Original subtitles

Hugues!

- Are the horses ready? - Whenever you wish.

- Get them now! - Your guests are still in bed, Milady.

I slept badly last night!

Wake them, l need fresh air!

l want to ride, to forget this dream I had!

Are you sure it was a dream?

Sometimes you forget what is true

and l am the only one who can remind you that you're Iying.

You've said enough. Always around me. Get out of here!

At 22 years of age, Frederique,

Countess of Metzengerstein,

became heir to a vast family fortune.

Seldom had a noble of her country

possessed an estate of such magnificence.

She ruled capriciously:

day was night, or night day, according to her fancies.

That morning, haunted by the nightmare of the dawn,

she decided to take her guests to the castle

where she had spent her childhood.

Marquis! Give me something to drink!

Blood!

Swine!

- Milady! - What!

We haven't the right to amuse ourselves any more?

I love this place.

It's beautifuI!

You have ten castles better than that.

Better than the whole of my childhood? Fool!

Still around you, that milksop?

Shall l throw him this way?

And supposing he flies... It would be a pity!

Shoot straight and true! The cord must break!

Shameful debaucheries, flagrant treacheries,

unheard of cruelties soon taught her vassals

that nothing would guarantee them security

against the remorseless fangs of this petty Caligula.

Come!

Come on!

Give me the necklace, boy!

- ls this our room? - l have a surprise for you.

For me?

- What? - Wait.

There it is. Like it?

You shouldn't be so silly! l knew him long before you did!

Oh, come on.

The other way!

All encouraged her in her whims, not only her depraved friends,

but many another who feared her displeasure.

With one exception,

a distant, less wealthy branch of her house, the Berlifitzings,

hereditary enemies of the Metzengersteins.

He openly condemned her conduct.

The two families had been at variance for centuries,

their deadly enmity reaching back so far

that none could remember its origins.

At this time, the young Baron Wilhelm of Berlifitzing

lived alone in his family's castle.

Although he was her close neighbor,

he had never spoken to his redoubtable cousin,

Frederique of Metzengerstein.

For her part, Frederique, if by chance she caught sight

of her cousin from afar,

would mock him and openly show her scorn.

But Wilhelm seemed not to notice her.

With his quick mind, he could have scored many a success in society,

but nothing interested this young recluse

who passed his days in the stables or the hunting field.

Help me!

Quickly!

When they find the wretch that set this trap,

he'll get two hours whipping and vinegar on his wounds.

I'll pour it myself.

Well, l'm waiting. Don't stand there gawking!

When a vixen's trapped, she says nothing and plays dead.

You open the trap, and she runs away, even on two feet.

Does it hurt?

Chance alone brought Frederique and Wilhelm together.

The young countess might have wished to hate this face,

till then unknown to her, but she was never to forget it.

Some change had taken place within her.

Haunted by the memory of his mocking melancholic eyes,

Frederique longed to see Wilhelm again.

Looking for a vixen, Wilhelm Berlifitzing?

Sultan!

He'll be back.

lt's coId.

ln the Metzengerstein family, a man would offer his cloak to a Iady.

Apparently not in yours!

You never speak, Cousin.

l still have a mark on my ankle, like teeth.

Prince!

You speak onIy to animaIs?

Come and dine this evening.

You'll feel at home. Most of my guests are buzzards

or bears or boars.

lt shouId amuse you.

I have no wish to join your menagerie.

l'm not accustomed to being refused.

l want you to beware of bad habits, Cousin.

Who do you think you are?

A happy man.

Frederique!

Wilhelm!

Rejected, scoffed at, when for once she had been sincere,

Frederique's fury overwhelmed the sentiments

that had drawn her to her cousin.

Hugues!

Now she could think only of her vengeance.

Hugues!

- Yes, Milady? - How did he come here?

He came out of the fire, covered with flames and galloped straight here.

- Whose is he? - No one knows.

Not even the Baron Wilhelm's servants.

No one's ever seen him. He's mad. No one can approach him!

l shaII.

Milady, the Baron Wilhelm is dead!

What?

He tried to save the horse he loved and died.

Everything burnt. Everything.

Hugues!

Yes?

You will repair this... as it was before.

But that's impossibIe, Madam!

You will, because I wish it!

Get the best weaver there is.

When she ordered the burning of the stables,

Frederique had never imagined that Wilhelm might perish in the fire.

His death satisfied neither her passion nor her wrath.

Sombre forebodings possessed her.

Terror fell upon her senses.

You're mind is wandering, but where?

Nowhere. Go on.

Go on.

From this day, a marked change took place

in the outward demeanor of the dissolute young countess.

She was never to be seen beyond her own estate,

and was utterly without companions,

unless that unnatural and impetuous horse, which she continually bestrode,

had some mysterious claim to the title of friend.

To him, Frederique was faithful.

ln the glare of the noon,

in the dead of the night,

in sickness or in health,

in calm or in tempest,

Countess Frederique seemed riveted to the saddle of that colossal horse,

whose retractable audacity so well matched her own spirit.

TeII me, old man,

will it be finished soon?

That depends. l don't know.

Sometimes, the threads sing to me and tell me what to do.

And other times, they're silent. They refuse.

How Iong?

Weeks... months perhaps.

This spell, which she accepted with all her heart,

continued to work upon her, even in her moments of solitude.

She spent hours studying the tapestry

as it was slowly mended.

ln fascination, she watched the agile hands of the old man

bring back to life the great black charger.

His fingers, so deftly knotting the threads,

seemed to be weaving with a fatal logic, her own doom.

What's wrong? Why don't you work?

My hands have always obeyed me. Why don't you help me?

You found it?

- You gave them the color of blood. - No, fire!

Frederique had accepted and longed for this end.

She rushed toward the flames.

Like Wilhelm, with Wilhelm,

she will find death by fire.

- l want to confess! - After Mass. They're waiting for me.

- No, now! - No, please...

- When? - After Mass.

Now, l said!

WeII?

I don't know... Tell me what to do.

Help me. l'm not a CathoIic.

ln that case, my son, see me after Mass.

- l want to confess! - Calm down.

l don't want any scandal. This is the house of God.

I don't care about God!

l want to understand. I want to taIk.

l just killed a man.

Someone from this town?

I don't know... l don't think so.

A stranger?

Yes. WeII... no. l know him.

I've aIways known him.

- You've been drinking! - Listen to me! lt's your duty.

Why did you kill him?

I'll tell you everything...

...from the beginning.

Franz von Löwenstein.

William Wilson.

lt's from ltaly. lt must be from your mother.

Attention!

Break ranks.

Silence! Stop that!

It was Wilson!

WiIson!

Down.

Up.

Down.

Up.

Down.

- Who's that? - The new boy.

- What's your name? - Wilson. William Wilson.

- What's your name? - William Wilson.

- His name was the same as yours? - Exactly the same.

- A coincidence. - Absurd!

Power can't be shared.

Suddenly, l had a rival.

A rival, or rather a companion who surpassed me in everything,

but who watched me from a benevolent distance.

He infuriated me,

but l was also extremely curious about him.

WiIson!

Good God!

Wilson! You again, as usual!

We were both expeIIed.

lt took me a long time to forget.

My son, this childhood incident obviously continues to haunt you.

- Before you leave here... - Let me finish!

Several years later l entered medical school... out of curiosity.

Gentlemen, let me remind you that a doctor is also a sorcerer.

We seek life deep below the surface.

And now l have the pleasure of realising before you

in corpore vili,

the age-old dream of priests,

poets and phiIosophers.

To be precise, l am going to open up a human heart.

If we were dealing with a live body,

we'd proceed in the following way.

Moving laterally from the sternum, between the sixth and seventh ribs,

we'd find the tip of the heart.

However, in this case, we shall section

all the sub-auxiliary ribs on the left and the right, as far as the sternum.

Then we will separate the diaphragm

and foId back the rib cage,

revealing the contents of the thoracic cavity.

The heart, gentlemen, is a hollow muscle,

composed mainly of a firm ventricular mass

and a flatulent auricular mass.

This pump,

which gives forth as much as it receives,

is regarded as a symbol of courage and generosity.

Does Mr Wilson have something to say?

No? Then we may continue.

Thank you.

Even in dealing with a corpse,

always make sure

that your instruments are cIean.

It is said, gentlemen,

that the heart is the seat of the emotions, the passions.

Indeed. But experience shows that

it is the seat of our cares,

our sorrows.

lts only generosity lies in the suffering it gives.

So, when we have cut the ribs, separated the diaphragm

and folded back what is commonly called the rib cage,

we can free our patient of the source of her ills.

The doctor is a benefactor.

We wiII thus bring her relief.

Along with the heart...

No!

...we'll remove despair and the pain of Iove.

Gentlemen, we shall restore her to original purity,

the peace of paradise Iost.

Even if it's a living person,

make sure your instruments are perfectly clean.

Here, cover yourself!

Cover yourself.

Did the girl die?

Forget about the girl! It's him.

You see?

I had to leave the university.

l joined the Austrian Army to go to war.

But no one makes war any more.

The garrison here is infamous.

Because of me!

l know all about the debauchery.

Those poor women.

All was well...

...untiI Iast night.

Stop. lt's Wilson!

So you recognise me?

I'm flattered.

But we were many that night.

lt was dark, and you were very busy.

Good evening, Mr Wilson.

- ls that Wilson? - Be careful.

This Wilson is certainly not the lover you dream of.

He's made his reputation from men...

...not from us.

He likes parades, the theatre, stage props.

He needs an audience.

But in a tête-à-tête, he puts on a poor show.

- Have you met him before? - No... and l have no wish to.

l don't Iike wasting my time.

- Are you referring to me? - You... you.

You must think you're the only man on Earth, Wilson.

Are you sneering at me?

Are you threatening me?

l'm challenging you.

Ace.

She loved cards. But l'd always been good with cards.

l decided to teach her a lesson.

Figure.

200.

Double.

I'll see you.

Ace, jack.

WiIson has Iost.

Are you sure?

Ace, king.

l thought you were bIuffing.

The bluffer with smoke and mirrors...

...is you, Wilson.

The card player resembles the Iover.

He gets tired. No staying power, my dear.

Figure.

Ace.

Will you accept my watch? lt has three jewels.

To see you, my dear.

Ace, king.

Draw.

The game continues.

Figure.

Ace.

Pour me a drink while l collect.

From then on, she lost inexorably until morning.

Ace.

All of it.

I'll see you.

Top card?

Top card.

Count it up, please.

Thank you.

Add 1,000 to that.

4,000 thaIers, pIus 1,000...

- l can't pay you, Wilson. - ln that case, it's simple.

l propose doubIe or nothing.

lt's your last chance. If you win, you'll owe me nothing.

And if l lose?

You'II stiII owe me nothing.

But you'll be mine.

How? Under what conditions?

Whatever conditions l choose.

Decide quickly. lt's 6:00am.

l accept.

Ace.

King.

Cards on the table now, that's the rule.

Jack.

Your Iuck is returning.

No. l was wrong!

You've lost, Giuseppina!

Where? When?

Here. Now.

We shaII Ieave you both.

On the contrary, gentlemen. Please stay.

Your turn.

WeII?

You want something eIse.

He wants something else, Giuseppina.

May he?

Madam, you owe this man nothing.

He cheated.

Here is the proof.

All the cheat needs to do is distract the other's attention.

Simply empty a glass...

...Iight a cigar...

...or take out his watch.

Who are you, sir?

Wilson knows who l am.

Take your jacket and your watch and get out of here.

WiIson, l demand your resignation.

You will leave town today.

We all like a bit of fun, but a cheat is a disgrace to our uniform.

You no longer exist for us.

WiIson!

This is the end of your trailing me around.

This is the end of your hounding me.

This is the end of your torturing me. lt's over!

Over!

WiIson!

WiIson...

You shouIdn't have killed me.

Without me, you no longer exist.

It's the end of the world.

The end of hope.

If l die, you die too.

My son, you've reIieved your souI

by telling me of your nightmares.

Promise the Lord never to drink again.

Drunkenness makes a beast of a man.

One knows not what one says or does.

You don't beIieve me?

Yes, l do, but be reasonabIe.

Get some sleep. Tomorrow you'll forget it.

You'll be ashamed and you'll ask God's forgiveness.

Give up your debauchery.

Seek the chaste love of a good wife.

You'll suffer hallucinations no more,

for that's what they are.

They are born of pride

and only turn you in upon yourself.

You fooI! You don't beIieve me.

To heII with you!

The plane kept hovering above the airport,

seemingly unable to decide to land.

lt was my first trip to Rome,

and l didn't speak ltalian.

My job as an actor often had me travelling,

but this time was different. l was worried, on edge.

For a moment, l even had the absurd hope

that the plane wouldn't land but would take me... home.

lt was not to be.

The airport's invisible nets had caught the plane

and were dragging it helplessly towards the ground.

Control tower, this is flight 307,

requesting permission to disembark passengers.

Attention, please.

TWA announces the departure of flight 203 to New York.

TWA announces the departure of flight 203

for Paris, London, Shannon, New York. Gate no 5.

Mr Edwards...

There he is! Toby Dammit!

A smile, please, Toby.

No! Stop it!

Please!

Stop it!

Disgraceful. What an idiot! l'll kick him back all the way to England!

Are you hurt?

No, I am aII right.

They send them aII here...

All right. l'm sorry.

Those lights, those blinding white lights...

l can't stand them. l'm not used to all that light.

You see, l onIy live during the night.

Those damn lights!

Why did you come here?

Attention, please.

TWA announces the departure of flight 203

for Paris, London, Shannon, New York.

l am Father Spagna. Welcome to Rome.

- Then you would be... - l represent the film production.

These are the two directors, the Manetti brothers.

Maurizio and Ernestino.

This is my secretary...

Excuse me, I don't speak EngIish.

This Iady wiII interpret.

l'm glad you had a good flight.

Welcome to Rome.

Do l need to tell him anything else?

FoIIow me, please.

There's always so much walking to do in airports.

It's the first Catholic Western.

Christ's return to the desolate prairie.

lt responds to a secret wish in every man's heart.

A new manifestation of Christ.

Our Saviour appearing in a tangible presence.

Christ is alive in aII of us, of course.

Yet, this presentation of Him, so clear, so obvious...

...may seem a desperate gambIe.

Blasphemy, almost, l agree.

But an artist like yourseIf,

whether a believer or not,

will understand that structuralist cinema

can recapture sublime poetry through primal images,

eIoquent in their very poverty -

syntagmatic, as my friend Roland Barthes would say.

Something between Dreyer and Pasolini

with just a hint of John Ford, of course.

As long as it reflects the torments of our culture

and the decadence of capitalism,

ltalian Westerns are a committed art form!

In Lukacs' terms,

we want to create characters rooted in history, sociologically speaking.

For example, our two outlaws represent anarchy.

The busty girl is the illusory refuge from rationality.

The prairie is beyond history

and buffalo meat, man's struggle for subsistence.

It will be in colour.

Harsh colours and crude costumes,

to harmonise the prairie with the biblical landscape.

Piero della Francesca and Fred Zinnemann, so to speak!

lt's an interesting idea. You'll fit in nicely.

Just let your heart speak.

The production company promised me a Ferrari - latest model.

Where is it?

Yes, the Ferrari...

You'II get the Ferrari after the show.

After the ceremony, you'll have it tonight.

I can't hear you.

Are you going to a funeraI?

Keep moving!

Stop the car! l have to speak to him.

1,000 lira. Your hand. l see wealth and joy.

Here, read mine.

Curiosity is only human but you can't change destiny.

I won't do it.

Once again, l had seen her.

She was waiting for me at the airport.

With her white, silent ball.

l kept telling her to go away, but she always came back.

She seemed to know that sooner or later, l would join in her game.

But when?

You promised to leave me alone.

I'm all right.

Our guest star tonight is an English actor

who needs no introduction.

You will all remember his last film.

He's now here in Rome to make a film -

a Western version of the Redemption!

Ladies and gentlemen, please welcome Toby Dammit.

What's going on? Are you serious?

- You've never been to ltaly before? - No.

What brought you here?

The Ferrari they're giving me.

Do you use LSD or other drugs?

Always.

- Why? - When l want to return to normal.

What do you like most in Iife?

I don't know.

- What do you despise most? - My public.

Some say you've lost your public. ls that true?

How did critics like your Hamlet?

Evidently the critics didn't understand it.

Was your childhood unhappy?

No. My mother was very gay when she'd beat me.

Maybe she was drunk.

I've heard you can't stand criticism

and that you have a violent temper.

Say that again and l'll punch you on the nose.

WiII you marry me?

Are you neurotic?

lt's my onIy quality.

What is amiss in your life, Mr Dammit?

Nothing. I'm desperateIy happy.

ls it true you've done unsavory jobs?

Yes... yes...

...but never a TV interviewer.

What a shame.

- Do you know ltalian cinema? - l pretend not to.

Why do you think you're popular with men and women?

I'm masculine enough to please men

and feminine enough to please women.

- Why hadn't you visited ltaly sooner? - l've been to Africa once.

- Do you think you're witty? - No. Do you?

Do you beIieve in God?

No.

What about the DeviI?

Yes. In the Devil, yes!

How interesting! Have you seen him?

Yes, l've seen him.

Does he look like a goat, a bat or a black cat?

Oh, no.

I'm English... not Catholic.

To me the Devil is cheerful, agile.

He Iooks like a little girl.

He's doing rather well. Very strong.

With a face like mine, l can do anything l wish.

Did you see that?

He never stops.

Good evening, ladies and gentlemen.

Welcome to the ltalian Oscars presentation ceremony.

First, l wish to thank the celebrities from show business,

politics and the arts who are here tonight.

l also wish to thank the Minister of Culture for this teIegram.

Here's to my producer.

Allow me to shake your hand. Bravo. And God bless ltaly!

Mr Dammit, my name is Spinelli but l'm known as D'Artagnan.

l do voice imitations.

l'm a poet, a philosopher, a writer...

Can't l even say hello to a friend?

Excuse me, Mr Dammit.

This is my daughter Elisabeth. She sings, dances, acts.

- Smile, Elisabeth. - How are you?

Is she a virgin?

She's a child, Mr Dammit, believe me.

Lombardi. Production.

They're about to present the Golden Wolves.

We've got a little time after the fashion show.

Usually everyone does a little something before the awards,

a little poetry maybe.

Not the actresses of course.

A bit of Shakespeare, perhaps, but keep it brief.

Make it snappy.

The boss is right.

Shakespeare's a winner as long as it's brief.

l'm now proud to present the highlight of the collection:

"Queen of Sheba".

The big premiere!

"The Cathedral of Fashion".

"Roman Fashion" and "Humiliation".

"Lady Hamilton".

You're on, Mr Dammit.

Follow me, you'll wait together with the other presenters.

Give us a hand, pIease.

l'm your stand-in. Could l have a photo with you?

Take a picture of us.

Yes, the three of us!

l know London very well. l've been there twice.

l'm delighted to be your stand-in. l did Tomas Milian too.

l'm a stuntman too.

Thank you!

l'II take 20 prints.

When did you go to London?

Oh, l wish l could live there. The underground is great.

And the English are the politest people in the world!

Plus, their cinema is so much better than ours.

You'll be more comfortable over here...

What do you need?

No, you've had enough.

Later on, if all goes well.

Mr Toby, Iook here.

You shouldn't drink so much.

l am the painter Stagni.

l won the prize for best screenpIay

for "Drag Your Old Bones Home". Have you seen it?

l'm delighted to meet you. l'm an admirer of yours.

Poor thing, he's almost bIind.

HeIIo, do you remember me?

My magazine is doing a special edition.

lt will be about the ancient pagan gods.

You've been chosen to represent the young Greek god, Mars.

Eight full page photos.

Almost completely naked.

Can I look forward to it?

Bravo!

And now for the moment of truth.

But first, let me thank our distinguished jury

who have selected the winners of the highest award.

A GoIden WoIf to Marilù Traversi,

whose generous nature was revealed in her very first film.

A GoIden WoIf to the waltzing twins,

Lion and Tiger.

Come up to the microphone.

Tell the audience how you feel about this unforgettable moment in your life.

I'm overcome with emotion.

AII l can say is... thank you.

- And you? - l'm overcome with emotion.

AII l can say is... thank you.

I'm overcome with emotion.

AII l can say is... thank you.

Bravo! Bravo!

Now, let's hear it for the woman who has won everyone's heart.

Your favorite actress and mine.

A Golden Wolf to Annie Ravel.

Hello...

And now, pIease forgive me

if my voice trembles a bit more than usual,

but how can one not be thrilled

to introduce our guest of honour...

Yes, you've guessed it.

An artist who for so many years has devoted his life

to bringing us Iaughter and joy,

who has made us laugh till we cried,

with the enthusiasm of a truly great artist.

How do you stay so young?

Would you like to say a few words or would you rather mime for us?

Don't ask too much of me. Believe it or not, l've got a cat's eye!

Don't worry. l will look after you.

l will take care of you.

l understand you. l've known you all your life.

You won't be alone any more

because l'II be with you aIways.

Whenever you put out your hand, you will find my hand.

You are no longer an outcast, no longer a fugitive.

No more loneliness. No more selfishness.

We will share a life

of serenity and devotion.

The Iife we've both been Ionging for.

You lacked faith, but you kept your trust and found me.

l am the one you were waiting for,

and I am here with you.

Forever.

And now we have another surprise in store for you tonight.

One of cinema's great gods.

Ladies and gentlemen, Toby Dammit!

Toby!

Bravo!

Bravo, bravo!

Come on up, Mr Dammit.

Make way, please!

Bravo!

Let's give a hand to welcome, Toby Dammit,

the great English actor who has contributed so much to British film

and who has come to honour our ltalian cinema.

lt gives me great pIeasure to present

this token of our esteem to Toby Dammit,

whose Shakespearean performances are as immortal

as the great bard himself, one of the world's greatest poets,

second onIy to our great Dante.

Congratulations.

Please.

"All our yesterdays have Iighted fooIs.

"The way to dusty death.

"Out, out, brief candle!

"Life's but a walking shadow, a poor player,

"That struts and frets his hour upon the stage

"And then is heard no more.

"lt is a tale Told by an idiot, full of sound and fury..."

But it's not true that I'm a great actor.

No, it's not true.

I could have been...

But l haven't worked for over a year.

My Iast director...

My last director complained because he said l was drunk!

I don't know why am l telling you this.

Why did you make me come here?

What do you want from me?

And that woman...

She asked me to marry her.

Isn't that funny?

l was sitting there crying. l often go on a...

...on a crying binge when l'm drunk. l don't know...

It's the wine. lt makes me sad.

It's too luminous, you know?

Now, whisky...

Whisky, it's too... lt's so...

It's so cloudy.

lt's great.

A beautiful woman...

...she took my hand. She caressed me.

She said, "l'm here for you.

"l'm the woman you've been always waiting for."

Lady, I haven't been waiting for you!

l haven't been waiting for anybody. Are you listening to me?

What rubbish!

Here are the keys. lt's ready to go.

Come back, Mr Dammit!

Where is he going? Toby!

What's got into him? FooI!

Hey! How do l get out of here?

How do l get to... Roma?

He's crazy. Where does he think he's going?

The bridge is down. You have to make a detour.

Come back! You have to turn off at the mill.

l'm dying to get across!