All language subtitles for Diamanti 555

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(CHIRPING)

(INDISTINT VOICES)

(OVERLAPING VOICES)

Love, alone?

- That's a piece of limestone.
- Yeah, really?

- A lot. - Mind you, I
bought them myself.

(OVERLAPING VOICES)

- You're welcome.
- Thank you.

- Do you want anything else?
- Some chips.

Guys! Guys!
Someone give us a hand!

that we take things over there.

Something to drink?

- Be careful. The lasagna is hot,
girls. - Does it burn?

- You'll get burned.
- Okay. - Go, go.

Attention, attention.

You did something light!

- I was on a diet.
- With Ferzan you eat.

- The plates! The plates!
- You have to get the plates.

They arrived at the right time!

OZPETEK: Guys? The dishes!
Will you stand up for a second?

I don't touch anything anymore.

- I'm going.
- No, don't go. No.

- Come on, you're with all of them.
- No, don't go. No.

- Who wants some dip?
Dip. - Yes, that's for sure.

You have to tell us something, Ferzan!

No, you're not on a diet, but I am.

VINICIO: The napkins, guys!

VANESSA: Stefano!
Something during the day, handsome, come on!

So, let's start eating,

so I'll tell you why
all this is happening.

Mara's been here since 7:00, huh?

Thank you Mara!
(APPLAUSE)

OZPETEK: He's been here since 7:00.

MARA: Please, this and more for you,
this and more.

GEPPI: Anyway, you're
a "MasterChef Celebrity"

But
don't you have napkins here?

- What is it, just a little thing...
OZPETEK: So...

..yesterday, I called Mara, I said:
"Come, please, help me,"

"because I called
all my actresses."

She says, "For what?"

"Because I have to make a movie with them."

With my actresses and not like
Geppi, like Vanessa,

in short, someone is missing.

You wanted to fill this
gap in your career,

I understand.
(LAUGHTER)

Obviously there are two men

and there will be four in total...
GEPPI: There's a scene...

- There's... - But there's a scene
between Stefano and Vinicio that...

No.

- No, no.
- ..they join together

in the supreme ecstasy that is proper
to the idyll of love? - There isn't.

There is nothing like
you expect.

- Good luck, everyone!
OZPETEK: No! Just sit down for a moment.

Just sit down for a moment, I have
some things to explain. Just a moment.

Wait a minute! ELENA: Oh, no!
Don't make me play another aunt!

Not even a grandmother, please.
- I'll do it.

- I'll let you be a mom...
- A mom?

- I'll make you play mother,
you know who? Huh?

Luisa and Jasmine.

You have to make me older.

I have to age you, I know, I know.

No, because I don't know if you've seen
what they look like...

Maybe I'll make them younger.

LUISA: It'll take a miracle!
(LAUGHTER)

OZPETEK: It'll take a miracle.

You have a clear idea of what to do
with this "vaginodrome",

Do you have it or not?
- "Vaginodrome"? - Of what?

About this...?
- Seeing all these women,

I asked myself: what do you do
with this vaginodrome?

- Do you have any clear ideas about...
Vaginodromo?

But Vaginodrome can't... you
can't call a film "Vaginodrome".

- No.
OZPETEK: I want to tell you this,

I would like to make a film where there is
the power of women,

women's work...

A science fiction movie, basically.
What kind of movie is it?

OZPETEK: You are my diamonds.
(OVATIONS)

(STEFANO) And to the Diamonds!

Hey!

PAOLA: To the vaginodromies!

- What a great idea, Jasmine!
MARA: A bit "harnessy"!

- So...
VINICIO: Will you tell us more?

So, let's eat,
then I'll tell you everything.

I also have some little scripts
that you will read

and we'll talk about it...
- Then I'll go and leave you.

- No! Again? What a drag, no!
- No, really,

I feel like I'm in the way.

Come on, toast for a moment.
Toast for a moment.

- To women! To women!
- To women and to those who love them!

("DIAMONDS THEME - READING"
GIULIANO TAVIANI AND CARMELO TRAVIA)

(LORENZO: Listen Bianca,)

(You can't change things like that
without asking. Understand?)

(AUNT OLGA: ..don't act like
goody-goody,)

(what with all those
famous actors...)

(BRUNO: But weren't you supposed to come back at
five to make me dinner?)

(FAUSTA: My body is mine
and I manage it myself.)

(ELEONORA: Ennio, what are you saying?)
(FAUSTA: Give it back!)

(Freedom is this,
do what you want.

(CARLOTTA: ..the Pink... Diamond.

(BEATRICE: I had no idea anyway)

(how crazy
this world could be,)

(how much thought, talent,
determination, was behind it.)

(I still haven't figured out what I want
to do, aunt, but one thing is certain,)

(I want to stay in here
for the rest of my life.)

GIUSEPPINA: I am Carlotta's cousin
, the dyer.

She's the one who told me
to start from here,

if I want to be a costume designer.

The manica is ripiombata.

I told the seamstresses
that it had to be re-sewn.

- Do it again.
- All right, ma'am.

I would like to point out that,
when we introduce ourselves,

You say your name first
, then who you are related to.

- Oh, um, yes. My name is Giuseppina.
- We understand that.

And I studied at the
Rosanna Pistolese Academy of Fashion and Costume.

I'm fixing it.

Costume and Fashion. It's called the Academy
of Costume and Fashion,

Not Fashion and Costume.
Any experience in the field?

Oh, no, none. I just got out
of the Academy and...

This skirt is short at the sides,
have you seen it?

Yes, of course, Mrs. Alberta, we have to
fix the hem... - Do it!

So, if you went to the Academy,
can you tell me?

who made the heads of Satyricon?

Yes. He made the costumes...

- Beautiful Paolina.
..Danilo Donati?

- Good job.
- Thanks.

I didn't ask you for the costumes,
but the heads.

Do you know Piero Tosi?

Yes, I've heard of it.

Do you want to be a costume designer
and have you heard of Piero Tosi?

Okay, for now, collect
scraps and then if you need to...

..see serve, ramendi.

No, but I don't want to be a seamstress,
I want to be a costume designer.

"Me"? "Me" doesn't exist.

Here we exist "we"

and we need someone who can learn
to sew properly. Clear?

A good costume designer is,
first of all, a good seamstress.

If you can't do it,
you can't lead.

Go to Ennio and ask for a lab coat.

- Fausta?
FAUSTA: Yes.

This neck doesn't turn well.

Eh, we've already done it twice.

Hey, but it's not working well? It needs to be redone.

No, with this hair it's impossible,
look, it won't come,

It will never come the way she wants it.
- Do it a third time,

see he's coming!

Our work is done...

- ..of details!
- Exactly!

Mina wants this one
ready by Saturday, huh?

Well, Friday is better, right?

If there's something wrong,
at least we fix it.

But why, okay,
Mina never has anything to say.

Mina no, but I do.

I know very well that you have something to say.

How did you treat this poor thing,
huh?

ALBERTA: As she deserved.

GIUSEPPINA: I can't find
this Ennio.

Here, exactly.

- Are you still cooking like this?
- Did you come to give me a hand?

Well, if it helped keep it from
looking like a canteen, yes.

But who's coming,
the Queen of England? Come on! Eh!

Almost.

(sighing) Have you eaten?

I don't remember.

Look, at a certain age,
you have to eat,

otherwise you lose weight
and get wrinkles.

Hmm. It seems
you're not in any danger.

At my age, no. At yours, yes.

Let's stay focused, okay?
Especially today.

Third track.

- And what are you doing?
- I'm collecting the scraps.

Put it on the ground,
we have to show that we work.

But, look, we're working.

(SILENCE)

Gabriella? What are you doing?

- I'm finishing Turandot.
- Come on, come with me for a moment.

Oh, sir, no, you're not looking at the dress
because it's not perfect yet.

I told you, but can't you hear me?

That's not the point.

- Ennio?
- Yes, ma'am.

When she is with us in the office
over there, you come in twice

and you ask us if you can disturb us.

Must I disturb you, madam?

No, you have to ask if you can
disturb us. We'll say no.

Yes, but even less enthusiasm, eh?
It seems like this is a hyena.

Well, she may be a hyena, but she's good.

ALBERTA: It's an Oscar winner.

("BIANCA VEGA"
GIULIANO TAVIANI AND CARMELO TRAVIA)

BIANCA: Hello! Good afternoon,
hello.

- Good afternoon.
- Good afternoon.

No, no, no, no! Comfortable, no,
go on, thanks.

ENNIO: Mrs. Vega?

Mrs. Bianca Vega?

Welcome, please follow me,
we were waiting for you.

BIANCA: This is a huge movie.

It's beautiful, but it's huge.

Then, after the second Oscar,

Lorenzo was given carte blanche
by the production,

so I find myself preparing
a film in three weeks, but...

- In three weeks?
- Yes, three weeks, four at most.

ALBERTA: We can do it.

Oh, can you do it?
- Yes, yes.

- You've read the script, right?
- Yes, yes, of course.

It goes without saying that I will have to turn
to other tailors as well.

So I thought I'd just do
the costumes for the main characters here and that's it.

No, but you can do everything here.
The whole movie.

Well, maybe we can look at
the sketches together first.

Of course, it's obvious.
(KNOCKING AT THE DOOR)

ENNIO: Can I disturb you?
- No!

Actually, bring another bottle.

Right away.

Bianca look, we are honored
to make this film

and to work with you.
- Thank you.

It's almost a reinvention of the eighteenth century,
isn't it? Which... which focuses on the essence.

I want it primal,
I don't want it...

..I don't want it pictorial,
I want it geometric.

But above all I want it...
I want it corporeal.

I want the-the fabrics,

the-the shapes, remind us
of the consistency of meat,

the-the little folds we have here.

In the...
staircase scene, the costume falls off!

It falls with the protagonist.
Give me some beads?

(IMITATES THE SOUND OF BEADS)

Of course it has to be sensual,
yes,

but determined.

But do I make myself clear when I speak?

PAOLINA: Yes, yes.

Yes?

Yes, yes.

Oh, good. Come closer, will you?
Look. Eh!

Well, of course it's clear here,
right?

You have to understand
that we are in the mid-eighteenth century!

But I don't want it old,
I don't want it stale.

Well, dust,
dust as much as you want,

but the important thing is that it's dust...

..luminescent, light.

This to me is the ego of the-of the...
of his wounded soul.

How do you want to mount these beads,
Bianca? With fringe?

BIANCA: And I... I don't know.
What do we do?

Shall we get some ideas?

Then, who is it that...

- ..who's the milliner here?
- Me! Paolina.

Pauline. Pauline, good.

Let's make the fountain longer. Hmm?
- Ahh!

Yes, because the fountain becomes
a symbol for me.

It projects everything
we have inside and launches it.

Ahh!

Because everywhere,
wherever the gaze is,

the woman always points towards the sky,
upwards,

towards what is not...

..you can't see it,
but we feel it.

And we are connected to the stars.

That's why we hear everything.

What an incredible woman, isn't she?
Beautiful, fascinating, enlightened.

-She says she goes from one man to another.
-And rightly so.

And he can't find an assistant,
because no one is up to his level.

Apparently he lived in, like,
London, Paris, New York, huh?

Oh well! I've been
to Morlupo at most.

If you want to leave too,
follow her.

But where are you going, because then here with all
these baskets and fountains "we'll die"!

Let's go up!

Wait, I'm going to miss
95 again!

Paolina! For Simone.

(INDISTINT VOICES)

- Give him a kiss, eh?
- Thanks Silva.

- I'm running away from school,
okay? - Go, go!

Bye girls, see you tomorrow!

- Hi Fausta!
- Where are you going?

To Piazza Navona for a drink.
Bye!

Now that's how you say it! "Have a drink"?

Blessed Fausta who lives with her friends
and doesn't have to answer to anyone.

But why, excuse me,
who do you have to answer to?

I have my own things, what do you think?

It's not that just because someone is a widow,
they have nothing to think about.

Eleono, come on, the bus is coming, come on!
Bye girls!

HI.

But how is Vittorio?

- He's fine.
- Ah.

- And how should it be?
- Are you sure?

Oh, yeah, sure, that one looks great.
You know what?

He has a great relationship with his father,
doesn't he?

- Eh.
- They're really very close.

What's wrong Nicole?

Is it for overtime?

- No.
- Are you afraid to tell your husband?

No no!

I was just thinking about
how to organize my schedule...

..Like this.

Don't you know?
You have your own things too, right?

I keep my things to myself!

Good job! Bye, Eleonora, see you tomorrow!

HI.

Victor?

Love?

(THE DOOR OPENS)

(THE DOOR CLOSES)
Vittorio?

He didn't have lunch today either.

You're not saying anything, are you?

But what can I say? I too,
at her age, wanted to do as I pleased.

- Did you want to do as you pleased?
- Eh.

Eh, but you did it
with your friends as you please, or at least with me.

Eh?

Vittorio, he doesn't leave the house,
he doesn't leave that room,

he doesn't even go to school anymore.

It's not normal!

My goodness, you're so exaggerated.
Vittorio is perfectly normal.

"There's a period, there's a period."

(TICKING)

Do you know what happens now?

I'll cook you dinner,
you'll eat, and your son won't.

Not your son!

- Huh?
- Is that normal?

(RUSHING)

Where are you going?

At home.

The others have gone away.

Excuse me,
won't you stay and give me a hand?

Lucio is waiting for me.

Well, for one evening
he can even have dinner alone.

I thought.

(SUSPENSE MUSIC)

(MELANCHOLY MUSIC)

LUCIO: I hope I didn't burn them,
because...

..they were very fresh.

Mmm! The wife of one of my patients makes these.

He brought it to me this afternoon,
but he had made it like an hour before.

Good.

What did you do today?

Problems at work? Alberta?
Did you have a fight?

- Problems with the seamstresses?
No.

I don't know, you have a face like...

No.

Tell me you didn't go back to them,

I beg you.

Tell me you didn't go
and pester the witnesses again.

Let's eat, come on!

(TICKING)

(MELANCHOLY MUSIC)

(SAD MUSIC)

Check that all the packages are there and take them to the warehouse.

- Sure. We'll take everything to the warehouse.
- Yes.

Let's take everything to the warehouse.
- It's too dark! - No.

No, it's dark.

No, in the sense that this one, when
it cools down, becomes lighter.

- No, it doesn't lighten.
- But I swear, Mrs. Alberta!

- Don't swear, it's not a good idea.
- Can I talk to you for a moment?

- Yes. - When did you order
all this stuff?

I went ahead, I knew
he would do everything for us.

- But you're crazy!
- No, I'm not crazy.

Have you seen the sketches?

Could we ever send them to another
tailor?

At least let's call the accountant and
get some help with the numbers, right?

We can do the math ourselves!

But if we don't even delegate,
I don't know how we can get out of it.

Ennio, make an appointment
with production. - Sign.

I didn't say mark,
I said fix.

Fixed.

- Alberta! - Can you see how many
rolls of taffeta we have?

I check the brocade.

And the beads?

And then we choose the beads.

"The beads..."

"..they attack all
my little girls."

- Gabrie', still with dad?
- We've been tying beads all our lives.

You couldn't take it anymore.

Then now Bianca Vega arrives,
she asks you for the beads, and what do you do?

You attach the beads to them.

Why do I have to sew them?
No, the seamstresses sew them.

In what weather? With what force?

They're preparing three films,
you added one.

They had to play the lead,
all the roles now.

Tell me what you're looking for?

Are you counting the taffeta? And count it!

And where do you want to make
these costumes?

ALBERTA: Here we empty everything

and we dedicate this space to Bianca Vega's costumes .

And who empties it?

- Those over there.
- Those who? - Those over there, come on!

It is dismantled, covered and brought down.

It is dismantled, covered and brought down.

Okay, let's turn
this tailoring shop on its head, shall we?

("BRILLIANT VALZER" NINO ROTA)

Hurry up, it has to be at the Teatro Valle within an hour .

Of course, Mrs. Gabriella.

Come on Rosa, come on!

Oh my God! Oh my God, what a treat! It's been
ten years since I've done this.

"And I believe you",
what do Americans know!

ELEONORA: Gianni, shoulder in place,
71.

So? Giuseppina?
What do you think of this eighteenth century?

Hey! You need to wake up, otherwise
, when are you going to find a boyfriend?

Paolina, do you like him, or
can I pass him on to Giuseppina?

No. She already has a little boy at home
.

Well, now he has the big boy too!

- Come on, Nina, be serious.
- But I'm deadly serious! Huh?

Excuse me, young man?

Young man, what will you be dressed as?
As a courtier or a peasant?

Don't you know?
Well, he has a courtier's face.

But the ass is like a farmer's. Huh?

- Oh, yes.
- Oh, yes.

It's a 100! Well,
my idea of heaven.

Hey, you? Come on, come on. Stand here
for a moment. Let me see you? Spin...

..on yourself.
Calmly, like a music box,

on the other side too.

And t-you are a courtier
or a peasant?

- Okay, forget it, look.
- Oh, Nina!

A little composure,
you're the head seamstress.

So?
It's been a while since I've been tailoring...

- ..from one farmer to another.
- If Bianca Vega can hear you.

- Don't fall in love, okay?
- Nicoletta? How are you? Are you okay?

Yes, good. What do you care anyway?

You already have a hottie at home, huh?

They beat me up at work today.

You must be hungry, then.
- And indeed.

You dirtied your plate.

(WARNING)

This risotto sucks.

(GASP)
What are you afraid of? Huh?

Do you feel it burning?

Do you feel it burning? Do you feel it burning?

It's hot and it sucks.

What do I have to do with a wife,
you tell me?

What do I have to do with this? Huh?

Sorry, Bruno, it's just... it's just that
in the tailor shop we had a...

(CRY)

What the fuck does tailoring have to do
with my risotto?

What the fuck does this have to do with anything?

Excuse me.

(HIT)

- No, Bruno!
- Come here!

Please, Bruno!

You, tomorrow, come back at five
and cook me something decent,

Did you understand? Huh?

If you're a minute late,
I'll kill you!

You know where this well ends up,
huh?

Do you know where it ends up? To the Tiber!

Nobody can find you,
you understand? Nobody can find you!

Do you understand?
NICOLETTA: Yes, I understand.

Hey! Cold Breaker! Straight
from the butcher shop.

Oh yes, it helps keep
the rooms cold,

while the butchers come in, they go out...

But do you want to mount this
instead of the beads?

Yes, we make plastic slats with these, here they are.

(VERSES OF AMAZEMENT)

Like... a heart armor?

A rain?

- A river?
- A waterfall of burning lava.

Come on! Let's get to work!
Let's make it happen.

Remember, okay?
Tagliatelle, very thin!

BIANCA: 20-15 centimeters.

Look, so narrow.
The different length,

But it has to be organic.
Longer...

What's up?

I like.

FRANCA: Have you seen the effect
the petticoat has?

I was thinking of a cage
when I drew it.

It's perfect. Perfect.

Yes, because the protagonist feels
that way, she feels forced,

caged, both physically
and in soul.

Forget about "Happy Days"!

(MELANCHOLY MUSIC)

It's beautiful.

Okay, Simo, now you're going to sit there
and be good, okay?

Please don't touch anything.

Ah! Bianca Vega is a genius, isn't she?

Eh, but here we need a laborer,

other than "Eleonora,
the best embroiderer in Rome", right?

Eh, let it out, let it out,

In the meantime, I'm the only one who makes Canottiglia in Rome
.

Nicoletta, Paolina, in five
minutes, go up to Gabriella's.

- Yes, ma'am.
- Yes. - Is that okay?

- What is that?
- It's...

..Paolina's son.
He helps us out in the afternoons.

This isn't a daycare.
Find a solution.

- Clear?
- Yes.

SILVANA: Don't forget Simone, okay?

Stay here, calm down. Mom
will come visit you as soon as she can, okay?

Oh, yes. You sit
down here now, Simone, come on.

You got the notebook and the colors
.

And play with the buttons,
look how beautiful and colorful they are.

Look!
Something important Simone,

Please remember, if someone
you don't know comes in,

you have to hide immediately,

immediately.
You have to hide here.

Inside here, please.

I'll come over
and bring you a snack,

and then... mom arrives
and comes to visit you as soon as she can.

Silva, this thing about Simone
makes me nervous.

Eh, I understand,

- Paolina, but you have to react.
But how can I react?

that I don't even have eyes
to cry with? - And you're selling yourself something.

But if he just told you he doesn't
even have eyes to cry,

Excuse me, what's for sale? Simone?
- Yes.

Shut up, you! Come on, don't listen
to that pretty washerwoman, go on!

No, I don't wash, I dye,

and I like it.
- When I was young and beautiful...

"I was a dancer in variety shows."

- Were you a dancer in variety shows?
- Yes.

I was a dancer in variety shows, yes.

And I liked it too
and I had fun too.

And I wasn't just here making sauce
for these four silly things, was I?

Well, in the meantime,
you've always ended up "capping" green beans.

Oh, I know. That's also true.

Because unfortunately... eh!
Time passes,

you get older...

..nobody wants you anymore,

and I got dumped by this
... boyfriend of mine,

industrial... defaulter.

He dumped me, suddenly.

That's how it went, Paolina.

Rather than tearing
the ground from under your feet.

They actually cut my feet
off.

But
no one ever cuts your tongue.

Well, yeah, she's always being funny,
you see?

The truth is that we must react.

There is no need to sketch.

When you are a single woman,
when you are without money,

when you have no more hope,

we must react.

And you have to do this, Paolina.
Listen to me!

EDWARD: May I? Sir?

Eh, "Sir"?

"Sir!" But what's
all this formality?

Oh! Huh?
- Giuseppina!

- Help the boys.
- Yes. Please.

- (whispering) What do we do...?
- Mhm?

Yes.

Goodbye, sir.

Eh, well, then you're a repeat offender,
little one.

But, they told me
that one of the two sings?

Not me.

You?
- Yeah, yeah.

Sing!

I feel like a song!

- Sing!
- Um...

- # It was... #
FAUSTA: Go!

Yes!
- # ..just last night. #

Yes.

(together) # I was talking
with friends... #

Yes, go on!

(together) # We were joking
among ourselves... #

(THEY SING "YOU BROKE
INSIDE MY HEART" BY MINA)

(THEY SING "YOU BROKE
INSIDE MY HEART" BY MINA)

Thank you, you can go.

Enough! Let's get back to work!
Now, silence.

Maybe Mrs. Alberta
even heard us.

Well, goodbye.

We'll let you know, thanks.

(LAUGHTER)

Like a dam, I want it to break!

That blocks,
blocks all thoughts.

What is this, excuse me?

But does this look like a dam to you,
this is a gate,

half-broken, come on!
- It's just a canvas,

to see the drawing.

Then we will use another fabric.

Yes, but what fabric do we use? This
is a complex structure, girls...

- The gazar.
NINA: Oh, sure, Cristobal.

(whispering) But who is Cristobal?

Balenciaga!

He would have helped us,
but unfortunately he died.

It's limp. It shouldn't go limp,
it's limp.

Light.

(MYSTERY MUSIC)

Light.

Light. Thank you.

Light. Unwrap,
unwrap all the candy!

- Unwrap all the sweets.
- Alberta, come here. Look.

Let's make some lights, like this.

BIANCA: Keep it up.
Make some lights.

As!

(RUSHING)

(MELANCHOLY MUSIC)

Easy, easy, I'm
delicate, thank you. - April!

Here you are.

As?

- Mhm?
- I don't know, I don't know if it works.

How?
- But I don't know, it's a bit...

No, stop. A little bit of what?

I mean, I'm terrified,
isn't it that I'm getting bigger? Right?

No, Alida, don't mention it!
Your soul is visible.

Exactly. The soul. But...

..subtle.

Look at you.

I'm turning around, okay? Are we there, girls?

- Should I turn around?
- Yes.

No, well...

..it gives me the idea of...
of dried grass.

No, it's perfect Franca.

Let's hope the director and Samuel Beckett see them too .

He's the one who wrote it.

But captions are meant
to be cheated on, right?

(laughing) Art is all
betrayal, dear.

And I'm an expert,
but I don't want to have exaggerated.

Yes, yes, it's perfect,
it's perfect girls!

FRANCA: The tire.
GABRIELLA: You have to add this...

- What is this thing?
- You have to wear it.

This?
- Of course.

- Beautiful.
Oh my God! Are you crazy?

But you think

that an actress can
act with this thing on her head?

Hi Alida, good morning. Can I
steal a moment from you, Gabriella?

- You're welcome.
GABRIELLA: Excuse me. - Yes.

You are awesome!

Are you moving?
Is Sofia Volpi coming?

Huh? Shut up.

Will it be a while?

And if Sofia Volpi arrives,
what's the problem?

The problem is that they must not
meet,

You know what these look like, right?
- Yes, but I have to finish the test.

ALBERTA: My dear, you are...

...a vision!

Thank you dear!

Move.

ALIDA: Thank you! Thank you, Alberta.

Beautiful, beautiful, beautiful.

I have it, right?

Handsome?

Thank you.

Here it is.

- Welcome back. Are you okay?
- Good, thank you. You're welcome.

(INAUDIBLE WORDS)

ELEONORA: 70.

- No, put 65.
- 65.

Crazy! Crazy!

I'm so lucky to wear
these crazy clothes.

62.

Think that...

..I could have done this job
just for that.

- For this! Understand?
65.

When I saw, like...
Katharine Hepburn, Bette Davis, right?

What, I was so jealous of them...

Why should you?
You have nothing to envy.

- Well... no, come on!
NINA: She doesn't lack anything, eh...

Excuse me, but this ring
is gorgeous!

ELEONORA: No!
- What is it?

Excuse me, but three seamstresses working
on one dress brings bad luck.

ALBERTA: What's your name?
- Giuseppina.

And what are you doing here? Go, go.

It's always this ring's fault.

I told Burt
he's too big.

Excuse me, ma'am, but it's not... it's not
too much, with your measurements...

..but lucky is he who marries her! Eh!

But his measurements, though...

Oh, sir!
Size is everything in life!

Sorry for the interruption.

Excuse me, Mrs. Alberta,
I urgently need Eleonora.

With permission.

And you? What are you doing here?

We are waiting!

Waiting for what?

Josephine.

Both?

Yes.

Ah.

You understood Giuseppina!

- Why is everything closed here?
- Shh!

Hey! What's going on?

She's Eleonora's niece,
they beat her.

Spend?

- The police.
- Oh, Lord. Why? What did you do?

- A demonstration.
- 'This idiot!

Leave her alone! Come on, we were
part of '68 too!

Oh no, you speak for yourself, okay?
I'm too young.

But why did you come here?
- How many times do I have to tell you?

- They were chasing me. I came
here, you're my aunt, help me! - Shh!

- Oh! Ah, boys?
- Ouch!

Hey, I'll give them back to you now, okay? Shut up!
Nicoletta, close the door.

You, be careful there,
you're stuck!

I'll call your mother now
and you can go home.

I told you, not at home, that's the first
place they'd look for me.

- I'm coming to your house.
- No! Not to my house.

If the police are looking for her,
my house is second place

where they would look for it.
- Of course!

So I'm staying here.
Just a couple of days.

Aunt, please, I beg you, help me!

- Come on, Eleonora,
we have to help her. - Of course!

- Excuse me, you can sleep
in the locker room. - What are you talking about?

Yes, Mrs. Alberta never
looks in there.

Please help me.
I'll keep quiet and be good.

Nobody sees me and nobody hears me.

Eh, darling, but here the child
in the control room

and you in the changing room,
and this is no longer a tailor's shop,

This is a refuge for sinners.

Ennio, what do you say?
Will you give us a hand too?

No, I saw nothing, I heard
nothing and I'm not saying anything.

Let me out, go on!

He doesn't see, he doesn't hear, he doesn't understand.
It seems as if a man gave birth to him.

You were late.

I had to settle my niece.
Well, hey, hey...

Mhm.

He was kind enough to come and offer
to fix my shutters.

It's a pleasure, Mrs. Eleonora!

Now you see
that I'll fix you even better.

Did anyone see you?

(CRUNCH)

("GAME OF GLANCE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

("GAME OF GLANCE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

But who made them?

I do not know.

Girls?

Girls, come this way.

Su!

Who among you did this?

Don't-don't be afraid, it's brilliant!

A stomacher w-what...

..which transforms,

they become... almost vaginas,
who was it?

Come on, look at me!

It wasn't them.

Sorry, I have an appointment.

Come, come, come here!
Here, come...

Ennio?
Didn't we have an appointment?

Yes, ma'am, excuse me,
it's Dr. Cavani.

(SUSPENSE MUSIC)

Give me five minutes.

- Will you accompany him to my office?
ENNIO: Yes, ma'am.

(SUSPENSE MUSIC)

What happens?

(THEY KNOCK AT THE DOOR)

After you.

Dr. Cavani.

- Good morning.
GABRIELLA: Good morning.

Gabriella Canova.

- Leonardo Cavani.
- Welcome.

Cavani-Sartor Investment Company .

My sister Alberta.

I'm here to tell you

that our company would like
to invest in your tailoring shop.

Just a first date,

to understand if you are interested
in a collaboration.

In short, what we propose to you,

it's an economic boost,

to give you the opportunity
to grow and expand.

And, if you agree, we could
make an official offer.

Well, we're flattered,

but we have to confront each other first.

GABRIELLA: Yes.
- Then, maybe, we'll let you know.

Gabriella, could you please
accompany Mr. Cavani?

I have things to do.

Mr. Cavani?

This way.

CAVANI: Thank you.

Excuse me.

Alberta! I wanted to see you again.
That's why I came.

Maybe I did it the wrong way,

but when I saw your name
in the investment list,

I lost my mind.

I never stopped thinking about you.

- And if I could...
- What?

Wouldn't you have made me wait all
those hours at the Paris station?

ALBERTA: How many years have passed?

15?

18?

I don't know, I don't remember.

I only remember that watch...

..that I watched for hours...

..while waiting for you to arrive.

And then I remember walking away

and the further I got from the clock...

..the more I understood that you had made
your choice.

It wasn't easy.

I couldn't come that day .

But I wanted to explain to you.

But I never got
to find you again.

My heart stopped waiting.

(TICKING)

I don't know about you,

but I'm exactly
where I want to be.

Now, if you don't mind,
I should be working.

("DIAMANTI THEME - INTIMATE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

("DIAMANTI THEME - INTIMATE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

Eleanor?

Nina?

Sorry, I really have to work.

(THE DOOR CLOSES)

SILVANA: Gabriella?

Mhm.

Gabriella?
- Eh?

Shall I bring you something to eat?

It's lunchtime.

No thank you.

Silvana?

I never ask you how you are.

How is it going?

Everything's fine. I'm fine.

Don't worry about me.

Before...

..I always came to visit you

AND...

It is not necessary to see each other,

when you love each other.

ANDREA: You were right,
Mrs. Olga.

In the end, I left her.
- But!

You didn't even give yourself time
to breathe,

since you're already with someone else.

And what can I do?
I'm in love with love.

Listen, is it true that this one
is bigger than you?

Yes, four years old.

Good, great!

You start with four
and then maybe end up with 40.

ANDREA: Which looks like 10, though.

(LAUGHTER)

(laughing) You're really adorable,
Andrea.

ANDREA: She is a lovely woman.

Yes!

Okay, I'll let you decide
calmly.

Auntie, wh-what did you get today?
You look different.

Pills, a new cure?

But why?

I'm doing great!

Even, even, almost engaged now.

You, on the other hand, don't act like
goody-goodies,

what with all those famous actors
walking around naked in the tailor's shop...

..who knows how many you get up to.

What do you want us to tell you?
- We work a lot.

We're working. So
what happened lately?

A bit of turbulence,
especially for our Alberta.

A handsome gentleman came,
a distinguished gentleman,

he made us a financial proposal.

- Come on, he was just an old friend.
- And who is he?

Leonardo Cavani.

Leonardo Cavani?
Is that the one from Paris?

Ah, is he the one from Paris?

Yes, that's what I got to know
when I worked at Balenciaga.

-And why didn't you tell me?
-What changed for you?

- But it didn't make any difference to me!
- Exactly.

GABRIELLA: Well, I could have chosen
to stay close to you a little.

You were standing next to me.

He made the joke! Did you hear that?
He made the joke now.

- Girls, don't start...
- She does this part...

..to argue, please!
- No, but listen!

- She's really acting like a poor thing, you know
. - No!

- The one who is alone and abandoned.
- Your mother, before dying,

He only asked me one thing:
not to make you fight,

more!

You can argue with your fathers,
with your lovers, with your brothers,

but between sisters, no.

And not even with the aunts.

Come on girls, come on! Mhm?

Eat!

What did I tell you?
Not to touch anything.

And you started playing
costume designer.

Hey, girls? This is Burt,
Sofia's boyfriend!

Yes, it's him.

Oh, but he's with someone else!
They were supposed to get married.

But poor thing, she was so happy!

She is one of us too.

SILVANA: She's a cuckold too,
girls. - Can you show me?

Yeah, here you go. They only write
nonsense anyway, come on.

No, but we like gossip every now and then .

SILVANA: It's true,
we like them a lot.

But above all, Silvana,
I like your pasta.

SILVANA: Oh, thanks! There's more.
- Great Silvana!

There's still some, tomato... ohh!

- I saved up for Simone too,
huh? - Yes, thanks.

Nicoletta?

Is everything okay at home?

Yes! Yes, yes.

What did you do to your lip?

Um, I don't know, maybe I got bitten by
a bug last night,

then, well, last night
I scratched it

and maybe it's swollen a little.
Is it visible?

An insect, like, with whiskers?

I don't know, maybe it was
a spider, who knows...

NINA: Here, darling.

Cover it with a little bit of...
primer, so it can't be seen.

Thank you, Nina.

They should be killed by
these little spiders with whiskers, right?

NINA: But didn't they invent
spray?

SILVANA: No, not yet, unfortunately.

Yes. Come on, girls, come on! Come on, eat!

ALBERTA: Here it is.
That's not Rosa Mountbatten.

And not even that.

- In the light, maybe...
No, it's not.

I know. I know.

Um, I've tried everything,
Mrs. Alberta, but it's not coming.

But, I mean, maybe right now
with all this mess, right?

Could we reuse
last year's tablecloths?

No, the tablecloth is changed every year.

And this won't be the tailor's birthday

where we will not respect
tradition.

Even if it was just for superstition.

So what do I do?

You do it again.

Listen, how are the invitations going?

Um, where are we at?
We're in bad shape.

At this point,
we were also missing the tailor's lunch.

- Go, go!
- Yes.

It's just that I got distracted, sorry.

Look, lunch is important.
Important for us, for the tailoring shop.

and for all those who collaborate
with us.

- There are more Oscars
than buttons around here. - Here I am.

- Bianca!
- Good evening.

Come on, come on.
I'll show you the fabric.

No!

The Mikado?

BIANCA: Oh my God!

It's perfect. Great! Great girls.

Beautiful.
You're exceptional, well done.

No!

No, what the fuck have you done?

What the fuck is this stuff?
What the fuck is this stuff?

But this is... this is cinema.
It's called cinema, okay?

It's not a documentary!

They assumed
that the panier was classic.

You... you saw the sketch,
right?

Everyone, stand over here.
Stand over here.

I designed it
with an arched opening in the center,

like the facades of
Borromini's palaces,

that welcome you, protect you.

And what the fuck are you doing?
What the fuck are you doing?

Make me a monoblock, covered with
guinea and with this fucking tulle.

- It's my fault, it's my fault.
Shut up!

- It's my fault.
But you have to shut up. You have to shut up.

Shut up!

The costume should not just dress
the character.

The costume must allow
the actress

to get into character.
So tell me what...

..how the fuck do I get
the actress into the character,

if he can't even afford
to sit down

or of... or of pissing freely?

This is a woman who in the 18th century,
ladies, in the 18th century,

rather than marry a man who...
who doesn't love,

..give up everything.

So, in your opinion,

Would this character here give up
his freedom?

No, ditemelo?

I want that...

..let the actress hear it here. Hmm?

Between the legs.

- And I want it red, I want it!
- Like... like the dress?

No! No, not like the dress!
Like the blood!

Come on! Take it apart. Do it exactly
as Bianca said.

ALBERTA: Why do you take
your own initiatives?

Why don't you look at the sketches?

Huh? Do I always have to check everything
here?

I don't care what time it is!
Stay here and work!

I'm going up to get the things.

Congratulations, huh?

Thank you.

But are you even answering me seriously?
Huh?

How should I answer you?

Well, apologizing.
And apologizing to them.

I don't know if you realized
what happened?

They must not take
stupid initiatives.

- Stupid?
- Yes.

Are they stupid? But they're working
from morning till night.

- You trample on people!
- I don't trample on anyone.

- Oh, no?
- No.

But how? If the whole world is the
carpet you wipe your shoes on?

We earned these shoes
the hard way.

You do what you want,
I'll clean them wherever I want.

But what a horrible thought.

Why didn't you defend them?
Why did you stay silent? Huh? Why?

Weakness is a trait
in our family

which fortunately I did not inherit.

Indeed.

You took something else.

You have become cold, icy,

merciless.

This cold and merciless one,
however, took you away

from that hole of a country.

If it weren't for me, you would still
be serving our father.

I feel like I walked
away on my own two feet.

On your legs?
-Yes. But if you haven't even used them

when aunt Olga wanted to take you
to study in Rome.

- But Mom had been dead
less than a year. - So what?

Wasn't
what he did to her enough for you?

Did you want him to ruin
your life too?

But I didn't stay for him.

Oh, no. So why did you stay?

(SUSPENSE MUSIC)

Eh?

Tell me.

Why did you stay?

Tell me? Why did you stay?

For you.

("DIAMANTI THEME - INTIMATE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

You take these things to the seamstresses.

(SOUNDBITE OF BEADS FALLING)

("DIAMANTI THEME - INTIMATE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

(THE DOOR CLOSES)

OZPETEK: Well, this time
I didn't want all of them, all together,

as on other times,

So, I wanted to understand a few
mechanisms, a few things.

Your role,

your sister's.

About this relationship you have
with your mother, with your father,

the beads... and you came
to Rome,

to create this...
to create this thing of...

of... of the tailor's shop, which left
this building to Aunt Olga,

which would be her sister.
I think you're a little strange, though.

Why? What's wrong?

- No.
Say!

I mean, why do you mind
being their mother... No.

Do you want... would you like to play the role
of Alberta,

I'll let you play Alberta,
whatever you want. No.

I, um, I... I can't make
the film, Ferzan.

Because I have a... a very dear friend
who is very ill

and she's... she's alone, she has no one
who can help her,

take care of her...

- ..and there you go. I'm so sorry.
OZPETEK: I'm sorry.

It happens like this, that...

..you have to be close
to people.

It's not even easy when these
people are then sick.

and you have to pretend nothing happened, right?

Also... we always act,
even in real life, right?

Also... I did it
with my mom too, when she was sick,

I didn't tell her what was wrong,
because if not...

And then I could play,
joke with her,

make fun of it
as if nothing had happened,

because she didn't know she had
little time left and I think that's very beautiful.

That is, you don't always have to tell
people what's wrong with them.

- Mine didn't know either.
- See?

But are all costume designers like this?

No! Everyone's crazy, but in their own way.

I think I don't want
to be a costume designer anymore.

Oh, signor!

(NICOLETTA CRIES)

Nicole? What do you have?

Nicole! That's enough.
- What did he do to you this time?

FAUSTA: The other time, the bug,
you fell down the stairs.

All excuses, all excuses!
The same ones I used too,

every time he hit me
with a belt, Nicole.'

Then I ended up in the hospital
and I realized that if I went home,

I couldn't save myself anymore.
Nicoletta, what do you want to do?

Do you want to save yourself, yes or no?

Now tell us exactly
what happened,

because we can help you,
understood?

It's just... it's just that he says
I'm not a wife.

(crying) I'm not good...

And he says that if I don't stop
working, he... he will...

Him what? What?

In the garden there is a well
that is very deep,

he says he'll throw me in
and I'll end up in the Tiber

and so no one can find me anymore.

Nicoletta! Nicoletta, you're
not coming home tonight, do you understand?

You come and stay with us.

But I have to go back home!

Because if I don't come home, you
know what happens, right?

I have to go back home,

I can't leave...

..I cannot.

Then you have to kill him.

We've seen too many people
killed, Nicole.'

We all come to your house
and throw him into the well.

Understood?

FAUSTA: So he ends up
in the Tiber, not you.

NINA: Nicoletta? Look at us!

We're like ants.
We seem like we don't matter, but...

..but all together, all together
we can finish him off. Do you understand?

But how do I do it?
What do I tell people then?

What do I say to my neighbor?

Where did my husband go, huh?

You tell him he went to buy
cigarettes and never came back.

Right!

No, but you're crazy, aren't you...

In the meantime, I'll start checking on you.

I call you every night,
if you say "pink buttons",

it means everything is fine,

if you say "blue buttons",

we arrive, all together,
like lightning.

ELEONORA: Understand?

Yes.

Cow!

Some flowers have arrived for you.

Leonardo Cavani sent them to you.
I'll put the note here.

Dinner's ready, try to eat
or else everything will get cold, huh?

I felt...

What's there to hear, I can't hear
anything anymore at this hour, Alberta.

I just wanted to tell you about the lunch.
We've grown to 40 guests.

So?
- Can you do it?

How many years have I been able to put up with you ?

God, 12?

It seems even more so.
Of course I can do it! Come on!

Eat, it's getting cold. Goodnight.

- 'Night.
- Mhm.

(ON TV "LE MATTCHICHE" MINA)

(MELANCHOLY MUSIC)

(THE DOOR CLOSES)
LUCIO: Love, where are you?

I'm in the kitchen.

Ah, that's what
this little smell was.

Look what I made? Meatloaf

and the sour cherry tart.

How good!

I try, I'm not as good as you.

But how come you're not...? You're very good.

And this?

- Do you like it?
- No, it's beautiful, but what is it?

It's a model we're
working on in the tailoring shop.

So, there was Bianca Vega,
and I was there eating,

do you know Amelia's sweets?

That they're everywhere, right?

Alberta and I put them everywhere
and she saw me and said:

"Give me the paper!"

We took all the cards
and put them on the skirt like this.

She would have liked that, right?

Well, it's beautiful.

- Shall I give you a hand?
- Yes, come on.

No, I thought,

that maybe you want to take a shower.

Eh?

Freshen up, love.

I prepared a bath for you,

the towel and...
and the shower gel too,

yours,
the one you like so much.

No, I don't feel like it now. I don't feel like it.

Do you want to come watch some
TV with me and Dad?

Eh?

Stay there on the couch, with us.

(PHONE RINGS)

Hello? Yes, Fausta.

Yes, yes,
the buttons are already asleep.

Thanks. Bye.

Who the hell are you?

I'm Beatrice Dalconte.

I am Eleonora's niece.

What are you doing here?

The police were chasing me
after a demonstration.

I didn't know where to go, sorry.

Please don't fire her.

It's my fault, I insisted
on staying here to sleep,

my aunt didn't want to.

You know, if the police find you,
they'll shut me down? Hmm?

- Did you do something bad?
- No way! They charged us.

I should report you, I should.

Don't move from there!

(PHONE RINGS)
Hello, who's speaking?

ALBERTA: Eleonora, I'm in the tailor's shop.

There's a girl here who claims
to be your niece. Are you sure?

I confirm. You must excuse me,
Mrs. Alberta.

She's my sister's daughter,
she's a slacker.

Are you a costume designer?

No, absolutely not.

I have nothing to do with
this world, now I'm getting off...

Don't touch anything.

Why do you do it?
Why did you alter the clothes?

What are you doing with this?

I heard that the protagonist
with this dress faces her father,

and I thought about increasing
the space between them,

adding layers, volume,

a bit like women
when they get fat,

who try to put distance
between themselves and the world.

A form of protection, I think.

ELEONORA: What can I do
to fix things?

ALBERTA: You don't do anything.

You, on the other hand, show up tomorrow morning
at 8:30, with all the others.

You will start with sewing.

But that one is not suitable,
she can't do anything.

I decide whether it's suitable or not.

How did you dress?

I found something there.

Starting tomorrow, find yourself a place to
stay. This isn't a hotel.

Mhm?

8:30 tomorrow morning,
with all the others.

Very nice dress, huh?
Very, very nice.

This one is also a brilliant idea.

But I would like that...

..that she had the feeling
of...

..to carry a weight
up the stairs,

Did you understand?
- The feeling...

..the bodice gives you the weight.

You can't even
imagine it now because you have nothing here.

You don't have the actress, you don't have
the staircase, you'll see later!

I'll see him later. Of course, always later.

Everything after!

But I want to imagine it
first.

I don't need to know
that weight is there. I want to see it!

Why don't you put
a train here for me?

BIANCA: No, Lorenzo.
- A long train.

The train is old, banal.

We've seen it a thousand times,
in a thousand films.

I still give you the feeling of weight
.

But I don't want to change
the structure of the skirt.

- Okay, okay.
- No, but trust me, damn it, every now and then!

Bianca, do what you want.
You always do what you want anyway.

But I want to see it before
I go on set, okay?

And you'll see. Don't worry,
the actress has already tried it.

I know the actress has already tried it.

But I would like to see it again on the actress,

with the train.

- No. Again? Without a train.
- But give me...

Give me time!
And I'll find you a solution.

How long?

GABRIELLA: Not much.

Okay.

Congratulations anyway, huh?

Bruno?

Bruno?

(JUMP)

Oh God, Bruno, you scared me.

But weren't you supposed to come back
at five to "prepare" dinner for me?

Excuse me.

Your arm hurts, yet
you still went to work?

Not much, but I did it, yes.

And what should I do?

I have to break it for you, so at least
you won't have to go to work anymore.

Bruno, please stop.

Because otherwise what do you do?

If not, I'll leave you and go away.

What are you doing? Come here and say it again.

I told you come here and say it again.

(HE GETS UP FROM HIS CHAIR)

Do you know where you're going now?

Do you know where you're going now?

Do you know where you're going?

Do you know where you're going now? Huh?

Do you know where you're going now? Huh?

(PHONE RINGS)

(FREE LINE)

- Huh?
- Bruno!

(DESPERATE SCREAMS)

(FREE LINE)

(SCREAMS)

(PHONE RINGS)

(FREE LINE)

NICOLETTA: Hello?
-Oh my God, Nicole, I'm shocked.

What buttons do you need?
- The blue buttons.

- Like the blue buttons?
- Um, pink!

Pink, Fausta, pink.

-Are you sure everything's okay?
Yes, everything's okay.

All good, Fausta.

Bye. Bye, Fausta, see you tomorrow.

HI.

(THEY KNOCK AT THE DOOR)

DELIVERY MAN: Excuse me, I have
a delivery for Miss Canova.

Li deer and.

Are you Miss Canova?

Yes, it's me. Give them to me.

Yes, that's Miss Canova.
Same hairstyle.

Oh, to work, huh?

Ennio! Where does
this blessed boy always disappear to?

- And how would I know?
- Okay, thanks, have a good day.

- Ennio!
- Excuse me, but do you work in a pastry shop?

Yes, I do deliveries and maintenance.

NINA: Ah,
we need maintenance too, huh?

There are a lot of
cookie jars here that have been sitting around for years.

that could use
a good dusting.

ENNIO: Here I am.

Ennio, here, take them to
"Miss Canova." Go, go, go!

- Okay, thanks and goodbye.
- Excuse me?

Your name?

Diego.

Faust.

Pleasure.

Diego...

..do you smoke?

Yes.

Interesting.

ALBERTA: Paolina, take these sweets
to Silvana's kitchen,

who offers them to you
when you have coffee.

Yes.

Ms. Alberta,
can I ask you something?

Yes, tell me.

PAOLINA: It's a pin.

I see it.

It is very precious.

It's the only thing I have left
of Simone's father.

He left it to me
before he left.

He was a Turkish engineer.

He worked here, he was a good person.

It's a very important memory
for me, but I need to sell it.

It's just that I'm afraid that if I go to Via
dei Pettinari, they'll give me two lire.

So we have to go?

PAOLINA: It's just that I...

..I'd really like it.
I'd like to sell it well and...

..if it were possible.

Okay, I'll show it
to one of our suppliers,

Let's see if he's interested, hmm?
And how much money do you need?

I have to pay for school lunch,
school things, my apron.

The apron once a year,

but the canteen, the notebooks, the pencils
once a month...

Okay, I get it! I get it.

I'll have it appraised, okay?
Then I'll let you know.

Thank you.

(THE DOOR CLOSES)

GABRIELLA: What does he say?
- What?

What did he write to you?

Nothing.

At that time?

- Will you buy me this cigarette?
- Only if we have dinner together.

Come on.

It depends. How many cigarettes do you have?

- Why?
- Because there are so many of us.

- How many?
- So many.

Beautiful things cannot be counted.

Get a life!

- Can I say something?
- This isn't the time.

What's your name?

Beatrice.

She's the girl who made your
bodices,

the ones you liked,
that looked like vaginas.

Come here, come.

Alone!

Speaks.

I was thinking that you could make
a kind of cloak,

attaching it here,
along the back neckline,

who goes down the stairs.

Her name is Andrienne. Right?

In such a way as not to upset
the design of the skirt,

but weigh down the dress
as the director wants.

ALBERTA: What do you think?

I don't know, I don't...

..maybe I could accept the andrienne,
rather than the train, but...

You, Gabriella, what do you think?

- Gabriella, here?
- Eh?

That?

What do you think about...?

I wasn't following.

LORENZO: I don't understand anything anymore
with these costumes.

If they had been like that, I would
never have told you they were okay.

You can't afford it! These
costumes are going on sale tomorrow. What do I do?

I go on set, find them changed
and I don't even know it?

Huh? Now you're going to remake them exactly like
these sketches. Is that clear?

But what is this?

What is it?

Is it a cloak?

Is that a cloak?
I asked you for a train,

this... but what is a cape?
For the last scene?

But she's not a witch!

-It's all wrong! All wrong!
GABRIELLA: Stop screaming!

(whispering) Gabriella?

But how dare you... how dare you?

Excuse us.

Excuse me.
- Do you know what's wrong, Lorenzo?

It's just that I think
you're scared of this movie.

But where is he going?

You come with me.

Move over a little,
please.

Everything OK?

I was wrong. I did everything wrong.

- He's right, it all sucks.
ALBERTA: No, he's not right.

No.

It's all my fault,

I suggested
putting on the cloak.

I just had to keep quiet.

You can always make a mistake, right?

Mhm, no. No, the problem isn't...

..it's not the mistakes that are the problem...

..the problem is me,

that every time I make a mistake,
I question everything.

Even when I went
to collect the Oscar,

I felt that way.

I always feel inadequate, I don't...

I was walking towards the stage,

I was watching all these eyes
on me

and I thought: "When the fuck are you going to understand
that I'm worthless? I don't..."

I'm not worth shit.

Are you kidding?

She is Bianca Vega,

one of the best costume designers
in the world!

I am nothing.

We are nothing, but we are everything.

We are nothing, but we are everything.

CARLOTTA: Mrs. Alberta?

Sorry. Sorry, but, here it is,
I found it, I found it!

What did you find?

Oh, no, because I tried a thousand
times and it didn't come...

..because this is not the year
of Pink...

- From Mountbutten, yes.
- From Rosa Mountbutten.

- Yes. - No, this is not the year of Rosa
Mountbutten. Here you go...

..the Pink Diamond.

Eh?

Here, good!

This is us.

Diamonds.

("DIAMANTI THEME - INTIMATE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

What are you doing, have you come back to sleep here?

No, sorry. I just wanted to finish
thinking about something,

if you don't mind.

You ate?

Silvana.

Okay.

Go home, it's late.
See you tomorrow morning.

Miss Alberta?

Thank you.

- Did you try calling Vittorio again?
- I tried, but he's not coming.

And that's it?

- But is that enough?
- Is that enough...

- ..I mean, aren't you going to try calling him again?
- Shall I try again?

- You have to call him back!
- What do I do now?

- You have to call him back!
- You do it!

- It's your son!
- Do it yourself, you're the mother. Yes!

I'm the mother, you understand!
This is an excuse,

that you... - I cooked,
I set the table, I do everything.

Don't argue, no.

Honey, we weren't even fighting!
You're welcome, love.

Nice. Come on, sit down.
Do you want to sit down for a moment? Huh?

(SIGHS)

Do you want a drop of water?

- Yes.
- Huh, love? Huh?

Drink up, come on!

I don't even know, I have it,
but it's not your fault.

You have nothing to do with it.

Don't worry, okay? Honey!

Huh? Two, two, love, two, two!

I made them.

These are your favorites then!

Here. Huh?

Give me satisfaction, okay?

All right.

- It's good.
- Mhm.

Did you know that Mom might
have a solution?

- Mhm.
- Yes. Do you know?

So, Eleonora,
do you remember Eleonora?

She told me that there is a lady
who is very sensitive,

and solves problems,
even if you're not well, right?

She-she hears you, she listens to you,
she's like a magician!

Understood? As long as it touches you

and it heals you.

Really?

Do we want to go together?

Yes, that's fine.

You work, I'll bring it.

Are we all three going together?

GEMOLOGIST: Zircons and chromed brass.

It's worthless. I'm sorry.

Mhm.

Did you understand "er Turco"?

Thanks, huh?

Yes, they're beautiful, as always.
But how can I tell Alida?

that you didn't make her a costume
for the finale?

What is she doing? The naked monologue?

Ah, but you know, at this moment
Ah, but you know, seamstresses have a lot to do

And I apologize, I actually have to
have underestimated the timing a little.

But Gabriella,
we have the debut soon.

Eh, let's reschedule a test with
Alida, next week, if you want.

I can only do it on Monday at five.
Is that okay with you?

Yes, that's fine.

But don't worry, we'll do them.

Did something happen?

A costume is missing.

Well, which one?

It's the one from the final scene
the protagonist's final scene.

Well, it doesn't seem like a tragedy to me,
you know?

FAUSTA: Nicoletta?

- Mhm!
- Is everything okay?

Yes, why?

I don't know, I find you different.

Um, I let my hair down a little.

Yes, the hair, the nail polish,
the neckline,

you're smoking!

No, actually I've always smoked,
Fausta.

-And what about your husband? How's it going?
- What's the asshole sayin'?

Honestly, it's a bit
.

How come?

What happened?

A few days ago,

he went out to buy cigarettes

and he never came back.

How much I like them
men who smoke.

EDOARDO: Come on, I have the train.
to Caserta. Mrs. Carlotta?

All sorted.
FRANCESCO: We've got everything sorted.

- Thank you.
SILVANA: Guys?

Shall we offer you some coffee?

- Let's hope.
- Gladly, yes.

- And what good things do you have to offer us?
- Eh.

I have an idea, but...
look, he's singing! He's already sung.

NINA: Oh, that's right!
FAUSTA: Sing and you dance...

- Dancing?
- A couple? Go, go.

Yes, yes. Come on!

# What can you say if it's good or bad... #

Voice!

Big Patty.

- # ..inside himself... #
- Come on! Convinced, darling!

# ..inside everything of oneself,
when one loves... #

You! You!

(SINGING "THE EYES OF LOVE"
PATTY BRAVO)

Simone?

Simone!

Look what I brought you?
Mmm, a snack!

Aren't you answering me?

Do I support you here?

Well, then I play
the mummy game.

I'm the mummy...

Ah! You're out!

Look what I brought you?
Mmm! Good, huh?

But first, first...

..first, I have a gift for you.

Look what...? Look.

Do you see this?
It's a magical little fish.

And it's a little fish
that brings a lot of luck.

It's mine, I've had it for a long time,
well, lucky... but, yeah,

It brings good luck, and I give it to you,
love.

Come on, it'll bring you lots of luck.
Lots of it!

So you will always remember me.

Get it, get it!

ALBERTA: You were right.
The brooch is worth a lot.

I knew he was a good person.

Spend?

Simone's father.

Ahh!

Mrs. Alberta, excuse me,
but how much did they give you?

Nothing.

I decided not to sell it,
I'll keep it as a pledge

and the tailoring shop will support
Simone's studies.

We'll give you a raise,
so you can be self-sufficient.

I don't know how to thank her.

Or.

Paoli'?

Yes.

Tell me.

Find a place for Simone,
he can't stay in that little room.

Okay.

Excuse me.

Or.

Are you with us, Gabriella?

Of course I'm with you.

You smoked a pack
of cigarettes in less than an hour.

But have you seen who's there?
- No, who's there?

Leonardo.

AUNT OLGA: Leonardo who?

- Leonardo Cavani.
- Ahh!

But where is it?

GABRIELLA: There.

Ah, but is it "Baguette"?

ALBERTA: Aunt, please?

ANDREA: Mrs. Olga,
have you chosen the second courses?

No.
- So maybe I can help you?

In the meantime, please address me informally, Andrea.

Of course! Of course not.

Are you coming here for a bit?

I need information
about that table over there.

- That one? Huh?
- Mhm.

What did they order?

GABRIELLA: But what does it matter to you what
they ordered? - Exactly.

No, rather,
can I ask you something,

the blonde lady who is with him,
is she his wife?

Are you stopping?

- But...
- Will you stop?

I think so, they shared
a grilled lamb.

Then there is no doubt.

- Do we want to share one
too? - Do we want to leave?

Lady.

Stop looking,
if they see us...

You know what I'll do? I'll go say hello.

Wait?

Good morning.

Enjoy your lunch.
RITA: Good morning.

Good morning.

Lady.

Rita, they are the Canova sisters,

owners of a tailoring shop in which
the company would like to invest.

Gabriella.

Nice to meet you, Alberta.

But is that Alberta from Paris?

(SILENCE)

When we were engaged,

Leonardo and I lived in
Paris for a while.

The day of the accident he said
he had to tell me about this Alberta,

a friend who also lived in Paris
for a while.

But then there was the accident,
the hospital, everything changed.

But this name has
always remained in my memory over the years.

I have never been to Paris.

But how strange.

She owns a tailor shop
and has never been to Paris?

("TRUE LOVE" MINA)

These are the things of life.

Let's go.

We just wanted to say hello.

Good continuation.

It was a pleasure meeting you.

Me too.

("TRUE LOVE" MINA)

Make parmigiana for 30
and meatballs for 20.

No, I make parmigiana for 40,
meatballs for 40.

And I even make 16 lasagnas!

- 16 pans?
- Yes. 16 pans. Yes.

- Exaggerated!
- That's my virtue.

Always do as you please.

Ennio, bring the pastries
to Mrs. Sofia Volpi.

- Isn't Mrs. Volpi upstairs?
- And who is?

Alida Borghese.

- Is Gabriella up?
- Yes.

ALIDA: "My garden..."

Alida, my dearest!

- Dear Alberta, I'm gorgeous, aren't I?
- Yes.

But Gabriella,
you haven't looked at your diary.

Today we could not receive
in the rehearsal room.

Eh, the bricklayers are coming, aren't they?

They have to make dust,
they have to dismantle...

- Dust?
- Yes.

No, huh? No, no please, I...

..I really can't stand dust.
Only stage dust!

(LAUGHTER)

Hate!

- How cute, oh my!
- Shall we try on the hats?

- But why, just five more minutes?
- That way we'll finish.

- But I'm not finished. You say?
- Come on.

Come on, the director and
costume designer haven't arrived yet.

Let's have a drink in my office.

(ALIDA RIDE)

..it's just that the dust of the theater,
no!

It's the dust...
the stardust.

Ahh!

She was the worker
who has to do the work up there?

Worker? Since when is it?
you've been to a movie theater?

Since she doesn't come in
a theatre, dear.

- I hate the theater.
- Too bad,

theatre teaches you to act better.

So why all the
stage actresses I know

Would they like to make movies?
- Because it's easier.

In cinema, all feeling is conveyed
through a close-up look.

You just have to know how to blink.

Not in the theater. In the theater it passes
through the body, through the hands,

for the voice that runs, runs, runs.

So why don't they let her make
films?

It's me who doesn't want to do it, dear.

I need
the warmth of my audience.

But the public doesn't need her.

Yet some film has been made
and nobody has seen it?

Because maybe they were
too busy films, but time,

time will tell.

Time, eh, time.
Maybe that's his problem.

In the meantime, you think you can get there,
in my time.

Sir, please, okay?
Be calm.

- Now, Alida, let's find
a place... - No!

I'm not moving from here.

My costumes are up there.

You know, I have to play Ljuba
in "The Cherry Orchard".

You know Chekhov, right?

Be careful with the cherries, okay?
They're sugary!

I can't hear it, you know I can't hear it?
Not even close.

You know what it reminds me of?
It reminds me of that movie...

..a while ago... hm,
"Sunset Boulevard"?

(LAUGH)

How nice. Well, I think
my test ends here.

- Alida...
- You won't see me any time soon.

Neither me, nor these laces.

Theatre will never die!

Where the fuck do we get out here?

ALBERTA: Alida, sorry.

Run after her,
chase her, help her.

Sofia?

You need to take a break.

I'm serious, Gabrie'!

You need to take a break.

You are no longer able.

I'm tired of fixing
your mistakes. Do you understand?

Did you fall?

Have you become my boss?

But we founded
this place together.

Yes, but I founded it
with my sister and you're no longer there.

You are absent.

And we both know why.

Don't you dare.

No, I'm taking a chance!

Because Amelia was also my niece,
she was also my granddaughter.

- No...
- No, I'm not shutting up. I'm not shutting up!

You can't...

And instead I can.

Because I've always been there for you,
always!

From the first day we heard
that Amelia had been hit.

I was with you
on those fucking crosswalks,

for days and days!

To look for witnesses.

But do you think I didn't suffer?

Eh?

But do you think this
hasn't changed me?

Eh?

But I kept my back straight!
Because we have to move forward.

We must move on, Gabrie!

You?

Are you suffering?

Yes.

But what are you talking about?

That you don't even know.

You don't know
what it's like to come home at night

and see Lucio's eyes.

You don't know what it's like to go back
to his room

and look for the smell,

the smell of my daughter.

What are you talking about?

Gabrie', shh!

Gabriel, listen to me.

Everyone has their dramas,
but five years have passed.

Five!

And time heals.

Only you want to be the way you are.

You want to stay there!

Attached to this thing.

You have to stop!
We have to start living again!

Do you understand me, Gabrie?

I'm tired!

Tired of running this
tailoring business alone. I'm alone here!

We have a lot of people
to pay! It's all on my shoulders.

Enough! Do you understand?

Amelia isn't gone.
Amelia is dead.

Dead! She's dead!

She's dead! She's dead! Do you understand?

She's dead.

Shh! Shh!

(THE DOOR CLOSES)

Shh!

(COUGHING)

But do the other costumes at least fit you
or not even those?

The other costumes are fine,

the problem is
with this costume.

And we have to fix it!

Listen, Bianca,

I know I can be a little tiring sometimes
, okay?

But this film is different
from all the others I've made.

I'm asking you to help me.

(SIGH)

Alberta?

- What's up?
- (whispering) Gabriella...

LORENZO: How do you feel about it?

("DIAMANTI THEME - INTIMATE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

Excuse me.

Now go home,
we're tired.

And tomorrow we have lunch.

And we deserve to celebrate.

Sorry, okay? But I made
a fuss, sorry.

This is the first time this has happened to me.

First time in my life.

I was wrong, I didn't...
I didn't follow...

..my instinct is that...

..it's just that I don't know, it...
it confuses me.

Here you are.

This is the sketch....

..this is the initial sketch.
I'm giving it to you.

Always follow your instincts.

Good evening.

And thanks for...

..thank you for everything
you've done for me. Thank you.

It was a great honor for us.

It's wonderful.

See you tomorrow.

Nice, huh?

(SUSPENSE MUSIC)

Marco, remember the temperature
of the wine, okay? It's important.

Mrs. Silvana, don't worry,
I've already taken care of it.

Good. Good, let me rest easy.

SILVANA: We have
lots of meatballs, don't we?

MARCO: They'll be a 150
with these ones I'm finishing.

Let's do another 20, 30.

MARCO: Yes, I'd say.
SILVANA: Come on.

Move it, move it over there and put
another chair on the other side.

Hey, Maria, please, bring
the lasagna, be careful, it's hot.

Giovanna, bring the other pan
too, put it on the table.

Put it on the table
and then we'll get the others, eh?

I'll bring the appetizer.

ALBERTA: Please, give
Silvana a round of applause,

who cooked for us.

Thank you!

Thank you! Thank you.

I woke up at five, huh?

For cooking. But I hope
you all enjoy it.

Delightful.

(OVERLAPING VOICES)

Giuseppina, the boys are demanding,
aren't they?

Well, no.

- Not too much.
Just the peas .

Shall we make a toast?
ALIDA: Shall we make a toast?

To us. To all of us! To all of us!
- Cheers.

- Eat.
- Salute!

GABRIELLA: To the diamonds!
- To the diamonds! - Cheers!

(INDISTINT VOICES)

("DIAMANTI THEME - NOTTURNO"
GIULIANO TAVIANI AND CARMELO TRAVIA)

Here, put it here girls.

Here.
- Here.

NICOLETTA: Make sure the car
is in red, please.

- Salute.
- Eat eat! Eat eat!

Eat!

(THEY TOAST TOGETHER)

("DIAMANTI THEME - NOTTURNO"
GIULIANO TAVIANI AND CARMELO TRAVIA)

(WHISPERING)

(INDISTINT VOICES)

It sure
was a big risk putting us close together, huh?

- I asked for it.
- I asked for it.

(LAUGHTER)

Yes, I went
to see your movie yesterday.

I came to the theater
last night, too.

I don't believe it.

- It was amazing.
- Well, I was moved.

Please, we had to...

..maybe we can even make
a toast now.

Come on.

- To what?
- So, to us...

- Yes.
- At the cinema and at the theatre.

Always.

("DIAMANTI THEME - NOTTURNO"
GIULIANO TAVIANI AND CARMELO TRAVIA)

He's a very good boy.

Cloak. What was it?

(OVERLAPING VOICES)

Yes, here it is. Yes, yes, yes, yes.

Don't wait for me,
I still have some work to do here.

("DIAMANTI THEME - NOTTURNO"
GIULIANO TAVIANI AND CARMELO TRAVIA)

(INDISTINT VOICES)

Excuse me. I have to ask you a favor.

Yes.

(WHISPERING)

It's beautiful! It's amazing,
it's beautiful.

Mhm, what budget do we have for the
costume, it's important anyway,

as compared to...

It's important.

(INDISTINT VOICES)

- Bianca?
- Mhm?

- Can you come over there with me for a moment?
- Yes, of course.

Excuse me.

NICOLETTA: Can you tell us what it's like
in person?

SOFIA: But then, it's low.

- (together) No!
- Anyway, it's low.

But is it beautiful?

FAUSTA: What a disappointment.

SOFIA: I don't know, he's a guy.

FAUSTA: Oh well, it's ugly.

No, no, oh my God, I
can't believe it! Oh my God!

But you are completely crazy,
you are!

Even in descending order.
But did you know that?

No, no. It's all their fault...

(LAUGHTER)
We followed the sketch.

No! I love you, I love you.
This too. There!

That's how I wanted it.

But, you know this is going around
tomorrow morning, right?

It will be ready.

We'll work all night!

No, no, girls. I can't
ask you this, no...

- In fact, he's not asking us.
- We're the ones who want to do it.

- Are you staying here tonight too?
Eh, Sofia? GABRIELLA: Give it to me, give it to me.

Get to work, come on!

BIANCA: Sofia is even staying here
.

Pass me the pin.

Here. Let's start from here.

("DIAMANTI THEME - NOTTURNO"
GIULIANO TAVIANI AND CARMELO TRAVIA)

Coffee, girls, coffee for everyone!
Who wants some?

And tonight I also have a
luxury assistant, huh?

- You're not used to it, are you?
- Come and get some coffee!

- Thank you. BIANCA: Could you bring me
some coffee, please?

Yes, I'll bring it, here I am.

But how good is it?

- Thank you
.

Thank you.

(INDISTINT VOICES)

How is it going?

We'll get back to work soon,
okay? It's hot tonight.

BIANCA: Go!

- It's tight.
- Well, it's tight, yes.

- Will the director like it?
- But who cares about the director.

- We like it, and that's enough, right?
- We like it, and that's enough.

("DIAMONDS THEME"
GIULIANO TAVIANI AND CARMELO TRAVIA)

I missed you...

Turn around, Sofia! Turn around!

You've created a miracle.
You girls are extraordinary.

Great! Try walking?

Nice walk.

Look. Look.

Feel light, light.

No, no, no, I don't want to feel the
costume, the heaviness of the costume.

Go! Look, look what you've
done, look how it moves.

Brave! Brave!

(MELANCHOLY MUSIC)

(GIUSEPPINA: I don't want to be a
seamstress, I want to be a costume designer.)

(ALBERTA: Here we exist "we")

(and we need someone who can learn
to sew properly. Clear?)

(WHISTLING OF THE WIND)

(ALBERTA: They must have known)

(that we are making the
most important films of the year.)

(NINA: We're like ants.
We seem to count for nothing,)

(but all together, all together
we can do it, you understand?)

(GABRIELLA: But I didn't stay
for him.)

(ALBERTA: So why did you
stay?)

(GABRIELLA: For you. For you. For you.)

(ALBERTA: We're emptying everything here)

(and we dedicate this space
to Bianca Vega's costumes.)

(GABRIELLA: Even the Leopard...)

(ALBERTA: It dismounts, covers itself
and takes it down.)

(NINA: It disassembles, it covers itself and...)

(GABRIELLA: We are nothing,
but we are everything.)

(SILVANA: It's not necessary to see each other,)

(when we love each other.)

("GAME OF GLANCE"
GIULIANO TAVIANI AND CARMELO TRAVIA)

You taught me that, didn't you?

That only
what remains inside us matters.

(SILVANA: You like it, huh?
My little fish?)

(And now bread and jam.)

(SILVANA: That will bring you
lots of luck, lots of it.)

(It's not like he brought me
a lot of it.)

ELENA: "The heart
continually stirs what happened

with what we have only
imagined:

the living with the dead,

the visible with the invisible,
love with pain.

What we are
goes beyond memory and life.

It's what remains
when everything else disappears.

This is eternity.

This is cinema."