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1
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this is a film by Lucilla Mininno
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this work was realized thanks to the collaboration
of a group of professionals of the film and art industries
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(Francesco's voiceover)
To the journalists, the policians
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(Francesco's voiceover)
the actors, the directors
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(Francesco's voiceover)
the writers, the producers
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(Francesco's voiceover)
the distributors, the practitioners of the performing arts
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(Francesco's voiceover)
the artistic directors, the technicians
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(Francesco's voiceover)
the public entities and private bodies.
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(Francesco's voiceover)
To every citizen and every member of the audience.
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(Francesco's voiceover)
To every individual who can call himself a human being.
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00:00:56,400 --> 00:00:59,880
(Francesco's voiceover)
Is it still possible to believe?
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00:01:01,280 --> 00:01:04,200
(Francesco's voiceover)
Desperately, believe?
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00:01:04,920 --> 00:01:08,040
(Francesco's voiceover)
Relentlessly, believe?
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00:01:08,640 --> 00:01:12,120
(Francesco's voiceover)
Fearlessly, believe?
15
00:01:13,480 --> 00:01:16,160
(Francesco's voiceover)
In a detail, believe?
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00:01:18,240 --> 00:01:22,080
(Francesco's voiceover)
This is a story about persistence.
17
00:01:23,800 --> 00:01:25,320
(Francesco's voiceover)
and need.
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00:01:27,200 --> 00:01:29,960
(Francesco's voiceover)
This is a story about silence
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00:01:31,360 --> 00:01:32,440
(Francesco's voiceover)
and love.
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00:01:34,920 --> 00:01:36,560
(Francesco's voiceover)
This is the story of a theatre
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00:01:38,200 --> 00:01:39,480
(Francesco's voiceover)
a theatre
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(Francesco's voiceover)
that is about
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(Francesco's voiceover)
to be destroyed.
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[dramatic music and disturbing ambient sounds.
In the distance Cecilia cries and calls "Giovanni"]
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00:02:34,600 --> 00:02:41,240
[dramatic music and childish chatter]
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(Cecilia's voiceover)
"Because death is silence.
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00:02:48,960 --> 00:02:53,920
One moment you’re there
and the next you’re not there anymore."
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(Francesco's voiceover)
"If only you decided to take a walk
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00:03:01,520 --> 00:03:07,760
you’d see the wind still blows.
Oh, how it blows!"
30
00:03:08,560 --> 00:03:11,480
(Cecilia's voiceover) The scene,
you can’t remember the scene.
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00:03:12,280 --> 00:03:14,440
Being out there is worse and worse for you.
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The noise confuses you.
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00:03:17,760 --> 00:03:23,200
(Francesco's voiceover) "What would you do,
Madame Pinkerton, if he was never to come back?
34
00:03:23,720 --> 00:03:26,240
If he never wanted to come back?"
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00:03:28,240 --> 00:03:32,200
Look at me Cecilia, look at my face.
36
00:03:33,760 --> 00:03:35,280
Look at me.
37
00:03:35,280 --> 00:03:37,920
[dramatic music and disturbing ambient sounds]
38
00:03:38,360 --> 00:03:40,720
(Cecilia's voiceover) Giovanni! Giovanni!
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00:03:40,720 --> 00:03:43,480
[loud noise of falling iron]
40
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[Cecilia coughs]
41
00:03:47,800 --> 00:05:13,280
[dramatic music and ambient sounds]
42
00:05:13,920 --> 00:05:15,520
(to himself) On stage.
43
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[dramatic music and ambient sounds]
44
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[ticking clock]
45
00:05:34,200 --> 00:06:06,720
[ambient sounds]
46
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(female voiceover) Kind actresses and actors,
thirty minutes to the show.
47
00:06:18,440 --> 00:07:22,520
[ambient sounds]
48
00:07:23,680 --> 00:07:26,520
(female voiceover) Ladies and gentlemen,
there are fifteen minutes left.
49
00:07:30,120 --> 00:08:24,160
[ambient sounds]
50
00:08:24,800 --> 00:08:26,040
(female voiceover)
Showtime!
51
00:08:26,040 --> 00:08:27,720
[loud noise of falling iron]
52
00:08:28,960 --> 00:08:36,760
[Cecilia coughs]
53
00:08:38,920 --> 00:08:47,120
[disturbing sounds]
54
00:08:49,560 --> 00:09:23,400
[ambient sounds]
55
00:09:24,520 --> 00:09:26,520
[ticking clock]
56
00:09:27,080 --> 00:09:29,280
[someone knocks on the door]
57
00:09:30,200 --> 00:09:34,680
[ticking clock]
58
00:09:36,200 --> 00:09:38,680
[someone knocks on the door]
59
00:09:40,240 --> 00:09:42,000
[someone knocks on the door]
60
00:09:43,120 --> 00:09:55,200
[ticking clock]
61
00:09:56,720 --> 00:09:58,880
[someone knocks on the door]
62
00:10:00,120 --> 00:10:02,600
[someone knocks on the door]
63
00:10:07,640 --> 00:10:15,360
[dramatic music, disturbing ambient sounds and ticking clock]
64
00:10:17,080 --> 00:10:21,200
[sound of fire]
65
00:10:23,080 --> 00:11:21,520
[dramatic music and ambient sounds]
66
00:11:22,320 --> 00:11:24,680
(postman's voiceover)
You took your time. Good morning.
67
00:11:25,200 --> 00:11:27,000
When are we gonna have
a nice glass of wine together?
68
00:11:27,640 --> 00:11:38,400
[dramatic music and ambient sounds]
69
00:11:45,440 --> 00:13:55,800
[dramatic music, disturbing ambient sounds and whispers]
70
00:13:56,840 --> 00:13:59,120
You look so sweaty.
71
00:13:59,720 --> 00:14:03,800
[dramatic music]
72
00:14:04,400 --> 00:14:06,600
It’s because of the sirocco.
73
00:14:07,800 --> 00:14:19,040
[dramatic music]
74
00:14:20,080 --> 00:14:21,480
I was delayed.
75
00:14:24,360 --> 00:14:25,920
I received a phone call.
76
00:14:26,360 --> 00:14:28,680
Of course, it can happen.
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00:14:29,160 --> 00:14:32,440
The messenger is a fundamental character.
78
00:14:32,800 --> 00:14:34,200
You do know that, right?
79
00:14:34,520 --> 00:14:37,720
He announces change.
80
00:14:40,240 --> 00:14:43,560
Anyway, the tea was too hot.
81
00:14:45,120 --> 00:14:48,320
This is the season where robins make their nest.
82
00:14:49,000 --> 00:14:51,120
It should be cooler.
83
00:14:51,800 --> 00:14:56,200
The climate changes. Time passes and changes.
84
00:14:59,440 --> 00:15:03,400
And robins might have changed their habits.
85
00:15:04,040 --> 00:15:08,880
[dramatic music]
86
00:15:09,840 --> 00:15:13,360
(Cecilia's voiceover) "Why did he take such care
to have the house fitted with locks
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00:15:14,400 --> 00:15:17,520
if he didn't mean to come back again?"
88
00:15:18,400 --> 00:15:19,480
(Francesco's voiceover) "I don't know."
89
00:15:20,000 --> 00:15:22,720
(Cecilia's voiceover) "You don't know? I'll tell you then:
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00:15:23,880 --> 00:15:28,440
in order to keep mosquitos,
relatives and trouble outside,
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00:15:28,920 --> 00:15:35,560
and inside, jealously guarded,
his bride - me - Butterfly!"
92
00:15:37,440 --> 00:15:54,600
[dramatic music, wind, disturbing ambient sounds and whispers]
93
00:15:55,200 --> 00:16:00,160
(Cecilia's voiceover) "On that last morning
"Are you coming back, sir?" I asked him.
94
00:16:00,920 --> 00:16:06,040
With a heavy heart, trying to hide
his unhappiness from me, smiling he replied:
95
00:16:07,280 --> 00:16:11,440
"Oh, Butterfly, my dear sweet little wife
96
00:16:12,400 --> 00:16:17,400
I'll return with the roses in that happy season
97
00:16:18,680 --> 00:16:21,400
when the robin build his nest."
98
00:16:22,360 --> 00:16:23,800
He'll come back.
99
00:16:25,720 --> 00:16:29,280
Say it with me: He'll come back."
100
00:16:30,560 --> 00:16:33,280
Suzuki! Say it with me!
101
00:16:34,040 --> 00:17:13,960
[dramatic music, wind, disturbing ambient sounds and whispers]
102
00:17:16,080 --> 00:17:18,400
What a horrible object.
103
00:17:19,760 --> 00:17:23,000
The old-time candles used to be so beautiful.
104
00:17:23,160 --> 00:17:24,400
Isn’t that right, ma chère?
105
00:17:25,240 --> 00:17:52,680
[dramatic music, wind, disturbing ambient sounds and whispers]
106
00:17:54,720 --> 00:17:59,520
(Cecilia's voiceover) "One fine day we'll see
a swip of smoke arising
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00:17:59,960 --> 00:18:03,280
over the extreme verge of the sea's horizon.
108
00:18:04,240 --> 00:18:06,920
Keep your fears.
109
00:18:07,760 --> 00:18:12,160
Whit indestructible faith I shall wait for him."
110
00:18:12,320 --> 00:18:13,920
Francesco - Antonello is going to close.
111
00:18:17,480 --> 00:18:21,040
People get cremated.
There’s no more room underground.
112
00:18:21,280 --> 00:18:24,720
Meaning, his flowers are no longer needed.
113
00:18:24,960 --> 00:18:27,640
Some of his relatives have opened a restaurant.
114
00:18:27,840 --> 00:18:31,160
He’s going to move there to try becoming a cook.
115
00:18:31,640 --> 00:18:33,840
He says he always liked cooking.
116
00:18:36,440 --> 00:18:40,360
And then came the court’s announcement.
117
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It’s the last one.
118
00:18:43,560 --> 00:18:50,000
If you won’t show up in front of the judges,
the police will come. They’ll kick you out.
119
00:18:51,120 --> 00:18:53,320
And be sure that they won’t stop
120
00:18:54,080 --> 00:18:57,360
because ‘theatre is the conscience of humanity’.
121
00:19:00,800 --> 00:19:05,440
I’m sorry, ma chère. I don’t know this script.
122
00:19:07,080 --> 00:19:08,920
There’s something else.
123
00:19:09,120 --> 00:19:11,680
Cecilia! Cecilia!
124
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(ambient sounds)
125
00:19:24,080 --> 00:19:26,560
- Good evening!
- Come on, we’re late.
126
00:19:30,680 --> 00:19:31,800
Let's go!
127
00:19:41,520 --> 00:20:22,080
[ambient sounds]
128
00:20:24,120 --> 00:20:25,400
Ready?
129
00:20:27,240 --> 00:20:28,760
Then say it.
130
00:20:30,640 --> 00:20:34,240
Simply. Just try saying it.
131
00:20:37,040 --> 00:20:41,080
"Humanity evolves, it sublimates its resources.
132
00:20:42,760 --> 00:20:48,040
What seems impossible today, one day will be possible, simple.
(Cecilia spies them and repeats the lines)
133
00:20:48,400 --> 00:20:50,400
All we have to do is work hard.
134
00:20:52,200 --> 00:20:55,120
The greatest majority of those who say they’re intelligent
135
00:20:55,280 --> 00:20:59,320
doesn’t look for anything, doesn’t do anything,
is not able to work hard.
136
00:21:00,040 --> 00:21:05,280
(voiceover of the young actor who continues his monologue)
There is nothing but dirt, mediocrity, resignation.
137
00:21:06,000 --> 00:21:07,040
I’m scared.
138
00:21:07,520 --> 00:21:10,080
And I can’t stand too serious faces.
139
00:21:10,680 --> 00:21:12,600
I’m scared of engaged conversations.
140
00:21:13,400 --> 00:21:15,960
We’d all be better off if we shut up.”
141
00:21:17,280 --> 00:21:20,160
Young actor - Francesco, is she there? Can I see her?
142
00:21:23,200 --> 00:21:26,040
Francesco - What do you want to see?
She’s a woman like others.
143
00:21:27,200 --> 00:21:31,560
[dramatic music]
144
00:21:31,880 --> 00:21:32,720
[door closing]
145
00:21:33,360 --> 00:21:42,800
[dramatic music]
146
00:21:43,560 --> 00:21:48,480
(Cecilia's voiceover) When I was a child,
my mother obliged me to sleep until four o’clock.
147
00:21:49,120 --> 00:21:52,960
I couldn’t, but I was forced to.
148
00:21:54,040 --> 00:21:57,840
And I couldn’t go out into the garden as I wished.
149
00:21:58,280 --> 00:22:05,360
The only thing she allowed me to do
was to watch her give French lessons.
150
00:22:05,560 --> 00:22:09,880
I had to keep quiet, naturally,
or she’d increase the hours.
151
00:22:12,280 --> 00:22:16,840
And then when it snowed, when it snowed...
152
00:22:17,600 --> 00:22:26,520
I just remained still, there, behind the glass.
I would have smashed everything to go out into the garden.
153
00:22:30,160 --> 00:22:37,960
Behind that snow, I imagined incredible worlds.
154
00:22:39,720 --> 00:22:44,320
And I still wonder when four o’clock is going to come.
155
00:22:47,360 --> 00:22:51,320
(Cecilia's voiceover) Good night then.
Good night my love.
156
00:22:52,920 --> 00:22:57,240
I love you, endlessly.
157
00:22:58,920 --> 00:23:00,560
(Francesco's voiceover) "Madame Butterfly!"
158
00:23:01,440 --> 00:23:03,680
(Cecilia's voiceover) "Madame Pinkerton!"
159
00:23:05,120 --> 00:23:09,280
(Francesco's voiceover) What would you do Madame Pinkerton,
if he was never to come back again?
160
00:23:09,840 --> 00:23:12,480
If he never wanted to come back again?”
161
00:23:12,840 --> 00:23:14,800
(Francesco's voiceover)
I know we weren't playing the opera
162
00:23:15,120 --> 00:23:20,280
but anyway his voice wasn’t right, he was pitchy.
163
00:23:20,800 --> 00:23:25,920
He was presumptuous and arrogant
and you shouldn’t have wasted your time with him.
164
00:23:25,960 --> 00:23:28,520
[loud noise of falling iron]
165
00:23:28,520 --> 00:23:32,440
[coughing sound]
166
00:23:32,640 --> 00:23:45,240
[dramatic music and ambient sounds]
167
00:23:46,240 --> 00:24:08,120
[dramatic music and ambient sounds]
168
00:24:08,920 --> 00:24:12,080
I could hear the sound of the water running.
I thought something had happened.
169
00:24:14,520 --> 00:25:10,560
[pounding music and ambient sounds]
170
00:25:11,120 --> 00:25:12,240
On stage!
171
00:25:13,560 --> 00:25:27,280
[pounding music and ambient sounds]
172
00:25:28,840 --> 00:25:35,920
[ambient sounds]
173
00:25:36,360 --> 00:25:40,680
[ticking clock and ambient sounds]
174
00:25:41,280 --> 00:25:42,840
Have you started smoking again?
175
00:25:43,360 --> 00:25:44,360
What?
176
00:25:44,640 --> 00:25:45,960
You’re always out of breath.
177
00:25:47,080 --> 00:25:49,840
No. And anyway, I’d never dare here.
178
00:25:49,960 --> 00:25:51,640
- Are you sure?
- Yes.
179
00:25:52,440 --> 00:25:55,000
And yet you did dare to showing up there
180
00:25:55,560 --> 00:25:57,040
uninvited.
181
00:25:57,240 --> 00:25:58,800
I’ve already told you, I heard the sound of the water running.
182
00:25:59,040 --> 00:26:01,840
What? Am I not allowed to open the tap?
183
00:26:01,880 --> 00:26:03,560
I kept on hearing it.
184
00:26:04,520 --> 00:26:08,080
Were you afraid I was drowning? Under a tap.
185
00:26:08,320 --> 00:26:10,880
No, of course not.
186
00:26:12,640 --> 00:26:15,360
It would be an interesting liberation, don’t you think?
187
00:26:15,800 --> 00:26:19,440
You’d like it to end here. Wouldn’t you?
188
00:26:21,520 --> 00:26:23,960
- How long have you been there for?
- I’d just arrived.
189
00:26:24,440 --> 00:26:27,280
- Why didn’t I hear you?
- I don’t know.
190
00:26:27,720 --> 00:26:30,000
[ticking clock]
191
00:26:30,400 --> 00:26:35,680
We need to move the spotlight.
This is not the light design I did.
192
00:26:35,800 --> 00:26:38,480
Then who? Who is supposed to have changed it?
193
00:26:39,320 --> 00:26:41,360
Someone who’d like to see me go crazy.
194
00:26:42,000 --> 00:26:47,960
Do you know that by making little changes to the earth,
the entire order of things changes?
195
00:26:48,880 --> 00:26:50,520
Even cities move.
196
00:26:51,400 --> 00:26:55,520
Those spotlights are basically glued.
They’re so rusty no-one can move them.
197
00:26:55,720 --> 00:26:57,400
I didn’t ask for your opinion.
198
00:26:57,840 --> 00:26:59,760
[ticking clock]
199
00:27:00,120 --> 00:27:01,200
Sorry!
200
00:27:03,600 --> 00:27:07,720
We’ll try. Only, can I ask you
to do it in another moment?
201
00:27:08,760 --> 00:27:12,400
I’m in a rush. Really, I have to go.
202
00:27:12,480 --> 00:27:13,480
Excuse me?
203
00:27:14,600 --> 00:27:16,000
I have an appointment.
204
00:27:16,520 --> 00:27:17,960
What did you come here for, then?
205
00:27:18,680 --> 00:27:19,560
To warn you.
206
00:27:19,720 --> 00:27:21,280
You could have done it straight away.
207
00:27:22,240 --> 00:27:24,200
It’s just that I wanted to do it without pressure.
208
00:27:27,280 --> 00:27:30,600
Is it a date, ma chère Suzuki?
209
00:27:30,720 --> 00:27:31,600
No!
210
00:27:32,280 --> 00:27:38,240
Why are you so bitter? You’re becoming
an old maid, harsh and standoffish.
211
00:27:38,640 --> 00:27:44,240
It would be good for you to immerse yourself
in some positive feelings.
212
00:27:49,360 --> 00:27:51,320
I’m not interested in love.
213
00:27:52,600 --> 00:27:56,200
One can tell that, my dear, one can tell very well.
214
00:27:56,840 --> 00:27:59,640
Anyway, this whole business does not interest me.
215
00:28:00,960 --> 00:28:04,480
You’re making me play a useless, cheap and improvised scene
216
00:28:05,600 --> 00:28:08,440
with a character that I don’t even know.
217
00:28:09,960 --> 00:28:16,600
We need to move the spotlights, prithee.
The moon has gone down, I want it back in its place.
218
00:28:17,720 --> 00:28:41,280
[ticking clock and ambient sounds]
219
00:28:43,280 --> 00:28:48,760
And now, turn the lights on
in the stalls. Direct that spotlight.
220
00:28:53,560 --> 00:29:00,760
[ticking clock and Francesco's steps]
221
00:29:03,400 --> 00:29:25,440
[ambient sounds]
222
00:29:26,200 --> 00:29:27,120
No, no.
223
00:29:27,280 --> 00:29:27,960
Here?
224
00:29:28,120 --> 00:29:29,440
No, that’s not right.
225
00:29:30,040 --> 00:29:31,040
Here, then?
226
00:29:31,120 --> 00:29:31,760
No.
227
00:29:33,240 --> 00:29:35,080
Will you light up the stalls, please?
228
00:29:35,680 --> 00:29:36,680
Here it is.
229
00:29:37,720 --> 00:29:39,760
Right, so you are lighting up the stalls.
230
00:29:40,240 --> 00:29:41,600
Of course.
231
00:29:43,240 --> 00:29:50,800
Then aim at row H, seat 3. Or do you prefer L, seat 8?
232
00:29:55,760 --> 00:29:58,880
Will you light up the seats please?
233
00:30:02,640 --> 00:30:04,320
Can you tell me what the problem is?
234
00:30:04,640 --> 00:30:10,640
It’s cold, it’s damp, it’s full of mould.
Why should I show the seats?
235
00:30:11,240 --> 00:30:16,440
If this wasn’t a job for you, you could have told me.
You should have told me.
236
00:30:16,560 --> 00:30:18,800
I did my best, Cecilia.
237
00:30:19,000 --> 00:30:22,080
What kind of theatre is a theatre without seats?
238
00:30:22,080 --> 00:30:24,520
They’re going to sit on the floor,
we won’t be the first nor the last.
239
00:30:24,640 --> 00:30:29,200
On the floor? My audience, on the floor?
240
00:30:29,320 --> 00:30:33,720
Tell me that we are reopening this theatre
and I will put the seats back. It’ll only take me a minute.
241
00:30:33,800 --> 00:30:38,960
The way you hoarded them, they’ll be devastated
by worms by now. You have to fix them.
242
00:30:39,040 --> 00:30:41,280
I check them and clean them every day.
243
00:30:42,520 --> 00:30:48,440
But it’ll all be useless, because in a few days
it’ll all be over, Cecilia, please.
244
00:30:49,000 --> 00:30:52,640
[dramatic music and ambient sounds]
245
00:30:53,080 --> 00:30:56,960
You’re so funny, Suzuki, when you’re so moderate.
246
00:30:58,120 --> 00:30:59,760
Do you think I’m afraid?
247
00:31:00,280 --> 00:31:05,360
That I feel threatened by four men
dressed up as law enforcement?
248
00:31:05,720 --> 00:31:07,000
Or by you?
249
00:31:08,400 --> 00:31:10,200
This is not how it ends, you do know that?
250
00:31:12,640 --> 00:31:16,840
Cecilia, we can’t go on like this.
251
00:31:18,920 --> 00:31:20,800
Time’s up.
252
00:31:22,640 --> 00:31:29,240
Exactly. Let’s get over with it.
Put on your damn kimono, Suzuki!
253
00:31:29,840 --> 00:31:31,600
I don’t recognize you anymore.
254
00:31:32,720 --> 00:31:38,240
You’ve become a generic lead
of a third grade company.
255
00:31:38,600 --> 00:31:40,520
[dramatic music, wind and whispers]
256
00:31:40,920 --> 00:31:43,680
Cecilia - You need to put your kimono on.
257
00:31:44,120 --> 00:31:46,000
We need to fix the curtains
258
00:31:47,120 --> 00:31:48,680
put the seats back
259
00:31:49,040 --> 00:31:50,640
the flowers on the tree
260
00:31:51,840 --> 00:31:54,040
the moon in its place.
261
00:31:55,760 --> 00:31:58,560
- Suzuki! Your kimono?
- I can’t stop, I need to leave.
262
00:31:58,600 --> 00:32:00,880
- Your kimono?
- I’ll only be away for a few days.
263
00:32:01,320 --> 00:32:03,480
I brought you some provisions.
I put them back there.
264
00:32:03,680 --> 00:32:04,760
Provisions?
265
00:32:05,200 --> 00:32:07,680
[dramatic music and ambient sounds]
266
00:32:07,960 --> 00:32:09,440
Provisions?
267
00:32:09,960 --> 00:32:11,520
[dramatic music and ambient sounds]
268
00:32:12,000 --> 00:32:15,360
It’s all because of those new,
young authors of yours.
269
00:32:16,640 --> 00:32:18,360
You’ve lost all sense.
270
00:32:19,200 --> 00:32:21,120
You got it all wrong.
271
00:32:22,360 --> 00:32:28,240
[dramatic music and ambient sounds]
272
00:32:28,920 --> 00:32:32,400
I’m sorry. A few days.
273
00:32:37,440 --> 00:33:06,880
[dramatic music and ambient sounds]
274
00:33:09,880 --> 00:33:11,560
But where are you?
275
00:33:12,920 --> 00:33:14,440
You’re worse than me:
276
00:33:16,800 --> 00:33:20,960
you didn’t get married, you didn’t have any children
277
00:33:23,120 --> 00:33:28,120
you don’t work, no theatre knows where you are.
278
00:33:28,880 --> 00:33:31,600
[dramatic music and ambient sounds]
279
00:33:32,360 --> 00:33:42,200
You remind me of your Hawking:
everything is collapsing. Nothing will remain.
280
00:33:43,720 --> 00:33:47,760
As if it never existed.
281
00:33:48,920 --> 00:33:51,960
And a new time will be born.
282
00:33:52,280 --> 00:33:55,600
[dramatic music and ambient sounds]
283
00:33:55,960 --> 00:33:57,800
It’s looks like a sign.
284
00:34:00,240 --> 00:34:05,680
No-one will give us flowers anymore,
the tapes are running out.
285
00:34:06,800 --> 00:34:09,800
Francesco is not wearing his kimono anymore.
286
00:34:11,400 --> 00:34:15,040
Everything is tumbling into a hole.
287
00:34:19,880 --> 00:34:22,040
But of course, there is an explanation.
288
00:34:23,320 --> 00:34:28,960
We cannot live without love and you will be back.
289
00:34:29,440 --> 00:34:33,480
[dramatic music and ambient sounds]
290
00:34:34,280 --> 00:34:35,160
Giovanni!
291
00:34:37,720 --> 00:34:42,720
Is it possible, do you think, that Francesco hates me?
292
00:34:43,480 --> 00:34:50,040
[dramatic music and ambient sounds]
293
00:34:51,560 --> 00:34:56,200
Is it possible that I’ll die?
294
00:34:57,320 --> 00:35:07,280
[dramatic music, ticking clock and ambient sounds]
295
00:35:08,280 --> 00:35:12,520
[in the distance, doors that open and close]
296
00:35:12,840 --> 00:35:20,680
[footsteps and whispers]
297
00:35:22,280 --> 00:35:33,760
[dramatic music, whispers and ambient sounds]
298
00:35:35,320 --> 00:35:39,000
[Cecilia coughs]
299
00:35:39,120 --> 00:35:43,880
"Out, out, brief candle.
Life is nothing more than an illusion.
300
00:35:44,880 --> 00:35:51,560
It’s like a poor actor who struts
and worries for his hour on the stage
301
00:35:52,200 --> 00:35:56,280
and then is never heard from again."
302
00:35:56,400 --> 00:35:58,640
[loud noise of falling iron]
303
00:35:59,360 --> 00:36:00,880
(female voiceover) Showtime!
304
00:36:03,880 --> 00:36:27,960
[a hammer beating and obsessive music]
305
00:36:29,440 --> 00:36:33,000
(Cecilia's voiceover) Giovanni! Giovanni!
306
00:36:34,200 --> 00:37:07,520
[obsessive music and ambient sounds]
307
00:37:08,920 --> 00:37:10,760
(Cecilia's voiceover) Giovanni!
308
00:37:10,960 --> 00:37:14,320
[obsessive music and ambient sounds]
309
00:37:14,480 --> 00:37:16,360
[loud noise of falling iron]
310
00:37:16,360 --> 00:37:20,640
[obsessive music and ambient sounds]
311
00:37:21,080 --> 00:37:22,920
(Cecilia's voiceover) Suzuki!
312
00:37:24,000 --> 00:37:37,920
[obsessive music and ambient sounds]
313
00:37:38,680 --> 00:37:39,720
Is that...?
314
00:37:40,440 --> 00:37:43,880
[obsessive music and ambient sounds]
315
00:37:44,440 --> 00:37:51,200
[Cecilia coughs]
316
00:37:52,840 --> 00:38:15,280
[obsessive music and ambient sounds]
317
00:38:17,440 --> 00:38:19,320
Miranda - The stage is like new.
318
00:38:20,560 --> 00:38:23,880
Francesco - I restored every single board.
319
00:38:25,640 --> 00:38:28,840
Miranda - What about the scenography?
Francesco - That cannot be touched.
320
00:38:30,080 --> 00:38:34,440
Miranda - It seems it burnt because of too much passion.
321
00:38:37,040 --> 00:38:39,120
Francesco - Are you sure
you don't want to get closer to it?
322
00:38:40,400 --> 00:38:42,320
Miranda - I'm not afraid of fire.
323
00:38:43,000 --> 00:38:44,040
Francesco - You should.
324
00:38:45,440 --> 00:40:03,760
[obsessive music and ambient sounds]
325
00:40:03,840 --> 00:40:05,880
[loud noise of falling iron. Stop music]
326
00:40:05,880 --> 00:40:09,480
(Cecilia's voiceover) Giovanni! Giovanni!
327
00:40:09,480 --> 00:40:19,720
[pant]
328
00:40:20,440 --> 00:40:24,520
[Cecilia coughs]
329
00:40:24,520 --> 00:40:37,800
[cough, pant and severe sound]
330
00:40:39,520 --> 00:40:55,760
[ambient sounds]
331
00:40:58,000 --> 00:41:04,480
What does Trofimov say? Evolve?
I thought you could evolve.
332
00:41:05,680 --> 00:41:10,000
Instead, you’re still the usual absent-minded,
goofy and superficial woman.
333
00:41:11,320 --> 00:41:15,240
There’s nothing you can do about it,
we can’t fight our nature.
334
00:41:15,720 --> 00:41:18,520
The hammer is the only weapon that’s left to you.
335
00:41:20,440 --> 00:41:23,800
Miranda did me a favor, and I returned it.
336
00:41:24,840 --> 00:41:26,760
Such presumption.
337
00:41:27,520 --> 00:41:31,240
That’s what she wanted. She wanted to see this theatre.
338
00:41:32,920 --> 00:41:38,800
Young actors think that in here lives
a great actress who fights for her project.
339
00:41:39,440 --> 00:41:40,600
That’s what they say.
340
00:41:41,280 --> 00:41:46,400
You’re a legend to them, a revolutionary.
341
00:41:47,240 --> 00:41:50,240
- They can’t even imagine…
- What?
342
00:41:50,760 --> 00:41:54,280
The misery and sadness of this story.
343
00:41:54,800 --> 00:41:59,600
You talk to me about misery?
You talk to me about sadness?
344
00:41:59,880 --> 00:42:01,480
I was talking about both of us, in fact.
345
00:42:04,480 --> 00:42:09,400
No, ma chère Suzuki!
There is a big difference between me and you.
346
00:42:09,960 --> 00:42:13,160
You’re just trying to distract yourself, to stop thinking
347
00:42:13,640 --> 00:42:17,560
and you don’t believe in love,
you don’t even know what love is.
348
00:42:17,960 --> 00:42:22,640
After you, Cecilia, no-one will want
to believe in love anymore.
349
00:42:23,800 --> 00:42:27,320
You’ve become cynical, angry, barren.
350
00:42:28,640 --> 00:42:32,080
You’re dragging yourself through the world
without even knowing who you are.
351
00:42:32,920 --> 00:42:39,800
Have you ever made a choice? Have you ever given
something up for that choice, Suzuki?
352
00:42:40,120 --> 00:42:42,240
You’re asking me that?
353
00:42:42,840 --> 00:42:47,960
You’re ridiculous. You don’t even realize
how serious what you did is.
354
00:42:49,760 --> 00:42:54,520
I had an audition. Miranda was my partner.
355
00:42:55,320 --> 00:42:57,480
I’ve been trying to tell you for a while.
356
00:42:58,600 --> 00:42:59,920
There were a lot of us.
357
00:43:01,520 --> 00:43:03,680
The director called me back.
358
00:43:04,080 --> 00:43:07,320
I had a second audition and then a third.
359
00:43:08,240 --> 00:43:11,720
And in the end the director decided that I was perfect
360
00:43:13,320 --> 00:43:15,640
that I’m the lead
361
00:43:18,160 --> 00:43:24,360
that I deserve to go on a long tour,
that I deserve to work in front of an audience.
362
00:43:25,280 --> 00:43:33,640
And he said I’m an exceptional Don Carlos,
because I exude pain and humanity.
363
00:43:34,840 --> 00:43:36,320
That’s what he said to me.
364
00:43:37,240 --> 00:43:38,600
And I accepted.
365
00:43:39,680 --> 00:43:45,480
I accepted, because if there is something I love
366
00:43:46,000 --> 00:43:50,320
it’s working in front of an audience and for an audience.
367
00:43:54,640 --> 00:43:58,480
That’s what I always wanted to do, Madame Pinkerton.
368
00:44:01,360 --> 00:44:05,840
I only asked you to do one thing: to find him.
369
00:44:06,800 --> 00:44:08,520
And you couldn’t.
370
00:44:09,760 --> 00:44:12,480
What are we talking about now?
371
00:44:12,840 --> 00:44:15,720
I did what I could.
372
00:44:17,120 --> 00:44:20,080
I only know what you tell me.
373
00:44:24,760 --> 00:44:26,920
Right. So from tomorrow, I won’t be able to come here anymore.
374
00:44:28,360 --> 00:44:29,440
I'm about to leave.
375
00:44:30,400 --> 00:44:31,720
You need to get out of here.
376
00:44:33,200 --> 00:44:34,400
Come out with me.
377
00:44:35,760 --> 00:44:36,960
It’s easier.
378
00:44:38,240 --> 00:44:39,920
It’ll be easier, Cecilia.
379
00:44:52,280 --> 00:44:58,280
Good, well done Suzuki, I’m glad for you.
Have a good show and have fun.
380
00:44:59,000 --> 00:45:03,680
Leave your costumes in order.
You can leave the keys at the entrance.
381
00:45:04,080 --> 00:45:06,240
Cecilia, come out with me.
382
00:45:07,360 --> 00:45:09,520
Thank you Suzuki, it’s been a pleasure.
383
00:45:09,640 --> 00:45:11,080
Please, Cecilia!
384
00:45:11,360 --> 00:45:13,760
Don’t forget to throw out the trash.
385
00:45:13,840 --> 00:45:15,880
Fuck, Cecilia! Will you listen to me?
386
00:45:18,920 --> 00:45:25,160
Don’t you dare using that language in my theatre.
387
00:45:25,640 --> 00:45:30,080
I sacrificed my whole life for you. This theatre is dead.
388
00:45:30,280 --> 00:45:36,080
No! This theatre will live. It will live.
Why did you remain here?
389
00:45:36,440 --> 00:45:38,720
Because I didn’t want to leave you on your own.
390
00:45:39,160 --> 00:45:42,520
No! You hate me.
391
00:45:43,840 --> 00:45:53,440
You’re just a cheap, mediocre man
crushed by his own sense of guilt.
392
00:45:54,000 --> 00:46:02,640
Go away. Get out of here! Out! Out!
393
00:46:04,200 --> 00:46:17,080
[ambient sounds]
394
00:46:19,800 --> 00:46:24,480
[dramatic music and ambient sounds]
395
00:46:25,320 --> 00:46:31,880
(Cecilia's voiceover on music)
An accident, a distraction due to tiredness
396
00:46:33,560 --> 00:46:39,560
has interrupted the play before it could have its debut.
397
00:46:41,520 --> 00:46:47,240
I lost the respect of my colleagues
and collaborators, and their trust.
398
00:46:48,040 --> 00:46:54,520
I fought against the institutions and the law,
taking all my responsibilities
399
00:46:55,560 --> 00:47:00,600
and loudly asking how I could make up for my mistakes.
400
00:47:02,600 --> 00:47:04,680
All I got was just nos.
401
00:47:06,400 --> 00:47:15,960
The forty plays that have been presented in my theatre
throughout its activity weren’t enough of a guarantee.
402
00:47:16,960 --> 00:47:23,080
An audience of thousands of people throughout that period, same.
403
00:47:24,000 --> 00:47:30,960
Their faithfulness and love
were not considered details of value.
404
00:47:32,680 --> 00:47:40,440
Neither was the amount of work that I did,
depriving myself of every comfort.
405
00:47:42,920 --> 00:47:49,880
The fire was the only thing
they saw and remembered.
406
00:47:52,360 --> 00:47:58,240
Everyday, every hour I hoped
that something would happen.
407
00:47:59,360 --> 00:48:04,040
I tried, even against myself,
to defend this job.
408
00:48:05,640 --> 00:48:12,360
But now even the last, small benefactor
409
00:48:12,920 --> 00:48:15,360
who accompanied me up to now
410
00:48:16,120 --> 00:48:18,480
has exhausted his strength
411
00:48:22,800 --> 00:48:24,920
and abandoned me
412
00:48:25,800 --> 00:48:28,880
not believing in this project anymore.
413
00:48:31,200 --> 00:48:34,520
Not being able to believe in it anymore.
414
00:48:36,160 --> 00:48:46,480
My only audience member, the most faithful,
had to leave me.
415
00:48:49,680 --> 00:48:55,040
Without him, the light will go away
and maybe I will die.
416
00:48:57,320 --> 00:49:03,040
But ten years ago, I decided
that I would save this theatre
417
00:49:03,280 --> 00:49:08,120
and today, in spite of everything,
I have not changed my mind.
418
00:49:09,400 --> 00:49:15,880
I beg all of you that someone
intervenes to save this theatre.
419
00:49:17,120 --> 00:49:24,800
All I’m asking is for it to start
living again, with or without me.
420
00:49:26,560 --> 00:49:32,160
I ask for someone to take care of it
and not let it die
421
00:49:33,360 --> 00:49:35,560
for someone to support me
422
00:49:36,320 --> 00:49:39,160
because if this theatre falls down
423
00:49:40,560 --> 00:49:43,600
I won’t be the only one that has failed.
424
00:49:46,680 --> 00:49:53,080
Yet another time, what will have failed is the truest
425
00:49:53,080 --> 00:50:02,800
most intimate and universal development of all of us.
426
00:50:04,920 --> 00:50:24,120
[ambient sounds]
427
00:50:27,400 --> 00:50:30,720
As you can see, we’ve had
some problems with the power grid.
428
00:50:32,040 --> 00:50:34,120
The camera battery is almost burnt out.
429
00:50:36,200 --> 00:50:37,560
You have to come back.
430
00:50:38,840 --> 00:50:40,720
We cannot wait anymore, Giovanni.
431
00:50:41,920 --> 00:50:43,440
You have to come back.
432
00:50:43,960 --> 00:50:56,080
[ambient sounds]
433
00:50:57,680 --> 00:50:59,120
[someone knocks on the door]
434
00:50:59,640 --> 00:51:01,120
(male voiceover) Madame Cecilia.
435
00:51:03,960 --> 00:51:07,640
Madame Cecilia, open please!
436
00:51:08,000 --> 00:51:12,640
Come on, be kind. Let’s try
to find a common ground.
437
00:51:14,400 --> 00:51:18,160
Madame Cecilia! I brought the police with me.
438
00:51:18,840 --> 00:51:22,280
What police? I’m retired.
439
00:51:22,520 --> 00:51:27,000
What does it mean, you’re retired?
She knows you’re a policeman.
440
00:51:27,040 --> 00:51:28,640
Do you think she remembers me?
441
00:51:28,680 --> 00:51:30,960
Totò! She’s an actress.
If she hasn’t got a good memory, then who has?
442
00:51:31,800 --> 00:51:38,160
I’m sorrier than her. I moved here because my grandpa
left me this theatre in his will. You know that very well.
443
00:51:38,320 --> 00:51:42,880
I’m sorry. But what can I do about it?
She knew it. I alerted her any way I could.
444
00:51:44,320 --> 00:51:46,240
Come on, Madame Cecilia!
445
00:51:48,000 --> 00:51:51,200
I waited until I was able to.
Do you remember how good she was?
446
00:51:51,240 --> 00:51:54,520
Good and beautiful, beautiful, beautiful.
447
00:51:55,240 --> 00:51:57,000
My wife was extremely jealous of her.
448
00:51:57,480 --> 00:51:59,120
If you knew mine.
449
00:51:59,360 --> 00:52:03,000
But what can I do about it now?
The financial crisis is there for everybody.
450
00:52:03,240 --> 00:52:06,040
I still have children at university.
I need the money. So what?
451
00:52:06,960 --> 00:52:11,000
Had anyone helped me, I would’ve helped her.
But no-one helped me. There are no alternatives.
452
00:52:11,360 --> 00:52:14,840
I need to start the renovation to turn it
into a supermarket. Pure and simple.
453
00:52:15,040 --> 00:52:17,040
- Anyway, the police will come.
- No!
454
00:52:17,480 --> 00:52:18,880
- There’s a judge’s order.
- No!
455
00:52:19,160 --> 00:52:24,920
If she doesn’t open, I’ll come back with Master Peppe
and will get the door to open myself. But not the police.
456
00:52:26,480 --> 00:52:51,360
[ambient sounds]
457
00:52:53,600 --> 00:52:55,120
- (female voice) Good morning!
- Good morning!
458
00:53:01,920 --> 00:53:03,400
- Mister?
- Francesco.
459
00:53:03,520 --> 00:53:05,880
Ah, Francesco! Yes, you said when you called.
460
00:53:06,920 --> 00:53:07,920
Come!
461
00:53:12,600 --> 00:53:14,920
- You want to give coat?
- No thank you, I won’t be long.
462
00:53:15,080 --> 00:53:17,160
- Not even time for coffee?
- I’ll leave soon.
463
00:53:17,280 --> 00:53:20,760
- But I make exceptional coffee. My father was…
- Madame, I don’t drink coffee.
464
00:53:24,840 --> 00:54:10,840
[ambient sounds]
465
00:54:13,080 --> 00:54:19,320
It’s comfortable, very comfortable.
You can’t know, but it’s comfortable.
466
00:54:20,760 --> 00:54:24,720
You don’t know, do you?
You can’t know.
467
00:54:25,720 --> 00:54:28,040
You’ve grown up a lot, though.
468
00:54:33,440 --> 00:54:35,360
I’ve known you were here for some time.
469
00:54:36,480 --> 00:54:37,480
But...
470
00:54:38,480 --> 00:54:39,600
I couldn’t...
471
00:54:40,360 --> 00:54:42,400
I couldn’t come before.
472
00:54:42,640 --> 00:54:44,320
Don’t you like the house?
473
00:54:45,880 --> 00:54:48,120
Honestly, I would have preferred
if I never saw you again.
474
00:54:51,880 --> 00:54:54,360
Never see me again.
475
00:54:57,680 --> 00:55:01,800
Shall we try and simplify everything?
It’s not easy for me, being here.
476
00:55:01,800 --> 00:55:04,480
- You’re the one complicating everything.
- No.
477
00:55:05,160 --> 00:55:08,920
I just came to tell you something very precise.
Once I’ve said it, I want to leave, and that’s it.
478
00:55:09,000 --> 00:55:10,000
What?
479
00:55:11,160 --> 00:55:12,400
Come on then, say it.
480
00:55:12,680 --> 00:55:15,440
I don’t know what use it’ll be.
481
00:55:20,840 --> 00:55:22,720
The fire was my fault, Giovanni.
482
00:55:29,560 --> 00:55:32,200
I was doing something that was not my job.
483
00:55:34,920 --> 00:55:36,920
And, in the meanwhile, I was going through my lines.
484
00:55:37,480 --> 00:55:38,520
I was nervous.
485
00:55:41,520 --> 00:55:49,800
I just wanted to act. Instead, as per usual,
I had to do everything while you two were fighting.
486
00:55:53,000 --> 00:55:57,360
I got distracted for a moment and the fire just…
487
00:55:58,080 --> 00:56:00,800
I got confused… I tried…
488
00:56:03,440 --> 00:56:13,680
It’s just that I got nervous… and then I heard that blow,
your scream, her crying, people running away…
489
00:56:17,600 --> 00:56:19,280
I tried...
490
00:56:23,520 --> 00:56:25,920
It’s not easy for me to forget.
491
00:56:27,040 --> 00:56:29,000
She never told the truth.
492
00:56:38,280 --> 00:56:40,480
The theatre didn’t suffer great damages.
493
00:56:42,440 --> 00:56:43,440
No...
494
00:56:44,360 --> 00:56:52,400
Not the building... But the curtains,
the sets… the people, Giovanni.
495
00:56:53,440 --> 00:56:55,560
These are all things that one can repair.
496
00:56:56,960 --> 00:57:01,280
Yes, but then the police came,
the investigation… it was a disaster.
497
00:57:01,920 --> 00:57:03,080
Francesco!
498
00:57:04,120 --> 00:57:07,400
It’s only love that hit me. That’s it.
499
00:57:11,000 --> 00:57:13,440
Then, why did you stop?
500
00:57:14,880 --> 00:57:16,560
Why did I stop?
501
00:57:18,080 --> 00:57:24,920
Because I have a good pension, a beautiful blond lady
who makes me an exceptional coffee.
502
00:57:27,000 --> 00:57:28,600
Need I add more?
503
00:57:38,840 --> 00:57:42,520
Cecilia has locked herself inside the theatre.
She has bad bronchitis.
504
00:57:43,640 --> 00:57:45,480
If you don’t go to her, she’ll die.
505
00:57:46,520 --> 00:57:48,720
Unless she’s dead already.
506
00:57:50,000 --> 00:57:54,640
Death is not the problem.
507
00:57:57,560 --> 00:57:59,320
Life is.
508
00:58:01,680 --> 00:58:05,920
Don’t you worry Giovanni; that, I have learnt well.
509
00:58:09,600 --> 00:58:16,520
There are many ways to live. I chose silence.
510
00:58:17,440 --> 00:58:21,520
And I won’t compromise on that.
511
00:58:22,800 --> 00:58:23,920
How was it?
512
00:58:25,120 --> 00:58:30,920
“You’re no more of a stranger to emptiness
and desperation than any other man.”
513
00:58:33,960 --> 00:58:35,440
But you can do as you please.
514
00:58:38,520 --> 00:59:03,720
[ambient sounds]
515
00:59:04,760 --> 00:59:07,720
[footsteps approaching]
516
00:59:10,360 --> 00:59:23,640
[ambient sounds and ticking clock]
517
00:59:25,360 --> 00:59:31,320
Francesco - The time has come for robins to make their nests.
518
00:59:35,000 --> 00:59:36,480
Giovanni?
519
00:59:37,840 --> 00:59:39,440
Pinkerton?
520
00:59:40,320 --> 00:59:41,320
Yes.
521
00:59:42,680 --> 00:59:45,920
He’s outside. He’s waiting to come in.
522
00:59:47,920 --> 00:59:53,760
They cut off the power. We can’t switch on the lights.
523
01:00:04,000 --> 01:00:08,000
- Did you steal money from the restaurant’s till?
- No.
524
01:00:08,640 --> 01:00:11,600
I used the advance they gave me for rehearsals.
525
01:00:12,000 --> 01:00:16,000
- Really?
- I’m the lead. They pay me well.
526
01:00:16,760 --> 01:00:19,600
So it was true?
527
01:00:23,600 --> 01:00:27,320
I thought you just said it
528
01:00:30,360 --> 01:00:32,360
to make me suffer.
529
01:00:33,400 --> 01:00:34,560
No.
530
01:00:36,400 --> 01:00:38,640
Is it a serious company?
531
01:00:40,320 --> 01:00:44,560
Advance every beginning of the month
and pay every tenth of the month.
532
01:00:45,760 --> 01:00:49,720
There’s stil hope, then.
533
01:00:53,440 --> 01:00:56,000
Yes, Cecilia.
534
01:00:57,800 --> 01:00:59,120
Listen to me.
535
01:01:00,280 --> 01:01:07,960
Giovanni will come in and, whatever happens,
you have to get out of here.
536
01:01:09,800 --> 01:01:13,680
You have to promise me.
This is where the play ends.
537
01:01:15,240 --> 01:01:21,440
Outside there’s your sister, waiting for you.
We’ll start again elsewhere, with a new company.
538
01:01:22,680 --> 01:01:26,160
Cecilia, you have to promise me.
539
01:01:28,120 --> 01:01:29,960
Or I won’t let him in.
540
01:01:35,680 --> 01:01:39,880
I need to dye my hair.
I look like an old lady.
541
01:01:40,520 --> 01:01:44,840
Imagine my wig falls off when I’m on stage.
542
01:01:48,000 --> 01:01:50,160
We’ll get Miranda to help us.
543
01:01:50,600 --> 01:01:53,480
But Miranda is on an island.
544
01:01:54,240 --> 01:05:26,320
[gentle music and ambient sounds]
545
01:05:27,520 --> 01:05:49,760
[ambient sounds]
546
01:05:50,880 --> 01:05:55,320
"They all lied. All of them. All.
547
01:05:57,160 --> 01:06:01,920
Only I knew - I - who love him.
548
01:06:03,440 --> 01:06:16,720
My love triumphs, my whole faith triumphs.
He’s back, and he loves me.
549
01:06:18,360 --> 01:06:23,080
I want the whole spring to diffuse its fragrance here.
550
01:06:23,480 --> 01:06:33,280
The one I was waiting for came,
nothing more I ask to the sea.
551
01:06:34,920 --> 01:06:47,000
I gave tears to the clump; flowers it gave me back."
552
01:06:59,400 --> 01:07:06,720
“The bitter fragrance of these flowers
is poisonous to my heart.
553
01:07:07,760 --> 01:07:12,760
Unchanged is the room of our loves.
554
01:07:14,000 --> 01:07:17,160
But a deathly chill is in it.
555
01:07:17,680 --> 01:07:24,800
Farewell, blooming nest of joy and love.
556
01:07:25,600 --> 01:07:28,280
I cannot bear your bleakness.”
557
01:07:30,040 --> 01:07:38,160
Now you have to embrace your son,
watch him leave and die.
558
01:07:39,320 --> 01:07:42,160
That’s how it ends.
559
01:07:46,320 --> 01:07:51,600
I don’t have the fake blood. We’ll get it
for the opening night. Otherwise it’ll dry.
560
01:07:51,760 --> 01:07:55,560
This is the opening night.
And the closing night, too.
561
01:07:56,800 --> 01:07:58,560
The audience is present.
562
01:08:00,320 --> 01:08:06,320
And you only exist if you’re
at the service of your audience.
563
01:08:07,160 --> 01:08:10,800
Otherwise, you should find yourself another job.
564
01:08:13,480 --> 01:08:17,280
A barred theatre is a clear sign.
565
01:08:20,640 --> 01:08:23,080
I said my line.
566
01:08:25,640 --> 01:08:28,200
Madame Butterfly is dead.
567
01:08:29,800 --> 01:08:36,000
You have to go out and change show.
568
01:08:39,080 --> 01:08:41,040
This show is over.
569
01:08:42,160 --> 01:08:43,520
What about you?
570
01:08:50,040 --> 01:08:51,840
I don’t exist anymore.
571
01:08:53,120 --> 01:09:00,640
And that’s why I live.
572
01:09:01,200 --> 01:09:04,280
The world is not reasonable.
573
01:09:07,520 --> 01:09:17,560
[ambient sounds]
574
01:09:18,800 --> 01:09:22,680
You know what I missed the most?
575
01:09:26,440 --> 01:09:27,440
Of course.
576
01:09:29,720 --> 01:09:31,600
Dancing.
577
01:09:33,560 --> 01:10:36,160
[ambient sounds]
578
01:10:36,840 --> 01:10:39,440
[Cecilia cries]
579
01:10:59,720 --> 01:12:12,600
[ambient sounds]
580
01:12:18,240 --> 01:12:26,800
[footsteps approaching]
581
01:12:29,000 --> 01:12:55,920
[ambient sounds]
582
01:12:57,720 --> 01:12:59,320
Is it snowing?
583
01:12:59,760 --> 01:13:03,280
No, I’m sorry.
584
01:13:05,040 --> 01:13:09,480
I thought I’d seen a white light.
585
01:13:12,840 --> 01:13:57,600
[renaissance music and ambient sounds]
586
01:13:59,400 --> 01:14:04,000
Francesco - Don’t worry. I’ll go get everything.
587
01:14:06,840 --> 01:14:54,080
[renaissance music and ambient sounds]
588
01:14:58,000 --> 01:14:59,600
Good morning.
589
01:15:02,440 --> 01:16:02,480
[renaissance music and ambient sounds]
590
01:16:16,400 --> 01:18:41,720
[on the distance a band plays "Un bel dì vedremo"]
591
01:18:42,400 --> 01:18:59,440
["Un bel dì vedremo" and close sounds of spinning tops]
592
01:19:02,120 --> 01:19:15,800
["Un bel dì vedremo" and chattering]
593
01:19:17,800 --> 01:19:33,560
["Un bel dì vedremo", ambient sounds and spinning tops]
594
01:19:39,600 --> 01:19:42,040
Cecilia - Don’t be afraid of anything.
595
01:19:43,840 --> 01:19:45,920
Cecilia - Never.
596
01:19:55,200 --> 01:19:58,040
[Francesco cries]
597
01:19:58,640 --> 01:20:05,040
[ending music]
598
01:20:06,320 --> 01:20:11,040
And the last one. This is all dusty,
we have to throw everything away.
599
01:20:11,040 --> 01:20:13,280
What’s this called?
600
01:20:14,800 --> 01:20:16,120
Camera.
601
01:20:16,880 --> 01:20:19,600
You hold it while I look what’s in here.
602
01:20:21,000 --> 01:20:27,000
"Romulus the great”,
"an interview with Oida", Oida Montalbano.
603
01:20:27,280 --> 01:20:28,480
Yoshi Oida!
604
01:20:35,400 --> 01:20:42,920
(Cecilia's voiceover) Theatre, art, culture
have always been, are and always will be
605
01:20:43,200 --> 01:20:47,080
the conscience, the thought of the human spirit.
606
01:20:49,640 --> 01:21:48,880
[ending music and applause]
607
01:21:50,280 --> 01:22:33,520
[ending music]
608
01:22:34,360 --> 01:22:37,280
to my mother, the source of all my love
609
01:22:37,280 --> 01:22:40,400
to Rossana, my strength and my smile
610
01:22:40,400 --> 01:22:43,560
main actors
611
01:22:43,560 --> 01:22:47,760
special guest star appearance
as the owner of the theatre
612
01:22:47,760 --> 01:22:56,000
and with (in order of appearance)
613
01:22:56,000 --> 01:23:00,120
written, directed and produced by
614
01:23:00,120 --> 01:23:04,560
photography director
615
01:23:04,560 --> 01:23:08,720
set design
616
01:23:08,720 --> 01:23:12,800
editing
617
01:23:12,800 --> 01:23:17,160
soundtrack
618
01:23:17,160 --> 01:23:21,320
costumes design
619
01:23:21,320 --> 01:23:25,480
make up
620
01:23:25,480 --> 01:23:30,040
sound
621
01:23:30,040 --> 01:23:38,320
assistant director, assistant d.o.p., microphone player,
sound post production, graphic design
622
01:23:38,320 --> 01:23:42,560
press agent and legal counseling
623
01:23:42,560 --> 01:23:47,040
original song for the ending music
"Butterfly from the distance" by Enzo Cimino and Giovanni La Fauci
624
01:23:48,360 --> 01:23:55,000
[ending music]
625
01:23:55,640 --> 01:24:03,560
special thanks for their participation
626
01:24:03,560 --> 01:24:07,680
special thanks to Giacomo Puccini, Giuseppe Giacosa and Luigi Illica
for creating the marvel that is "Madame Butterfly"
627
01:24:07,680 --> 01:24:12,520
to the Teatro Casalaina of Novara di Sicilia for its beauty,
to Anton Pavlovic Cechov for the words given to Trovimov in "The garden and the cherry trees"
628
01:24:12,520 --> 01:24:20,560
special thanks for their precious suggestions to
629
01:24:20,560 --> 01:24:54,840
special thanks for their support to
630
01:24:54,840 --> 01:25:03,440
special thanks to all the extras
and all the citizens of Novara di Sicilia for their old-time hospitality.
48623
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