The Color Of The Paradise

Titles and credits on a black background during the following sequence. Man Voice Over: "Oh, Thou who are hidden, Oh, Thou, who are visible everywhere, I shall find shelter in no one else but Thee, I shall call no other name but Thine." An instrumental music follows but is soon interrupted by the metallic sound of a cassette being stopped in a cassette tape player. Voice of man: Is it yours? Voice of a boy: No, Sir. Sound of the tape ejected from the player. We hear another tape playing music. Voice of man: Whose is this? Voice of a boy: It's mine, Sir. Voice of man: Come and take it. The tape player is stopped. Voice of man: Whose is this? Voice of boy: It's mine, Sir. Voice of man: O.K., come and take it. Sound of another tape. We hear the voice of an old woman singing with the accent(pronounce) of the North or Iran. Voice of the old Woman: My little Mohammad, la la la, my darling, la la la, my sweet, la la la.... Voice of a boy: It's my tape, Mr. Rahmani. End of titling and credits. 1. Day - Interior - Dormitory of Educational Center for Blind. Close shot of a tape player surrounded with cassettes. The sound fades out. The hand of a man stops the cassette player and removes the cassette. Panoramic view of a 27 years old, black-bearded and pleasant man. This is Mr. Rahmani, the instructor in the Center. He is sitting at a table and the children are standing around him. Mohammad is standing next to the him. Rahmani: Who was that on the tape, Mohammad? Mohammad: My grandmother Aziz, Sir! Rahmani: I told you I was sure we would find it and you shouldn't worry. Now take it, but be careful with your belongings. Rahmani puts the tape in Mohammad's hands.

Rahmani (addressing the boys): I've already told you not to pick up things you find far from your beds or cupboard. Instead, give them to me to see if they belong to you or not. Now, those of you who have got tapes here, you may stay, the others should go to do their homework. Those who are over with their homework, should go and pack their bags; the day after tomorrow, your parents will be here to fetch you. Holding the tape in his hands, Mohammad walks along with other children toward the corridor of the dormitory. There are about 20 to 30 bunk beds set on two rows. Mohammad's bed is one of the lower ones. He sits beside it. 2. Day - Exterior - In front of the dormitory and the yard of the Center. Holding their books, a group of children is walking toward the school building. Another group is coming out the dormitory. Mohammad is in this group. The boys seem familiar with the way and walk naturally. Through a loudspeaker the voice of a man calls the boys to attend the classes. 3. Day - Interior - Classroom. The children are sitting at the tables. A female teacher is walking in the classroom and giving the children a dictation. Teacher: The sun lights up the earth. During the day the sun shines and warms up the earth. Sunny days are warm and bright. The children write down at a fast pace using squared papers and a small instrument to emboss the paper with Braille letters. We hear the noise made by this process. Several shots of this activity. The teacher stops and closes the book. Teacher: Now, you have five minutes to read what you wrote. This is the time to ask questions, if you have any. The children start to feel the paper with their fingers, read and whisper. Several shots of these activities. Then they hold their paper up and the teacher collects them. 4. Day - Interior - The Center dormitory. Holding a box of cookies, Rahmani enters the dormitory. A group of children is standing beside the bunk beds at the far end of the dormitory. One of the boys is playing on a small organ. Some of the boys are collecting their belongings. Two or three boys join the group. Mohammad is collecting his belongings. He has raised the mattress of his bed and is picking up different things that were there. He picks a red hairpin with a feather and puts it in his shirt's pocket. There are other things, black and white feathers, some foliage, threaded bottle caps, a half broken mirror, stones in different

shapes, three postal cards representing flowers and landscapes, several white papers with scribbling, etc... Holding the cookies box, Rahmani approaches Mohammad to offer him some cookies. He notices the raised mattress and the things Mohammad is busy with. He is surprised and puts his hand on Mohammad's shoulder. Mohammad notices his presence. Rahmani: Look at this! Is it a bed or a cupboard, Mohammad? What is this junk you have collected here? Mohammad (smiling): What do you mean by "junk"? These are presents. Rahmani: Oh, presents! O.K., take a cookie. Mohammad (seriously): Thank you very much, Sir! but I am busy now. Rahmani: When you're finished, come and have a cookie with the others. Mohammad nods and begins putting the things in a small bag. Rahmani reaches the far end of the dormitory, where the children are sitting and playing music. Rahmani: Well, You're enjoying yourselves! What is this you're playing?! Play something happy! The boy begins playing a happy song. They clap their hands. Rahmani passes among hem offers them cookies. Close shot of Mohammad. He is holding the red hairpin and feeling it with his fingers. Over the image of Mohammad's face, we can hear the music and the clapping. He is smiling sweetly. 5. Day - Exterior - The yard and the entrance gate of the Center. Close shot of a strong boy beating his chest and trying to whistle like a train. Panoramic view of a group of children dressing up in new and clean clothes, holding their bags and moving in a line toward a group of men and women waiting in front of the gate. Mohammad and three other boys, including the whistling boy are sitting on a bench. The children are getting closer to the gate. Parents are there, looking up anxiously for their children. The children finally reach their parents and they hug each other. We see parents calling their children by their name and kissing them. A mother smiles, another one bursts into tears. A father distributes chocolates to parents and children. Rahmani with a loudspeaker is standing on a bench and calling names of children out of a list. Rahmani: I ask the called parents to come here and sign this paper. Rahmani has to shout as there is a loud hubbub. Rahmani: Karim Nanva, Ali Mandegar, Mohammad Zanganeh, Yousef TajBakhsh!

6. Day - Exterior - Yard of the Center. Mohammad is standing next to the three children. Rahmani joins them. Rahmani: Ali, Yousef, Karim! Come with me. Mohammad and other children stand up quickly. Rahmani: Mohammad, you stay here, your father has not come yet. Rahmani walks away with the boys. Mohammad sits down, he looks disappointed and desperate. He stays still and listens to the crowd's hubbub. 6 A. Day - Exterior - Yard of the Center. Mohammad is sitting sadly on a bench in the yard, next to a little garden. There is no one, apparently everyone is gone. Rahmani comes out of a building and walks toward Mohammad who does not notice him. Trying to make him happy, Rahmani sits beside him. Rahmani (Humorously): Ooopf! I'm exhausted. There is only you left. When I get rid of you, I can finally rest! Mohammad faintly smiles. Mohammad (irritated): Why didn't my father come? Rahmani: He will. Mohammad: When? Rahmani (smiling): Give me your mobile phone. I'll give him a call to see where he is. Mohammad: Please don't kid me, Mr. Rahmani. Didn't you ask him to come and fetch me? Rahmani: What a impatient boy you are! He'll come soon! Give me your mobile phone! Mohammad stays quiet. Rahmani reaches Mohammad's pocket and brings out a little plastic box. He opens up the box, there is a small bar of soap inside. Rahmani (smiling): Your mobile is going flat. Mohammad smiles. Rahmani closes the box and taps with his fingertips as if he was dialing a phone number. He then brings the receiver up to his ear. Rahmani: Hello, Mr. Ramezani? This is Rahmani. Where are you? You're late, Mohammad has been waiting for a long time. Ha, you missed the bus... I guessed so, you're on your way? Well... yes, Mohammad is all right, he's just beside me, he says hi to you. Rahmani moves the receiver away from his ear and talks to Mohammad Rahmani: You want to talk to your father? Mohammad smiles faintly but does not answer.

Rahmani: Well, we're waiting for you, good-bye. Rahmani puts the plastic box back in Mohammad's pocket. Rahmani: Look, I'm sure your father is on the way, he'll come. Don't worry. Get up now. I'll lend you the tape player of the dormitory and you can listen to some tapes. Rahmani holds Mohammad's hand and they walk toward the dormitory. 7. Day - Interior - Dormitory The dormitory is empty. Mohammad is sitting still on his bed and is listening to a cassette. We hear the voice of an old woman singing a lullaby with an accent of the north. From time to time he hear her calling the name of Mohammad. Fade out. 8. Day - Exterior - yard of the Center Mohammad is sitting on a bench next to garden, a small bag beside him. He looks sad and depressed. There is no one else in the yard. A light breeze waves the leaves of the trees and we can hear sparrows twittering nearby. Two sparrows fly in front of Mohammad's eyes and cross the picture. The sound of the twittering is intensifying on a branch near Mohammad. We suddenly hear a cat meowing nearby. Mohammad stands up as the meowings get closer. He makes a sound to frighten the cat. The meowing stops. Mohammad walks toward the trees while listening to the sparrows twittering. As he approaches, the sparrows fly toward a tree close by. Mohammad stops for a second, turns back to return to the bench. As he is moving, we hear the cat's meowing again. The sparrows fly back to the tree they were first on and start twittering again. Mohammad turns back and heads toward the tree. He reaches the edge of the garden, then stops and listens carefully. We hear the weak peep of a little sparrow followed by the twittering of the two sparrows. Mohammad is motionless and concentrated as if he is trying to determine where the peep is coming from, then he quietly steps in the little garden. The cat is moving into the garden too. When the cat meows again, Mohammad reacts by picking up a stone and throwing it at it. The cat flees. Mohammad squats down and moves cautiously as his fingers seem to be searching something in the dead leaves. From time to time, he stops and listens to the peeps and adjusting his moves accordingly. The peeps are now closer and we see that his hands are reaching a new born sparrow covered by dead leaves. Mohammad picks up the fledgling and holds it on the palm of his hand. He smiles and caresses the bird that now peeps softly. Mohammad gets up, strains his ears for the sound of the sparrows. He then moves toward a tree, stops, put the fledgling in his shirt pocket and attempts to climb on the tree. He has some trouble climbing but he finally reaches the branches. The sound of the sparrows intensifies as his hands are touching the leaves and the branch in search of the nest. His hands finally reach the nest. He takes out the fledgling from his

pocket and delicately puts it in the nest. The sparrows that were there are twittering frenetically as Mohammad is caressing their beak with his fingertips. He smiles. 8 A. Day - Exterior - The yard of the Center - (continued) Mohammad is standing by a water tap and washing his hands. In the background stands a forty years old man who is staring at Mohammad. He has a thin face, badly shaven, and he is holding a bag. He stands there for a short while and walks toward the office building. Mohammad is washing his hands at a small fountain and does not notice the man. 9. Day - Interior - The corridor of the office building. The man is now standing by the door of the director's room. Inside, the director is seated at his desk and Mr. Rahmani is standing next to him. They are both busy working with some papers. They don't pay attention to the man. He stares at them for a while, he is hesitant, then he knocks on the door. First, the director and then Rahmani notice his presence. The man: Hello Director: Hello, what can I do for you? Mr. Rahmani recognizes him. Rahmani: Ha! Mr. Ramezani, You are late! Please be seated, I'll be over in a second. Mr. Rahmani and the director continue reading the papers. Father: Excuse me, Sir! but I can't take Mohammad with me. Mr. Rahmani raises his head and looks at the man. Rahmani: Anything wrong? Father (hesitant): No, nothing special. But I can't look after him. I've come to kindly ask you to keep him here. Rahmani: The Center wiil be closed for three months. There's nobody here to look after him. Everybody's gone. Father: I know, but I can't look after him either. Since her mother's death, I've had a lot of trouble taking care of him. Director (irritated): You've come all this long way to tell us this? Father: Do me a favour and keep him here. Director: Apparently, you don't seem to understand the situation! This is an educational Center not a charity foundation. Besides, a charity foundation will only take care of orphans or children whose parents are not qualified to keep them. Fortunately, Mohammad has got a family to look after him and you are quite fit. Mr. Rahmani, please show this gentleman out.

The telephone rings but before the director picks up the receiver. Father (hesitant): You mean there's no way? 10. Day - Exterior - The yard of the Center Rahmani and father leave the office building and head for the yard Rahmani: The whole year has not been as hard for Mohammad as these last few hours that you have been late.. Mohammad is squatted down by the fountain. Rahmani (to the father): There he is! They walk toward him. The father walks hesitantly. They stare at Mohammad. He is looking for something on the ground around the fountain. Rahmani: Mohammad, what are you looking for? Mohammad: I've lost my mobile phone, Sir! Rahmani: Search carefully there and you'll find it. Mohammad keeps searching but he cannot find the plastic box. It's just under the fountain. Rahmani and the father get closer to Mohammad. Father stands a few steps away. Rahmani takes a look at the father and then walks toward Mohammad. Rahmani: A little to your right... a little more... Mohammad finds the box. Rahmani: Well done! Now, I have a good news for you! Rahmani looks at the father who is standing a few steps away of Mohammad. Father (with a low voice): Mohammad. Mohammad moves quietly toward his father. He holds out his hands to touch him. Father holds out one of his hands toward Mohammad. Mohammad touches his father's hand, caresses it and then clings to it. His face is close to the hand. He seems to be about to cry. Mohammad (with a lump in throat): I thought you'll never come. The father has tears in his eyes, but he is holding back. Rahmani standing a bit further watches them. 11. Day - Exterior - Street and pavement/Downtown and Bazaar A long shot view of Tehran. A lot of cars in front of the traffic light and masses of people on the sidewalk. Father and Mohammad are crossing the street. Mohammad were dark glasses and he is holding his father's hand. They stop at a newsstand and the father, holding a piece of paper seems to be asking for an address. The seller looks at the paper and points to a nearby store. Father thanks him and then holding Mohammad's hand, walks

toward the store. It is a carpet store. Some pieces of colorful "Kelims" are hanging on the walls. The father ensures it is the right address and walks into the shop. 12. Day - Interior - The shop. Father sits Mohammad on a pile of carpets and then goes toward the shopkeeper, who is at his desk, doing some calculations on an abacus. The voice of a man singing is coming from a radio. Father: Hello. Shopkeeper: Hello. Father: I am looking for Mr. Hakimi. Shopkeeper: That's me. The father presents him the piece of paper. The shopkeeper reads and nods. Shopkeeper: OK, let's see what you have got! The father puts the bag he was holding on the table, opens it up and takes out four little kelims. The shopkeeper spreads the carpets and examines them carefully. Mohammad is sitting quietly on the pile of carpets and seems attentive to the noises: Sounds of the street and the song played by the radio. These sounds fade away and we hear the cooing of a ringdove gradually covering all the sound. Mohammad 's face lights up. In the background, the shopkeeper is counting bank notes. He then hands them over to the father who put them in his pocket. Father walks toward Mohammad who seems enchanted by the bird's cooing. Father puts his hand on his shoulder. Mohammad turns toward him. All of a sudden, the bird's cooing is halted and replaced by the street sound and the radio. Father and Mohammad leave the shop. 13. Day - Exterior - Interior - peddler - store (Scene removed during editing) 13 A. Day - Exterior - Town They pass in front of a jewelry store. The father stops and stares at pieces of jewelry in the window: molded hands with golden rings. 13 B. Day - Interior - Jewelry shop The father is counting money. A storekeeper is putting two rings on a scale and weighing them. He takes the money and hands the rings over to father. 14. Day - Interior - Exterior - A bus Mohammad is sitting next to an open window of the bus, his father drowsing next to him. He looks happy and excited. He takes one of his hands out of the window, holding a feather in his fingers. The feather flutters in the air.

Mohammad (whispering): Take it... come on... take it if you can! The feather flies away with the wind. Mohammad holds his hand against the wind as if he wants to catch it. He repeatedly opens and closes his hand. Mohammad: You think you're smart? ha... ha... you're in my hand! Father jumps with the sound of a lorry's horn. He looks at Mohammad. Father (whispering): Bring your hand in! Mohammad (eagerly): I want to catch the wind... Is it dawn? Father (impatiently): Yes. Mohammad: Have we arrived? Father: Not yet. Mohammad points out at the window. Mohammad: What's there? Father: Trees, forests. Mohammad: And farther away? Father (Impatiently): Again forests. Voice-over the image of the bus on the road. Mohammad: Let's call Mr. Rahmani... Hello? Mr. Rahmani? How are you? We're now on the road, in the middle of a forest... I wish you were here. 15. Day - Exterior - Rice Field The father is holding Mohammad's hand and they are going toward a sandy path that crosses a wide plain. Further we can see the forest. Mohammad is enchanted by the sounds: Bird calls in the meadow, sound of the wind. Mohammad lets go of his father's hand. Mohammad: Let me go... I want to walk by myself. Father lets him go. He stretches his hands in front of him and starts to walk faster and faster. He is now running. Father: Slower! Mohammad pays no attention and runs. Father gets closer. Father: A little more to your left... yes, not so much. Mohammad adjusts his direction and goes on running. He is happy. They move away from the camera. 16. Day - Exterior - The wood and charcoal warehouse Father, holding Mohammad's hand, approaches the shed that is used for storing the wood and charcoal. It is a hilly yard and a lot of trunks are laying on the ground next to a wooden shed. There is also a small stable with some horses and mules. Three workers are working outside the building. Father

sits Mohammad on a trunk, then walks toward the building and greets the workers. Mohammad is sitting quietly and listening to the sounds: Conversations of his father with the workers, the sound of a water pump, sounds of different birds. He moves his head according to the source of the sound. Suddenly we hear the sound of a woodpecker knocking on a tree. Mohammad strains his ears. This sound covers all the other sounds. The woodpecker knocks on a tree in staccato. Mohammad stands up and listens carefully. The neigh of a horse interrupts the woodpecker sound. Mohammad jumps. The father is there holding the bridle of a horse. The father sits Mohammad on the horse and they move away. 17. Day - Exterior - A forest path Mohammad on the horse and his father on foot cross some beautiful forest scenery. 18. Day - Exterior - River A close shot of a river's bank. The hands of Mohammad caressing the surface of the water. Then he throws fistfuls of water up in the air. A medium shot of Mohammad sitting by the stream. Behind him, the father is sitting on a rock and smoking a cigarette. He looks anxious as he is nervously exhaling smoke from his cigarette. The camera is now subjective and acts from the father point of view. In a slow movement it approaches Mohammad's back until it reaches his head. Mohammad is touching the pebbles in the river's bed as he was reading Braille signs. Mohammad: H....A....L....A.....H...B...S. 19. Day - Exterior - Edge of a forest. A long shot of Mohammad and his father climbing on a path along a forest. We see a village clinging to the hill. We hear roosters crowing. Mohammad (Shouting): We arrived! Aziz, Aziz! We're here... Aziz... We're here! Father is quiet, he holds the bridle and moves faster toward the village. 20. Day - Exterior - Slope leading to the village. A group of rural girls carrying green branches on their head and shoulders are walking up the slope. We don't see their faces, just their back. Voice-over of Mohammad's calling. The girls stop and turn toward the camera. Among them, there are two girls, 8 and 13 years old, who smile. The younger one starts running up the slope toward the village. 21. Day - Exterior - routes of village and yard of house She crosses the village, enters in the yard of a house, drops her load of branch trees and looks around hastily.

The girl (out of breath): Aziz, Aziz, where are you? She goes toward the terrace, takes a look into the room and then goes toward the stable. There is no one there. The girl rushes out and heads toward the road. 22. Day - Exterior - Streets in the of village A group of rural children runs behind the horse carrying Mohammad. They gather around and greet Mohammad with shouts and laughs. He talks to them but the father holding the bridle walks faster. From time to time, he turns back and shouts at the children to go away. Mohammad's elder sister, carrying a basket full of clean dishes on her head, walks along with them The sister: Are your classes over? Mohammad: Yes, what about yours? The sister: Not yet, you are lucky! Mohammad: You see, school in the city are better, they close earlier! Mohammad is both happy and excited by the hubbub. The father is becoming more and more irritated by the children. Father(shouting): What's going on? Go away! 23. Day - Exterior - Opposite to yard of the house Hanyeh, Mohammad's little sister, running before the horse, approaches the fence of the house. Father gives a quick glance to a group of men sitting nearby and chatting. He looks ill at ease. Hanyeh: Now... Now... The horse and the whole group enter the courtyard. Hanyeh: We have arrived! Mohammad (Shouting): Aziz! Aziz! Hanyeh: She's not home. Mohammad: Where's she? Bahareh (Elder sister): She's in the fields, I'll go and fetch her up immediately. Father helps Mohammad to get off. Mohammad: I want to go with you! Father: You're again going to attract the village children and they'll bother you! Mohammad: No, I want to go... I want to go. Father takes him down from the horse. Mohammad is now face to face with Hanyeh, he touches her face lightly as he is examining her

Mohammad: How much you have grown up! Hanyeh smiles. 24. Day - Exterior - The countryside Hanyeh and Bahareh, holding hands with Mohammad are running happily on a slope leading to a field. They are running so fast that Mohammad occasionnally slides on the ground as he tries to keep the pace with his sisters. They are giggling. 25. Day - Exterior - The field Hanyeh and Bahareh step into the picture and run toward an alfalfa field. Down the field, a group of rural women is harvesting. Among them we see the back of an old woman. Bahareh and Hanyeh (happily): Aziz! Aziz! Aziz turns her face. She is a woman in her late seventies, tall, energetic and with nice features. She looks at the girls approaching. Aziz: What is happening? Bahareh (happy): Aziz, Father is back... Aziz (anxious): What about Mohammad? Bahareh and Hanyeh laugh up their sleeves. Aziz (worried): What's up? Why are you laughing? I asked about Mohammad. As they continue laughing, they make a sign with their fingers as to indicate to Aziz to look behind them. 25 A. Day - Exterior - The field Aziz looks at Mohammad with emotion and tenderness. Mohammad is hiding behind a tree but the tree is not thick enough to hide him. Aziz pretends not to see him and walks down toward him. Mohammad suddenly jumps out from his hiding, facing the opposite direction. Mohammad: Aziz, Aziz, I'm here... Aziz (with emotion in her voice): My honey, Mohammad, come on here Mohammad turns back and moves toward the voice with his hands held out in front of him. Aziz, kneeling on the ground stretches out her hands toward him too. Their hands meet. Aziz takes Mohammad's hands in hers. She kisses them. Mohammad touches her face and feels the tears on her cheeks. Mohammad (gently): Aziz, come along with me... Aziz: Where to, my darling? Mohammad: Just come!

Aziz, holding his hand, walks to the background. Hanyeh and Bahareh look at them, smiling. Aziz sits Mohammad on a trunk and squats in front of him. Aziz: all right, honey, honey, what's up? Mohammad: Aziz, close your eyes and give me your hand! Aziz complies. Mohammad takes out the red hairpin, holds Aziz's hand and puts the hairpin in her palm. Mohammad: Well... Open up your eyes! Aziz opens up her eyes and looks at the hairpin. Aziz (surprised): Bah, Bah, my God! how nice it is! Mohammad (satisfied): It's for you. Aziz: But this would be nicer on your sisters, honey. Mohammad: No, No, I've presents for them too. Aziz(calling): Hanyeh! Bahareh! Come over here. Hanyeh and Bahareh run to join then and they sit besides Mohammad. He takes out of his shirt pocket a bracelet made of bottle caps that he hands to Hanyeh. Mohammad: It's for you, Hanyeh, I've made it myself. Hanyeh wears the bracelet. Hanyeh: How nice it is! Thank you. Mohammad brings out of his pocket a yellow comb and gives it to Bahareh. Mohammad: And this is for Bahareh! Bahareh: Thanks a lot! Again, Mohammad takes his hand into his side pocket and brings out two postal cards. The first one shows a lake with two white swans.. In the background, there is a landscape of woods and mountains. It's an old tarnished postal card. He gives it to Hanyeh. Mohammad: This is for you! The other postal card is the picture of two roses. He gives it to Bahareh. Mohammad: And this is for you! The girls look at the cards appreciatively. Aziz: You two, go and cut some hay. You, honey, come along with me, I want to show you something.25 B. Day - Exterior - Field. Aziz and Mohammad walk on the field and stop near a sapling. Aziz: What do you think is there? Mohammad: Where? I want to see it.

He reaches out and, helped by Aziz, touches the sapling. He feels the leaves and smiles. Mohammad (happily): This is the sapling I planted last year. Mohammad touches the head of the sapling, stands next to it and compares it to his own height Mohammad: Aziz, who is taller, the sapling or me? Aziz: It's just a leave taller than you.. Mohammad smiles. 26 . Day - Exterior - The field/The plain Aziz and Mohammad are passing through a field. Mohammad: Aziz, what have you planted here? Aziz: Up on the fields, I have planted garlic and onion. Those are so beautiful when they grow up. On the other side, we have planted barley. They've just begun to sprout. Let's go and I'll show you. Aziz put Mohammad's hand on a bunch of wheat. He touches and caresses them. Shots of Mohammad's hand on potato plants, onion plants, corn, etc... Finally, Mohammad takes an ear of wheat, touches the grains with his fingertips. He seems to read something out of it. Mohammad: A... A... A... B... B... B... A... A... A... 27. Day - Exterior - Bank of a River. Father is sitting on the bank of a river, he has taken his shirt off and wears an undershirt. He washes up his hands and face with a soap and, holding a mirror in front of his face, he starts shaving his beard. Suddenly, as he is shaving, a horrible sound coming from the forest makes him jump. He drops the mirror and cuts his face with the razor. He bleeds. He looks around horrified and washes out the blood on his face and throat but it still bleeds. He picks up the mirror, it is cracked. He looks at his face in the cracked mirror, his image is split into two. We hear again the horrible sound. He washes up his face and throws the mirror into the river. 28. Day - Exterior - The country and the village of Koulash The father enters the village on a horse. He is clean shaven, neatly combed. He wears a clean white shirt and a slightly tight blue coat. He approaches a house. In the yard, there is a woman collecting dried washing from a clothes line. She is partly hidden by hanging clothes. Father looks happy and excited. As he is staring at her, he does not notice that low branches of a tree are obtruding his way. He suddenly hits them and realizing what is happening, holds on to them while the horse continues to walk. He is now hanging in the air. The noise attracts the woman's attention. She looks up at him and smiles. Father smiles back, but his weight is too heavy for the

branches and they break. He falls down. First, the woman looks a bit worried, then she laughs discreetly and runs into the house carrying the washing. 29. Day - Interior - A room of the young woman's house Close shot of father untying a bundle. It contains a sugar loaf decorated with a red ribbon, two packs of tea, three pieces of clothes, two packs of chocolates, a pack of cookies, a thin golden bracelet and a bouquet of plastic flowers. In the room, sitting on a carpet with cushions, there are two couples. One is middle aged and the other one is older. Father is also sitting on the carpet at the corner. Father: Nothing of great worth, just small presents from Tehran. Old man: You've been in Tehran? Father: Yes, I'd something to do there. A moment of silence. Father is ill at ease. He plays with his fingers and as he is looking down, he notices a hole in his socks. He looks at the group, then bends his legs under him so his socks do not show. No one speaks. A tray with a few glasses of tea appears from behind a curtain. It is held by the hands of a woman that we do not see. Father looks at the hands with delight. The young woman's father takes up the tray and offers a glass of tea to father. Young woman's father: It's going to become cold, please take one. Father: Thank you very much! He quickly picks up a glass. It's still hot and he pours some tea in the plate and sips it. As he is doing this, his eyes look up and he notices the young woman in the doorway, half hidden by the curtain. She is glancing down at the presents and her eyes meet Father's eyes. She disappears behind the curtain. Father is so nervous that the tea goes down the wrong way, he chokes and he starts to cough noisily. He brings out a napkin out of his pocket and holds it on his mouth. The group of men and women laugh quietly with a knowing look. Father: Forgive me. Young woman's father: Well, Mr. Hashem, when do you think is the appropriate time for the wedding? Father: Anytime you suggest is all right for me. Young woman's father: The sooner the better! Father: I agree with you but first I have to get your approval.. Young woman's father: We accept your offer... My daughter has had a lot of misfortunes up to now. While she was engaged, her fiancé died... Well, It

was her destiny, now we hope you can make a good life for her... You are a parent too and you know what I mean... Father interrupts him. Father: My daughters will be her servants and my mother is a very nice woman... and if there is any problem, I am your servant Young woman's father: God bless you... Then as soon as possible. You know, people are gossipy. You've come here two or three times and they may talk. We hope that next time you come, you'll leave together. The old man and the woman congratulate Father. He looks down, both happy and worried. 30. Night - Exterior - Yard and the terrace of Mohammad's family house. Long shot of Father standing by a well, pulling up water. The bucket comes out. Father pours the water on his dirty boots and cleans them. Aziz comes out of the house carrying a towel. Father again pulls up water to wash up his face and hands. Aziz comes beside him, picks the bucket and pours water on his hands. Aziz: You're late, dear. Father: I was working on the field. Are the children asleep? Aziz: They played a lot and got tired. Mohammad was so tired that he hardly ate anything and slept at once. Father (washing up): I must do something about him. Aziz (worried): What do you mean? Father: There's a blind carpenter working nearby. If he accepts Mohammad as an apprentice it would be good for him. I'm really worried about his future. Aziz (angry): Are you worried about Mohammad or about yourself? Father says nothing. He looks ill at ease and tries to avoid Aziz's look. He pauses a second and then walks toward his horse. Aziz looks at him for a while then goes out of shot. 31. Day - Exterior - Village and the forest path. Long shot of Mohammad, Aziz and Hanyeh crossing a field as they are heading toward a forest path. View of the village from far. Aziz is holding Mohammad's hand. Hanyeh walks next to them. Mohammad is delighted by the sounds as he is walking. Voice of Aziz: Dear Mohammad, when we get back we'll go to the field, pick up some flowers and use them to dye wool threads. Then, I will weave a nice kelim and we'll make it an offering to God.

32. Day - Exterior - An Imanzadeh (Shrine where a holy person is burried) View of the Imanzadeh on a forest hill. Next to it there is a small waterfall and a tree. Scattered groups of villagers are going down and up the hill around the shrine. Some of them enter and some others come out. Aziz, Hanyeh and Mohammad approach the Imanzadeh and stand next to it. Hanyeh drinks some water from the waterfall. Aziz pours a handful of water on Mohammad's face and whispers prayers. Candles are burning on slabs next to the waterfall. Aziz lights a candle that Mohammad is holding in his hand and helps him put it with the others. They all pray and walk into the shrine. 33. Day - Exterior - Path along a hilly field. Mohammad, holding Grandma's hands are walking along a field. Mohammad: Aziz, why are your hands so white? Aziz looks at her hands, and smiles. Aziz: They are not white, honey, they are rough and dark. Mohammad: No, they are white, I know. Aziz: Who said so, my darling? Mohammad: I know it by myself, because you are such a soft and warm person. Aziz laughs gently. Suddenly we hear the sound of woodpeckers on trees. Mohammad stops walking and strains his ear. Aziz: Mohammad? what's going on? Mohammad: Aziz, do you know what they say? Aziz: Who? Mohammad (pointing at the trees): They. Aziz notices the sound of the woodpeckers. Aziz: It's the sound of woodpeckers. They knock on the tree with their beak to build nests or to find food.. Mohammad: But they are saying something. Aziz: All animals talk somehow! Mohammad listens carefully to the staccato sound of woodpeckers. He counts the number of knocks with his fingers. Mohammad (whispering): One, three, four, five, N. One, two, four, H. Two, three, five, S 34. Day - Exterior - A field of tulips and flowers

A vast beautiful field of wild colorful flowers. Tulips, little yellow and purple flowers. Aziz, Hanyeh and Mohammad are among the flowers, picking them up. We hear birds twittering. A breeze waves the flowers. Mohammad is standing next to Hanyeh and Aziz. He touches the flowers and carefully feels them with his fingertips. Mohammad: H, A, L, A, N, A, H, B, S. Aziz and Mohammad sit next to each other. Aziz opens up a small bundle and takes out bread and cheese. She prepares a sandwich and puts it in Mohammad's hand. Hanyeh is in the background, picking flowers. Aziz: Hanyeh, Come here! Hanyeh joins them. She is carrying a bunch of flowers. She puts them aside and sits next to her brother. Aziz hands her a sandwich. There are a lot of butterflies around them. Hanyeh laughs happily. Close shot of a flower with a butterfly on it. Hanyeh catches it. Hanyeh: I got it! Mohammad (excited): Let me see it! Hanyeh: Open up your hand! Mohammad opens his hand. Hanyeh puts the butterfly on his palm. Before Mohammad has the time to touch it, it flies away. Hanyeh (sadly): Oh, It flew away! Come on, let's catch it! Hanyeh, holding Mohammad's hand, run after the butterfly amidst the flower field. Mohammad is holding out his arms as he is trying to catch a butterfly. 35. Day - Exterior - Yard of the family's house Three large pots of boiling water on the fire. Next to them some bunches of flowers. Mohammad, Aziz, Hanyeh and Bahareh are standing there. Mohammad picks up a bunch of red tulips and is about to throw them into the pot. Aziz: Mohammad, my darling, first, make a wish! Mohammad: What should I wish? Aziz: Ask God for anything you want! Mohammad thinks of something. Mohammad: I did. Aziz recites prayers, then helps Mohammad to get close to the boiling pots and throw the tulips in. The water becomes red as Aziz stirs the water with a stick. Shots of pots with yellow and purple flowers inside. The water in the pots changes color. 35 A. Day - Exterior - Yard of the house

Father is pulling up water out of the well. Aziz and Mohammad are on the terrace of the house, sitting face to face near the oven. Aziz is baking bread. Mohammad has a small wooden board on his lap. He spreads some dough on the board and seems to write something in Braille on it with his fingertips. Aziz: When you grow you can become a teacher or an engineer... Father has a quick and irritated look at them. He picks up the bucket of water and walks toward the house. He throws the water on the wall and begins washing it up. Then, with a pickax, he removes the damaged parts of the straw and clay coating. 36. Day - Exterior - Road/The carpenter's workshop A small wooden house in the background. A group of workers is unloading a truck from planks of wood. In the foreground, a minibus comes into shot, stops and then goes out of shot revealing Father standing, looking at the shack. He walks toward it. There is a loud noise of an electric saw. Behind the window, we can see a man in his thirties, wearing dark glasses who is sawing pieces of wood. Father enters the shack. Through the window, we see him facing the man and talking to him. The sound of their conversation is covered by the noise. 37. Day - Exterior - Terrace and yard of the house. Bahareh and Hanyeh are wearing school uniforms and holding their bags. They are ready to go to school. Mohammad is also there, holding a big book in his hand. He is grumbling. Bahareh is putting her shoes on. She looks irritated. Bahareh: Aziz , Aziz! Aziz comes out of the pen, carrying a bucket of milk. Aziz: What is wrong? What 's going on? Bahareh: Come and see what's Mohammad up to! Bahareh and Hanyeh walk down the stairs. Aziz approaches them. Aziz: What is happening? Bahareh: Mohammad says he wants to go to school with us. Mohammad (aloud): Aziz, please tell them to take me with them. Aziz: Honey... It's not possible. Mohammad (angry): Why not? Aziz motions the girls to leave. They walk down the stairs hastily. Mohammad hears the sound of their footsteps, turns quickly toward them, and try to follow them down the stairs. Mohammad (crying): Bahareh, Hanyeh! Wait for me, I want to go with you!

They run out of the yard and disappear behind the fence. Aziz holds Mohammad's hand, puts the bucket on the floor and sits on the step of the stairs. He is frustrated and agitated. Aziz tries to calm him down. Aziz: Honey... Don't you want to stay with me, and help me? I want to start weaving the carpet I told you about. I can't do it alone, my darling. Mohammad: I want to go to school! Aziz tries to draw him toward her but he resists. Aziz: Come and sit by me. Mohammad (weeping): I want to go to school! Aziz has tears in her eyes. She caresses his hand. Aziz: My darling please don't cry. When I see you cry I can't help crying too. 38. Day - Exterior - Village and school. Aziz and Mohammad are walking toward the school. A view of a small building with no fence or walls around it.. The principal, an approximately 35 years old man, is standing next to the door of the building. Aziz holds Mohammad hand. Mohammad: Are you sure they will accept me? Aziz: Don't worry, honey, I spoke to the principal and there is no problem. They walk toward the principal. Mohammad feels his presence. Mohammad: Hello, Sir! Principal: Hello, Mr. Ramezani! Mohammad: I can read. I've already learnt the lessons, Sir! Principal (smiling): That's very good, but today, you're just our guest. Mohammad smiles. The principal takes his hand and they move toward the building. Mohammad: Aziz, don't wait for me, go home. I'll come back with Hanyeh and Bahareh. Aziz looks at him for a moment, then heads toward the village.39. Day Interior - Corridor of the school The principal and Mohammad enter the school. Children are reciting a lesson. The principal knocks at the door of the classroom. A young teacher opens up the door. Principal: Mr. Heydari, you've a guest today. This is Mohammad. The teacher looks a bit surprised. Teacher: You're welcome, come on in! As Mohammad enters the classroom, the children get excited.

Teacher: Mohammad is our guest today. The children giggle and become restless. Hanyeh: May he sit here, Sir? A group of children: No, let him sit here... Teacher: Hz... what's up? Sit down everybody. Mohammad looks happy from this warm reception. There are three rows of desks, two rows for the boys and one row for the girls The teacher sits him at one of the desks of the first row. All the children are looking at Mohammad. Teacher: Zarei! Continue reading. Those of the second grade, please work on your math problems. The children calm down. A boy starts reading. Mohammad puts his Braille book on the desk and browses through it with his fingers until he finds the page of the lesson being read. He starts reading quietly with his fingers. Voice of a boy: The sun lights the earth. During the day, when the sun shined... Mohammad (interrupting): Shines not shined. The teacher is sitting at his desk on a platform. He has a glance at Mohammad. Voice of the boy: Shines, the earth heats. Sunny Day... Mohammad: Days... The teacher has another glance at Mohammad. Voice of the boy: Days are warm and bright. During the night, when the moon lit... Mohammad: Lights not lit. The teacher is surprised. Teacher: Mohammad, have you got the same lesson in your book? Mohammad: Yes, Sir. Shall I read it? Teacher: Please do... Mohammad starts to read aloud. The teacher gets up and quietly walks toward Mohammad's desk. He looks intrigued. When he is close enough, he leans forward and observes Mohammad's book. The children are climbing on desks to get closer and see how Mohammad is reading. The teacher is so absorbed by what he is seeing that he does not realize what is going on in the class. Suddenly, he looks up, notices that the whole class is gathered all over Mohammad desk. Teacher(shouting): What's is going on? Go back to your seats immediately!

40. Day - Exterior - Village and school Father is riding a horse. As he passes within sight of the school, he notices a group of children coming out of it. When he realizes that Mohammad is among them, he gets very angry and dashes off toward the village. 41. Day - Exterior - Yard of the house Father reaches the fence, gets off the horse and walks into the yard. He looks furious. Father (angrily): Aziz, Aziz! She shows up by the fence. He ties up the horse and moves toward her angrily. Father: Why did you let him go to school? Aziz: So what? There is nothing wrong in that! Father (angry): Nothing wrong? I am going to take him away from here. Aziz (worried): You want to provoke me? Father: YOU want to provoke me! The longer he stays here the worse it is. The school in Teheran won't take him back! Mohammad appears behind the fence accompanied by his sisters. Voice of Mohammad: Aziz, I'm back. Aziz (begging): Please, don't scold him. Father (threatening): I'll take him away from here. He walks away. Aziz looks worried, she has tears in her eyes. Voice of Mohammad: Aziz, I got an 'A'. The teacher told me I could come to school tomorrow, or anytime I want to. Voice of Mohammad and her sisters laughing. The face of Aziz looks sad and worried. 42. Day - Exterior - Yard of house - The hen house. (Slow motion). Aziz, Mohammad and Hanyeh are standing beside the hen house. Chickens, roosters and ducks are rushing out. Mohammad hold out his arms, trying to catch the birds. He succeeds sometimes and then lets the birds go. Aziz is throwing grains at them. There are feathers everywhere waving in the air. Hanyeh is inside the hen house. She is picking up eggs and handing them over to Mohammad. Mohammad at his turn hands them over to Aziz who puts them in a basket. The basket is filling up. (End of slow motion). Aziz gets up, picks up the basket and a bucket covered with a piece of cloth. Mohammad: Aziz , I want to come with you.

Aziz: No, darling. I have to take this to Mr Shapun's shop and it is a long way. I am also sure the shop will be crowded. I'll be back soon. Aziz (to Hanyeh): Take care of him. She walks toward the fence. Hanyeh picks up the feathers and gives them to Mohammad. Hanyeh: Mohammad, let's play! They start to throw the feathers up in the air and blow air at them so they fly higher. The feathers fly up. Aziz smiles and disappears on the road. Father is hiding behind a wall, watching the scene. He is holding the bridle of his horse. Mohammad throws a feather in the air and blows at it. The camera follows it as it flies high in the air. 43. Day - Exterior - Yard of the house. The camera follows a feather as it flies down. Neither Mohammad nor Hanyeh are here. Aziz appears behind the fence and walks toward the yard. She takes a look into the yard through the fence. It is empty, and feathers are spread out every where. Aziz: Mohammad, Hanyeh! She reaches the gate and enters. Hanyeh comes out of the house and stands on the terrace. Aziz: Where is Mohammad? Hanyeh: Aziz, Father said he was taking Mohammad with him to the sea. Aziz is shattered. She looks sad and worried. (Slow motion) She turns back and walks toward the terrace overlooking the hills and the forest. There is a light breeze and all the feathers are swirling around her. (End of slow motion) 44. Day - Exterior - The Beach Cloudy sky, menacing waves along the beach. Father is setting up a small ramp made of two sticks and a rope on the sand close to the sea. He stares at the waves for a moment. He holds Mohammad's hand and takes him to the ramp he has just set up. Father: Hold on to it. Don't go further! Mohammad grabs and holds the rope. Father walks back toward a truck and helps workers to load it up with sand. Mohammad sits on sand. He holds the rope with one hand and touches the sand with the other. He is feeling the sand with his fingers. He looks happy. In the background, Father and other workers are loading up the truck. Mohammad seems to concentrate on then sand as if he is reading something in it. Mohammad: A, A, A, A, A, A.

Sound of seagulls approaching the shore. Sound of seagulls: A, A, A, A, A, A. Mohammad stands up and listens to the seagulls. The sound intensifies. Mohammad calls in unison with them. Mohammad: A, A, A, A, A, A. He looks up as if he was talking to the seagulls. A wave hits his feet, then another one. 45. Day - Exterior - Top of the mountains - Charcoal workshop A group of workers is working in the woods. Mohammad is sitting on a trunk. Father is taking charcoal out of the oven. Some workers pack the charcoal in sacks and load them on horses and mules. Others are cutting trees. Mohammad is attentive. He is listening to the sound of a woodpecker. He starts counting on his fingers: Mohammad: Three, four, five, A, one two three, L, one, three, four, five N, one ,five, six, H The sound of the woodpecker stops. Mohammad turns suddenly toward a bird call far away. He hesitates a second and then starts to walk toward the forest. Father is busy taking out charcoal from the oven. A terrifying sound, the same we heard earlier, resounds from the forest. He stands up, turns back and looks around. He then notices Mohammad walking up a slope toward the forest. While there is anxiety in his expression, he does not make any move, he is like petrified. Meanwhile, one of the workers, carrying sacks on his shoulders appears on the slope. He notices Mohammad, calls him to warn him not to go further and then brings him back. Father takes a deep breath. 46. Day - Exterior - Charcoal Workshop. Workers are resting and drinking tea. Father is washing up his face and hands. Mohammad is standing by the fence, waiting for his father. While drying up his hands and face with a towel, Father stares at Mohammad. He picks up Mohammad's bag and moves toward him. Father takes his hand. Father: Let's go! Mohammad: Why haven't you brought a horse? Father: We'll walk. Mohammad: It's a long way to the village. I'll be tired! Father doesn't say a word and pulls him along. Mohammad, trying to walk as fast as his father, has to run. He grumbles.

Mohammad: I'm tired. I don't feel like walking. Father: We'll be there soon. 47. Day - Exterior - A path in the forest. While walking, Father looks around. He looks anxious The terrifying sound resounds again. Mohammad, holding his father hand, seems worried, tired and impatient. Sound of cars on a road nearby. Mohammad: Where're we going? This is not the way to the village. I hear sound of cars. Father does not reply. Mohammad: Where are you taking me? Father does not answer but his face expresses his anxiety. Mohammad lets go of his father's hand. Mohammad: I won't come, I won't come, I want to go to Aziz! He runs away. Father follows him, grabs him and holds him tight under his arms. He then hurries to the road that is nearby. Mohammad struggles violently to get away Mohammad: Where are you taking me to? I want to go back to Aziz, I want to go back to Aziz! 48. Day - Exterior - Interior - Road and Bus A bus on the road. Father is on the bus, Mohammad is asleep beside him, his head on his father's shoulder. Father looks sad and anxious. 49. Day - Exterior - Road by the carpenter workshop. The bus stops. Father and Mohammad get off. Father walks with Mohammad toward the workshop. They get in. 50. Day - Interior - A carpenter's workshop. Father is standing beside the blind carpenter. They are talking, but we cannot hear them. Mohammad is standing on the other side of the workshop and listens to the noises: Sound of a radio and sound of some birds in a cage in the back of the room. Mohammad seems bewildered. He is not familiar with the place. Father and the blind carpenter move toward him. He hears their footsteps and raises his head up. They stand in front of him. Father: This is Mohammad. Carpenter: Hello! Mohammad is silent. Father looks at him anxiously. Carpenter: My name is Ali Fatemi. What's yours? Mohammad is still silent. Carpenter: Then, I'll call you by your first name, Mohammad.

He reaches out his hand, caresses Mohammad's head and then touches his hands. Carpenter: Well, well! These hands are good for learning up many things! Mohammad is silent and motionless. Father is nervous. Father: Well, Mr. Fatemi! Excuse me but I have to go now! Carpenter: I understand, please! Father looking at Mohammad. Father: I'll come to visit you from time to time. It is a good place here. He shakes hand with the carpenter and walks to the door. Mohammad seems indifferent to his father's departure. Father walks out quickly. The blind carpenter takes Mohammad by his hand. Carpenter: Come on with me. I want to show you the place. The blind carpenter reaches out his hand and finds Mohammad's bag. He picks it up and walks along with Mohammad toward the workshop. Carpenter: This is the workshop. I'm blind like you. I was as old as you when I began working with my father. He was a carpenter, I learned everything from him. The carpenter opens the door of a room in the corridor. It's a small room with a bed and a small cupboard. Carpenter: It is a small but nice room. This is your room, you'll sleep here. I lived in this room for a long time. He puts Mohammad's bag in the room. Then they move toward a door at the end of corridor. Carpenter: Now let's go out and take a look around. It's really a nice place! They reach the end of the corridor and walk out through the door. 51. Exterior - Day - Backyard of the workshop. They enter the yard. There is a fairly large pond with ducks, a field and the forest in the background. A nice garden full of beautiful and colorful flowers. Wood trunks are scattered around the workshop. Sound of ducks on the pond. Carpenter: There is a pond, a large one with a lot of ducks on it. I've brought them up. Come closer... All around, there is a forest. And here, there are two or three nice gardens that I have set up by myself. Come with me now... He takes Mohammad's hand and walk toward the trunks that are piled up in a corner. Carpenter: This is my stock of wood. I take them to the workshop, saw them and make different things with them. Come and sit here.

He helps Mohammad sit on a trunk, and he sits on another one facing Mohammad. He bends down, touches the ground, and picks up two little pieces of wood. Carpenter: First, you must become familiar with wood. Each piece of wood is good for something. Take this one! He gives him a piece of wood. Carpenter: This is best for carving-works. It's a piece of a plane tree. Now, take this piece of wood. He gives him another piece. A drop of water falls on his hand, he touches it and then touches Mohammad's cheek. He notices that his face is wet with tears. Carpenter: You're crying? A man never cries. You have been here less than an hour and you already miss your family?! Mohammad (with a lump in his throat): No Carpenter: So... What is it then? He speaks with a catch in his voice first, then he burst into tears. Mohammad: Nobody likes me, even Aziz doesn't like me... if she did, she'd never let my father bring me here... I know why... Because I can't see... Nobody likes to stay with me... If I weren't a blind I would go to school at the village .... All the children go there except me, I have to go to the Center in a far away city. Our teacher always says that God loves the blind more than other people, but I asked her... if this is so, why has He made us blind and we're not to be able to see Him? She said that He is invisible and we can feel Him everywhere. She said that we can reach him with your hands. Now... I search for God everywhere and one day when my hand will reach Him, I will tell Him everything, all my thoughts, even my most secret ones. The carpenter is listening with attention. There is a small silence when we just hear Mohammad sobbing. Carpenter: She spoke the truth. He gets up and goes out of shot. Mohammad is sitting still on the trunk. Suddenly, the noise of a woodpecker resounds. Mohammad stops sobbing and turns his attention to the sound. Then the sound of a ringdove resounds as if it was coming from a tree. Shot from the top a tree, a breeze blows gently, waving the leaves. 52. Day - Exterior - mountains Fog covering hills and forests. Songs of the ringdove. It gradually fades out. Sound of the thunder. It starts to rain. 53. Day - Exterior - Yard of house

It is pouring rain. Holding the bridle of his horse, Father is standing at the gate of the yard. He has a shawl on his head and is completely wet. He walks toward the stable. Aziz appears on the flight of steps, coming out of the house. She is holding a bag and wearing a shawl. She does not pay attention to her son and crosses the yard. He rushes after her and stands on her way. Father: Where are you going? Aziz takes a brief look at him and continues to walk. Father turns around and blocks her way. They are now face to face. During the monologue, Father takes off the shawl he had on his head. Father: What are you trying to do to me? Aziz: We've already agreed on this... Father: You want to provoke me? I did it for his own sake. What else could I have done? Why should I take care of a blind for all my life? When I become old, who would help me? Who would help him? Why doesn't your God help me? Maybe you still think I should be thankful to him? Ha? What should I thank Him for? All the miseries of my life? For all the things he's not given me? For my wandering? For my blind son? For the death of my wife? I have been in pain for the last five years, what do you think you've done for me? Look at me! I'm to be pitied, I've been without a father since I can remember... I've worked hard all my life. Who's done me a favour? Who's helped me? Allright, go away, go away wherever you like to...! Aziz is distressed and shaken. She has tears in her eyes. She sighs, her hands are trembling. She glances at Father and moves on. Father stays motionless. 54. Day - Exterior - A path round the village It is still raining. Aziz is walking on a road in the fog. She is all wet. There's a pond besides the road that has overflown because of the rain. A fish carried out of the pond by the rain is struggling to get back. Aziz notices the fish, takes him out of the water and gently put it back in the pond. The fish swims away. As she is standing up, the hairclip, present of Mohammad, falls into the pond. With her hand reaching the bottom of the pond, she tries to find it, but she only gets mud. In the background, the father appears on a horse, calling her. She notices him, gets up and continues on her way. She is crossing a pond of water. Father calls her again. She ignores him. He gets off the horse and rushes to her. Father: Let's get back... you're wet, you'll get sick. I beg you ... for God's sake, let's get back, mother! As he is begging her, Aziz goes on walking into the water. Suddenly, she stumbles and is about to fall. Father helps her and covers her with a small blanket. But she continues her walk while Father still begs her to come back

with him. Suddenly she stumbles again, she is weak and exhausted. Father holds her. 55. Day - Interior - House Aziz is lying by a wood-burning stove. It's still raining outside. Hanyeh is sitting beside her. Bahareh is drying up the clothes. Father gets in. He is holding a bag of drugs and sits in front of Aziz. Father: Bahareh, Bring me a glass of water and a spoon. He takes some drugs out of the bag. Aziz, holding a rosary, is absorbed in prayer. Father pours some syrup in a spoon and gives it to her. Aziz coughs. Father gives her some water. Aziz has a glance at him and continues her prayer. 56. Day - Interior - The carpenter workshop Mohammad and the carpenter are standing near a workbench. The carpenter is holding one of Mohammad's hand and making him touch the tools. Carpenter: Feel it, This is called a vise. There's a piece of wood in the the vise. He directs his hand on it, then picks up a saw. Carpenter: This is called a saw, feel it. Now, let's saw this piece of wood. The carpenter puts Mohammad's hand on one end of the piece of wood and while holding the other end with his own hand, he starts to saw. 57. Night - Interior - House Aziz is lying on the bed. She is very pale. Bahareh gives her some soup. Father is sitting close to the bed. Aziz has no appetite. Bahareh looks at her father. He hands the medicine to her and motions her to administer them to Aziz. She pours some syrup in a spoon, Aziz swallows it but starts to cough. Bahareh gives her some water. Father: Bahareh! go and rest. She gets up and goes out of shot. Father looks contrite. Father: Mother, do you want me to bring him back tomorrow? Aziz is still silent. She is saying her beads. Father gets closer. Father: Mother! Don't you want me to bring him to see you, ha? Aziz is silent, her eyes full of tears. Father: Shall I bring him back? Ha? are you worried about him? Aziz has a quick a look at him and then stares at the roof. Aziz (whispering): I'm not worried about him. It is you I am worried about.

Father looks surprised. He looks down, lost in his thought. Fade out on his face. 58. Day - Exterior - Yard of house. Father is in the yard next to an unused part of the house. He is treading a mixture of clay and straw underfoot. Bahareh brings him a bucket of water. He pours water on the mixture, then picks up some and spreads it on the wall with his hands. 59. Day - Interior - House. Aziz is lying on the bed. Bahareh gives her some syrup, picks up the tray and goes out of the room. Aziz is saying her beads. She looks out through the window. 60. Day - Exterior - Pond behind carpenter's workshop Mohammad is standing by the pond, throwing crumbs to the ducks. 61. Day - Exterior - Yard of house Bahareh and Father are painting up the walls. First, they paint it all white with a piece of cloth, then paint the lower part of the wall in blue. Their hands and face are paint stained. Father puts up new wooden windows frames while Bahareh is sweeping the ground. 62. Day - Interior - The carpenter's workshop. Mohammad and the carpenter are standing beside a birdcage. The carpenter is holding a pigeon. He puts Mohammad's hand on it. Carpenter: This is a pigeon, touch it and feel it! Mohammad touches its head, tail, beak, feet and wings. The carpenter puts it back into the cage and leads Mohammad to the workbench. The carpenter pulls a wooden pigeon. Carpenter: Now, take a look at this! Mohammad touches it. Carpenter: This is the same, but this one is in wood. Feel it. What is that? Mohammad: That's the tail, that's the head and these are the wings. 63. Day - Exterior - Koulash village - Yard of the young woman's house. Father ties up the horse to a tree, brings a bundle out of a carpetbag and heads toward the house. The young woman's mother is standing on the terrace. Father greets her and enters the house. 64. Day - Interior - A room of the house Father kneels in front of the young woman's father, puts the bundle on the floor, and opens it up. There are many wads of notes and two packs of cookies.

Father (humble): These are not worthy of you! Father of young woman takes a look at the money and then smiles. Father of young woman: Congratulations! Father smiles and looks down. 65. Night - Exterior - Entrance of yard. Father riding a horse, enters and heads toward the stable. 66. Night - Interior - A room in the house. Aziz is sitting on bed. Bahareh and Hanyeh are asleep in the back of the room. Carrying logs, Father enters and heads for the stove. Aziz sips some water from a glass and continues to say her beads. Father puts the logs beside the stove, goes to the bed where the girls are sleeping and cover them with a blanket. He then sits in front of Aziz. Father (desperate): I went and visited Mohammad this afternoon. He is very well. He swallows nervously and stares at Aziz. She does not react. Father seems to be waiting for something. She is saying her beads, and when he finished her prayers, she picks up the rosary, then three times, she moves it up to her forehead and kisses it. Then she takes her agate ring from her finger and put her hand under the pillow as she was picking something hidden there. Then she opens her hand and reaches out Father. In her hand there are some pieces of silver and golden charms. Father (astonished): What is that? Aziz: Take them! Father: What for? Aziz: You'll need them! Father looks relieved. Father (with doubt): I don't need that, Mother, your consent is enough! Aziz: Take them, you'll need them! Aziz puts them in his hand. 67. Day - Exterior - Wilderness. Shot of a landscape in the fog. A breeze blows. Shots of leaves on a tree waving in the wind. Behind the forest, a light appears. 68. Dawn - Interior - Mohammad's room at the carpenter's workshop Mohammad is sleeping on a bed. Some of the dawn rays light up his room. From time to time, the sound of ducks and birds resound. Far away the sound of a woodpecker. Mohammad wakes up. The woodpecker sound

intensifies. He listens carefully. The sound continues for a while. Then the song of the ringdove resounds repeatedly. 69. Dawn - Exterior - Nature General view of hills covered with fog. In the foreground there is a field full of colourful flowers, in the background, a forest. The wind moves the clouds against each other and, with the light gradually stronger, we see the top of the trees appearing. Their shape is such that it looks like a city behind the clouds. The light is getting stronger. 70. Dawn - Interior - House's Room. Aziz is lying in her bed, he has a faraway look in her eyes. The camera approaches her face. It seems relaxed and in a state of expectation. Light coming in illuminates her face that becomes radiant. She smiles. 71. Day - Exterior - Landscape in the fog. Hills with tall trees. It seems the fog is moving up slowly. It covers the whole view, everything is now white. 72. Day - Exterior - The pond. Mohammad is standing still in the fog next to the pond. His eyes are full of tears. The fog surrounds him and gradually hides him. 73. Day - Exterior - Graveyard of village. A group of men and women are standing near a grave. An old woman mourns. Among the crowd, Father is sitting by the grave and crying. He looks in a mirror hanging there and he can see the reflection of the young woman he intends to marry. She is standing behind him and looks sad and worried. He sobs. People surround the father and they all walk away. 74. Day - Exterior - The carpenter's workshop Mohammad is standing in front of the pond and back to the camera. Fog lingers over the pond. Fade out. 75. Day - Exterior - Charcoal workshop Father is working among other workers. They are screening charcoal dust. A man arrives on a horse. He gets off near Father. Man: Hello, Mr. Hashem! I've got a message for you! Father (intrigued): Come on with me! He throws the sieve and heads toward a shed. The man follows him. It's a charcoal storage. Father leans on a wooden pillar. The man takes a bundle out of his bag and hands it to Father. Man: Mr. Aslani is sending this back to you. He said this wedding would be a bad omen for us.

Man exits the shed. Father is in a state of shock. He feels weak and sits down on the ground. He takes a look at the bundle, throw it on the floor angrily and bursts into tears. The bundle opens up and the objects in it scatters on the ground: The cookies, the pieces of fabric, the wads of money. 75 A. Day - Exterior - Charcoal workshop (Continued) Piles of charcoal in the foreground. In the background, two small sheds. Smoke floats all around the sheds. There is no one, we only hear the cries and lamentations of Father. 76. Day - Exterior - Road next to the carpenter's workshop. On the road, a van approaches from the background. It is carrying a group of men and women. It stops close to the workshop. Father gets off. The van leaves. Father heads toward the workshop. Suddenly he stops. He looks hesitant. Sound of a bus on the road. Father turns back and gets on the road. The bus approaches. Father waves hands. Father (shouting): Stop, Stop! The bus stops a little farther. Father runs toward it. The driver opens up the door. Suddenly, Father stops, turns back and heads toward the workshop. The driver looks at him bewildered. Driver: Hey, you! Are you crazy? He shuts the door of the bus and moves on. 77. Day - Exterior - Backyard of workshop. Mohammad is sitting on a trunk next to the pond. The sound of woodpeckers resonates. Father and the carpenter appear. Father looks at Mohammad with sadness and anger. Carpenter (smiling): Hey! Who do you think is here? Mohammad turns back without a word. A moment of silence. Father: I'm here to take you back home. Mohammad stands up suddenly, he is facing his father, but he neither moves nor says a word. Sound of a woodpecker. 78. Day - Exterior - A meadow. It is pouring rain. A narrow path in a vast field. Wind blows. Father, holding Mohammed by the hand, comes into shot and heads toward the background. 79. Day - Exterior - The woods It is foggy and the atmosphere is dark and frightening. Mohammad is on the horse, he looks calm. Father, holding the bridle, walks with a hesitant pace. He looks worried, he is smoking and his hands are shaking. He is leading the horse toward an unknown destination. They seem to appear and disappear in the fog. The terrifying sound that Father keeps hearing resounds in the

forest. Father looks more and more lost, worried and terrified. As they are advancing on the forest path we can see a tortoise that fell on its back between two stones and struggling in vain to get back on its feet. 80. Day - Exterior - Edge of the forest/River Shot of a turbulent river. Father and Mohammad come out of the forest toward the river. There's a wooden bridge on the river. Father is walking ahead, holding the horse's bridle. He looks hesitant and worried. Mohammad is quiet and silent. They move on to the bridge, Father first, followed by Mohammad on the horse. (Slow motion) Suddenly, as the horse passes on it the bridge collapses. The violent movements of the horse attempting to stay on the bridge throw Mohammad into the water. Mohammad screams. The horse falls also. Father turns back and looks at them with panic in his eyes. He reaches the parapet of the bridge and stares at the river. Mohammad is struggling in the turbulent river. The current is taking him away down the river. Father is even more terrified but he does not make any move to rescue Mohammad. He stares at the body of his son being taken away with a look of guilt and relief. Then suddenly, he runs down to the river bank (End of slow motion). Father (shouting repeatedly): Mohammad, Mohammad! As he is running along the shore of the river, he tries to find signs of Mohammad in the water stream but there is none. Suddenly the path along the river abruptly ends and he has no other choice than to jump into the dangerous stream. He hesitates for a moment then jumps. The violent current sweeps him away. He cannot do anything and he is at the mercy of the stream that shakes him and throws him up and down among the rocks. He reaches a rock in the middle of the river and holds on to it. His forehead is bleeding, his clothes are torn, he is pale and out of breath, but he is safe on this rock. He could abandon the search. He looks around to see any sign of Mohammad. He takes a breath and suddenly notices a shoe belonging to Mohammad stuck on a branch near the water. He jumps into the river again but this time he does not struggle any more. The stream takes him up and down among the rocks. It seems that he wants to submit himself to the same ordeal as his son. There is no sign of him anymore. 81. Day - Exterior - River/Sea A view of calm water. It is relatively quiet, just the soft sound of waves. A few branches are floating and we can see the coat and the shoe of Father clinging on them. As the camera approaches the shore, we can see Father's legs, his body and his face. He is lying down on his back in the sand, his clothes are torn and he seems unconscious. Sound of a seagull. Father opens his eyes and looks at the sky. He sees the seagull flying in the blue sky. He gets up with difficulty and looks around. Something at the far end of the

beach catches his attention. The beach is scattered with dead trunks and roots of trees. He hobbles along the beach but he is exhausted, he stumbles and falls on the sand. He looks again in the direction where he had seen something and stands up on his feet again. Now, we can see Mohammad lying motionless beside the trunk of a tree near the sea. Father runs toward him and kneels next to the body. He holds him in his arms and while lamenting, he caresses his head and kisses his forehead. Then he looks at the sky with an expression of extreme sorrow. We hear the sound of seagulls. In the sky, far away, there is a group of seagulls passing over father's head. The bird calls are higher and higher. A high-angle shot at Father and Mohammad. The sound of seagulls decreases. We only hear the sound of the waves. Then suddenly the sound of the ringdove resounds repeatedly, like a call. The camera moves down toward Father holding Mohammad. It gets closer until there is only the hand of Mohammad filling the screen. The song of the ringdove intensifies. A soft light gradually illuminates Mohammad's hand. His fingers open up gently. The light intensifies as he is moving his fingers turning them toward the sky. Blackout. Final credits. Majid Majidi. 1998Copyright © 2002 Fouad Nahas. All rights reserved. Reproduction in whole or in part without permission is prohibited.

The Color of Paradise Credits Majid Majidi: Director and screenwriter. Mohammad Davoodi: Director of Photography. Mohammad Reza Delpak: Sound effects and Sound Mixing.

Has collaborated Majid Majidi's films: `The Father", "The Children of Heaven".

Yadollah Najafi: Sound Recording. Has collaborated with Majid Majidi in all his films.

Hassan Hassandoost: Editor. Has collaborated with Majid Majidi for "The Father","The Children of Heaven".

Seyyed Mohsen Moussavi: Make-up artist. Has collaborated with Majid Majidi in all of his films.

Asghar Iman: Set and costumes Designer.

The Cast Mohammad: Mohsen Ramezani

Hashem, the father: Hossein Mahjoub Aziz: Salimeh Feyzi