"And yet it was here," he says. "What thing? Paradise?"

In the early autumn of 1975, Pier Paolo Pasolini sends to Eduardo De Filippo the last, although not yet final, version of the screenplay - or rather, we would say, the draft - of his next, as planned, film after "Salo or the 120 Days of Sodom" [...]. In these pages, which De Filippo receives about a month before Pasolini's murder, "essentially everything exists."

A literary text, shortly before finding its final form as the screenplay of Pier Paolo Pasolini's unrealized film, with which he intended to complete his film career, is transformed - for the first time in Greek - into a book.