"The Forgotten People" Screenplay
Translated by Zheng Liming
forgotten people
Los Olvidados
Mexico 1950 black and white
Screenwriters: Luis Buñuel, Luis Alcorisa
Director: Luis Buñuel
Photography: Gabriel Figueroa
Main Cast: Alfonso Messia, Miguel Inkeran, Roberto Covo
Screening time: 80 minutes
The credits are superimposed on a humble house on the outskirts of Mexico City. The credits are shown along with the music. (Note 1) Fade in. Then it fades in and out to reveal the following images: New York Harbor, Manhattan Island, panorama of the Eiffel Tower panning from bottom to top, the Great Clock on the British House of Commons in London, panorama of the Thames panning from left to right, A bird's-eye view of Mexico City, followed by two shots of the city's street scenes.
Commentary: (At the same time as the above picture appeared) New York, Paris, London, these modern big cities, behind their magnificent high-rise buildings, hide many slums, where there are countless malnutrition, lack of medical care, and no schools. The children on the go, it's a breeding ground for future criminals. Society has tried to change this bad phenomenon, but with little success. Only when the rights of children and adolescents are guaranteed in the future can they be trained as persons of benefit to society. The modern metropolis of Mexico City is no exception to this general rule. Therefore, this film based on some events in real life is not optimistic about it, but only asks social progressive forces to solve this problem.
wasteland · exterior · day
Panorama, a group of children playing. In the foreground is a low wall of stone and planks. One child pretended to be a bull, another a bullfighter, and the other children cheered and cheered around them.
Shouting: (messy) Good! good! Aha, ok, bull! (Note 2)
A close-up panoramic shot: A child, holding a long wooden stick as a pistol, climbs onto the shoulders of a slightly older child. In the background, another child beats an empty gasoline can as a drum. The boy pretending to be the bull rushed towards the shooter who suddenly attacked him. The bullfighter used his shirt as a red cloth. Close-up of the kid pretending to be an angry bull (he grins to see that he's missing a front tooth), his head bowed, his horns stretched forward to attack. The camera turns to the bullfighter and pushes forward on the shirt, which fills the frame. The camera turns to the bull again, which is not facing the bullfighter due to the dodging of the bullfighter. Medium Shot: A teenager named Mazi, wearing overalls and a hat, was drinking something from a metal vessel. A partner was beside him talking to him. Pock stands up, and everyone gathers around him (pans, then pulls back). He began to distribute cigarettes.
Mazi: Now... let's smoke.
The camera is aimed at a child, who has always stayed by the side with a displeased look on his face. He is sitting on a wooden stake, looking down at everyone. The camera shifts to a medium shot of the crowd.
All: (smokes a cigarette) Come on, light it up! Come on, Hawthorn!
The camera is shot upwards, and it becomes Hawthorn's whole body. Mazi enters the picture and gives him a cigarette.
Hawthorn: (still unhappy) Thank you...I don't smoke, I cough when I smoke.
He ducked up again on the stake. Mazi continued to walk to the right (the camera pans down) and handed the pack of cigarettes to another teenager, who was a fried pork rind (Note 3).
Fried pork rind: (rejecting) I don't smoke either, I don't like it.
Asako: (contemptuously) Really! Such a big guy is so useless...feminine.
Pigskin's: Besides, I gotta get to work, man.
Switch to medium and close-up shots: Pedro and a partner are slightly tilted up. Pedro, wearing a seaman's cap, speaks to the fried pigskin outside the painting.
Pedro: Donkeys work.
Panorama of pork rind, pock and bald.
Fried pork rind: No way... bro, there's someone there who's watching over us.
The pigskin man walked away, and the bald man made fun of him.
Baldy: Look how disciplined he is...
Asako: Stop. (to the fried pork rind) Do you know who I saw?
He walked over to the fried pork rind. The camera pans until all three children are framed in the frame.
Fried pork rind: I don't know, who?
Mazi: Haibo.
Deep-fried pork rind: (extremely surprised) Haibo?
Mazi: Yes, he escaped from the penitentiary.
Pork Rind was holding a hat in his hand, looking a little uneasy. The camera is on Hawthorn climbing on a stake. He put his hand to his mouth to make a trumpet.
Hawthorn: Hey, who is Haibo?
fade out.
Main Street·Exterior Scene·Day
Haibo walked calmly on the street. He was wearing a vest and overalls, and a strand of hair fell over his right eye. He had a proud smile on his face, as if he was stronger than anyone else.
Hawker: (Voiceover) They sell flatbread, egg sausage pie. Delicious flatbread! Selling cakes, egg sausage cakes, and flatbreads. Ham, eggs, sausage...
The camera is pulled back, and Haibo walks up to the hawker, who is wearing a white overalls with rolled-up sleeves (close-up, medium).
Haibo: (to the hawker) Here's one.
Hawker: All right, sir. How about some vinegar pickled peppers for you? minced.
Haibo: Put whatever you want.
He reached into his pocket and tried to get some change. The camera shot Haibo upside down. He glanced to the right in a hurry, showing a look of fear. At this time, he heard a horn and ran away. On the screen, a police patrol car stopped by the sidewalk where Haibo had just walked. Switching to a medium and close-up view, the hawker is wrapping a piece of cake in paper, turning around and trying to hand the cake to the customer. Of course, he found that the man was gone. The camera is pulled back and the patrol car is in the center of the frame. A uniformed police officer got out of the car. At this moment, the hawker on the left in the foreground had no choice but to put the cake back into the basket. Meanwhile, Haibo is running away. He looked back from time to time, and finally disappeared into the crowd. fade out.
wasteland · exterior · day
Hawthorn enters the picture and he runs over. Gather with everyone around their leader, Haibo (pan, sideways). He sits down. Medium shot, with Haibo in the center, leaning on a stake. A kid named Ball (Note 4) is shining his shoes.
Crowd: (casually) Here you go, Hawthorn! Hi brother!
Haibo: (according to everyone's interview) Hello, Hawthorn... As I said just now, in the labor camp, if you are honest, people will treat you like a pig. I got there and could deal with their gang.
The camera looked down at the boy who was missing a front tooth, and he smiled.
Pedro: Do they bully people together?
Haibo: (Voiceover) No, sometimes one by one... Don't let them think you're soft, understand? (turns to his camera) Show them that you're a guy, and they'll respect you.
Frontal close-up of Pedro.
Pedro: You're not someone to mess with.
Piqiu: (the camera is facing him) How is the correctional facility? okay?
A close-up shot of the side of Haibo.
Haibo: But the food is not bad, and I still occupy the best bed. But it's better to be outside, so I didn't want to stay there, so I ran out.
In the close-up, the bald man is in the foreground, and then there is the pockmark, who makes a flattering expression.
Baldy: Are you not afraid? It would be bad if they caught you.
Mazi: What are you afraid of? Nothing to fear! This is a real man, he is not afraid of anything.
Homeless A: (camera towards him) Is it because of Julian?
Panorama: Haibo, with his hands in his pockets, answers with his usual calmness.
Haibo: Yes... Damn liar. (I think my shoes are polished enough, so I stand up and take a step forward) Who has a cigarette?
The other kids stand up and surround him (camera pulled back slightly for medium shot).
Homeless A: I don't.
Wanderer B: Neither do I, brother.
Haibo: How about you, Pedro?
Pedro: Right now we have nothing.
Mazi: (turns over empty pockets) No cigarettes, not even five cents, bro.
Haibo: Ah, how can I tell you about the situation I was locked in? But you'll see in a minute...I learned a lot there, and as long as you do what I say, no one will be short of change.
Kids: (pats him on the back) Hi! brother! We promise, Haibo. We will do whatever you say!
Haibo went to the right, and everyone followed him. fade out.
market · exterior · daytime
People carrying big baskets and boxes of fruit passed by. (Camera moves forward) After they step out of the frame, there is a child in a cape and a straw hat. He was alone, sitting sadly against the wall. People passed by him indifferently. A close-up of the child, nicknamed "Little Eye". He is crying. Music from outside the picture. Close-up of the blind man. With a fan-shaped musical instrument strung together with a flute - the pan flute hangs around his neck, and he is blowing it. Turn to the panorama of the little eye. He gets up, walks to the left, (panning) there are some men talking. He seemed to be looking for someone. He returned to the spot in disappointment, sat down again, and kept crying. Panorama of a blind man with a group of people listening to him.
Blind: Now I'm going to sing to you (the camera starts to move slowly towards him) a song from the time of my general, Mr. Porfirio Dias... (hats off; people laugh) Laugh, but it was better then than now As a rule, women stay at home, unlike now, who come here without telling their husbands (laughter).
All the instruments of the blind man appeared on the screen, except for the pan flute, as well as a drum and a guitar. Medium shot. Small eyes looked at him. Turn to a close-up view of the old man.
Blind man: Yes, I sing for you, but it only costs you one peso. In order to be able to eat beans, I had to sing... The price of beans went up, and so did the price of songs (the camera is pulled back, the blind man is sitting in the middle of the audience). Besides, this song is from my General Porfirio era (hats off again).
A close-up shot of a newspaper lying on the ground shows part of the musical instrument and the feet of people around it. Several coins fell on the newspaper.
Blind man: One with two horns, and two with one horn... Let's give some more!
Panorama of the little eye. Pedro enters the frame, and he gestures to the others for them to follow. Haibo, Baldy, Ball and the boy with the missing front teeth followed.
Pedro: That's the blind man.
Haibo: (Brings the other kids to him. The camera pans forward to a medium close-up) Well...you, bald, grab the purse and run and give it to him (referring to Pedro). Then Pedro ran to the other side and handed me the purse. (to the other two) You two wait for me where I said.
Ball: Yes, Haibo.
The latter two walked out of the screen.
Pedro: What if the police catch me?
Haibo: Then throw the stolen items on the ground. If you can't get any evidence, the police can't take you.
Baldy: Not necessarily!
Haibo: (always confident) I know the law, bro... (pulls the bald man to the right) Come on!
Baldy: Then let's go!
Only Little Eye and Pedro remain on the screen. Pedro moves towards Little Eye (camera forward).
Pedro: What did you see me?
Little Eye: Me? Nothing was seen.
Pedro: Then be smart.
He walked to the left, small eyes following him. Panorama: The blind man plays and sings. Haibo and Baldy entered the frame from the camera on the right, and went straight to the blind man (slightly overlooking). Take a close-up shot. Pedro mixed in between the two listeners to see what was going on inside. A close-up shot of the blind man. The bald man appeared behind him, waiting for an opportunity to take his satchel. The bald man was too close: the blind man turned his head to face him as he sang.
Blind man: (sings)...come to your door...tick your heart...don't come near me, wild boy! You smell like bulls all over.
Bald laughed with the guys, but he backed away a little. Close-up, the blind man continues to sing, while the bald man looks around, ready to commit burglary. Medium and close-up: Haibo is in the audience, and he gestures to the bald man for his satchel. Back to the previous shot. Going back to Haibo's camera, he was already impatient. Medium and close shot: The back of the blind man, his satchel can be seen. The bald man was flustered, and when he was sure no one was paying attention, he took out the razor blade and stretched it to the strap of the satchel. Close-up: Bald man's hand begins to cut the belt. Panorama: The blind man is still singing.
Blind man: (sings)... When the bitter punishment consumes you, think of me, and then forget... But if the pain comes to your door and stirs your heart...
Hyber and Pedro watched Baldy's movements with concern. Suddenly, the blind man stood up, raised the probe, and hit the bald man with a stick in the leg. An overhead shot of the bald man's legs (close-up).
Bald: Ouch!
The bald man put his hands on his knees. Panorama: He runs away with a lame leg and with all his might (camera follow-up). He found two companions waiting for him.
Ball: What, hit a lot?
Toothless child: Sit down.
Baldy: (sitting on a box) Heavy enough, but only scratches the skin.
Toothless Child: Let me see...
He rolled up his trouser legs, revealing a deep, long cut (medium close-up of the three children).
Toothless child: son of a bitch!
Bald man: There is a nail on the head of the stick.
Child without front teeth: The meat is turned out.
Ball: How is it? It hurts, right? Let your mother give me some medicine.
Bald: My mom? Let her see me and she will beat me again. She had already said so.
Ball: My mom hates me too. That's why I ran away from home.
Pedro and Hyber come (pan) and get together with the kids (medium shot).
Haibo: Listen, bald...
Bald: what's the matter?
Haibo: Nails are bad. It's bad to get inflamed. Put some ash on it to stop the bleeding. Pedro, go find some!
Pedro: Come (go away) right away.
Haibo: Come on... use this treatment, or your legs will break.
Baldy: (annoyed) The leg will break...
...
Close-up: the blind man's leg. He was walking with the probe sticking out ahead. The other hand held his instrument. The camera pulls back until he stops, then pans from bottom to top for a medium close-up shot of him. Small eyes appeared in front of him, big side turned away from us.
Blind man: Who can take me across the road... How come no one takes pity on a poor blind man? Ah, someone's going to take me across the horse... (extends arm, touches little face full of tears) Why are you crying, child?
Little Eye: (sobs) My dad said I could wait for him here in the morning, but he hasn't come back yet.
Blind man: Ah, I'm afraid it's not because it's too late to come back. Come on, take me across the road, don't you see I'm blind? You have beautiful eyes (put a hand on Little Eye's shoulder and give him a shove). lead me over.
They come out of the picture. Panorama of the street: the blind man and the little-eyed cross the road with their backs to us. There is a bus and several cars in the background. The noise in the street. Five juvenile offenders appear in the foreground, they stop and turn their backs to us. At this moment, the blind man walked across the road.
Haibo: (to the buddies) The fewer people the better, (to the ball and his buddies) You are here waiting. Baldy, Pedro go with me and thank him!
Toothless Child: Come on!
The three children crossed the road together, with small eyes walking in the opposite direction. fade out.
Suburb·Exterior·Daytime
The circus music starts, and the metal frame of a building under construction is shot upside down. The camera pans down, and there is a blind man walking forward leaning on the probe. Panorama: Three children follow him. They picked up stones from the ground, trying to keep the blind from noticing. Reverse shot: the back of the blind man walking forward (medium and close-up). He heard something and stopped. He turned and walked towards us (until it was close-up). Music stop.
Blind man: Have a pity, a poor blind man who can't fight back!
A lump of mud hit him in the face. He dodged as hard as he could to get the mud off.
Baldy: (Voiceover) Come on! Blind old man!
Reverse shot: They throw stones and mud. The blind man enters the frame from the front, waving the probe awkwardly.
Shouting: (messy) Hit him, hit him! You hit from the front. Bald man, hit him on the head! Hit it, Pedro! Come on, bald man, take revenge!
The camera follows the blind man (panorama) as he tries to get rid of his stalker. Haibo pushed him and he fell to the ground. A close-up shot of the blind man who fell to the ground. Pedro pulled his shirt over the blind man's head like a bull. The other two were learning while throwing stones at him. Medium close shot: Haibo holds a large rock in his hand, he notices the pile of musical instruments, walks over, a desire to destroy takes over him: he smashes the big rock on the drum and smashes the guitar . The shouts of the other two children sounded outside the painting. Reverse shot: The blind man stands up, probing in front of him with a probe, and walks towards his instrument. Haibo stumbled and the blind fell again.
Baldy: (Voiceover; mockingly) Take care and don't fall!
Music starts. Panorama: The three teenagers run away; then the camera returns to the blind man on the ground, panning and panning. He raised his muddy head and bumped into a black hen. The music contains mock sounds of cock crowing ironically interspersed. The camera stops on the hen, fades out.
Pedro's Chicken Coop Interior Scene Night
Medium close-up: Pedro in the chicken coop, petting a hen. Kiss it and take a hatching egg. Then came the voices of his mother and younger siblings talking in the house. He put the egg back in its place.
Pedro's Home Interior Scene Night
Panorama: Mother Marta enters the room with a little boy named Tonio in her arms. Two other children followed behind her. Foreground: A bed where she put Tonio and the other two children opened dry food bags.
Nacho and Rosa: Dinner time! dinner's ready! dinner's ready!
Nacho: Mom, what did you bring back?
Marta: Nothing.
Nacho: (opens a box) Look! It's meat!
Marta: Oops, don't move.
Rosa: Who gave it to you?
Marta: Mrs.
Rosa: It's rare for the wife to give meat.
Marta: I said don't move.
Mother picked up her pockets again and went to the kitchen. She was in her thirties, with black hair and still beautiful. A lamp without a lampshade illuminated the room, which was clean and tidy. Switch to medium close-up: three people in the kitchen. The mother opened the pocket and the two children danced with joy. Foreground: The table, Marta sets the food. The two children reached for the meat, and the mother beat their hands.
Marta: Be honest...
Rosa: Oops, Mom.
Marta: Wait, kid.
On the right in the background, Pedro comes in from behind the curtain of the shutter. She stepped forward timidly. Marta turned to him.
Marta: (coldly) Rare, my young master, where did the sun come from?
Pedro: (Vaguely) I was there... looking for work.
Marta: (working non-stop) Been searching all night, hasn't it? So what are you doing now?
Pedro: Mom, I'm hungry.
Marta: (quickly gives Nacho a piece of cake) I told you earlier that if you're hanging out on the street, don't come back for dinner. To feed my children, I have to work as hard as an animal to mop floors.
She handed Rosa another pie, and then cooked Tonio. She got up and left. The picture is a bed. Marta steps into the frame to feed little Tonio. Pedro followed behind her.
Pedro: But I'm hungry.
Marta: (turning to him) You run with those homeless people all day, so let them feed you... don't be ashamed!
The camera returns to the table where the children are eating. Pedro also wanted to reach for something to eat. Marta hit him on the hand. Nacho and Rosa laugh.
Pedro: Why hit me? Just because I'm hungry?
Marta: You want me to take care of your meals. Don't be ashamed!
Pedro: (lonely) You don't love me.
Marta: Why should I love you? With the good things you do. is it?
She also picked up a piece of cake and ate it, then walked out of the picture. With only two children and Pedro left, he was disappointed. He follows his mother (camera pans). She wants to boil water and put the cake in her hand on a plate. Pedro grabbed the cake and escaped through the door in the background. Marta turned around and stared angrily.
Pedro's house, exterior, night
panoramic. Pedro ran out of the house. Other houses in this slum can be seen on the screen. fade out.
Street·Exterior·Night
Shoot up a street light pole. When the camera pans down, a small pool appears, with small eyes sitting next to him, still looking sad. In the picture, Pedro is walking on a dimly lit street with a few wild dogs roaming back and forth. He rubbed his stomach.
Pedro: The pie is delicious!
He approaches Little Eye (pan right to left) and sits next to him (medium close-up).
Pedro: Are you a foreigner?
Little Eyes: (without looking up) No, I'm from Los Reyes.
Pedro: (slaps him on the shoulder) That's also out-of-town, redneck. What are you doing here?
Xiaoyan'er: (music starts) I didn't come here... I was brought here by someone.
Pedro: What are you doing here?
Little Eyes: I don't know.
Pedro: You don't know anything!
He sees someone walking towards him on the right (pan and follow). He went up to meet him, it was a young man in a striped sweatshirt and a straw hat.
Julian: Hello, Pedro.
Pedro: Hello, Julian, where are you going?
Julian: Find our old man. Didn't you see him here?
Pedro: No.
Julian: (looking around) Probably the old place. goodbye.
Pedro: Come on, brother.
Julian walked towards a hotel deep in the alley. The camera follows Pedro, who turns around and walks towards Little Eye.
Pedro: (rubbing his stomach) It's weird, I'm hungry now than ever. have you had dinner?
Little Eye: No.
Pedro: You're not too hungry, are you?
Little Eye: (timidly) I'm very hungry.
Pedro: So you didn't bring any money?
Xiaoyan stood up, reached under the cloak, and took out a few coins. Pedro took it with both hands and ran to the background, where the door of the small hotel with lights could be seen inside. Little Eyes turned his back to us and watched him run. On the screen, the hotel door opened. Julian helped his older father, who was slightly shorter than him, to come out (close-up, mid-range).
Julian: It smells like alcohol, Dad, you're drinking too much.
Father: I'm not leaving. let me go!
Julian: Shut up. Don't be embarrassed (you can see several customers in the hotel) and make people laugh at you.
Father: (stops, staggers) What? You shouldn't say that about your father.
Julian: I don't say that, old man, but you want to have a good and a bad, and the old lady is pointing at you.
Father: (with an annoyed expression) Then point to... (Want to go back to the hotel, but his son stops him)
On the street, by the pool, Xiaoyan was waiting there. Pedro runs from the background with two sweet cakes in his hands. He handed a piece to Little Eye and sat down next to him. They start to eat. A pedestrian crosses the road in the background.
Father: (Voiceover) Don't pester me!
Julian: (Voiceover) Are you feeling okay? Drink like this every night, like a drunk?
Father: (medium shot with son) Me? drunk?
Julian: Yes, you.
Father: Yeah, you're right, I'm having a hard time (wiping a tear)...you work so hard so we can eat...but I...forgive me, my son (camera pulls back) ), I swear to you, I will never drink again.
Julian: (they go near Pedro and Little Eye) You always swear to me like that.
Father: This time it's true.
Pedro: (laughs) Look at your dad drunk!
Julian: What's your business?
Pedro: (takes a step back in surprise) That's...that's it.
But as soon as they passed, Pedro began to laugh loudly again. The camera follows Julian and his father walking home. Father sobbing and standing upright (close-up, medium).
Father: Well, one last time... can you see?
Julian: Why are you here again, old man?
Father: (Voiceover) I promise, this time I…
The camera turns to Pedro and Little Eye, Pedro is laughing, and Little Eye is serious (close-up, medium).
Pedro: Hi! Look at that master drunk...
Seeing that his joke had no effect, he tapped Julian on the shoulder.
Pedro: (defeatingly) Well, I'm leaving now...bye.
He walked towards the background. Small eyes stared at him with his back to the camera. Little Eye started walking, then running, catching up with Pedro deep in the alley. They walked together, and a few wild dogs circled around them. fade out.
Meche's Home · Exterior · Night
music. The camera pans forward across the courtyard to the house. fade out.
Meche's Home Interior Scene Night
The room was shrouded in darkness. A kerosene lamp hung from the ceiling, illuminating the humble living room. Meche's grandfather is sitting on the bed repairing a shoe; Meche's older brother, Asako, walks past him (medium shot).
Grandfather: (coldly) Hand me the knife in the corner.
Mazi: I have no time.
Mazi sat down and sharpened a sharp weapon. Grandfather scowled as he stood up and walked over from the bed to find the palladium knife (camera pans). He returns to the spot (shakes). The camera is pulled back slightly to reveal Meche's mother in the foreground, lying on the bed with her face towards us.
Mother: Animals are better than her mother... What is this Meiqi doing? what about you? I should die alone...
Grandfather: (to Mazi) Go and see why your sister doesn't come back...I have to give her a kick.
Mazi: She will be back soon.
Stables, Interior, Night
Medium and close-up: Meiche is in the stable, carrying a large basket to fetch straw. She walks to the right (shakes). The camera then pans to her legs: a hand grabs her calf. She yelled and hit the hand. Hibo, who was hiding in the straw pile, stood up (the camera pans to a medium and close shot of the two).
Haibo: It's me, Meche... Haibo.
Meche: (angrily) Damn my brother, he always brings homeless people here.
She loaded the basket, and Haibo approached her confidently (patted slightly upwards).
Haibo: Wait, how about we talk for a while?
Meche: (screeching) No...why don't you stay in the correctional facility?
Haibo: Where I like it, I don't like it, so I escaped.
Meiqie: Well, you can go outside. Don't come here to cause trouble.
She turns to go, but Haibo stops her (camera pan to left).
Haibo: I will help you move.
Meche: (Leaning on a wooden pole) Put it down.
Haibo: (faces her) You've become so arrogant after not seeing her for a few months...
Meiqie: Be calm, or I'll call Grandpa.
She goes to the background. Haibo turned in the direction she was going, revealing part of the back of the big side.
Haibo: I'll go, I'll go, since you don't want to.
Meche's Home Interior Scene Night
Panorama: Indoors, Grandpa gets up to go to Meche, but Pock stops him.
Mazi: All right, I'll go. However, you lay down and fell asleep, and then you coughed all night, making others unable to sleep.
He walked towards the door in the background, and the old man came back and sat on the bed.
Meche's Home · Exterior · Night
The camera is aimed at the door, and Mazi comes out of the door. He walks towards the stables (panning). Pedro appeared on the left, and he whispered to Mazi. Little Eye is next to him (medium shot).
Pedro: (quietly) Pock!
Mazi: (walking towards them, the camera is slightly pushed forward) What's the matter?
Pedro: I had a fight at home again, and I came here to sleep.
Mazi: (Looking at the small eyes) Who is this?
Pedro: Lost, sorry.
Mazi: Okay, come on, don't make a sound (turns halfway and walks towards the stable; Pedro and Little Eye follow him to the left).
Stables, Interior, Night
Asako walked in through the door in the background. Meche got down from the ladder. In the foreground, Haibo holds a baby goat.
Mazi: (to Meiqie) The old lady told you to go back.
He walked to the right of the background. Pedro, who had just come in, found that Haibo was also there.
Pedro: Hello, Hyber, what are you doing?
Haibo: Hello, Pedro. (Spots the little eyes) Ah, so many guests.
Meiqi enters the picture. She sees Little Eye, and looks into his eyes with her shoulders rounded (medium close-up). Meche is in the foreground, blocking the others.
Meiche: With beautiful eyes, who is he?
Pedro: (walking up and standing among them) Um...Small eyes...I came across it at the market.
Meiche bent over to the new kid, and Haibo stood up, staring at her as he approached.
Meche: Why are you looking at me?
Little Eyes: I...no.
Meche: (playing his role jokingly) I don't, I don't.
Haibo: (to Pedro) Why bring this fool? Best to chase him away.
Pedro: Leave him alone, there's no room for us here.
Meiqie: (to the little eyes) Do you have any relatives?
Haibo: (sarcastically) Probably not many.
Xiaoyaner: Yes, I have a father.
Meche: Where is he?
Little Eyes: I don't know either. He said let me wait for him at the market...but he still hasn't come back.
Pedro: It's from out of town.
They looked at each other questioningly.
Mazi: (to Meiqie) Okay, let's go... (to the others) Don't touch the animals and don't make any noise (leave with Meiqie). See you tomorrow morning.
As Meche passed Haibo, Haibo grabbed her arm and tugged at her hair as if to kiss her.
Haibo: Good night, Meche. When I get rich, I will marry you.
Meche pushed him away and ran towards the background.
Haibo: Don't worry about those hens!
Medium Shot: Frontal view of three children. They look towards the door (slightly upside down). Behind them, a lamp hangs from the ceiling.
Haibo: Okay, let's not touch the animals. See, which animal will milk us before going to bed.
Carrying a bucket, he walked over to a female donkey standing in the middle of the house, and he wanted to milk it. The camera pans forward to a medium close-up, showing Haibo and a crouching Pedro.
Haibo: How did you do it? Not a drop. so stingy...
He looked around. I want to see which one has the milk.
Pedro: (pointing to the right) Look at him!
Medium and close-up: A bird's eye view from above, he is sucking the teat of a female goat. There was the sound of clucking chickens. Turn dark.
wasteland · exterior · day
Medium shot: Five teenagers get together, with Haibo in the middle.
Haibo: Okay, let's gather here today for something. (Takes off Ball's scarf) Use the scarf for me.
Ball: What do you want it for?
Haibo: Ah, I will pay you back.
Ball: (angrily) Don't you see my throat is swollen?
Haibo: You are not a beggar. (to Pedro) You, come with me. You guys wait a moment.
The ball covered his throat with his hand. Pedro, complacent at being picked, kicks the bald man contemptuously. Medium close-up: Pedro and Haibo are shot upside down as they walk out of the clearing. The leader put a hand on Pedro's shoulder. They stopped by a broken wooden wall and stood face to face.
Haibo: What happened to Julian?
Pedro: (surprised) Julian?
Haibo: (sternly) Yes.
Pedro: I saw him last night.
Haibo: Is he still working as a temporary worker there?
Pedro: No, now he works in a pork rind shop.
Haibo: Where?
Pedro: If you want to go, I'll take you there.
Haibo: (firmly) Go and talk to him.
Haibo walked past the camera, covering the lens.
Pigskin Shop, Interior, Daytime
The shot starts at Haibo's back as he walks away from the camera until his entire body can be seen, with Pedro with him. In the background is a fried pig skin shop, a few large pots, and three or four people, one of whom is Julian, who is drying the boiled pig skins on the roof piece by piece.
Pedro: That's him.
Haibo: Tell him I'm here and see if he dares to come.
Pedro: Be careful, he hits hard. Just because I don't smoke, the shelf is big.
Haibo: (pushes Pedro) Go!
Pedro went. Haibo faces the camera, hangs his left arm with a scarf, feigns a fracture, and then picks up a large rock and hides it in the scarf (close-up, medium). Side shot of Pedro. He passes through the people who are deep-fried pigskin (pan and sideways). He climbed a small ladder and spoke to Julian, who was on the roof. A medium shot of two people (slightly upside down).
Pedro: Hello, Julian!
Julian: Hello, Pedro!
Pedro: Here comes Hyber (pointing to where Hyber came).
Julian: (straightens up, unhappy) Who? Haibo? What is he doing here?
Pedro: He said he wanted to talk to you.
Julian: (Definitely) If he wants to find a ballast, he will find a ballast.
Pedro: He said to see if you dare to go.
Julian: See you later.
In the first set of shots, the boy with fried pork rind was stirring in the pot with a large spoon. Julian walked up to him.
Julian: I'll come when I go.
Fried pork rind: Even the boss can't do this, you should be smarter.
Julian: Just a minute.
Fried pork rind: Go ahead.
Julian is gone. Panoramic view of the location of the fried pork rind shop (slightly overhead). Julian and Pedro walk towards us, (panning from top to bottom) to join Haibo.
Julian: (confrontationally) What do you want?
Haibo: (in a defiant tone) We're going to be gone someday, aren't we?
Julian: See me? ... why did you call me here?
Haibo: I want to talk to you, but not here.
Julian: Anywhere.
Haibo: Let's go then.
The three walk out of the foreground from the screen. fade out.
Suburban · exterior · daytime
A metal frame can be seen from the pork rind shop. Three people enter the picture from the foreground. Julian leads, followed by Pedro and Hyber (panorama).
Julian: (turns back to Haibo) Okay... we've gone far enough. What's the matter, tell me.
Haibo: Well...I just want you to remember that I was in a cage for a year because of you.
A close-up shot of the two, Haibo is in front. Julian's big side back.
Julian: (pushing Haibo a little further with his hands) Because of me?
Haibo: Right. Wasn't you the one who exposed me?
Julian: (reverse shot) If it was me, I would tell you... don't think I'm afraid of you (hands on the thighs are clenched into fists). I don't expose anyone.
Haibo: (close-up in the side view of the two) I just want to warn you that good will be rewarded with good, and evil will be rewarded with evil.
Julian: (shakes Haibo's shoulder) You're beautiful. Threatening me because you know I can't beat you (pushing him further away). You don't want to go back quickly, see I have to make you honest. (As Julian turns to talk to Pedro, Haibo begins to secretly take out the hidden stones) You...you tell me this kind of nonsense again and watch me smash your mouth.
Switch to a medium and close-up view of the front of Haibo (slightly tilted). He was about to throw stones. Panorama: Julian faces us, with his back to Haibo, who threw the stone at the back of Julian's neck. Julian screamed and fell face to the ground. Pedro took a step towards him. Medium close-up: Julian screams in pain with his hands on the back of his neck. He stands up, staggers, and finally falls on a broken branch next to a tree (more intense music plays, camera pulls back). Haibo enters the frame, picks up a thick branch and hits Julian hard on the back and head. Switch to medium and close-up shots, and shoot the front of Haibo. His face was contorted with cruelty. His weapon was still falling on Julian, who was already unconscious. to panorama. Pedro ran from behind Haibo and tried to grab his branch.
Pedro: Stop fighting! Haibo! stop fighting!
Haibo took a few more blows before he stopped, then looked around, dropped the branch, and turned Julian's pocket over. He took a few banknotes and stood up while counting. He takes a few steps forward (still in frame), and Pedro is with him (switch to medium close-up, upside down).
Haibo: We have to leave before he wakes up. Make him remember not to be a whistleblower (give some of the money to the trembling Pedro). Here's to you.
Pedro: (frightened) He wakes up to get revenge on us!
Haibo: (soothingly) I'll let him fall asleep when he wakes up. let's go...
market · exterior · daytime
The blind man walks with a probe, first panorama, then medium shot (following and panning).
Blind man: Excuse me...I have to cross the road (pause). Did no one hear? A poor blind man is about to cross the road.
Little Eye: (beside him) I took you, sir.
Blind man: (hears his voice) Ah, you are the kid from yesterday. Are you still waiting for your dad? (The camera is pushed forward slightly)
Little Eye: Yes, sir.
Blind man: (turns around) Can't come back (they cross the road, the camera pans back to their side). This kind of thing happens every day. Too poor, too many people get in the way (he stopped in the middle of the road, changed to medium and close-up). Hey little guy, I need a helper. Follow me, you will have a home and food...
Xiaoyaner: What about my father?
Blind man: (trying to convince him) I come here every day, you can wait for him... take it, hold this... (hands the drum to him) If the police ask you, say I am your guardian following him). Let's go.
They went to the right. fade out.
Front view of Meche's house · exterior view · daytime
panoramic. Little Eye led the blind man from the left. The child carries all the musical instruments on his back. Behind the fence, Meche and her sisters are in the yard.
Meche: Come on, Mr. Carmelo. Is that you, little eye? What are you doing with him?
Blind man: They call you little eyes! ...what a funny nickname.
They walked into the yard with their backs to us.
Blind man: (to the little eye) Well, wait for me here.
The blind man entered the house.
Meche's Home Interior Scene Daytime
Foreground: Meche's mother is lying facing the camera. The blind man came from the background leaning on a probe.
Blind man: Hello, how are you today?
Mother: Better, but no one cares about me.
Blind man: (lifts the blanket) However, your children are all grown up!
Mother: Only eat. Mazi wanders the streets all day.
Blind man: (massaging her back) What do you want him to do? let them stay here? Couldn't stop here. Please turn over.
As she rolled over, the blind man bent over to look for something under the bed. He took out a white dove tied to the bed with a strap.
Mother: (Voiceover) My mother, please help me! Show mercy. Don't make me hurt so much.
Medium shot: The woman looks at the blind man, with her back to the camera. The blind man straightened up, took the dove in his hand, and stroked its beak.
Blind man: That's fine. Look at this pigeon. All your pain is passed on to it. It's just that you died just now, and you'll be fine.
The blind man put the pigeon on the back of the sick man.
Mother: By the blessing of the Father, Son, and Holy Spirit! ...it doesn't hurt so much now.
Overhead shot, camera pushed to the woman's back: the blind man makes a hypnotic gesture to the pigeon (close-up).
Meche's Home, exterior, daytime
Panorama: Meche is tending to her sister, then washing clothes in a large tub.
Little Eye: What is my guardian doing inside?
Meiqie: (Mid-close shot, slightly upside down) It's for my mother, she's ill. Severely ill, Mr. Carmelo used a pigeon to ward off her pain.
Little Eye: (turns to panorama) That's useless. (starts walking)
Meche: Useless? ……What do you know.
Little Eye: (Takes off the straw hat, and takes off a talisman hanging around his neck) Look!
Meiqie: (stops what he is doing and leans forward) What is this?
Small Eyes: (the camera moves forward to a medium and close shot of the two) This is a dead man's tooth. However, it is a good thing. Wear it and never get sick, and whoever looks at it doesn't mind (hand it to Meche).
Meche: (looking at the tooth) Where did you get it?
Little Eyes: (reverses the camera, highlighting him) I found it in the cemetery...I will wait until a moonlit night to get it back. Otherwise it's useless...if you like it, give it to you.
Meche: (reverses the camera. Blissfully) For me?
Xiaoyaner: (hanging this treasure around Meiqie's neck) Yes, take it.
Meche: Thank you.
Medium Shot: The blind man comes out of the house and turns around.
Blind man: (to the house) Goodbye then, I hope you get better slowly. (calling) Meche, my bottle!
MECHE: (goes into the frame, holding a bottle) Here, Mr. Carmelo.
Small eyes followed Meiqie.
Blind man: (to Meiche) Aha! This child will come to you from tomorrow. Do you hear me, little eye?
Little Eye: Yes, sir.
Blind man: let's go...
The blind man drank as he walked to the left. He walked towards the courtyard door, and Xiaoyan followed him.
Blind man: Ah, there is nothing better than donkey milk.
fade out.
Main Street·Exterior Scene·Day
Medium Shot: A legless disabled man sits on a wooden cart with four small iron wheels that walks down a sloping street (camera pulls back). He was wearing a top hat and tie and was smoking a cigarette. One foot stepped into the picture and stopped the car with the inscription "You respect me". The camera pans from bottom to top with the sight of a legless person, framing Haibo with his hands in his pockets.
Haibo: What? Won't you give me a cigarette?
Legless Man: I don't feed homeless people.
The camera pulled back slightly, and Haibo turned around and whistled. Panoramic view of the whole sloping street: the legless man wants to walk (music starts); the street is immediately filled with Haibo's accomplices, and they surround the legless man. Haibo motioned for one of them to go to the sentry.
Haibo: Not so cheap.
Switch to a medium close-up of the whole. Some of the children are squatting, some are hunched over.
Legless Man: What do you want?
Haipu: I told you, smoke.
Legless Man: (Definitely) Buy it yourself.
Haibo: But we have no money.
Legless Man: Then go to work, slob. go away!
He pushed a few children. Mazi and Piqiu didn't stand firm, and the legless man was about to leave when Haibo stood up. Panorama: The legless man was immediately caught up and surrounded.
Kids: (messy) Hello, hello. I'm going to buy your "nylon" shoes.
Legless Man: Police! Policemen!
The bald man took off his bag.
Haibo: Shut his mouth!
Legless Man: Police!
Haibo: Lift him up!
Medium and close-up shot slightly upside down: they lift Wu-stee-man, who is still shouting loudly.
Legless Man: Police! Policemen!
Haibo: Keep his mouth shut! (The legless man is still in mid-air, and Hypo takes his purse.) Watch out!
Panorama of the street.
Haibo: Put him here.
They put the legless man on his back on the sidewalk.
Haibo: Run!
All of them fled, throwing the legless man's cart out of his reach before running. Medium shot of the legless man shouting and waving his arms in desperation.
Legless Man: Police! Policemen!
He finally sat up, looking in the direction the children were fleeing. Panorama of the street: Haibo walks into the frame and kicks the legless car forward. He goes to the front of the frame and walks out of the frame to the left. Music stop. fade out.
church square · exterior · daytime
Panorama: Shops, pedestrians can be seen. fade out. Panorama of the Haibo gang: Pedro drinking from a bottle. Mazi was talking to a child with fewer front teeth. The ball was sitting on the box of his shoeshine. The other two younger ones sat on the edge of the sidewalk and looked at them admiringly.
Ball: Hey, how about a coin game, bro?
Pedro: But no money.
Ball: Let's have a game if you want.
Haibo walks into the frame from the foreground with money in his hand. He distributed the spoils to everyone, and everyone was very happy.
Haibo: Take it, one peso for everyone to share.
Kids: (messy) Good! Very good!
Haibo: Take it...it's nothing, trivial, I don't care about this...I'll make you believe me, just wait and see.
Up close-up shot: Mazi is drinking a drink from a bottle. He wanted to laugh when he heard their leader say the last words, and the drink from his mouth splattered on the face of the boy with fewer front teeth. The child with fewer front teeth wiped his face and laughed together with Mazi.
Ball: (Voiceover) What's the matter?
Mazi: How do you think that ghost paralyzed walks that sloping street!
Panorama: Bald man running (pan).
Baldy: Where have you been, boys? I've been looking for you for an hour. Don't you know something happened?
Everyone: (looking at him, still smiling) I don't know. What's up? Say it, say it! (The bald man took the bottle and took a few sips)
Medium shot. The front of the bald man (slightly overhead). Pedro and Hyber are in the foreground, with their backs to us.
Baldy: (wiping his mouth) Julian is dead!
Close-up: Pedro and Haibo stare at the bald man (upside down). Pedro turned his head.
Crowd: (Voiceover) Stop bluffing, Julian? Where?
This time it was Hyber looking at Pedro. Back to the previous shot.
Baldy: It's on the little flat near the fried pigskin shop...he was beaten there, and there were a lot of people around.
The ball seemed particularly disturbed, and he looked at Pedro. Panoramic view of the crowd: the bald man is in the foreground, with the big side facing away from us. Only Hyber and Pedro didn't look at him.
Mazi: Do they know who did it?
Baldy: I don't know, a policeman said it was shot from behind.
Ball: Let's go and see?
Asako: Let's go.
Everyone was gone except Hyber and Pedro. They walked a few steps and came back.
Ball: Let's go, Pedro.
Pedro: (hesitatingly) Well, well… let’s go.
Mazi: What's wrong with you?
Pedro: Me? nothing.
Haibo: Come on, let's go.
Baldy: Don't be too late.
The camera followed the last Mazi who left. Medium close-up: He stopped, paused, smiled slightly, and seemed to understand something. He looked back at Haibo, who was standing there, and ran after everyone. Switch to Pedro's medium and close shot: he is looking at Haibo; switch to Haibo's medium and close shot: he is looking in the direction where everyone is going.
Pedro: You killed him! (drops eyes)
Haibo: (looking at him) I didn't mean it, since it's already like this... (very indifferently) There's no way. Hey, if you want to arrest us both, keep your mouth shut (music).
Pedro: (very quickly) Catch me? why? I did nothing.
Haibo: (Tough tone, grabs Pedro's arm) Nothing? Didn't you find him? Didn't you get half of the money you stole? If you catch us, I will be sentenced to ten years, but to you... it will take five years.
Pedro: (touches his head, raises his eyes) So what do we do?
Haibo: (Looking around) We have to separate first, so they don't see us together, and if we catch one, we won't say the other.
Pedro: (Vaguely) All right.
Haibo: (tugging his arm) We're more united now than ever, and why... you know.
Haibo stepped out of the picture, leaving Pedro alone, as if weighing the severity of the disaster. He sat down on the shoe-shine box of the ball, all alone, chin on hand, head bowed (overhead shot). fade out. Music stop.
Pedro's Home Interior Scene Night
Pan the camera, a bed, two children sleep on it, and a girl appears halfway through. The lens is pulled back. Only the faces of the children are bright. Hear the door slam. Pedro creeps in, tiptoes over to his bed (pan). Foreground: He takes off his sweatshirt and shoes and goes to bed. Behind him, his mother slept on the other bed. fade out. Pedro fell asleep. The room was very bright, and a chirping was heard. The music begins, the dream begins: Pedro seems to have become two, one is still asleep, the other is up, looking at himself in fear. Pedro's back, in front of him, a white hen flying down from the ceiling (slow motion). Medium and close-up: Mother in pajamas, sitting on the bed with a loving look on her face. Everything is slow motion. Medium shot, Pedro leans over to look under the bed. Looking down under the bed: Julian's body appeared, with blood on his forehead and his mouth open, as if he was smiling. A few white feathers began to fall on Julian's body, his head shaking. Julian's figure, motionless, is now moving again. Pedro got up from the bed. Close-up of mother, she is smiling. She cannot be seen talking on the screen.
Mother's Voice: Pedro, listen, child, what have you done?
Pedro lay down on the bed again. Mother gets up, stands on the bed, slightly lifts her pajamas and gets out of bed, all in slow motion. She walked up to Pedro, who was lying on the pillow watching her. She sat down beside the bed. A medium and close shot of mother and son, highlighting the mother.
Mother's Voice: (kindly and tenderly) Listen to me, my son...you are a good boy. Why do such a thing?
Pedro's Voice: I didn't do anything. Haibo did it. I just saw it.
Close-up: Pedro looks at his mother off-screen.
Pedro's Voice: I've always wanted to be with you...but you don't love me.
Close-up: the front of the mother. He stretched his hands out in front of him. Slightly tilted.
Mother's Voice: That's because... I'm so tired. You see, my hands have washed so many things, what has become.
Switch to a medium and close-up shot of the two sides.
Pedro's Voice: (sits up) Why don't you ever kiss me? (puts arms around mother's shoulders, mother kisses his forehead) Mom, I'm going to be a good person from now on (she puts her hand on the back of the baby's neck). I'm looking for work to give you rest (she puts the baby's head on her shoulders).
MOTHER'S VOICE: Well, my child (let him lie down lovingly).
The mother leaves and the music continues. A gust of wind was heard. Taking a close-up shot of Pedro, he got up. There was a thirst for love on his face.
Pedro: Mom!
Panorama: Mother walking forward (close-up, medium), front. Behind her, Pedro stood up on his elbows.
Pedro's voice: Mom...why didn't you give me meat that night?
Mother began to turn around. Her front (medium close-up). She was holding a large piece of meat in her hand. A bolt of lightning flashed across her face, and thunder was heard. She closed her eyes. The wind blew her hair. She handed the meat to Pedro and stepped forward for a close-up. Panorama: Mother walks towards Pedro with his back to us in the foreground. Pedro sat on the bed, reaching for the meat from his mother. The wind is getting stronger. A hand came out from under the bed to take the meat. Only part of the mother is visible on the left side of the screen. Panorama: It was Haibo who took the meat, and he came out from under the bed. Mother stepped back a little.
Pedro's Voice: Give me the meat, it's mine! mine!
Haibo grabbed the meat tightly with both hands. The mother turned indifferently and walked towards her bed. Haibo snatched the meat from Pedro's hands with a triumphant look on his face. Thunder and lightning. Pedro lay empty-handed on the bed. Haibo went back under the bed. fade out. The wind stopped, the music stopped. Medium close-up: Sleeping Pedro (overhead). Pedro rolls over, sits up and lays down with his back to the camera, covered with a blanket. Turn dark.
Main Street·Exterior Scene·Day
A large angle overlooking a street in the city. We are facing a shop. fade out. The shop's font size: "The owner of the knife and scissors shop: Juan Ferrusca F.", with several scissors and a knife prominently painted on it. fade out.
Knife and scissors shop, interior scene, daytime
A close-up of a bellows. The camera is on the back of a man who uses pliers to pick up a piece of red-hot iron, place it on an anvil, and start working on it. (pans and pulls back) Panorama: The boss and a worker strike iron. Pedro was standing with his back to us by the door frame. The camera pans slightly to Pedro's side, and the glass window next to him reads "Apprenticeships." He walked into the store and was about to apply for the job. fade out. music.
Meche's Home Interior Scene Daytime
Panorama: courtyards and houses in bright sunlight. fade out.
Stable · Interior · Day
Medium close-up: Meche crouches. She is milking a female donkey (top view). She is in the dark. In the background, small eyes stared at her. The camera is on the upper floor, where Haibo is hiding, his face down. Hear the sound of milk being squeezed into the bucket. Haibo was lying on the railing to see what was going on below. With his eyes panned to the scene just now. Meiche stood up, walked away with the bucket, and followed her with small eyes. Medium Shot: Meche puts the bucket on a crate. Pick up the blind man's bottle for milk. Little Eye entered the picture from the left, looking at her.
Meche: What are you looking at?
Xiaoyaner: This milk...the best for moisturizing the skin.
Meche: (looking at him) What did you say?
Little Eyes: Just dip a piece of cloth in the milk, apply it here, all over the body...then the skin will be as smooth as silk.
Meche: What a jerk! You know everything.
The bottle is full of milk. Switch to Haibo's medium and close-up shots.
Xiaoyaner: (Voiceover) My mother often goes to the homes of women who are about to get married to comb their hair and apply "white powder" to them.
Turn to Meche and Little Eye. Meche handed the bottle to Little Eye.
Little Eyes: Alright, see you tomorrow (turning to leave).
Meche: (stops him) Are you telling the truth?
Little Eyes: That's right (turns around again), goodbye (walks out of the screen).
Meche: Goodbye, Little Eye.
She thought about it for a while, looked at the milk in the bucket, and then lifted the bucket and sat on a wooden bench (the camera moved with her). She soaked the handkerchief in the milk and rubbed it on her arm. Then lift the bucket and pour it onto your thigh, rubbing it evenly with your hands. The lens is pulled back slightly to form a panorama. Haibo jumped suddenly and jumped in front of Meiqie. She was startled, stood up hastily, and covered her thighs with her skirt. Haibo looks at her greedily (medium shot).
Meiqie: (shocked and frightened) Haibo! I thought you were gone!
Haibo: Are you here...?
Meiqie: Be honest, or, when Grandpa comes, you will see.
Haibo: (sarcastically) What's so great about your grandpa... (she's leaving, grabs her arm to stop her) Hey, wait, where are you going?
Meiqie: (breaking away) What are you doing?
Haibo: Look at you, damn it.
Meche: Let go!
She wanted to get out and shouted. Haibo chases after and catches up to her (pan).
Haibo: Wait, I won't eat you again, hi.
Meiqie: (Threatening him with an iron bar) Go away, don't come near me, or I'll call someone.
Haibo: If you want me to kiss, I will give you something.
Meiqie: (angered slightly) What did you say?
Haibo: Two pesos, how about buying what you want?
Meche: Let me see!
Haibo: (takes a few notes from his wallet) Look...
Meiqie: (puts down the iron rod and approaches him) Just for a moment, eh? (Pushes her face in. Haibo grabs her and tries to kiss her on the mouth. She struggles) Let me go, let go, don't touch me, be honest!
Meche's Home, exterior, daytime
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