“And yet it was here,” it says. “What thing? Paradise?” In early autumn of 1975, Pier Paolo Pasolini sends Eduardo De Filippo the final, although not yet definitive, version of the screenplay - or rather, we would say, the draft - of his next film, as he planned, after “Salo, or the 120 Days of Sodom.”

In these pages, which De Filippo receives about a month before Pasolini’s murder, “there is essentially everything.” A text of literary value, just before it finds its final form as the screenplay of Pasolini’s unmade film, with which he intended to complete his cinematic career, is transformed - for the first time in Greek - into a book.