Browse content similar to Night Train to Lisbon. Check below for episodes and series from the same categories and more!
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ALARM CLOCK RINGS | 0:00:52 | 0:00:56 | |
That will make you think. | 0:01:05 | 0:01:06 | |
Stay there! | 0:02:48 | 0:02:50 | |
SHE GASPS | 0:02:59 | 0:03:01 | |
THUNDER RUMBLES | 0:03:09 | 0:03:11 | |
Thank you. | 0:03:19 | 0:03:20 | |
May I walk with you? | 0:03:29 | 0:03:30 | |
Fine. | 0:03:32 | 0:03:33 | |
Good morning, ladies and gentlemen. | 0:03:42 | 0:03:43 | |
-ALL: -Good morning, sir! | 0:03:43 | 0:03:45 | |
We have a visitor...this morning. | 0:03:45 | 0:03:47 | |
Er... Your coat. | 0:03:49 | 0:03:51 | |
Have a seat there. | 0:03:56 | 0:03:58 | |
I am afraid there was a slight mishap on the way here. | 0:04:00 | 0:04:04 | |
I think the corrections will still be legible. | 0:04:04 | 0:04:08 | |
Max, would you do the honours? | 0:04:08 | 0:04:10 | |
More work required there. | 0:04:11 | 0:04:14 | |
No opportunity to honour and respect yourself. | 0:04:14 | 0:04:19 | |
But Marcus Aurelius was both philosopher and an emperor. | 0:04:19 | 0:04:24 | |
There's no coincidence, that was the way with the Romans. | 0:04:24 | 0:04:27 | |
Thought and action were all one. | 0:04:27 | 0:04:31 | |
I think we were chapter 12, page 42. | 0:04:31 | 0:04:34 | |
Er... Natalie, perhaps you'd...begin? | 0:04:47 | 0:04:51 | |
"How can it be that the Gods... | 0:04:51 | 0:04:55 | |
"overlooked this alone | 0:04:55 | 0:04:59 | |
"that some lost men... | 0:04:59 | 0:05:01 | |
"and those very good men, | 0:05:01 | 0:05:04 | |
"who have had the most...?" | 0:05:04 | 0:05:07 | |
"Intercourse with the divine." | 0:05:07 | 0:05:10 | |
Uh, just keep on going. | 0:05:11 | 0:05:13 | |
"If it is so that we live only a small part of the life | 0:05:53 | 0:05:57 | |
"that is within us, what happens to the rest?" | 0:05:57 | 0:06:00 | |
Ah, Mr Gregorius. | 0:06:11 | 0:06:13 | |
I am afraid your book on Persian grammar has yet to arrive. | 0:06:13 | 0:06:17 | |
Uh, no, that's not why I came... | 0:06:17 | 0:06:19 | |
Do you know that book? | 0:06:19 | 0:06:21 | |
Indeed. I sold it to someone yesterday. | 0:06:21 | 0:06:24 | |
A woman? | 0:06:24 | 0:06:25 | |
Yes. She came in, asked for the Portuguese section, | 0:06:25 | 0:06:29 | |
found this book, sat there, | 0:06:29 | 0:06:31 | |
read it for an hour or so then became rather upset, | 0:06:31 | 0:06:35 | |
paid for the book and left. | 0:06:35 | 0:06:37 | |
How did you come by? | 0:06:37 | 0:06:38 | |
I found it. | 0:06:38 | 0:06:40 | |
Beautiful title. | 0:06:40 | 0:06:42 | |
"Um Ourives Das Palavras" | 0:06:42 | 0:06:45 | |
"A Goldsmith Of Words." | 0:06:45 | 0:06:46 | |
Train tickets. | 0:06:51 | 0:06:52 | |
-Where to? -Lisbon, eventually. | 0:06:53 | 0:06:57 | |
Leaving in 15 minutes. | 0:06:58 | 0:07:00 | |
-Thank you. -She was wearing that coat! | 0:07:02 | 0:07:05 | |
-OVER TANNOY: -Attention please. | 0:07:15 | 0:07:16 | |
Line ten on platform eight is now leaving... | 0:07:16 | 0:07:20 | |
What is all this noise? | 0:07:22 | 0:07:24 | |
-Where is Mr Gregorius? -He left, Mr Kagi. | 0:07:26 | 0:07:29 | |
He left? | 0:07:29 | 0:07:31 | |
-There was a woman with him here. -LAUGHTER | 0:07:31 | 0:07:35 | |
Impossible. | 0:07:35 | 0:07:36 | |
PHONE RINGS | 0:07:36 | 0:07:39 | |
"We live here and now. | 0:08:13 | 0:08:15 | |
"Everything before and in other places is past," | 0:08:15 | 0:08:19 | |
"mostly forgotten." PHONE RINGS | 0:08:19 | 0:08:22 | |
-Hello. -This is Mr Kagi. Where are you? | 0:08:29 | 0:08:32 | |
-I'm on a train. -A train? | 0:08:34 | 0:08:37 | |
-Where to? -Lisbon. | 0:08:37 | 0:08:40 | |
(Would you take care of my books? I left them on my desk.) | 0:08:41 | 0:08:44 | |
"What could, what should be done... | 0:08:51 | 0:08:54 | |
"with all the time that lies ahead of us, | 0:08:54 | 0:08:57 | |
"open and unshaped, | 0:08:57 | 0:08:59 | |
"feather-light in its freedom | 0:08:59 | 0:09:02 | |
"and lead-heavy in its uncertainty? | 0:09:02 | 0:09:05 | |
"Is it a wish?" | 0:09:06 | 0:09:07 | |
"Dream-like and nostalgic, | 0:09:08 | 0:09:11 | |
"to stand once again at that point in life..." | 0:09:11 | 0:09:16 | |
"and be able to take a completely different direction | 0:09:16 | 0:09:19 | |
"to the one that has made us who we are?" | 0:09:19 | 0:09:22 | |
CAR HORN BLARES | 0:09:26 | 0:09:29 | |
CHATTER | 0:09:39 | 0:09:41 | |
DOG BARKS | 0:09:41 | 0:09:43 | |
HE SPEAKS PORTUGESE Do you have a room? | 0:10:07 | 0:10:09 | |
-Where is your luggage? -I don't have any. -Ah. | 0:10:11 | 0:10:14 | |
I will trust you and give you a room... | 0:10:16 | 0:10:18 | |
..with a view of the sea. | 0:10:19 | 0:10:21 | |
There, the sea. | 0:10:28 | 0:10:30 | |
-Anything else, sir? -Yes | 0:10:33 | 0:10:36 | |
I want to find the address of the man who wrote this. | 0:10:36 | 0:10:39 | |
Thank you. | 0:10:44 | 0:10:45 | |
-Anything else? -No, thank you. | 0:10:47 | 0:10:49 | |
Good morning, I am looking for Amadeu de Prado. | 0:11:26 | 0:11:28 | |
One moment. | 0:11:30 | 0:11:31 | |
I believe you are looking for my brother? | 0:11:48 | 0:11:50 | |
Yes. Is the doctor in? | 0:11:50 | 0:11:54 | |
Are you ill? | 0:11:54 | 0:11:55 | |
No, I'm... I am reading this book. | 0:11:55 | 0:11:58 | |
I'd very much like to meet him. | 0:11:58 | 0:12:01 | |
What he writes touches me very deeply. | 0:12:01 | 0:12:04 | |
You should come inside. | 0:12:07 | 0:12:09 | |
You may sit. | 0:12:11 | 0:12:13 | |
Some tea? Red Assam is Amadeu's preference. | 0:12:14 | 0:12:18 | |
Thank you. | 0:12:18 | 0:12:20 | |
SHE RINGS BELL | 0:12:20 | 0:12:23 | |
Tea, Clotilde. | 0:12:23 | 0:12:24 | |
This is Amadeu's favourite room. | 0:12:25 | 0:12:28 | |
It's a beautiful room. | 0:12:29 | 0:12:30 | |
He has read every one of those books. | 0:12:32 | 0:12:34 | |
Does he still practice as a doctor? | 0:12:39 | 0:12:41 | |
Where did you get it? | 0:12:42 | 0:12:44 | |
I came across it in Bern, where I live. | 0:12:44 | 0:12:47 | |
Only 100 were ever printed. | 0:12:47 | 0:12:50 | |
I have six copies left. | 0:12:50 | 0:12:52 | |
I often wondered where the other 94 went. | 0:12:55 | 0:12:58 | |
-Bern is in Switzerland, is it not? -Yes. | 0:13:02 | 0:13:06 | |
And the book has travelled? That is a good thing. | 0:13:06 | 0:13:10 | |
-Has he written anything else? -Nothing that has been published. | 0:13:13 | 0:13:17 | |
He wanted to be a writer, a philosopher... | 0:13:18 | 0:13:21 | |
..then he decided to become a doctor. | 0:13:22 | 0:13:25 | |
He didn't believe people should be in pain. | 0:13:25 | 0:13:27 | |
-Is that him? -That is our father. | 0:13:31 | 0:13:33 | |
-He was a famous judge. -So I gather, from the book. | 0:13:35 | 0:13:38 | |
He and Amadeu had a rather complicated relationship. | 0:13:38 | 0:13:42 | |
"Consider from the standpoint of eternity, | 0:13:42 | 0:13:44 | |
"that rather loses its significance." | 0:13:44 | 0:13:47 | |
Yes. | 0:13:47 | 0:13:48 | |
-He often said that to Amadeu. -Amadeu does not believe in eternity. | 0:13:49 | 0:13:53 | |
Unfortunately not. | 0:13:54 | 0:13:56 | |
I don't mean to pry, but... | 0:13:57 | 0:13:59 | |
..may I ask how your father died? | 0:14:01 | 0:14:04 | |
No. No, you may not. | 0:14:04 | 0:14:06 | |
(If you want to see Amadeu...you will find him in Cemetery Prazeres.) | 0:14:12 | 0:14:17 | |
-MAN'S VOICE: -"We leave something of ourselves behind | 0:14:24 | 0:14:27 | |
"when we leave a place. | 0:14:27 | 0:14:29 | |
"We stay there, even though we go away. | 0:14:30 | 0:14:34 | |
"And there are things in us | 0:14:35 | 0:14:37 | |
"that we can find again only by going back there. | 0:14:37 | 0:14:41 | |
"We travel to our souls when we go to a place | 0:14:42 | 0:14:46 | |
"that we have covered a stretch of our life... | 0:14:46 | 0:14:49 | |
"..no matter how brief it may have been. | 0:14:50 | 0:14:53 | |
"But by travelling to ourselves, we must confront our own loneliness. | 0:14:54 | 0:14:59 | |
"And isn't it so that everything we do | 0:15:01 | 0:15:03 | |
"is done out of fear of loneliness? | 0:15:03 | 0:15:05 | |
"Isn't that why we renounce | 0:15:08 | 0:15:10 | |
"all the things we will regret at the end of our life?" | 0:15:10 | 0:15:13 | |
Excuse me. I am looking for Amadeu de Almeida Prado. | 0:15:19 | 0:15:23 | |
-Prado. -Thank you. | 0:15:25 | 0:15:27 | |
"When dictatorship is a fact, revolution is a duty." | 0:15:36 | 0:15:43 | |
HE SCREAMS | 0:15:57 | 0:15:59 | |
Bloody idiot! | 0:16:00 | 0:16:03 | |
HE GROANS | 0:16:15 | 0:16:17 | |
"Is it ultimately a question of self-image, | 0:16:19 | 0:16:22 | |
"the determining idea one has made for oneself | 0:16:22 | 0:16:25 | |
"of what one has to have accomplished and experienced | 0:16:25 | 0:16:28 | |
"so that one can approve of the life one has lived?" | 0:16:28 | 0:16:31 | |
"If this is the case, | 0:16:33 | 0:16:34 | |
"the fear of death might be described | 0:16:34 | 0:16:37 | |
"as the fear of not being able to become whom one planned to be. | 0:16:37 | 0:16:41 | |
"If the certainty befalls us that it will | 0:16:43 | 0:16:45 | |
"never be achieved, this wholeness, | 0:16:45 | 0:16:48 | |
"we suddenly don't know how to live the time | 0:16:48 | 0:16:52 | |
"that can no longer be part of a whole life." | 0:16:52 | 0:16:55 | |
Better? | 0:17:06 | 0:17:07 | |
Or worse? | 0:17:09 | 0:17:10 | |
Better. | 0:17:11 | 0:17:13 | |
You feel as if you wrote the book yourself. | 0:17:13 | 0:17:15 | |
I would have liked to have done. | 0:17:15 | 0:17:16 | |
He talks about everything that's preoccupied me for years. | 0:17:16 | 0:17:21 | |
Better or worse? | 0:17:21 | 0:17:23 | |
Worse. | 0:17:24 | 0:17:25 | |
Tell me one of these beautiful sentences you read. | 0:17:26 | 0:17:29 | |
"The real director of life is accident, | 0:17:29 | 0:17:34 | |
"a director full of cruelty, | 0:17:34 | 0:17:36 | |
"compassion and bewitching charm." | 0:17:36 | 0:17:39 | |
By accident, he means fate? | 0:17:39 | 0:17:40 | |
No, I think he means chance, randomness chance. | 0:17:40 | 0:17:44 | |
Let's take a break, rest your eyes for a moment. | 0:17:44 | 0:17:47 | |
You are a man who does not sleep well. | 0:17:49 | 0:17:51 | |
-You can tell? -The eyes reveal everything. | 0:17:51 | 0:17:53 | |
Look at these eyes. | 0:17:55 | 0:17:57 | |
Tell me what they reveal. | 0:17:58 | 0:18:01 | |
They're melancholic, but hopeful. | 0:18:01 | 0:18:03 | |
Tired, but persistent. | 0:18:03 | 0:18:05 | |
Contradictory. | 0:18:05 | 0:18:07 | |
Why would his sister pretend that he was still alive? | 0:18:07 | 0:18:10 | |
I have no idea. Shall we resume? | 0:18:10 | 0:18:12 | |
Oh. | 0:18:12 | 0:18:13 | |
So you met a woman in a red coat, who disappeared, | 0:18:22 | 0:18:25 | |
-and you just dropped everything? -Then I read the book. | 0:18:25 | 0:18:28 | |
I would love to be able to do that, just drop everything. | 0:18:29 | 0:18:32 | |
-You do that often? -No, I've never done anything like that before. | 0:18:32 | 0:18:35 | |
Better or worse? | 0:18:35 | 0:18:37 | |
Uh, better. | 0:18:37 | 0:18:39 | |
How does that feel? | 0:18:40 | 0:18:43 | |
You talk about seeing as feeling. | 0:18:43 | 0:18:45 | |
-Well, isn't it? -I suppose it is. | 0:18:45 | 0:18:48 | |
-How clear is it - the image? -Very clear. | 0:18:48 | 0:18:50 | |
And how about this? | 0:18:52 | 0:18:53 | |
Everything is in focus. | 0:18:57 | 0:18:58 | |
Sir, we have this new one here. | 0:19:06 | 0:19:09 | |
"The decisive moment of life, | 0:19:12 | 0:19:14 | |
"when its direction changes forever, | 0:19:14 | 0:19:17 | |
"are not always marked by loud and shrill dramatics. | 0:19:17 | 0:19:20 | |
"In truth, the dramatic moments of a life-determining experience | 0:19:21 | 0:19:26 | |
"are often unbelievably low-key." | 0:19:26 | 0:19:28 | |
"When it unfolds, its revolutionary effect | 0:19:30 | 0:19:33 | |
"and ensures that a life is revealed in a brand-new light, | 0:19:33 | 0:19:37 | |
"it does that silently. | 0:19:37 | 0:19:39 | |
"And in this wonderful silence resides its special nobility." | 0:19:41 | 0:19:46 | |
Now you wonder if the old pair were better. | 0:19:47 | 0:19:49 | |
-Yes. -But they are not, are they? | 0:19:49 | 0:19:51 | |
No. They feel very light. | 0:19:54 | 0:19:56 | |
Getting used to them will take some time. | 0:19:56 | 0:19:59 | |
Do you take credit cards? | 0:19:59 | 0:20:00 | |
You can sort all that out with my receptionist. | 0:20:00 | 0:20:03 | |
Before you go... | 0:20:04 | 0:20:06 | |
I have an uncle. | 0:20:06 | 0:20:07 | |
He lives in a nursing home across the Tejo. | 0:20:07 | 0:20:10 | |
I called him last night and told him about you and the book. | 0:20:10 | 0:20:13 | |
He knew Amadeu de Prado well. | 0:20:13 | 0:20:15 | |
I told him you want to know about Amadeu | 0:20:15 | 0:20:18 | |
and he said he'd talk to you. | 0:20:18 | 0:20:20 | |
He was in the resistance. | 0:20:20 | 0:20:22 | |
I must warn you, my uncle can be difficult. | 0:20:23 | 0:20:27 | |
In what way? | 0:20:27 | 0:20:29 | |
The generation that lived under the dictator Salazar | 0:20:29 | 0:20:32 | |
is still battling to come to terms with what happened. | 0:20:32 | 0:20:36 | |
When the resistance began, the secret police were extremely brutal. | 0:20:36 | 0:20:40 | |
To this day, people don't like talking about it, | 0:20:40 | 0:20:43 | |
the perpetrators as well as their victims. | 0:20:43 | 0:20:46 | |
Uncle Joao, how are you? | 0:20:54 | 0:20:56 | |
What are you doing here? | 0:20:56 | 0:20:58 | |
This is the man I was telling you about, Raimund Gregorius - | 0:20:58 | 0:21:01 | |
-I brought him. -I said I'd talk to him, not you. | 0:21:01 | 0:21:03 | |
-But... -You can wait in reception. | 0:21:03 | 0:21:05 | |
We go to the lounge. | 0:21:05 | 0:21:07 | |
So, you are interested in Amadeu de Prado? | 0:21:14 | 0:21:18 | |
Yes. | 0:21:18 | 0:21:19 | |
Mariana tells me you have a book he wrote. | 0:21:20 | 0:21:23 | |
-Would you like to see it? -No. | 0:21:23 | 0:21:24 | |
I can imagine what it is like. | 0:21:24 | 0:21:27 | |
The godless priest. | 0:21:27 | 0:21:28 | |
That's a good description. | 0:21:30 | 0:21:32 | |
He was the only visitor they allowed me in prison. | 0:21:33 | 0:21:36 | |
'Every week he visits, | 0:21:37 | 0:21:39 | |
'with books and medicines, and cigarettes... | 0:21:39 | 0:21:43 | |
'which, of course, they take away the moment he leaves.' | 0:21:43 | 0:21:47 | |
Yeah, he had privileges. | 0:21:48 | 0:21:51 | |
-What sort of privileges? -The kind you don't want in life. | 0:21:52 | 0:21:55 | |
-Do you have cigarette? -No, sorry, I don't smoke. | 0:21:58 | 0:22:01 | |
Pity. | 0:22:01 | 0:22:02 | |
Mariana tells me that you and Amadeu were in the resistance. | 0:22:06 | 0:22:11 | |
-And Jorge, his best friend. -Oh, yes, he writes a lot about Jorge. | 0:22:11 | 0:22:14 | |
They were joined at the heart and the soul... | 0:22:14 | 0:22:17 | |
for a time. | 0:22:17 | 0:22:19 | |
But Amadeu, he was too soft for the resistance. | 0:22:19 | 0:22:24 | |
He only joined because he feel guilty. | 0:22:24 | 0:22:27 | |
Mariana tells me you are from Switzerland. | 0:22:29 | 0:22:32 | |
Yes, Bern. | 0:22:32 | 0:22:33 | |
There was never a revolution in Switzerland, was there? | 0:22:34 | 0:22:37 | |
No. Somehow they've always managed to avoid such things. | 0:22:37 | 0:22:42 | |
They won't know what it's like to live without trusting, | 0:22:42 | 0:22:45 | |
never to trust your friends or family. | 0:22:45 | 0:22:49 | |
I met his sister, Adriana. | 0:22:50 | 0:22:53 | |
She... She acts as if he is still alive | 0:22:53 | 0:22:57 | |
and she wears black, as is if in mourning. | 0:22:57 | 0:22:59 | |
You can only fill my cup halfway. | 0:23:12 | 0:23:15 | |
No-one has ever done that for me before. | 0:23:29 | 0:23:32 | |
-Yeah... -HE CHUCKLES | 0:23:45 | 0:23:49 | |
A gift from PIDE, the Portuguese Secret Police. | 0:23:49 | 0:23:55 | |
Rui Lus Mendes was his name. | 0:23:55 | 0:24:00 | |
1973... | 0:24:00 | 0:24:03 | |
in the springtime. | 0:24:03 | 0:24:04 | |
I'm home. | 0:24:16 | 0:24:17 | |
Who are you? | 0:24:26 | 0:24:27 | |
Where's my wife? | 0:24:28 | 0:24:30 | |
She kindly took your children for a walk. | 0:24:30 | 0:24:33 | |
This woman that knows all the names, | 0:24:35 | 0:24:38 | |
where do I find her? | 0:24:38 | 0:24:40 | |
I do not know. | 0:24:40 | 0:24:41 | |
I do not know what you are talking about. | 0:24:43 | 0:24:45 | |
Your wife tells me you are an excellent pianist. | 0:24:48 | 0:24:51 | |
Will you play for me...and my friends? | 0:24:52 | 0:24:56 | |
Please. | 0:24:58 | 0:24:59 | |
Can I see you hands, please? | 0:25:11 | 0:25:13 | |
-What should I play? -Play us your favourite. | 0:25:38 | 0:25:41 | |
HE PLAYS PIANO | 0:25:44 | 0:25:47 | |
They say she has a photographic memory. | 0:25:56 | 0:25:58 | |
Is that true? | 0:26:00 | 0:26:01 | |
HE GROANS | 0:26:07 | 0:26:09 | |
I ask you once more, where is she? | 0:26:19 | 0:26:22 | |
HE GROANS | 0:26:25 | 0:26:27 | |
HE SCREAMS | 0:26:36 | 0:26:38 | |
What made it all that more terrible | 0:26:43 | 0:26:45 | |
was that someone said, | 0:26:45 | 0:26:48 | |
"Amadeu, he saved Mendes' life." | 0:26:48 | 0:26:52 | |
BELL RINGS | 0:26:54 | 0:26:57 | |
Dinnertime. They-they serve us early here, like in prison. | 0:26:57 | 0:27:02 | |
Not for the inmates, you understand, but for the staff. | 0:27:02 | 0:27:05 | |
I'm glad he's finally been able to tell someone about it. | 0:27:07 | 0:27:11 | |
I just wish it had been me. | 0:27:12 | 0:27:15 | |
It is often easier to speak to a stranger. | 0:27:15 | 0:27:18 | |
With my family, it's a bit different. | 0:27:19 | 0:27:21 | |
Pain is something we pretend happens to other people. | 0:27:21 | 0:27:25 | |
When Uncle Joao disappeared, | 0:27:26 | 0:27:28 | |
our parents told us he had gone to Brazil to work. | 0:27:28 | 0:27:32 | |
Then, after the Revolution, when he was released, | 0:27:32 | 0:27:35 | |
they told us he'd had an accident with his hands. | 0:27:35 | 0:27:38 | |
-He is very fond of you. -He is? | 0:27:40 | 0:27:42 | |
He said you are the only one from the family who ever visits. | 0:27:44 | 0:27:46 | |
He is always so grumpy, I don't blame the others. | 0:27:46 | 0:27:50 | |
-What else did he say? -He said he wished you were married. | 0:27:50 | 0:27:52 | |
-SHE GASPS -I hate him! | 0:27:52 | 0:27:55 | |
Then, when you visited, there'd be children. | 0:27:57 | 0:27:59 | |
He actually said that? That he's fond of me? | 0:28:00 | 0:28:03 | |
Do you have children? | 0:28:09 | 0:28:10 | |
No. I have my students... | 0:28:10 | 0:28:14 | |
but the faces change every year, so I try not to get too fond of them. | 0:28:14 | 0:28:17 | |
I think now you are staying another day. | 0:28:37 | 0:28:39 | |
Yes, I might have to. | 0:28:41 | 0:28:43 | |
Nice glasses. | 0:28:43 | 0:28:44 | |
Father Bartolomeu? | 0:29:35 | 0:29:37 | |
Yes. | 0:29:37 | 0:29:39 | |
Joao Eca tells me that you buried Amadeu de Prado. | 0:29:39 | 0:29:44 | |
I would prefer to be remembered at the man who taught Amadeu, | 0:29:45 | 0:29:50 | |
not the one who buried him. | 0:29:50 | 0:29:52 | |
Amadeu was 12 years old when he first came to the school. | 0:29:54 | 0:29:58 | |
He came with no bag, no books. | 0:29:58 | 0:30:01 | |
He had read them all, you see. | 0:30:01 | 0:30:03 | |
Everything was in his head. | 0:30:03 | 0:30:05 | |
What does he say about the school in his book? | 0:30:07 | 0:30:11 | |
"For 1,922 days, | 0:30:19 | 0:30:21 | |
"I attended the Liceu, where my Father sent me, | 0:30:21 | 0:30:25 | |
"the strictest school in the whole country. | 0:30:25 | 0:30:28 | |
"By the third day I, realised I had to count the days | 0:30:28 | 0:30:30 | |
"so as not to be crushed by it." | 0:30:30 | 0:30:33 | |
He hated it that much? | 0:30:35 | 0:30:37 | |
Were Jorge and Amadeu in the same class? | 0:30:40 | 0:30:43 | |
Uh, no, not at first. | 0:30:43 | 0:30:45 | |
Amadeu skipped two grades. | 0:30:45 | 0:30:50 | |
He was that bright, you see. | 0:30:50 | 0:30:52 | |
And for two years, they were in the same class. | 0:30:52 | 0:30:55 | |
Or I should say, they were in a class of their own. | 0:30:55 | 0:30:59 | |
Amadeu, the aristocrat, | 0:30:59 | 0:31:01 | |
and Jorge, the working class boy. | 0:31:01 | 0:31:03 | |
They had a very noted curiosity, those two. | 0:31:03 | 0:31:07 | |
They would lie to their mothers | 0:31:07 | 0:31:09 | |
that they were going to spend the night at a friend's house. | 0:31:09 | 0:31:13 | |
Instead, they came here. | 0:31:13 | 0:31:15 | |
How did you find them, Jorge? | 0:31:24 | 0:31:25 | |
I was sleeping here, then I found the floor was loose. | 0:31:25 | 0:31:28 | |
-Jean-Paul Sartre. -Karl Marx. | 0:31:31 | 0:31:34 | |
Henry Miller. | 0:31:34 | 0:31:36 | |
My God, if we found these books... | 0:31:36 | 0:31:38 | |
We would end up in Tarrafal, | 0:31:38 | 0:31:40 | |
along with all the other political prisoners. | 0:31:40 | 0:31:43 | |
But your father would never allow that, would he, Amadeu? | 0:31:43 | 0:31:45 | |
He would get Grand Minister Salazar personally intervene | 0:31:45 | 0:31:48 | |
and have the case thrown out of court. | 0:31:48 | 0:31:51 | |
You think it is a joke my father is a judge? | 0:31:51 | 0:31:53 | |
I think it is a joke that the son of a green grocer | 0:31:53 | 0:31:55 | |
is friends with the son of a judge. That is funny. | 0:31:55 | 0:31:59 | |
HE LAUGHS | 0:31:59 | 0:32:01 | |
You have to admit! | 0:32:01 | 0:32:02 | |
Amadeu would have been unhappy wherever he was. | 0:32:06 | 0:32:10 | |
He never played games with the other boys. | 0:32:12 | 0:32:14 | |
He never let himself go... | 0:32:15 | 0:32:17 | |
..except one time. | 0:32:19 | 0:32:22 | |
Nobody forgot that time. | 0:32:24 | 0:32:26 | |
Make room there, boys. Make room. | 0:32:30 | 0:32:32 | |
-My father is here. -Of course he's here. What did you expect? | 0:32:51 | 0:32:54 | |
You should read this, Jorge. You wrote most of them anyway. | 0:32:54 | 0:32:56 | |
They are your words - I only helped you choose them. | 0:32:56 | 0:33:00 | |
-Amadeu, which is our religion? -Loyalty. | 0:33:00 | 0:33:03 | |
What are our values? | 0:33:03 | 0:33:05 | |
Truth...above all else. | 0:33:05 | 0:33:08 | |
Exactly. Just keep your eyes on me and you'll be fine. | 0:33:08 | 0:33:10 | |
As is traditional, | 0:33:13 | 0:33:14 | |
we end our ceremony with a grade 12's graduation speech. | 0:33:14 | 0:33:19 | |
In this year, that honour will be bestow | 0:33:19 | 0:33:22 | |
to Amadeu de Almeida Prado. | 0:33:22 | 0:33:25 | |
APPLAUSE | 0:33:25 | 0:33:27 | |
I would not like to live in a world without cathedrals. | 0:33:52 | 0:33:55 | |
I need their beauty and grandeur | 0:33:56 | 0:33:57 | |
against the dirty colours of military uniforms. | 0:33:57 | 0:34:00 | |
I love the powerful words of the Bible. | 0:34:03 | 0:34:05 | |
I need the force of its poetry. | 0:34:06 | 0:34:08 | |
I need it against the decay of language | 0:34:09 | 0:34:13 | |
and the dictatorship of worthless slogans. | 0:34:13 | 0:34:15 | |
But there is another world I do not wish to live in... | 0:34:19 | 0:34:21 | |
..a world in which independent thinking is disparaged | 0:34:23 | 0:34:26 | |
and the finest things we can experience denounced as sin. | 0:34:26 | 0:34:30 | |
A world in which our love | 0:34:30 | 0:34:32 | |
is demanded by tyrants, oppressors and assassins. | 0:34:32 | 0:34:36 | |
And, most absurdly, people are exhorted from the pulpit | 0:34:37 | 0:34:40 | |
to forgive these creatures and even to love them. | 0:34:40 | 0:34:44 | |
It is for this reason we cannot just put the Bible aside - | 0:34:46 | 0:34:50 | |
we have to throw it away completely - | 0:34:50 | 0:34:52 | |
for it speaks only of a vain, holier-than-thou God. | 0:34:52 | 0:34:55 | |
In his omnipresence, the Lord observes us, day and night. | 0:34:57 | 0:35:01 | |
He takes note of our acts and thoughts, | 0:35:01 | 0:35:03 | |
but what is a man without secrets? | 0:35:03 | 0:35:07 | |
Without thoughts and wishes that he, and he alone, knows? | 0:35:07 | 0:35:10 | |
Does the Lord our God not consider | 0:35:11 | 0:35:13 | |
He's stealing our soul with his unbridled curiosity, | 0:35:13 | 0:35:16 | |
a soul that should be immortal? | 0:35:16 | 0:35:18 | |
But who would, in all seriousness, want to be immortal? | 0:35:20 | 0:35:23 | |
How boring to know that what happens today, | 0:35:23 | 0:35:25 | |
this month, this year, does not matter? | 0:35:25 | 0:35:28 | |
Nothing would count. | 0:35:28 | 0:35:30 | |
No-one here knows what it would be like to live eternally | 0:35:31 | 0:35:34 | |
and it's a blessing we never will. | 0:35:34 | 0:35:37 | |
One thing I can assure you, | 0:35:38 | 0:35:40 | |
it would be hell, this endless paradise of immortality. | 0:35:40 | 0:35:45 | |
It is death and only death that gives each moment beauty and horror. | 0:35:45 | 0:35:51 | |
Only through death is time a living thing. | 0:35:51 | 0:35:54 | |
Why does the Lord not know this? | 0:35:54 | 0:35:57 | |
Why does He threaten us with an...endlessness | 0:35:57 | 0:35:59 | |
that can only be unbearably desolate? | 0:35:59 | 0:36:01 | |
I would not want to live in a world without cathedrals. | 0:36:07 | 0:36:10 | |
I need the lustre of their windows... | 0:36:10 | 0:36:13 | |
their cool stillness, their imperious silence. | 0:36:13 | 0:36:16 | |
I need the holiness of words, the grandeur of great poetry, | 0:36:18 | 0:36:22 | |
but just as much I need the freedom | 0:36:22 | 0:36:26 | |
to rebel against everything that is cruel in this world, | 0:36:26 | 0:36:30 | |
for the one is nothing without the other. | 0:36:30 | 0:36:32 | |
And no-one may force me to choose. | 0:36:32 | 0:36:34 | |
APPLAUSE | 0:36:40 | 0:36:44 | |
What did you think? | 0:37:18 | 0:37:19 | |
I thought you would deliver a speech in Latin. | 0:37:21 | 0:37:25 | |
But then only a very few would have understood it. | 0:37:26 | 0:37:29 | |
Are you friends with that boy? | 0:37:39 | 0:37:41 | |
We are the best of friends. | 0:37:42 | 0:37:44 | |
All of those faces, and more... | 0:37:49 | 0:37:51 | |
..came to his funeral. | 0:37:53 | 0:37:55 | |
He died on the day of the Revolution... | 0:37:55 | 0:37:58 | |
..and so they all brought red carnations. | 0:37:59 | 0:38:02 | |
I dare not speak any words about God | 0:38:04 | 0:38:07 | |
after what Amadeu called "His empty promises", | 0:38:07 | 0:38:13 | |
but I did allow myself one religious word. | 0:38:13 | 0:38:17 | |
Amen. | 0:38:20 | 0:38:21 | |
-ALL: -Amen. | 0:38:21 | 0:38:22 | |
I was very proud of him. | 0:38:36 | 0:38:38 | |
Then why did you never tell him, Papa? | 0:38:39 | 0:38:41 | |
To this day, I never found out what secret bound those two together | 0:39:24 | 0:39:30 | |
and what it had to do with Amadeu. | 0:39:30 | 0:39:32 | |
-My brother is not here. -I know. | 0:39:41 | 0:39:44 | |
-Go away. -I know what happened - he had an aneurysm. | 0:39:45 | 0:39:51 | |
It's in the book. | 0:39:51 | 0:39:52 | |
How do you live with that? | 0:39:54 | 0:39:55 | |
Knowing, at any time, blood vessel could burst, | 0:39:55 | 0:39:59 | |
flooding your brain with blood? | 0:39:59 | 0:40:01 | |
I only found out after, when I discovered his writings. | 0:40:03 | 0:40:06 | |
He never told anyone... | 0:40:08 | 0:40:10 | |
..not even me. | 0:40:11 | 0:40:13 | |
I am sorry. I didn't mean to upset you. | 0:40:13 | 0:40:16 | |
No, wait. | 0:40:17 | 0:40:18 | |
Let me show you where we worked. | 0:40:21 | 0:40:23 | |
People came, day and night... | 0:40:32 | 0:40:34 | |
..to see him... | 0:40:36 | 0:40:37 | |
..to be healed. | 0:40:38 | 0:40:39 | |
No-one should be in pain, he always used to say. | 0:40:41 | 0:40:44 | |
The door was always open. | 0:40:45 | 0:40:47 | |
I met Joao Eca. | 0:40:51 | 0:40:53 | |
He mentioned that Amadeu was in the resistance... | 0:40:55 | 0:40:59 | |
(Ha. The resistance.) | 0:40:59 | 0:41:02 | |
And that he saved Mendes' life. | 0:41:05 | 0:41:08 | |
It was late in the evening. | 0:41:16 | 0:41:19 | |
There were terrible shouts... | 0:41:22 | 0:41:24 | |
..across the square. | 0:41:26 | 0:41:27 | |
SHOUTING | 0:41:29 | 0:41:32 | |
CAR HORN BLARES The Police! | 0:41:39 | 0:41:42 | |
We need help! | 0:41:51 | 0:41:53 | |
Get the doctor. | 0:41:59 | 0:42:00 | |
In there! | 0:42:02 | 0:42:04 | |
Amadeu, you need to come, now. | 0:42:11 | 0:42:14 | |
Is this...? | 0:42:24 | 0:42:26 | |
Out. Out! | 0:42:34 | 0:42:36 | |
Adriana. | 0:42:53 | 0:42:54 | |
SHOUTING OUTSIDE | 0:42:54 | 0:42:57 | |
You're a traitor. Traitor! | 0:43:45 | 0:43:48 | |
Traitor. | 0:43:48 | 0:43:49 | |
-You are a traitor! -I'm a doctor. | 0:43:52 | 0:43:54 | |
-ALL: -You're a traitor! | 0:43:54 | 0:43:56 | |
You hear me? A doctor! | 0:43:56 | 0:43:58 | |
-ALL: -You are a traitor! | 0:43:58 | 0:44:00 | |
We sat him down in this very chair and washed his face. | 0:44:28 | 0:44:31 | |
His beautiful face. | 0:44:32 | 0:44:34 | |
After that, people stopped coming...even Jorge. | 0:44:36 | 0:44:40 | |
That really hurt him. | 0:44:40 | 0:44:41 | |
Do you know of Jorge? | 0:44:44 | 0:44:45 | |
I know they were great friends. | 0:44:45 | 0:44:47 | |
-Why is the world so cruel? -I often ask myself that. | 0:44:49 | 0:44:52 | |
-It is if it doesn't care. -God doesn't care. | 0:44:52 | 0:44:55 | |
Amadeu was right about that. | 0:44:57 | 0:44:59 | |
I would like to be alone now. | 0:45:03 | 0:45:05 | |
-May I call on you again? -Why? | 0:45:07 | 0:45:10 | |
His life, his world, was... | 0:45:12 | 0:45:15 | |
..extraordinary. Makes mine seem so insignificant. | 0:45:17 | 0:45:20 | |
-Do you have cigarettes? -Which brand? -Um... | 0:45:26 | 0:45:29 | |
You brought them? | 0:45:49 | 0:45:51 | |
No, wait, wait. | 0:45:51 | 0:45:52 | |
Everyone here is a spy - worse than the damn fascists. | 0:45:52 | 0:45:56 | |
We go outside. | 0:45:56 | 0:45:57 | |
You didn't telephone me just to get cigarettes. | 0:46:00 | 0:46:02 | |
I called because... | 0:46:02 | 0:46:03 | |
talking to you makes me sleep better last night. | 0:46:03 | 0:46:06 | |
Amadeu, he never smoked - | 0:46:11 | 0:46:13 | |
he's the only one who didn't. | 0:46:13 | 0:46:15 | |
Jorge, he smoked like a chimney. | 0:46:15 | 0:46:17 | |
-Jorge...is he still alive? -I don't know. | 0:46:31 | 0:46:34 | |
I never talked to him after what happened with Estefania. | 0:46:36 | 0:46:41 | |
No-one knew how to. | 0:46:41 | 0:46:43 | |
It was too personal. | 0:46:43 | 0:46:45 | |
Who is Estefania? | 0:46:46 | 0:46:48 | |
The woman who remembered everything. | 0:46:49 | 0:46:52 | |
That's why they picked me up, to get to her. | 0:46:52 | 0:46:55 | |
Lieutenant Nicholas Ribeiro. | 0:46:58 | 0:47:00 | |
Benfica. 28 December. | 0:47:02 | 0:47:07 | |
Telephone, 857-2463. | 0:47:07 | 0:47:11 | |
7th Article. | 0:47:13 | 0:47:15 | |
Captain Carlos Peixe. | 0:47:19 | 0:47:21 | |
Sintra, 47 Rua... CAR APPROACHES | 0:47:23 | 0:47:25 | |
Sh! | 0:47:25 | 0:47:27 | |
KNOCK ON DOOR Jorge! | 0:47:39 | 0:47:42 | |
-Is that Amadeu de Prado? -Jorge! | 0:47:42 | 0:47:44 | |
-Are you in there? -Let him in. -KNOCKING CONTINUES | 0:47:45 | 0:47:50 | |
Why have you been avoiding me? | 0:48:00 | 0:48:02 | |
Everyone else I can understand, but you? | 0:48:02 | 0:48:04 | |
I am not avoiding you. | 0:48:04 | 0:48:06 | |
-You are lying, Jorge. We do not lie to each other! -Shh! | 0:48:06 | 0:48:09 | |
I want to join the resistance. | 0:48:22 | 0:48:25 | |
Because of guilt? | 0:48:25 | 0:48:26 | |
As a doctor, I had no choice. | 0:48:28 | 0:48:30 | |
As a doctor, you should have injected poison into his heart, | 0:48:30 | 0:48:34 | |
not adrenaline. | 0:48:34 | 0:48:36 | |
Sit, Amadeu. | 0:48:41 | 0:48:43 | |
Aren't you going to introduce me to your friends? | 0:48:53 | 0:48:56 | |
This is Joao. | 0:48:56 | 0:48:57 | |
And this is Estefania. | 0:49:00 | 0:49:03 | |
I was going to introduce you sooner, but... | 0:49:06 | 0:49:08 | |
The resistance keeps us busy. | 0:49:08 | 0:49:10 | |
Isn't she beautiful? | 0:49:11 | 0:49:13 | |
What if you first assignment was to kill your father? | 0:49:22 | 0:49:25 | |
-Why? -Because he is a judge... | 0:49:35 | 0:49:37 | |
..part of the fascist regime. | 0:49:38 | 0:49:40 | |
Don't be upset, Amadeu. I was just testing you. | 0:49:52 | 0:49:56 | |
You knew it, straight away. Even Jorge would see it. | 0:49:59 | 0:50:03 | |
Estefania, she was completely drawn to him. | 0:50:04 | 0:50:08 | |
And the names and addresses? | 0:50:11 | 0:50:13 | |
Members of the armed forces sympathetic to our cause. | 0:50:13 | 0:50:17 | |
She had them stock piled in her head, | 0:50:17 | 0:50:20 | |
more than 200 names, | 0:50:20 | 0:50:23 | |
waiting for the day we call them, to rise up against the fascists. | 0:50:23 | 0:50:28 | |
PHONE RINGS | 0:50:35 | 0:50:38 | |
-Can I have my key, please? -Of course, sir. | 0:50:48 | 0:50:50 | |
Is Miss de Prado at home? | 0:51:15 | 0:51:16 | |
She asked for you to wait, if you come. | 0:51:16 | 0:51:19 | |
Why you bring back the past? | 0:51:30 | 0:51:32 | |
I want to know how it felt to be Amadeu. | 0:51:33 | 0:51:36 | |
Did you know him? | 0:51:37 | 0:51:39 | |
Amadeu, you must eat. | 0:51:48 | 0:51:51 | |
You need to be strong for your final exams. | 0:51:51 | 0:51:54 | |
SHE CHOKES | 0:52:03 | 0:52:06 | |
Stand up. | 0:52:13 | 0:52:15 | |
Sit down. | 0:52:22 | 0:52:23 | |
Momma, come help me. | 0:52:23 | 0:52:24 | |
I have to do this, otherwise you will die. | 0:52:29 | 0:52:31 | |
Take your hands away. | 0:52:31 | 0:52:33 | |
Adriana, trust me. | 0:52:34 | 0:52:36 | |
AIR HISSES | 0:53:03 | 0:53:05 | |
Clotilde, call an ambulance! | 0:53:06 | 0:53:08 | |
The ambulance and the doctor came | 0:53:10 | 0:53:13 | |
and Adriana was rushed to hospital. | 0:53:13 | 0:53:15 | |
You can leave us now, Clotilde. | 0:53:22 | 0:53:24 | |
The doctor said I did the right thing. | 0:53:34 | 0:53:36 | |
Why do you say nothing? | 0:53:43 | 0:53:44 | |
-Why do you judge me so? -BELL DINGS | 0:53:46 | 0:53:50 | |
The intervention is called tracheotomy. | 0:53:55 | 0:53:58 | |
If I hadn't have done it, we would have carried her out in a coffin. | 0:53:58 | 0:54:00 | |
I too shall have a cup of tea, Clotilde. | 0:54:07 | 0:54:09 | |
So now you know. | 0:54:13 | 0:54:14 | |
From then on, I was indebted to him... | 0:54:16 | 0:54:19 | |
..just as Rui Mendes was indebted to him. | 0:54:20 | 0:54:22 | |
The police knew very well the | 0:54:25 | 0:54:26 | |
clinic was been used as a cover for the resistance - | 0:54:26 | 0:54:29 | |
they never came and searched. | 0:54:29 | 0:54:31 | |
People would drop off envelopes of money and... | 0:54:31 | 0:54:33 | |
names, addresses, maps. | 0:54:33 | 0:54:36 | |
And then she would come. | 0:54:39 | 0:54:41 | |
Next. | 0:54:43 | 0:54:45 | |
Why have you not called me? I left messages. | 0:54:48 | 0:54:50 | |
I have something for Joao. | 0:54:52 | 0:54:54 | |
I have to talk to you. I cannot go on with Jorge. | 0:55:00 | 0:55:03 | |
Leave us. | 0:55:05 | 0:55:06 | |
Adriana, leave us. | 0:55:10 | 0:55:11 | |
Then one night, it-it all ended. | 0:55:15 | 0:55:17 | |
How? | 0:55:18 | 0:55:19 | |
Something had happened... | 0:55:19 | 0:55:21 | |
I do not know what, but that was the last time I ever saw her. | 0:55:21 | 0:55:25 | |
-There are patients waiting for you. -Send them away. | 0:55:34 | 0:55:37 | |
-We do not send patients away?! -Do it now. | 0:55:37 | 0:55:40 | |
If someone comes to the door, do not answer it. | 0:55:40 | 0:55:43 | |
Switch off the lights. We are not here. | 0:55:43 | 0:55:44 | |
Amadeu! | 0:56:02 | 0:56:04 | |
BANGING CONTINUES | 0:56:04 | 0:56:07 | |
Amadeu! | 0:56:07 | 0:56:09 | |
Joao Eca is at the door. | 0:56:23 | 0:56:25 | |
I'll be back. | 0:56:26 | 0:56:28 | |
Amadeu! | 0:56:37 | 0:56:39 | |
Come, come in. | 0:56:39 | 0:56:40 | |
Where is she? | 0:56:44 | 0:56:46 | |
Estefania. | 0:56:47 | 0:56:49 | |
I don't know. She went one way, I went another. | 0:56:49 | 0:56:51 | |
Jorge came to me - the problem is Estefania. | 0:56:53 | 0:56:56 | |
What do you mean? | 0:56:57 | 0:56:59 | |
He wants... He wants to eliminate her. | 0:57:00 | 0:57:03 | |
What? | 0:57:04 | 0:57:05 | |
He said, if they get to her, they'll get the names. | 0:57:07 | 0:57:10 | |
It will be the end of it. | 0:57:11 | 0:57:14 | |
Jorge wants to kill Estefania? | 0:57:14 | 0:57:16 | |
If she or Jorge come here, call me. | 0:57:16 | 0:57:19 | |
-You understand? -I understand. | 0:57:21 | 0:57:24 | |
Okay. | 0:57:24 | 0:57:26 | |
What a mess. | 0:57:30 | 0:57:31 | |
What are you going to do? | 0:57:44 | 0:57:45 | |
Pack a bag and some food - I am taking the car. | 0:57:48 | 0:57:51 | |
-To where? -Away from here. | 0:57:51 | 0:57:54 | |
-With her? -Of course with her. | 0:57:56 | 0:57:59 | |
No, please no, Amadeu! | 0:58:00 | 0:58:03 | |
I beg you, don't do this thing! | 0:58:03 | 0:58:06 | |
Tell them she's here. | 0:58:06 | 0:58:08 | |
Don't go away with her, I beg you! | 0:58:08 | 0:58:11 | |
Please, don't go! | 0:58:11 | 0:58:13 | |
Do as I say. | 0:58:17 | 0:58:19 | |
Don't do this thing, it's wrong! | 0:58:21 | 0:58:24 | |
Something terrible will happen, I know it will! | 0:58:25 | 0:58:28 | |
He stepped over me - I'll never forget that. | 0:58:33 | 0:58:37 | |
He stepped over me... | 0:58:38 | 0:58:40 | |
..like I was...nothing. | 0:58:41 | 0:58:44 | |
Could I have a coffee, please? | 0:59:29 | 0:59:31 | |
-Hello? -Mr Kagi, it's me. | 0:59:33 | 0:59:36 | |
I am sorry I missed your call yesterday. | 0:59:36 | 0:59:39 | |
Don't tell me you are still in Lisbon? | 0:59:39 | 0:59:42 | |
-Yes, I am. -Where are you staying? | 0:59:42 | 0:59:44 | |
Hotel Silva - you wouldn't have heard of it. | 0:59:44 | 0:59:47 | |
Is it raining in Bern? | 0:59:47 | 0:59:48 | |
I can't keep teaching your class, you have to come back. | 0:59:48 | 0:59:51 | |
If you don't come back, I am going to have to get replacement for you. | 0:59:51 | 0:59:54 | |
Do you want me to do that? | 0:59:54 | 0:59:56 | |
-Perhaps. -I need a yes or no, Raimund. | 0:59:56 | 0:59:59 | |
Mr Kagi, I have to go. I'm sorry. | 0:59:59 | 1:00:01 | |
DOG BARKS | 1:00:12 | 1:00:15 | |
Why are you following me? | 1:01:17 | 1:01:19 | |
Where does this come from? | 1:01:30 | 1:01:32 | |
His sister, Adriana, came across his notes. | 1:01:32 | 1:01:35 | |
She put them together in a book. | 1:01:35 | 1:01:37 | |
I came across that in Bern, Switzerland. | 1:01:37 | 1:01:39 | |
I want to know what happened to Estefania. | 1:01:42 | 1:01:44 | |
-Why? -Amadeu is dead. | 1:01:44 | 1:01:46 | |
Adriana does not know. You are the only one who does. | 1:01:47 | 1:01:50 | |
Get the hell out of here! | 1:01:50 | 1:01:53 | |
Get out! | 1:01:53 | 1:01:54 | |
-MAN: -Shh! | 1:01:55 | 1:01:57 | |
-Why has my uncle started smoking again? -What? | 1:01:59 | 1:02:02 | |
The doctor from the nursing home called me, | 1:02:03 | 1:02:05 | |
and told me a stranger visited him and brought him some cigarettes. | 1:02:05 | 1:02:09 | |
-Well, he asked me for some. -Are you trying to kill him? | 1:02:09 | 1:02:12 | |
He already has emphysema! | 1:02:12 | 1:02:13 | |
Yeah, but he enjoys smoking. Why deny him that pleasure? | 1:02:13 | 1:02:16 | |
Because it's bad for him. | 1:02:16 | 1:02:18 | |
So is living in that nursing home - it reminds him of being in prison. | 1:02:18 | 1:02:22 | |
-How are your new glasses? -I'm getting used to them. | 1:02:26 | 1:02:29 | |
Would you have dinner with me? | 1:02:30 | 1:02:32 | |
I thought you'd never ask. | 1:02:36 | 1:02:38 | |
If-if-if Jesus had been put to death with a guillotine, | 1:02:39 | 1:02:42 | |
we would all be praying before a big, shiny blade. | 1:02:42 | 1:02:46 | |
Or-or if he'd been electrocuted, we'd be genuflecting in front of a chair. | 1:02:46 | 1:02:49 | |
THEY LAUGH | 1:02:49 | 1:02:53 | |
But can you really do that? | 1:02:53 | 1:02:55 | |
Nobody disliked to be another person without being the other person. | 1:02:55 | 1:02:59 | |
You can imagine what it's like to be that other person. | 1:02:59 | 1:03:03 | |
"Imagination is our last sanctuary" - | 1:03:03 | 1:03:06 | |
that's one of his lines. | 1:03:06 | 1:03:07 | |
Though he also said, "Intimacy is our last sanctuary." | 1:03:07 | 1:03:11 | |
You remember the lines verbatim. | 1:03:12 | 1:03:14 | |
Well, that's because they... They mean something to me. | 1:03:14 | 1:03:17 | |
Poor Estefania, she... she remembered everything, | 1:03:17 | 1:03:20 | |
even trivial things - numbers, names, phone numbers, addresses... | 1:03:20 | 1:03:25 | |
To have a memory like that must drive you mad. | 1:03:25 | 1:03:27 | |
Sorry, I am going on. | 1:03:29 | 1:03:31 | |
I haven't talked as much as this for years. | 1:03:33 | 1:03:34 | |
No, no. I'm fascinated. | 1:03:34 | 1:03:37 | |
May I ask you how long you have been on you own? | 1:03:40 | 1:03:43 | |
Five and a half years. | 1:03:44 | 1:03:46 | |
But before that, you spoke to you wife? | 1:03:46 | 1:03:49 | |
Yes... | 1:03:49 | 1:03:50 | |
but it... | 1:03:50 | 1:03:53 | |
usually landed me in trouble. | 1:03:53 | 1:03:55 | |
What kind of trouble? | 1:03:55 | 1:03:56 | |
Well, we threw a party for her colleagues... | 1:03:56 | 1:03:59 | |
well...our friends, | 1:03:59 | 1:04:02 | |
and she found this quote from Pessoa. | 1:04:02 | 1:04:05 | |
"Fields are greener in their description than their actual greenness." | 1:04:06 | 1:04:13 | |
And somebody said, "Oh, that's a beautiful sentence." | 1:04:13 | 1:04:16 | |
I said, "Yes, but only a very few people will ever understand it." | 1:04:16 | 1:04:19 | |
And there was this terrible silence and then she said, my wife... | 1:04:20 | 1:04:26 | |
She said, "And I suppose you are one of the chosen few?" | 1:04:26 | 1:04:30 | |
So, that was the end of that party. | 1:04:33 | 1:04:35 | |
But you were right. | 1:04:37 | 1:04:39 | |
Yes, but it...was arrogant. | 1:04:39 | 1:04:42 | |
Stupid and arrogant. | 1:04:42 | 1:04:44 | |
And is that why she left you, because of your arrogance? | 1:04:44 | 1:04:47 | |
No. I think she left me because she found me... | 1:04:47 | 1:04:52 | |
..boring. | 1:04:53 | 1:04:55 | |
We are still in touch. | 1:05:00 | 1:05:02 | |
She called the other day. | 1:05:02 | 1:05:04 | |
She wanted me to move my books out of the garage | 1:05:04 | 1:05:06 | |
because her new boyfriend wanted somewhere to park his car. | 1:05:06 | 1:05:09 | |
SHE LAUGHS | 1:05:09 | 1:05:12 | |
I don't know why I am telling you all of this. | 1:05:12 | 1:05:14 | |
-Would you like to dance? -No, I can't. I can't dance. | 1:05:21 | 1:05:25 | |
You see? | 1:05:27 | 1:05:28 | |
Boring. | 1:05:30 | 1:05:31 | |
Thank you. | 1:05:38 | 1:05:40 | |
I enjoyed that. | 1:05:41 | 1:05:43 | |
Raimund... | 1:05:43 | 1:05:45 | |
you are not boring. | 1:05:45 | 1:05:47 | |
My uncle would like to see you again. | 1:05:49 | 1:05:52 | |
Will you take him some cigarettes? | 1:05:52 | 1:05:53 | |
DOG BARKS | 1:06:00 | 1:06:04 | |
-Jorge is still alive. -You met him? | 1:06:15 | 1:06:17 | |
Still running the same pharmacy, | 1:06:17 | 1:06:19 | |
smoking cigarette while he serves his customers. | 1:06:19 | 1:06:22 | |
-You brought some? -Yes, I did. | 1:06:23 | 1:06:25 | |
Estefania was in the house when I was there? | 1:06:28 | 1:06:31 | |
She found them together in his study. | 1:06:31 | 1:06:33 | |
No wonder he lied to me... | 1:06:35 | 1:06:37 | |
because, you know, he never lied. | 1:06:37 | 1:06:40 | |
He could not tolerate dishonesty. | 1:06:40 | 1:06:42 | |
What had happened earlier that night? | 1:06:42 | 1:06:45 | |
Jorge's place become too small | 1:06:45 | 1:06:48 | |
and so we hired a room in an old warehouse for our meetings. | 1:06:48 | 1:06:54 | |
We pretended it was a literacy class - Estefania's idea. | 1:06:54 | 1:06:59 | |
We were so naive. | 1:07:01 | 1:07:03 | |
Nuno, you will be in charge of the railways. | 1:07:03 | 1:07:05 | |
The numbers you will call are - | 1:07:05 | 1:07:07 | |
Lisbon, 642-3518, | 1:07:07 | 1:07:12 | |
contact name, Leonardo. | 1:07:12 | 1:07:14 | |
Port, 235-5900, contact name, Julius. | 1:07:14 | 1:07:20 | |
The signal for the take over will come from Radio Renaissance now. | 1:07:20 | 1:07:24 | |
It will be the song that was banned, the song by... | 1:07:24 | 1:07:28 | |
DOOR OPENS | 1:07:28 | 1:07:30 | |
Excuse me. Are you lost? | 1:07:34 | 1:07:36 | |
Is this the literacy class? | 1:07:36 | 1:07:39 | |
Yes, we were just finishing. Please take a seat. | 1:07:39 | 1:07:42 | |
Most letters have more than one pronunciation except the letter "X" | 1:07:46 | 1:07:53 | |
and I will explain that in more detail next week. | 1:07:53 | 1:07:56 | |
Thank you all. | 1:07:56 | 1:07:58 | |
What is a professor of music doing here? | 1:08:03 | 1:08:06 | |
I met someone who cannot read. | 1:08:07 | 1:08:11 | |
I wanted to see for myself what kind of course it was | 1:08:11 | 1:08:14 | |
before recommending it. | 1:08:14 | 1:08:16 | |
Hmm-hmm. | 1:08:16 | 1:08:18 | |
What is this person's name? | 1:08:18 | 1:08:21 | |
Um... Caspian. HE LAUGHS | 1:08:21 | 1:08:26 | |
How original(!) | 1:08:26 | 1:08:28 | |
Sit down, all of you! Nobody leaves this room! | 1:08:29 | 1:08:32 | |
(Shh-shh!) | 1:08:39 | 1:08:41 | |
(Out! Out!) | 1:08:47 | 1:08:48 | |
SIRENS BLARE IN DISTANCE | 1:09:13 | 1:09:15 | |
(Joao!) | 1:09:19 | 1:09:21 | |
Give me your gun. | 1:09:22 | 1:09:24 | |
What for? | 1:09:24 | 1:09:26 | |
We have to do what is right for the resistance. | 1:09:26 | 1:09:28 | |
What happened to the others? | 1:09:29 | 1:09:31 | |
Estefania and Amadeu, they got away, but... | 1:09:31 | 1:09:33 | |
they're gonna find her and then she will talk. | 1:09:33 | 1:09:35 | |
The others, they don't know much. But Estefania, she knows everything. | 1:09:36 | 1:09:40 | |
Hey, hey. Hey, hey, Jorge... | 1:09:40 | 1:09:42 | |
What are you talking about? | 1:09:42 | 1:09:44 | |
You want to kill Estefania? | 1:09:45 | 1:09:47 | |
No. No, no. | 1:09:47 | 1:09:49 | |
I don't want to, but I have to. | 1:09:49 | 1:09:53 | |
One life for many lives. Give it to me. | 1:09:53 | 1:09:56 | |
Joao, give it to me. | 1:09:57 | 1:09:59 | |
I never find out what really happened. | 1:10:02 | 1:10:04 | |
Did he tell you? | 1:10:05 | 1:10:07 | |
No. When I asked him, he tell me to...get lost. | 1:10:07 | 1:10:11 | |
I need to know. I can't tell you how many times I wish | 1:10:13 | 1:10:17 | |
that I never gave him that gun. | 1:10:17 | 1:10:20 | |
Three days later, Mendes, he picked me up. | 1:10:24 | 1:10:28 | |
He broke my hands and my spirit... | 1:10:29 | 1:10:34 | |
but I never give him one single name. | 1:10:34 | 1:10:37 | |
You-you-you tell that to Jorge. | 1:10:39 | 1:10:42 | |
He owes me. | 1:10:42 | 1:10:43 | |
"In youth, we live as if we were immortal. | 1:10:48 | 1:10:52 | |
"Knowledge of mortality dances around us | 1:10:52 | 1:10:55 | |
"like a brittle paper ribbon that barely touches our skin. | 1:10:55 | 1:10:59 | |
"When in life does that change? | 1:11:00 | 1:11:03 | |
"When does the ribbon tighten, | 1:11:05 | 1:11:08 | |
"until finally it strangles us?" | 1:11:08 | 1:11:10 | |
PHONE RINGS | 1:11:10 | 1:11:13 | |
Mr Kagi? | 1:11:20 | 1:11:21 | |
Have you made a decision yet? | 1:11:21 | 1:11:23 | |
No. | 1:11:26 | 1:11:28 | |
A woman came asking for you. | 1:11:28 | 1:11:29 | |
She said she met you on a bridge, or something. | 1:11:29 | 1:11:32 | |
A Portuguese woman? | 1:11:33 | 1:11:35 | |
I told her where you were and she left. | 1:11:35 | 1:11:38 | |
If you decide not to come back, I need your keys. | 1:11:38 | 1:11:41 | |
-Will you post them to me? -No, this woman... | 1:11:41 | 1:11:44 | |
Did-did she leave her name? | 1:11:44 | 1:11:46 | |
No. | 1:11:46 | 1:11:48 | |
Goodbye, Mr Kagi. | 1:11:48 | 1:11:49 | |
Joao Eca wants to know what happened to Estefania. | 1:12:24 | 1:12:27 | |
He says you owe him. | 1:12:28 | 1:12:30 | |
I owe no-one anything. | 1:12:30 | 1:12:32 | |
Do you know what they did to his hands? | 1:12:37 | 1:12:39 | |
Those hands that used to play Mozart? | 1:12:41 | 1:12:43 | |
He didn't give them one name. | 1:12:43 | 1:12:45 | |
If he had, you wouldn't be standing here. | 1:12:45 | 1:12:48 | |
You think you can blackmail me with guilt? | 1:12:48 | 1:12:51 | |
You don't know who you are dealing with! | 1:12:51 | 1:12:53 | |
Could I have killed her? That is the question! | 1:12:56 | 1:13:01 | |
Don't you know we don't talk about...about the resistance here? | 1:13:04 | 1:13:08 | |
We bury our history and move on! | 1:13:08 | 1:13:11 | |
You want a drink? | 1:13:16 | 1:13:17 | |
You are sitting where Amadeu used to sit, | 1:13:23 | 1:13:26 | |
until this thing with Mendes happened, then we... | 1:13:26 | 1:13:29 | |
We have the list of reasons for loyalty - | 1:13:32 | 1:13:35 | |
guilt towards others... | 1:13:35 | 1:13:39 | |
shared suffering, common struggle, common strength, | 1:13:39 | 1:13:42 | |
weaknesses, need for closeness... | 1:13:42 | 1:13:45 | |
..common hatred, shared humour and so on. | 1:13:46 | 1:13:49 | |
-What about love? -He didn't believe in it. | 1:13:52 | 1:13:55 | |
Avoided the word as too sentimental. | 1:13:55 | 1:13:57 | |
There are only three things that are important to him - | 1:13:57 | 1:14:00 | |
desire, pleasure and security. | 1:14:00 | 1:14:03 | |
Desire...Jorge. | 1:14:05 | 1:14:07 | |
I don't trust people who don't drink. | 1:14:09 | 1:14:12 | |
Have a cigarette. | 1:14:20 | 1:14:22 | |
HE COUGHS | 1:14:35 | 1:14:36 | |
You are OK? | 1:14:38 | 1:14:39 | |
Yeah. | 1:14:41 | 1:14:43 | |
-Joao still loves to smoke. -He would. | 1:14:43 | 1:14:46 | |
HE LAUGHS | 1:14:48 | 1:14:50 | |
What? | 1:14:50 | 1:14:52 | |
The night after we graduated from Coimbra University, | 1:14:52 | 1:14:56 | |
me as a pharmacist, Amadeu as a doctor... | 1:14:56 | 1:14:59 | |
-What? -Come, I have something to show you. | 1:15:06 | 1:15:09 | |
What do you think? | 1:15:25 | 1:15:26 | |
So? It's a... It's a pharmacy. | 1:15:29 | 1:15:31 | |
Yes. It's yours. | 1:15:31 | 1:15:33 | |
Come in. | 1:15:39 | 1:15:40 | |
I need a pharmacist I can trust | 1:15:48 | 1:15:50 | |
if I am going to be writing up prescriptions. | 1:15:50 | 1:15:53 | |
Here. | 1:15:53 | 1:15:54 | |
I could not believe what he had given me. | 1:16:01 | 1:16:04 | |
After that, I never thought we could lose our friendship. | 1:16:06 | 1:16:10 | |
I never thought it possible. | 1:16:13 | 1:16:15 | |
I'm not much to look at, I know I'm an ugly bastard, | 1:16:17 | 1:16:21 | |
so, when she came along... | 1:16:21 | 1:16:23 | |
God, she was beautiful. | 1:16:25 | 1:16:27 | |
I thought some of her would somehow rub off on me. | 1:16:28 | 1:16:32 | |
HE LAUGHS | 1:16:32 | 1:16:34 | |
At least that's what I think I thought. | 1:16:34 | 1:16:37 | |
And this is Estefania. | 1:16:41 | 1:16:44 | |
I was going to introduce you, but... | 1:16:46 | 1:16:48 | |
The resistance keeps us busy. | 1:16:48 | 1:16:50 | |
Isn't she beautiful? | 1:16:53 | 1:16:54 | |
It was the way she took my hand and removed it from her neck. | 1:17:01 | 1:17:05 | |
Her eyes penetrating him. | 1:17:06 | 1:17:08 | |
We'll think about it, Amadeu, and get back to you. | 1:17:08 | 1:17:12 | |
All right? | 1:17:12 | 1:17:14 | |
Perhaps we can use your clinic as a drop. | 1:17:20 | 1:17:22 | |
Why did you take my hand off your neck? | 1:17:28 | 1:17:30 | |
Did I? | 1:17:31 | 1:17:33 | |
Have you ever been in love? | 1:17:41 | 1:17:44 | |
So that not even food matters? Not even words? | 1:17:44 | 1:17:47 | |
-I am not sure. -You would be sure. You would know. | 1:17:49 | 1:17:52 | |
You always know. | 1:17:54 | 1:17:56 | |
-You're thinking of him. -What? | 1:17:57 | 1:18:00 | |
HE SIGHS | 1:18:02 | 1:18:04 | |
You wish I was Amadeu. | 1:18:15 | 1:18:17 | |
Does he mention me in the book? | 1:18:22 | 1:18:24 | |
A lot. | 1:18:27 | 1:18:29 | |
Well, I am surprised she published it. Adriana hated me. | 1:18:29 | 1:18:32 | |
Wanted him for herself, | 1:18:32 | 1:18:34 | |
did not even want to share him with her father. | 1:18:34 | 1:18:36 | |
-You know what happened to him? -No. | 1:18:36 | 1:18:40 | |
A few months before the revolution, | 1:18:40 | 1:18:42 | |
he went to Amadeu and asked for stronger pain killers for his back. | 1:18:42 | 1:18:45 | |
Adriana came every week to the pharmacy for the pills, | 1:18:46 | 1:18:49 | |
but he never took them - he hoarded them. | 1:18:49 | 1:18:52 | |
A week after Amadeu died, he swallowed over 100. | 1:18:53 | 1:18:57 | |
The newspapers said he died after a long illness. | 1:18:58 | 1:19:01 | |
Catholics don't appreciate suicide. | 1:19:02 | 1:19:05 | |
Hmm. | 1:19:05 | 1:19:07 | |
(Everyone out!) | 1:19:09 | 1:19:11 | |
Estefania, come with me. | 1:19:18 | 1:19:19 | |
CAR APPROACHES | 1:19:42 | 1:19:43 | |
HORN BLARES | 1:19:43 | 1:19:45 | |
If I had the gun then, I might have shot her. | 1:20:24 | 1:20:27 | |
And when you got the gun? | 1:20:35 | 1:20:37 | |
'I went strict to Amadeu's clinic. | 1:20:38 | 1:20:40 | |
'I knew they would be there.' | 1:20:42 | 1:20:44 | |
DOORBELL RINGS | 1:20:44 | 1:20:47 | |
-Where are they? -They've gone. | 1:20:48 | 1:20:51 | |
-Don't lie to me... -They've gone, Jorge. | 1:20:51 | 1:20:53 | |
CAR ENGINE STARTS | 1:20:53 | 1:20:56 | |
Jorge. | 1:21:22 | 1:21:24 | |
Give me the gun. | 1:21:35 | 1:21:36 | |
HE SOBS | 1:21:59 | 1:22:01 | |
Estefania, is she...? | 1:22:29 | 1:22:32 | |
Is she still alive? | 1:22:32 | 1:22:33 | |
I bumped into her two years ago. | 1:22:36 | 1:22:40 | |
She was here, attending some seminar or... | 1:22:40 | 1:22:43 | |
I asked her how she was. | 1:22:46 | 1:22:48 | |
She told me she was teaching history. | 1:22:50 | 1:22:53 | |
Where? | 1:22:53 | 1:22:54 | |
At the University of Salamanca in Spain. | 1:22:54 | 1:22:57 | |
And...your pharmacy... | 1:23:00 | 1:23:02 | |
Why do you leave the lights on at night? | 1:23:04 | 1:23:07 | |
HE LAUGHS | 1:23:07 | 1:23:09 | |
To remind me of Amadeu. | 1:23:12 | 1:23:15 | |
HE GROANS | 1:23:26 | 1:23:28 | |
HE GROANS | 1:23:39 | 1:23:41 | |
Mr da Silva, could I have my bill, please? | 1:24:08 | 1:24:10 | |
-Are you going back to Switzerland, sir? -Yes, via Spain. | 1:24:10 | 1:24:14 | |
They say the weather right now in Switzerland is terrible - | 1:24:14 | 1:24:18 | |
rain, snow and wind. | 1:24:18 | 1:24:20 | |
I have to go. Could I have my bill, please? | 1:24:20 | 1:24:22 | |
Excuse me. | 1:24:22 | 1:24:23 | |
Hello. | 1:24:28 | 1:24:30 | |
I want to thank you for what happened on the bridge. | 1:24:32 | 1:24:35 | |
-I've been reading your book. -I don't want it. | 1:24:37 | 1:24:40 | |
I just want to thank you for what you did. | 1:24:43 | 1:24:45 | |
I've got your coat. | 1:24:50 | 1:24:51 | |
You left it behind. | 1:24:56 | 1:24:57 | |
Tell me your name. | 1:25:03 | 1:25:04 | |
Catarina Mendes. | 1:25:09 | 1:25:11 | |
Yes... | 1:25:13 | 1:25:14 | |
..that Mendes. | 1:25:16 | 1:25:17 | |
I am the granddaughter of the "Butcher of Lisbon". | 1:25:20 | 1:25:23 | |
I didn't know who he was until I read the book. | 1:25:26 | 1:25:29 | |
You can't blame yourself for what you grandfather did. | 1:25:31 | 1:25:34 | |
You don't understand. | 1:25:34 | 1:25:35 | |
I loved him. | 1:25:39 | 1:25:41 | |
I cried at his funeral | 1:25:42 | 1:25:44 | |
and I did not understand why so many other people were not crying. | 1:25:44 | 1:25:48 | |
Anyway... | 1:25:54 | 1:25:55 | |
..it will take some time, but I'll learn to live with this. | 1:25:57 | 1:26:01 | |
This would be the same road they took. | 1:26:13 | 1:26:16 | |
But at night and in great danger. | 1:26:16 | 1:26:20 | |
And in love. | 1:26:20 | 1:26:21 | |
I was moved to see my uncle cry like that. | 1:26:26 | 1:26:29 | |
I don't know what pleased him more - | 1:26:29 | 1:26:30 | |
the news Estefania was alive, or the carton of cigarettes we gave him. | 1:26:30 | 1:26:35 | |
SHE LAUGHS | 1:26:35 | 1:26:36 | |
So, you return to your school and continue teaching? | 1:26:40 | 1:26:43 | |
If they'll have me. | 1:26:45 | 1:26:46 | |
I am sure I'll come back and visit. | 1:26:49 | 1:26:51 | |
Are you sure she'll be in? | 1:27:13 | 1:27:14 | |
She said she'd be here. | 1:27:16 | 1:27:18 | |
Are you coming? | 1:27:18 | 1:27:19 | |
I'll wait in the car. | 1:27:19 | 1:27:21 | |
No. | 1:27:21 | 1:27:22 | |
Go, Raimund. I'll be fine here. Take your time. | 1:27:26 | 1:27:29 | |
Welcome, Raimund. | 1:27:33 | 1:27:34 | |
-I'm Estefania. -Thank you so much for meeting me. | 1:27:37 | 1:27:39 | |
Do you have the book? | 1:27:41 | 1:27:43 | |
I do. | 1:27:44 | 1:27:45 | |
He looks just as I remember him. | 1:27:52 | 1:27:55 | |
So long ago and still so vivid. | 1:27:55 | 1:27:58 | |
-Would you like some tea? -Thank you. | 1:27:59 | 1:28:02 | |
What about your friend? | 1:28:03 | 1:28:04 | |
Oh, no. She is... She is happy in the car. | 1:28:04 | 1:28:07 | |
I joined the resistance | 1:28:07 | 1:28:09 | |
after my father was arrested in 1971 for sabotage. | 1:28:09 | 1:28:13 | |
They sent him to Tarrafal. | 1:28:15 | 1:28:17 | |
-You have heard of it? -Yes. | 1:28:17 | 1:28:19 | |
It was also known as the "Campo da Morte Lenta" - | 1:28:22 | 1:28:26 | |
"The Camp of the Slow Death". | 1:28:26 | 1:28:29 | |
It took them two years to kill him. | 1:28:30 | 1:28:33 | |
And that is how I met Jorge. | 1:28:34 | 1:28:36 | |
I need someone strong. | 1:28:37 | 1:28:39 | |
Someone to protect me. | 1:28:39 | 1:28:41 | |
I thought that was love. | 1:28:42 | 1:28:44 | |
But then I met Amadeu. | 1:28:47 | 1:28:49 | |
A new light fell on everything. | 1:28:58 | 1:29:00 | |
My whole life. | 1:29:02 | 1:29:05 | |
I could not sleep any more. | 1:29:07 | 1:29:09 | |
I went to the clinic as often as I could... | 1:29:11 | 1:29:13 | |
..despite Adriana's looks. | 1:29:14 | 1:29:17 | |
He wanted to take me in his arms, but he kept rejecting me. | 1:29:19 | 1:29:23 | |
"Jorge", he would say, "What about Jorge?" I began to hate Jorge. | 1:29:23 | 1:29:27 | |
-Do you mind if I smoke? -No. Please. | 1:29:29 | 1:29:31 | |
Jealousy is a terrible emotion. | 1:29:33 | 1:29:36 | |
SIRENS BLARE | 1:29:36 | 1:29:39 | |
SHE SIGHS | 1:29:43 | 1:29:45 | |
I could tell from his shoulders he had seen us. | 1:30:11 | 1:30:15 | |
Awful. Awful. | 1:30:15 | 1:30:19 | |
But, in a way, I was relieved it was done. | 1:30:20 | 1:30:24 | |
Are you sure your friend is all right? | 1:30:26 | 1:30:28 | |
Oh, yes. She is fine in the car. | 1:30:28 | 1:30:31 | |
We drove through the night. | 1:30:32 | 1:30:34 | |
Amadeu kept questioning me. | 1:30:36 | 1:30:39 | |
Was he searching for me or for life? | 1:30:39 | 1:30:42 | |
He wanted to know everything, my whole life, my... | 1:30:42 | 1:30:46 | |
memories, | 1:30:46 | 1:30:49 | |
thoughts, fantasies, dreams... It was relentless. | 1:30:49 | 1:30:53 | |
It was almost a relief when, 5km from the border, | 1:30:53 | 1:30:57 | |
he stopped and hid me in the trunk. | 1:30:57 | 1:30:59 | |
Passport. | 1:31:13 | 1:31:14 | |
-Why are you travelling to Spain? -I am going to visit relatives. | 1:31:34 | 1:31:38 | |
Get out of the car, please. | 1:31:39 | 1:31:41 | |
Keys. | 1:32:09 | 1:32:11 | |
Do you know Major Rui Lus Mendes of PIDE? | 1:32:14 | 1:32:17 | |
What about him? | 1:32:17 | 1:32:19 | |
I want you to call him. I have his home number. | 1:32:21 | 1:32:23 | |
I want you to tell him you are treating me like a criminal. | 1:32:25 | 1:32:28 | |
INDISTINCT SPEECH | 1:32:42 | 1:32:44 | |
He wants to talk to you. | 1:32:44 | 1:32:46 | |
This is Dr Amadeu de Prado. | 1:32:53 | 1:32:56 | |
You are asking too much of me. | 1:32:56 | 1:32:58 | |
You took my life away from me - I want it back now. | 1:32:58 | 1:33:01 | |
Give the phone back to my man. | 1:33:05 | 1:33:07 | |
SHE SOBS | 1:33:11 | 1:33:14 | |
Ironic that I should ultimately be saved... | 1:33:14 | 1:33:18 | |
by the Butcher of Lisbon. | 1:33:18 | 1:33:20 | |
That night... | 1:33:28 | 1:33:29 | |
..we drove to Finisterra and slept in the car. | 1:33:31 | 1:33:34 | |
We'll go away. | 1:34:12 | 1:34:14 | |
We'll take a ship to the Amazon, | 1:34:16 | 1:34:18 | |
to a new world, where only you and I exist. | 1:34:18 | 1:34:21 | |
I'll write books... | 1:34:25 | 1:34:27 | |
we'll invent a new language that only you and I understand. | 1:34:27 | 1:34:31 | |
We'll go up the river as far as it will take us. | 1:34:36 | 1:34:38 | |
Back in time and into the future. | 1:34:41 | 1:34:45 | |
The very beginning of the end. | 1:34:45 | 1:34:46 | |
What would I do? | 1:34:48 | 1:34:50 | |
You'll share it with me. | 1:34:51 | 1:34:53 | |
The same air, the same feelings, same tastes. | 1:34:55 | 1:35:01 | |
These things that you want... | 1:35:04 | 1:35:06 | |
you want them for yourself, not for me. | 1:35:06 | 1:35:09 | |
I want them for both of us. | 1:35:09 | 1:35:11 | |
He was hungry for me and for life... | 1:35:12 | 1:35:15 | |
..but the journey he wanted to take | 1:35:17 | 1:35:19 | |
was into his own soul, not into mine. | 1:35:19 | 1:35:22 | |
I cannot do it, Amadeu. | 1:35:34 | 1:35:36 | |
What do you mean? | 1:35:40 | 1:35:41 | |
You want more than I can ever give you... | 1:35:42 | 1:35:45 | |
..and I'm not ready. | 1:35:47 | 1:35:49 | |
I'm so sorry. | 1:35:55 | 1:35:56 | |
I have friends in Salamanca. | 1:36:18 | 1:36:20 | |
Will you take me to them? | 1:36:21 | 1:36:23 | |
He drove me to Salamanca... | 1:36:29 | 1:36:31 | |
..he shook my hand... | 1:36:34 | 1:36:36 | |
..he wished me well and left. | 1:36:37 | 1:36:40 | |
The next I heard, he was dead. | 1:36:46 | 1:36:48 | |
I always felt I killed him. | 1:36:51 | 1:36:54 | |
He had an aneurysm. | 1:36:56 | 1:36:58 | |
An aneurysm? | 1:36:58 | 1:37:00 | |
A blood vessel burst in his brain. | 1:37:00 | 1:37:03 | |
He... He'd had it for a long time. | 1:37:03 | 1:37:05 | |
Did you...go to his funeral? | 1:37:13 | 1:37:16 | |
You didn't really think I would do it, did you? | 1:37:31 | 1:37:34 | |
It is no longer important. | 1:37:37 | 1:37:39 | |
SHE SOBS | 1:37:58 | 1:38:00 | |
So what happened to the names and telephone numbers | 1:38:02 | 1:38:06 | |
you had in you head? | 1:38:06 | 1:38:08 | |
Lisbon, | 1:38:09 | 1:38:11 | |
331-4518, contact name, Carlos. | 1:38:11 | 1:38:15 | |
Sintra, 245-102, contact name, Nuno. | 1:38:16 | 1:38:21 | |
I wrote them all down and passed them on to someone safe. | 1:38:22 | 1:38:25 | |
A few months later, they were used to initiate the revolution. | 1:38:26 | 1:38:30 | |
Your friend must be very tired of waiting. | 1:38:33 | 1:38:35 | |
-You can keep the book, if you like. -Thank you. | 1:38:41 | 1:38:44 | |
I'm probably more ready for him now than I was back then. | 1:38:44 | 1:38:48 | |
-Goodbye, Raimund. -Goodbye, Estefania. | 1:38:49 | 1:38:52 | |
"We leave something of ourselves behind when we leave a place... | 1:39:11 | 1:39:15 | |
"..we stay there, even though we go away. | 1:39:16 | 1:39:20 | |
"And there are things in us that we can find again | 1:39:21 | 1:39:26 | |
"only by going back there. | 1:39:26 | 1:39:27 | |
"We travel to our souls when we go to a place | 1:39:29 | 1:39:32 | |
"that we have covered a stretch of our life, | 1:39:32 | 1:39:35 | |
"no matter how brief it may have been." | 1:39:35 | 1:39:37 | |
This is me. | 1:39:45 | 1:39:47 | |
Well, we've still got... | 1:39:50 | 1:39:52 | |
..five minutes. | 1:39:54 | 1:39:56 | |
Thank you for... | 1:39:58 | 1:39:59 | |
..telling me I wasn't boring. | 1:40:02 | 1:40:04 | |
But when I think of their lives... | 1:40:10 | 1:40:12 | |
..Amadeu, Estefania, the others, | 1:40:14 | 1:40:16 | |
their lives full of such vitality, | 1:40:16 | 1:40:20 | |
-intensity... -So much so it broke them apart in the end. | 1:40:20 | 1:40:24 | |
But they lived. | 1:40:24 | 1:40:25 | |
Whereas my life... | 1:40:29 | 1:40:31 | |
..apart from these last few days... | 1:40:36 | 1:40:38 | |
And now you are going back to it. | 1:40:43 | 1:40:46 | |
Oh, why don't you just stay? | 1:40:58 | 1:41:00 | |
What? | 1:41:01 | 1:41:03 | |
Why don't you just stay? | 1:41:04 | 1:41:06 |