Poniżej znajduje się cytat z książki pt. "Federico Fellini: An Investigation Into His Films and Philosophy" autorstwa Gilberta Salachasa. Jest to opis sceny z pierwotnej, 2.5 - godzinnej wersji filmu, okrojonej potem na potrzeby wydawcy do 112 minut.


Dla nie znających angielskiego: scena ma miejsce po wyjściu Augusta z więzienia, zaraz po scenie, w któej Augusto dowiaduje się o losach Roberto.
W sklepie Augusto natyka się na Iris. Prosi ją, by przekazała Picasso, że wrócił. Dowiaduje się, że Iris rozstała się z Picasso i wraz z dzieckiem mieszka u matki, natomiast Picasso pomieszkuje w hotelach. Iris obarcza Augusto winą za ich rozstanie, wyrażając nadzieję, że Picasso zmieni dotychczasowy tryb życia i wszystko będzie jak dawniej. Augusto podsumowuje rozmowę wypowiedzią na temat wyższości pieniędzy nad miłością.




"The action takes place just before the second scene of the false treasure. This text gives the lie to the optimistic expectations concerning the disappearance of Picasso. He did not, after all, leave his accomplices in order to mend his ways and live a happy and honest life with his wife and daughter.
A street

Augusto is waling in a busy street. Dusk is falling . He enters a grocery store; a little girl runs smack into his legs. He has to step aside to keep from knocking her over, and he immediately recognizes her as Silvana, Picasso's daughter.
Augusto: Silvana. (And then immediately discovering Iris.) Ah! Good evening.
Iris (coldly): Good evening.
A: You've been all right?
He extends his hand to her, but Iris, perhaps to avoid shaking hands with him, takes hold of her daughter's hand.
I: Yes. (to Silvana) Where are you off to? Come.
A (who has not failed to note Iris's coldness, continues more curtly) I've been looking for your husband all day long ... You've moed? ... (And since she doesn't answer, he believes she wants to hide their new address from him.) Fine. Just tell him that I've come back. Good evening.
He takes a step, as if to withdraw.
I (in a tone that reveals her emotion): I can't give him your message. I am no longer living with my husband. I am staying with my mother now. Good evening.
She starts off, and he rejoins her.
A: Where has he gone?
I (continuing to walk, with Augusto at her side): He must be at the hotel, but he is always changing ...
A (insistent): But you've not seen him again at all? How long has it been?
I (still looking straight ahead): Yes, yes, from time to time he comes to see us ...
They continue walking for a moment without speaking, and then:
A (speaking rapidly, but with a smile): The poor fellow ... he was very attached to his daughter ...
I (at once, and in a choking voice): To me too ...
A (looking at her from the side, bitterly and a little spitefully): Perhaps it's better this way. ... He got married too young. At his age, with a family on his shoulders!
I (who stops walking): For what we needed, me and the child, there was no need to steal!
August grows harder as Iris lets her bitterness burst forth.
I (in a slightly trembling voice): If he really loves us, he will change his ways.
A (with a sarcastic smile): There's no going backwayrd. If you really care for him, you would do best to take him back immediately. the way he is. Freedom is too beautiful. Once you've tasted it, you can't give it up.
I: Then in that case it's best if he goes on by himself; but (she looks at him) ... he wasn't like that before he took up with you. ... It's you ...
A (interrupting her): And who forced him to?
I (continuing as if Augusto hasn't said a word): Well, too bad. The child, I'll take care of her. ... If I were to fall sick or be awake all night or smoke like a madwoman or wait ...
She notices that she has a lighted cigarette in her hand; she throws it away and stamps on it.
A: If your husband had only brought back money to you, everything would have been all right. When men make money, you don't abandon them. The more you steal, the more women are attached to you. ... Ah, then we are not abandoned. ...
I (interrupts him, upset. She is still aggressive, but says with great simplicity): Such women act only out of personal interest; they do not really love.
A: That, I no longer believe! Not at my age. ... We know very well that the only thing that matters is (he looks into her eyes) money. Everything else is a joke. (Unknown to him, his voice becomes very moving, and takes on a kind of desperate grandeur) If you have it you are handsome, intelligent, honest, and you have the right to everything. He who has money has everything, but he who doesn't have nay is a poor wretch. He will never have anything. (He continues in a lower tone, his eyes shining.) It's beautiful, money! It's everything!
I (taking a step backward, frightened, then gathering up her courage, says calmly): That's not true.
She goes off."


Istnieją zapisy wypowiedzi Felliniego na temat tej sceny. Stwierdził, że wraz z usunięciem kilku innych scen, pozostawienie jej nie miało już dla niego większego sensu.


Zdaję sobie sprawę z faktu, że film nie jest popularny, więc pozwoliłem sobie zamieścić tylko cytat z angielskiego wydania książki (oryginalny tekst napisany został w jęz. francuskim). Jeśli zamieszczony cytat spotka się z zainteresowaniem osób nie władających językiem angielskim, przetłumaczę go na życzenie, w wolnym czasie. Oczywiście, jeśli chciałby to zrobić ktoś inny, nie będę się sprzeciwiał ;) Pozdrawiam!