something a bit 'different from the usual ...
Bigg
Thursday, January 14, 2010
Saturday, January 9, 2010
Mediafire Bpm Studio Demo
Under skin
Once a beam
Once a beam
with each passing day,
weeks and months,
the seasons and years, all
counted and stacked neatly on my bedside table,
has now become just a thorn, a bloody,
annoying plug
of those you can not
to see but you feel under the skin
.
This is what remains, at times
something that stings and makes me
jump but, for most of the time, I do not remember having
although part of me now.
Bigg
Friday, January 8, 2010
Thursday, January 7, 2010
Imax Silvercity Ottawa Cost
presentations of theatrical works
The work, composed in 1928 by Russian Nikolai Erdman, was "the most extraordinary of satire flourished after the Revolution, in the twenties and thirties, and for this reason, in the Soviet Union has been systematically denied permission representation.
The reduction and adaptation that we made ourselves, but are intended to decontextualise opera, set in a different position from that of the Soviet regime, closer to us in time, space and problems.
Pozzeca Simone, who is unemployed, could become the victim to be sacrificed to narrow interests of a bunch of opportunists, a "dead ideology", a flag-vaunted defense in cases of trivial or dubious nobility. The game ends and the nightmare for the drama verging dangerously intertwined with reality, but when everything is ready and set, the man with his fears, his insecurities and weaknesses, find the energy to oppose and rebel. This black comedy satire from
, played on the edge of the grotesque and the paradox, it takes the tone of protest against those who trample human dignity and, despite the title of mourning, resolves into a hymn to life, often tragic, seemingly untenable, but worth living, especially if built with his own hands, with his head and ... head-lived.
ORLANDINI
Orlandina The text produced by students of the theater workshop, "The Cre-actors," as 1991 - '92 could be called a light-hearted modern interpretation of 'Orlando Furioso , subject however to clarify that the work of 'Ariosto was nothing but a pretext, a track followed with great freedom, a scheme to fill situations, issues and current characters.
most emblematic episodes of the poem have been properly updated: the "Castello di Atlante" - a metaphor of life as a continuous research in breathless run after vain illusions to win the longed-for object of desire - is its modern equivalent in the "Atlas of the Moon Park," where dreams are for sale behind you to lose the humanity of 2000: the beauty, youth, strength, love, happiness , speed; myths to show its inconsistency and danger.
within the same framework are in place, through rapid notations, situations in transcribing playful key current issues: the Mafia racketeering, drugs, delinquency, unemployment, racism.
To the moon, where Astolfrna goes - or think to go - to retrieve the wisdom of Orlandina is instead placed all that we, men of 2000, we lost.
ONCE UPON A TIME
Once Upon a Time is an adaptation, a reworking of the film by Francesco Rosi, 1967 edited by Professor Teresa Valente.
The text of the cinematographic work has been rearranged several times: many scenes were deleted to make room for other pictures and characters, however, in keeping with the spirit of the work of Rosi, and were included ballets and songs that make him, through language different situations narrated in the film.
A 'work entitled "Once Upon a Time" is not a fairy tale, even if the story is not placed in a permanent, but in the '600, space does not remain vague and undefined as it usually happens in fairy tales: the environment is that of the Kingdom of Naples submitted to English rule.
Once Upon a Time is a tale of love and friendship, power and oppression, poverty, courage and fear, faith and superstition, fantasy and reality.
The protagonists, often antagonistic, act and interact guided by their philosophy of life: "I always do what I want," said the prince, but the story points to check "whether" and "how" it is possible.
With its proud, brave and tenacious, with his determination to capopopolo, Isabella, a humble commoner, is opposed to arrogance and oppression: protest against those who trample human dignity and urges others to respond to common people - as she used to write "one hundred bites a bean", as she forced to eat " with only a dumpling, but willing, to fear, to worship at the feet of the prince, thus losing its sense of human dignity.
'E' character that makes us the fate of us, "said Isabella, and the tale ends ... to give her reason.
TRAMP
The comedy "Poodle", composed in 1996 by Student Theatre Workshop "The cre-actors," is set in a studio where the director Antoine de la film is about to start filming a musical.
E 'in this context that places the events - tragic substance, but playful and grotesquely comic
in the text and its staging - of characters united by the issue of labor redundancies, unemployment, exploitation, recruitment, on the recommendation, ambiguous satisfaction to the demands of a sexual nature or the alleged bribes.
The theme of the work is the story of four homeless people that go to a movie studio to try to recover a winning card, remained poor in the clothing of one of them, sold the film crew by another bum.
Forced to disguise himself as not to attract attention, should be at the game when they are mistaken for other characters. And
'This is another theme developed in the work: the relationship reality-fiction, given not only to the homeless, but also the grandmother of Maria Antonia who, lost in the world of celluloid, in front of scenes of violence, sex and intrigue - the only things that appeal to the public - as noted by the director - a prisoner of her tragic dilemma, continues to ask: "But these are to do all'apposta? They really ... or is it another movie theater?"
BERTOLDO A COURT
Massimo Durst Bertoldo's work in court is a review of the events of the sixteenth Bertoldo, which repeats the figure of the peasant cunning in a new key: no more rude corruptible, who became director court jester and the tyrant, died of indigestion at his table, but consistent and courageous man, who chose to starve rather than trade with luxury goodies and their own dignity and freedom.
E 'prisoner to court, but servo, and refuses to be blackmailed, because, as claimed by "the profession of man is to live without fear!"
In our adaptation of the text Durst to have been "translated" into a language "generally" the beats of the Southern popular characters, new characters were created to give greater dynamism to the work, while many dialogues and responses have been turned into songs.
SAME ... AND 'DIFFERENT!
The play develops a double set of problems: first, the juvenile delinquency, the dangerous influences of friendship, the fragility of adolescence, and secondly the importance of education and culture as tools of empowerment, and the charm of poetry. A young fishmonger
Southern underdog culture, at the junction between two choices - you have joined a bunch of thugs and experience of interpreting the role of a young educated and brilliant - through an arduous training course, finds its way and decides to "hold" the temptation of a life without limits and boundaries proposed by the pack, gaining a new identity and working to become truly educated the young and brilliant which was to "pretend" to be, "exist" in society without being a "different."
The first room of the impact of theater groups is the presentation of the work in the year, the theme, history, reading suggestions are to guide the viewer. Here are the presentations of the work conducted in our auditorium.
THE SUICIDAL
The work, composed in 1928 by Russian Nikolai Erdman, was "the most extraordinary of satire flourished after the Revolution, in the twenties and thirties, and for this reason, in the Soviet Union has been systematically denied permission representation.
The reduction and adaptation that we made ourselves, but are intended to decontextualise opera, set in a different position from that of the Soviet regime, closer to us in time, space and problems.
Pozzeca Simone, who is unemployed, could become the victim to be sacrificed to narrow interests of a bunch of opportunists, a "dead ideology", a flag-vaunted defense in cases of trivial or dubious nobility. The game ends and the nightmare for the drama verging dangerously intertwined with reality, but when everything is ready and set, the man with his fears, his insecurities and weaknesses, find the energy to oppose and rebel. This black comedy satire from
, played on the edge of the grotesque and the paradox, it takes the tone of protest against those who trample human dignity and, despite the title of mourning, resolves into a hymn to life, often tragic, seemingly untenable, but worth living, especially if built with his own hands, with his head and ... head-lived.
ORLANDINI
Orlandina The text produced by students of the theater workshop, "The Cre-actors," as 1991 - '92 could be called a light-hearted modern interpretation of 'Orlando Furioso , subject however to clarify that the work of 'Ariosto was nothing but a pretext, a track followed with great freedom, a scheme to fill situations, issues and current characters.
most emblematic episodes of the poem have been properly updated: the "Castello di Atlante" - a metaphor of life as a continuous research in breathless run after vain illusions to win the longed-for object of desire - is its modern equivalent in the "Atlas of the Moon Park," where dreams are for sale behind you to lose the humanity of 2000: the beauty, youth, strength, love, happiness , speed; myths to show its inconsistency and danger.
within the same framework are in place, through rapid notations, situations in transcribing playful key current issues: the Mafia racketeering, drugs, delinquency, unemployment, racism.
To the moon, where Astolfrna goes - or think to go - to retrieve the wisdom of Orlandina is instead placed all that we, men of 2000, we lost.
ONCE UPON A TIME
Once Upon a Time is an adaptation, a reworking of the film by Francesco Rosi, 1967 edited by Professor Teresa Valente.
The text of the cinematographic work has been rearranged several times: many scenes were deleted to make room for other pictures and characters, however, in keeping with the spirit of the work of Rosi, and were included ballets and songs that make him, through language different situations narrated in the film.
A 'work entitled "Once Upon a Time" is not a fairy tale, even if the story is not placed in a permanent, but in the '600, space does not remain vague and undefined as it usually happens in fairy tales: the environment is that of the Kingdom of Naples submitted to English rule.
Once Upon a Time is a tale of love and friendship, power and oppression, poverty, courage and fear, faith and superstition, fantasy and reality.
The protagonists, often antagonistic, act and interact guided by their philosophy of life: "I always do what I want," said the prince, but the story points to check "whether" and "how" it is possible.
With its proud, brave and tenacious, with his determination to capopopolo, Isabella, a humble commoner, is opposed to arrogance and oppression: protest against those who trample human dignity and urges others to respond to common people - as she used to write "one hundred bites a bean", as she forced to eat " with only a dumpling, but willing, to fear, to worship at the feet of the prince, thus losing its sense of human dignity.
'E' character that makes us the fate of us, "said Isabella, and the tale ends ... to give her reason.
TRAMP
The comedy "Poodle", composed in 1996 by Student Theatre Workshop "The cre-actors," is set in a studio where the director Antoine de la film is about to start filming a musical.
E 'in this context that places the events - tragic substance, but playful and grotesquely comic
in the text and its staging - of characters united by the issue of labor redundancies, unemployment, exploitation, recruitment, on the recommendation, ambiguous satisfaction to the demands of a sexual nature or the alleged bribes.
The theme of the work is the story of four homeless people that go to a movie studio to try to recover a winning card, remained poor in the clothing of one of them, sold the film crew by another bum.
Forced to disguise himself as not to attract attention, should be at the game when they are mistaken for other characters. And
'This is another theme developed in the work: the relationship reality-fiction, given not only to the homeless, but also the grandmother of Maria Antonia who, lost in the world of celluloid, in front of scenes of violence, sex and intrigue - the only things that appeal to the public - as noted by the director - a prisoner of her tragic dilemma, continues to ask: "But these are to do all'apposta? They really ... or is it another movie theater?"
BERTOLDO A COURT
Massimo Durst Bertoldo's work in court is a review of the events of the sixteenth Bertoldo, which repeats the figure of the peasant cunning in a new key: no more rude corruptible, who became director court jester and the tyrant, died of indigestion at his table, but consistent and courageous man, who chose to starve rather than trade with luxury goodies and their own dignity and freedom.
E 'prisoner to court, but servo, and refuses to be blackmailed, because, as claimed by "the profession of man is to live without fear!"
In our adaptation of the text Durst to have been "translated" into a language "generally" the beats of the Southern popular characters, new characters were created to give greater dynamism to the work, while many dialogues and responses have been turned into songs.
SAME ... AND 'DIFFERENT!
The play develops a double set of problems: first, the juvenile delinquency, the dangerous influences of friendship, the fragility of adolescence, and secondly the importance of education and culture as tools of empowerment, and the charm of poetry. A young fishmonger
Southern underdog culture, at the junction between two choices - you have joined a bunch of thugs and experience of interpreting the role of a young educated and brilliant - through an arduous training course, finds its way and decides to "hold" the temptation of a life without limits and boundaries proposed by the pack, gaining a new identity and working to become truly educated the young and brilliant which was to "pretend" to be, "exist" in society without being a "different."
Netgear Dg934g-1skuks
reviews and external reasons for the jury
text Pagnottella Special Report to the National Competition II "For a young drama," premium "Michele Mazzella (Rome )
" A glimpse of family life and full of joy, to which the color of the dialect adds humor and vitality "
1st Prize at the Second Provincial Competition" Curtain @ school "(Bitonto)
" Entertainment compelling and engaging. Text written entirely by students, and for this reason, the original form and content. Characters embedded in an excellent manner, with spontaneity. Directed to create an accurate fast-paced show. Singles staging for both continuous changes of scene in view, both for electronic equipment used. Valuable educational project because it offered young people the chance to try their hand at creative writing. From the text showed the problems of kids today, but with subtle humor and keen sense of irony. "
BARS IN
4th place of the text The bars inside the National Competition III "For a young drama," premium "Michele Mazzella (Rome)
" Life scenes district and held in the square in a southern country, not imaginary.
scenes full of truth and humor that are timely and courteous use of the dialect of their authenticity "
Reporting" Workshop Italy "at the XXIV National Festival of Theatre School (Serra San Quirico)
" For availability and attention shown to by the group that participated in the XXIV National Review of the School of Theater to the theater education and clear expectations for further investigation and exchange everything about the workshop location that is subject to the issues of making theater "
Reporting 9th edition National Festival of Theatre School Elizabeth Turroni (Cesena)
" Reported production for the quality of drama: the boys have written first-person text that addresses the ironic playful-serious issues of life and discusses them in the village square, metaphor for society and the world . "
EYES WITH WHAT?
Special Award at 'Teacher 6 th National Competition "For a young drama," premium "Michele Mazzella (Rome)
" When teaching drama and spectacle become "
IL PRATO OTHERS
First prize of gold for the Walnut High School at the 4th National Exhibition TEATER, Theatre of the School of Small Towns and beyond (Maiori)
" The show highlights a well-built machine play for comic timing and characterizations of the characters, not to mention a reflection on social issues dealt with in a light but intense, such as: diversity, high-bourgeois myths, expectations and images of the other "
Comedy section First prize at the 15th International Festival of Classical Theatre School (Altamura)
" The show The lawn is made of another person appreciate the originality of the idea of \u200b\u200bthe fund, which deals with the characteristic light such important topics. The representation is also valuable because the fruit of the students. Very nice acting and characterization . "
Report to the XII National Festival of Theatre School" E. Turroni "(Cesena):
" The theater group has focussed on a work of creative writing by students themselves so that they are the authors of the text, showing particular attention to youth issues. The lawn of others in fact reads the social reality that surrounds us and some large issues that occur in it (motherhood, homosexuality, etc..), Through the eyes of young protagonists . "
the Lyceum Theatre "Tedone" has been accepted in various exhibitions and Theatrical performances for schools. There have been many positive reviews (and often flattering) that accompanied the performances. Here are some reasons that accompanied the awards to the performances of the groups in the past.
Pagnottella
text Pagnottella Special Report to the National Competition II "For a young drama," premium "Michele Mazzella (Rome )
" A glimpse of family life and full of joy, to which the color of the dialect adds humor and vitality "
1st Prize at the Second Provincial Competition" Curtain @ school "(Bitonto)
" Entertainment compelling and engaging. Text written entirely by students, and for this reason, the original form and content. Characters embedded in an excellent manner, with spontaneity. Directed to create an accurate fast-paced show. Singles staging for both continuous changes of scene in view, both for electronic equipment used. Valuable educational project because it offered young people the chance to try their hand at creative writing. From the text showed the problems of kids today, but with subtle humor and keen sense of irony. "
BARS IN
4th place of the text The bars inside the National Competition III "For a young drama," premium "Michele Mazzella (Rome)
" Life scenes district and held in the square in a southern country, not imaginary.
scenes full of truth and humor that are timely and courteous use of the dialect of their authenticity "
Reporting" Workshop Italy "at the XXIV National Festival of Theatre School (Serra San Quirico)
" For availability and attention shown to by the group that participated in the XXIV National Review of the School of Theater to the theater education and clear expectations for further investigation and exchange everything about the workshop location that is subject to the issues of making theater "
Reporting 9th edition National Festival of Theatre School Elizabeth Turroni (Cesena)
" Reported production for the quality of drama: the boys have written first-person text that addresses the ironic playful-serious issues of life and discusses them in the village square, metaphor for society and the world . "
EYES WITH WHAT?
Special Award at 'Teacher 6 th National Competition "For a young drama," premium "Michele Mazzella (Rome)
" When teaching drama and spectacle become "
IL PRATO OTHERS
First prize of gold for the Walnut High School at the 4th National Exhibition TEATER, Theatre of the School of Small Towns and beyond (Maiori)
" The show highlights a well-built machine play for comic timing and characterizations of the characters, not to mention a reflection on social issues dealt with in a light but intense, such as: diversity, high-bourgeois myths, expectations and images of the other "
Comedy section First prize at the 15th International Festival of Classical Theatre School (Altamura)
" The show The lawn is made of another person appreciate the originality of the idea of \u200b\u200bthe fund, which deals with the characteristic light such important topics. The representation is also valuable because the fruit of the students. Very nice acting and characterization . "
Report to the XII National Festival of Theatre School" E. Turroni "(Cesena):
" The theater group has focussed on a work of creative writing by students themselves so that they are the authors of the text, showing particular attention to youth issues. The lawn of others in fact reads the social reality that surrounds us and some large issues that occur in it (motherhood, homosexuality, etc..), Through the eyes of young protagonists . "
EQUAL ... E 'DIFFERENT!
Award MICHELE Mazzella, a young drama. " Teatro Argentina in Rome. VIII Edition
Reason: Rostand and Shaw are the inspiration for a comedy that sees the need for culture, the only way to redeem himself. So many characters, all well-designed, 
in a kaleidoscope of situations, sometimes pochadistiche, but always safe spettacolare.Una impact of maturity 'by an institution that participates in the award since its inception.
Festival National Theatre School Elizabeth Turroni - Teatro Alessandro Bonci Cesena thirteenth edition. Reason: The school insists effectively in order to give the boys by giving them the opportunity to experience a dramatic vein often surprising. In this show, the title already qualifying the boys have chosen to deal with an ironic-grotesque number of issues that experience as key to their growth and development of society, in particular, the exclusion of evidence that those who are condemned, even by their own ignorance to the condition of "different."
Tuesday, January 5, 2010
Hutch Bmx Sale Canada
The lawn of others: The extract
The title of the piece is inspired by the well-known saying "The grass is always greener." And 'in fact a fairly general tendency to consider that the condition is better than others of their own, others do not have the problems and difficulties we encounter us: we would be in the place of those who seem more fortunate, or that they were in our shoes. But every state has its own problems: just change the type of discomfort, the kind of trouble. Inside this issue if they enter other: issues related to employment, as the problem of security or harassment in the workplace, and problems of different nature, such as the choice of motherhood and the issue of homosexuality . Despite the scope of questions, the text is nice and fun, because it develops the key themes in playful, ironic, moving between real and surreal.
The action takes place inside a factory of garden gnomes. The engine department consists of a skirt: what happens to you inside, is seen in transparency, with the technique of shadow puppetry.
Tedone The school is committed to promoting the business of writing and production of a play with the direct input of the students. Following the approach developed by the same high school and entered the ministerial archive of best teaching practices ("We built the theater") were written the texts of some works.
THE LAWN OF OTHERS
IF and IIF (as 2007-'08)
The text of this play was created in the year 2007-'08 school year 50 students from the IF and IIF within a PON titled "Creative Writing: Building our theater."
The text of this play was created in the year 2007-'08 school year 50 students from the IF and IIF within a PON titled "Creative Writing: Building our theater."
The title of the piece is inspired by the well-known saying "The grass is always greener." And 'in fact a fairly general tendency to consider that the condition is better than others of their own, others do not have the problems and difficulties we encounter us: we would be in the place of those who seem more fortunate, or that they were in our shoes. But every state has its own problems: just change the type of discomfort, the kind of trouble. Inside this issue if they enter other: issues related to employment, as the problem of security or harassment in the workplace, and problems of different nature, such as the choice of motherhood and the issue of homosexuality . Despite the scope of questions, the text is nice and fun, because it develops the key themes in playful, ironic, moving between real and surreal.
CHARACTERS
Mariarosa Ferrara entrepreneur as a pottery maker and garden gnomes
Ugo Ferrara entrepreneur husband
Piergiorgio Ferrara: Ferrara Doralice
entrepreneur son: daughter entrepreneur
The Nanny Piergiorgio Ferrara Alfonso
: play boy friend of Piergiorgio Ferrara
Martina Brescia: Loretta
employee of the factory: the factory employee, a friend of Martina
Gemma: employee factory
Giuliana: employee factory
Susanna: employee factory
Pasquina: employee factory
Vittorio : head
Rita secretary
Gregory Bottom: owner of an enterprise of fake clothing
Carmelina Chiappa, wife of Gregory Chiappa
Giuliva Bottom: daughter of Gregory Chiappa, girlfriend of Mr Piergiorgio
Bottom: Bottom of Gregory
sister Valeria, Agent 15: bodyguard Carmelina Chiappa
Teodoro, Agent 16: bodyguard Gregory Chiappa
Nanni, Agent 17: bodyguard Giuliva Chiappa
Octavia: bodyguard Mr Chiappa
Matilda: maid of Giuliva Chiappa
Don Basilio. Lello priest
: altar boy
Nunziata: housekeeper of Don Basilio
journalist
Photographer
Actress
The commander of the carabinieri
Agent Carabinieri
Singer
Dancers
Ugo Ferrara entrepreneur husband
Piergiorgio Ferrara: Ferrara Doralice
entrepreneur son: daughter entrepreneur
The Nanny Piergiorgio Ferrara Alfonso
: play boy friend of Piergiorgio Ferrara
Martina Brescia: Loretta
employee of the factory: the factory employee, a friend of Martina
Gemma: employee factory
Giuliana: employee factory
Susanna: employee factory
Pasquina: employee factory
Vittorio : head
Rita secretary
Gregory Bottom: owner of an enterprise of fake clothing
Carmelina Chiappa, wife of Gregory Chiappa
Giuliva Bottom: daughter of Gregory Chiappa, girlfriend of Mr Piergiorgio
Bottom: Bottom of Gregory
sister Valeria, Agent 15: bodyguard Carmelina Chiappa
Teodoro, Agent 16: bodyguard Gregory Chiappa
Nanni, Agent 17: bodyguard Giuliva Chiappa
Octavia: bodyguard Mr Chiappa
Matilda: maid of Giuliva Chiappa
Don Basilio. Lello priest
: altar boy
Nunziata: housekeeper of Don Basilio
journalist
Photographer
Actress
The commander of the carabinieri
Agent Carabinieri
Singer
Dancers
The action takes place inside a factory of garden gnomes. The engine department consists of a skirt: what happens to you inside, is seen in transparency, with the technique of shadow puppetry.
SCENE 1 (Gemma, Giuliana, Susanna, Pasquina)
(ENTER THE FOUR WORKERS)
Susanna. Finally a break: I could not take anymore!
Gemma. That witch will make us work even at night!
Pasquina. Today it's gone crazy than usual!
Giuliana. Is shaken for a wedding!
Pasquina. ... Why get married?
Giuliana. Yeah!
Pasquina. Poultice of her husband ... And that says nothing?
Giuliana. But not marry her!
Pasquina. Saints dwarves! It marries the poultice !?... And the witch does not say anything?
Giuliana. But you or are you doing there? ... E 'Piergiorgio that goes!
Susanna, Gemma, Pasquina. Piergiorgio married!?
Gemma. This then!
Susanna. And who did it ... "the bang"?
Gemma. Drittona some who found the chicken plucking!
Giuliana. The shot did the witch, because the bride is Giuliva ... Bottom!
Susanna. The daughter of Gregory & Brand of the Brand?
Giuliana. The apparel fake! ... That has so much money that out of his ears!
Gemma. But if you know how to make them "all that money "?... Exploited children and non-EU, so if you make them ... the pig!
Susanna. And who has told you these things?
Gemma. Matilde the maid ... "personal" by Giulio Bottom!
Giuliana. That fixed!
Pasquina. The maid?
Susanna. No, Julia! It 's a fool who believes in "Miss World"!
Giuliana. You know that couple! Miss World and Mr Universe!
Susanna. Finally a break: I could not take anymore!
Gemma. That witch will make us work even at night!
Pasquina. Today it's gone crazy than usual!
Giuliana. Is shaken for a wedding!
Pasquina. ... Why get married?
Giuliana. Yeah!
Pasquina. Poultice of her husband ... And that says nothing?
Giuliana. But not marry her!
Pasquina. Saints dwarves! It marries the poultice !?... And the witch does not say anything?
Giuliana. But you or are you doing there? ... E 'Piergiorgio that goes!
Susanna, Gemma, Pasquina. Piergiorgio married!?
Gemma. This then!
Susanna. And who did it ... "the bang"?
Gemma. Drittona some who found the chicken plucking!
Giuliana. The shot did the witch, because the bride is Giuliva ... Bottom!
Susanna. The daughter of Gregory & Brand of the Brand?
Giuliana. The apparel fake! ... That has so much money that out of his ears!
Gemma. But if you know how to make them "all that money "?... Exploited children and non-EU, so if you make them ... the pig!
Susanna. And who has told you these things?
Gemma. Matilde the maid ... "personal" by Giulio Bottom!
Giuliana. That fixed!
Pasquina. The maid?
Susanna. No, Julia! It 's a fool who believes in "Miss World"!
Giuliana. You know that couple! Miss World and Mr Universe!
[...]
SCENE 6 (Mariarosa, Pierre, Vittorio)
SCENE 6 (Mariarosa, Pierre, Vittorio)
Vittorio. (Entering) Oh, Mrs. Mariarosa, I tried her own!
Mariarosa. He sees that I'm talking to my son?
Vittorio. And 'one important thing: the oven for baking clay is creating big problems!
Mariarosa. What problems?
Vittorio. Crashes, turns off and turns itself on and now begins to move beyond the smoke!
Mariarosa. Here: we only missed it! ... Who is the officer working in the oven?
Vittorio. It would be the Brescia, Brescia Martina, but ...
Mariarosa. We could have sworn! The charge of the repair costs!
Victor: Actually, this oven are using it all: after the failure of the other oven ...
Mariarosa. Always Brescia, right?
Vittorio. No, if I may, there was ... his son!
Mariarosa. Piergiorgio?!
Piergiorgio. Mommy!
Vittorio. Lady, this oven must be changed: it is very dangerous for the employees!
Mariarosa. Employees are very dangerous for my equipment! And yet there is no money, she is the head of department: the face fix!
Vittorio. The point is that the technician did not understand us at all: it says that the oven is crazy!
Mariarosa. If this technique is incompetent, then they call another.
Vittorio. And 'the third says the same thing! And then, madam, safety standards ...
Mariarosa. One thing is certain: there is no money! The employees will pay more attention, so my machine will be safe! Closed!
Vittorio. How do you think! Ah! Another problem: the men's bathroom faucet loses ...
Mariarosa. Fix it! (VITTORIO enters the bathroom MALE)
Mariarosa. He sees that I'm talking to my son?
Vittorio. And 'one important thing: the oven for baking clay is creating big problems!
Mariarosa. What problems?
Vittorio. Crashes, turns off and turns itself on and now begins to move beyond the smoke!
Mariarosa. Here: we only missed it! ... Who is the officer working in the oven?
Vittorio. It would be the Brescia, Brescia Martina, but ...
Mariarosa. We could have sworn! The charge of the repair costs!
Victor: Actually, this oven are using it all: after the failure of the other oven ...
Mariarosa. Always Brescia, right?
Vittorio. No, if I may, there was ... his son!
Mariarosa. Piergiorgio?!
Piergiorgio. Mommy!
Vittorio. Lady, this oven must be changed: it is very dangerous for the employees!
Mariarosa. Employees are very dangerous for my equipment! And yet there is no money, she is the head of department: the face fix!
Vittorio. The point is that the technician did not understand us at all: it says that the oven is crazy!
Mariarosa. If this technique is incompetent, then they call another.
Vittorio. And 'the third says the same thing! And then, madam, safety standards ...
Mariarosa. One thing is certain: there is no money! The employees will pay more attention, so my machine will be safe! Closed!
Vittorio. How do you think! Ah! Another problem: the men's bathroom faucet loses ...
Mariarosa. Fix it! (VITTORIO enters the bathroom MALE)
[...]
SCENE 8 (Mariarosa, Martina, Piergiorgio)
SCENE 8 (Mariarosa, Martina, Piergiorgio)
Mariarosa. (Seeing MARTINA WOMEN OUT OF THE BATHROOM) Brescia, come here now!
Martina. Tell me, lady.
Mariarosa. You are incompetent, incapable, good for nothing!
Martina. Why?
Mariarosa. Have you ever heard the tale of Snow White and the seven dwarf!
Martina. Madam, I do not understand!
Mariarosa. Ah, do not you understand? They ordered a Snow White and the Seven Dwarfs from the garden, but a fool I know a dwarf and fired seven Snow White!
Piergiorgio. Bella, this!
Mariarosa. For you normal?
Martina. It was not my fault! I fired the right pieces, but the machine continued to churn out Snow White! That oven spare change, give the numbers!
Mariarosa. What are you talking about bestiality!
Piergiorgio. If you put ... Sleepy, Sleepy out!
Mariarosa. And if you leave a Sleepy defective, the blame lies with those who have not been able to adjust the machine, but will always be a Sleepy!
Martina. Lady is not my mistake, I ask the foreman!
Mariarosa. Victor told me only I've broken the oven! But for what we will do the math. Get busy now that this is not a charity! By Monday, the seven dwarfs and Snow White to be one! Is that clear?!
Martina. All clear, lady! (Entrepreneur exits)
Martina. Tell me, lady.
Mariarosa. You are incompetent, incapable, good for nothing!
Martina. Why?
Mariarosa. Have you ever heard the tale of Snow White and the seven dwarf!
Martina. Madam, I do not understand!
Mariarosa. Ah, do not you understand? They ordered a Snow White and the Seven Dwarfs from the garden, but a fool I know a dwarf and fired seven Snow White!
Piergiorgio. Bella, this!
Mariarosa. For you normal?
Martina. It was not my fault! I fired the right pieces, but the machine continued to churn out Snow White! That oven spare change, give the numbers!
Mariarosa. What are you talking about bestiality!
Piergiorgio. If you put ... Sleepy, Sleepy out!
Mariarosa. And if you leave a Sleepy defective, the blame lies with those who have not been able to adjust the machine, but will always be a Sleepy!
Martina. Lady is not my mistake, I ask the foreman!
Mariarosa. Victor told me only I've broken the oven! But for what we will do the math. Get busy now that this is not a charity! By Monday, the seven dwarfs and Snow White to be one! Is that clear?!
Martina. All clear, lady! (Entrepreneur exits)
SCENE 9 (Pierre, Martina)
Martina. I need to talk!
Piergiorgio. Back in the ward I do not want to see us alone together.
Martina. Would you rather make a public statement? Gentlemen, expecting a child with Pierre!
Piergiorgio. But that cry, you're crazy?
Martina. I'm desperate!
Piergiorgio. Martina, put yourself in my shoes: I'm getting married in three days: I can not afford a scandal!
Martina. Yeah, but I can afford to become pregnant without the help of anyone and with the risk of losing their jobs!
Piergiorgio. Like I said, free baby!
Martina. No!
Piergiorgio. I find the doctor, I'll pay the fees, but get rid of this baby!
Martina. You are an animal!
Piergiorgio. But what do you expect, a "shotgun wedding"!
Martina. Even if you ask me on my knees!
Piergiorgio. So what?
Martina. I want you to recognize it!
Piergiorgio. But not even mentioned!
Martina. Pierre, a child is a two, but you can have your say did everything himself, and if you were a man ....
Piergiorgio. And who assures me that is my son?
Martina. What a coward!
Piergiorgio. If you were in my shoes, you would understand that ...
Martina. But put yourself for once in my shoes for once! Help me at least not to lose his job!
Piergiorgio. So stay here and continue to torment me with your paranoia?
Martina. I've never tried and do not you try ... ever! But talk to your mother, help me, at least in this one!
Piergiorgio. I can try, but put yourself in my place ...
Martina. (GOING BEHIND THE CLEAR) There'd be comfortable in your place!
Piergiorgio. (Reach) If you were the son of a woman like my mother ...
Martina. ... I should not be behind this damned machine (AFFECTS THE OVEN)
Piergiorgio. Back in the ward I do not want to see us alone together.
Martina. Would you rather make a public statement? Gentlemen, expecting a child with Pierre!
Piergiorgio. But that cry, you're crazy?
Martina. I'm desperate!
Piergiorgio. Martina, put yourself in my shoes: I'm getting married in three days: I can not afford a scandal!
Martina. Yeah, but I can afford to become pregnant without the help of anyone and with the risk of losing their jobs!
Piergiorgio. Like I said, free baby!
Martina. No!
Piergiorgio. I find the doctor, I'll pay the fees, but get rid of this baby!
Martina. You are an animal!
Piergiorgio. But what do you expect, a "shotgun wedding"!
Martina. Even if you ask me on my knees!
Piergiorgio. So what?
Martina. I want you to recognize it!
Piergiorgio. But not even mentioned!
Martina. Pierre, a child is a two, but you can have your say did everything himself, and if you were a man ....
Piergiorgio. And who assures me that is my son?
Martina. What a coward!
Piergiorgio. If you were in my shoes, you would understand that ...
Martina. But put yourself for once in my shoes for once! Help me at least not to lose his job!
Piergiorgio. So stay here and continue to torment me with your paranoia?
Martina. I've never tried and do not you try ... ever! But talk to your mother, help me, at least in this one!
Piergiorgio. I can try, but put yourself in my place ...
Martina. (GOING BEHIND THE CLEAR) There'd be comfortable in your place!
Piergiorgio. (Reach) If you were the son of a woman like my mother ...
Martina. ... I should not be behind this damned machine (AFFECTS THE OVEN)
SCENE 10 (Piergiorgio, Martina)
(in the engine department shall exchange PIERGIORGIO MARTINA AND BODIES)
SCENE 11 (Piergiorgio False, False Martina)
Fake Martina. (Entering) Mommy is a nerve! False
Piergiorgio (entering) But if I ask you, do not fire me. (LOOK)
Together. Ahhhhh!
Fake Martina. You! ... Who are you? Piergiorgio
False. How about me? I am ... Martina! ... You rather!
Fake Martina. No you're not Martha! ... ... You are me! Piergiorgio
False. How do I ...?!
Fake Martina. I ... Pierre! Piergiorgio
False. What are you saying?
Fake Martina. Piergiorgio And if you ... I. .. Who am I? Piergiorgio
False. Martina!
Together. Ahhhhh! Piergiorgio
False. We exchanged the bodies ...!
Fake Martina. But it is surreal! How could this happen? Piergiorgio
False. Damn oven!
Fake Martina. Oh my God ... My head is spinning! Piergiorgio
False. It 's the baby!
Fake Martina. Incintooo are? Piergiorgio
False. Yes!
Fake Martina. I am a single mother !?... If you notice mom, killing me! Piergiorgio
False. And I fired me!
Fake Martina. It can not fire you: you are me! We Piergiorgio! Piergiorgio
False. Then dismiss you!
Fake Martina. But I am his son! Piergiorgio
False. Oh no! Now his son is me ... I think!
Fake Martina. Then you must marry Giulia! Piergiorgio
False. What?
Fake Martina. Sure! Giuliva marry you! Ah, how wonderful! So I can continue ...
False Piergiorgio. To be pregnant!
Together. What a mess! (FALSE Martin touching breast)
False Piergiorgio. Hands off my body!
Fake Martina. Well, now it's mine! Piergiorgio
False. It '... ours! ... And be careful how you treat him!
Fake Martina. In your opinion, is irreversible? Piergiorgio
False. How should I know! (YES IT IS THE BODY) This morning there were still only seven and Snow White (He started) ... a Sleepy!
Fake Martina. And careful how you treat him! Piergiorgio
False. And you are 'close to the child if something happens to him, if you dare to have an abortion ...
Fake Martina. Abortion? I? But you're crazy!? Rather, the marriage! Piergiorgio
False. We must find a way to postpone it: it may be that with time ... False
Martina. But in the meantime? Piergiorgio
False. Meanwhile ... we exchange the parts: you go to work on the ward ...
Martina false. With nausea and back pain that I have? Piergiorgio
False. You have to get busy, Snow White: This is not a charity! ... I will take your place!
Fake Martina. What sore kidneys! ... We will need outside help. Piergiorgio
False. The one I can trust ... and Loretta!
Fake Martina. And 'better my sister! Piergiorgio
False. Then both Loretta and Doral! ... Mock
Marina. I feel the heat ... go! Piergiorgio
False. Rinsed his face, I'm going to try Loretta.
Piergiorgio (entering) But if I ask you, do not fire me. (LOOK)
Together. Ahhhhh!
Fake Martina. You! ... Who are you? Piergiorgio
False. How about me? I am ... Martina! ... You rather!
Fake Martina. No you're not Martha! ... ... You are me! Piergiorgio
False. How do I ...?!
Fake Martina. I ... Pierre! Piergiorgio
False. What are you saying?
Fake Martina. Piergiorgio And if you ... I. .. Who am I? Piergiorgio
False. Martina!
Together. Ahhhhh! Piergiorgio
False. We exchanged the bodies ...!
Fake Martina. But it is surreal! How could this happen? Piergiorgio
False. Damn oven!
Fake Martina. Oh my God ... My head is spinning! Piergiorgio
False. It 's the baby!
Fake Martina. Incintooo are? Piergiorgio
False. Yes!
Fake Martina. I am a single mother !?... If you notice mom, killing me! Piergiorgio
False. And I fired me!
Fake Martina. It can not fire you: you are me! We Piergiorgio! Piergiorgio
False. Then dismiss you!
Fake Martina. But I am his son! Piergiorgio
False. Oh no! Now his son is me ... I think!
Fake Martina. Then you must marry Giulia! Piergiorgio
False. What?
Fake Martina. Sure! Giuliva marry you! Ah, how wonderful! So I can continue ...
False Piergiorgio. To be pregnant!
Together. What a mess! (FALSE Martin touching breast)
False Piergiorgio. Hands off my body!
Fake Martina. Well, now it's mine! Piergiorgio
False. It '... ours! ... And be careful how you treat him!
Fake Martina. In your opinion, is irreversible? Piergiorgio
False. How should I know! (YES IT IS THE BODY) This morning there were still only seven and Snow White (He started) ... a Sleepy!
Fake Martina. And careful how you treat him! Piergiorgio
False. And you are 'close to the child if something happens to him, if you dare to have an abortion ...
Fake Martina. Abortion? I? But you're crazy!? Rather, the marriage! Piergiorgio
False. We must find a way to postpone it: it may be that with time ... False
Martina. But in the meantime? Piergiorgio
False. Meanwhile ... we exchange the parts: you go to work on the ward ...
Martina false. With nausea and back pain that I have? Piergiorgio
False. You have to get busy, Snow White: This is not a charity! ... I will take your place!
Fake Martina. What sore kidneys! ... We will need outside help. Piergiorgio
False. The one I can trust ... and Loretta!
Fake Martina. And 'better my sister! Piergiorgio
False. Then both Loretta and Doral! ... Mock
Marina. I feel the heat ... go! Piergiorgio
False. Rinsed his face, I'm going to try Loretta.
[...]
SCENE 20 (False Piergiorgio, Julia, Nanni)
SCENE 20 (False Piergiorgio, Julia, Nanni)
(Giulio ARM OFFERS WITH FALSE PIERGIORGIO)
False Piergiorgio. Giulia! Please: a safe distance!
Giulia. Do not worry: Nanni and I have a deal! You know how many times he closes his eyes?! Piergiorgio
False. But they could see us ...!
Giulia. Who? There is none! ... Piergiorgio! ... Piergiorgio
False. Tell me, Julia!
Giulia. I give it a reservoir? From me, eh? Here, here! Piergiorgio
False. Coccolina ... but ... you do not do these things ... not good!
Giulia. Little baby! Piergiorgio
False. When we got married ... then ...
Giulia. If I did not come on, I start to cry! Piergiorgio
False. Julia, think ...
Giulia. Ahhhhh!
Nanni. Still there! Do not move! Hands in plain sight! Piergiorgio
False. I did not nienteeee!
Giulia. Exactly! ... Basin! Piergiorgio
False. Nanni E?
Nanni. Basin! Piergiorgio
False. Oh Jesus! ... Okay ... but close your eyes! (END kiss her) And
Giuliva well? Piergiorgio
False. Nanni was looking at me!
Giulia. Nanni! (Nanna TIME TO BACK, TO BE FALSE PIERGIORGIO 'A BASIN AND THEN MAKES MOVES disgust) ... Why do you look like that? Piergiorgio
False. ... I came a hair in my mouth ... I will run into the bathroom. But ... you begin to visit the factory!
Giulia. And then give me two basins? Piergiorgio
False. Yes, as soon as we get married, you do them! (RUNS TO THE BATHROOM FEMALE)
Nanni. What is the female bathroom! Piergiorgio
False. That careless! Me ... .. That basin shocked! (ENTER THE BATHROOM MALE)
False Piergiorgio. Giulia! Please: a safe distance!
Giulia. Do not worry: Nanni and I have a deal! You know how many times he closes his eyes?! Piergiorgio
False. But they could see us ...!
Giulia. Who? There is none! ... Piergiorgio! ... Piergiorgio
False. Tell me, Julia!
Giulia. I give it a reservoir? From me, eh? Here, here! Piergiorgio
False. Coccolina ... but ... you do not do these things ... not good!
Giulia. Little baby! Piergiorgio
False. When we got married ... then ...
Giulia. If I did not come on, I start to cry! Piergiorgio
False. Julia, think ...
Giulia. Ahhhhh!
Nanni. Still there! Do not move! Hands in plain sight! Piergiorgio
False. I did not nienteeee!
Giulia. Exactly! ... Basin! Piergiorgio
False. Nanni E?
Nanni. Basin! Piergiorgio
False. Oh Jesus! ... Okay ... but close your eyes! (END kiss her) And
Giuliva well? Piergiorgio
False. Nanni was looking at me!
Giulia. Nanni! (Nanna TIME TO BACK, TO BE FALSE PIERGIORGIO 'A BASIN AND THEN MAKES MOVES disgust) ... Why do you look like that? Piergiorgio
False. ... I came a hair in my mouth ... I will run into the bathroom. But ... you begin to visit the factory!
Giulia. And then give me two basins? Piergiorgio
False. Yes, as soon as we get married, you do them! (RUNS TO THE BATHROOM FEMALE)
Nanni. What is the female bathroom! Piergiorgio
False. That careless! Me ... .. That basin shocked! (ENTER THE BATHROOM MALE)
SCENE 21 (Giulia, Nanni)
Giulia. I thought the more enterprising, more fiery!
Nanni. Yeah, it seems a bit '... fly! But it's not for me to judge.
Giulia. No, tell me, tell me!
Nanni. Miss, for me a man is a man: tough, virile male!
Giulia. Maybe ... it is so!
Nanni. Or maybe ... no! However in his place I would think ... good!
Giulia. You're right: Now I go to dad and tell him that Pierre is gay because I do not want to give the river! Papààà ...!
Nanni. No, young lady! Miss, not so: he wants to get me fired? Put yourself in my shoes!
Giulia. But that fire! ... Papàààà!
Nanni. Miss: the basins !!!!... In front of me ... Put yourself in my shoes!
Giulia. But you were shot! Pa ... ....
Nanni. It 'so! Pierre is very shy ...!
Giulia. You say?
Nanni. Sooo shy! ... Even with the knight only "yes sir, no sir!" Eh ... This is shy!
Giulia. So do not I go ...?
Nanni. No, ... And then we still have to visit the factory!
Giulia. But I'm bored!
Nanni. That must be the engine department: a controlled do now! (Goes behind the lens) Go ahead!
Giulia. Ugh!
Nanni. But be sure that everything here is full ... (Giulio BEHIND THE DOOR CLEAR and bumps into the oven) ... machines!
Nanni. Yeah, it seems a bit '... fly! But it's not for me to judge.
Giulia. No, tell me, tell me!
Nanni. Miss, for me a man is a man: tough, virile male!
Giulia. Maybe ... it is so!
Nanni. Or maybe ... no! However in his place I would think ... good!
Giulia. You're right: Now I go to dad and tell him that Pierre is gay because I do not want to give the river! Papààà ...!
Nanni. No, young lady! Miss, not so: he wants to get me fired? Put yourself in my shoes!
Giulia. But that fire! ... Papàààà!
Nanni. Miss: the basins !!!!... In front of me ... Put yourself in my shoes!
Giulia. But you were shot! Pa ... ....
Nanni. It 'so! Pierre is very shy ...!
Giulia. You say?
Nanni. Sooo shy! ... Even with the knight only "yes sir, no sir!" Eh ... This is shy!
Giulia. So do not I go ...?
Nanni. No, ... And then we still have to visit the factory!
Giulia. But I'm bored!
Nanni. That must be the engine department: a controlled do now! (Goes behind the lens) Go ahead!
Giulia. Ugh!
Nanni. But be sure that everything here is full ... (Giulio BEHIND THE DOOR CLEAR and bumps into the oven) ... machines!
SCENE 22 (Giulia, Nanni: BEHIND THE CLEAR)
(Giulio E NANNI shall exchange the bodies)
SCENE 23 (Giuliva False, False Nanni, Theodore)
Teodoro . (Entering) Nanni Nanni ..! Mock
Giulia. (Entering) Tell me, Theodore?
Teodoro. Nanni was looking for! False
Nanni. (Entering) I almost choked on the smoke machine ...! False and False Giuliva
Nanni. Ahhhhh!
Teodoro. (POINT THE WEAPON) Without you there! Do not move! Hands in plain sight! ... Where is it? False and False Giuliva
Nanni. (THE EACH) Làààà!
Teodoro. Who is it? False
Nanni. Papààààà!
Teodoro. As a dad! Mock
Giulia. (FALSE NANNI) Luiii ...
Teodoro. He who? Mock
Giulia. ... Are ioooo!
Teodoro. She's the daddy? (Shakes FALSE Giulia) She 's the daddy? Mock
Giulia. Still there! Do not move! Hands in plain sight! False
Nanni. ... That's me! (Faints)
Teodoro. What's going on?! Mock
Giulia. I do not know, I do not understand: there must be an exchange!
Teodoro. That exchange, Miss? Mock
Giulia. But Miss, I am Nanni!
Teodoro. Nanni? ... And who is that? Mock
Giulia. Must be Giuliva!
Teodoro. What a mess! (Trying to revive NANNI FALSE) Miss ... Miss! False
Nanni. Send her away!
Teodoro. I can not! False
Nanni. Why not?
Teodoro. Because she seems ... she is ... but Nanni!
False Nanni. And who am I? Mock
Giulia. She's Miss Julie! False
Nanni. Whew!
Teodoro. But it seems ... Nanni! False
Nanni. Papàààà!
Teodoro. Not impressions: it's just a question of psychology, I'm mean! Mock
Giulia. You will see that come back all right!
Teodoro. Yes, most ... in a week! False and False
Giuliva Nanni. A week!? False
Nanni. But I'm getting married in three days! ... Papàààà!
Teodoro. And 'better not tell anyone! Mock
Giulia. And the marriage?
Teodoro. We'll find a way to send it back! False
Nanni. And I doing to a week, I hide?
Teodoro. You take the role of Nanni and Nanni take her! (A FALSE Giulia) If you pretend sick ...
Giuliva False. Sick!
Teodoro. By now you've changed your sex! Mock
Giulia. Do not you dare, Theodore: I am a man ... deep!
Teodoro. Ok, ok! Mock
Giulia. Anyway, if her husband got sick ... it would be better!
Teodoro. I fall asleep! With a good sleeping pill! False
Nanni. And who gives it to her? Mock
Giulia. Matilda! False
Nanni. My maid? Mock
Giulia. Yes, which is also my girlfriend! False
Nanni. And if does not drink it?
Teodoro. If you do not drink it! ... If you do not drink it ... rapiamo! Mock
Giulia. We? But you're stupid!?
Teodoro. No, ... Us, right at that moment ... we'll be elsewhere! False
Nanni. Who steals?
Teodoro.Gli players in the parish! Mock
Giulia. And they would do?
Teodoro. There's one more than he owes me a favor! Mock
Giulia. Contact them! But now we should get the knight and the lady!
Teodoro. Miss, I would recommend: the mouth water! (COME)
Giulia. (Entering) Tell me, Theodore?
Teodoro. Nanni was looking for! False
Nanni. (Entering) I almost choked on the smoke machine ...! False and False Giuliva
Nanni. Ahhhhh!
Teodoro. (POINT THE WEAPON) Without you there! Do not move! Hands in plain sight! ... Where is it? False and False Giuliva
Nanni. (THE EACH) Làààà!
Teodoro. Who is it? False
Nanni. Papààààà!
Teodoro. As a dad! Mock
Giulia. (FALSE NANNI) Luiii ...
Teodoro. He who? Mock
Giulia. ... Are ioooo!
Teodoro. She's the daddy? (Shakes FALSE Giulia) She 's the daddy? Mock
Giulia. Still there! Do not move! Hands in plain sight! False
Nanni. ... That's me! (Faints)
Teodoro. What's going on?! Mock
Giulia. I do not know, I do not understand: there must be an exchange!
Teodoro. That exchange, Miss? Mock
Giulia. But Miss, I am Nanni!
Teodoro. Nanni? ... And who is that? Mock
Giulia. Must be Giuliva!
Teodoro. What a mess! (Trying to revive NANNI FALSE) Miss ... Miss! False
Nanni. Send her away!
Teodoro. I can not! False
Nanni. Why not?
Teodoro. Because she seems ... she is ... but Nanni!
False Nanni. And who am I? Mock
Giulia. She's Miss Julie! False
Nanni. Whew!
Teodoro. But it seems ... Nanni! False
Nanni. Papàààà!
Teodoro. Not impressions: it's just a question of psychology, I'm mean! Mock
Giulia. You will see that come back all right!
Teodoro. Yes, most ... in a week! False and False
Giuliva Nanni. A week!? False
Nanni. But I'm getting married in three days! ... Papàààà!
Teodoro. And 'better not tell anyone! Mock
Giulia. And the marriage?
Teodoro. We'll find a way to send it back! False
Nanni. And I doing to a week, I hide?
Teodoro. You take the role of Nanni and Nanni take her! (A FALSE Giulia) If you pretend sick ...
Giuliva False. Sick!
Teodoro. By now you've changed your sex! Mock
Giulia. Do not you dare, Theodore: I am a man ... deep!
Teodoro. Ok, ok! Mock
Giulia. Anyway, if her husband got sick ... it would be better!
Teodoro. I fall asleep! With a good sleeping pill! False
Nanni. And who gives it to her? Mock
Giulia. Matilda! False
Nanni. My maid? Mock
Giulia. Yes, which is also my girlfriend! False
Nanni. And if does not drink it?
Teodoro. If you do not drink it! ... If you do not drink it ... rapiamo! Mock
Giulia. We? But you're stupid!?
Teodoro. No, ... Us, right at that moment ... we'll be elsewhere! False
Nanni. Who steals?
Teodoro.Gli players in the parish! Mock
Giulia. And they would do?
Teodoro. There's one more than he owes me a favor! Mock
Giulia. Contact them! But now we should get the knight and the lady!
Teodoro. Miss, I would recommend: the mouth water! (COME)
SCENE 24 (Secretary, Don Basilio, Nunziata, Lello)
(ENTER SECRETARY, AND DON BASILIO NUNZIATA)
Don Basilio. Praised be Jesus Christ!
Secretary and Nunziata. Always Praise be!
Nunziata. Lello!
Lello. (ENTERING TRAVEL) To all eternity (stumbling) ... always!
Nunziata. But why do not you watch where you step?!
Lello. I was talking to Carletto!
Don Basilio. But it's an obsession!
Nunziata. Have you heard Don Basilio? You have to stop with this Carletto!
Lello. Carletto is my boyfriend, we are always together ...
Don Basilio, Nunziata. ... And I love it!
Secretary. It 's another altar boy? And why did not you come in?
Lello. E 'already entered, do not you see?
Secretary. E 'come?
Don Basilio. Lello, it is time to stop Carletto!
Lello. But it's my boyfriend!
secretary. To me this seems like a true Christian love of a child!
Don Basilio. But Christian! It 's a fantasy of kids!
Nunziata. He invented this imaginary boyfriend, and there is no way out of my head!
Lello. Because he loves me, and I love him to Carletto!
Nunziata. Now that you get a slap ...
Secretary. No, poor thing!
Don Basilio. Poor? If only I were in his place!
Secretary. But you can put on her clothes: it's just a baby!
Nunziata. But take the head ... tough!
Secretary. I think children need them, not beat them!
Nunziata. This does not feel reasons: you try it, if you are able!
Secretary. Sure! Then, Lello, when children feel alone ...
Lello. I do not even have a brother!
Secretary. You see? You feel alone, why did you invent Carletto, but Carletto does not exist! If you begin to associate with other kids - the real ones, eh! - You do not feel alone ...
Lello. Nooo!?
Secretary. Nooo! Stay together and do a lot of games!
Lello. Even in football?
Secretary. Sure! You will make a complete team, would not you like?
Lello. And why not!
Secretary. Have you seen? Children need to convince them! You are convinced, is not it, Lello?
Lello. Convintissimissimo!
Secretary. Just make them think!
Lello. I'll tell Carletto!
Nunziata. Amen!
Don Basilio. And 'no point wasting any more time, we will proceed with the blessing of the factory!
Mariarosa item. Ritaaaa!
Secretary. The lady calls me, start with the engine department, which is there ...
Don Basilio. Go, go, so I'll see you in three days for the ceremony!
Secretary. The officiate you?
Don Basilio. Who else if not! (SECRETARY QUITS)
Don Basilio and Nunziata. Lello!
Don Basilio. (NUNZIATA BEHIND THE GOING WITH CLEAR) Bring me the sprinkler!
Lello. (GOING BEHIND THE CLEAR) ... so I play on offense and you play in goal!
Don Basilio. Praised be Jesus Christ!
Secretary and Nunziata. Always Praise be!
Nunziata. Lello!
Lello. (ENTERING TRAVEL) To all eternity (stumbling) ... always!
Nunziata. But why do not you watch where you step?!
Lello. I was talking to Carletto!
Don Basilio. But it's an obsession!
Nunziata. Have you heard Don Basilio? You have to stop with this Carletto!
Lello. Carletto is my boyfriend, we are always together ...
Don Basilio, Nunziata. ... And I love it!
Secretary. It 's another altar boy? And why did not you come in?
Lello. E 'already entered, do not you see?
Secretary. E 'come?
Don Basilio. Lello, it is time to stop Carletto!
Lello. But it's my boyfriend!
secretary. To me this seems like a true Christian love of a child!
Don Basilio. But Christian! It 's a fantasy of kids!
Nunziata. He invented this imaginary boyfriend, and there is no way out of my head!
Lello. Because he loves me, and I love him to Carletto!
Nunziata. Now that you get a slap ...
Secretary. No, poor thing!
Don Basilio. Poor? If only I were in his place!
Secretary. But you can put on her clothes: it's just a baby!
Nunziata. But take the head ... tough!
Secretary. I think children need them, not beat them!
Nunziata. This does not feel reasons: you try it, if you are able!
Secretary. Sure! Then, Lello, when children feel alone ...
Lello. I do not even have a brother!
Secretary. You see? You feel alone, why did you invent Carletto, but Carletto does not exist! If you begin to associate with other kids - the real ones, eh! - You do not feel alone ...
Lello. Nooo!?
Secretary. Nooo! Stay together and do a lot of games!
Lello. Even in football?
Secretary. Sure! You will make a complete team, would not you like?
Lello. And why not!
Secretary. Have you seen? Children need to convince them! You are convinced, is not it, Lello?
Lello. Convintissimissimo!
Secretary. Just make them think!
Lello. I'll tell Carletto!
Nunziata. Amen!
Don Basilio. And 'no point wasting any more time, we will proceed with the blessing of the factory!
Mariarosa item. Ritaaaa!
Secretary. The lady calls me, start with the engine department, which is there ...
Don Basilio. Go, go, so I'll see you in three days for the ceremony!
Secretary. The officiate you?
Don Basilio. Who else if not! (SECRETARY QUITS)
Don Basilio and Nunziata. Lello!
Don Basilio. (NUNZIATA BEHIND THE GOING WITH CLEAR) Bring me the sprinkler!
Lello. (GOING BEHIND THE CLEAR) ... so I play on offense and you play in goal!
SCENE 25 (Don Basilio, Nunziata, Lello: BEHIND THE CLEAR)
(LELLO INVESTS THE OVEN AND PRODUCE EXCHANGE BETWEEN YOU AND DON BASILIO)
[...]
SCENE 30 (False Piergiorgio, Loretta, Martina Mock) Mock
SCENE 30 (False Piergiorgio, Loretta, Martina Mock) Mock
Martina. Do you have a manderino? Piergiorgio
False. Manderini I do not like!
Fake Martina. Now, yes!
Loretta. It 'a wish: we find this manderino! Piergiorgio
False. I'm exhausted! .. How's the baby?
Fake Martina. He's fine, it's me that I boot to the grave: only the races that I had to do before that crazy Victor! Piergiorgio
False. You're not done Do not you get your hands on!
Fake Martina. Zampacce them to him as the hub, the "tiger siberiaaanaaa! Indeed, it fire you so!
Loretta. The workers do not lay off the heads of department! Piergiorgio
False. No? ... And what do they do?
Loretta. Races! ... Reach out to others! (OUT)
False Piergiorgio. About race: but there is at least one woman, one! ... with which you were not?
Fake Martina. These are not your business! Piergiorgio
False. Well, now I do: I have three days chasing Nadia, Vanessa ... Bridget and the other below, I do not know who the hell are needless, and hold out there, here an excuse, not today, I have a headache, I go to the dentist!
Fake Martina. Woe to me if you ruin your reputation! Piergiorgio
False. You know that reputation! ... And when I jump on, then I do, the lie down?
Fake Martina. Pretend to be there and then ... there you are!
False. Manderini I do not like!
Fake Martina. Now, yes!
Loretta. It 'a wish: we find this manderino! Piergiorgio
False. I'm exhausted! .. How's the baby?
Fake Martina. He's fine, it's me that I boot to the grave: only the races that I had to do before that crazy Victor! Piergiorgio
False. You're not done Do not you get your hands on!
Fake Martina. Zampacce them to him as the hub, the "tiger siberiaaanaaa! Indeed, it fire you so!
Loretta. The workers do not lay off the heads of department! Piergiorgio
False. No? ... And what do they do?
Loretta. Races! ... Reach out to others! (OUT)
False Piergiorgio. About race: but there is at least one woman, one! ... with which you were not?
Fake Martina. These are not your business! Piergiorgio
False. Well, now I do: I have three days chasing Nadia, Vanessa ... Bridget and the other below, I do not know who the hell are needless, and hold out there, here an excuse, not today, I have a headache, I go to the dentist!
Fake Martina. Woe to me if you ruin your reputation! Piergiorgio
False. You know that reputation! ... And when I jump on, then I do, the lie down?
Fake Martina. Pretend to be there and then ... there you are!
SCENE 31 (Piergiorgio False, False Martina, nanny)
(COMES TO OLD TATA PIERGIORGIO)
Tata. (Covers his eyes PIERGIORGIO OF FALSE) Who are they? Piergiorgio
False. Eh ... And who are you?
Tata. It's me! Do not expect to see me, true heart? Piergiorgio
False. Noooo! You ... QUIT! You who are ...
Fake Martina. (Whispers) The tata! Piergiorgio
False. Eh?
Fake Martina. My nanny! Piergiorgio
False. That you're sick! Tata
., Piergiorgio No, I'm fine! And I always remember when we were together! Piergiorgio
False. You and I?
Tata. Yes, we here at home! Piergiorgio
False. And mommy?
Tata. When mom was not there, rogue !.... Do you remember? Piergiorgio
False. And how could I forget it!?
Tata. I call you "Georgie" and you called me ... do you remember my name? Piergiorgio
False. What's your name?
Tata. And as you called me?
Fake Martina. (TIP) Tata mine! Piergiorgio
False. My potato!
Tata. I ran and I hold you on my chest! Piergiorgio
False. Yes!
Tata. And where did they lead? Where did they lead? (READ THE FALSE MARTINA MIMA)
False Piergiorgio. On the bed!
Tata. You see, you remember, heart?! And what were you doing, you used to do that? Piergiorgio
False. Eh ... Things I !...( Turkish FALSE MARTINA the act of a caper MIMA) ... ... I was the tangle?!
Tata. False ... I
Piergiorgio. "You ... you did the skein! .. I was ... the ball!? ... Noooo! It was all a tangle of ...
Tata. You did the the ca ... ca ...? Piergiorgio
False. But I was just a pig!
Tata. Piergiorgio, do not you remember? Were you the ca ...
False Piergiorgio. -Lzetta?!
Tata. But that sock! ... The caper you did! Piergiorgio
False. Yeah, I was so athletic ... first!
Tata. In four years you were a kid ...
False Piergiorgio. I had four years?
Tata. Yes, and you were so ...
False Piergiorgio. Early!
Tata. And now you're getting married! When I know I said no, I can not miss his wedding! Now I go to find your mother, my little heart! Piergiorgio
False. Go, beloved, and never forget!
Tata. Never, never! (OUT THE TATA)
False Piergiorgio. But who is this pedophile!
Fake Martina. My nanny! And you had to liquidate it immediately! Piergiorgio
False. At the risk of ruin "reputation"?
Tata. (Covers his eyes PIERGIORGIO OF FALSE) Who are they? Piergiorgio
False. Eh ... And who are you?
Tata. It's me! Do not expect to see me, true heart? Piergiorgio
False. Noooo! You ... QUIT! You who are ...
Fake Martina. (Whispers) The tata! Piergiorgio
False. Eh?
Fake Martina. My nanny! Piergiorgio
False. That you're sick! Tata
., Piergiorgio No, I'm fine! And I always remember when we were together! Piergiorgio
False. You and I?
Tata. Yes, we here at home! Piergiorgio
False. And mommy?
Tata. When mom was not there, rogue !.... Do you remember? Piergiorgio
False. And how could I forget it!?
Tata. I call you "Georgie" and you called me ... do you remember my name? Piergiorgio
False. What's your name?
Tata. And as you called me?
Fake Martina. (TIP) Tata mine! Piergiorgio
False. My potato!
Tata. I ran and I hold you on my chest! Piergiorgio
False. Yes!
Tata. And where did they lead? Where did they lead? (READ THE FALSE MARTINA MIMA)
False Piergiorgio. On the bed!
Tata. You see, you remember, heart?! And what were you doing, you used to do that? Piergiorgio
False. Eh ... Things I !...( Turkish FALSE MARTINA the act of a caper MIMA) ... ... I was the tangle?!
Tata. False ... I
Piergiorgio. "You ... you did the skein! .. I was ... the ball!? ... Noooo! It was all a tangle of ...
Tata. You did the the ca ... ca ...? Piergiorgio
False. But I was just a pig!
Tata. Piergiorgio, do not you remember? Were you the ca ...
False Piergiorgio. -Lzetta?!
Tata. But that sock! ... The caper you did! Piergiorgio
False. Yeah, I was so athletic ... first!
Tata. In four years you were a kid ...
False Piergiorgio. I had four years?
Tata. Yes, and you were so ...
False Piergiorgio. Early!
Tata. And now you're getting married! When I know I said no, I can not miss his wedding! Now I go to find your mother, my little heart! Piergiorgio
False. Go, beloved, and never forget!
Tata. Never, never! (OUT THE TATA)
False Piergiorgio. But who is this pedophile!
Fake Martina. My nanny! And you had to liquidate it immediately! Piergiorgio
False. At the risk of ruin "reputation"?
[...]
SCENE 36 (Giuliva Mock, Theodore)
SCENE 36 (Giuliva Mock, Theodore)
Teodoro. Matilda knows everything, because 'you sent away? Mock
Giulia. Because there is a problem!
Teodoro. Another!? Mock
Giulia. I can only say to you, nobody has to know! ... I like!
Teodoro. And 'natural that you like: it's your girlfriend! Mock
Giulia. But Matilda is not!
Teodoro. Giuliva you like? Mock
Giulia. No, not her!
Teodoro. So who is it that you like?! Mock
Giulia. If I tell you ... do not believe it!
Teodoro. And why should not I believe you ... Next! Mock
Giulia. Like ... Pierre!
Teodoro. Chii? Pier .. Mock
Giulia. ... George!
Teodoro. Tuuuu ?!... Mock
Giulia. Yes!
Teodoro. Noooo, do not believe it! Mock
Giulia. You see?
Teodoro. But quell'effeminato !?... ... Someone like you, so ... male! Mock
Giulia. I am ... "male" ... right?
Teodoro. So do not look very male, but ... ...
Together "deep" ...! Mock
Giulia. ... Are "male "!... So why I like Pierre?
Teodoro. But how do you like? Mock
Giulia. In deep!
Teodoro. Maybe your unconscious ... has recovered the attraction of his father ... censored by the super ego! Mock
Giulia. I did not understand anything!
Teodoro. Nanni, this is your man-black face ...
Giuliva False. The black man?
Teodoro. ... In conflict with your hidden self! Mock
Giulia. So, what do you mean? ... I became gay ...?
Teodoro. I do not know! Mock
Giulia. What a shame ... And who tells him to Matilda?
Teodoro. One problem at a time! For now, worry about the wedding! Mock
Giulia. Yes, you're right .. I wonder if we have kids!
Teodoro. Who? Mock
Giulia. Me and Pierre!
Teodoro. What do you mean? Mock
Giulia. When we're married!
Teodoro. But you must not marry Piergiorgio! Mock
Giulia. Nooo ...?
Teodoro. No, ... I spoke to the actress! Mock
Giulia. That's kidnapping?
Teodoro. Yes! At 10 will clear the factory masked! You do not resist because we have counted the minutes! Mock
Giulia. And Agent 15?
Teodoro. The turn away with an excuse! Mock
Giulia. Let's hope so!
Teodoro. And look not resist! Now go 'to change that Matilde is waiting for you! Mock
Giulia. Matilda! And who tells him to Matilda!
Giulia. Because there is a problem!
Teodoro. Another!? Mock
Giulia. I can only say to you, nobody has to know! ... I like!
Teodoro. And 'natural that you like: it's your girlfriend! Mock
Giulia. But Matilda is not!
Teodoro. Giuliva you like? Mock
Giulia. No, not her!
Teodoro. So who is it that you like?! Mock
Giulia. If I tell you ... do not believe it!
Teodoro. And why should not I believe you ... Next! Mock
Giulia. Like ... Pierre!
Teodoro. Chii? Pier .. Mock
Giulia. ... George!
Teodoro. Tuuuu ?!... Mock
Giulia. Yes!
Teodoro. Noooo, do not believe it! Mock
Giulia. You see?
Teodoro. But quell'effeminato !?... ... Someone like you, so ... male! Mock
Giulia. I am ... "male" ... right?
Teodoro. So do not look very male, but ... ...
Together "deep" ...! Mock
Giulia. ... Are "male "!... So why I like Pierre?
Teodoro. But how do you like? Mock
Giulia. In deep!
Teodoro. Maybe your unconscious ... has recovered the attraction of his father ... censored by the super ego! Mock
Giulia. I did not understand anything!
Teodoro. Nanni, this is your man-black face ...
Giuliva False. The black man?
Teodoro. ... In conflict with your hidden self! Mock
Giulia. So, what do you mean? ... I became gay ...?
Teodoro. I do not know! Mock
Giulia. What a shame ... And who tells him to Matilda?
Teodoro. One problem at a time! For now, worry about the wedding! Mock
Giulia. Yes, you're right .. I wonder if we have kids!
Teodoro. Who? Mock
Giulia. Me and Pierre!
Teodoro. What do you mean? Mock
Giulia. When we're married!
Teodoro. But you must not marry Piergiorgio! Mock
Giulia. Nooo ...?
Teodoro. No, ... I spoke to the actress! Mock
Giulia. That's kidnapping?
Teodoro. Yes! At 10 will clear the factory masked! You do not resist because we have counted the minutes! Mock
Giulia. And Agent 15?
Teodoro. The turn away with an excuse! Mock
Giulia. Let's hope so!
Teodoro. And look not resist! Now go 'to change that Matilde is waiting for you! Mock
Giulia. Matilda! And who tells him to Matilda!
Monday, January 4, 2010
Low Blood Pressure Foods To Eat
Which eye?: Extract
Augusto Bompelli: Professor of Latin
Pina: hairdresser, wife of Professor Clelia
Bompelli: the professor's daughter Cornelia
Bompelli: daughter of Scipio professor
Bompelli: son of professor
Hannibal: Father of a hairdresser
Client: client of the hairdresser
Customer 2: Customer reviews of hairdresser
3: reviews of hairdresser
Respighi: girl who takes lessons from Latin professor
Constance neighbor
Ivana friend Clelia Bompelli
Romina: Clelia Bompelli
friend of Martha's assistant hairdresser
Timothy Montague entrepreneur funeral
Drusilla : wife of entrepreneur
Gennaro Montague son
entrepreneur Marcia Montague, daughter of the entrepreneur
Paoletta Montague, daughter of the entrepreneur
Gigliola: lover of Timothy Richard
: lover Drusilla
Andrew: boy Paoletta Montague
Cesira : maid
Catherine waitress
Virgil Butler
Luigi: Secretary Entrepreneur
Daughter: customer
Stepson entrepreneur: the entrepreneur client
Singers and dancers
The action takes place inside the house to the scene of Professor Bompelli 21. A transparent
can see shadows in the form of Cornelia and Gennaro chat.
During the song of the 21st stage through the rollover of some panels, the setting becomes the home of the entrepreneur.
SCENE 27 (Timothy, Gigliola)
SCENE 28 (Timothy, secretary, daughter, stepdaughter)
SCENE 29 (Timothy, Gigliola, Drusilla's voice)
SCENE 31 (Drusilla, Riccardo)
EYES WITH WHAT?
1F 2006-'07 as the one-act
Which eye? was conceived and written in 'as '07 2006-1F by students of the Liceo Scientifico "O. Tedone.
The work presents the daily lives of two families, different in lifestyle and behavior, offering events and situations that, in an ironic, playful, describe the relationship between parents - children.
old-fashioned parents, parents 'meddling' permissive parents or "distracted", separated parents who are contending for the affection of children with strokes of gifts and permits, and on the other restless young, transgressive teenagers, eager to live dodging poles and prohibitions, with their need for freedom and identity, with their difficulties, their silences, their loneliness.
1F 2006-'07 as the one-act
Which eye? was conceived and written in 'as '07 2006-1F by students of the Liceo Scientifico "O. Tedone.
The work presents the daily lives of two families, different in lifestyle and behavior, offering events and situations that, in an ironic, playful, describe the relationship between parents - children.
old-fashioned parents, parents 'meddling' permissive parents or "distracted", separated parents who are contending for the affection of children with strokes of gifts and permits, and on the other restless young, transgressive teenagers, eager to live dodging poles and prohibitions, with their need for freedom and identity, with their difficulties, their silences, their loneliness.
With what eyes look small and big things that make life, read the impulses or the closure of those near to us?
With sharp eyes, who can capture the essence that is behind the appearance, they get to catch the mistakes, to be able to admit: this is the answer that our proposed text. And in a story in
no one is immune from mistakes, the closer look is ironically one of the teenagers who conclude: "You wrong to impose your choices and we are wrong to believe it wrong just because we require it."
With sharp eyes, who can capture the essence that is behind the appearance, they get to catch the mistakes, to be able to admit: this is the answer that our proposed text. And in a story in
no one is immune from mistakes, the closer look is ironically one of the teenagers who conclude: "You wrong to impose your choices and we are wrong to believe it wrong just because we require it."
CHARACTERS
Augusto Bompelli: Professor of Latin
Pina: hairdresser, wife of Professor Clelia
Bompelli: the professor's daughter Cornelia
Bompelli: daughter of Scipio professor
Bompelli: son of professor
Hannibal: Father of a hairdresser
Client: client of the hairdresser
Customer 2: Customer reviews of hairdresser
3: reviews of hairdresser
Respighi: girl who takes lessons from Latin professor
Constance neighbor
Ivana friend Clelia Bompelli
Romina: Clelia Bompelli
friend of Martha's assistant hairdresser
Timothy Montague entrepreneur funeral
Drusilla : wife of entrepreneur
Gennaro Montague son
entrepreneur Marcia Montague, daughter of the entrepreneur
Paoletta Montague, daughter of the entrepreneur
Gigliola: lover of Timothy Richard
: lover Drusilla
Andrew: boy Paoletta Montague
Cesira : maid
Catherine waitress
Virgil Butler
Luigi: Secretary Entrepreneur
Daughter: customer
Stepson entrepreneur: the entrepreneur client
Singers and dancers
The action takes place inside the house to the scene of Professor Bompelli 21. A transparent
can see shadows in the form of Cornelia and Gennaro chat.
During the song of the 21st stage through the rollover of some panels, the setting becomes the home of the entrepreneur.
[...]
SCENE 25 (Paoletti and Andrea)
SCENE 25 (Paoletti and Andrea)
Paoletta. Come in, come on! (Closes the door)
Andrea. The hand ... hand!
Paoletta. And do not make noise, that feels close it and go and tell my mother!
Andrea. Wow! What a house! Oh my God, there is also a fireplace, no, I say, you've seen: there is the fireplace?!
Paoletta. And stop! It appears that you have never seen a fireplace in your life!
Andrea. No, is that maybe I'm too excited: I had never skipped school, and is very strong!
Paoletta. Ah, I always do, so much, I figured if the old notice it!
Andrea. But there is a risk that we find out?
Paoletta. Is' quiet: my father and my mother agency in the beautician: do not return for hours!
Andrea. If you say so!
Paoletta. E cosa aspetti a spogliarti?
Andrea. Mi tolgo proprio… tutto tutto?
Paoletta. Non vorrai tenerti i calzini, spero!
Andrea. E vai!
Paoletta. Ascolta, il vecchio, lunedì pomeriggio va fuori città, ho pensato di fregargli le chiavi dell’ auto così ci facciamo un giro… che ne dici?”
Andrea. Paoletta, sei mitica!
Paoletta. Zitto un attimo!
Andrea. Che cosa c’è?
Paoletta. La vuoi chiudere quella boccaccia?!.... Porca palettina!... Dobbiamo andarcene immediatamente!
Andrea. Perché?
Paoletta. Sta arrivando qualcuno!
Andrea. Oh, porca palettina!
Paoletta. Saltiamo dalla finestra!
Andrea. Are you crazy? And if I die?
Paoletta. Andrea, we are on the ground floor! At the very least you fracture your wrist!
Andrea. No, do not jump: I suffer from vertigo!
Paoletta. Salta, there is no time!
Andrea. I'm hiding! Where I hide? Where I hide?
Paoletta. In the closet! And do not leave until I come!
Andrea. The hand ... hand!
Paoletta. And do not make noise, that feels close it and go and tell my mother!
Andrea. Wow! What a house! Oh my God, there is also a fireplace, no, I say, you've seen: there is the fireplace?!
Paoletta. And stop! It appears that you have never seen a fireplace in your life!
Andrea. No, is that maybe I'm too excited: I had never skipped school, and is very strong!
Paoletta. Ah, I always do, so much, I figured if the old notice it!
Andrea. But there is a risk that we find out?
Paoletta. Is' quiet: my father and my mother agency in the beautician: do not return for hours!
Andrea. If you say so!
Paoletta. E cosa aspetti a spogliarti?
Andrea. Mi tolgo proprio… tutto tutto?
Paoletta. Non vorrai tenerti i calzini, spero!
Andrea. E vai!
Paoletta. Ascolta, il vecchio, lunedì pomeriggio va fuori città, ho pensato di fregargli le chiavi dell’ auto così ci facciamo un giro… che ne dici?”
Andrea. Paoletta, sei mitica!
Paoletta. Zitto un attimo!
Andrea. Che cosa c’è?
Paoletta. La vuoi chiudere quella boccaccia?!.... Porca palettina!... Dobbiamo andarcene immediatamente!
Andrea. Perché?
Paoletta. Sta arrivando qualcuno!
Andrea. Oh, porca palettina!
Paoletta. Saltiamo dalla finestra!
Andrea. Are you crazy? And if I die?
Paoletta. Andrea, we are on the ground floor! At the very least you fracture your wrist!
Andrea. No, do not jump: I suffer from vertigo!
Paoletta. Salta, there is no time!
Andrea. I'm hiding! Where I hide? Where I hide?
Paoletta. In the closet! And do not leave until I come!
SCENE 26 (Cesira, Catherine Butler)
Butler. (WITH ENTERING THE ROOM) start here and proceed in an orderly fashion until the last room!
Catherine. Oh God! And what is this, a field of battle?!
Butler. The gentlemen in their home can make all the duels and the battles they see fit!
Cesira. So, not clean them!
Butler. You paid for this, or am I wrong?
Cesira. Come on, Cateri '... otherwise we do here at night!
Butler. Put all right!
Catherine. But if your feet are together, because the separate walking shoes? You've seen the other like this?
Cesira. A candle, a capricious ... pizza. No, no shoes! And this thing soggy ... that stuff is?
Butler. A silicone prosthesis lady!
Catherine. Was lost a breast?
Cesira. Crazy stuff!
Butler. If the lady likes to have her tits on the floor that is in its own right and not up to you to judge!
Cesira. Socks?
Butler. I'm Miss Paulita!
Cesira. Which must have one foot, because this fellow is not there!
Butler. If Ms. Paoletta has only one foot ...
Catherine. This is within his rights, we know!
Cesira. With all the money they do not understand why have to go around like a beggar, with all the torn pants!
Catherine. And with 3 meters of underpants off!
Cesira. Here is an earring!
Catherine. Yesterday, the other has made her ears pierced
Cesira. E hope that makes them only if there!
Catherine. And who controls it? The gentlemen do not think your children!
Cesira. If you buy them with money: you want, the scooter? Keep your scooter! The car? Keep your car!
Catherine. But then they are not even hear!
Cesira. And they do their comfy!
Gov. If the young gentlemen do their comfortable, they have full power! The corners! Clean up in the corners!
Catherine. The big mo mo old and is still living with mom and dad!
Cesira. And who makes you do to leave? What's missing here? Gennaro
Caterina.Il gentleman, but it's really a nice guy!
Cesira. It 's true, does not seem to miss the woman's son!
Catherine. With all the gentlemen who attended the lady ... some "accident" can happen!
Butler. If the lady is pleased to have accidents with the other gentlemen ...
Catherine Cesira. E 'in its own right and not up to us to judge!
Catherine. Cesi ', we move to another room, which we ended up here!
Catherine. Oh God! And what is this, a field of battle?!
Butler. The gentlemen in their home can make all the duels and the battles they see fit!
Cesira. So, not clean them!
Butler. You paid for this, or am I wrong?
Cesira. Come on, Cateri '... otherwise we do here at night!
Butler. Put all right!
Catherine. But if your feet are together, because the separate walking shoes? You've seen the other like this?
Cesira. A candle, a capricious ... pizza. No, no shoes! And this thing soggy ... that stuff is?
Butler. A silicone prosthesis lady!
Catherine. Was lost a breast?
Cesira. Crazy stuff!
Butler. If the lady likes to have her tits on the floor that is in its own right and not up to you to judge!
Cesira. Socks?
Butler. I'm Miss Paulita!
Cesira. Which must have one foot, because this fellow is not there!
Butler. If Ms. Paoletta has only one foot ...
Catherine. This is within his rights, we know!
Cesira. With all the money they do not understand why have to go around like a beggar, with all the torn pants!
Catherine. And with 3 meters of underpants off!
Cesira. Here is an earring!
Catherine. Yesterday, the other has made her ears pierced
Cesira. E hope that makes them only if there!
Catherine. And who controls it? The gentlemen do not think your children!
Cesira. If you buy them with money: you want, the scooter? Keep your scooter! The car? Keep your car!
Catherine. But then they are not even hear!
Cesira. And they do their comfy!
Gov. If the young gentlemen do their comfortable, they have full power! The corners! Clean up in the corners!
Catherine. The big mo mo old and is still living with mom and dad!
Cesira. And who makes you do to leave? What's missing here? Gennaro
Caterina.Il gentleman, but it's really a nice guy!
Cesira. It 's true, does not seem to miss the woman's son!
Catherine. With all the gentlemen who attended the lady ... some "accident" can happen!
Butler. If the lady is pleased to have accidents with the other gentlemen ...
Catherine Cesira. E 'in its own right and not up to us to judge!
Catherine. Cesi ', we move to another room, which we ended up here!
SCENE 27 (Timothy, Gigliola)
Timothy. (Entering) Come, my love! Gigliola
(entering) ... Sure there is a soul?
Timothy. We are deadly alone, with an eternity of time for us all!
Gigliola. Then I will die, my cadaveruccio!
Timothy. I want to see lifeless!
Gigliola. The light!
Timothy. You want off peacefully, my dear?
Gigliola. No, I want to lighten your love remains!
Timothy. We go on the carpet!
Gigliola. The carpet ?!... But my beloved corpse, it's so simple ...!
Timothy. Then in the studio: I have a double extra-large coffin!
Gigliola. No! In the sarcophagus no!
Timothy. Yes, yes in the sarcophagus!
Gigliola. I want a place that gives rest in peace ... and in the flesh!
Timothy. Ohhhh !.... Let's do it in the shower!
Timothy. Shut up!
Gigliola. Forever?
Timothy. No, just a time! ... Are knocking!
Gigliola. And I do that?
Timothy. Wait here!
(entering) ... Sure there is a soul?
Timothy. We are deadly alone, with an eternity of time for us all!
Gigliola. Then I will die, my cadaveruccio!
Timothy. I want to see lifeless!
Gigliola. The light!
Timothy. You want off peacefully, my dear?
Gigliola. No, I want to lighten your love remains!
Timothy. We go on the carpet!
Gigliola. The carpet ?!... But my beloved corpse, it's so simple ...!
Timothy. Then in the studio: I have a double extra-large coffin!
Gigliola. No! In the sarcophagus no!
Timothy. Yes, yes in the sarcophagus!
Gigliola. I want a place that gives rest in peace ... and in the flesh!
Timothy. Ohhhh !.... Let's do it in the shower!
Timothy. Shut up!
Gigliola. Forever?
Timothy. No, just a time! ... Are knocking!
Gigliola. And I do that?
Timothy. Wait here!
SCENE 28 (Timothy, secretary, daughter, stepdaughter)
(TIMOTHY OPEN)
Louis. Good morning, Knight!
Timothy. Louis Ah! What?
Louis. Sorry for the inconvenience, but there are customers who ...
Timothy. We'll talk tonight at the agency!
Louis. It 's a question a bit' messy!
Timothy. Yes, but ... now I'm busy!
Daughter. I'm not leaving here until you have solved my problem!
Timothy. Later, ma'am, be polite!
Stepson. Now! We solve it now otherwise you will lose out!
Timothy. I? And why?
Daughter. Why I do not pay the funeral service, because my father was not buried in the chapel of our family!
Timothy. And where was buried?
Louis. In the chapel of Mrs. Timothy
. Then pay the lady! But now if you'll excuse me ...
Stepson. Oh no! I do not pay the funeral service, as the funeral with the band head and the horses with plumes I have not requested me!
Timothy. And who needed them?
Louis. Mrs.!
Timothy. Then pay the lady, but comfortable, for now ...
Stepson. My father was a simple and generous!
Timothy. It will not difficulties in paying, so ...
Louis. E '
the late Timothy. Ah!
Stepson. ... And you will be turning in his grave with the emphatic and pompous ceremony!
Louis. There shaken, now the knight is the solution!
Timothy. Yes we find it in the agency, because now ...
Daughter. My father was a great man!
Timothy. So pay no problems!
Louis. It 's always .. the dead!
Daughter. But I do not pay the funeral service for him to rest with his mother quell'arpia!
Timothy. Here! The mother! E 'right to pay the mother, so ...
Seg. The mother is already dead!
Timothy. Because these stories do not work out there in the family?
Louis. That 's what I said!
Daughter. Why the lady is not part of my family!
Stepson. Not even my father was more part of your family!
Daughter. Children are always children, even if they are away.
Timothy. We think the children to pay, and now ...
Stepson. But I'm next to him and I was cured, and the family is that!
Louis. You can pay a bit 'by one: Mrs. pays the burial ...
Timothy. Yes, and you pay ...
Stepson. The plumes!?
Timothy. The plumes with the horses ... with cavacchi!
Louis. The cavacchi?
Timothy. The Cavelli ... the fart ... the hunt for the horses, but now there must andareeee! (LI HUNTING)
Louis. Good morning, Knight!
Timothy. Louis Ah! What?
Louis. Sorry for the inconvenience, but there are customers who ...
Timothy. We'll talk tonight at the agency!
Louis. It 's a question a bit' messy!
Timothy. Yes, but ... now I'm busy!
Daughter. I'm not leaving here until you have solved my problem!
Timothy. Later, ma'am, be polite!
Stepson. Now! We solve it now otherwise you will lose out!
Timothy. I? And why?
Daughter. Why I do not pay the funeral service, because my father was not buried in the chapel of our family!
Timothy. And where was buried?
Louis. In the chapel of Mrs. Timothy
. Then pay the lady! But now if you'll excuse me ...
Stepson. Oh no! I do not pay the funeral service, as the funeral with the band head and the horses with plumes I have not requested me!
Timothy. And who needed them?
Louis. Mrs.!
Timothy. Then pay the lady, but comfortable, for now ...
Stepson. My father was a simple and generous!
Timothy. It will not difficulties in paying, so ...
Louis. E '
the late Timothy. Ah!
Stepson. ... And you will be turning in his grave with the emphatic and pompous ceremony!
Louis. There shaken, now the knight is the solution!
Timothy. Yes we find it in the agency, because now ...
Daughter. My father was a great man!
Timothy. So pay no problems!
Louis. It 's always .. the dead!
Daughter. But I do not pay the funeral service for him to rest with his mother quell'arpia!
Timothy. Here! The mother! E 'right to pay the mother, so ...
Seg. The mother is already dead!
Timothy. Because these stories do not work out there in the family?
Louis. That 's what I said!
Daughter. Why the lady is not part of my family!
Stepson. Not even my father was more part of your family!
Daughter. Children are always children, even if they are away.
Timothy. We think the children to pay, and now ...
Stepson. But I'm next to him and I was cured, and the family is that!
Louis. You can pay a bit 'by one: Mrs. pays the burial ...
Timothy. Yes, and you pay ...
Stepson. The plumes!?
Timothy. The plumes with the horses ... with cavacchi!
Louis. The cavacchi?
Timothy. The Cavelli ... the fart ... the hunt for the horses, but now there must andareeee! (LI HUNTING)
SCENE 29 (Timothy, Gigliola, Drusilla's voice)
Gigliola. Gone?
Timothy. Yes, I paid!
Gigliola. So are you ready for paradise?!
Timothy. Yes! Let's get back together with her father's house!
item Drusilla. Is anybody there?
Timothy. Heaven! My wife!
Gigliola. Your wife?
Timothy. Hide, quick!
Gigliola. In the shower!
Timothy. No!
Gigliola. Where?
Timothy. In the closet! And do not move until you open it!
Timothy. Yes, I paid!
Gigliola. So are you ready for paradise?!
Timothy. Yes! Let's get back together with her father's house!
item Drusilla. Is anybody there?
Timothy. Heaven! My wife!
Gigliola. Your wife?
Timothy. Hide, quick!
Gigliola. In the shower!
Timothy. No!
Gigliola. Where?
Timothy. In the closet! And do not move until you open it!
SCENE 30 (Timothy, Drusilla)
Drusilla. Timothy!
Timothy. Drusilla!
Drusilla. But you did not have to be in the agency?
Timothy. And you did not have to be the beautician?
Drusilla. I had to, but because they are the ... Bompelli, I decided to postpone the date!
Timothy. And you find yourself in a mess? No, my love, go to the beautician, I'll ...
to Drusilla. No, I'll nail you tomorrow! Rather, Luigi just told me that there are two customers who do not want to pay the funeral service!
Timothy. All settle down later, while you ... go!
Drusilla. How late? With the debts we have!
Timothy. And then ... we go together!
Drusilla. But you know I do not know the business deal!
Timothy. Let's do this, I go to the agency and the beautician you go!
Drusilla. Okay!
Timothy. And do not you go?
Drusilla. I make a phone call and go!
Timothy. Go there now, my soul! (ALSO COMES WITH THE HEAD peeps) So?
Drusilla. I go there now! (Talking on the phone) Go ahead!
Timothy. Drusilla!
Drusilla. But you did not have to be in the agency?
Timothy. And you did not have to be the beautician?
Drusilla. I had to, but because they are the ... Bompelli, I decided to postpone the date!
Timothy. And you find yourself in a mess? No, my love, go to the beautician, I'll ...
to Drusilla. No, I'll nail you tomorrow! Rather, Luigi just told me that there are two customers who do not want to pay the funeral service!
Timothy. All settle down later, while you ... go!
Drusilla. How late? With the debts we have!
Timothy. And then ... we go together!
Drusilla. But you know I do not know the business deal!
Timothy. Let's do this, I go to the agency and the beautician you go!
Drusilla. Okay!
Timothy. And do not you go?
Drusilla. I make a phone call and go!
Timothy. Go there now, my soul! (ALSO COMES WITH THE HEAD peeps) So?
Drusilla. I go there now! (Talking on the phone) Go ahead!
SCENE 31 (Drusilla, Riccardo)
Riccardo. (Entering) your husband?
Drusilla. I have sent to agency!
Riccardo. And then: soars and glides in my arms, winged nymph!
Drusilla. SIII Oh!
Riccardo. Like a bird of prey I'll take you in my nest!
Drusilla. Siiiii! Rapaciami! ... But not here ... there!
Riccardo. And I shall eat your flesh, voraciously!
Drusilla. Oh Siiiii: voraciami all! Not here ... there!
Riccardo. Receive your golden eagle, my God! Timothy
item. Drusilla?!
Drusilla. Heaven! My husband!
Riccardo. What do I do?
Drusilla. Hide! I picture myself away!
Riccardo. And where I hide?
Drusilla. In the closet! Just leaves you free!
Drusilla. I have sent to agency!
Riccardo. And then: soars and glides in my arms, winged nymph!
Drusilla. SIII Oh!
Riccardo. Like a bird of prey I'll take you in my nest!
Drusilla. Siiiii! Rapaciami! ... But not here ... there!
Riccardo. And I shall eat your flesh, voraciously!
Drusilla. Oh Siiiii: voraciami all! Not here ... there!
Riccardo. Receive your golden eagle, my God! Timothy
item. Drusilla?!
Drusilla. Heaven! My husband!
Riccardo. What do I do?
Drusilla. Hide! I picture myself away!
Riccardo. And where I hide?
Drusilla. In the closet! Just leaves you free!
SCENE 32 (Richard, Gigliola Andrea)
(INSIDE THE CLOSET)
Riccardo. Oh God! A corpse!
Gigliola. But that body, I am alive and kicking!
Riccardo. And that makes us in the closet?
Gigliola. I could give her the same question!
Riccardo. But I asked first!
Gigliola. He closed the landlord here, when the wife is back!
Riccardo. And 'The husband's lover?
Gigliola. Yeah!
Riccardo. Then we can give of yourself: we are co-lovers!
Gigliola. With-what?
Riccardo. Con-lovers, lovers of both spouses.
Gigliola. Why? You are the lover of his wife?
Riccardo. Sparingly! (A RINGING CELL)
Gigliola. (Reply) Hello?
Riccardo. (Reply) Hello?
Andrea. (Reply) Hello?
Riccardo. How many are we here?
Andrea. (Talking on the phone) Yeah I'll see you at 7, hello, hello!
Gigliola. Who are you?
Andrea. The loving daughter!
Gigliola. Then we can give of yourself!
Gigliola. Do not breathe in this closet!
Riccardo. We hope that her daughter has not brothers and that her husband go away as soon as possible!
Gigliola. Bravo, and I as I go? And I must also go to get Andrea!
Riccardo. Your son?
Gigliola. Yes, I must warn him, so he takes the bus!
Riccardo. How many things in common we have! Also I have a son who Andrea is called, indeed, let me call now! (CALL, A RINGING PHONE.)
Andrea. (Reply) Hello? No, this is it! (A GIGLIOLA) I keep it please! ... Yes?
Riccardo. (Talking on the phone), Andrea, where are you?
Andrea. ... I'm around!
Riccardo. Do not you feel good, there is a strange reverb! (ANOTHER CELL PHONE RINGING)
Andrea. Excuse me a moment, Dad, I will ring the other phone! ... (A GIGLIOLA, passing the first cell phone) I keep it please? ... Hello?
Gigliola. (Talking on the phone) Honey, I'm the mom!
Andrea. (Reply) Tell me, Mom, what's up?
Gigliola. As you feel bad! There is an echo!
Andrea. I feel it too, a double entry!
Riccardo. (Talking on the phone), Andrea, can you hear me?
Gigliola. (Answering the phone that gave ANDREA) There is interference! I'm talking to my son, but here I hear your voice !...( RECOGNIZING THE SON) Andrea!
Riccardo. (RECOGNIZING THE WIFE) Gigliola!
Andrea. (RECOGNIZING THE MOTHER) Mother!
Gigliola. (RECOGNIZING THE HUSBAND) Richard!
Andrea. (RECOGNIZING THE FATHER) Dad!
Riccardo. (RECOGNIZING THE SON) Andrea!
Gigliola. Because you're not at school?
Riccardo. At home we do the accounts, young man: what you did is very serious!
Andrea. Which house? The roof to live in silence you and Mom?
Riccardo. My mother and I have nothing to say to us, because we are separated in the house!
Andrea. Yeah, only in closets back together!
Riccardo. And then, how many phones you devils? You look like a switchboard!
Gigliola. "Sir, my son has all the phones that I hate to give away!
Riccardo. Andrea, now thrown away all the phones of the "lady"!
Gigliola. Andrew, the "ladies" that my phones are worth much more than a father who can not be a father!
Riccardo. Andrew, the "lady" that at least I do not need to buy the affection of my son!
Gigliola. Andrew, the "ladies" that the phone is much more important than the stupid ball that you gave him!
Riccardo. Andrew, the "lady" who are most happy to have received a ball!
Gigliola. A cell phone!
Riccardo. A ball!
Gigliola. A cell phone!
Riccardo. A ball!
Riccardo. Oh God! A corpse!
Gigliola. But that body, I am alive and kicking!
Riccardo. And that makes us in the closet?
Gigliola. I could give her the same question!
Riccardo. But I asked first!
Gigliola. He closed the landlord here, when the wife is back!
Riccardo. And 'The husband's lover?
Gigliola. Yeah!
Riccardo. Then we can give of yourself: we are co-lovers!
Gigliola. With-what?
Riccardo. Con-lovers, lovers of both spouses.
Gigliola. Why? You are the lover of his wife?
Riccardo. Sparingly! (A RINGING CELL)
Gigliola. (Reply) Hello?
Riccardo. (Reply) Hello?
Andrea. (Reply) Hello?
Riccardo. How many are we here?
Andrea. (Talking on the phone) Yeah I'll see you at 7, hello, hello!
Gigliola. Who are you?
Andrea. The loving daughter!
Gigliola. Then we can give of yourself!
Gigliola. Do not breathe in this closet!
Riccardo. We hope that her daughter has not brothers and that her husband go away as soon as possible!
Gigliola. Bravo, and I as I go? And I must also go to get Andrea!
Riccardo. Your son?
Gigliola. Yes, I must warn him, so he takes the bus!
Riccardo. How many things in common we have! Also I have a son who Andrea is called, indeed, let me call now! (CALL, A RINGING PHONE.)
Andrea. (Reply) Hello? No, this is it! (A GIGLIOLA) I keep it please! ... Yes?
Riccardo. (Talking on the phone), Andrea, where are you?
Andrea. ... I'm around!
Riccardo. Do not you feel good, there is a strange reverb! (ANOTHER CELL PHONE RINGING)
Andrea. Excuse me a moment, Dad, I will ring the other phone! ... (A GIGLIOLA, passing the first cell phone) I keep it please? ... Hello?
Gigliola. (Talking on the phone) Honey, I'm the mom!
Andrea. (Reply) Tell me, Mom, what's up?
Gigliola. As you feel bad! There is an echo!
Andrea. I feel it too, a double entry!
Riccardo. (Talking on the phone), Andrea, can you hear me?
Gigliola. (Answering the phone that gave ANDREA) There is interference! I'm talking to my son, but here I hear your voice !...( RECOGNIZING THE SON) Andrea!
Riccardo. (RECOGNIZING THE WIFE) Gigliola!
Andrea. (RECOGNIZING THE MOTHER) Mother!
Gigliola. (RECOGNIZING THE HUSBAND) Richard!
Andrea. (RECOGNIZING THE FATHER) Dad!
Riccardo. (RECOGNIZING THE SON) Andrea!
Gigliola. Because you're not at school?
Riccardo. At home we do the accounts, young man: what you did is very serious!
Andrea. Which house? The roof to live in silence you and Mom?
Riccardo. My mother and I have nothing to say to us, because we are separated in the house!
Andrea. Yeah, only in closets back together!
Riccardo. And then, how many phones you devils? You look like a switchboard!
Gigliola. "Sir, my son has all the phones that I hate to give away!
Riccardo. Andrea, now thrown away all the phones of the "lady"!
Gigliola. Andrew, the "ladies" that my phones are worth much more than a father who can not be a father!
Riccardo. Andrew, the "lady" that at least I do not need to buy the affection of my son!
Gigliola. Andrew, the "ladies" that the phone is much more important than the stupid ball that you gave him!
Riccardo. Andrew, the "lady" who are most happy to have received a ball!
Gigliola. A cell phone!
Riccardo. A ball!
Gigliola. A cell phone!
Riccardo. A ball!
Sunday, January 3, 2010
Still Wearing Diapers
Alien-action: Extract
SCENE 13 (Concierge, Hippolyte, Maga, Giovina)
SCENE 14 (Maga, young, Diapason, Harmonica)
SCENE 23 (Lawyer, blackmail, Mingucci, Joseph, Diapason, harmonica)
ALIEN ACTION
IV-F 2005-'06 as
Comedy Alien -action is a revision and adaptation, by the pupils of IVF as 2005-'06, '95 of a text produced in the theater writing workshop "The cre-actors."
The work, which might be called a bitter tale, starring two aliens stranded on earth for a failure to the ship, hiding in an unoccupied apartment after the suicide of owner Joachim.
The 'real object of our reflection is the human being.
The pettiness, opportunism, greed is in stark contrast with the meanings of 'adjective' human '- in the sense of caring, compassionate, kind - and playing on the paradox, we attribute these qualities to creatures that "human" are not.
IV-F 2005-'06 as
Comedy Alien -action is a revision and adaptation, by the pupils of IVF as 2005-'06, '95 of a text produced in the theater writing workshop "The cre-actors."
The work, which might be called a bitter tale, starring two aliens stranded on earth for a failure to the ship, hiding in an unoccupied apartment after the suicide of owner Joachim.
The 'real object of our reflection is the human being.
The pettiness, opportunism, greed is in stark contrast with the meanings of 'adjective' human '- in the sense of caring, compassionate, kind - and playing on the paradox, we attribute these qualities to creatures that "human" are not.
The story unfolds through a series of paintings that reproduce the same situation: the figures vary, but the logic remains consistent behavior: the propensity to exploit and manipulate to achieve a helpful staff.
The sincerity and generosity of our bizarre alien, able to be together without invading, to help without insulting, serves to highlight, by contrast, such as the hypocrisy, the propensity to deception, and calculating self-interest habits of mind and behavior are extremely common and from which the 'man does not know and does not want to break free. The powers of
aliens from the fact that the thought becomes energy when you think in the plural, "but the goodness in the round of these creatures can also introduce other considerations, because not always what is good is lawful and right ...!
uncomfortable with the complications of law, morality and religion, the aliens say: "Men: complicated", but certainly more severe a case is assigned to another category of people not "human": the cats.
Opportunists and robbers as a man, but for such character and nature, not for choice, the cats have expanded the horizon of reflection alluding to the final song behavior which, although not directly in the text, are always related to the basic theme of opportunism, exploitation conducted for personal gain.
By becoming carriers of the point of view of animals, cats considered the man most bestial predator and conclude: "Men: no good."
The sincerity and generosity of our bizarre alien, able to be together without invading, to help without insulting, serves to highlight, by contrast, such as the hypocrisy, the propensity to deception, and calculating self-interest habits of mind and behavior are extremely common and from which the 'man does not know and does not want to break free. The powers of
aliens from the fact that the thought becomes energy when you think in the plural, "but the goodness in the round of these creatures can also introduce other considerations, because not always what is good is lawful and right ...!
uncomfortable with the complications of law, morality and religion, the aliens say: "Men: complicated", but certainly more severe a case is assigned to another category of people not "human": the cats.
Opportunists and robbers as a man, but for such character and nature, not for choice, the cats have expanded the horizon of reflection alluding to the final song behavior which, although not directly in the text, are always related to the basic theme of opportunism, exploitation conducted for personal gain.
By becoming carriers of the point of view of animals, cats considered the man most bestial predator and conclude: "Men: no good."
CHARACTERS
Lenuccia: concierge
Miss: Miranda
old music teacher: student teacher
Cettina: Rosetta
student teacher: student teacher and daughter of the dentist The dentist
Laquaglia
Diapason: Harmonic
alien: alien
Cecilia tenant of the building
Mrs. Ippolito
Faruccio tenant of the building known as "The Gronc": smugglers, tenant of the building
Donna Bettina: mother-in-law of Gronc
Felicetta called "Multifilter": wife of Gronc
Nunziatella: Gronc daughter, is pregnant
Maga Eccelsa
Giovina: assistant of the magician
Berenice: living with the deceased tenant Joachim
Lopreno Lawyer: lawyer Berenice
Cosimina: tenant exhausted
Ms. Tilde: blackmailer who plays a nun
Mingucci Pelagatti: usurer
Giuseppe Pelagatti: The moneylender
journalist
De Vico broadcaster
Spino Sketch: roker
The demented diva Donna Fernanda
: director of a museum
Head condominium
M. Antoinette: daughter of the late Joachim Alberto
Sebastian: lawyer Maria Antonietta
Four cats
Miss: Miranda
old music teacher: student teacher
Cettina: Rosetta
student teacher: student teacher and daughter of the dentist The dentist
Laquaglia
Diapason: Harmonic
alien: alien
Cecilia tenant of the building
Mrs. Ippolito
Faruccio tenant of the building known as "The Gronc": smugglers, tenant of the building
Donna Bettina: mother-in-law of Gronc
Felicetta called "Multifilter": wife of Gronc
Nunziatella: Gronc daughter, is pregnant
Maga Eccelsa
Giovina: assistant of the magician
Berenice: living with the deceased tenant Joachim
Lopreno Lawyer: lawyer Berenice
Cosimina: tenant exhausted
Ms. Tilde: blackmailer who plays a nun
Mingucci Pelagatti: usurer
Giuseppe Pelagatti: The moneylender
journalist
De Vico broadcaster
Spino Sketch: roker
The demented diva Donna Fernanda
: director of a museum
Head condominium
M. Antoinette: daughter of the late Joachim Alberto
Sebastian: lawyer Maria Antonietta
Four cats
The work is set on the fourth floor of a building where there are two apartments.
Some scenes take place on the landing, and others in 'flat, Joachim, and others still to face, belonging to the smuggler.
Some scenes take place on the landing, and others in 'flat, Joachim, and others still to face, belonging to the smuggler.
[...]
SCENE 12 (Concierge, Hippolyte)
SCENE 12 (Concierge, Hippolyte)
Concierge. (SENT noises coming from the apartment of Joachim) I feel the meat stand on end! He 's back Joachim!
Hippolyte. What are you saying!? Joachim is dead!
Concierge. Sign ', if not him, not his soul finds peace and cries and moves furniture and makes these complaints ...
external voice. Lenuuuccia ....
Concierge. Ahhhh! The dead ... He called my name ... Sign 'I want to bring with him!
Voice. Lenuccia ....
Concierge. Go away, go away, that I have sinned!
Hippolyte. E 'on the stairs!
Concierge. Mamma del Carmine!
Hippolyte. What are you saying!? Joachim is dead!
Concierge. Sign ', if not him, not his soul finds peace and cries and moves furniture and makes these complaints ...
external voice. Lenuuuccia ....
Concierge. Ahhhh! The dead ... He called my name ... Sign 'I want to bring with him!
Voice. Lenuccia ....
Concierge. Go away, go away, that I have sinned!
Hippolyte. E 'on the stairs!
Concierge. Mamma del Carmine!
SCENE 13 (Concierge, Hippolyte, Maga, Giovina)
Maga. (ENTERING WITH ASSISTANT YOUTH) Lenuccia!
Hippolyte. And look at her: the lady Cecioni!
Maga "I" am the great magician ... E-CCEL-sa!
Giovina. Palmist - Astromante - prescient - Medium - Receives by appointment - from 10.00 to 23.00 - Closed on Sundays!
Hippolyte. Lenuccia was impressed because it is convinced that there is in the soul of Joachim!
Maga. An infestation of ghosts? And why did not you called me right away?
Concierge. And the cards that were doing the soul of the deceased?
Maga. Friends, this is the field of great sorceress ... E-CCEL-sa!
Giovina. Expert in esoteric sciences: telesthesia - Preestesia - Metagnosia - turn with confidence - strictly confidential!
Concierge. So let it go to purgatory the soul of Joachim!
Maga. Fill out the card first, friend! ... Giovina!
Giovina. (LAW) Physical phenomena: throwing objects? Open doors? Levitation? Please specify!
Concierge. Move the furniture ...!
Hippolyte. Moving?
Maga. Telekinetic phenomena!
Giovina. Hits? Scratching? Percussion? Please specify!
Hippolyte. Sounds ... different!
Giovina. (THE MAGA) Raps?
Maga. Raps!
Giovina. Flares? Nebula? Fires?
Concierge. The light comes and goes!
Ippolita. A system failure?
Maga. Phosphorescence ectoplasmic!
Giovina. Appearance of ghosts, ghost pink-orange of a woman without a head? Monaco dressed in black? Classic white model with chains? Please specify!
Concierge. Mom's Car ...!
Giovina. The amount of barking? Meow? Chirps? Squeaks?
Hippolyte. They feel ...
Giovina. Palpatine? Pat? Pinch? Slap? Fists? Kicks? Bites?
Hippolyte. (SHOUTING) Signoraa!
Maga. It 's a poltergeist!
Concierge. San Gennaro! It 's a bad thing ...?
Maga. Ugly! But it can resist the powers of the great enchantress E-CCEL-sa!
Giovina. Spirits - Ghosts - ghosts - we have counted the hours-hour call meal - that much when I eat!? - 472 to 58 35
Concierge. We are in your hands, maga ...
Maga. E-CCEL-sa!
Concierge. The torches are at the door!
Maga. Go quiet, friend! (LA doorman AND WOMEN COME HIPPOLYTA)
Hippolyte. And look at her: the lady Cecioni!
Maga "I" am the great magician ... E-CCEL-sa!
Giovina. Palmist - Astromante - prescient - Medium - Receives by appointment - from 10.00 to 23.00 - Closed on Sundays!
Hippolyte. Lenuccia was impressed because it is convinced that there is in the soul of Joachim!
Maga. An infestation of ghosts? And why did not you called me right away?
Concierge. And the cards that were doing the soul of the deceased?
Maga. Friends, this is the field of great sorceress ... E-CCEL-sa!
Giovina. Expert in esoteric sciences: telesthesia - Preestesia - Metagnosia - turn with confidence - strictly confidential!
Concierge. So let it go to purgatory the soul of Joachim!
Maga. Fill out the card first, friend! ... Giovina!
Giovina. (LAW) Physical phenomena: throwing objects? Open doors? Levitation? Please specify!
Concierge. Move the furniture ...!
Hippolyte. Moving?
Maga. Telekinetic phenomena!
Giovina. Hits? Scratching? Percussion? Please specify!
Hippolyte. Sounds ... different!
Giovina. (THE MAGA) Raps?
Maga. Raps!
Giovina. Flares? Nebula? Fires?
Concierge. The light comes and goes!
Ippolita. A system failure?
Maga. Phosphorescence ectoplasmic!
Giovina. Appearance of ghosts, ghost pink-orange of a woman without a head? Monaco dressed in black? Classic white model with chains? Please specify!
Concierge. Mom's Car ...!
Giovina. The amount of barking? Meow? Chirps? Squeaks?
Hippolyte. They feel ...
Giovina. Palpatine? Pat? Pinch? Slap? Fists? Kicks? Bites?
Hippolyte. (SHOUTING) Signoraa!
Maga. It 's a poltergeist!
Concierge. San Gennaro! It 's a bad thing ...?
Maga. Ugly! But it can resist the powers of the great enchantress E-CCEL-sa!
Giovina. Spirits - Ghosts - ghosts - we have counted the hours-hour call meal - that much when I eat!? - 472 to 58 35
Concierge. We are in your hands, maga ...
Maga. E-CCEL-sa!
Concierge. The torches are at the door!
Maga. Go quiet, friend! (LA doorman AND WOMEN COME HIPPOLYTA)
SCENE 14 (Maga, young, Diapason, Harmonica)
Maga. Giovine, is' apartment and complete an inspection of the card!
Giovina. I? Sor ... 'greatest, but you want to play?
Maga. And what are you afraid? It 's a life you do the ectoplasm and the poltergeist!
Giovina. Yes, it's good to the soul of the deceased, but to deal with a true spirit ...!
Maga. Because ... you say that there may be a true spirit ...?!
Giovina. Well telekinesis ... ... ... raps ectoplasmic phenomena!
Maga. Damn ... If I had imagined, with the cabbage that I accepted!
Giovina. So we go?
Maga. Eh ... now we can no longer! ... Come on, let's take a look and if there ... even the shadow of a spirit ...
Giovina. ... Appearance of a ghost ...
Maga. ... A vague suspicion of poltergeist, then we ... ... WE
Giovina. ... There we go!
Maga. Show me the way!
Giovina. It 's all dark!
Maga. Light the torch!
Giovina. (ENTERING WITH CAUTION IN GIOACCHINO HOUSE, BUT THE FOLLOWING MAGA) E '... permit?
Maga. Safer, stronger!
Giovina. What is it ... anyone? (DIAPASON and harmony PLACE THEIR SHOULDERS. ALL THE ADVANCE GROUP cautiously)
Maga. Heck, more energetic! The spirits must scare them!
Giovina. And then you try it!
Maga. Do not disturb by any chance ...? ... (A YOUTH) do not respond!
Giovina. Sor'Ecce ', you have scared them! Why not use some formula ... so give him the coup de grace!
Maga. Right! Can you hear me, spirit of earth, if you're ... knock once!
Giovina. But if you do not want to fly, Do not create problems, eh!
Maga. I knew no answer tiptologica!
Giovina. So there we go! (Turns and IS FACING THE ALIENS) Sor'Ecce'!...
Maga. No answer because I feared, the coward!
Giovina. Sor'Ecce '... not v'allargate!
Maga. It does not have the courage to reveal itself, this ugly son of a ectoplasm!
Giovina. Sor'Ecce '... hath been revealed ... there is!
Maga. (Voltaire) Where?
Maga, young, Diapason, Harmonica. Ahhhh!
Giovina. That entity are they?
Maga. And I know what the hell! Try to administer the questionnaire to Scientology!
Giovina. For if you are subject to spontaneous combustion? (No answer) is that you are not cannibals ...? (NO ANSWER) Sor'Ecce ', questioning the dead ... no reply!
Maga. Pass me the pendant that I try to hypnotize! (YOUTH give them to PASS) Watch me ... watch me!
Giovina. Why?
Maga. But not you, stupid, they! Look ... look at the spirit of the earth, and listen closely to what I'm about to tell you: (WHILE THE MAGA rock the PENDANT, the aliens move his head, ending up HYPNOTIST YOUTH) three times now I pop my fingers, and Three of you will say to the great witch-E-CCEL know what place you come from ... and why you're here! (SNAP YOUR FINGERS TO THREE TIMES, BUT THE ALIENS ARE JUST AS)
Giovina. (LOOK TO THE HYPNOTIST MAGA) Battipaglia because I come from Aunt Mary ....
Maga. What are you doing here, idiot!
Diapason. It makes a bua imbechille!
Maga is young. What did he say? Harmonic
. We loves to Imbechille!
Diapason. Imbechille ...
Harmonica. Cara!
Diapason. E-cchel Maga-sa ...
Harmonica. Cara!
Maga. Tell me, mysterious entity, by which world are you from?
Giovina. But if you do not want to say ... do not take it, eh! Harmonic
. We come from the planet Gaio, Galaxy Candy!
Diapason. NCG Thirteen!
Giovina. From where?
Maga. From space!
Giovina. From space? And how did you get here?
Diapason and Harmonica. We pass a wall!
Maga. Through walls?!
Giovina. But then they have certain powers us!
Maga. Lucky them! What else can you do? Harmonic
. We sound bua!
Maga. Pranotherapy!
Diapason. Law thought!
Giovina. Clairvoyance! Harmonic
. Blocks negative energy!
Maga is young. Indeed!
Diapason. We positive energy positive ... but you do not Dike men .. Harmonic
. O men suffer ghenghive!
Maga. Noo! And who's talking! Here you should know anything! We make a better society ... I'll put my name ...
Diapason. We put energy ...
Maga. And I look the money!
Diapason and Harmonica. Yes yes yes yes yes!
Maga. If a customer wants ...
Harmonica. Radar reghistra customer avvichinamento! Beep beep beep ... beep beep beep!
Maga. Someone is coming?
Giovina. I hear footsteps!
Maga. Do not let him in, I have not explained what to do!
Giovina. I'm holding, you hide them!
Giovina. I? Sor ... 'greatest, but you want to play?
Maga. And what are you afraid? It 's a life you do the ectoplasm and the poltergeist!
Giovina. Yes, it's good to the soul of the deceased, but to deal with a true spirit ...!
Maga. Because ... you say that there may be a true spirit ...?!
Giovina. Well telekinesis ... ... ... raps ectoplasmic phenomena!
Maga. Damn ... If I had imagined, with the cabbage that I accepted!
Giovina. So we go?
Maga. Eh ... now we can no longer! ... Come on, let's take a look and if there ... even the shadow of a spirit ...
Giovina. ... Appearance of a ghost ...
Maga. ... A vague suspicion of poltergeist, then we ... ... WE
Giovina. ... There we go!
Maga. Show me the way!
Giovina. It 's all dark!
Maga. Light the torch!
Giovina. (ENTERING WITH CAUTION IN GIOACCHINO HOUSE, BUT THE FOLLOWING MAGA) E '... permit?
Maga. Safer, stronger!
Giovina. What is it ... anyone? (DIAPASON and harmony PLACE THEIR SHOULDERS. ALL THE ADVANCE GROUP cautiously)
Maga. Heck, more energetic! The spirits must scare them!
Giovina. And then you try it!
Maga. Do not disturb by any chance ...? ... (A YOUTH) do not respond!
Giovina. Sor'Ecce ', you have scared them! Why not use some formula ... so give him the coup de grace!
Maga. Right! Can you hear me, spirit of earth, if you're ... knock once!
Giovina. But if you do not want to fly, Do not create problems, eh!
Maga. I knew no answer tiptologica!
Giovina. So there we go! (Turns and IS FACING THE ALIENS) Sor'Ecce'!...
Maga. No answer because I feared, the coward!
Giovina. Sor'Ecce '... not v'allargate!
Maga. It does not have the courage to reveal itself, this ugly son of a ectoplasm!
Giovina. Sor'Ecce '... hath been revealed ... there is!
Maga. (Voltaire) Where?
Maga, young, Diapason, Harmonica. Ahhhh!
Giovina. That entity are they?
Maga. And I know what the hell! Try to administer the questionnaire to Scientology!
Giovina. For if you are subject to spontaneous combustion? (No answer) is that you are not cannibals ...? (NO ANSWER) Sor'Ecce ', questioning the dead ... no reply!
Maga. Pass me the pendant that I try to hypnotize! (YOUTH give them to PASS) Watch me ... watch me!
Giovina. Why?
Maga. But not you, stupid, they! Look ... look at the spirit of the earth, and listen closely to what I'm about to tell you: (WHILE THE MAGA rock the PENDANT, the aliens move his head, ending up HYPNOTIST YOUTH) three times now I pop my fingers, and Three of you will say to the great witch-E-CCEL know what place you come from ... and why you're here! (SNAP YOUR FINGERS TO THREE TIMES, BUT THE ALIENS ARE JUST AS)
Giovina. (LOOK TO THE HYPNOTIST MAGA) Battipaglia because I come from Aunt Mary ....
Maga. What are you doing here, idiot!
Diapason. It makes a bua imbechille!
Maga is young. What did he say? Harmonic
. We loves to Imbechille!
Diapason. Imbechille ...
Harmonica. Cara!
Diapason. E-cchel Maga-sa ...
Harmonica. Cara!
Maga. Tell me, mysterious entity, by which world are you from?
Giovina. But if you do not want to say ... do not take it, eh! Harmonic
. We come from the planet Gaio, Galaxy Candy!
Diapason. NCG Thirteen!
Giovina. From where?
Maga. From space!
Giovina. From space? And how did you get here?
Diapason and Harmonica. We pass a wall!
Maga. Through walls?!
Giovina. But then they have certain powers us!
Maga. Lucky them! What else can you do? Harmonic
. We sound bua!
Maga. Pranotherapy!
Diapason. Law thought!
Giovina. Clairvoyance! Harmonic
. Blocks negative energy!
Maga is young. Indeed!
Diapason. We positive energy positive ... but you do not Dike men .. Harmonic
. O men suffer ghenghive!
Maga. Noo! And who's talking! Here you should know anything! We make a better society ... I'll put my name ...
Diapason. We put energy ...
Maga. And I look the money!
Diapason and Harmonica. Yes yes yes yes yes!
Maga. If a customer wants ...
Harmonica. Radar reghistra customer avvichinamento! Beep beep beep ... beep beep beep!
Maga. Someone is coming?
Giovina. I hear footsteps!
Maga. Do not let him in, I have not explained what to do!
Giovina. I'm holding, you hide them!
[...]
SCENE 21 (Lopreno Lawyer, Diapason, Harmonica)
SCENE 21 (Lopreno Lawyer, Diapason, Harmonica)
(ADVOCATE knocked on the door GIOACCHINO)
Diapason. (OPEN) Chiao!
Lawyer. Hello baby, is at home mom?
Diapason. Mom: chiel! Lawyer
.. Uh, poor thing, you're an orphan? Then you call me daddy? Harmonic
. Dad: chiel! Lawyer
.. ... You can be the aunt you've got an aunt, right?
Diapason and Harmonica. Chiel!
Lawyer. The grandmother ....!? All
. Chiel!
Lawyer. But this is an insane asylum or an orphanage?
Diapason. Men Krka Berenice!
Lawyer. Yes, Mrs. Berenice: ... are his
Harmonica. ... Vavocato!
Lawyer. And how do you know? Harmonic
. We know everything-everything-everything!
Diapason. Berenice does not give vavocato ding-pennies! Harmonic
. Berenice did not, Berenice does not!
Diapason. ... And you suffer!
Lawyer. But as you know all these things? Harmonic
. Law thought!
Lawyer. But that good! ... And where did you learn to "read minds"?
Diapason and Harmonica. Chiel!
Lawyer. Again?! Harmonic
. Gaius planet!
Diapason. Candy Galaxy! Harmonic
. NKG 13! (BRING THE ALIENS IN THE HOUSE GIOACCHINO)
Diapason. Road: tired tired! Harmonic
. We give chair! (Concentration and a chair move around and zoom lawyer)
Lawyer. It 'amazing!
Diapason. Earth wants to do sochietà with octave and harmony!
Lawyer. I can not believe this is exactly what I was thinking! Harmonic
. We vavocato help us ... help!
Diapason and Harmonica. Yes yes yes yes yes!
Lawyer. It 'a great idea! For your fee ... we can always be negotiated!
Diapason. Vavocato says "honorary"!
Lawyer. I ... ding-pennies! Harmonic
. We did not ding-pennies!
Diapason. ... Can not do ... with sochietà vavocato!
Lawyer. No, you do not understand: the fee is for ...
Diapason and Harmonica. ... And you suffer!
Lawyer. But what counts money, when it comes to the happiness of two extra-galactic?! You will work for me though ... I can not pay! Harmonic
. Vavocato ...
Diapason. Dear! Harmonic
. Radar reghistra land avvichinamento! Beep beep beep!
Lawyer. Hello baby, is at home mom?
Diapason. Mom: chiel! Lawyer
.. Uh, poor thing, you're an orphan? Then you call me daddy? Harmonic
. Dad: chiel! Lawyer
.. ... You can be the aunt you've got an aunt, right?
Diapason and Harmonica. Chiel!
Lawyer. The grandmother ....!? All
. Chiel!
Lawyer. But this is an insane asylum or an orphanage?
Diapason. Men Krka Berenice!
Lawyer. Yes, Mrs. Berenice: ... are his
Harmonica. ... Vavocato!
Lawyer. And how do you know? Harmonic
. We know everything-everything-everything!
Diapason. Berenice does not give vavocato ding-pennies! Harmonic
. Berenice did not, Berenice does not!
Diapason. ... And you suffer!
Lawyer. But as you know all these things? Harmonic
. Law thought!
Lawyer. But that good! ... And where did you learn to "read minds"?
Diapason and Harmonica. Chiel!
Lawyer. Again?! Harmonic
. Gaius planet!
Diapason. Candy Galaxy! Harmonic
. NKG 13! (BRING THE ALIENS IN THE HOUSE GIOACCHINO)
Diapason. Road: tired tired! Harmonic
. We give chair! (Concentration and a chair move around and zoom lawyer)
Lawyer. It 'amazing!
Diapason. Earth wants to do sochietà with octave and harmony!
Lawyer. I can not believe this is exactly what I was thinking! Harmonic
. We vavocato help us ... help!
Diapason and Harmonica. Yes yes yes yes yes!
Lawyer. It 'a great idea! For your fee ... we can always be negotiated!
Diapason. Vavocato says "honorary"!
Lawyer. I ... ding-pennies! Harmonic
. We did not ding-pennies!
Diapason. ... Can not do ... with sochietà vavocato!
Lawyer. No, you do not understand: the fee is for ...
Diapason and Harmonica. ... And you suffer!
Lawyer. But what counts money, when it comes to the happiness of two extra-galactic?! You will work for me though ... I can not pay! Harmonic
. Vavocato ...
Diapason. Dear! Harmonic
. Radar reghistra land avvichinamento! Beep beep beep!
SCENE 22 (Lawyer, blackmailer, Diapason, Harmonica)
(ENTER A WOMAN DRESSED TO SISTER)
blackmailers. Peace and good, lawyer Lopreno!
Lawyer. Peace and good, sister!
blackmailers. Oh, what a sweet sight, what a show ... that joyous uplifting show ... oh ...
Lawyer. What show?
blackmailers. A father who embraces his offspring, his babies, his Frugoli, its ... They are her children?
Lawyer. No sister, are my partners, my "dear members! Can I help you?
blackmailers. Here we ... religious order of "saint of neglected Ripilina" ... let's vote ... complaint!
Lawyer. ... To complain? It will mean renunciation of ...!
blackmailers. No, a lawyer, just slams denounce sin and ...
Harmonica. Ripilina says "sin"!
blackmailers. Sin is a transgression, a sin!
Diapason. Too bad no-good?
blackmailers. No, ... It is not good, because it offends (HIGH POINT INDEX) His infinite Diapason
goodness. (LOOKING AT THE CEILING) Bulb ...
Harmonica. Cara!
blackmailers. For this we denounce the sin and the sinner ...!
Lawyer. Even the sinner? And to those who complained?
blackmailers. The judiciary, of course!
Lawyer. What nonsense! Sin is not a crime!
Diapason. Lawyer says "crime"!
Lawyer. The crime is conduct which is prohibited by law.
blackmailers. By law ... human! Not ... (POINT INDEX UP) "that" ... but ... (points the finger down) this! Harmonic
. Tile?!
Diapason. No good offense?
Lawyer. It is not permissible to break the law!
blackmailers. But it depends on who breaks, right, sir? And often it is not lawful, but can be very ... very profitable!
Lawyer. Sister, come to the point, rather than rant and statutory interest ...! Harmonic
. Vavocato says "personal interest"!
Lawyer. One thing that is useful, convenient for anyone.
Diapason. Interest: good!
Lawyer. Well ... it's good, if I may ask, if not breaking our laws ...
Harmonica. ... Tile!
blackmailers. And especially not against (pointing upwards) to "that" the law!
Harmonic. ... "Bulb"
blackmailers. ... And principles of morality!
Diapason. Ripilina says "moral."
blackmailers. Are those unwritten rules that a company gives, and respect the feelings (Place hands back in his chair) ... common!
Diapason. poltronchina of ...?
Lawyer. Sister, if all this makes sense: what have I to do?
blackmailers. You are a sinner and I ... to vote ... I denounce it!
Lawyer. But do not make me laugh! To report takes the facts established, certified, supported, and she ...
blackmailers. Here it is ... "the fact"! (Hands him a picture) ... Does the lady ... who is with her?
Lawyer. The court Annarosa Cenci!?
Diapason. (CONCENTRATION) Lawyer and ... ghiudiche
Harmonica. ... Ago with a lot of good sleep!
blackmailers. ... Let's call it "sleep"!
Lawyer. Sister, this picture ...
blackmailers. ... Shows that she has coveted a neighbor's wife!
Lawyer. But what lust, Let Us ... The Cenci is a power strip!
blackmailers. But she was "a nap" ... with a shoe!
Lawyer. The law does not punish fornication!
blackmailers. The law ... (gestures down)
Harmonica. ... Tile!
blackmailers. ... But ... (POINT INDEX UP) "Law"?
Diapason. "Bulb"?
blackmailers. And the moral?
Diapason. Vavocato poltronchina broken?
Lawyer. But there is no offense, dear shareholders, there is no crime! On the other hand, maybe the judge allowed ...? No, dear members! ... The strip was "very" willing, therefore there is no ... not even the crime of rape!
blackmailers. And to judge of corruption ...?
Lawyer. What corruption?
blackmailers. He wants to hear ... (shows a box) comment sound! ... In a "sigh" and the other, she talks about the process and Santucci says ...
Diapason. (CONCENTRANDIOSI) My Arm
assisted Santucci ... ... must win cause!
blackmailers. And the process ended with the acquittal of Santucci for "insufficient evidence"! Curious coincidence, right!
Lawyer. This woman, dear members ... it's wicked!
Diapason and Harmonica. Ripilina ... no good?
Lawyer. This woman, dear members ...
blackmailers. Games People Play, lawyer? "Dear members," our "good lawyer" has committed a grave sin, a crime that offends ... (gestures TO UP)
Harmonica. ... Light bulb!
blackmailers. ... Is contrary to morality ...
Diapason. ... ...
poltronchina of blackmailers. ... And breaking the law ... Harmonic
. ... Of tile!
Diapason. (CONCENTRATION) Ghiudiche suffer!
blackmail and Attorney .. Suffer? Harmonic
. Ghiudiche ago: Ah! Ah! Ah! Ah! Ah!
Lawyer. Yes !.... The judge was suffering, so I ...
Diapason. Data and boats or bua: viaa!
Lawyer. And give ... "boats or" What is completely lawful, permitted by law! Harmonic
. No offense to tile!
blackmailers. "Dear members," explained the expensive lawyer is not a "right" thing to "boats or" the judges!
Diapason. But ghiudiche suffers ... ..
Harmonic and banquet forum: good!
blackmailers. Not always what is good is lawful and right! Right, my lawyer? This explains the "dear associates"!
Lawyer. This woman's mind! Harmonic
. Harmonic does not understand!
Diapason. "Good" and Lech-ghiusto ...
Harmonica. ... Banquet forum: good ...
Diapason. ... Banquet forum: Lech-ghiusto!
Lawyer. Right!
blackmailers. But not according to the law!
and Harmonic Diapason. Tile no-good!
blackmailers. The law is good, lawful and fair!
Diapason. (AS IF ITS MECHANISM TO START JAM) Uooomìni: Congratulations ... fsc fsc ... ed!
and Harmonic Diapason. Biz biz biz fsc fsc fsc ...
blackmailers. Take note of repentance, a lawyer, if he wants to avoid the complaint!
Lawyer. If the problem is only that, I repent, I repent it now: look at how they are sorry! (He kneels)
blackmailers. Do not be ridiculous: you purchase a gesture ... a noble, generous!
Lawyer. As a gesture?
blackmailers. Bid now!
Lawyer. How much?
blackmailers. € 10,000!
Lawyer. But there is one offer is a steal!
blackmailers. If not it goes well, I'll have to denounce the judiciary ... to vote! Harmonic
. But vavocato Santucci helped!
Diapason. Vavocato good!
Lawyer. Right! For the human law may also be a crime to corruption, but I have sinned ...
Diapason. and harmony ... the light bulb!
Lawyer. No! ... Because the intention was noble and generous: I wanted to help the poor Santucci!
blackmailers. That "criminal" by Santucci!
Diapason. Men said ... "criminal"!
blackmailers. One who has killed his mother-in-law! Harmonic
. And ... suochera suffer?
Lawyer. Now ceased to suffer! Harmonic
. Criminal ...
Diapason. Dear!
Blackmailer. But as my dear! It is neither good nor take out a dear mother-in-law, even if the dear mother-in-law is neither good nor dear!
Diapason. Prrrr ... ... prrr goooonnn! Harmonic
. ... Noooo good-criminal-Lech-ghiusto?
blackmailers. No: it is not lawful and it is unfair for the law ...
Harmonica. ... Tile
blackmailers. ... Is not good and it is unfair for the law ...
Diapason. ... Bulb
blackmailers. ... And offends the moral and
Harmonic Diapason. ... Of poltronchina!
blackmailers. The well explain these things to his "dear members, dear lawyer, who helped her" dear " criminal!
Diapason. Diapason did not understand! Harmonic
. Criminal broken tile-dear-good-Lech-ghiusta: criminal-dear-good-noooo-ghiusto leche!
blackmailers. Right! Harmonic
. E-Lech-ghiusto good lawyer helps criminal nooo-dear-good-Lech-ghiusto that fact (such as loss IWRM) offense mattoooonella ...
Diapason. leche-nooo! ... Harmonic
. ... Sin ... lampaaadina
Diapason. ... Nooo-good-ghiuuusto! Harmonic
. ... And offffeso poltronchiiiiina?
Lawyer. The right to defense is required by law! Harmonic
. Uooomìni: Congratulations ... .. fsc put ... ed!
Diapason. Diapason ghiiiiira ... (LOSS IWRM) booobineeee! Harmonic
. Harmonic bua sensors ... short circuit ... chiro-chiro-in heart-to-to! (Weir on the ground).
blackmailers. Peace and good, lawyer Lopreno!
Lawyer. Peace and good, sister!
blackmailers. Oh, what a sweet sight, what a show ... that joyous uplifting show ... oh ...
Lawyer. What show?
blackmailers. A father who embraces his offspring, his babies, his Frugoli, its ... They are her children?
Lawyer. No sister, are my partners, my "dear members! Can I help you?
blackmailers. Here we ... religious order of "saint of neglected Ripilina" ... let's vote ... complaint!
Lawyer. ... To complain? It will mean renunciation of ...!
blackmailers. No, a lawyer, just slams denounce sin and ...
Harmonica. Ripilina says "sin"!
blackmailers. Sin is a transgression, a sin!
Diapason. Too bad no-good?
blackmailers. No, ... It is not good, because it offends (HIGH POINT INDEX) His infinite Diapason
goodness. (LOOKING AT THE CEILING) Bulb ...
Harmonica. Cara!
blackmailers. For this we denounce the sin and the sinner ...!
Lawyer. Even the sinner? And to those who complained?
blackmailers. The judiciary, of course!
Lawyer. What nonsense! Sin is not a crime!
Diapason. Lawyer says "crime"!
Lawyer. The crime is conduct which is prohibited by law.
blackmailers. By law ... human! Not ... (POINT INDEX UP) "that" ... but ... (points the finger down) this! Harmonic
. Tile?!
Diapason. No good offense?
Lawyer. It is not permissible to break the law!
blackmailers. But it depends on who breaks, right, sir? And often it is not lawful, but can be very ... very profitable!
Lawyer. Sister, come to the point, rather than rant and statutory interest ...! Harmonic
. Vavocato says "personal interest"!
Lawyer. One thing that is useful, convenient for anyone.
Diapason. Interest: good!
Lawyer. Well ... it's good, if I may ask, if not breaking our laws ...
Harmonica. ... Tile!
blackmailers. And especially not against (pointing upwards) to "that" the law!
Harmonic. ... "Bulb"
blackmailers. ... And principles of morality!
Diapason. Ripilina says "moral."
blackmailers. Are those unwritten rules that a company gives, and respect the feelings (Place hands back in his chair) ... common!
Diapason. poltronchina of ...?
Lawyer. Sister, if all this makes sense: what have I to do?
blackmailers. You are a sinner and I ... to vote ... I denounce it!
Lawyer. But do not make me laugh! To report takes the facts established, certified, supported, and she ...
blackmailers. Here it is ... "the fact"! (Hands him a picture) ... Does the lady ... who is with her?
Lawyer. The court Annarosa Cenci!?
Diapason. (CONCENTRATION) Lawyer and ... ghiudiche
Harmonica. ... Ago with a lot of good sleep!
blackmailers. ... Let's call it "sleep"!
Lawyer. Sister, this picture ...
blackmailers. ... Shows that she has coveted a neighbor's wife!
Lawyer. But what lust, Let Us ... The Cenci is a power strip!
blackmailers. But she was "a nap" ... with a shoe!
Lawyer. The law does not punish fornication!
blackmailers. The law ... (gestures down)
Harmonica. ... Tile!
blackmailers. ... But ... (POINT INDEX UP) "Law"?
Diapason. "Bulb"?
blackmailers. And the moral?
Diapason. Vavocato poltronchina broken?
Lawyer. But there is no offense, dear shareholders, there is no crime! On the other hand, maybe the judge allowed ...? No, dear members! ... The strip was "very" willing, therefore there is no ... not even the crime of rape!
blackmailers. And to judge of corruption ...?
Lawyer. What corruption?
blackmailers. He wants to hear ... (shows a box) comment sound! ... In a "sigh" and the other, she talks about the process and Santucci says ...
Diapason. (CONCENTRANDIOSI) My Arm
assisted Santucci ... ... must win cause!
blackmailers. And the process ended with the acquittal of Santucci for "insufficient evidence"! Curious coincidence, right!
Lawyer. This woman, dear members ... it's wicked!
Diapason and Harmonica. Ripilina ... no good?
Lawyer. This woman, dear members ...
blackmailers. Games People Play, lawyer? "Dear members," our "good lawyer" has committed a grave sin, a crime that offends ... (gestures TO UP)
Harmonica. ... Light bulb!
blackmailers. ... Is contrary to morality ...
Diapason. ... ...
poltronchina of blackmailers. ... And breaking the law ... Harmonic
. ... Of tile!
Diapason. (CONCENTRATION) Ghiudiche suffer!
blackmail and Attorney .. Suffer? Harmonic
. Ghiudiche ago: Ah! Ah! Ah! Ah! Ah!
Lawyer. Yes !.... The judge was suffering, so I ...
Diapason. Data and boats or bua: viaa!
Lawyer. And give ... "boats or" What is completely lawful, permitted by law! Harmonic
. No offense to tile!
blackmailers. "Dear members," explained the expensive lawyer is not a "right" thing to "boats or" the judges!
Diapason. But ghiudiche suffers ... ..
Harmonic and banquet forum: good!
blackmailers. Not always what is good is lawful and right! Right, my lawyer? This explains the "dear associates"!
Lawyer. This woman's mind! Harmonic
. Harmonic does not understand!
Diapason. "Good" and Lech-ghiusto ...
Harmonica. ... Banquet forum: good ...
Diapason. ... Banquet forum: Lech-ghiusto!
Lawyer. Right!
blackmailers. But not according to the law!
and Harmonic Diapason. Tile no-good!
blackmailers. The law is good, lawful and fair!
Diapason. (AS IF ITS MECHANISM TO START JAM) Uooomìni: Congratulations ... fsc fsc ... ed!
and Harmonic Diapason. Biz biz biz fsc fsc fsc ...
blackmailers. Take note of repentance, a lawyer, if he wants to avoid the complaint!
Lawyer. If the problem is only that, I repent, I repent it now: look at how they are sorry! (He kneels)
blackmailers. Do not be ridiculous: you purchase a gesture ... a noble, generous!
Lawyer. As a gesture?
blackmailers. Bid now!
Lawyer. How much?
blackmailers. € 10,000!
Lawyer. But there is one offer is a steal!
blackmailers. If not it goes well, I'll have to denounce the judiciary ... to vote! Harmonic
. But vavocato Santucci helped!
Diapason. Vavocato good!
Lawyer. Right! For the human law may also be a crime to corruption, but I have sinned ...
Diapason. and harmony ... the light bulb!
Lawyer. No! ... Because the intention was noble and generous: I wanted to help the poor Santucci!
blackmailers. That "criminal" by Santucci!
Diapason. Men said ... "criminal"!
blackmailers. One who has killed his mother-in-law! Harmonic
. And ... suochera suffer?
Lawyer. Now ceased to suffer! Harmonic
. Criminal ...
Diapason. Dear!
Blackmailer. But as my dear! It is neither good nor take out a dear mother-in-law, even if the dear mother-in-law is neither good nor dear!
Diapason. Prrrr ... ... prrr goooonnn! Harmonic
. ... Noooo good-criminal-Lech-ghiusto?
blackmailers. No: it is not lawful and it is unfair for the law ...
Harmonica. ... Tile
blackmailers. ... Is not good and it is unfair for the law ...
Diapason. ... Bulb
blackmailers. ... And offends the moral and
Harmonic Diapason. ... Of poltronchina!
blackmailers. The well explain these things to his "dear members, dear lawyer, who helped her" dear " criminal!
Diapason. Diapason did not understand! Harmonic
. Criminal broken tile-dear-good-Lech-ghiusta: criminal-dear-good-noooo-ghiusto leche!
blackmailers. Right! Harmonic
. E-Lech-ghiusto good lawyer helps criminal nooo-dear-good-Lech-ghiusto that fact (such as loss IWRM) offense mattoooonella ...
Diapason. leche-nooo! ... Harmonic
. ... Sin ... lampaaadina
Diapason. ... Nooo-good-ghiuuusto! Harmonic
. ... And offffeso poltronchiiiiina?
Lawyer. The right to defense is required by law! Harmonic
. Uooomìni: Congratulations ... .. fsc put ... ed!
Diapason. Diapason ghiiiiira ... (LOSS IWRM) booobineeee! Harmonic
. Harmonic bua sensors ... short circuit ... chiro-chiro-in heart-to-to! (Weir on the ground).
SCENE 23 (Lawyer, blackmail, Mingucci, Joseph, Diapason, harmonica)
(from two individuals)
Mingucci. There is Mrs. Berenice?
Lawyer. Who's looking for?
Mingucci. Are Mingucci
Giuseppe Pelagatti. ... The son of Cyrus!
Lawyer. Never heard of him!
Mingucci. Ciro Pelagatti?
Lawyer. No, Mrs. Berenice ...!
Joseph. Sister, you know ...
blackmailers. (Imitating VOICE AND TRYING TO WIN THE EXIT) No, I do not know!
Mingucci. Why the rush?
blackmailers. I'm passing ... I was just going away ...
Joseph. (Discover the face) But how is a small world! ...
Min and Joseph. Mrs. Tilde!
blackmailers. Do not cry: I want to ruin?
Mingucci. My father is looking for you too!
Joseph. Mica is not good to ask for money ...
Mingucci. ... And then disappear when you need to return them!
Joseph. A debt is a debt!
blackmailers. Not've got, if I had them ... and Low
Joseph. Get it!
blackmailers. That 's what I was doing, but if the figure continues to rise ...
Joseph. The pacts will know! Harmonic
. (Resume) End Short-chircuito!
Diapason. Sensors: no bua!
Mingucci. If not repaid the money ...
Joseph. ... With interest ...
Mingucci. ... I broke my fingers ...
Joseph. ... One by one! Harmonic
. No touching Ripilina!
Joseph. Are you angry with me, little one?
Diapason. Ripilina: bua done!
Lawyer. Do not you meddle! Harmonic
. Let Ripilina!
Mingucci. Otherwise you do to me?
Joseph. It gives you the totti!
Mingucci. Uh! What pauraaa! Harmonic
. Harmonic Diapason
lever mana .... Energy: far away! (The two criminals stuck)
Mingucci. Let me, Giuse '!
Joseph. And who do you take?
Mingucci. I can not even move ... a muscle!
Joseph. Neither do I!
Lawyer. What have you done?
Diapason. Diapason blocked negative energy!
Lawyer. Amazing!
blackmailers. But how did you do? Harmonic
. We chiel Energy
Diapason. Positive Positive Positive Energy ...!
blackmailers. Angels in heaven, help me ...
Lawyer. They are not angels, they are aliens, and in company with me!
blackmailers. And you might also block ... Pelagatti Cyrus? Harmonic
. Chiro ... no good?
Lawyer. It 's a loan shark!
Diapason. Vavocato explains "Loan shark"!
Lawyer. E 'that gives people a lot of pennies ... ding-
Harmonica. Usurer ...
Diapason. Dear!
blackmailers. But then again ... they want more, more, more! Help me ...
Lawyer. Sister, my "dear associates" ... do not cooperate with criminals of his ilk!
blackmailers. Already, work together with those of his stack! Harmonic
. Prr .... Biz spit ... ... ... short short chircuito chircuito.!
Diapason. Diapason lever mana, energy: far away! (ADVOCATE AND BLACKMAIL stuck)
Lawyer. But we are partners!
Diapason. Vavocato made what is not good! Harmonic
. When vavocato good ..
Diapason. Vavocato free!
Mingucci. Girls ... ... I'm good!
Joseph. I am also very good! ... let me go free!
Mingucci. We have to go help my dad ... ...
Joseph. ... That is so sick!
Mingucci. He has crushed my heart ... ...
Joseph. The lungs ... ... ... spolmonati
Mingucci. The liver ... ... ... sfraganato
Diapason. and Harmonica. Santa suffers?
Joseph. Yes ... it is blind! ... And when I see you coming ...
blackmailers. ... Cries miracle, I see!
Joseph. No ... not blind ... is dumb! ... Yes, silent ... and he always says ...
Mingucci. How did I ever have a child so stupid! Harmonic
. Harmonic offers mana ...
blackmailers. Noooo! There are deceiving! Just free, I will smash your fingers! And then broken off to my sister, my children ...
Lawyer. A nun with children? Ah ha! Too bad "bulb": no good!
Diapason. and Harmonica. No good?
blackmailers. No! It 's good ... very good ... I have them taken ...! Four kids now ... sob
Harmonica. Picchini suffer?
blackmailers. Yes! ... Agony cry, writhe!
Diapason. Diapason puts finger ...
Lawyer. Nooo! She did not give ear! Just free, the offender will begin again with his blackmail! Harmonic
. Vavocato says "blackmail"
Lawyer. And 'something is not legitimate, not just, that is against the law ...
Diapason. ... Of tile?
Lawyer. Of tile, lamp, chair ...
Harmonica. No good ... no good! Blackmail gang (LOSS IWRM) valvoooole!
Diapason. Ghiiiiira blackmail ... (LOSS IWRM) booobineeee!
Joseph. Do not take it anymore!
blackmailers. I'm fainting!
Lawyer. Help me!
Diapason. All men made bua! Harmonic
. Harmonic puts his hand back all healthy healthy!
and Harmonic Diapason. Yes yes yes yes yes! (TUNING FORK OVER THE LAWYER AND THE RICATTARICE, HARMONIC TWO usurers and all recovered MOBILITY ')
Diapason. Now Mingucci boats or to give Ghiusè! (They kiss usurers)
Harmonica. All
Ghiusè .... Dear! Harmonic
. Ghiusè boats or to give Ripilina (GIUSEPPE Kiss the blackmail)
Diapason. All
Ripilina .... Cara!
Diapason. Ripilina boats or to give vavocato! (KISSES BLACKMAIL THE ADVOCATE)
Harmonica. Vavocato
... All my dear!
Diapason. It all comes back to father and picchini suffering. All
. Yes yes yes yes yes!
Mingucci. Thank you ... thank you! We will meet again soon, Ms. Tilde!
Joseph. Thanks! (COME)
blackmailers. Thanks, kids! We will meet again soon, lawyer Lopreno! (OUT)
Lawyer. My Dear Members !.... my members! ... We'll meet again ... soon! (OUT)
Diapason. Vavocato .... (ADVOCATE CLOSE THE DOOR IN THE FACE)
Mingucci. There is Mrs. Berenice?
Lawyer. Who's looking for?
Mingucci. Are Mingucci
Giuseppe Pelagatti. ... The son of Cyrus!
Lawyer. Never heard of him!
Mingucci. Ciro Pelagatti?
Lawyer. No, Mrs. Berenice ...!
Joseph. Sister, you know ...
blackmailers. (Imitating VOICE AND TRYING TO WIN THE EXIT) No, I do not know!
Mingucci. Why the rush?
blackmailers. I'm passing ... I was just going away ...
Joseph. (Discover the face) But how is a small world! ...
Min and Joseph. Mrs. Tilde!
blackmailers. Do not cry: I want to ruin?
Mingucci. My father is looking for you too!
Joseph. Mica is not good to ask for money ...
Mingucci. ... And then disappear when you need to return them!
Joseph. A debt is a debt!
blackmailers. Not've got, if I had them ... and Low
Joseph. Get it!
blackmailers. That 's what I was doing, but if the figure continues to rise ...
Joseph. The pacts will know! Harmonic
. (Resume) End Short-chircuito!
Diapason. Sensors: no bua!
Mingucci. If not repaid the money ...
Joseph. ... With interest ...
Mingucci. ... I broke my fingers ...
Joseph. ... One by one! Harmonic
. No touching Ripilina!
Joseph. Are you angry with me, little one?
Diapason. Ripilina: bua done!
Lawyer. Do not you meddle! Harmonic
. Let Ripilina!
Mingucci. Otherwise you do to me?
Joseph. It gives you the totti!
Mingucci. Uh! What pauraaa! Harmonic
. Harmonic Diapason
lever mana .... Energy: far away! (The two criminals stuck)
Mingucci. Let me, Giuse '!
Joseph. And who do you take?
Mingucci. I can not even move ... a muscle!
Joseph. Neither do I!
Lawyer. What have you done?
Diapason. Diapason blocked negative energy!
Lawyer. Amazing!
blackmailers. But how did you do? Harmonic
. We chiel Energy
Diapason. Positive Positive Positive Energy ...!
blackmailers. Angels in heaven, help me ...
Lawyer. They are not angels, they are aliens, and in company with me!
blackmailers. And you might also block ... Pelagatti Cyrus? Harmonic
. Chiro ... no good?
Lawyer. It 's a loan shark!
Diapason. Vavocato explains "Loan shark"!
Lawyer. E 'that gives people a lot of pennies ... ding-
Harmonica. Usurer ...
Diapason. Dear!
blackmailers. But then again ... they want more, more, more! Help me ...
Lawyer. Sister, my "dear associates" ... do not cooperate with criminals of his ilk!
blackmailers. Already, work together with those of his stack! Harmonic
. Prr .... Biz spit ... ... ... short short chircuito chircuito.!
Diapason. Diapason lever mana, energy: far away! (ADVOCATE AND BLACKMAIL stuck)
Lawyer. But we are partners!
Diapason. Vavocato made what is not good! Harmonic
. When vavocato good ..
Diapason. Vavocato free!
Mingucci. Girls ... ... I'm good!
Joseph. I am also very good! ... let me go free!
Mingucci. We have to go help my dad ... ...
Joseph. ... That is so sick!
Mingucci. He has crushed my heart ... ...
Joseph. The lungs ... ... ... spolmonati
Mingucci. The liver ... ... ... sfraganato
Diapason. and Harmonica. Santa suffers?
Joseph. Yes ... it is blind! ... And when I see you coming ...
blackmailers. ... Cries miracle, I see!
Joseph. No ... not blind ... is dumb! ... Yes, silent ... and he always says ...
Mingucci. How did I ever have a child so stupid! Harmonic
. Harmonic offers mana ...
blackmailers. Noooo! There are deceiving! Just free, I will smash your fingers! And then broken off to my sister, my children ...
Lawyer. A nun with children? Ah ha! Too bad "bulb": no good!
Diapason. and Harmonica. No good?
blackmailers. No! It 's good ... very good ... I have them taken ...! Four kids now ... sob
Harmonica. Picchini suffer?
blackmailers. Yes! ... Agony cry, writhe!
Diapason. Diapason puts finger ...
Lawyer. Nooo! She did not give ear! Just free, the offender will begin again with his blackmail! Harmonic
. Vavocato says "blackmail"
Lawyer. And 'something is not legitimate, not just, that is against the law ...
Diapason. ... Of tile?
Lawyer. Of tile, lamp, chair ...
Harmonica. No good ... no good! Blackmail gang (LOSS IWRM) valvoooole!
Diapason. Ghiiiiira blackmail ... (LOSS IWRM) booobineeee!
Joseph. Do not take it anymore!
blackmailers. I'm fainting!
Lawyer. Help me!
Diapason. All men made bua! Harmonic
. Harmonic puts his hand back all healthy healthy!
and Harmonic Diapason. Yes yes yes yes yes! (TUNING FORK OVER THE LAWYER AND THE RICATTARICE, HARMONIC TWO usurers and all recovered MOBILITY ')
Diapason. Now Mingucci boats or to give Ghiusè! (They kiss usurers)
Harmonica. All
Ghiusè .... Dear! Harmonic
. Ghiusè boats or to give Ripilina (GIUSEPPE Kiss the blackmail)
Diapason. All
Ripilina .... Cara!
Diapason. Ripilina boats or to give vavocato! (KISSES BLACKMAIL THE ADVOCATE)
Harmonica. Vavocato
... All my dear!
Diapason. It all comes back to father and picchini suffering. All
. Yes yes yes yes yes!
Mingucci. Thank you ... thank you! We will meet again soon, Ms. Tilde!
Joseph. Thanks! (COME)
blackmailers. Thanks, kids! We will meet again soon, lawyer Lopreno! (OUT)
Lawyer. My Dear Members !.... my members! ... We'll meet again ... soon! (OUT)
Diapason. Vavocato .... (ADVOCATE CLOSE THE DOOR IN THE FACE)
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