All language subtitles for A.Farewell.to.Arms.1932.

Driver.

-Driver, stop!
-What troubles you in there?

Why do you want to stop?

The man up there,
he is bleeding to death.

Can't stop. Not here.

Brakes won't hold.

(CHlMlNG)

Orderly.

Orderly!

. . .and just as guilty
as a soldier would be,

who deserted his post under fire.

Now, in making an example of you, l. . .

l beg your pardon, sir. l have some
wounded outside. l am looking for the. . .

Oh, yes, yes, yes.
You want the ltalian unit.

We're the English here, you see.

Yes, Number 207.

They're in the other wing.
Moved in today.

-Yes, out that way, straight ahead.
-(CLEARS THROAT)

-Thank you, Major.
-Hmm.

-(MURMURlNG)
-Shh !

Tut-tut!

What's the girlfriend been doing?

Typical male conceit!

(lNAUDlBLE)

l think they're going to send her
back home.

That's a dirty shame.

-She'll be disgraced.
-lt's regulations.

At least they might let her
have her baby here.

lf they send her back now,
all her friends will know.

-And her family.
-She's only herself to blame.

This is war, Fergy, and she loved him.

Shh, here they come.

Well, is it necessary for us all
to be here at one time?

Get back to your posts.

You will be packed and ready to leave
within the hour.

Molly?

Can l help you pack?

(SOBBlNG) l guess so. lf you want to.

Why, of course l want to.

-Good girl.
-l beg your pardon?

l say, she's the only human being
in the whole lot of us.

l'm sorry Miss Barkley
appears to sympathise with one

who has disgraced the uniform
we all wear.

(SCRAPlNG)

(WATER SPLASHlNG)

-Baby!
-Rinaldi !

-Frederico!
-Get away. You're filthy.

You Anglo-Saxons!
You're not too clean yourself.

Did you bring me some good cases, baby?

Did you have trouble finding us?

-No.
-How do you feel?

-ls there going to be an offensive?
-There's not. . .

Were you under fire?
Madonna, but l worried about you !

Yes, l can see
how much you've been worrying.

Seven operations today, baby.
And one of them was beautiful.

l took the heart out.

lt lay in my hand and it beat like this.

You should have seen it. lt was lovely!

Soon, Rinaldi will be the best surgeon
in all the corps.

Then, in all the army.
And some day, in all of ltaly.

-Why not in all the world?
-Why not?

(BOTH LAUGH)

You will like it here, baby.

What sort of a town is this? Any girls?

Many beautiful English nurses.

-No, l mean, girls.
-Girls, too, a house full of them.

Another Villa Rossa?

Some of them have never been
to the front before.

Perhaps.

But the nurses are much nicer.
The most beautiful is Miss Barkley.

l am in love with her.

-Does she know it?
-Not yet.

-Have you any money?
-Yes.

-Lend me 50 lire.
-What for?

l want to make on Miss Barkley
the impression of a man

of sufficient wealth.

-All right.
-Thank you.

You are my great and good friend
and financial protector.

-(CHUCKLES)
-And you're an ass.

And now we will eat and drink,

and l will take you
to meet Miss Barkley.

But you must make for me
a good impression upon her.

Now, listen. . .

But you must.
And you can have a nurse, too.

There is another one
named Miss Ferguson.

She is also very, very nice.

-No.
-"No"?

First, we will eat and drink,

and then we'll go and see the girls
who have never been to the front before.

Yes?

Yes.

(OPERA MUSlC PLAYlNG)

You know what an American is?

-Yes.
-What is it?

(GlGGLES)

-She doesn't know.
-(LAUGHS)

-Well, l'm an American.
-Then what are you doing here?

-Drinking, mostly.
-(LAUGHS) He liked the uniform.

Wrong.

-l liked their language.
-(GlRL GlGGLES)

Then what were you doing in ltaly?

-Studying.
-(RlNALDl AND GlRL LAUGH)

Studying what?

Architecture.

You know what that is?

-Yes.
-What?

-(GlGGLES)
-(LAUGHS)

You see, she doesn't know.

-Neither do l.
-Oh, you've had too much wine.

lt's filthy wine.

lt takes the enamel off your teeth
and leaves it on the roof of your mouth.

-Where was l?
-Architecture.

Oh, yes. Look. . .

l'll explain.

This, my dear, is called an arch.

(EXPLOSlONS)

-(SCREAMlNG)
-(SlREN BLARlNG)

(WOMAN SCREAMlNG)

(PEOPLE CLAMOURlNG)

(GASPS)

The arch, my dear, is perhaps the oldest
of architectural devices.

Arch. Architecture.

The very word will tell you
how inextricably the two are one.

ln a word, my dear,

architecture is the most ancient
of the arts.

Just as yours is the most ancient
of the professions.

You'd better put your shoe on,
or you'll get cold feet.

lf you please, l'd like to go now.
The air raid seems to be over.

WOMAN: Catherine!

Catherine!

-Catherine!
-Here l am, Fergy. l'm coming.

-Oh, l worried. Oh !
-Oh.

-You think l'd been blown away?
-l didn't know what to think.

Nobody saw where you went.

Who's that man?

Oh, l don't know. Some lunatic. Come on.

-(MAN SlNGlNG OPERA)
-(LAUGHS)

What if we take the mountains
to the north?

Behind them are more mountains,
and behind those, more yet.

And we take them all
only if the Austrians stop fighting.

One side must stop.

-Stop? lt will go on forever.
-Like him.

(SlNGlNG CONTlNUES)

The Priest wants the Austrians
to win the war.

-No, no, no. lt is not true.
-But you don't want us to attack.

lf we must have war,
l suppose we have to attack.

Oh, but so many die that way.

But what is death to a Christian.

(LAUGHlNG)

(CROWD APPLAUDlNG)

Don't encourage him, Fergy.

Frederico.

-Oh, you are back safe.
-Hello, Father.

-l am so glad.
-The Priest prayed for you, Frederico.

-Every time you go out he does the same.
-Oh, l pray for you all.

You are late, baby. How is it up there?
Quiet?

You nearly missed the party.
But it is very dull.

But Miss Barkley is here,
and her friend Miss Ferguson.

The one you will like. Come.

Miss Barkley,
permit me to present to you

my friend and war brother,
Lieutenant Henry.

He has just returned back
from the front.

How do you do?

And this is Miss Ferguson.

-How do you do?
-How do you do?

-(MAN SlNGlNG OPERA)
-Now he begins again, that fellow.

Quick, let us go into the garden.

Now, you stay here.

l will find something for us to drink.
Asti? Grappa? Vermouth?

-Which do you like?
-All of them.

-Then you shall have all of them.
-(SlNGlNG CONTlNUES)

-Nice out here.
-Hmm, isn't it?

We seem fated to bump into each other
in the dark.

l'm sorry about that.
l mistook you for someone else.

So l gathered.

-l had been drinking.
-l gathered that, too.

-Mad?
-No.

-You're an American, aren't you?
-Yes.

Well, then what are you doing
in the ltalian army?

lt's not really the army,
it's only the ambulance.

lt's very odd, though.
Why did you do it?

l don't know. Why did you?

Oh, l joined up in England.

Besides, the boy l was engaged to
had gone across.

-Where is Miss Ferguson?
-Why don't you go see?

Yes, do bring her out, Captain Rinaldi.

FREDERlC: Have some?
CATHERlNE: Thanks.

He's sore.

What for?

Because l'm here with you.

Women prefer him, as a rule.

Shall we take a walk?

Yes, let's.

Where is he now?

-Who?
-The boy you're engaged to.

-He's dead.
-Oh.

He was killed in the Somme.

Were you engaged long?

Eight years. We grew up together.

Why didn't you marry?

l didn't know
what the war was like then.

lf l had it to do over again,
l'd marry him, or anything.

When l joined up,
l remember having this silly idea

that he might come to the hospital
where l was,

with a sabre cut, l suppose,
and a bandage around his head.

Shot through the shoulder.
Something picturesque.

This is a picturesque front. Not France.

He didn't have a sabre cut.

They blew him to bits.

What are you thinking about now?

About whisky.

What about whisky?

About how nice it is.

And you're nice, too.

(CHUCKLES)

No.

-Why not?
-No, don't.

-Yes.
-No, please!

l'm sorry. Did l hurt you?

lt's all right.

l'm dreadfully sorry. Really.

l. . . l just couldn't bear
the nurses'-evening-off aspect of it.

lt's quite all right.
l don't mind at all.

Poor man.

You see,
l've been leading a funny sort of life.

Besides, you're so very beautiful.

You don't have to talk
a lot of nonsense, l said l'm sorry.

We could get along.

-Couldn't we?
-(LAUGHS)

You're sweet.

-No, l'm not.
-Yes, you're a dear.

l'd be very glad to have you
kiss me now, if you don't mind.

(EXPLOSlONS)

You are looking for someone?

-Have you seen Miss Barkley?
-Miss Barkley?

-Didn't she go out there with you?
-With me?

-No, no, no.
-But just a little while ago. . .

l thought l saw her go out
to the garden gate

with the Lieutenant Henry.

She went out with an officer? Alone?

Well, perhaps l was mistaken,
you know, it is quite dark out there.

Oh, she wouldn't do that.

No. No, l am sure l was mistaken.

Where is she, then?

You're a grand girl.

l'm a crazy girl.

-Why?
-To stay out here.

lt's nice. lsn't that enough?

Hmm, it's nice.
l suppose that has to be enough

for people who are living as we live.

Back home, l'd have courted you
and sent you flowers.

Out here,
you crowd it all into one hour.

lsn't that the way it's got to be,
out here?

Look. . .

Tomorrow morning l've got to go up
to the front again.

And if a shell got me
and you never saw me again,

then we'd both be sorry
that we've been so formal and waited.

Besides, what's there so fine
in putting it off, dragging it out,

-giving me your lips tonight. . .
-No. . .

-. . .your throat tomorrow. . .
-No.

No, wait. No, please. . . No. . .

Catherine?

-(CLAMOURlNG)
-Thanks for the lovely concert.

-l. . .
-l hope you are not worried

about Miss Barkley.

lt's not like her to disappear this way.

Well, perhaps she felt ill
and went home alone.

Perhaps. Good night.

Come, girls, come.

Why didn't you tell me?

lt doesn't matter.

lf it had to happen,
l'd rather it were like this.

l couldn't know.

ln a church or out under the stars.

-Well, why not?
-"Why not"? There's a war on.

And tonight, who cares,
and tomorrow, who knows.

(CHUCKLES)

What did you say your name was? (LAUGHS)

Stop it.

lf you. . .

lf you knew how l was back home,
you'd see the funny side of it.

Please, stop it.

(CHUCKLlNG CONTlNUES)

Oh !

We blame everything on the war,
but that's rot.

lt's something in ourselves.

(CHUCKLES)

The lady sat in the public square
and mourned her lost innocence.

Don't be sorry.

l'm not.

l love you.

Oh, darling.

Did you have a nice, uh, time, baby?
(CHUCKLES)

You made progress with her, eh?

We're friends. lf that's what you mean.

l mean, uh. . .

Was she nice to you,
practically speaking?

-Shut up!
-l am a man of extreme delicacy,

-but was she. . .
-Rinaldi !

Will you please shut up?

lf you wanna be a friend of mine,
shut up.

l am your best friend
and your war brother.

Then shut up.

Miss Barkley prefers you to me.
That is very clear.

But Miss Ferguson is very nice, too.

You like her?

No.

FERGY: That you of all people. . .

A lot of geese, that's what you are!
Silly geese!

Stuffed with bunk about woman's part
in the war.

We must bring solace
to the men who fight,

sacrifice ourselves, give ourselves.
(SCOFFS)

lf you'd known him for a long time,
or been in love with him. . .

But you only met him tonight.

How long must you know a man
before you can love him?

Are you pretending to be in love
with that man?

l think l am, Fergy.

l must be.

Or it couldn't have happened.

You're just another conquest to him.

One in a hundred.

You'll probably never see him again.

He said if he'd met me back home,
he'd have courted me,

sent me flowers. . .

But now. . .

l suppose l won't ever see him again.

(ENGlNE STARTlNG)

Ciao, baby.

Good luck.

-Turn back.
-Back?

Yes, back!

-l wanna see Miss Barkley.
-She's on duty.

Wait, you can't go in there.

Hey, why have you come back in here for?

The Tenente, he knows what he's doing.
Please.

What's wrong, Bonello?
Going to ever get started here?

We got plenty of time.

Oh, the. . .

l thought you started.
What are you doing here?

We come back, Signor Capitano.
Tenente forgot something.

Oh.

Hi. You're all right, aren't you?

Yes, l'm all right.

l came to. . .

l thought. . .

You see. . .

l. . . l'm going to be away for a while,

and l didn't want you to think
that l'd just gone away.

No, l. . .

What l mean is,

l'd hate to have you feel that. . .

That it wasn't important to me. About. . .

About us.

Uh, l don't exactly know how to say it.

You've said it very nicely, dear,
thank you.

No, l don't mean. . .

-You mustn't feel. . .
-Will you be gone long?

No.

Only a few days.
There's gonna be a show above. . .

Up above Plava. Nothing much, l guess.

A show? You'll be careful, won't you?

l won't get hit.

Hold this.

Here.

lt's a Saint Anthony.

They say a Saint Anthony is very useful
to guard you from harm.

l'll take good care of him.

l wish l could kiss you.

He is my friend and a good soldier.

l do not like to see him
lose his head over a woman.

Aren't you exaggerating a bit?

l think not.

Couldn't we send her back to the base,
Major?

Oh, if you could send her away,
it would simplify everything.

Could perhaps send her to Milan.

Excellent, my dear Major! Magnificent!

No wonder the English are first
in diplomacy.

Er, what did you say her name was?

(DlSTANT EXPLOSlONS)

We won't get anything else to eat
once the attack starts.

This is all they've given me.

Starting to eat, Tenente?

No, we'll all eat together.
Come on, sit down to it.

(CLAMOURlNG)

-Thank you.
-Here, you cut this.

Here, take some cheese, it is good.

Wash it down with wine, Tenente.

MAN: Who goes to the attack?

-(EXPLOSlONS CONTlNUE)
-(FOOTSTEPS)

Bersaglieri.

lf nobody would attack,
the war would be over.

(SHELL WHlSTLlNG)

(EXPLODlNG)

That was a big one.

-Four hundred twenty?
-MAN: No, 305.

-Sounded like a Skoda to me.
-Skoda, that's what l say.

(SHELL WHlSTLlNG)

(EXPLODlNG)

BONELLO: Are you badly hit, Tenente?

Anybody hurt?

FREDERlC: My leg.

Hold my neck, Tenente.

You were right, Tenente.
lt was a Skoda gun.

Easy, watch out!

MEDlCAL CAPTAlN:
Lacerations of the scalp

and possible fracture of the skull.

Multiple superficial wounds
of the left and right thigh,

left and right knee, and right foot.

Profound wounds of right knee and foot
incurred in line of duty.

Anti-tetanus, please.

-Come on, lift him up a little more.
-All right.

Carefully!

Hurry, hurry!

How do you feel, baby?

Rinaldi. What are you doing here?

Bonello telephoned me.

The Major gave me permission to come.

No one shall hurt you, baby.
l won't let them.

No butcher is going to touch
my war brother.

Only Rinaldi can take you
and never hurt you.

You must forgive me, baby,
for talking so much, but l am. . .

l'm very moved to see you badly wounded.

How did it happen?

l will see you are decorated
for bravery.

Perhaps we can get you
the medaglia d'argento,

but surely the bronze one.
Did you carry somebody on your back?

l didn't carry anybody. l couldn't move.

Surely there was something heroic.
Tell me what you did.

l was blown up eating cheese.

Don't worry, baby. l will fix you
so that you are as good as new.

You will see. Every day,
l learn to do things smoother, quicker.

Soon, very soon,
you will be walking again.

l brought a present for you.

You will find it under your blanket,
next to your heart.

lt is a bottle of brandy, baby.
Very good brandy.

The infantry captured it
from the Austrians on San Gabriele.

l have another surprise for you.

Take a deep breath.

Where do you think you will go
from here?

To the ltalian hospital where they have
the male nurses with the beards? No.

l will arrange everything
with my friend, the British Major.

You will go to Milan.
To the beautiful Miss Barkley. (LAUGHS)

That makes you happy, huh?

Think of Rinaldi,
left all alone with the war.

No one to make fun of.
No one to lend him money.

While you. . . (LAUGHS)

While you are in Milan
with the beautiful Miss Barkley.

Making love in Milan
to the chaste Miss Barkley.

(TRAlN ENGlNE CHUGGlNG)

Look out for the step.

FREDERlC: Why do you stop?

l am the superintendent.
May l have your medical papers, please?

They're in my coat.
ln the buttoned-down pocket.

SUPERlNTENDENT: Take him up
those stairs, down the corridor.

His room is the one at the end.
You show them, Giulio.

FREDERlC: Who are you?

l am the porter, Signor Tenente.

Come, follow me.

Now, Signor Tenente,
we must lift you off the bed.

-All right. But keep my legs straight.
-Si, Signor Tenente.

Anything more, Signor Tenente?

-Get me some brandy.
-No, it's not allowed, Signor Tenente.

Wasn't l wounded,
fighting for the glory of ltaly?

-You'll find some money in my pocket.
-As you wish.

-So it's you.
-Ferguson.

-ls Catherine here?
-As if you didn't know.

l believe that's why you got wounded.

-Where is she?
-You ought to be still.

Here's your chart.
l must take your temperature.

Does she know l'm here?

Under the arm, please.

-Hello, darling.
-Catherine.

You're lovely.

-Are you badly hurt?
-You're lovely.

Oh, my poor darling.
lt's your leg, isn't it?

-You're the loveliest thing l ever saw.
-Oh. . .

l have to go now, darling, l can't stay.

-You'll come back?
-Later.

-But we have to be awfully careful.
-You've got to come back.

l will, when l can.

-Tonight?
-l'll try.

Somebody's coming.

Tonight.

l'll take that thermometer now.

Good gracious!

Fetch the doctor.

lt's a miracle you're not delirious
with such a fever.

-l haven't got any fever.
-Stay quiet, please.

(CHUCKLES) lt's not what you think.

(CHURCH BELLS TOLLlNG)

l have brought you a few little things.

And this is mosquito netting,
and this is a bottle of vermouth.

-You like vermouth, huh?
-(BOTH LAUGH)

-And these are English papers.
-Thank you, Father.

lt's very good of you to come.

Oh, but l mustn't stay long.
They warned me not to tire you.

You seem very tired yourself.

l am tired, but l have no right to be.

-You have the war disgust.
-No.

But l hate the war.

-l don't enjoy it.
-But you do not mind it.

You do not see it.

Oh, you must forgive me.
l know you are wounded.

That was an accident.

Still, even wounded, you do not see it.

l can tell. l do not see it myself,
but l feel it a little.

-(DOOR OPENlNG)
-Come in, Cat.

Don't go yet, Father. lt's still early.

You are sure? With the operation
in the morning, he should rest.

Oh, he's strong.

He has such a lovely temperature.
lt is always normal.

l'm very proud of his temperature.

Maybe all our children will
have fine temperatures, too.

Our children will probably have
beastly temperatures.

Don't mind us, Father. We're in love.

l know. l could see it in your faces.

You approve, don't you, Father?

You spoke of children.

This, too, is the war. Without the war,
you would have married in God's grace.

ls it not so?

And you?

(LAUGHS) l hadn't thought about it
like that, but. . .

Yes, l suppose so.

(CHANTlNG SOFTLY)

Father, are you. . .

ls that the marriage service?

Of course you realise, Father,

that army regulations
prevent us from marrying?

-They'd send Catherine home.
-(CHANTlNG CONTlNUES)

Poor Cat. Such a crazy marriage.

At least l'm in white.

No orange blossoms.

l can smell them.

No organ music.

l can hear it plainly.

(CHANTlNG CONTlNUES)

lt was a foolish notion, perhaps.

l have not the right to say
you are married.

Yet, it has made me happy to do this.

For now, from my heart,
l can say l bless you in His name.

Thank you, Father.

Goodbye and be happy, both of you.

Thank you, Father.

-Give my regards to the mess.
-l will.

And get well soon. l will come again
the next time l am in Milan.

-Goodbye, my dear.
-Goodbye.

ls Miss Barkley here?

Uh-uh.

No. No!

(DlSTANT BELLS TOLLlNG)

Shut the door.

-l can't.
-Please, darling.

We mustn't.
Your operation's in the morning.

lt's our wedding night.

Oh, darling.

You'll have to take your oil. (CHUCKLES)

Castor oil? No.

You'll take it from me.

-l'll take anything from you. . .
-Darling.

-. . .if you stay.
-(LAUGHS)

Oh, darling, darling.

l want what you want.

There isn't any "me" any more,
just what you want.

You're sweet.

Don't l make a lovely wife?

FREDERlC: Such a lovely wife.

CATHERlNE: Feel our hearts beat.

FREDERlC: No wonder my heart beats.

l'm mad about you.

(JOLLY MUSlC PLAYlNG)

(MAN SlNGlNG OPERA)

That's the opera l made my debut in
at La Scala.

-They threw benches at him.
-That's a lie!

Yes, they did.
l threw six benches myself. (LAUGHS)

That's not funny.

Oh, now he is offended.

He'll get over it. That's his sore spot.
We always tease him.

You don't care whom you hurt.

Now, don't you get mad, too.

Catherine and l were thinking
of asking you to our wedding.

Weren't we, Cat?

-You'll never get married.
-We will !

No, you won't.
You'll fight before you marry.

-Oh, we never fight.
-You've time yet.

We won't fight ever.

You'll die, then.

Fight or die. That's what people do.

-They don't marry. (CRYlNG)
-Why, Fergy!

l'm not crying.

Maybe you'll be all right, you two.

Watch out you don't get her in trouble.

-l won't get her into trouble.
-You better not.

Or l'll kill you.

Why, Fergy. . .

What is the matter with her?

She doesn't like me, that's all.

Oh, no. She just likes me more.

Are you on night duty tonight?

Yes, but you won't care.
You'll go right off to sleep.

-You wait and see.
-(LAUGHS)

Darling, how many other girls
have you ever loved?

None.

How many, really?

None.

How many have you, um. . .

How do you say it. . .

Loved?

-None.
-You're lying to me.

-Of course.
-Oh, that's right.

You just keep right on lying,
that's what l want you to do.

Were they pretty?

l have never been with anyone.

That's right, darling.

What were they like?

l don't know anything about it.

You're just mine. That's true.
You've never belonged to anyone else.

l don't care if you have, though.
l'm not afraid of them.

Only, don't tell me about them.

You never told them you loved them,
did you?

-No.
-l knew you wouldn't.

-Oh, darling, l do love you.
-Then, kiss me.

-Right here on the street?
-Yes.

l'll go in first.

(GLASS CLlNKlNG)

-(FREDERlC LAUGHS)
-So. . .

What is this, if l may ask?
What was in it?

That's kummel.

That's the best kind. lt comes in those
bear-shaped bottles from Russia.

And these?

That's brandy, wine and whisky.

And l've been pitying you
for being wounded.

Pity is something that is wasted on you.

-Thank you.
-lf you're so anxious

not to go back to the front,

l should think you'd try something
more intelligent.

Not self-inflicted alcoholism !

-What?
-l said, "Alcoholism !"

And l also say that l'll see
your convalescent leave is cancelled.

You'll go back to the front
tomorrow night.

(DOOR CLOSlNG)

Have l time for a drink
before the train leaves?

-For the front?
-Yes.

-About 20 minutes, Signor Capitano.
-Right.

lt's a fine room, a lovely room.

lt's all right.

The red plush is just the thing.
Those mirrors are very attractive, too.

People who go in for vice
seem to have very good taste about it.

Hmm, you're a grand girl.

Oh, darling.

l wish we could do something
really simple.

Everything we do seems so innocent
and right.

You're a fine, simple girl.

l am a simple girl.
Nobody but you ever realised it.

At first, l thought you were
a crazy girl.

l was a little crazy at first.

(TRAlN WHlSTLlNG)

Was that your train?

Maybe.

lt makes up at Turin.

But it stays in the station here
until time to leave.

There's really lots of time.

(TRAlN WHlSTLlNG AGAlN)

"But at my back, l always hear
Time's winged chariot hurrying near"

l know that poem. lt's by Marvell.

Oh, it's about a girl
who wouldn't live with a man.

(RAlN FALLlNG)

Listen.

lt's only the rain.

l hate the rain.

l like it.

l'm afraid of the rain.

-Afraid, why?
-l. . .

-Well, perhaps it's silly.
-What? Tell me.

-No. Don't make me.
-Tell me.

All right.

l'm afraid of the rain
because sometimes l see me dead in it.

No!

And sometimes l see you dead in it.

-(CHUCKLES) That's more likely.
-Oh, now, darling, don't say that.

(TRAlN WHlSTLlNG)

That is your train.

Time's winged chariot.

l'll come with you, hmm?

No, please, l don't want you. . .
Not. . . Not at the station.

All right, darling.

How often will you write?

As often as l can.
Do they read your letters?

They can't read English enough
to hurt anything.

Well, l'll make them very confusing.

But not too confusing.

Oh, l should have got you
a going-away gift.

A whistle to make you feel better
in the dark.

Or a sword. l'm sure we could get
a used sword very cheap.

Swords aren't very useful at the front.

Oh, l see, they get in the way
of your legs when you're running.

-(TRAlN WHlSTLlNG AND HOOTlNG)
-They might be useful at mess, though.

l'm afraid l have to start, darling.

l hate to leave our fine house.

So do l.

We never stay settled
very long in a home, do we?

We will.

l'll have a fine home for you
when you come back.

Say, "l'll come back to Catherine."

l'll come back to Catherine.

l'll always come back.

(LAUGHS) Maybe this time, you'll be hurt
just a little in the foot.

-Or the lobe of the ear.
-Oh, no, no, no.

l want your ears just the way they are.

Your feet have been hurt already.

(SNlFFLES)

(TRAlN WHlSTLlNG)

(CRYlNG)

(TRAlN HOOTlNG)

(PEOPLE CHATTERlNG)

(TRAlN DEPARTURE ANNOUNCEMENTS)

(BLOWlNG WHlSTLE)

(TRAlN ENGlNE CHUGGlNG)

l want a ticket to Switzerland, please.

-To where, signora, to what town?
-The nearest one to ltaly.

That would be Brissago, signora.

-Then give me a ticket to Brissago.
-All right.

Oh. . .

Oh, Fergy, l was afraid
you wouldn't come.

Would you mind telling me
what this is all about?

-l'm going away.
-So l gathered by this,

but where? Why?

To Switzerland, to have a baby.

Oh.

l knew he'd get you in trouble.

Oh, now, it wasn't his fault,
really, Fergy.

What's he going to do about it?

He doesn't know it.

You didn't tell him?

What would be the good?
lt would only worry him.

He'd have to go anyway.

Aren't you going to tell him?

Well, not yet.
l may write him from Switzerland.

-You're a fool.
-MAN: Here, signora.

-On Track 3.
-Thank you.

What's the hurry? Why tonight?

l couldn't go back to that hospital.
l couldn't stand it. Not with him gone.

But you'll be all alone in Switzerland.

Don't worry, Fergy, l'll be all right.

You're not afraid of anything, are you?

Only of going back to that hospital.

Don't scold me, Fergy.

(TRAlN DEPARTURE ANNOUNCEMENT)

l'll carry it.

(TRAlN ENGlNE CHUGGlNG)

(MUTTERlNG)

"l've always told you
l was a crazy girl.

"l couldn't bear Milan with you away.

"So l've chucked the war and come
to live in this little Swiss town

"as near as possible
to the ltalian border and you.

"And, darling, it's an adorable place
and we'll be very happy here.

"l've taken a suite. . .

". . .suite in the best hotel.

"And l'm fairly wallowing in luxury.

"The bed is Empire
and fit for an empress.

"There's a maroon velvet carpet,
ankle-deep,

"and a bathroom. . .
Oh, darling, the bathroom !

"lt's of black marble
with silver fittings.

"l've just dined in state
at my sitting-room window,

"from which there is a divine view
of the lake shimmering in moonlight."

l'm an awful liar, darling.

lt's not really a nice place at all.
lt's mean, cheap and horrible.

But it doesn't matter where l live,

because l don't really live at all
when l'm not with you.

Oh, darling. . .

What l really wanna tell you is that. . .

That l shall lie awake in the dark
and cry, because you're not here.

l'm lonely and frightened.

And l love you.

-Hurry, baby.
-Why?

-Time to go.
-Go where?

But l told you before,
to the Villa Rossa.

-New girls. Everybody's going.
-Not me.

But you must. lt will be a fine party.
And, besides, l said you would go.

l can't. l've got to write a letter.

Oh, to that little. . .

Every day, more letters.
You might as well be married.

That's my business.

Oh, baby. How you ever come back to me?

Serious like a shopkeeper with a liver.

Where is my war brother
who used to get drunk with me

and go to the Villa Rossa every night?

Leave me alone, will you?

Why? lsn't she just a girl?

Keep her out of this.

Sacred subject. Believe me, baby,

sacred subjects are not good
for soldiers.

(LAUGHS) Why don't you be like me?
All fire and smoke.

And nothing inside. (LAUGHS)

-Come on, baby.
-You're drunk, stop it.

Of course l am drunk!

You come with me
and you will be drunk, too.

Come on, baby.

Oh, l am sorry. Now you must come.
There is no more ink. (LAUGHS)

Get your hands off me and get out!

(CHUCKLES)

Poor baby.

Tomorrow l will get you drunk
and l will take out your liver

and l will put you
in a good ltalian liver

and make a man of you again.

Ciao, baby.

MAN: You're going out, Signor Capitano?

-Yes, why?
-The mail just came, Signor Capitano.

-You censor it.
-Signor capitano...

The officers' mail, too?

Very well.

Aren't you gonna open them,
Signor Capitano?

No!

l'm in a hurry.

-Send this one back.
-Yes, Signor Capitano.

l do not like to see him lose his head
over a woman.

Yes, Signor capitano.

And today my letters came back.
Every one l'd ever written to her.

Came back?

Just marked
"Return to sender. Person unknown."

Well, that's very strange.

Thirty-two letters. She never got one.

-Well, that's why she never wrote you.
-No.

She'd have written me anyway.
Something's happened to her.

-Have you tried to. . .
-l can't get any information at all.

-l've got to go and find her myself.
-How can you?

l'm going to Milan. l'll find her.

But aren't all leaves of absence
forbidden

since that battle in the north began?

-l'm going anyway.
-No, that's desertion.

-l don't care, l'm going.
-You'll be caught.

-You mustn't do this, Frederico.
-Yes, l must.

That's what l wanted to tell you, Padre.

What does this war mean to me any more?

What does anything mean,
but finding her?

-But Frederico, consider the. . .
-l can depend on you, Padre?

Say goodbye to Rinaldi
and the others for me.

-When are you leaving?
-Now. While they are at dinner.

And by morning, when they miss me,
l'll be halfway to Milan.

lf they ask me, what will l say? l. . .

Anything you like.

Goodbye, Padre.

Goodbye, Frederico.

May the Lord bless and preserve you.

(AEROPLANE ENGlNE WHlRRlNG)

(lNAUDlBLE)

What are you carabinieri doing
in the yards?

-Looking for stragglers.
-What do you do with them?

Send them back to fight invaders.

Every foot of ltalian soil
must be regained.

Suppose they don't want to go back?

Then we shoot them.

-Catherine.
-Who's that?

Shh ! Where's Catherine?

-What are you doing back here?
-Where's Catherine?

l know.

You've run away. You're a deserter.

-Where is she? l've got to see her.
-You can't. She's gone.

-Gone? Where?
-And you'd better get out.

-Has she been transferred?
-lf you don't get out of here,

l'll scream and bring the whole hospital
down on you.

-Why'd she go. Where? Tell me.
-No!

-Tell me where she is!
-Go ahead, choke me,

but l won't tell you.
You've done her enough harm.

-What do you mean?
-l said you'd get her into trouble.

l hate you. Hate, you understand?
l won't tell you anything.

Shh !

l hope they catch you.
l hope they shoot you !

Pay you back
for what you've done to her.

Making her have a baby.

-Baby?
-l warned you, but you didn't care.

Not about her.

-Now she's had to go away.
-Where?

Where? Oh, for pity's sake, tell me!
Fergy!

No, no! No!

(WOMEN TALKlNG lNDlSTlNCTLY)

No!

WOMAN 1 : We're coming, too!
WOMAN 2: Be careful, girls.

Where is he?

And get me some clothes. A full outfit.
l can't go around in this uniform.

As long as l don't get
mixed up in it myself.

You won't.
l just want you to get some things,

and put an advertisement
in the newspaper for me.

l really oughtn't to,
if l had any sense.

l know l shall have awful gas pains
in the morning as a result of this.

Just say. . .

"Catherine, where are you?

"l am free at last.

"Meet me at the Palace Hotel, Stresa."

Signed "Frederic."

The Major made an obituary speech
in your memory and the Priest,

-he wanted to say mass for your soul.
-But what. . .

Vermouth. One for you? Uh, two vermouth.

You see, we all thought you were dead.

lt never occurred to us
that you might have be shell-shocked,

wandered away, lost your memory.

How did you find me?

l saw your advertisement in the paper.

But as soon as we knew,
we arranged everything.

Rinaldi will work on you
one of his miraculous cures.

You will go back a hero.

l'm not going back.

They will decorate you for bravery.
They will even promote you.

No.

l'm through with the war.
Get that straight.

But you cannot do that!

You cannot just stop and say,
"l'm through with the war."

-They will not let you do that.
-WAlTER: Two vermouth.

Hmm.

Can l speak to you a moment, sir?

-lt's all right, Harry, he's my friend.
-But l, uh. . .

He keeps telling me that it's dangerous
for me to stay here any longer.

The policeman was in tonight.
He spoke of notifying the carabinieri.

-When will they come?
-Tonight, tomorrow, who knows? But soon.

My boat is still ready, sir.

Thank you, Harry.

lf they arrest you, no one can save you.

-l know that.
-They will shoot you.

Look. . .

Get this through your head,
l'm not going back!

l've got to wait here
until l can find Catherine.

And how do you expect to do that?

-l've got some people looking for her.
-(SCOFFS)

-lf that is more important than. . .
-She's going to have a baby.

My baby.

So. . .

And that means everything to you.

Yes, it would.

lt means that l've got to find her
and get her out of ltaly.

-Perhaps she's no longer in ltaly.
-What makes you say that?

She is in Switzerland.

Where?

-Brissago.
-Brissago?

Harry!

-(LAUGHlNG)
-(MUTTERlNG)

Will you do one for me, too?

Yes, madam. Step around here.

No.

Just the head, please.

lsn't there any mail for me, yet?

Ah, madam !

Yes, yes. Today there are letters.

-Many letters.
-Many? Oh !

-Twenty, madam.
-Twenty!

Well, that was worth waiting for. . .

Oh. . .

(MOANS)

lt is up the lake and across.

-About 35 kilometres.
-l'll make it.

At the frontier, there will be sentries.

-l know.
-And you will have to watch out

-for patrol boats.
-l will.

-lf it blows too hard, you. . .
-l won't drown.

Have you enough money? Here.

Won't you need it?

There must be a Villa Rossa
in Pordenone.

Always the same girls
until they become like old friends.

Like war comrades.
Take it, baby, please. Please.

You're a good egg, Rinin.

No, l am not a good egg. l am a fool.

But if l had understood
how you felt about her. . .

Good luck, baby.

Ciao, baby.

-Shall l get a new cylinder, Doctor?
-lt is a new cylinder.

Oh, l wanted so to have this baby
and not make any trouble.

And now l'm all done.

All gone to pieces. (MOANS)

She is losing strength fast, Doctor.

There's no use. l'll have to operate.

That was lovely. . .

Frederic, darling.

You mustn't worry, darling.

l'm not going to die now.

l got past the place
where l was going to die.

Aren't you glad?

DOCTOR: Of course
you are not going to die.

You mustn't think about it.

(WlND HOWLlNG)

-lt's a caesarean.
-We're lucky to be on time.

ls she going to be all right?

-Are you the husband?
-Yes.

She kept calling for you all night.

lt would have been better
if you'd been here.

l'm sorry. ls she in danger?

-She's very weak.
-You don't suppose l could see her now?

-Later, later.
-lt won't be long.

-She can't die.
-(SHUSHlNG)

Did you call?

No, l didn't say anything.

(BED RATTLlNG)

Not yet.

-ls she all right?
-l hope so.

The baby?

A boy, but he was dead
before she ever came in here.

Oh. . . But she'll be all right?

That's not in my hands any longer.

Better go across the street
and get yourself some breakfast.

You look as if you need it.

lt will be some time
before she can see you.

There's nothing there, dog.

(PEOPLE CHATTERlNG)

You've had children? What was it like?

l beg your pardon? What did you say?

Nothing.
Some coffee, please, and a brioche.

lt's in the papers. ltaly has won !

Thank God it's over.

This is the beginning of the end.

But it will be a long time
before they can rebuild

what's been destroyed.

"ln the early morning hours
of November 4th,

"the Austro-Hungarian supreme command
accepted by radiogram

"the armistice conditions
laid down by the General Badoglio."

Don't let her die.

Oh, God, please don't let her die.

l'll do anything for you
if you don't let her die.

You took the baby. . .

That was all right.
But don't let her die.

Please.

Please, dear God, don't let her die.

Her husband's out there.

Might as well let him in.

l knew he was coming.

When l went under, l knew he was here.

You won't tell him, will you?

DOCTOR: Tell him what?

That l'm going to die.

-No, we won't tell him.
-Thank you.

Doctor. . .

Have l long?

Don't you see?

l have to know.

Not long.

Let him come in.

No, wait.

Could l. . .

Could l have my bag, first?

Oh ! Such a mess.

He never liked me to be pale.

You can go in now.

-Catherine.
-Darling.

-You're all right?
-l'm fine.

Did you worry about me?

l came as soon as l found
where you were.

Poor darling.

Let me look at you.

Ah. . .

Tut-tut. You're wet and tired.

Sit down, darling. Here. . .

You're going to be all right, Catherine.

Do you want me to do anything, Cat?

-Can l get you anything?
-No.

Just talk to me.

Tell me you haven't stopped loving me.

You know l couldn't stop.

l like to hear you say it, though.

l'll never stop loving you.

Never?

Not even

if l died?

Never.

You'd never do our things
with any other girl,

or say the same things, would you?

Never.

l want you to have other girls, though.

l don't want them.

That's right, dear.

Try. . .

Try to sleep, Cat.

When l get well, we'll. . .

We'll take a little house
in the mountains.

We always planned a house of our own,
remember?

l'll get you a fine house.

We'll live in it until the war is over.

Then you'll go back to America
and be a splendid architect.

We'll be married all over again.
ln a church.

ln a church.

Oh, darling !

l don't wanna die.

-Don't let me die.
-Cat!

Take me in your arms, hold me tight.

-(CRYlNG) Don't let me go.
-Catherine.

lt's dark out there, and lonely.

l don't wanna leave you any more.
l've been alone so much.

You. . . You can't die.
You're too brave to die.

You're a fine girl. A brave girl.

Yes. l am a brave girl.

Whatever happens, do not be afraid.

l'll not be afraid.

We've never been apart. Really.
Not since we met.

Not since we met.

And never can be.

-Never parted.
-ln life and in death.

Say it, Cat.

ln life and in death,

we'll never be parted.

You do believe that, don't you, Cat?

l believe it.

And l'm not afraid.

(CHURCH BELLS TOLLlNG)

(PEOPLE CHEERlNG)

Peace. . .