Original subtitles

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Gemma! Where're you going at this hour?

Wait a second. I'II get dressed and come, too,

I'II accompany you. Gemma! Gemma! Where're you going?

HeIIo, madame Vagnuzzi! CongratuIations to the professor!

- HeIIo, madame Vagnuzzi! - HeIIo.

- How is the professor? - Fine, thank you.

- What can I do to heIp you? - WeII... Iisten...

Listen, mister CarIi, I've got here a goIden braceIet I'd Iike to...

.. get rid off, because I don't Iike it.

You buy goId, don't you?

Yes, madame.

- How much coud I get on it? - The workmanship's modern.

We'd need a connoisseur. I can weight it, madame.

1 20 and 70.

I heard you were Ieaving, congratuIations.

I imagine the professor's happy. Of course, for us is...

.. a Ioss, but, on the other hand, that's what aIways happens.

Rome takes the best men.

What is it?

I'm sorry, I'm very...

.. sorry, but it's a fake! GiIded copper. It isn't worth anything.

Nothing?

- HeIIo, Mangerotti! - HeIIo, professor.

Thank you. Ah! Mangerotti, I was forgetting.

This is the key to my drawer.

This is the Iist with the books I've Ient to my coIIeagues,

and this is my Rome address.

Try and get them back, if possibIe.

- This is for you. - Thanks, professor! - Don't mention it!

- Oh! Excuse me! - Yes.

Professor Nicodemi says that, if you Ieave today, not to...

.. forget about him. Because he has to speak to you.

O, no, I'm not Ieaving today, I'm Ieaving tomorrow.

TeII him we've stiII got time.

- Understood? - CongratuIations! - Thank you!

- Thank you, good day. - Good day.

- Good day, professor. - Good day.

- Good day, professor. - Good day.

- Good day, professor. - Good day.

Vagnuzzi! Vagnuzzi! I'm very pIeased..

- Good day. - Good day.

You, appointed professor..

.. of Physics at the Rome University. That's fine!

For once, one who deserves it gets to go to Rome!

Thank you, dear Fiso. Thank you.

My dear EIiseo!

CongratuIations, professor! AII the best for your appointment.

- Here. - Oh, no, no. Don't bother!

We'II come, anyway, this evening, if you don't mind,

- to pIay a IittIe serenade for you. - Oh, no, no...

Oh no, no! It's your turn. Those who use us know it: marriages,

promotions, nominations. You'II be the first in tonight's round.

- WeII, aIright... - The first one. - Goodbye.

Good day!

Corriere della Sera...

Corriere della Sera, pIease.

Here it is.

- Good day. - Good day. Corriere della Sera...

- Good day, professor! - Good day. - CongratuIations!

Listen, Nannina!

- Oh! Good day, professor. - Good day!

Nannina! BoiI a IittIe water. By the way,

- when are we Ieaving? - The day after tomorrow.

- Ah! Good. - Where's Gemma?

In her room. She Iocked herseIf there. She must be tired, poor souI.

Ah, she doesn't feeI weII, I don't understand why.

She wanted to go out aIone this morning, and I toId her.

I didn't know what to do.

Leave me aIone! Go away!

But it's me, Gemma! Open up!

What's the matter, Gemma? So, we're Ieaving the day after tomorrow...!

Are you happy?

I've aIready bought tickets, even for EIvira.

Of course, we'II do her the favour to go on...

.. having her as our guest, even in Rome, but, she shouId, at Ieast,

take care of the tickets. And then, Iook, you teII her...

- Franco... you see... I'd Iike... - What, my dear?

O, nothing... StiII, I don't know, I don't remember what...

- .. I wanted to teII you. - AIright, you'II remember Iater.

Oh! The trunks? How do we stand with the trunks?

- I've onIy just begun. - Very weII. Look, you...

.. take care of everything but the books. I'II take care of those.

And get some heIp, there's your mother, and EIvira, aren't they? By the way,

you shouId caII your mother. She doesn't know we're Ieaving the day after tomorrow.

It doesn't matter, she's coming to dinner, tonight.

Good night to every one! Ah! One moment... Nannina!...

WeII, you can say you're very Iucky to have me with you,

in Rome. I bet you don't know anyone, do you?

WeII, exactIy as I thought, but don't be afraid, I'II be there.

I know everybody, and everybody knows me. I'II open for you...

.. doors you don't even imagine! CIosed circIes!

In'35... Oh, no! How stupid of me! In'36 I was in Norway...

.. and from Norway to New York. Uhm... I have such..

.. nice friends in New York, the Matarassos, they have...

.. such a Iarge fortune, you don't happen to know them, do you?

I managed to get to Paris in time for the ''Grand Prix'',

and to accompany Prince Groskoff to Capri. Uhm, the poor souI,

he aIways said his Iife without me was Iike a desert.

A desert with no oasis.

You'II see the shops in Rome are something eIse than here! And the cinemas!

There are so many of them... And we'II go out every evening, won't we?

When you have such a wife you must Iet her be seen, by Jove!

And we'II aIso make a Iot of conquests, won't we, Gemmina?

Come on, Vagnuzzi, don't puII that face, for God's sake!

Eh, I'm here, and I keep my eyes open! WeII, I might not exactIy be...

..what they caII a madre nobile, but you have been...

.. so sweet to me, that I don't know what I...

.. wouIdn't do to see you happy.

It'II be spIendid. SpIendid! We'II be together, for ever.

We'II never seperate. AIways together, aIways! AIways!

Enough! Ah!...

- Ah! - HeIp!... HeIp!...

- Murderer!... Ah! - Leave me aIone!... Leave me aIone!

Go away! Go away!

- What? What happened? - Madame... madame...

.. is not feeIing weII. PIease, go away!

- No... - CaIm down, Gemma! CaIm down!

It's nothing! PIease, everything's over! Look at me, my Iove...

Look at me! It's me, it's Franco! PIease, open your eyes!

Gemma!... Gemma...

No!... Water! Water...

She shouId be in prison! In prison!

I'II put you in prison!

Stop!... Stop!... Stop!

I hope she didn't go crazy!

But I... I don't know! Don't understand. Must cure her.

- CaII a doctor! - AIready did! Nannina's caIIing right now.

What shaII we teII the doctor? We can't teII him the truth!

O, my God! I'm scared!

She went away Iike a wiId beast!

I've seen her! She stopped a car! She went away!

- We shouId have kept her here! - I couIdn't.

My God! What if she went to the poIice?

Madame, teII me what you know.

What I know? About what?

- Gemma must have had some reason. - I don't know.

What did EIvira do?

I don't know. Who is it?

I've caIIed. The doctor's out and they don't know when he'II be coming back.

- Come! drink! - WeIIdone, thank you.

- The phone. - I'II take it. Go on.

I needed it! I reaIIy needed it! Of course, you can't compare it with..

.. french cognac, but if nothing better's avaiIabIe...

- Isn't it true, doctor? - WouId you pIease give me some information?

- Why? - It's a necessary formaIity. - O, yes.

What is your name?

Ah! Easy... easy... easy...

- What is your name? - O... My name is Coceani.

Yes, countess EIvira Coceani.

- NationaIIity? - StateIess.

- DomiciIe? - 2 Mura st. With the Vagnuzzis.

- Professor Vagnuzzi! - The cause of the accident.

- What? - The cause of the accident.

How did you get hurt.

An accident. A simpIe accident. I was sIicing...

.. the bread and... you know how it happens, the knife sIipped.

- Pretty strange... Downwards. - Some peopIe!

The wife's in convuIsions, and who do they caII? The ambuIance!

And insists. Seems to have gone mad.

- Do you want to take it? - Who is it?

How shouId I know! Some professor Lagnuzzi... Vagnuzzi...

- What did you say? - ToId him to wait a IittIe.

So, doctor, what do we put down?

Didn't you hear? What the Iady said.

HeIIo! Yes, I understood...

Yes, professor, I'm Sertori. PaoIo Sertori... Yes...

Don't worry. I'II be right there.

Are you taking it?

Yes. I'II be through with it in haIf an hour.

- Bye, Simonetti. - Bye, Sertori.

- What was his name? Sertori! - Yes. Why?

Ah... CouIdn't he happen to be count Fabrizio's son?

Sure he is. He put into his head to work.

If I had the 2,000 hectares his father has... But he says he...

.. has quarreIIed with his dad. He cut his aIIowance.

It is PaoIo Sertori.

- Has he been here Iong? - Not even a month.

I'II prepare a hot-water bottIe.

- Nannina... - Yes...

FiII this up with hot water.

Excuse me, doctor.

TeII me in aII honesty, Sertori, is it serious?

I mean, is her reason in danger?

Not at aII... It's a shock.

Don't worry if she won't be herseIf for a coupIe of hours,

or even tiII tomorrow morning. They usuaIIy don't.

That's how it deveIops. Tomorrow she'II be better.

With this sedative, a spoon every 3 hours, you'II see, she'II rest.

- WiII I find a chemist's open? - Yes. There's the one when turning...

.. into the square. They'II sureIy prepare it in haIf an hour.

- Excuse me, doctor... - Yes.

HaIf an hour, with going and coming back, it means...

- .. one hour, can I borrow your car? - Of course!

- Thank you. - Don't mention it.

What are you doing here?

What d'you want? You have aIready hurt my daughter.

Go away! Go away!

- But, madame, what did I do to Gemma? - Mother!... Mother...

You, go down. Go to sIeep.

Yes, madame.

No! No!

Nothing! It's nothing. It's me, Gemma. Your mother.

Calm yourself. Calm down. Try to rest.

l never thought l'd see you like this.

l shouldn't have left you. One might say we grew up together.

Without me even realizing you existed.

lf, from a certain moment, l reliazed you existed, it was only by accident.

Ah! It's you!... I was sIeeping.

- Why did you wake me up? - To see your eyes.

Ehi! How romantic!

But what got into you?

- Let's go! Let's take a waIk! - But it's so hot!

Let's take a dive in the pooI!

- My God! What time it is? - Five.

Come quickIy, PaoIo! I'm Iate.

What happened? What's the matter?

- Your sisters! - Beh! What do they want?

As miss Marphy must take her bath, whiIe miss Marphy...

.. takes her bath, I'm to stay with the kids. Anna's doing.

- Forget it Gemma! - Come take a waIk with me!

You know very weII I can't.

Beh! Can you teII me what you're up to? Marphy's been waiting for an hour.

Yes, pIease excuse me, I was with PaoIo!

- Ah! - And... then I went to pick up the rackets.

Weren't we supposed to pIay a doubIe, afterwards?

Yes, but we have MarceIIo. We aIready are four, don't you worry.

WiII you be back next year?

Yes, but how wiII we go through aII these months?

I'II never forget this summer.

Yeah, sure... when you'II be in Rome... these are onIy words.

- We'II write to each other. - D'you think we aIready have enough memories...

.. togethr to be abIe to stay separated for ten months?

- What d'you mean? - You haven't even kissed me.

It's twenty past eight.

I think they're exagerating. For the Iast fifteen days, every evening...

- .. there's the same thing. - D'you want me to go Iook for them?

- No. PIease, don't move. - WeII, the good thing is hoIidays...

.. are aImost over.

Good evening to everybody!

I'm sorry for being Iate.

- Good evening. - Dear aunt, captain, dad.

The poor mad had forgotten how to go forward.

On the other side, what couId I have toId him?

It pained me a Iot, but put yourseIf into my shoes.

But what did you answer him?

Nothing! What couId I have answered him?

Daddy doesn't want it?!

- Who is it? - It's me. I was going through the corridor and I heard you.

What happened?

You teII him, Gemmina. You teII him, I don't have the guts.

It's that MarceIIo has proposed to Anna.

- No! - Great, don't you think so?

And you, Anna... what do you think?

I don't care, you know it very weII.

Ehi! But it's you that'II get married, not father!

Yes, one heart and one hut.

You must be mad! Letting go of such an oppurtunity!

TaII, rich, distinguished, nobiIity, what more couId you ask for?

And, then, you Iove him, and when Iove's invoIved, father won't stop you.

He wasn't speaking to my sister, but to me.

The words Gemma was expecting me to say, l never had...

.. the courage to say them, not then...

.. and, unfotunately, not even later.

Leave it. Leave it. I'II carry it.

Thank you, Vittoni.

Bye, Anna! Bye, Topazia! Goodbye.

Who knows where we'II be next year? Isn't it so, MarceIIo?

I want to go in Norway.

- Bye, Gemma! - Bye, MarceIIo!

TeII the gardener to bring the suitcase to the station.

- Here's the gardener! - Bye! Goodbye! Bye!

- Are you taking Gemma with you? - I wiII, if you have nothing against it!

- Is there a pIace for me aIso? - Come, get in!

- PaoIo, move yourseIf - I'II return with Luciano! - Luciano, or with Gemma?

No way. You'II do me the pIeasure to return with us.

Come on, PaoIo, have you decided, or not? We have to Ieave!

Thank you, Vittoni, PaoIo returns with us.

Very weII.

- Drop by my rooom tonight. - Have you seen?

Have you seen?

- CoId? - A IittIe.

CouIdn't we raise the top?

- We'd Iose time. - Take this.

Oh, thank you!

- Do I Iook good? - Very!

- PaoIo... - Yes, Gemma.

We won't be seeing each other tomorrow.

I know it. I'm aIso onIy thinking about that.

- Gemma!... - What? TeII me!

Ah, nothing.

- What's the matter? - We're aIready there. Here's my metropoIis.

What hour wiII you get in Rome?

- At two! - Listen, Gemma, why don't you come to Rome with us?

Stop joking, Luciano! You're boring.

But I'm not joking! Who knows what a bore winter in this...

.. hoIe can be. Listen, Gemma, come to Rome with us! I'II get you a nice...

.. IittIe apartment.

- Cut it out, Luciano! Come on! - Yes, but at Ieast he...

.. offers me something. What about you?

Haven't you got anything to say to me?

Yes, Gemma, yes! l had something to tell you. You knew it,

l knew it, and l didn't tell you anything. lt was our last...

.. chance. l let it pass.

Have you forgiven me, Gemma?

- Bye, Gemma! - Bye, Luciano.

- Mother! - Gemma! Did you have a nice trip? I was expecting you on...

.. the train! TeII your friends to come up!

- No! No! - Ask them if they don't want to freshen up a bit.

- Maybe have something. - No! I'm teIIing you, they're in a hurry!

- So Iong, PaoIo. - Goodbye.

Come on, PaoIo! Let's go!

Coming!

- Here's the scarf! - You keep it.

- Won't you be coId? - No, no.

WiII you think about me a IittIe?

Listen, Gemma, I have so many things to teII you.

It's Iate by now.

No, no, it isn't Iate! I'II write to you, Gemma! I promise.

- When? - Tonight.

lt's true, l wrote to you that evening, and many other...

- ..evenings, from then on. - Bye, Gemma!

lt's for you that l've fought against time, against distance...

- Bye! - Against my father who forbade me to think about you.

As if that'd have been possible...

And we only made love like this,

in writing. Until when, suddenly... silence.

l then found out you had got married.

Nothing else.

And, in the end, today, that you had tried to kill someone.

Where's my place, Gemma, in all of this?

ls it my fault for what's happening to you?

How're you? Thank you.

Everything's aIright. Rest assured.

Listen, Sertori, you're a chiIdhood friend of Gemma's, aren't you?

- Yes. - So, you know the miIieu, the town.

I'd Iike, in any case, if possibIe, not to be too much taIk...

- .. about this thing. - CategoricaIIy.

Thank you.

Come, drink! Drink, my darIing!

Let me do it.

Come! Drink, my darIing. You'II see it'II do you good.

- Did Coceani caII? - No.

- No one eIse? - No.

I imagine you must aIso be tired, why don't you go home?

There's Nannina downstairs, she couId see you off.

No! No! I'd feeI to bad. You shouId, rather...

No... I'm not sIeepy.

Go downstairs and teII Nannina to make some coffee.

Gemma! What have you done? Have you lost your mind?

l've always loved you. And, still, l've been a bad...

.. mother. When l think a simple word would've been enough for, maybe,

.. nothing to have happened.

l should have spoken right away.

Right from the start. lmmediately. That day you came back from...

.. holiday. But l didn't have the courage.

- Mother! - Did you have a nice trip? l was expecting you on the train!

- Tell your friends to come up! - No! No!

Ask them if they don't want to freshen up a bit.

- Maybe have something. - No! I'm teIIing you, they're in a hurry!

- May I, madame? - PIease.

- If I may, madame... - Speak, mister Gavinato.

- Can I have a word with you, madame? - PIease!

When are we going to eat, madame?

You must have a IittIe patience today, my daughter has arrived!

You know, madame, I have to go to the office!

AIright, aIright, mister Gavinato. You'II see you'II get there.

- Hi! - DarIing, have you had a nice trip?

- ExceIIent! - What a nice car! Who was the one driving it?

- Someone caIIed Vittoni. - Vittoni? Who's he?

- Someone from Rome! - And the other one?

- What d'you mean PaoIo! - PaoIo? I reaIIy shouId decide on...

.. wearing gIasses! Are you hungry?

No. I had a huge breakfast before Ieaving.

No, Gemma. I had to rent your room to a professor.

This is your room, now.

You know, you'II have to be patient.

WouId you Iike a caffeIIatte?

- No, thanks. - Did you have fun?

- A Iot! - You couId have written to me a IittIe more often.

So... teII me.

- Isn't there anything new? - Mother, if you'd onIy know...

.. how happy I am!

Happy for being back home?

No, not for that. As a matter of fact, I'II be Ieaving here soon.

- You'II be Ieaving? - Yes, soon.

I don't understand anything. What happened? Come on, teII me.

- I thought there was something! - We've made it, mother!

- This time, we've made it! - Come on, teII me!

Don't keep me guessing! Are you at Ieast sure?

O, rest assured! I know what I'm saying. This time it's done.

- Does he Iove you? - Of course. He Ioves me.

- Is he rich? - The richest of them aII. And young.

- Does he know you don't have anything? - Why shouId he...

- .. care about that? - Do you Iove him?

Imagine, I'II have cIothes, cars, servants, voyages abroad,

a house in Rome, important peopIe, and you who were...

.. making fun of me. You said I wanted too much!

''Poor, Gemma''... D'you see now? Now you can see if I was a fooI or not.

- And who is he? - Try guess!

- I bet it's Pietro CeIIesi! - The CeIIesis are not that rich.

- Count Bandini, then! - He doesn't have a dime, that one.

- You wouIdn't be dreaming, wouId you, Gemma? - Rather than being awaken from...

.. this dream, I'd prefer to die.

- But who is he? TeII me! Andrea Bonacci! - That moron,

- who does nothing eIse but taIk about books! - The marquis GigIiocci?

- What are you saying! - Enough... TeII me!

Look!

WeII, yes, PaoIo. It was so easy to guess.

l should have talked to her then. l lacked the courage.

The next morning l was still thinking about how to...

.. tell her, and still hadn't found a way.

The post... Foresi!

HeIIo, postman! It's for me, isn't it?

Mother, Ieave me aIone.

Gemma! Open! Let me in! There's something I have to teII you.

Oh, it's you?

I'm sorry, madame, for having rung, but, as usuaIIy, I've yet again...

- .. forgotten my keys. - Oh, no troubIe at aII. PIease!

Who is it? Has your daughter come back?

Yes, she has. Didn't I teII you yesterday?

- O, yes, yes. Indeed you have! - She never sings,

rest assured. It just happened. For the first time.

I'm pIeased you understood everything so quickIy.

Bye, mother! I'm off to the cabIe office!

My daughter, Gemma, professor Vagnuzzi,

our new guest.

- How're you. - GIad to meet you!

Pretty! AII the best. Let's onIy hope she doesn't take...

.. to studying canto.

Unfortunately, it wasn't one of those...

.. holiday flings, that vanish before...

.. winter comes. Gemma only thought about Paolo anymore. And his letters...

.. were becoming more and more passionate as days went by.

What was l supposed to do, o, my God?

What? Speak to her?

lt was too late!

- Hi! - Hi.

- HeIIo! - HeIIo.

It's kind off difficuIt working in peace here, isn't it?!

You Iook exactIy the same as Betazzi does. The history and geography...

- .. teacher. - How Iong did you study?

- Three years! - Which?

- Third grade! - Ah! I'd have thought the fourth.

But I do say, your room reaIIy is a mess.

Yes it is, but I Iike it this way. I must ask you not to touch...

.. anything here! Because the Iast time your mother tried...

.. tidying it up, everything turned into an disaster.

- You see? - Ah, you pIay chess! And... with whom do you pIay?

- AIone. - That must be fun! And what's that?

- A coat-hanger. - Nice... You think I'm stupid, don't you?

No! This is a 3-D representation of a..

.. nucIear expIosion provoked by cosmic rays.

- Thank you, now aII's cIear. - My pIeasure.

And... what good is this coat-hanger?

- It serves to nothing. - Does it mean that everything that you do: your caIcuIations,

- your Ieactures, they aII serve to nothing? - To nothing.

As far as I'm concerned, I Iike things everyone can understand, and that...

- .. are usefuI. - Yes, yes, that's easy to see.

- Where're you going this evening? - To the cinema. WouId you Iike to come?

- Brodetto, madame? - Come in. PIease come in, mister Gavinato.

So? Are you coming?

No, thank you. I don't feeI Iike it. And then, it's raining.

Why don't you go with mister Gavinato?

Good idea! Come, Gavinato, I'm buying!

Me? No, no, thank you, professor. If I don't take my...

.. nine hours sIeep, the next day I don't feeI too weII.

WeII, patience! Good night to everyone. Good night!

- Good night! - Good night, professor!

Good night.

- Good night, madame. - Good night.

- Good night, miss. - Good night.

It's the fifth or sixth time he has asked you, and you have refused.

You're wrong, if you ask me. He's in Iove! Can't you see that?

His probIem!

I'm not avaiIabIe! And even if I were?

Madame Gemma Vagnuzzi... imagine the boredom! He's such...

- .. the professor type! - You've become big-headed, Gemma.

- And, unfortunateIy, it aIso is my fauIt! - But what is there to see...

.. in a suburb apartment, aIways in the kitchen, with the kids...

.. crying, without a servant. And aII for the sake of...

.. the professor pursuing his wonderfuI career, with the Ieast...

- .. possibiIe distraction. Ah, don't you see! - And, stiII,

he's the onIy who'd marry you.

I Iike you saying that, because that means you haven't...

.. Iooked into my drawers. If you wouId, you'd find so many..

.. Ietters, and, especiaIIy in the Iast ones, it's obvious he..

- .. wants to marry me. - Who? PaoIo!

No, Pietro. Bye, mother. I'm going to bed.

Yes, yes... go on writing, it's useIess, anyway. Something teIIs me...

.. that everything wiII amount to nothing.

Oh, no! Listen! Knock on wood. Don't even joke about it.

You seem gay today, miss Gemma.

Why, professor, did you ever see me cry?

No. It's true. Even for crying you need some kind of humanity...

I was forgeting you are an expert on that.

When are you Ieaving for the famous viIIa?

Soon, professor! Imagine, we won't be seeing each other for two months!

- How nice jet-set is! - What wiII you be doing...

- .. this summer? - WeII, I can't decide between Biarritz...

.. and Juan Ies Pins. I'm so uncertain about that,

- .. that I'II remain here. - An orgy of check games!

- Cut it out! - Don't mind. But are you reaIIy sure you're going?

What d'you mean? Me, staying here during summer? It'd need at Ieast...

.. another worId war for that!

Post! Foresi!

- Mother! It's for you. - For me? Are you sure?

Hi, mother!

Hi, Gemma.

What is it? You're puIIing such a face!

Gemmina! Listen.

- Gemmina. - Yes.

Come sit down here for a moment.

- I have bad news for you. - What news?

- I've met with count Sartori. - Ah... and?

It's reaIIy bad news I'm giving you. Poor Gemma!

Come on, say, don't keep me hanging!

The count, he... I'm very sorry about it, beIieve me.

He has been very kind... aII in aII...

.. he won't be abIe to have you as his guest at his viIIa.

Of course, he said you'II be abIe to go on seeing Anna and Tobacci,

but not at the viIIa anymore.

What d'you mean, it's not onIy for this year, but aIso...

- .. for the future? - Yes. He says it's better for everyone,

if you don't go there anymore.

And PaoIo? TeII me the truth! It's because...

.. of PaoIo that they don't want to see me anymore! - Yes, it is because...

.. of him. But what's the use of getting mad now? It's useIess, anyway...

He doesn't see me fit to enter his famiIy.

Of becoming his daughter-in-Iaw.

True, I'm unfortunate to be caIIed Foresi.

And, besides, I'm not even rich. Nor rich,

nor nobIe, there's my fauIt. It'd be enough that I were the daughter...

.. of a big MiIan industriaIist...

What can you do about it, Gemma? Don't think about it anymore!

Oh, no! AbsoIuteIy not! We're both grown-ups...

.. and we'II get married even if his famiIy doesn't want it! I'II write to...

.. him to come right away here, and I'II teII him how things stand!

No, promise me you'II do nothing of the kind,

and that you'II stop writing to him.

So they shouId win? To Iet them treat me Iike a servant?

I'm even going to send him a cabIe!

- Saying what? - That he shouId come right away, because I have to taIk to him.

Come here.

Listen to me.

There are many very serious motives,

different from what you think, and that make...

.. absoIuteIy impossibIe this marriage of yours.

But you, if you Iove me, you shouIdn't...

.. ask me what they are, and you shouId do what I teII you.

I don't see any other reasons, besides the ones I've aIready said.

That's why I'II teII him to come.

Gemma... you are causing me a great pain.

I prefer hurting you than acting without...

.. knowing why!

There is a reason.

Then say it!

You see, mother, you've Iet yourseIf be intimidated,

when this is the moment to put your foot down

and show them we aren't Iess then them.

You aren't Iess than them, because you are of the same bIood.

What d'you mean?

When a young girI, me and count Sartori,

yes, Fabrizio Sartori, we were in Iove and you were born before...

.. I got married, you're his daughter. Like Anna, PaoIo and the other one.

I couId have never forseen PaoIo wouId...

.. faII for you. Have you now understood, why this...

.. marriage is impossibIe?

So...

me and PaoIo...

- .. we're brothers! - Yes, exactIy!

And you've waited up to now to teII me this!

Kind of Iate.

Eh... there's something, Gemma, I haven't yet toId you, Fabrizio,

your father, yes, has set a smaII sum, nothing much...

.. reaIIy, deposited at the Monte dei Paschi bank.

- A sum that's going to be your dowery. - Cut it out! I spit on...

- .. their money! - Gemma! Where're you going, Gemma?

What's happening?

Professor! Stop her, I beg you! She's gone crazy!

Who knows where she's going! Stop her!

Miss Gemma! Miss!

Why am l always stumbling on you?

Tell me, Gemma, my child, am l also guilty...

.. of having thought that, in spite of everything, you could be...

.. happy with someone else?

Thank you very much.

- She seems to be better! - You'II see she'II sIeep now.

She's burning. She has a fever.

Why... why did she do it?

Not even you thought...

..she was capable of such a thing.

But, who is she? Who is she?

And it's today, only today,

that you ask yourself such questions.

And it's been two years since you first saw her.

Of course, it was easier marrying her,

than trying to understand her.

Gemma! Where're you going, Gemma?

Professor, I beg you, stop her!

She's gone crazy! Who knows where she's going! Stop her!

Miss Gemma! Miss Gemma!

Why am I aIways stumbIing on you?

Come on, caIm down. CaIm down!

Can I know, once and for aII, what d'you want from me?

- Nothing! - Then why're Iooking at me that way?

I? You seem so agitated!

What'd you expect? To consoIe myseIf with you? Or, maybe you want...

.. to propose to me? My mother's upstairs, do you want to ask her...

- .. for my hand? Go upstairs, go! - What if I did?

- WouId you find it so strange? - Absurd, that's how I'd find it.

Have you understood? Absurd!

Thank you, miss, and have a nice Assumption day.

Thank you.

Gemma! Gemma, how are you?

- Look who's here! How're you? - Not bad.

- Anna, wait here! - GIad to meet you.

D'you know you are gorgeous?

Ah, IoveIy! But Katia wanted to see your house,

so we came by!

How come you remembered?

Yes... but I toId them: ''You'II see she won't be there. ''

''It's impossibIe she's stiII here on this heat!''

- What Iuck meeting you! - Your pIace's...

- .. nice. Picturesque. - Why are you stiII in town?

Aren't you coming at the viIIa this year?

- No. We'II go to the sea! - Where?

I don't know. Mother wanted Riccione, but I think we'II end up...

- .. going to Forte... - Good for you! Send us a postcard.

Yes, to us aIso! To us aIso! Sure!

- And don't you forget me! Bye, Gemma! - Bye.

Goodbye! Bye! So Iong!

What are you reading?

It's boring, isn't it?

I've seen you from my window a IittIe whiIe ago.

Who were those peopIe in the car?

Friends.

Ah. Friends...

.. friends... from the viIIa?

Yes... from the faimous viIIa.

What did l do to make you...

.. happy? Have l, maybe, been a good husband?

l've always given you everything you wanted.

A nice house, with a beautiful vista.

That only you liked, Vagnuzzi!

- And what's near by? - The Tobacco Manufacture.

ExceIIent! So, instead of us smoking, we'II inhaIe nicotine.

Come, my dear.

Look. This wiII be our bedroom! BeautifuI...

.. airy... isn't it? FuII of Iight...

Yes, yes.

- Beh! Good day! - Good day!

When did you bother to know what she...

.. wanted... what she liked.

And you? You did...

.. nothing to meet her halfway, to help her.

- Have you moved? - Yes...

Let's see!

What move did you make?

This one!

No! No! No!

- Why? - Don't you see you've moved your queen into check?

- Why? - Yes.. Iook, I'II take it with my bishop!

- I'm afraid you won't Iearn! - Of course I won't, as Iong as you shout Iike this!

But you aIways make the same mistakes! AIways the same!

WeII,... in the end... it's onIy a game.

ExactIy! Games are the most serious thing on earth!

If I pIay, it's for having fun.

That's nonsense... Come on, go to bed. I can see you're sIeepy!

Come on! Be a good girI, go! Let's go! Be a good girI.

- AIready to bed? - Yes... I've got work to do!

- Then, we won't be going out tonight? - You know I must finish...

.. my book, if you want us someday to go Iive in Rome.

''GeneraI Cadorna wrote to the Queen: <

.. to see Trieste, Iook at a postcard> >''

But why this very evening?

We've been married for a year, and you've forgotten,

naturaIIy. It's Iike I don't even exist! Like you...

- .. you don't even see me! - Come on. You don't aIways say such things.

I know it. For you, I onIy exist in one way.

But, what more do you want? Eh!

She was right.

You never bothered to find out what she was thinking.

lt was enough for you to joke with her, to make a little fun of her.

- You have aIready finished? - WeII, I'm sorry, I must Ieave right now.

Come on! You were reading, of course. You ate...

- .. and didn't even notice I wasn't there. - Where were you?

At the ''CIT''. I must think about a pIace for this summer, don't I?

- I aIready did. We're going to Vidiciattico. - Where?

- Vi-di-ciat-ti-co! - Where's that?

It's a viIIage above Porretta. In the Toscan-EmiIian...

.. Appennines. I used to go there as a kid. It's high up, you know!

AImost 4,000 m. And then, it's cooI, quiet... Yes! EspeciaIIy...

- .. quiet. - Some fun!

AII mountains are beautifuI.

The Appennines? Might as weII stay here!

Where'd you Iike to go? You know we can't afford it!

We can't afford it! What d'you imagine! That aII those...

.. that have fun, that Iive, aIways have money...

.. around? We're stingy aII year on, we get bored aII...

.. year on, at Ieast in the summer we couId do something different!

- See some nice peopIe! - I'd reaIIy Iike to know...

.. what do you mean by ''nice peopIe''.

Haven't you ever heard of Cortina d'Ampezzo, of Rimini,

of Sestriere, of PaIagi, or of Sorrento? Let's go in one of...

.. these pIaces, and I'II show you what I mean by ''nice peopIe''!

Vidiciattico... that's for you and your friends!

Friends? I don't have any friends here. CoIIeagues.

WeII, caII them as you wish! I onIy know I'd prefer one normaI human being...

.. to aII of you superhumans together.

Listen, Gemma, if there's one thing I can't stand, that's...

.. generic taIk. What does it mean: ''aII of you... ''

''.. superhumans together?'' You don't even know my...

- .. coIIeagues! - Because you don't want me to! You're ashamed with me!

Come on!

Be honest. Be sincere.

Gemma was right.

For you, she was only an instrument, a thing.

The pure delights, the delights of the mind, you kept them all...

.. for yourself.

But she, while you were locked in your study, among...

.. books, with your calculations, or at school among your...

.. boys, she, what was she doing?

lt's time you ask yourself that.

- Hi. Where have you been? - At the cinema with a friend...

.. I made. Then she offered me tea.

Look! Nice, isn't it!

- She makes them. - Ah, ah... And she gave it to you?

Oh, she wanted to, but I insisted on paying for it, the poor woman!

lt was that Coceano. That Elvira Coceano...

.. Gemma kept talking to you about.

And whom, one day, she brought into the house.

You were joking about it, it didn't seem real, in the end, it...

.. delivered you from your wife! From having to go out with her,

from having fun. You thought that was quite a good solution.

What luck having found someone like this! And today, why did Gemma...

.. do this?

Why? Why?

You didn't want to see it!

You didn't want to know anything!

That's why! Because you love those books...

.. more than you love your wife!

But l love you, Gemma!

l love you!

lt's too late for...

lt's too late.

Is she better?

Yes. Much better.

And the fever?

Listen, Franco, don't Iook at me this way, I'm Iosing my courage.

lt's so difficult saying this to you.

Afterwards, I know, you won't want to see me anymore.

You'II hate me.

But I have to teII you eveyrthing! D'you understand?

l could blame it on her, on Coceano, but that would be too easy.

lt'd be dishonest.

I aIready carried the guiIt in me.

The way I became your wife, that was the first mistake.

The others just followed suit, later.

Even if l hadn't met Elvira,

l'd have probably ended up in the same way.

PIease, aIIow me, my gIasses.

- PIease. - Thank you.

Do you like it like this? Are you comfortable?

- Can I aIso say a word? - No! No! No! No! Don't change...

.. anything. Don't touch anything, it's perfect Iike this. How do you do it?

I've aIways wondered how do you manage to give them aII this cachet.

- And then, with nothing much! - Yes, l know, but you see,

.. countess, unfortunately... you don't know my husband.

Mhm... What is your husband, a colonel? A general?

- Major! - Ah! Ah! But l was born among military.

My son was an Army Corps commander, so...

PIease, madame.

That's the secret of the cachet! BeIieve me, it's here!

You shouId Iook at it in the sun! Seems a IittIe dark!

- There's bad Iight in here. - Ta, ta, ta! Let me see it.

- D'you Iike it? - Even I couIdn't say!

It's a too serious fabric. Too strict for...

..your type so...so nature. - Countess!

- Yes! - Can you come for a moment?

O, excuse me... They need me so much! Here I come.

Show me something Iighter!

- Who's that Iady over there? - Don't you know her?

It's countess Coceani, the romanian.

Madame Vagnuzzi!

Madame Vagnuzzi! Madame! You went away without me...

.. even noticing it! That stupid Ciani started...

- .. an argument. - Excuse me, but I didn't think...

Are you going somewhere far away? If you want, I couId accompany you!

Oh, thank you. I Iive right next door.

Uh! Uh! Uh! What a rain!

- Here we are. We've arrived. - Oh, yes! Poor Iady!

You're aII wet! I'm so sorry!

Come upstairs for a moment, have a cup of tea.

- But, reaIIy... - No, no! It's here! After the turn.

One moment!

Yes.

Come! Come, madame!

They say that we, romanians, have a...

.. speciaI way of making tea. PIease, sit down.

You'II feeI the difference. Sit down.

Then, if you want,

I couId teach you how it's done. It's nice here!

Yes, I made it according to my own taste.

You'II understand, I'm aIone, a stranger, far away from home...

.. can't return there.

And this here is, I aIways say that, my smaII romanian corner.

My smaII Bucarest. My own smaII revenge..

.. on boIshevism.

Are you Iooking at my Iampshades?

But, countess, you speaI ItaIian perfectIy!

I've been in ItaIy for so many years! ItaIy...

.. France... my father was a dipIomat.

Oh! I'm sorry!

Here.

You were Ioking at my Iampshades? I'II show you.

Cute, aren't they?

I make them myseIf. Yes, some were bought by...

.. countess GiovanneIIi, Andrea Bonacci, Federica DeI Tongo,

Luigi CeIIesi, Iawyer Semassi... They're exquisite,

don't you think so? A condensed of the East. That's what Bibbi was teIIing me...

.. yesterday. I don't give them cheap, of course, but for you... smeII...

.. smeII this cream. A drop's enough.

Everything considered, I think it saves money.

One more. One more.

More. Thank you.

And now finish teIIing me the story of...

.. your engagement! Why was it ended?

I haven't yet met your husband, yes, the professor, whom,

when he'II deign, I'II see with pIeasure, but I think PaoIo...

.. Sertori wouId have been,

how shouId I put it, much more suited,

as miIieu aIso, to your quaIities, wouIdn't he?

PaoIo Sertori's your brother! Why didn't you never teII me that?

How IittIe we know each other! I reaIIy don't know nothing about you!

You're right. We don't know anything about each other.

Excuse me.

Who is it?

It's me. How d'you feeI?

How do I feeI? That's how I feeI!

Look! Look!

We two must taIk! Do you understand?

Ssh!... Don't make aII this noise now. We'II taIk tomorrow, go!

- Did I hurt her badIy? - Don't worry about that.

- What did she teII you? - Nothing.

I think it was that very afternoon that she...

..came here to have tea, and I introduced you to her.

It was stiII earIy.

We decided to wait for dinner time walking...

.. on the main street.

- Good evening, countess. - Good evening.

- Who's that? - You know, we'II waIk better here.

It's Marchioness Taddei. Money! Lots of them! I'II get you introduced!

I don't know how to thank you.

It gives me pIeasure. This provinciaI Iife!

- Look, up and down, down and up. - Eh, yes!

And onIy to wait for dinner time.

- Oh, no, no. - Gemma!

- Oh, hi! How're you? - How're you? It's been so Iong...

What is it? A friend of yours? WouId you introduce me to him?

- Vittoni, countess Coceano. - Enchante!

An honour. Look who's here! Am I interrupting?

- Oh, no! - Aren't you, by any chance, Luciano Vittoni from Rome?

Yes, but how do you know my name?

You're reIated to the FIorence Davis, aren't you?

On my mother's side. How weII you Iook!

My father taIked to me about your aunt, IsabeIIa Ranieri!

They used to see each other a Iot, when my father was in Lisbon.

It couId very weII be so. How beautifuI you've become!

Marriage has reaIIy transformed you! But teII me...

.. how come you've married that Lagnuzzi... Piagnuzzi.

Ah, come on, Iet's move from here!

- They reaIIy do push me! - That's it! Let's move aside. - Let's go.

Why didn't you come at the Sertori viIIa anymore?

- Enough. Bygones are bygones. I'm not interested anymore! - Come, at Ieast,

- to introduce us to your Vagnuzzi! - No, what's he got to do with you!

You're right. So, he's a reaI professor? The bearded...

- .. kind! - How unciviI!

PaoIo had a thing for you, you know it, don't you?

- Foreign Iegion stuff! - Stop teasing...

.. Gemma. What d'you think? She made a IoveIy marriage! An extremeIy...

.. proper one. WeII, the professot sin't handsome, but he...

.. isn't ugIy! He's not briIIiant, what a mind behind...

- .. those gIasses! - EIvira! PIease, stop!

Countess, I'm beginning to feeI we'II be friends.

- Are you here for Iong? - A quarter an hour ago I'd...

.. have said, onIy for a month, fortunateIy...

- And now? - OnIy for a month, unfortunateIy.

Ah!... But then...

- .. we'II be seeing each other, won't we? - I won't be the one against it!

The thing is it's Iate, and I shouId aIready have been at home.

Are you mad? No way! We haven't seen each other in years!

- You heIp me aIso, countess! - WeII, after aII, Gemma, I think...

- .. that for once... - WouIdn't you Iike...

- .. to stay a whiIe with me? - WeII... Yes.

- What are we waiting for then? Let's go! - Let's go.

But, EIvira, I shouId at Ieast caII...

You're right. Of course. CaII.

- CaII. - To Piagnuzzi!

- To the great absentee! - Hear! Hear! Hear!

- Ah! Ah!... - I feeI so Iight, Iight.

Like I became... doubIe!

- Two Gemmas! How nice! - Not quite so!

Why Gemma number one is not pIeased with Gemma number two.

Then Iet's drown Gemma number two!

- Let's drown her! - Let's drown her!

But the street doesn't stand stiII...

.. and you mustn't Iet go of me, understand?

Nothing's better than a waIk in such cases.

- Oh, yes? Then, bye! - Gemma, where're you going?

Where're you going, Gemma? Gemma, come here.

I'm going home.

It's reaIIy wonderfuI. You'II see you'II Iike it.

Oh no, EIvira! PIease! Excuse me, Franco'II be angry.

He doesn't even know you exist!

Luciano, thanks again for the wonderfuI evening, but, I swear to you...

- .. EIvira, I reaIIy have to go! - Don't be ridicuIous!

Vittoni wiII find you provinciaI. Come on.

Eh! No! EIvira!

Here we are. Come, go upstairs...

.. and, pIease, don't make any noise!

Watch the third step, 'cause it's broken!

One moment!

One moment, Iet me turn the Iight on.

Forward, forward.

And now you can dance, sing, do whatever you pIease,

you're in your home.

A IittIe music!

God, how weII you Iook together!

You seem made one for the other.

Excuse me a moment.

I'm going for the ''Tokai''.

I shouId stiII have a bottIe.

And remember, you're at home!

Cut it out!

Uh... you reaIy are disagreeabIe!

I don't Iike such things!

Can't you take a joke?

I don't feeI Iike joking. I'm Ieaving.

- Where to? - Excuse me to EIvira, I'm going home.

HonestIy, your countess is right: you're made...

.. to Iive and die in this provinciaI hoIe.

Nobody has ever treated me Iike this!

Ah! I can see that, I can see that!

WeII? What's the matter? Have you quarreIIed?

- Ah! You Iose no time! - She wants to go back home.

That's nonsense! WouId you pIease sit down?

Come on, sit down, or you'II make me angry!

No, thanks, EIvira. I reaIIy must Ieave.

One moment, I'II see you off.

She could stay, if you ask me!

- Bye, EIvira. - Bye.

PIease, Gemma, come tomorrow.

We'II meet at five, Iike usuaIIy.

- Good night, countess! - Good night!

- Are you stiII very angry? - A IittIe.

For a kiss?

If you forgive me, I'm ready to admit...

.. I'm a deIinquent, an assassin.

But, first, I need your pardon.

- Why? - Because...

.. because it'd mean you're not offended anymore.

It'd mean you don't think anymore I...

.. intended to offend you.

AIright!

I forgive you.

- But with one condition. - Which?

That, from now on, you behave yourseIf!

DeaI!

I Iike Iistening to that far-away dog.

And then, what a spIendid moon!

I'd watch her for hours.

Me, too, Gemma, cIose to you.

It feeIs Iike being in curch, in some winter evenings.

It's dark, but down there, around the Virgin's aItar,

- .. you can see candIes sparkIe. - it's true.

When I was IittIe, I was aIways aIone and sad.

But, when I Iooked, from the dark, to the Virgin's aIter, I feIt...

.. a peace, a joy that cured me from aII my sorrows.

Let's go now, it's Iate.

What're you saying! It's onIy midnight!

Liar! Show me!

Ah! My God! Ten minutes to one, and me aImost trusting you!

Let's stay a IittIe Ionger. A quarter of an hour more, or a quarter...

.. of an hour Iess. It's so beautifuI here! Don't be seIfish.

D'you think it's that easy for me? Come, Luciano,

.. accompany me home. Be kind!

I'm kind, but you're mean!

- Here we are! - Where d'you Iive?

That house there.

Go. Go now, it's better.

Bye, and sIeep tight, wiII you?

Good night.

FinaIIy!

- Where have you been? - At the cinema, with EIvira.

Nice that romanian.

Bit of a chatterbox.

But it seems you care about her.

After aII, she's an asset for you, isn't she?

- Do you want me to come upstairs? - No, excuse me, darIing.

I'm so tired.

Go on, go on.

And don't make any noise when you come up.

Ah Gemmina, my dear! How're you?

Were you going out? You toId me to come at five.

Oh! You're right, I'm sorry!

But, you see, Bibi came this morning, and so, IittIe by IittIe,

you know how it is, at haIf past five I must take...

.. this Iampshade to Brendoni. Yes, but I go, and wiII be back.

- I'II go with you. - No! I toId you I'II be right back!

Start making the tea, my dear.

I've got something for you.

But Luciano, you shouIdn't have.

It's from Paris.

I hope you Iike it.

No, no! No way.

Don't you realize that if l've been kind,

.. l've also had to make sacrifices.

- l made some shopping. - What's this!

Be serious! Please!

You really are selfish! You only think about yourself...

.. and you don't care at all about the others! What were you imagining?

- D'you think l live on charity? - l don't think...

.. anything. l don't care!

lt's been 1 5 days you've been coming here...

.. and using my house as...

- .. a bachelor flat! - l've paid you! l've paid you in advance.

- What more d'you want? - Paid?

But the discomfort, the bother, the risk!

Yessir, the risk, how about that?

I think I've paid enough.

You want 1 00,000 lire.

Where do you think we are? Not even in Paris!

You're a boor!

Listen, countess,

you either cut it out, or l'll have your passport confiscated.

Leech. I'd swear yshe's a spy!

Are you aIready dressing?

- Bye. - Bye. Oh, Iisten!

Tomorrow I can't make it, I'm busy.

The day after tomorrow, then.

You don't know how to handIe it, my dear! You don't know how to deaI with men.

Vittoni's Ioaded, he can pay.

If I were in your pIace, I wouIdn't hesitate a second.

- And you couId aIso think at... - At you, isn't it EIvira?

You're beginning to disgust me!

Ah! I'm disgusting you!

Me, who's heIped you in every possibIe way!

You're ungratefuI!

But, carefuI, my dear, because...

Drink, drink, it's getting coId.

Here it is! You answer it!

I'II be in there.

Or we'II quarreII today aIso!

Hi, Gemma.

- D'you want some tea? - Where's the countess?

In there.

Ah, Iisten Gemma, I've come to teII you I'm Ieaving.

- Today? - Right away. The car's outside..

.. and I'd Iike to be in Rome for dinner.

- Are you coming back? - I don't know...

.. in a month, two months, maybe sooner, maybe Iater.

- But we'II write, won't we? - Write, why?

We've been seeing each other for a month. We're aIways here.

We never know what to teII each other.

No! No! What are you saying? l'll be back.

We're still friends.

Maybe there was something you didn't like?

No, nothing.

l'm sorry to leave you like this.

But I'd Iike to be sure you haven't got anything against me.

As I don't have anything against you, that's aII.

Bye, Gemma.

Bye.

He finaIIy Ieft! The scoundreI finaIIy Ieft!

Ah, now we can breathe better.

I don't Iike the atitude you have towards me.

I'm not going to be under anyone's thumb.

Isn't it enough you made me do this mad thing?

What esIe d'you want from me?

What are you thinking?

A good sIeep and you won't even remember anything.

It was...

.. that day, when I came back home...

You were reading...

.. and, Iike usuaIIy, you didn't even notice I had come in.

But when you raised your eyes...

.. you immediately saw l was upset.

What's the matter?

Nothing. I'm tired.

Aren't you tired of aIways studying?

So and so.

Last year we talked a lot about going to the mountains...

.. and then we didn't go.

What was the name of that place you were talking about?

lnstead, in the last moment, maybe to please me,

you changed your mind and we went to Switzerland.

Here or there, it didn't matter for me...

.. the state l was in.

l only wanted to go away.

Thank you.

But, suddenly, one evening, without understanding why,

it was like seeing you for the first time.

I'm Heidi, a student at the Zurich PoIytechnic.

I'd Iike to have the honour of dancing with you.

AIright, mademoiselle.

Did you hear, Gemma? Miss Heidi,

from the Zurich PoIytechnic, says she wants to dance with me.

Because, she says, I'm famous.

- May I? - PIease do. Of course!

PIease!

Was it because of that girl? l don't know.

lt had never crossed my mind that our...

..coat-hanger, could have become famous.

You had never told me anything.

lt was a shock for me, seeing you in that picture.

You were dancing well.

That l also didn't know.

lt was for the first time that we danced together.

I'm a IittIe tired. Let's rest a IittIe.

AIright. Let's stop there.

- Is there any tea? - Yes. There must be some Ieft.

Why're you looking at me?

I was Iooking at your hands.

- What's with my hands? - It'd Iook nice with the wedding ring.

I think you couId wear it.

l don't know,

I feeI this wouId unite us more.

Gemma, you have never told me that!

You know you look nice with the wedding ring.

And then, all women, esthetically...

What wouId you do if I'd cheat on you?

I'd Ieave you!

I'd go on Ioving you.

But, wouId you regret Iosing me?

Very much so.

Very much so, Gemma.

When we came back into the town...

.. everything seemed changed.

Even the house was different.

l had always hated it.

And now, as soon as l saw it,

for me it was like coming back from the honeymoon.

- Listen, Franco... - TeII me, my darIing.

- WouId you take me into your arms? - What?

- Yes! To take me into the house! - What an idea!

- How much is it? - 350!

- Here you are! - Thank you.

WeII! What are you doing? Aren't you coming inside?

WeIcome! You must ask yourseIf why am I here.

Excuse me, professor, for these Iiberty. Oh, my dear Gemma!

But, as I had to suddenIy abandon...

.. my apartment, the owner wouIdn't Iet me breathe,

you know how they are. So, I thought I shouId use the oppurtunity.

l knew l could count on your hospitality.

On the other hand, had l done something else l'd have felt...

.. I was doing you wrong. Isn't it true, Gemmina?

How're you, my dear?

You're Iike a fIower.

And imagine Nannina, when she saw me coming with the taxi,

wouIdn't Iet me in.

I toId her I was assuming aII responsibiIity,

and then she backed down! TeII me. Didn't I do the right thing?

Oh, yes. You did very weII.

That's where I settIed! I don't know if I did wrong.

I tried to settIe in the smaIIest room.

I'm unpretentious. I can manage for a few days.

And why shouId you want to Ieave us? Didn't you hear Gemma?

You must be tired!

D'you need anything?

- Nannina! Bring us some coffee! - Yes, right away.

Your house is very nice, and so quiet!

OnIy a IittIe chiIIy. O, yes, you shouId...

.. think about heating it. Making her a IittIe more intimate.

I'II heIp you, sometimes you don't need much.

Two cushions, a Iampshade...

Nannina! What about the coffee?

What a tongue!

Where's she? StiII here?

I think she went downstairs. What's the matter?

Uhm... nothing. I'm annoyed!

That's not the way to get into someone's home.

You couId have toId her so, couIdn't you?

But, Gemma, I did it for you.

I thought you'd Iike it.

After aII, it's onIy about a few days, isn't it?

She said so, you heard her.

l couldn't talk to her the whole day.

You were always in the house.

The next morning...

Bye, Franco!

And now, do me a favour and go away!

Today! Right now, d'you understand?

What are you saying, I haven't even finished unpacking...

.. my suitcases and settIing down, that you aIready drive me away?!

This is not a nice thing, Gemma.

It's true that I toId your husband that I'd onIy stay...

.. for a few days, but it was onIy naturaI I shouId teII him that.

In order to proIong my stay, permanentIy,

I was counting on your heIp.

I expected you'd appreciate my tact.

Ah, so it's true! So you intend to stay here!

My husband won't agree!

You'II teII him you need company,

which is true, by the way, and he'II have nothing against it.

You're a chiId, my dear, you don't know Iife.

Husbands must waIk the Iine.

But what if he doesn't want to?

I'd know right away from whom that wouId come.

Can I have that abat-jour, pIease?

Thank you.

I repeat,

your husband Iistens to you, especiaIIy now when you...

.. have a perfect Iove. How weII you managed it!

If he doesn't want it, it'd mean it's because of you!

But I'm the one who doesn't want this!

I hate you, d'you understand me? You make me sick!

I can't beIieve it. We're such good friends.

Why shouId you turn me into an enemy?

I know so many things about you that, put with my back against the waII,

I couId do you a Iot of harm.

Why shouId that be?

You'd suffer, and I'd suffer, who wants to Iive in peace.

OnIy thinking that certain things couId happen...

That your husband might get to know...

.. everything that went on in my home, fiIIs me with horror.

I swear it.

- What couId you teII him? - Oh, no, because...

You thought you were doing me a pleasure, Franco,

you couldn't see how l was suffering.

You thought that Coceano amused me, but she was torturing me.

You thought she was our guest, and she was the master of the house!

Listen, l need money, and that's the end of it.

l've found the type we need.

Sure, an unlucky countess, impoverished, stateless, with no roof over her head,

like me, doesn't enjoy the credit the wife...

.. of professor Vagnuzzi does, with a house and a professor husband.

l'm asking you to come with me.

l'll introduce you to this gentleman, and you'll manage to convince him.

- What d'you mean? - Nothing!

Are you going to refuse being my guarantor?

I'm not coming!

I don't trust you!

AIright.

Then I know what I have to do.

Do as you wish.

- I'II taIk to my husband. - And what will you tell him? - Everything!

l'll tell him who you are,

l'll tell him you want to sell me.

He'II think you've gone crazy.

He'II throw you out Iike dirt.

l'll have all the time l need to talk to him about Vittoni.

He'II think you're mad.

Who knows!

- Even if I'II bring him proofs? - Proofs?

Liar! What proofs?

''My dear Luciano... ''

''.. is it true we won't be seeing each other tomorrow?''

''Your Gemmina is dying for the desire of... ''

It was onIy a copy. Rest assured.

The originaI is in a safe pIace!

Awaiting mister Vagnuzzi!

- My dear! My dear Renzi! - How're you?

Great. This is mister Renzi, my dear.

- I'm sure you'II become good friends. - GIad to meet you.

PIease.

- We'II meet this evening as usuaIIy. - What are you saying? Aren't you coming?

I toId you it's up to you to convince him!

- Where shouId we go? - Wherever you wish.

I'd prefer somewhere far away. As far away as possibIe!

My son has advised me to come to ItaIy,

to see it's artistic beauties,

- but now, that I've seen you... - Is it reaIIy necessary for you to speak?

No. It's not necessary.

- But, I'd have preffered... - PIease.

D'you know any good pIace around here?

- No. - Then, Iet's put our trust in chance.

I beIieve a Iot in chance.

The Iuck of having met you.

And d'you caII it chance?

But... aren't you a friend of that sham countess?

A friend!

I hate her!

I've aIso found her rather unpIeasant.

I think she'II keep aII the money for herseIf,

isn't it so?

Don't say anything anymore. PIease!

But you're reaIIy pathetic!

SeriousIy, won't you even give me IittIe smiIe?

Listen, it's not for a IittIe smiIe,

and not for Iistening to the story of my Iife...

.. that you are here.

So, pIease, Iet's end this.

- Let's end this right away! As soon as possibIe! - I'm afraid I don't get it.

Are you that unhappy cIose to me? Then why did you come?

I can't teII you that. You wouIdn't understand.

I beg you, Iet's not Iose our time taIking!

If a moment's pIeasure for me, means...

.. a tragedy for you, Iet not taIk about it anymore!

- What? You're going back? - Of course!

- Thank you. - You needed that to smiIe.

It's your first time, isn't it?

Yes.

I thought so.

I dind't have any Iuck. It happened too quickIy.

I'm sorry.

But you'II get used to it. You'II see you'II get used to it.

''You'll get used to it! You'll get used to it!''

''You'll get used to it!''

''You'll get used to it!''

''You'll get used to it!''

''You'll get used to it!... ''

Hey, Gemma! Gemma!

Big news!

Big news, Gemma: I've won a contest!

I'm the first! I'II chose Rome, naturaIIy!

- What does it mean? - What does it mean?!

It means we're going to Rome, d'you understand?

We onIy have to wait for the University to caII.

A matter of days.

Oh, no! How stupid of me! In'36 I was in Norway...

.. and from Norway to New York. Uhm... I have such nice friends...

.. in New York, the Matarassos, they have such a Iarge fortune.

you don't happen to know them, do you? AIright.

I managed to get to Paris in time...

.. for the ''Grand Prix'', and to accompany...

.. Prince Groskoff to Capri. Uhm, the poor souI,

he aIways said his Iife without me was Iike a desert. A desert with no oasis.

He's dead, the poor darIing!

And aImost in my arms!

The family had already put his will in custody.

I remember he had rented, Via Appia...

.. count AIIegri's viIIa, another good friend of mine.

I'II introduce you to him, Gemma, you see you'II Iike him very much.

WeII, you can say you're very Iucky to have me with you, in Rome.

I bet you don't know anyone, do you?

WeII, exactIy as I thought, but I'II be there.

l know everybody, and everybody knows me.

l'll open for you doors you don't even imagine!

Closed circles!

Then, Gemma, you'll see the shops in Rome are something else than here!

And the cinemas! There are so many of them...

And we'll go out every evening, won't we, Vagnuzzi?

When you have such a wife you must let her be seen!

The romans just don't know who's on her way there!

And we'II aIso make a Iot of conquests! Yes, Gemmina!

No? Why don't you eat?

Come on, Vagnuzzi, don't puII that face!

Eh, I'm here, and I keep my eyes open!

WeII, I might not exactIy be what they caII a madre nobile,

but you have been so sweet to me,

that I don't know what I wouIdn't do to see you happy!

lt'll be splendid!

We'II be together, for ever. We'II never seperate.

Enough!

Enough! Enough!

Open!

Open the door!

- I see you're Ieaving? - Of course! We're going to Rome, no?

Go away!

What?

Look,

or to Rome, with you, or at the PoIice!

Go away or I'II turn you in! And you know why!

Try!

l say! What are you doing? Have you gone mad?

What are you doing? He's mad! In prison!

That's where your Gemma shouId end up! In prison!

IncredibIe! One couId die this way.

It'II cost you dearIy, distinguished professor Vagnuzzi!

I've got my medicaI certificate!

5 cms more this way, and she'd have touched my heart!

I'm not at aII afraid of you!

Now I'II show you what I'm capabIe of.

Laughs best who Iaughs Iast!

You shouId see those promissory notes, I'm teIIing you!

I'II have you thrown out from the University!

Have you understood? 50,000 lire, that's what you must give me!

More! A miIIion!

A miIIion, if not I'II go to count Sertori!

You're rotten! You're aII rotten!

The entire ItaIy is rotten!

D'you want to know what your Gemma did with mister Vittoni?

And now you... away!

Go! Go away! Go away!

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