All language subtitles for Finalmente lalba Fr

Where are you?

Where have you been hiding?

Dirty pigs!

I'll help you, Captain.

We're looking everywhere.

Aye, aye, Captain.

Get out of the way!

There's nobody here.

There's no need to hide!

I'll find you anyway!

Are they gone?

- Yes?
- Yes.

Let's check again.

Aye, aye, Captain.

Here we are.‡

Please.

Captain.

Come here.

Sit down.

Come here.

Please let us go.

Please...

Sit down.

Sit down.

Give me your hand.

Give me your hand.

Don't be afraid.

Lucia, Lucia...

Dirty whore!

I do it myself.

It jammed.

- Is she hurt?
- No, she's not hurt.

- Let's get out of here. We must leave.
- No, we mustn't!

It's dangerous.

We'll be fine.

We'll be fine.

Yes ?

- Well...
- Enough of these sad movies.

We go to the movies to see
children die. Come on, let's go.

Lucia kept her promise.

Saving the little Jewish girl
was like saving her own daughter.

The usual mimosa embroidery.
Come on, it's late.

American cinema
before the war was real cinema.

Exciting stories.

Today, Italians are throwing
their ugliness in our faces

as if the war wasn't enough.

They look good in
daddy's chairs.

- Did Dad make them too?
- Not all, but some.

He collaborated
with other carpenters.

- How beautiful Alida Valli is.
- Yes, she is.

But when she made
these stories in Hollywood

he was a star in his own right.

Dad and I saw this movie
about the courthouse with Gregory Peck.

Dark too.

- Madame, may I have a word?
- Please.

You have a beautiful daughter.

- Thank you very much. Let's go, let's go.
- Hold on, ma'am.

I work for Cinecittà and we're looking for extras
extras for an American film.

Your daughter should try it.
a lot of money for one day.

- Yes, Mom, please.
- Please be quiet.

- Which film is it?
- A classic in costume with Joséphine Esperanto.

Damn it, Esperanto.

Nan Roth is also present,
and Sean Lockwood.

- Lockwood was Mac in today's movie.
- Shut up.

- What would the salary be?
- 5,000 lire.

- Come tomorrow morning for the auditions.
- Auditions?

- They have to see it before they take it.
- Then it's a long one. Let's go.

If I tell you she's got a great chance,
trust me.

Yes, that's right. Let's go, let's go.

Convince her so that
you're taken. My name is Riccardo.

- Cinema, Elvira?
- Why not?
- What are you talking about?

Suppose she becomes a famous actress.

It's a bit crazy, even for the actress.
And can she do it?

- Yes.
- You shut up. Why, did Valli study?

She's an actress because she's beautiful.
You learn the trade.

Do you even know what Valli does
and what Valli doesn't do?

Let's try, Rinaldo,
to take her mind off it.

- We need 5,000 lire.
- We have to have them first.

You have to see how
the gentleman from Cinecittà looked at her.

- Really?
- Iris is no less beautiful than Valli.

You're both beautiful,
but so far, you're the luckiest.

You had intuition. Angelo is perfect
and you'll see what a beautiful wedding you'll have.

With the docile nature you have,
who don't you get along with?

He loves you, he's nice.

Above all, he's serious
and has a good position in the police force.

We couldn't refuse the offer.

You're 21, you're running out of time
and it's not easy to find one.

- How is it?
- It's fine.

Well...

For Iris, we can take the risk.

We have to be patient and wait,
sooner or later, the opportunity will present itself.

All right.

- They're convinced.
- Yes! Yes! Yes!

Oh, my God, Mimo, what am I going to wear?
I've only got these rags.

- As you were dressed today, he saw you like that.
- Yes, he did.

And how do I style my hair?

Like Stanwyck
in "The Flame of Sin".

Can you believe it, Mimosa?
Joséphine Esperanto.

We read and reread.

Here we are.

Read this.

"The visit to the Tivoli mill
was for Joséphine Esperanto".

"an excuse
to spend a happy day".

"far from the set of the classic
currently being shot at Cinecittà".

"and especially the worries
caused by the separation".

"which recently brought him
to court in America".

"We all know that,
despite his young age".

"The star's third marriage
also failed

"and now Joséphine needs
to think calmly

"at work and in his career".

- Can you believe it?
- how beautiful you are.

- Mr. Rinaldo! Mrs. Elvira!
- Who's there at this hour?
- Who's here at this time?

- Angelo, I'm here now.
- Please get in.

- This is Angelo.
- I want to give you the pastry.
- Let's go.

But Angelo?
Wasn't he coming tomorrow?

It's Angelo, he's arrived in Rome.

He doesn't know how to preserve
and brought it to us.

Come on, say hello. Let's go, let's go!

Do me a favor, will you?
Close the door on your way out.

We'll take you out to get to know
get to know each other better. Not like that.

You'll chat, take a walk.

- Are you going to bed, Daddy?
- Yes, Daddy.
- Do it right.

Last summer, in the village, at Dad's,
he took you everywhere.

He fell in love.
With a beautiful girl like you.

Dad asked you if you liked it,
you said yes. Have you changed your mind?

Tomorrow you'll go for a walk
and you'll look as good as you did last summer.

Look how cute you are.

Mamma mia does this with her mirrors.
She's afraid they'll break.

Where is it?

Good evening, Angelo.

Good evening, sorry about the hour.

- Of course you are. Would you like to come in and freshen up?
- No, I'm fine.

- Good evening.
- Good evening.

It was just to bring you this.

My mother made it
and I didn't want it to spoil.

- Thank you for your time.
- Won't you come in? You've had a long trip.

I prefer to withdraw
and present myself properly tomorrow.

Sure, see you tomorrow night at dinner.

I'm making an end-of-the-world sauce.
8 o'clock?

- Good morning, Mimosa.
- Hello, Mimosa.

How are you?

Good.

See you tomorrow.

- We're just getting started, so behave yourselves.
- Let's call it a night!

Gennarino, show yourself

so they can catch you
the protagonist dwarf.

- Just like your mother!
- Leave my mother alone!

It's yesterday's, let's go.

- What do you do?
- Helping out.
- Don't get smart.

Riccardo!

- Riccardo!
- Do you know his name?
- He told me yesterday.

- Come on, come on.
- Come on, come on, come on, come on. Excuse me?

Excuse me? Uh, excuse me.
Excuse me.

- Where are we going?
- Out the back.

- What time does it finish?
- We don't know.

- So what? Where are we waiting?
- Here.

- Come on, Mimosa.
- And what are you doing here all alone?

I'm waiting with Mom.

- Go ahead.
- Thanks, Mom.

- Don't do anything wrong and don't get caught.
- At least I can watch.

- Go ahead, but hurry. I have to cook for Angelo tonight.
- Yes, you do.

- So what?
- What's the big deal?

- Aren't you going?
- We're here.

Enter.

This way.

- Sisti. Valeri. Valenti. Quarti.
- Fortunato.

- What's this?
- Bruno told me to show you this jewel.

- I don't have time.
- You need good light to shine.

- I'm not counting. Just come with me.
- Do me a favor.

- Americans decide everything.
- Come this way.

that's enough,
leave me alone.

- We're not disturbing anyone.
- Let me work. Move over, come on.

We call you one by one
to climb up to the plateau.

- The what?
- The platform, Miss.

- So what do you have to do?
- Nothing, just show up.

- When will you let us know if we're in?
- Immediately.

- The ones that were taken go to makeup and hair.
- I like it.

- And the numbers of Bruno's friends?
- You're always busting my balls.

- Thank you for your time.
- Miss, you're first.

- Here I am.
- You're welcome.

- I'm afraid...
- Why should I be?

I'm here with you.

- But what should we do?
- What should we do?

- He said we had nothing to do.
- And a word.

I've never done any acting.

Next.

- But what happened to the one before?
- Straight to make-up.

- Where's the make-up?
- This way, I'll take you later.

What if she doesn't get caught?

No risk with me.
I'll take care of it.

- Next.
- You said it was her turn.

- You're breaking them. Come on.
- Come on.

- Let's go.
- Let's go.

- Come on, let's go!
- Be careful.
- Get lost!

Listen... what do you think,
your sister likes me?

You go to make-up.

Doesn't she love me, even a little?

- Are you still here?
- Bruno, it's not my fault.

I'll show you what happens
to those who want to steal films.

- I don't want to steal movies.
- Let's go outside.

- I'm doing Fortunato a favor.
- Walk!
- Fortunato... Help!

Bruno is my cousin.
Fortunato is my cousin.

Back to the center.

Open your jacket.

The jacket, Mlle.

In ancient Egypt
women didn't wear jackets.

Come on.

Take heart.

A little more.

Fine, thank you.
Come on, let's do your makeup.

Go ahead, it's your turn.

Will you hurry up?

On the dais, please.

- My sister?
- Who's your sister?

- The 20th.
- She's already made up.

Take the number, Miss.

Straight profile.

Let's see the number.

Like this. Left profile.

Back to the center.

Open the blouse.

The blouse, Mlle.

The masses on stage are half-naked.

Bruno, the group leader,
didn't tell you?

What do we do with the blouse?

- What's the big deal?
- She doesn't.

Outside, that's enough.
Come on, this way. Come on, let's go.

You're coming.

Where's the makeup?
I need to talk to my sister.

If they haven't taken you,
you can't leave.

I'll talk to her.
My mother is waiting outside.

Try it, it's like this.
With the confusion, no one can see you.

Thank you.

Come on, come on! Push a little,
I'll do it myself.

Go ahead, push it in that direction.

Four days ago,
on the beach of Capocotta

20 kilometers south of Ostia

the body of a Roman woman
21 years old was found

whose name, according to initial investigations
appears to be Wilma Montesi.

Young person of modest origin,
living with his family

at 70 Via Tagliamento.

The body of the young girl,
an aspiring actress

who frequented
the Cinecittà establishments

in the hope of a role
in the films produced each year

was found submerged
half in the water, with no shoes

stockings and suspenders, and the jacket
turned inside out.

The doctor, who had come from Pratica
di Mare, makes his way through the crowd

to observe the body
in good condition

and concluded that death
was due to drowning.

So, if the corpse
left on the beach constitutes

a macabre focal point
in this part of the Roman coast

investigators question the man
with hat and cane

who, in the early hours of Easter eve
found the body.

The witness, a gamekeeper
in the villa of the famous Ugo Montagna

famous for the parties he organizes
on his beautiful farm

cooperates patiently and answers
questions from the investigators

while a woman in mourning lays a cross
a cross on the beach

in memory of poor Wilma.

Miss, what are you doing here?
You can't be here, go away!

- What are you doing, Miss?
- I'm sorry. I'm sorry.

Well, let's go.

Josephine Esperanto.

These soldiers
belong to the empire...

These soldiers belong
to the empire I serve.

Miss. You have to get out,
you can't stay here.

- Yes, but...
- Get out, there's no plug.

- I know, I was looking for my sister.
- Yes, please, this way.

The exit is this way.
Goodbye, Miss.

Ahò, what's going on?

They're making a film.

- And it's huge.
- There are lots of people, come and see.

Oh!

Guys, what are you doing?

- My mother is an extra.
- What's it to you? Come downstairs.

- We're just looking.
- Get down from there now!

Come on, come on.

Looking for someone, Miss?

My mother. She said she was waiting for me
outside, but I can't find her.

Are you looking for her here?
Excuse me, who are you?

- I auditioned as an extra.
- Did they accept you?

- No, you can't.
- Then you can't stay here.

Go downstairs and get out
thank you.

- Can I have another look?
- You can't, I'm sorry.

Miss, wait!

- Come with me.
- But she has to get out.
- She's been taken.

- Like Renata, very fast.
- "Renata"? What's going on?

- Like Renata, quickly.
- Sit down, sit down.
What does she have to do with Renata?

- Do what Renata does.
- I get it.

- Fucking bastard!
- What the hell's going on?

She stopped the scene,
shouting that Renata was distracting her.

He has to do the close-up
and with Renata in front, he can't.

- What do I have to do?
- Nothing, Joséphine asked you to.

- Me?
- Do you understand, crazy girl?

She wants the girl she saw in the
in the corridor to be made up.

Good thing I realized it was you,
or we'd never have finished.

You're all going to die here!

- I'll have them pressed. Quickly, please.
- Faster than that.

- My mother doesn't know I'm here, I have to look for her.
- You can't leave.

- I don't want to undress.
- You're a servant, you don't have to undress.

Only the mass of people are naked,
almost naked.

It's a hypocrisy: in ancient Egypt
servants were topless.

- At least according to historical sources.
- But what is this film about?

It was inspired by a woman
who really existed.

The first and only female pharaoh
in Egyptian history.

After the king's death

with the newborn son
who could not reign

it has reigned for over 20 years
in peace and prosperity.

Once dead, out of shame
of having been led by a woman

the new power has erased
for posterity.

A few years ago, his grave was discovered
and the story resurfaced.

- Beautiful.
- Yes, it is.

Although in the film, the pharaoh
has become very bad.

She poisoned and killed Pharaoh
to seize power.

When it was invaded
by the Mitoan army

she fell in love with the enemy prince
who has come to conquer the kingdom.

But the young prince falls in love
with Pharaoh's daughter

the queen's daughter-in-law,
who disagrees and fights for it.

- It's a love story.
- Let's just say...

You have porcelain skin.

- And what about today?
- Today is the final scene.

- What's going on?
- You'll soon find out.

Let's go.

We're ready to roll!

Isn't that your sister?

What's she doing here?

All set.

Quiet, please!

Everyone in position!

Ready to shoot.

- What do I have to do?
- Look at Joséphine when you need to.

- And then what?
- And then what?

Catch:

44 29, 2e.

Aah!

You've won!

You have conquered

the most valiant of my fighters.

I gave you my word and
you're a free man.

You can take Princess
Princess Dafne with you.

But the souls of your people
belong to this kingdom.

That wasn't the plan!

The agreement,

that's what I decide.

Please choose.

Princess Dafne ...

or the lives of your companions.

These soldiers belong to

to the empire I serve.

These men of valor are
the body of this empire.

They're his flesh,

its strength.

But flesh is destined to die,

not the empire.

And the empire needs

of this young woman.

So come on.

Don't let fate strike too hard
on your future.

Wait!

First of all ...

you have to face up to your fear.

And stop!

My God!

- She was amazing.
- Are you kidding me?

It was so real,
why can't I do it?

Sean, that was cheesy.

My God, Jo!

You were fantastic!

Thanks Dutch.

But how did you do it?

- It was incredible.
- Don't exaggerate.

Different from the Pharaoh.

With this close-up, you've changed
your character's destiny.

We can't go every time!

You don't make the decisions, okay?

Let me do it, please.

Let's change the camera angle.

Production wants
to see the extras.

But of course, my dear.

Let's change the angle.

You were fantastic.

Incredible.

Really, it was so real.

- You've done most of the work.
- No, I didn't.

And now we've finished the film.

Water.

Thank you.

Let's change sides, Miss.
Come along.

Giuseppina, did you know Wilma Montesi?

- Who is it?
- But how? The girl we found dead in Capocotta.

- The girl on the beach?
- Wilma Montesi.

Yes, I heard it on the radio.
Why should I know her?

All day long, the guards asked
if anyone knew her.

She was an extra here,
she was a budding actress.

I've never heard that name.
What's her name?

- Wilma Montesi.
- Did you know her?

- No, but...
- Oh, but you're not undressing?

- But where are the others?
- The others who?

- The other extras.
- All together in the cattle car.

Believe me, it's much better here.

We're special people,
not like them, we're different.

My sister's there,
I should change at her place.

Joséphine, what should we do?
Should we wait for you?

- Who are you going with?
- Me, Sandra, Grazia and Maria.

- I'll come too.
- I'm in.
- You want to come too?

- Where?
- Where? At the nightclub.

I have to go home,
my mother doesn't know I'm here.

- Are you coming?
- Yes. Hi, beautiful.

Are you always like this?
You want to show me a good time?

I think she's ashamed.
Come on, she's little.

Who is the girl who replaced Renata?

- Her.
- You?

This is for you.

It's a gift, from Joséphine.

And shoes.

- Even the shoes.
- How lovely.

- What's this all about?
- You ask.

We've been with her for 2 months now
and the bitch doesn't even say hello.

- This little girl comes along and looks.
- Do you want her?

Are you kidding me?

Maybe you'll choke on it.

Wait for me!

Leave them alone, they're mean.

- But why?
- What does it matter? Put it on.

Hurry before Josephine
regrets it. This is pure madness.

You don't know what she's put us through
during those months.

- Come on, try over there.
- But what about now?

When?
Let's see how you look.

- I can't go home looking like this.
- You have to change anyway.

Oh, my God!

Are you still here?

Boy, is she mad.

Come along. Go upstairs.

Wait.

Joséphine says we'll bring you.

But I've got to get home.

- We'll take you.
- My mother is waiting for me.

- What's going on?
- His mother is waiting for him.

But there's no one here.

Where are you going?

There's no one left. Where are you going?

I've lost her, but she's waiting for me.
She can't leave without me.

- His mother...
- I get it.

There's nobody here. Please come with us.

- We'll take you home.
- I'm afraid to intrude.

No disturbance!

Come along. Go upstairs.

Come on.

It suits you.

- The dress looks great on you.
- Thank you so much.

- What's your name?
- What's your name?

- Mimosa.
- Mimosa.

Very nice.

I'm Joséphine.

This elegant gentleman at the wheel

is Rufo Priori,
my best friend,

but above all a great
discoverer of artists.

I have an art gallery.

Rather than the best, I'm
Josephine's only Roman friend.

Roman by adoption. I'm American,
but I've lived here for many years.

We met in Rome,
while Joséphine was shooting a film.

- A walk in Rome?
- That's right, that's right. The musical.

- Did you like it?
- Did you like it?

- Yes, very much.
- Thank you so much.

You know Sean?

Sean, this is Mimosa.

Hi, there.

How rude!

- How rude!
- No, it isn't.

I'm mediocre, right?

How boring you are!

Then tell me you don't mean it.

I know you mean it.

I had to muffle my voice over the fight,

I had to make it clearer as my character begins to change.
character starts to change.

Tell me you didn't think so.

I should have ... I should have ...

You're the best partner
I've ever had, Sean.

That's not true and you know it.

He only knows how to look at himself from the inside.

But unfortunately for too long.

He's not satisfied
with the way he acted today.

- Not today! Yesterday! The day before yesterday! Always!
- You've got to be kidding me.

I saw your latest film,
it's wonderful.

Private Mac
when he saves the girl.

She saw "Sacrifice"
and was very enthusiastic.

Thank you.

- Mr. Priori, welcome.
- Augusto.

Your friends have already arrived.

It's an honor to meet you again,
Mrs. Esperanto.

- Hello, Augusto.
- Follow me, please.

- I should be getting home.
- Oh, my God, it's true.

I'm mortified,
I've been distracted.

But stay with us.

Joséphine will be delighted.

Come to think of it, if she doesn't see you coming,
she'll come after me.

How are you?

Watching you work these days,
I've been under the impression

that you invest yourself in every scene.

Everything suddenly seemed more contemporary,

less classical and less rigid.

I was wondering where
a young American

had found the references
for such a precise job.

If it's classic, it's not ancient.

If it's classic, it's eternal.

Dafne and I share the same
the same spontaneity,

naturalness and sincerity.

We don't play that game.

We are what we are,
our emotions are real.

And you're also in love
right now?

I don't feel like talking about it
now, Stephen.

- But still ...
- When I was younger,

when my mother took me
to the movies,

I dreamed of becoming
an actress like Joséphine.

When I found out she was going to be
my mother-in-law in the film,

I was on the verge of
faint with emotion.

Working with a
"sacred cow" like her...

Certainly, Josephine,
you started so young.

For how many years, exactly?

Why don't you
leave us alone,

At least during dinner?

Yes, you're right, Josephine.

But my newspaper insisted

because the behind-the-scenes article

has been enriched by a report on Nan.

A kind of diary

of a young American star's last night
star in the Eternal City.

History and beauty, together.

Poor newspaper.

And what's your favorite
movie?

Let's see...

Do you know Sandy?

She is a young Swedish poet.

She can put the universe inside her
something so small

it feels like you're holding it
between your fingers.

His poems escape
any classification

because searching for the mystery
of beauty is useless.

Sandy is a true star ...

that never deceives the beholder,

like a meteor with its spectacular
spectacular trail of light

before vanishing
forever in space.

Sandy's poems are classics.

And as such, are eternal.

Where can you read this work?

Sandy, if she doesn't write, she dies,

but she doesn't die from publishing.

You said she was Swedish,
from which city?

Don't try to find out
what's between the lines, Steven.

You're on the front line, you've got
other things to concentrate on.

Good evening to all.

Where are you going?
We still have to eat.

Where the sea sparkles.

Excuse me... Let's go.

Sandy, it's you, Mimosa.

Listen to her,

and she'll know how to guide you.

Let's dance.

You mentioned a party.

If you want, let's go.

Let's go.

- What's going on?
- Nothing's the matter.

Sounds promising.

Rufo darling!
You kept your promise.

Ugo Montagna, our host.

- This is Josephine Esperanto.
- Pleased to meet you.

- Nice to meet you.
- You are fantastic.

- I've seen all your movies.
- Trop gentil .

This girl is...

It's sandy.

A young Swedish poetess.

Really?

I'm a publisher, but also an avid
avid reader of poetry.

What sweetness.

All right.

It's Marche romaine.

Thank you very much.

- What a voice, Madame Esperanto
- Thank you very much.
- What a voice!

- Where's Sean?
- I don't know.

I'm curious to get to know
this gracious young lady.

A poetess ...
What did you say your name was?

Sandy and this is how she signs.

I speak a little Swedish.

Poems...

Excuse me, sir,
please excuse me.

We're doing fine.

My God, a publisher
who speaks Swedish!

2 glasses of champagne .

Right away.

- Good morning to you.
- Good morning to you.

I know I've just missed another
of your great performances.

- I sang with a delicious man.
- Have you finished the takes?

Today.

Meet Piero Piccioni.

Piero is a great jazz pianist.

Unpredictable?

Doroteo is my orientation.

This is Sandy.

She's a dear friend

and a great Swedish poet .

Hello.

Nice to meet you.

Alida.

Where in Sweden?

This is Annamaria,
my new flame.

You didn't know he was in Rome?

Excuse me.

- But who is it?
- Adonis.

- A producer and her first husband.
- No, the second.

The first is Lee Bucker.

Piero, you've finally arrived.

I need to introduce you to an important producer
whom Alida already knows.

- Come on.
- Come on, I'll be right there.

- Champagne.
- Right away.

In fact, you're not Swedish.

No, I'm from Rome, but Joséphine
tells everyone.

You're his hobby
of this evening.

Mrs Valli, I'm a great admirer
great admirer of yours.

I saw your latest film yesterday
with my mother and sister.

It's moving
when you sacrifice yourself for the child.

- You're very good.
- You're very good.

What's your name?

- Mimosa.
- Very nice.

Watch out for our friend Sandy.

- Would you like another?
- No, I'm fine.

- Where exactly are we?
- In Capocotta.

- Capocotta?
- Capocotta.

Would you like another?

No.

I apologize.

- I need the money.
- Now's not the time.

Why do you ask?
At least tell me what you think.

- I'm sorry. I'm sorry.
- At least tell me what you think!

I don't know. It's sad. It's just sad.
No one will want it.

So what? Even Giandomenico,
also does sad things

but you expose them, tell me why.

Giandomenico's paintings

look like no one but him.

Yours look like too many things
and perhaps little like you.

- You don't know anything about me.
- What is there to know?

Tell me, what's there to know?

God... I'm so sorry. I'm so sorry.

These things don't happen often,
but sometimes they do.

- I'd like to go home.
- I've had enough too.

Have you said goodbye to Joséphine yet?

Sandy.

This is Sandy.

my friend from Rome.

This gentleman is an
important part of me.

Pleased to meet you.

I was just leaving.

- How?
- She wants to leave.

No, you have to stay.

- And you?
- Alida!

What a pleasure to see you again!
I didn't know you were in Rome!

You already know...?

Excuse me a moment.

I'll be right back.

- I'd like to introduce...
- I beg your pardon.

Stop it!

Sandy.

Before you go,

why don't you give us
some verses from one of your poems?

Come on.

Here you go,

- Let's do something.
- Wait, wait, wait.

Poetry without words.

His most beautiful composition!

Well done!

- Bravo!
- Bravo!

Well done!

- Bravo, bravo!
- Bravo!

- Bravo!
- Bravo!

Well done!

Miss Sandy.

I saw my father and mother
taken away by the Germans.

I was small and helpless,
I felt the same helplessness.

- Mademoiselle, that was wonderful.
- A play rather than a poem.

A "performance",
as the Americans say.

This aroused such compassion in me
that I wanted to console you.

Excuse me, please. Miss Sandy.

Congratulations.

It was really very pleasant.

I need to introduce you to
an important person.

Come with me, "come with me".

This way.

Here we are.
Please be seated.

Meet Mr Brunatto.

The young lady is Norwegian,
but she speaks Italian very well, doesn't she?

Who cares about the language?
She dances very well, you know?

Let's have a drink upstairs.

You can help me explain.

Mr. Brunatto wants to know more
your poems.

It's not a good idea to refuse an invitation
of a rich and powerful man.

Mr Brunatto could be
your benefactor.

What do I say? More!
Your patron.

- Priori.
- Priori, I don't know... And over here.

- Home.
- After the house. After the house.

Don't be cheeky.

Brunatto is not used to being
to be treated this way.

Make an effort.

Do it for me.

Shall we have a nice glass
of champagne upstairs?

Come on, let's go.

Excuse me, gentlemen.

She's with me.

But...
But why?

Mademoiselle!

Our Lady.

Wait.

I have to tell you.

Joséphine would give her left arm

to get a crumb

of your talent.

She thought she was cheating on you...

and instead, you...

A lion!

Get out of here!

But which lion are you talking about?

- Run away!
- What lion?

A bloody lion!

A bloody lion!

A lion!

Reinhard!

Hurry up!

What?

A lion has escaped for real.

Bastard!

A lion has escaped for real.

In Rome they are all
locked up in their homes.

A lioness really has escaped.

Meet Anna and Marco,
two friends from Rome.

Cocaine?

You better believe it, man!

Cocaine!

All the town's inhabitants are locked in their homes
because of the lioness.

- Where does she come from?
- From a circus, of course.

No, I was talking about this marvel.

De Trinitad.

My uncle Jonathan brought it back
from a trip to South America.

She's Peruvian, from La Colpa,
not from Bolivia.

Guilt? What a strange name.

"Pleased to meet you, I'm from La Colpa."
And your fellow citizens? Guilty?

It's a very precious product,
it's very hard to find these days.

It'll make you feel good, believe me.

it makes all fears disappear.

Oh, no...

Not like this...

Like this...
put it here,

and sniff as hard as you can.

How are you?

But how did you do it before?

Can you tell me?

She's the best actress
I've ever seen, I swear it.

You didn't see her
in the living room earlier?

Are you an actress?

And what an actress!

Are you an actress?

An actress? No.

- But you're Italian?
- Yes, I'm from Rome.

Maybe I know where the lioness comes from.

She was the one in the cage at Cinecittà.

She says that maybe the lioness is
the one caged in Cinnecittà.

Ah, maybe...

- Do you know what time it is?
- It's not even midnight.

I have to go home.
My mother doesn't know I'm here.

She wants to go home 01:26:39.297
- No, no, no, no.
- Shall we go?

Wait for it.

I'm going to get a drink,
I'll be right back.

I need to be with you tonight...

And forever .

Come here.

Come here.

Let me smell a saint.

I know you're no saint.

I can feel it.

- What do you want?
- To be near you.

...

Watch out for the lion!

- Where are you going?
- Sandy!

Where are you going?

Please do.

No one will disturb you here.

- Ugo, darling, we're leaving. Would you like to say goodbye?
- Yes, of course I will.

No... No !

No!

What are you doing?

Go away!

Go away!

Here you are.

Where are you going?

What's going on, Sandy?

What's going on?

I want to go home.
Take me home.

It's okay, I'm here now.

- The German actor was just as scary
as in your film.

All is well.

Wait for it.

Sorry!

it's good luck.

To your elegance.

Take me with you,

wherever you go.

Promise me.

What's going on, Armandino?

I still have guests at home

and you have the piano removed
by a team of performers?

I've never seen anything like it! Darling, but...
You want to sabotage me Armandino, sorry.

Here, I move the world.
I need music.

Tomorrow night, I have an important dinner.

Put some muscle into it, come on.
What a waste!

- Don't overdo it.
- I beg your pardon.

- Tell me, Mademoiselle.
- I have to go to Rome.

Outside the gate on the left,
through the woods

Follow the canal and you'll find the road.

- There's the bus stop.
- Thank you very much.

You've got to be kidding me. From underneath!
Take it from underneath, you moron!

Higher, higher!
Oh! Come on, push!

Come on, push!

Wilma...

Mademoiselle!
I'm taking you to Rome, come on!

Here we are. This is the hotel.

Are you sure you have to come here?

- As you wish.
- Thank you for your time.

For a bit. I have to bring the piano back here.

Excuse me, excuse me.

- Yes?
- Lockwood?

You are the poetess.

Is Lockwood here?

Third floor.

Three.

Hurry up, it's dangerous.

No !

Is that one of your poems?

Come on, Nan.

I'm not afraid to die.

- Just this once...
- No.

Just this once, and then I won't
ask you again.

- I said no.
- Let's make an exception.

These are the rules.

Now you go to sleep.

I'm tired.

I knew it...

Hi .

What are you doing here?

Josephine's handwriting.

I didn't write it.

Joséphine woke me up.

But I was very good to you, Sandy.

I tell the truth.

Do you understand?

You're a great actress,

I learned a lot from you yesterday.

But I need Josephine.

Where I live, I need her.

My name is Mimosa.

Yes, I know.

Time to go home.

Go to bed.

Enter .

Please.

it has to be ready this
afternoon at 4pm.

Yes, ma'am.

Thank you, I'll finish.

You're welcome.

Who is this? Holy crap!

Get out of my room!

Hello, Mimosa.
Did you sleep here?

I looked everywhere for it last night.

What is it?

What does this mean?

I don't know, but it's beautiful.
It's a poem, I think.

Do you want me to walk you home?
Maybe we'll finally make it.

I just have to finish up with these folks,
it's a matter of minutes.

They're collectors.

Don't worry.
I'll go alone.

- And thank you.
- For what?

Everything.

Goodbye.

The sky will be clear.

The roads will open up.

Stones, stairs.

The terraces.
The swallows will sing in the sun.

The heart will beat
like water in a fountain.

Will it be your voice
down your stairs?

The windows will smell
stone and morning air.

A door will open.

The tumult of the streets will be
the tumult of your heart

in the vanished light.

It will be you, firm and clear.

Subtitles: Picard 60.