All language subtitles for Prigione di donne (1974)

(lively music)

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- [Voiceover] Isn't it warm, Martine?

- Stop running!

- [Voiceover] If you can catch me!

- Wait up!

- Breslin!

- Hey, what is it? Alright, come on.

You must do as you're
told here, understand?

The sooner you learn to obey us,

the better it will be for you.

Now, take off your clothes.

I said, take them off. You
must do as you're told.

I'm warning you. It's important.

Did you hear what I said?
Take off your clothes.

And get ready. Have to take off the skirt.

- [Tall Nun] Open your leg.

- But, you don't have to.

- Hey, these are the rules.

- [Tall Nun] Open wide.

- [Nun In Black] Hold still.

- Why this inspection?

- Things can be hidden, you see?

Some girls hide stolen
jewelry, hiding drugs.

- When they're racing the
chariots at high velocity,

I'm sure it was difficult,
especially at the coast.

But, the riders knew
they had to have a horse

on the inside that was much stronger

to make the others keep in line.

In fact, they had to have
a horse on the other flank

that was much lighter
that was faster, you see.

To be certain they kept
in line with the coast.

- [Nun In Black] Nothing?
Alrighty, it's all over.

Put on your clothes.

If you think we enjoy
doing this, you're crazy.

- [Martine] I wonder what this cave was?

- [Girl In White Coat]
Doesn't look important to me.

Come on, there are more interesting
things beyond that hill.

- [Martine] You go ahead,
I'll be with you in a minute.

- Martine, it's this area.

This is where they discovered the ruins

of the Villa Marcentio.

Come on!

Martine.

- No, wait.

- [Girl In White Coat]
What's so interesting there?

- There's no use in just looking.

The real kicks are in doing it.

- How about it, honey? Come
on, give it a try with us.

We could take a trip.

- Yeah, it would be great.
You can believe it, dear.

Wouldn't you like to see God?

- It's marvelous, I tell you.

It's just what I call a triumphant exodus

into the promised land of Buddha.

You can see the light,
it's a beautiful light.

Such colors, red, pink, blue, green.

- Martine, aren't you afraid?

- Why not? I'm not.

- Please mother, help me. I've seen.

- Martine!

- [Man In Brown] I've seen Christ.

- You're mad to stay. I'm afraid.

- [Martine] Do you feel ill?

- [Redheaded Woman] Leave him alone.

- You needn't be frightened
with us. We're your friend.

- Martine, I'm going to leave.

- [Martine] Can I help?

- [Redheaded Woman] Leave
him alone. He's my baby.

- [Policemen] There they
are. Alright, get up.

- [Voiceover] Hey, why
don't you leave us in peace?

- [Policeman] Come on now, hon.

- [Martine] But I.
- [Policeman] Get up.

Come on you six.

- Leave me alone. Leave me.

Please, you're making a mistake.

I don't even know these people.

I just stood there (mumbles).

- [Policeman] Yeah, sure. We
haven't touched meth all day.

- [Martine] It's the truth.
I was just stopping by.

I was innocent. You're making a mistake.

- [Policeman] Alright,
stay still. Get in there.

- Listen to me, please.

I have a right to know what I've done.

- [Policeman] Calm down.

- That man was feeling bad.

- [Voiceover] Patrol!

- [Voiceover] Giovanna, look out!

- [Giovanna] Let me go.
- [Voiceover] Run, Giovanna.

- [Giovanna] Let me go.

- [Voiceover] Let's separate! Run!

- [Voiceover] The courage a river.

- [Voiceover] I know.
We've done that before.

- [Voiceover] Hey hippie!

- [Voiceover] No, leave him alone.

- [Voiceover] Hey, another one.

- [Voiceover] Never mind.
Let's grab the girl.

There she is.

Hey Richie, stop that girl.

Right, we'll get her, come on.

- [Policeman] Come on.
- [Gianna] No. Let me go.

- [Policeman] Alright, inside you go.

- [Giovanna] No! Let me go.

- [Policeman] I wonder
what those other guys went.

- [Voiceover] We'll get
them some other time.

We got their leader.
That's enough for today.

- So, you don't know her.
How come, then tell us.

What were you doing there, signorina?

With those hippies in the cave?

I mean, at least, they are your friends.

Tell me, what are you doing here?

Instead of wandering around the world,

why don't you stay in your own country.

(mumbles) Good excuse.

Go back to France. Go home
and stay with your parents.

As good girls that come
from good families.

I've been pretty good to you, signorina.

You don't realize how serious this is.

I want to know where
you're getting your dope.

You're making me tired.

- Excuse me, sergeant.

- [Sergeant] Yes, what is it.

- We found these in her pocket, sergeant.

- Wait outside.

Well, can you explain this to me?

Wouldn't it have been better,

if you stayed with your parents, idiot.

- Signorina, you got to get up.

The magistrate's arrived.

- How many days have I waited?

- You don't know how many
days, you've been here?

Have you lost count?

You see, that before long,

you wouldn't be having to ask anybody.

Because you'll be counting the months,

the hours, the minutes and
even the seconds, darling.

It's three days now. Come on.

Hurry up. Make it snappy.

The magistrate is waiting.

You alright? Are you ready?

- [Magistrate] Sit here.
- [Nun] Go.

- I told you to sit.

We have here, a lawyer, for your defense.

Unless you have one of your own.

- [Lawyer] You must
face this with courage.

- [Martine] I beg your pardon?

- With courage, signorina. With courage.

- Your name is Martine Fresienne.

Born and raised, France.
Well, champagne's very good.

Your date of birth, April 4, 1948.

So, you have an hour,
you sent to the north.

Alright, signorina, alright.
Tell us your story, signorina.

- Courage, signorina. Tell us how it went.

- I know nothing about those drugs.

I've never seen those
kids, never in my life.

One of them seemed ill,
and all of a sudden,

the police entered.

So, they brought me to the police station.

The drugs they found in my
coat. Someone put those there.

That's it, signore.

You see, those drugs, I
never in my life seen.

They're not mine.

- If I would say, signorina, listen.

I thought you had courage.

That is to say, well, you
see, if those drugs are yours,

really, and you may not,
you can not submit any proof

or you're unable to
demonstrate to the contrary,

then it would be better for you,

without guessing, you understand?

Do tell us the truth.

Admit it all in front of the magistrate

and of course, in front of me.

No doubt, you can see,
I'm sure you understand.

The tone would be simpler.

- What should I say? They
put the drugs in my pocket.

I know. I already told you it's as I said.

It all went exactly in the manner,

which I explained, signore.

- Yes, yes. I'm certain.
but haven't you anybody

who can prove it, who might be a witness

that the drugs we found in
your pocket, were not yours?

- But, it's not possible.

- Not possible, why not?

- Well, signore.

Do you know anyone, who can
tell me what's in your pocket,

right now, exactly, at this very moment?

- Give her the fairest sentence.

- But however, signorina,

You have to have courage, you know,

you have to have courage
because if by chance,

you're innocent, sooner or
later, the truth will come out.

You have nothing to fear.

It's only a question, how shall I say,

it's only a question of waiting.

Of waiting and of having true faith.

It'll all end in justice.

- This way.

Move fast. Come on.

In here.

- [Voiceover] That's
not your bunk. Get up.

We don't mean nothing in here
and you're less than nothing.

Explain it to her somebody.

- Alright, because you're the
last arrival in our pig pen.

- And whether it's in here
or in the open for you, kid,

you're the last fucking broad
to come into this place.

So, you don't count.

- [Blonde Woman With Flowers
In Hair] She's right.

- [Martine] I haven't said anything.

- And you'll never say anything.

- No need to, baby, we know all.

- Ah, yes. My love, my dear.

Here we have an information
service, a great find.

You're the refined kind, so what?

Just because your name's Martine

and you come from France,
you got French airs, huh?

- [Martine] And you know something

about French society
women, don't you Susana.

- Thanks.

My old man destroyed his life,
fucking that French cunt.

She left him, when his darn money ended.

He spent it all on her
cunt. Damn it, lousy cunt.

While the poor darling and
my mother laid suffering,

can you just imagine it?

- Come on, your old man had
no money, you know that.

Hey, Susan. Stop telling
the same old story.

- I'll bet you that your mother suffered

only for you, I'll bet you.

- She did not. That bitch
at French, I tell ya.

And you better not make
bets and jokes of this sort.

I warn you.

Hey, you, that's staring at us

with that face, like you were an angel.

Listen, Martine dearest,
you deserve to be put

in a pig pen like this, you know?

And the reason, my dearie, it's better

because it's here we must be, darling.

On the earth, not flying in the clouds,

like the hippies want.

You like to take drugs, huh?

Alright, you have to have those then.

They did right to fling you in prison,

my dear, in this hole.

Just for a change, once in a while, right?

Because you know in these holes,

they only throw poor fish like us.

You don't like that, huh?
You better like it, then.

That's what I say. Take my story, okay?

You don't think for a minute,
I'd have been a cheap hustler,

if that skunk of a man,
wouldn't have left us.

Two kids with their mother.

And you can bet your
ass, if I didn't hustle

to protect my kids from hunger,

I wouldn't have been
thrown here in this hole.

And Grazia, they beat her up, by God,

in the middle of a gutter.

You see, if she had dope,

she wouldn't have been demonstrating.

How about Gianna? She manufactured angels.

You know what I mean,
don't you? Abortions.

You can be sure now that if she were rich,

she would have abortions
for herself, instead.

And probably gone to
mass on Sunday morning,

like a good Catholic.

- [Grazia] That's enough of the
sermon. We got to get going.

- [Susan] Yeah, let's go.

We don't want to miss the
dance out in the yard.

- [Gianna] Big deal.

- [Susan] Well, it's
better than to be locked up

in this toilet.

This is what you call living
together like rats in a sewer.

- [Gianna] (sings)

Look honey, you'll have
to learn to be reconciled.

God, help you.

- [Grazia] You take a bath
under the showers, once a week.

If you like it or not, mass bathing.

The other toilet comforts
incorporated here.

- Hey, ain't you ready? Come on, hon.

- [Gianna] Who is it?

- It's Isabelle. Wait, we won't be long.

- Got a new cellmate huh?

- Come here. You French twat.

How do you like it? You
look at her and that's all.

- [Isabelle] Nice.

(lively music)

- [Susan] Hey Frenchie,
come on and dance with me.

They'll give us a prize for
being the best dance couple

at the ball, you know?

- Not a chance, the best
couple at the ball is us.

And the prize is mine.

- They told me, she was a drug addict.

- We don't care what it
is, I'm sure it's drugs.

- And she can afford to buy it,

because she has a rich papa, they say.

- Oh, go on. Why don't you dance? Dance.

- [Voiceover] We've got
a new babe here girls.

- Hey, if I were you,
I'd keep my mouth shut.

You're not going to talk to her

or touch her, you hear me?

And you listen to me, don't
touch any of these shits

in this freaking place, they're no good.

Neither us nor the guards, you hear?

Anybody tries anything
funny, you come and tell me.

- Have you no partner?

- I don't give a darn. T

hey're afraid of getting involved

for demonstrating on the
streets for the poor.

So, when I feel like dancing,
I dance by myself here.

In the toilet or in the cell.

- [Voiceover] How am I doing? Amazing?

- You're good. Good.

- Take it easy now. You're the rules here.

- [Voiceover] Sure.

- Stop the dancing now.

- No, let them have fun.

- [Voiceover] Oh, great.

- [Martine] Signorina, signorina, listen.

- Oh, come and dance. You
look like Mother Goose.

- Oh, no don't.

- Signorina, so duty calls.

That day at the grove field,
when we were arrested?

You were smoking with your friends

and I was arrested by mistake.

- Can't recall, sorry.

- If you possibly, look at my face.

I even tried to help you, no?

- But you're older than I am.
There are ages between us.

What do you want from my life?

- Mother Ursula, offers her greetings.

Glad to see brand new faces
inaugurating a promotion today

to head officer and director.

She finds you well-disciplined,

more on the day than
ever, that's good though.

- For what might you get you?

- You see, your highness,
he used to beat me up,

I mean, my husband, you know.

So, one day, with a big
hammer, I crushed his skull.

I'm just sad they caught
it, your highness.

- Murder, my child. You
murdered and you'll suffer.

And you?

- Contraband. But, I had to a party too.

There were six of us to feed.

- Contraband. And now, you
just have to suffer, my child.

You have to pray. Expiate
and be good, you see.

And penitence.

- Holy mother, I wasn't
guilty of anything.

I was innocent.

- Innocent? Why do you all say,

you were innocent, when you are guilty?

- Mother Bridget, she knows I'm innocent.

You'll tell our Holy Mother, won't you?

- When you have to address
me, you mustn't call me,

Mother Bridget, but
Santa Bridget, of course,

you are to know, she was a saint.

- There are more than six
cookies, are you fed tonight.

How many of us are going to
pray and give our thanks.

- [Voiceover] In the chapel?

- In God's house.

- [Voiceover] Those who
can will pray in Latin.

(speaks in foreign language)

Silence. We will pray together, silence.

(speaks in foreign language)

- Martine, if you don't
pray, they won't like it.

- Yeah, pray. You can even
fake it like I'm doing.

It's better to pray, she
won't find you after.

- I have to pray? But, I don't care.

- What did you say, you?

- Who? I don't know. I'm praying though.

- Fine, my child. Let
me hear you pray alone.

- Ave Maria. Gracious in praise.

Santa Maria, Mother is Davey well?

(laughs)

- [Voiceover] Silence.

- [Susan] I can't remember the words.

- That is all.

Ave Maria, gratia plena.

That part goes. Santa Maria, mater dei.

Is that clear? Do you know what it means?

- No.

- Mater, I think certainly, you know.

- [Susan] Yeah.

- Then, tell the significance
of the word Mater.

- I sure can tell you because I know.

Can you Mother?

- You're an insolent girl.

Ave Maria grazia plena. Dominus tecum.

Benedicta tu in mulieribus,

et benedictus fructus ventris tui, Iesus.

Santa Maria, Mater Dei.

ora pro nobis peccatoribus, nunc,

et in hora mortis nostrae. Amen.

- How old is she?

- 200.

- [Brunette Woman] Really?
- [Gianna] Really.

- (mumbles)

- [Grazia] Here. Pass it to Isabelle.

- [Voiceover] What is it?
Hey Isabelle, have a look.

- What is it? Here, we
decided to be nice and cozy.

- [Voiceover] Got lots
of cigarettes to sell,

but I won't carry them around with me.

- [Voiceover] I liked it. Wellmade.

- The wine that's too sweet, I think.

Want to make a donation to her.

If only I could see her face.

Wouldn't you all love to be
there? When she receives?

- [Voiceover] What are you doing?

What is this? Mocking
your rosary, how dare you?

- [Grazia] No, it isn't true.

- No, you are a liar. I know your kind.

Give me that cigarette. You
know what we're going to do.

You are a filthy mind.

- They are just cigarettes!

Leave me alone, leave me alone.

- [Voiceover] Give it to me.

- Let me go.

- Open your hand.

- [Grazia] Let me. You're
hurting me, stop it!

Put me down. I didn't do anything wrong.

Leave me alone. Stop, please.

- [Voiceover] Who are
you calling bitch, huh?

- [Grazia] You, you, you, you'll be sorry.

You're worse than me.

- [Voiceover] There, I've got you now.

You're going to be in a cell by yourself.

- [Grazia] Oh, my arm.
You're hurting my arm.

Get off me. Somebody please!

I did nothing wrong.

Leave me alone. Leave me alone.

You're nothing but the shit.

- Come on. We fix her.

We put her in solitary.

- Solitary, no! Not
there, please, not there.

- You have to be, you wanted
to be alone, didn't you?

Alright, we'll leave you alone.

- No, no please! Please!

- Silence now. I would never
have thought in all my years

I'd be assisting or seen such as this one.

What resides in her
rosary? It's very wrong.

- Calm down, will you stop?

Now, you're fighting us.
You are making things worse.

Now, put this on and calm down.

Listen, to me my child, my good.

Down now, come on down,
stop it. That's better.

Remember, there is no use
screaming or yelling for help.

You stay here like this until
we get out to release you.

Here, take this roll.

If you find me a long time.

- What have I done?

- They didn't put her in
solitary because of a cigarette.

They don't give a crap
about what happens to her

and do you know why?

They just don't care.

- [Martine] But why?

- Well, that's simple kid.
Because she's political.

- Grazia's one, who suffers in her heart.

She's one that on the surface it seems,

she don't give a darn, that's
why they enjoy her suffering.

- You ask me the reason,
they're all against Grazia,

is because she's said no all the sisters

and no to the guards
and all the attendants,

even the doctor tried to make it with her.

(dramatic music)

- [Voiceover] Hey, we got to hurry up

before they turn off the water.

There won't be any more left.

- Yeah, how come?

- You know, because in
ways, we're all soaps

inside our body, just
get all the lights away.

- Darn are you funny.

- Nice and smooth.

- Well, what do you want?

- It's not allowed to feel.

You're supposed to stay
away from one another.

- Then, what you touching me for?

- I'm not touching you. I'm
separating you from her.

You know the rules.

- Oh, boy. We can't even wash in peace.

Remember dear, no touch.

- [Voiceover] Come on,
quit hogging it all.

- [Voiceover] Hey, look at Archidea.

- [Martine] Why is she doing that?

- [Susan] Well, can't stop
you from touching yourself.

- But why here?

- Some girls, it makes
them horny in the water.

What you thinking about
Archidea? Your man, huh?

- I said, come on piggy wiggy
pig again. I see you, come on.

- [Martine] Leave her alone.

- [Voiceover] She in lust, Sister Kalina

- My own doing. Please
forgive me, Sister Kalina.

- Are you really in love, my Archidea.

- Please forgive me. Please forgive.

- But why is it all canceled out?

- Hey Martine, you don't
think they only censor

when you go to the cinema?

Guess why? Why do you
think they canceled it?

Because it might have said
things to you, you know.

But who can say that it's you.

It might have been that case of mine

or even a story of one of these others.

- Or there's more news they blot out

than the ones they permit us to read.

- Then this means that
no one here can possibly,

know the news of the world.

If they're alive or they
can be dead. You got it?

- Exactly. Tell me what
is it that's worth to know

of what happens on this planet.

- Pray you're right.

- Right or not.

What's the difference as
far as we're concerned?

- That's the trouble. You just don't care.

I know my friends, you're wrong.

You mustn't allow yourself
to become passive.

It's dangerous.

- Hey Martine, you ain't
half on a thing here.

When you went, did they
take off your clothes?

And nobody gives a crap
of the dignity inside you,

they undress you that too.

And they take your watch also.

Because our time don't count over here.

What counts is their own.

- But I don't belong here.

I haven't done anything against the law.

It was a terrible mistake. I'm
really innocent, I tell you.

- You know something? I believe you.

You're innocent alright.

I can see it in that nice, clean face.

Sure, so they made a mistake this time.

But, there's nothing you
can do about it, kid.

Unless you can prove you're innocent.

So, you just got to grin and
bear it like the rest of us.

That's how it is.

- Susie's right.

Listen to me, have you
tried writing letters?

You get it out of your system.

- [Martine] To?

- Anybody. It's the only way to do it.

Oh, I've written so many letters, dear.

Eight to the president. Lot of paper.

I never got an answer,
but it's so good to write.

I got it out of my system.

- Well, I've only written to those I know.

I've only written to my parents.

- That's not bad.

- [Martine] I'm an only child.

- It's better alone than
in bad company, dear.

- [Susan] Yes, that's a good one.

- Martine Fresienne? You've got visitors.

Come with me, they are in
the waiting room. Come on.

- Martine is innocent.

- [Gianna] How do you know?

- I would bet a million dollars on it.

- [Voiceover] This is a
special news bulletin.

Another counsel meeting has
been called this morning

by the Minister of Interior.

Come solely the.

- Yeah, cut it. Cut the news bulletin.

They're just a bunch of lousy fakes.

All those stinking ministers.

(hums)

- Nyeh. I'm not falling like some of you.

- ♫ Bella chock of gin.
Trala la lala la la la la.

Oh that bella chock of gin.
Trala la lala la la la.

When I was 16, I had a silly boyfriend.

He was my dearie, darling of my heart.

When I was 18, we finally got married,

vowed to me dearly, swore we'd never part.

Well, nine months later,
we had a bouncing baby. ♫

- Patilling, did you hear?
Why does she scream like that?

- I heard she had an abortion,
when they arrested her

and then, they brought her here.

They don't even try to medicate her.

- [Martine] But why?

- Because they think it ain't true.

- It's nothing serious,
you'll see head, face,

and nose and false, yeah.

- Pain and suffering, girls
are too dull, my child.

You must experience our suffering.

- [Voiceover] You don't understand.

- [Nun] We must suffer.
- [Woman Lying] But, do I?

- [Nun] Behave.

- Stop it. Stop it.

- ♫ Oh, that's bella chock
of gin. Trala la la la.

It's a bella chock of, bella
chock of, bella chock of gin.

- (screams) Please. Please help me!

I can't stand it. I can't.

I'm going to die. I just want to die.

I just want to die. (moans)

I just want to die.

- Hallowed be thy name. Thy kingdom come.

Thy will be done. On
earth as it is in heaven.

Give us this day, our daily bread.

And forgive us our trespasses,

as we forgive those who
trespass against us.

And lead us not into temptation,

but deliver us from evil, amen.

- Be seated.

- Let's imagine girls,

that we're about to be fed
good, old caviar today.

- Caviar. Caviar and love and you know it.

Remember the caviar,

you guys think there was the worms in it.

- Drop dead.

- Listen girls, you don't have to talk

about worms to turn your stomach.

Eating this lousy shit,
they give you is enough.

- They have their caviar.

- And just who do you
think you're speaking to?

- Answer Sister Maria.

- Just no one.

- [Voiceover] Hi, there's
plenty of food girls.

- [Susan] Well, the food's still lousy.

- [Voiceover] Silence. Silence.

- Go over and sit. Go on.

- Grazia, tell us what
they've done to you.

Did they beat you?

- Tell us everything. And
tell us how they treated you.

- [Voiceover] Stop it. Sit down.

- Hey Grazia, maybe you don't understand

what satisfaction you're giving them.

- Why did you have to come and eat?

- Will you shut up?

- What did they do?

Did they cut a piece
of your tongue or what?

- What is it? That bad.

- [Gianna] Hey monitor,

did they have double
portions for our Grazia?

- [Voiceover] Why?

- Because I know she
was beaten in that cell.

- [Voiceover] Silence.

- What's in there?

- [Grazia] A mouse.

- [Martine] A mouse?
Aren't you afraid of it?

- Why, he's my friend? We met in the cell.

He was my companion in the
cell. We slept together.

I thought I'd bring him to dinner with me.

- [Voiceover] Hey, where is it?

- Did you find it? Please get it.

- Here, pass it.

(sings and claps)

- [Voiceover] Get off those
tables. Did you hear me?

Get down from those tables. Get down.

- What's going on here?

I'll ask you again, what's going on?

- [Susan] We're protesting.

- [Mother Superior] Against what?

- The cook. Because she
made us a lousy soup.

- [Mother Superior] What's
wrong with it? Well?

- [Susan] Why don't you
taste and see for yourself.

- It's very good. It ought to be.

She cooks the very best ingredients.

(laughs loudly)

- [Voiceover] You hear that girls?

She puts the best ingredients in the soup.

(laughs and claps loudly)

- You've all given up, I see.

But, I won't give up to them ever.

You, you Susan. You think
I haven't understood you?

Why do you keep those baby
shoes always near you?

Why the packages of spaghetti,

the tomato cans you're
saving and the bread.

And you, Grazia, what books do you read?

What have you learned?
What do they teach you?

And you passing your
time, singing silly songs.

My very best wishes to
you, but you're crazy.

- We are not crazy. So,
none of your preaching kid.

Because we've been put to the test.

And because you don't
know anything, comprende?

Don't be such a smart ass.

And if I don't want you to,

you might not even sit
down in here, you know?

You might not eat or sleep or fart.

- If that is where I
rest. I wish myself there.

If I begin to cry, I'm not allowed to?

If I feel like crying, I'll cry

and if I can't cry, I'll scream.

I want the same things you
want to get out of here.

Because I don't want to
smell this odor anymore.

It's terrible. I'd like
to be out in the sun.

To be outdoors, daily.

- Here you have the sun.

They bring you outside in the morning,

as you know, in the courtyard.

What more do you want?

- I want to get out of here.

Of course I know it's not simple.

I don't want to get to be used
to stagnant and finish here.

I don't want to be an embassy.

I don't want to grow a living in here.

Grow old. Living this way, no?

I don't know how to hate.

It's not my nature to do it to anyone.

I don't know how to hate. Honest.

- Martine, the world's been
through without your kind.

People don't care. They don't even hear.

They won't listen.

- They're going to, I tell you.

- [Gianna] If they refuse?

- They have to listen then.

- But you're nobody. You're only a number.

- You're not only a
number. Not only a number.

My name is Martine. And
you wear that, didn't you?

Martine, Martine, Martine! Martine!

Martine! Martine!

(laughs and claps loudly)

- Have you seen the
success you had Frenchie?

They opened up the portals of the palace.

They're saying you excuse us.

And they'll pin a big
decoration that reads,

victim innocent on your chest.

Hey Martine, smarten up, will you, kid?

(lively music)

It'd be nice to be there.

Just think, kid, way up there in the sky.

Where'd you like to be taken?

- Far away. Anywhere would be welcome.

- [Susan] Uh oh, there's
my boyfriend, again.

See him up there?

- [Martine] Don't look at him.
We might get into trouble.

- I ain't afraid. Watch this.

- [Martine] Susan.

Stop it. You'll get into trouble.

Susan.

- [Susan] Don't look at
me, you fool. Look at him.

You see him?

- Yes, but it's not right, you know.

You're making him suffer.

- [Susan] Exactly. I
want them all to suffer.

And make them suffer. Don't play.

- [Martine] He's not to
blame. He's only a guard.

- [Susan] He represents the law.

- [Martine] It's a pretty
naughty thing to do.

That's enough now.

- [Voiceover] That's
enough for today, Susan.

- (laughs loudly) How did
you like it, you fake?

Did you have a nice lay?

Stop that. All these sons
of fucking bitches ought to.

Damn it, kid. Don't we suffer
here, don't we drop dead?

And they don't give a
good god damn if we do.

You know how long I've
been rotting in this hole

without even having a trial in ten months.

- [Voiceover] I've been here 18 months.

(women laughs and yell)

- [Voiceover] Isabelle.

- Alright.

No. (laughs)

- [Voiceover] Come down here.

- [Voiceover] Take it in the back.

- [Voiceover] Take your clothes off.

- Come on, get them off.

- Here, take it.

- [Voiceover] You're doing fine, Isabella.

- [Voiceover] Take it off.

- [Voiceover] Take it off.

- [Voiceover] That's the
way she used to do it

in the nightclubs all over the world.

From Lisbon, Isabella.

When you dance in the big
nightclub in London, in Paris.

- [Voiceover] How do you know that?

(cries)

- [Voiceover] What's all this about?

What's going on here? What's going on?

- [Voiceover] What happened
to her? Did she faint?

Did she faint or not?

- [Voiceover] We don't know.

We are just enjoying
ourselves for a change.

- Let me through here. I have a doctor.

Did you hear what I say?

- Are you alright?

- [Isabella] Leave me
alone. Leave me alone.

- [Voiceover] Don't worry about her.

- Don't touch me, Martine.

- [Voiceover] Are you going to let us out?

- [Voiceover] Please, sister.
This is our recreation hour.

We're just having fun, that's all.

- [Voiceover] Oh, this is
your idea of having fun?

- [Voiceover] Isabella,
was doing a nightclub act.

She's a great dancer.

- [Voiceover] Yeah, she's terrific.

- [Voiceover] She's grateful, you mean.

- [Voiceover] It was on a hot summer day

in the month of August,
when we took to the sea.

It was excellent weather for navigating.

None of the members on board
our ship had ever set foot

on that faraway
archipelago, but the desire

for adventure had canceled
our fears for the unknown.

- [Voiceover] Wouldn't you
like to be there, Gianna?

- [Gianna] It'd be nice.

- [Voiceover] Our friends kept us compnay

on an old fishing boat.

Soon, they left us and we were on our own.

The stakes were high, so we
had to navigate with prudence.

- [Voiceover] It's too
much. Imagine it, girls.

Isn't it nice?

- [Voiceover] None of
us knew what to expect.

Our love for the ocean and
our eagerness to discover

its mysterious depths, made it difficult

for us to contain our excitement.

- [Voiceover] It's fantastic.
It seems like I will sail.

- To think, you'll never be there.

It's been years, since I've seen the sea.

- [Voiceover] It was the call of the sea.

The beautiful skies above
and the clear waters

beneath us that set the scene.

And seem to reassure us,
that what we were soon

to experience, was to be
nothing less than wonderful.

- [Voiceover] Am I never going
to go near the shore again?

I can't stand it. It's too much.

- I've got to get out of here.

I want to feel I'm not forgot.

If they'll let me out of here,

because I would have bet it
felt great to be ready though.

- [Voiceover] A nice time
with my grandchildren.

- [Voiceover] Hey, you keep order here.

Sit down, girls. Sit down.

- [Voiceover] You're
crazy for Christ's sake.

- Alright now, settle down.

- Lida said, they operated
on her in the infirmary.

It's their fault, she's dead.

They didn't treat her on time.
I know they murdered her.

They could have saved
her. They mader her die.

They're murderers!

- I am not a pig.

- [Voiceover] Take your
medical hands off me.

You touch me and I'll bang you.

- Let go of her.

(yells)

- You'll regret this.

- [Voiceover] Undress her.

- [Voiceover] Stop. You leave her alone.

- [Voiceover] Let me down.

- Help. Help

- [Voiceover] Put her down. Let her go.

- No. Please no.

- [Voiceover] Take her clothes off.

- You can't, I tell you.
You can't undress a nun.

It's sinful. You can't.

- [Nun] No!
- [Gianna] I got you now.

- Don't.

- Put me down. Put me down.

- [Voiceover] Can't you
stop them. They've gone mad.

- [Gianna] Take these darn rag off.

- Please.

- You're afraid to undress her.

- [Voiceover] Come here, you.

- [Voiceover] Hey, run
from me. Go on, beat it.

- [Voiceover] There, I
got at her pants up lot.

- [Voiceover] Look at her.

She's made just like us. See?

- Naked stuff, naked nudes. Yeah.

To give the monitors and
the sisters a good thrill.

Oh, they like you honey, because
you're a nice little lay.

You're a nice twat. How
often do you think of men?

How often do you think of men?

- You're just a bunch
of bitches, all of you.

Got a taste of your own medicine.

You're nothing but a slut.

- [Women] You slut.

(dramatic music)

- [Voiceover] So crazy. Don't
let them witches get away.

Stop them Grazia.

- [Grazia] Come here, you.

- You damn whores, where
you bringing her? Come back.

- [Voiceover] Hey, pull
us out of the cell, hurry.

- [Voiceover] I got the
keys. Just a minute.

Hold your horses.

- [Voiceover] We're
coming out. We're free.

- You're free.

- I just can't believe
it. We're getting out.

- Free, free!

- Wait a moment. Get in there.

- No. I'm not going there.

- Get in there, I said.

- What do you want from me?

- Now, you listen to
me. Do you remember me?

I asked you once before in the courtyard.

You were singing and dancing.

- [Redhead Girl] I have a bad memory.

- You mean, you can't recall?

You went with me. You said,
what do you want from my life?

I want you to speak. I want you to speak.

Speak. You must tell all you know.

Everything. Everything.

You must tell the truth

that I have nothing at all to do with you.

I've been here, put in jail, and you

and I are the only ones,
who know that I am innocent.

One of you put those drugs in my pocket

and if it wasn't for you,
I wouldn't even be here.

You are supposed to tell
them, say I'm innocent.

I've got to get out of this awful jail.

Can you understand me?
You bitch, can't you talk?

Come on, speak up. I'm innocent.

Stop it, you damn fool. You're
making it worse for yourself.

- That's our maid.

- Get your hands off me.

I'll see you'll get
punished severely for this.

All of you, let go of me.

You're out of your minds.

- Bastards. No, my arm.

- Come on, Grazia. Leave
the bitches in there.

- Open that ear and
you scare for a minute.

- To the main office.

- Stop you (mumbles).

- To the main office. Just follow me.

- What do you say, we
burn the whole place down.

- [Susan] Yeah, fine.

- [Voiceover] That secretary is alive.

- These are all the made
up stories about us.

- We'll burn them, honey.

- [Voiceover] We have to
burn everything, girls.

There has to be nothing left
when we leave this hole.

- Oh, look, a telephone. Now,
who should I telephone, girls?

Who do you suggest I phone?

- [Voiceover] The president.

- This is my first happy
day I ever had in this jail.

- Operator. This is urgent.

Could I have our President
of the Republic, darling.

- She's really Mary Lou, (mumbles).

- No, you turd. Yeah, shit.

Okay, leave us a Prime Minister, turd.

Listen, signorina, do me a favor,

I've got to speak to his Excellency.

- Burn it, once and for
all, for all. What a fire.

Burn it. Well, just look at it.

- [Isabelle] Burn it, hon.

- No, you old turd.

(rambles)

- To whom are you
speaking? It's only Grazia.

Grazia. Grazia.

- [Voiceover] Hey, Susana, you look

like the pimp squad queen.

- All you can find in
the middle of the room.

We'll make a nice fire.

- [Voiceover] For our revenge.

- [Susana] Yeah, for our revenge. Revenge.

Revenge, revenge, revenge.

Okay girls, the fire's started.

There it goes.

- [Voiceover] It's getting
higher. Be careful.

Let it bloody rise up top.

(laughs loudly)

- [Voiceover] Isn't it
the most beautiful fire,

you've ever seen?

- [Women] Yes.

- [Voiceover] Let go of all your rules

and yell to the world that we're free.

- [Voiceover] Wait a
minute, we're not free yet.

Not until we're out of here.

- [Voiceover] Yes, this
burns. Let's go on the roof.

- [Voiceover] If we yell good and loud,

somebody will hear us.

- [Voiceover] We'll tell
them it's so bad of people

to put us in jail like
this, as if we were slaves.

- [Voiceover] A lot of
us are really innocent.

We got to do something
before it's too late.

- [Gianna] Hey, there's a
bunch of people down there.

- [Voiceover] Where?

- [Gianna] On the roof, across the way,

they have a camera, they're
going to take our picture.

Hey if you have horses, check on us

on what we're going to say.

Help us.

- Tell the authorities, it
ain't going to stand it anymore.

Most of us here haven't even
been sentenced or judged yet.

And yes, they sent us here

and they treat us like beasts, you hear?

Tell all about us on television.

Tell our senators and our
dear President can't say

that they couldn't imagine
the terrible things

that happen in Italy.

(yells)

- Will you please repeat the words again

and move to the right.

(yells)

- Signore?

- Sure, make it sound. We
want to record what they say.

- Go back to your cells, all of you.

Alright, get ready. Richard, come on.

Power, power, power.

I order you to go back to your cells

without any resistance.

If you don't, we're going
to have to use force.

I'm warning you, go back to your cells.

(dramatic music)

- Let go, you pimp.

- Get your hands off me.

- You're mine, you fucking bitch.

- Get your hands off me.

- I'm letting them down, you hear me?

I'm jumping down, unless
you free everyone of us.

- [Police] Signorina.

- [Grazia] Don't touch me.

If you come any closer, I'll jump.

- [Police] Now, listen to me.

- [Grazia] No.
- [Police] Signorina.

- [Grazia] No.

- [Police] You go back to your cell.

Nothing will happen to
you, I promise you that.

- [Grazia] No, I'll
never go back to my cell.

Never. I'd rather go this
way, if I have to die.

I'd rather jump down the building

than go back to that tomb.

- Keep rolling. She's going to jump down.

- It's like real life,
maestro. It's not like before.

- No matter. Keep them rolling.

- Good shot, just for saying anything.

- [Grazia] Alright, I'm going to jump.

- Grazia, don't. It's not
necessary for you to die yet.

You're too young to die.

Alright, then, we'll go back
to our cells. Come down.

- [Grazia] No!

- Listen to me, Grazia.
You don't have to die.

- [Voiceover] Signora?

- Yes, okay, wait and see.

She's going to yell when she goes down.

- Don't keep us waiting. Don't do that.

- I tell you I won't, never. I'll jump.

- No, please, Grazia. Don't jump.

- On the roof.

- Please, God, no. Don't do it, Grazia.

- [Martine] No.
- [Grazia] Get away from me.

- [Police] Are you coming?
- [Grazia] No.

(screams)

(dramatic music)

- They treated us girls pretty
bad, worse than the others.

As if we were more dangerous, too, huh?

They're not going away like we are.

- [Gianna] We're animals.
- [Martine] We're not animals.

- I'm wondering. About where
the freight expects it's going.

I think to some lousy,
rotten jail in the sea.

Yeah, to make us all get good and sick

with rheumatism, I guess.

I know it was going to be bad,

but I didn't think we'd
have it this bad though.

I don't think I was any
worse than all the others.

I did like anybody else, any
human being would have done.

(dramatic music)

- I've been thinking what we've done

to be treated like this, you know?

You can bet I'd do it, all over again.

- I was thinking about the new prisoners,

the boat's taking us, imagine it.

No packages from nobody.

- What do you mean?

You mean gifts like chocolate
sweets cookies, or cigarettes?

As if someone ever gives you packages.

You smoke, you have to pay.

And how often did you
have to beg us for a drag.

It's time to wake up, old girl.

Get that goon out of your head.

You found some other girls

that's giving them pleasures already.

You don't love me no more.
Come on, thank God, Susan.

- No, we love each other. We're
madly in love, I tell you.

He hasn't gone with any
others. What about this letter?

Look it says, it's all
about the lovely apartment

we'd get, as soon as I leave for home.

I know that won't be very long.

- But that's the identical
letter you're got a year ago

at Christmas and you know it.

Come on, stop fooling yourself, kid.

- Why are you so cold? But
why are they transferring you?

- Contraband, cigarettes.
Three cartons at a time.

Delivery each day. That,
for a foreigner, is the axe.

You're being transferred
to another prison,

only because of contraband
of some cigarettes?

- In Milan, we also went up
on the tourism with Jake.

A big fat Caribbean
hurricane. Can you imagine it?

I pushed and he went over the balcony.

- Grazia's dead, poor thing.

It would have been a good idea,

if we had done the same thing.

- Hey you.

(retches)

- This island is death.

You can imagine they tell us
what prison we're going to.

What is it called? Do they tell us?

- Sure, they'll tell you. You
can postcards to France then.

I'll bet you.

It'll never escape from
your mind or you memory.

Bring up right to your tomb, you know.

- I don't care. It doesn't
matter where they put us.

If the jail's over there or anywhere else.

How I loved swimming in the sea.

If only they'd let us go in for a while.

No one's going to let
us lie on a beach again.

Lie there in the sun, near the sea shore.

- You don't feel so good, today.

- Lucky bastard. Isn't that
the warden and his dog?

- Stay. How do I need to
take your picture now?

Diablo. Come on, boy.

- How do you like that? He
treat it, as if it were his son.

- Come here, now. Be a good boy.

Come on. Diablo.

- So, the warden likes his dog, huh?

- [Voiceover] Yeah. He loves him.

- What's the matter with you today, huh?

Don't you feel warm? Come on now.

Don't you want me to
take your picture? Hm?

- Pass the kisses. Takes a picture too.

- I snap your picture now.
Stay still, don't move.

Hold it. Nice boy.

One more now, hold it. Wait a moment.

That's good. No, no, wait.

- Oh, I'd love to see him croak, you know?

- [Voiceover] Who, the warden or the dog?

- The dog, as if it's his freaking son.

Can you imagine, girls,
if they murdered it?

The son of a bitch would have a fit,

can you imagine that, kids?

- Do this right now. That's my boy.

- I'm feeling bad. I won't go with you.

- Oh no, you don't.

Here. Now listen, you and
Isabelle will stay right here.

And keep a look out and if you
see anyone, give us a signal.

- I know.

- Come on, give me a hand.

What are you scared about, huh?

Let's go.

There he is. He's all alone.

Perfect.

You two keep a sharp look out.

If you see anyone, let me know.

Hey (tsks). Come here,
come here, you mutt.

Nice boy.

- How can you do it, Susan?

- It's easy for me. Because
I'm used to it, you see.

I used to live.

I used to have all the
cats of the city come

and to make love under my window.

And they meowed all
through the darn night.

I put a finish to that.

It was too much, because I'd
have to work until after three.

- [Martine] So, you killed them?

- [Susan] Certainly, what else could I do?

I thought I'd go nuts.

- [Martine] Weren't you afraid?

- Hey, wait a minute. Hey, you.

What's the matter
Frenchwoman, you quitting?

- No. We do as you say.

Both of us.

- Yeah, you mutt. Go on, grab it.

We'll get you this time.

When the noose goes around his neck,

we give the rope a hard
pull and hold it tight.

Nice and tight.

Come on, boy. Come on.

There, that's it. That's it, pull.

Hold on.

Don't let him get away.

Finished. We did it.

Come on. Remember, nothing happened.

- Have you finished girls?

- Yes, sister. All has been done.

All is in order.

- Brave, brave. (speaks
in foreign language)

- [Women] (speaks in foreign language)

- Please wake up.

I'm sure a good man.

What time is it? It's Sunday, isn't it?

- So what? Who cares?

- In our hearts, we
have our Sunday dinner.

Then, we go to the theater.

It's wonderful to walk along the boulevard

of Paris at night, when
you turn on all the nights.

- I'd like so much to go to sleep forever.

- And I want to hear nice music.

- I would like to be home now.

- A lot of music.

- I would like to go to sleep, that's all.

- It's nice to walk the streets of Paris.

- I'd be dancing 'til morning.

- And the beautiful parks there.

- I'd like to go to Cesar.

- If a mid troll would not be nice.

- The tense sea. Too much for me.

I'll go back to them sure.

- Now listen here, kids.

You want me to tell you how
to get rid of this fever?

It's simple.

I'll show you how we can
have a good time right here.

Get up.

Get down. Come on.

What are you crying about? Don't, Gianna.

Want to bet, we'll have fun here tonight?

Sure, we'll be having fun here tonight

and every night will be a glorious night.

(dramatic music)

- [Isabelle] The liberty bell.

- Don't you want to be out of here?

- [Isabelle] Sure, but
I ain't lucky enough.

- [Voiceover] Think it's one of us, Susie?

- It's hard to say.

- I don't know. I have a
feeling, I'll rot in prison.

- Or you feel the way I do.

I want to stop all that and start thinking

that there's a new life for us.

Come on, we're waiting for the miracle.

- It's for me girls, I know it.

I prayed to God, all night long.

This morning, I assure
you, I'll be leaving.

- [Isabelle] Do you really believe it?

- [Gianna] I've got my fingers crossed.

- [Voiceover] It's for me. Me.

- Martine Fresienne, come here.

You are to go immediately,
to the main office.

- Lots of luck, Martine.

- [Women] Good, good luck, good for you.

- Lots of luck.

(dramatic music)

(lively music)

- The examining magistrate of
the court of justice in Rome,

having seen Article 378
of the coribbon of code,

decides not to prosecute
against Martine Fresienne,

for the indictment of
detention and use of drugs

because she has not committed the crime.

(upbeat music)

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