl's protest staged inside. Having all been invited by the Audace family, no one in the crowd is on her side. Aware of Al and Venus' improbable relationship, they can only hope that he will solve the situation.

From the book, we know Al is the closest thing to a celebrity that Ferraza has got. He is not just the wealthiest and best looking young man in town. Well fed, well dressed -- or well undressed, like today is his skimpy tunic --, and well educated -- tough not necessarily polite. Eighteen years of existence -- and plenty wrongdoings -- have already turned him into a local (and controversial) legend. Being Signore Audace's only son, he enjoys the privileges of his family, and all the respect, fear, admiration, deference that is devoted to his father applies to him, too.

Since his childhood, Al has been imposed on the town of  Ferraza as its favorite son. The death of his mother -- Signore Audace's second wife, some 20 years younger than him -- in the first months of the baby's life has made the orphan be informally adopted by the whole town, in a way. Willing to please Signore Audace, to either gain or thank for his favors, people have cumulated Al with presents since he was a newborn.

from this point on, a few deleted scenes, later included in the director's cut

Growing in an ambient that continually grants his wishes, Al learns to treat Ferraza as his personal territory, where he rules like a somewhat carefree, often disrespectful though very charming, prince. The first time he takes a bicycle that is not his to get home, because the family's driver is late to pick him up from school, he is not reprimanded for stealing. Once he gets home, the bicycle is simply sent to the approximate place where he picked it -- in case Al can remember where it was --, without any note of explanation to its owner. Or else, simply dumped on the main square. 

His father owning the building, Al walks into Ferraza’s only cinema any time he wants, without ever asking for a ticket – regardless the movie being appropriate for his age or not. No one will stop him, no one has ever tried. As a child, he was often given toys, sweets and refreshments when in town -- but soon he is picking them himself, choosing what he wants instead of letting people choose for him. Not just entitled to the best, but accustomed to it, Al can distinguish it better than any one, and never lets himself be fooled. It's almost as if he considered the shops and businesses to be his, when in fact just the buildings are owned by his family.

In growing up, when instead of lollipops he would only be pleased with meaty meals, Al shall sit at any restaurant in Ferraza, expecting to be promptly and abundantly served. Often inviting his friends to eat and drink with him, though they could be considered the local aristocracy, they leave without paying – or saying thanks. Al might compliment the food, if he considers it specially tasty, or a wine -- rarely, for nothing he knows beats his father's cellar. And the bill isn't sent to Signore Audace, though he will always eventually learn about such occasions, especially if something was broken or damaged, which isn't unusual at all. More than loss, it could be considered an extra rent, reluctantly but dutifully paid to Signore. 

Pleasing the socially flamboyant boy is the easiest way to content -- and grant access to -- an often distant and stern Signore Audace. While displeasing Al -- and nobody intentionally wants that, for Al is actually a good chap -- is the most certain form of walking into trouble with the wealthiest man in Ferraza. And one of the mightiest, too, his connections and influence, both visible and invisible, legal or illegal, said to encompass the whole state, even the country.

But once, Al took the Harley Davidson from a tourist, creating enormous trouble. 

It becomes the only international incident Ferraza has ever experienced. Not just for what is normally considered stealing -- Al is only 14 years old then, and not supposed to drive yet. Worse, he drank champagne at one of the restaurants in town -- and not paid for it, of course -- and isn't exact sober when he falls from the motorcycle. Minor scratches on him, but many more on the bike, with several parts broken -- while he didn't break a nail.

Instructed by his father to no longer simply take things, Al starts leaving money in place of the things he takes, as a rent, along with a note that invariably reads

Enough? 

Al

Then comes the episode of the fountain. 

The episode of his bathing in the fountain on the main square. 

Of his bathing in the fountain on the main square in front of the prefecture. 

Of his bathing in the fountain on the main square in front of the prefecture -- in the nude.

It was well after midnight. He was in this with his friends, rich and spoiled boys like him. But while the other boys were in their underwear, Al was in the nude. An anecdote of his teenage years, hadn't it been for a photographer that was passing by, coming from a wedding, and who takes many photos of the group of friends -- zooming particularly on Al's nudity. Especially when he pees in the fountain -- and, so say the worst gossipers, masturbates.

The photographer went unnoticed by the group of boys, but when he tried to sell the photos to a local newspaper, Signore Audace was readily informed -- buying the pictures himself, through the newspaper. When the photographer discovered the plot, he blackmailed Al directly -- who then had to ask his father's help to buy the original rolls. 

Since the costly indiscretion, Al has been a bit more tactful, or careful with what he calls "the commonness of the common people". But now that he is about to leave Ferraza and all the dullness of its petty morality, he feels like pissing on the face of all its narrow-minded citizens that he so despises.

end of the deleted scenes

"I have been asked to inform you of a certain situation inside. Brace yourself, Signorino. Some girl is trying to cause trouble." Ruggero pronounces girl like he were saying worm instead.

"Vittoria?" Thinking of what happened between the girls at the fountain inside the Roman Gardens, Al believes that Vittoria might have again tried to attack her half-sister Venus, who has written, directed and is staging her first play.

"I believe so."

"That bitch surely is jealous... What did she do, now?" 

That's when Al catches sight of Vittoria herself, wandering at the entrance gallery. 

"I'll talk to her. What is your name, again?"

"Ruggero, Signorino." He touches the tip of his driver's cap. "At your disposal."

Al inspects the driver, quickly but attentively. A man in his early twenties, looking threateningly elegant in his all black uniform, Ruggero wears big glasses with thick lenses that do not succeed in hiding a handsome face.  And rather masculine, too -- a nose that is pornographically big, but not disproportionate in the wide and square frame of his jaws, the ever dark shade of his beard even when he shaves, a deep chin dimple that eliminates the weakening effect of an almost delicate mouth, and the thick and dark eyebrows to compensate long, curved eyelashes any woman would kill for, but that do not stand in the way of an intense glaring fired from dark blue eyes. Alberto Tardi, who plays Ruggero, has been a photographic model until CRUX, and like Thaysa is making his debut on the screen. His good looks, enhanced by a captivating charm, is still his best talent -- was the general appreciation of his participation in the movie.

"That's good." Al comments -- after realizing he might have stared a moment too long at the chauffeur, especially in public --, before sprinting for Vittoria.

"What are you doing, Vittoria Eugenia?" He jumps in front of Vittoria, startling the girl.

"I'm waiting for you, Alcibiade. I want you to..."

"What have you done this time?" Al doesn't hide his bad hunour. He hates being called by his full name, and won't tolerate it from anyone but his father.

"I? I haven't done anything. She..." Vittoria indicates Venus -- who can actually be seen chained right behind Al, who hasn't yet spotted her. But then she shakes her head, as if changing her mind, to talk about herself instead. "I just want to say I am always on your side... I can sing, and play the harp instead of her..."

Al sees the handsome chauffeur has approached, waiting at the bottom of the stairs, and turns his back to Vittoria, who does not finish her sentence.

"What?" Al asks Ruggero, with impatience. 

Adrian Çellon has diligently sun bathed for these specific scenes, when he would be wearing the skimpy tunic, that reveals most of his chiseled body, underlining the few parts it hides. Effortlessly, he is looking like a Greek god who has descend to Earth for a stroll. Both actor and actress, playing Ruggero and Vittoria, and many of the extras sharing the scene with Al, have been instructed to marvel at his beauty -- and there is nothing to fake, really, in terms of admiration. Mr. Skandaloukos wanted Al looking his best, most confident and even arrogant, carelessly superior to everyone around him, before entering the Roman Gardens, where crux awaits him.

"I forgot to ask you but..." Ruggero eyes Al from head to feet. A bit too appreciatively, perhaps, making Al give a subtle smirk. "I don't think you have any keys on you, do you, Signorino?"

"Keys? What keys?" Al stares at the driver, trying to catch some code language he should have known of. "Do you want to search me?" He asks, jokingly. But in a second his humors changes, and he explodes in a shout. "Ma che cazzo, Vittoria! Lasciami stare! Leave me alone!" 

Trembling, the girl humbly retreats the hand with which she had been caressing Al's arm.

"I'm going in." Al says, kissing the crucifix that, day and night, awake or asleep, hangs around his neck.