Music.
1 FADE IN: BALLROOM
We are behind a string of well-dressed gentlemen. Over the sound of the music we can make out their laughter. They hold onto one another for support and slap each other on the back. They tilt and bob. We see one of their pink noses when its owner turns to the side and yells something into his neighbor's ear. Finally, the line of men parts and allows us to pass through. We are in a ballroom. Everything is brightly lit, ethereal. There are mirrors everywhere. We see constant reflections of the room in every scene. White walls, candles along the sides and in the chandeliers. The gowns in the center of the room twirl about each other, forming a mass of white clouds on a checkered floor. Having given up on the men, the women dance with each other. They are the focal point of the room, and enjoying it. Moving down through the center of the room, we see all of their beautiful faces. Smiling and laughing, they swing past us, their arms extended, touching each other's hands and shoulders. One in particular keeps coming into view, a blonde. Long, yellow curls turn gold under the bright lights of the chandelier. She is laughing with her friends but we notice that part of her attention is turned towards a group of three men behind her.
We move past the blonde, headed directly for the three men. They are more coherent than the group of men leaning on the walls behind them. One of the three is holding a bottle of champagne. He is younger than the other two, his face appearing boyishly handsome, fine lines of eyebrows, his hair beginning to come lose from its tail. We continue our approach to the three men and gradually begin to hear their laughter and private jokes. The young man pours champagne into the others' glasses, polishes the rest off straight from the bottle, and tosses it over his shoulder. The bottle strikes the wall behind him. The loud crash frightens one of the drunks and he runs away. But another drunk gentlemen, standing equally close to the crash, passes out and falls to the floor. The older gentlemen are wealthier than the young one, judging by their dress and their jewelry. The first man to speak seems to be the straightest of them all, the other nobleman can't seem to stand straight without using his gold cane, and the young handsome man makes no attempt at standing. He now leans against the man with the cane.
NOBLEMAN A
Oh, I don't believe you have the balls at all to ask her for a dance.
NOBLEMAN B
What! Giovanni not have the balls to go after a woman! You're absurd. There is never a safe woman when he's around.
NOBLEMAN A
Then tell me friend. Why hasn't he approached the woman all night long? I say it is because she is no common woman. She is the queen of the ball tonight, an angel sent down from heaven. And if Giovanni is worthy of an angel then that leaves my entire religious conviction in very serious trouble.
GIOVANNI
(Standing up straight at the challenge.)
So, you are willing to bet God on it, then?
NOBLEMAN A
Leave it to you, to turn everything into a gamble. Yes, Giovanni, it is a bet. My faith in God relies on your failure at this point. When you come running back to us, I'll certainly feel more Holy than the city's bishop.
NOBLEMAN B
That shouldn't be too difficult. I believe I just saw his holiness vomiting off the rear balcony.
The two noblemen involve themselves with their own jokes while the young man straightens himself and slips away. We follow Giovanni back down the center of the ballroom. Giovanni cools his walk, tucks the sides of his shirt in, straightens the tail of his hair all while heading directly toward the angel.
2 NEW ANGLE
The lovely blonde smiles at us still dancing, her hands tugging at the arms of the women next to her. Giovanni walks up behind her, handsome and calm. He reaches his arm out and taps her on the shoulder. She barely turns her head. When she realizes it is Giovanni, she drops the womens' arms and turns to face a short bow from Giovanni.
GIOVANNI
Pardon the intrusion. I'm here to ask you for a dance.
BLONDE ANGEL
I know who you are.
GIOVANNI
And my only hope at the moment is to be able to say the same of you.
BLONDE ANGEL
I am Anne. And you are the infamous Casanova. Everyone has already told me of you and your friends. And so my dear Casanova, I am declining. Besides, I've already several fine dancing partners, thank you.
(Anne reaches out for the arms of her dancing friends but can't catch them.)
CASANOVA
I may not have the fine delicate steps of your friends but I shall do my best to honor you with a strong arm to hold and some fine conversation to envelope the rest of the evening.
ANNE
Well, for one, the evening is nearly over. It will soon be morning. And for another, I don't wish to cause any jealousy by consuming the very last man still standing. So my answer remains, no.
CASANOVA
It is never too late, and your friends do not seem jealous at all.
We slowly soar to the air above the ballroom. All of the beautiful women have surrounded the couple with a circle of held hands, capturing them both. Anne looks around, nods her blonde head, and then smiles as she raises her hands for Casanova. They dance.
FADE TO BLACK
3 Credits and title screen begin to roll over successive pictures and music relating to the time period. Eighteenth century Venice. However now there must be a transition from the last scene to the next. This transition will occur in the music and in the videography. As the credits are rolling there will be a slow seamless shift in the music from orchestra to lone piano, from Renaissance Italy to Late Twentieth Century, in other words from Vivaldi's orchestra to Trent Reznor's solo piano. As the music becomes more modern and more naked, so too the images that are rolling behind the credits must become harsher, colder, and more decadent. Whereas our view in the ballroom scene was dreamy, non-real and smooth our view in the next few scenes must be the opposite. The camera must find harsher angles and all the finer, wretched details shown.
4 EXT. VENICE STREET
We stand at the top of a hill staring down the cobblestone street. The sun is rising. There are working class men leaving their houses, walking down the streets, carrying their tools. Their faces are wrinkled. They walk tired and slow.
5 EXT. STREET IN FRONT OF PALACE
We now look down the street in front of the palace where the festival was held. The palace stands graceful but gray off to the right. The poor working class workers are walking along the left side of the street, they keep their heads down, watching the concrete underneath. The wealthy party-goers are walking on the other side. We see a trail of party-goers through the gate in the fence and up the sidewalk to the front door of the palace. Heads are held high, but we see as they walk by us that their make-up is caked and falling apart. The gentlemen have stains on their shirts, lapels are torn, flies are down, a breast is nearly falling out of one woman's gown.
They are walking proud yet there is nothing to be proud of. The sunlight is unmerciful in all of this. It blinds their eyes as they turn past the gate and continues to punish them as it highlights every wobbling fault in their step as they continue down the street.
6 CAFE
Staring directly into the face of NOBLEMAN A, as it rests on a table of a cafe. Throughout the scene his head will not move. He appears dead, the only sign of life being the drool that escapes and runs onto the tablecloth. There are bits of dirt in his hair and a rose tucked behind his ear. All of his clothing is dirty. The black jacket is now gray. The white shirt is now caked with stains of varying shades. Behind him, the other wealthy party-goers death-march by us. Lone piano now begins to fade out.
7 NEW ANGLE
High up and to one side. We now see that Casanova and Nobleman B are at the table as well. Nobleman B doesn't look much better than Nobleman A. His hair is a tangled web of vines and his collars are turned up. He's buried his head in his hands. Casanova in opposition still maintains composure. He is leaned back into his chair, back straight, head held high and he smiles and might even wave to some of the passers by.
NOBLEMAN B
Shit, shit shit shit! Oh God, I wish I were dead. My head feels like it's been shot out of a cannon.
CASANOVA
Perhaps you shouldn't have poured so much gunpowder down your throat.
NOBLEMAN B
The last thing I need now is a lecture from you on moderation.
(Nobleman B unburies head, his eyes are wrecked puddles of mud but he appears to slowly recover as he talks.)
Oh God, would you look at them. They look horrible in the mornings. To think that those are the same creatures I chased round the danceroom last night. Ooohh I think I actually caught one or two of them. Oooohhh, no, I remember now. I did catch one of them. I think it was that one there. I met her after I fell off my cane.
(He points, but we can't tall which way. His arm sweeps in front of us, pointing in the general direction of the sidewalk.)
Why do they always have to make such a parade of it, as though they are proud of their condition. OOOhhh. I'm not so proud of mine.
CASANOVA
It could be much worse.
(He nods down to Noble man A)
NOBLEMAN B
Oh Tonio, Oh Tonio!
(He pokes Tonio's cheek. Nothing happens)
Poor man was a sight last night after he denounced God for you, Giovanni. You should have seen him wandering around, drinking everyone else's wine, saluting the god of decadence now that he has given up God of honor. And he told everyone about the bet and how once again Casanova's success with the ladies has robbed him of another part of his soul. Of course, everyone was all too happy to help him drown his Godless sorrow.
CASANOVA
There is never any problem at all in finding someone to help along with decadence. But to find someone in Venice willing to initiate, that is another problem.
NOBLEMAN B
Well, not with you around. Everyone follows your lead down that path. And it's no wonder, look at how proud they are showing off their battle wounds.
(Looking over Casanova's shoulder)
Hmmm don't look yet, but I see someone over there who seems to be watching you.
CASANOVA
I know.
(Looking over Nobleman B's shoulder.)
And I'm sure she's on her way over here to scold me.
NOBLEMAN B
Who are you talking about?
8 NEW ANGLE
We are now looking directly at Nobleman B and see Anne coming up behind him as he turns around. She is still looking as beautiful as she did the evening before. Her blonde hair is even more heavenly in the sunlight.
9 NEW ANGLE
We are now in a position to see all four of the characters. Nobleman B is glad to see Anne, and Anne is smiling at Nobleman B as well, but her eyes do not even turn to the direction of Casanova. Casanova's head hangs low for a moment then, as it rises he turns sideways, facing away from Anne and Nobleman B. He is obviously uncomfortable with her presence.
NOBLEMAN B
Good morning, fair Anne! I see you've come away unscathed from last evening. I wish I could say the same for myself.
ANNE
Good morning, Angelo. Yes, you and Tonio look much under the weather today. A shame, it looks to be a beautiful day. Tell me, have you seen Signor Casanova this morning?
ANGELO
(looking over at Casanova.)
He's right here, you don't recognize the man?
ANNE
Well, if you should see him please tell him that I no longer wish to speak to him. And when he comes to his senses on what he has missed, then please offer my regards.
ANGELO
What? Tell him yourself, he's right here.
ANNE
Thank you, Angelo. Have a good morning, and I hope Tonio feels better.
(Anne walks away.)
10 NEW ANGLE
We now focus back on the three men again to find Casanova smiling at Angelo. With every movement, Angelo is focused on Casanova and the conversation which just occurred. Both men have immediately sobered up with Anne's visit. Angelo has run his hands through his hair and rubbed the stubble on his cheeks. He lunges at Casanova the moment he believes Anne to be out of earshot.
ANGELO
What the hell did you do? I mean this is no ordinary woman. How could you have fouled things so?
CASANOVA
I did not foul anything. I merely lost her.
ANGELO
You lost her? How could you have lost her? She seemed attracted to you last night. You two were chatting up a storm. I even saw you both heading towards a balcony.
CASANOVA
Well, I didn't lose her until after that.
ANGELO
Did you do something to offend her?
CASANOVA
No, not exactly.
ANGELO
Did you say something to offend her.
CASANOVA
I've got manners, thank you. I did nothing of the sort.
ANGELO
Then tell me what could have happened.
CASANOVA
Promise, not a word to anyone?
ANGELO
I promise, but I'll have to tell Tonio. After all, he no longer has to go to hell.
CASANOVA
All right, you may tell him, but I think it might be fun to leave him in the dark for a while anyhow.
ANGELO
Yes, I'll agree with you there, but someday we should tell him.
CASANOVA
All right then. You saw us go to the balcony?
ANGELO
Yes, yes.
CASANOVA
Well we were having a wonderful time out there. I tell you I had the woman's heart hanging on every word. I don't believe she could have said `No' to me if I would have asked her to marry me on the spot.
ANGELO
Yes, I noticed as much earlier. She did like you.
CASANOVA
So to charm her for a while longer, I felt it necessary to have another bottle of wine. ` Dawn was still another two hours away, and one can only go for so long with a dry mouth.
ANGELO
You mean the two of you were kissing out there? You were kissing the beautiful Anne?
CASANOVA
No, no. I mean that we were doing so much talking. About nothing really, but having a grand time of it. So I excused myself and told Anne that I would be back with another bottle of wine and some grapes.
ANGELO
Ahh, very romantic.
CASANOVA
Yes, I thought so myself. So I went to the kitchen and took a bottle of wine and was searching for some grapes when I made the decision to open the bottle of wine while the corkscrews were close at hand.
ANGELO
Yes, yes, good thinking. It would have been embarrassing to arrive with a sealed bottle.
CASANOVA
Unfortunately, I was very thirsty, and while searching for the grapes, had managed to drink several swallows. Still, nothing too bad though. There would have been plenty left to share. But after I had found the grapes, I decided that I would need a proper way to present them. I needed a basket, you see, and wandered around some more to find the perfect basket for them. I went from room to room and found myself all turned around and couldn't remember where I was going.
ANGELO
You mean you forgot about Anne?
CASANOVA
Oh no! I remembered all about Anne and how beautiful she was. I just couldn't remember where she was. There must be fifty different balconies on the back of the palace. I couldn't remember which one I had left her on.
ANGELO
There are only ten balconies on the rear of the palace!
CASANOVA
Ten, Fifty...it was still too big of a number to go stumbling around.
ANGELO
So what did you do?
CASANOVA
What could I do? I didn't want to dishonor her by running around inside, meeting other women. So I went to the back lawn of the palace and went for a swim in the fountains. Just me, the wine and my grapes.
ANGELO
OH, Casanova! You gave up a beautiful woman for a swim? When this gets out you'll be ruined, your honor will never be the same.
CASANOVA
But it won't get out. That's why you must never tell anyone.
ANGELO
But what about Anne? She'll tell everyone!
CASANOVA
Tell everyone what? That Casanova dumped her? That he forgot about her? That she wasn't even good enough for the likes of Casanova? No, she will tell everyone that I tried my best to win her over, but that I wasn't fit for her. She will retain her honor, and everyone who remembers the evening will help me to retain my honor.
ANGELO
Ooohh, that is too good. Poor Tonio, the only one to truly suffer than from the experience. He believes that he has gambled away his soul. Hah!
CASANOVA
Yes, and my friend that's a joke I'd like to continue for awhile!
11 NEW ANGLE
We are now looking at Casanova. He is smiling and savoring the victory of honor. In the background we see a lone figure in a uniform. The figure is pacing around, and we can just barely make out that he is staring in our direction.
ANGELO
I just hope you'll have the time, because there's that man again.
CASANOVA
What man?
ANGELO
Don't turn. I don't know who he is. I believe he's been keeping an eye on you all morning.
CASANOVA
How do you know he's watching me and not the two of you?
ANGELO
Because, the only reason he'd be watching us is because we are hanging about with the likes of you. Besides, Tonio is out cold, no use in watching him.
CASANOVA
Is he police?
ANGELO
I'm not sure, he's something official. He could be from the Tribunal. I think you may have run out on your welcome here in Venice. You've got a habit of doing that, and the last few weeks here have been putting a strain on the moral fabric of the town.
CASANOVA
Well, I may have been pressing the boundaries, but I haven't done anything illegal.
ANGELO
Then I think you've pressed too hard. And that is all the Inquisition needs for conviction. Trust me, this man is watching you. Maybe you should not go to your house tonight. Maybe you should think about getting out of town while there's still time.
CASANOVA
That's nonsense, I haven't done anything!
ANGELO
You didn't do anything wrong in the last three cities they kicked you out of either! Please, think about it. If you need money I'll get you some. But remember, if you wait until they kick you out you will never be allowed back in. If you leave now, you can return when things have calmed down. I'd hate to see you go, but at least this way there's still hope for your return.
CASANOVA
All right then, let's go. We'll go to my house, gather my gear, and then I'll leave Venice for a month or two.
12 NEW ANGLE
We back up and prepare to follow the men. Casanova reaches under Tonio's left arm, Angelo reaches under the right and they pick the man up and begin to drag him away. We see the lone figure turn and take a few steps behind a building. Casanova and Angelo, with Tonio in arms, head off across the street and down the sidewalk. The man comes out from behind the building and begins to follow them.