The Ice Rink

The cinematographer lies flat on his back with the camera on the sled.

The assistant chalks a new slate.

The director (into the megaphone, his gun in hand)

Roll camera.

The sound engineer

Rolling.

The cinematographer (removing his mouth guard)

Mark it!

The assistant skates at full speed to clap the slate, then goes back behind the camera.

The director

Action!

The grips go into motion, start pulling the sled backwards.

The actress starts running in the direction of the camera.

The whole film crew backs up at full speed on the ice rink to follow the tracking shot.

The sled flies backwards over the ice with the cinematographer lying on top.

The director is pulled at breakneck speed in his rolling bed by the attendant and the two assistants.

The actress runs faster and faster.

The grips put all their strength into not being caught up with, they accelerate even more.

The director raises his arm on his rolling bed and fires into the air.

The actress collapses onto the ice.

The grips bend their knees to bring the travelling shot slowly to a halt.

The actress slides another few meters on her stomach facing the camera before coming to a full stop.

The director

Cut.

The grips let go of the sled, which continues to move backwards slowly, sliding over the ice with the cinematographer and camera lying on top.

The sled, slowly, leaves the ice rink by an open door and starts down the slight slope of a service entrance.

Everyone rushes to the actress, lifts her to her feet, praises her performance, kisses her, congratulates her.

The director turns.

The director

And how was it for you?

They turn around.

The sled is no longer there, it continues its course outside of the rink, takes on more and more speed and hurtles downhill like a crazy machine that can no longer be stopped.

A scream is heard off in the distance, and then a terrible crashing noise.

5

49. EXT. PARKING LOT OF THE ICE RINK - DAY

A car slowly parks on the parking lot.

The script girl gets out of the car, opens the trunk and takes out a wheelchair, which she unfolds.

She brings the wheelchair beside the passenger's seat, helps the cinematographer to get out.

The cinematographer's arms and legs are limp, he wears a small pair of very thick dark glasses for the blind.

The script girl supports him by the shoulder, eases him into the wheelchair and pushes him slowly towards the ice rink.

50. INT. ICE RINK - DAY

In the rink, the script girl, skating gracefully, rolls the wheelchair with the cinematographer over the ice.

She stops him next to the camera, not far from the actor’s and actress’s chairs.

He does not move, remains slumped in his wheelchair, a cane in his hand.

Grips install the camera on a tripod facing the goal.

The electricians gather around the cinematographer.

The cinematographer, without moving from his chair, immobile, explains to them blindly where they should place the lamps, a ten-K there, he points with his cane, a ten-K there, he points with his cane without moving his head, etc.

The electricians move off, start setting up the lamps.

The electricians finish installing the lights.

They come back to the cinematographer and describe the lighting that they have just installed, specify the place of each lamp, the height of the flags, the density of the gels.

The cinematographer listens, makes one or two small corrections on details.

The cinematographer (without moving from his chair)

I'm ready.

The assistant

Everybody in place, please.

The director, on skates (he still limps a bit), goes to the camera.

The director

Okay, let’s do it...

On the ice, the main actor holds the dying actress in his arms, dressed in his goalie's outfit.

He strokes her hair.

They talk softly together, kiss languidly.

The director

Whenever you're ready...

Confused, the two actors stop kissing.

The actress straightens her hair, rather embarrassed.

The actress (to the director)

We were going over our starting position.

The director

Yes, it was very good.

The actor takes his position, out of frame.

The director

Roll camera.

The sound engineer

Rolling.

The cinematographer (in his wheelchair)

Mark it.

The assistant goes and claps the slate, comes back and takes her place swiftly behind the camera.

The director

Action.

The actress is lying on the ice in the last position of the previous shot.

The actor waits, out of frame.

Once the director gives him the signal, he enters frame and falls onto his knees on the ice.

He picks up the actress, takes her in his arms, caresses her cheek and hair.

The actor

Dolores. (Pause) Dolores.

The director

Fine, fine. Cut. (to the actors) Perfect, it was perfect, let’s do it again right away.

51. INT. PROVISIONAL PRODUCTION AND DIRECTION OFFICES - DAY

In the provisional production and direction offices, the producer looks out the bay window at the crew who are shooting down on the ice.

The producer (to a secretary, without turning around)

Venice didn’t call back?

The secretary shakes her head.

The producer

And what if I called them?

The secretary shakes, then nods her head, then shrugs.

The producer

You know, he left me his personal number, Battisti: I must have charmed him on the phone. (resolutely) Okay, yes, I’ll call him (she dials a number on the videophone) (thoughtfully, to herself) I’ll have to make him think the picture is done.

The producer finishes dialling.

On the screen apears an interlude, then the image squares off, disappears, and the face of Mr. Battisti appears at the wheel of his car in Rome, stuck in traffic.

The assistant

Pronto.

The producer

Mr. Battisti. I am sorry to call you at home, I mean to be calling on your private line and in your car... (glowing) but our picture is done! And I couldn’t resist calling to tell you the good news.

The assistant to the director

Your picture is finished. What good news, really. (leaning on his horn, gestures impatiently to the other cars) Avanti, stronza, non vedi che è verde? So when can we see it, dear Madame, I am very impatient to see it.

The producer

Well, that’s exactly why I’m calling, to know when I can organise a screening in Paris. ( hemming) The film still isn’t entirely finished, but I think we will have a copy soon. I’d like to know when you and the Doctor Corbara are coming to Paris?

The asssistant to the director

Actually, Doctor Corbara is not feeling much better. He is still in the hospital... I’m just coming from the clinic now. He didn’t seem too spunky... emphysema, it’s tricky. I’m afraid he won’t be coming to Paris for the next few weeks.