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MAN: # Three coins in the fountain | 0:00:32 | 0:00:37 | |
# Each one seeking happiness | 0:00:37 | 0:00:42 | |
# Thrown by three hopeful lovers | 0:00:43 | 0:00:47 | |
# Which one will the fountain bless? | 0:00:49 | 0:00:54 | |
# Three hearts in the fountain | 0:00:56 | 0:01:00 | |
# Each heart longing for its home | 0:01:00 | 0:01:05 | |
# There they lie in the fountain | 0:01:07 | 0:01:13 | |
# Somewhere in the heart of Rome | 0:01:13 | 0:01:18 | |
# Which one will the fountain bless? | 0:01:18 | 0:01:24 | |
# Which one will the fountain bless? | 0:01:25 | 0:01:33 | |
# Three coins in the fountain | 0:01:35 | 0:01:39 | |
# Through the ripples, how they shine | 0:01:41 | 0:01:47 | |
# Just one wish will be granted | 0:01:47 | 0:01:53 | |
# One heart will wear a valentine | 0:01:53 | 0:01:57 | |
# Make it mine, make it mine | 0:01:58 | 0:02:06 | |
# Make it mine! # | 0:02:06 | 0:02:10 | |
MAN SPEAKING ITALIAN ON PA SYSTEM | 0:05:00 | 0:05:04 | |
MAN SPEAKING ITALIAN CONTINUES | 0:05:18 | 0:05:20 | |
Pardon me. Are you Maria Williams? | 0:05:44 | 0:05:47 | |
-Yes, I am. -Oh, I'm Anita Hutchins. | 0:05:47 | 0:05:49 | |
-Hi. -Hi. Mr Burgoyne sent me down to meet you. | 0:05:49 | 0:05:52 | |
I'm with the agency. Here, let me take your bag. | 0:05:52 | 0:05:54 | |
Thank you. | 0:05:54 | 0:05:56 | |
We're over here. Come on. | 0:05:57 | 0:06:00 | |
-This is your apartment? -You like it? | 0:06:27 | 0:06:30 | |
I'm awed! | 0:06:30 | 0:06:32 | |
Secretaries live very well in Rome. You'll get spoiled after a while. Frances! | 0:06:32 | 0:06:36 | |
Yes? I'm having breakfast on the balcony. Come on out. | 0:06:36 | 0:06:40 | |
-Welcome to Rome. -Thank you. | 0:06:42 | 0:06:44 | |
-Did you have any trouble finding her? -I picked her out first try. | 0:06:44 | 0:06:47 | |
-Have you had any breakfast? -I can't remember. | 0:06:47 | 0:06:50 | |
Then have some with us. Anna! | 0:06:50 | 0:06:52 | |
Oh, my, oh, my! | 0:06:52 | 0:06:54 | |
Oh, what a beautiful way to live. | 0:06:54 | 0:06:57 | |
I'm glad you like it. When Anita leaves, I was going to suggest... | 0:06:57 | 0:07:00 | |
-ANITA: -I've already told her. -Anna. This is Miss Williams. | 0:07:00 | 0:07:03 | |
Buon giorno, signorina. | 0:07:03 | 0:07:04 | |
-SHE SPEAKS IN ITALIAN -How do you do? | 0:07:04 | 0:07:06 | |
SPEAKING ITALIAN | 0:07:06 | 0:07:08 | |
What would you like? | 0:07:08 | 0:07:10 | |
-Oh, anything, thank you. -SPEAKING ITALIAN | 0:07:10 | 0:07:12 | |
Va bene, signorina. | 0:07:12 | 0:07:15 | |
I don't think I could afford anything as elegant as this, or even half of it. | 0:07:15 | 0:07:19 | |
I promise you can. You're paid at the agency in dollars. | 0:07:19 | 0:07:22 | |
The rate of exchange is in your favour. | 0:07:22 | 0:07:24 | |
-Are you with the agency too? -No, I'm John Frederick Shadwell's secretary. | 0:07:24 | 0:07:29 | |
-The man who wrote Winter Harvest? -Mm-hmm. | 0:07:29 | 0:07:31 | |
-No less. -Mmm. He's a great writer, isn't he? | 0:07:31 | 0:07:34 | |
He's a great man. | 0:07:34 | 0:07:36 | |
I thought he was dead. | 0:07:36 | 0:07:38 | |
Most people do, because he hasn't been back to America since his early 20s. | 0:07:38 | 0:07:42 | |
Frances has been with him for 15 years. | 0:07:42 | 0:07:45 | |
Gosh. Oh, when do I meet my boss? | 0:07:45 | 0:07:48 | |
After breakfast. We'll all drive to work together. | 0:07:48 | 0:07:50 | |
You'll meet him in plenty of time. There's nothing rushed in Rome. | 0:07:50 | 0:07:53 | |
Oh, I'm going to like Rome, at any rate of exchange. | 0:07:53 | 0:07:57 | |
-What's that? -That's the Fountain of Trevi. | 0:08:02 | 0:08:05 | |
-ANITA: -Do you want to see it? | 0:08:05 | 0:08:07 | |
If you throw a coin into the pool, you're supposed to get your wish. | 0:08:20 | 0:08:24 | |
Only the wish must always be the same thing - that you'll return again to Rome. | 0:08:24 | 0:08:28 | |
I've tossed a coin into the fountain every April for the last...15 years. | 0:08:28 | 0:08:32 | |
It's my spring ritual. It's time to throw one in again. | 0:08:32 | 0:08:35 | |
-Don't you want to wish? -Oh, yes. | 0:08:37 | 0:08:40 | |
Keep me in Rome at least a year, Mr Fountain. | 0:08:42 | 0:08:45 | |
No! No, no. You have to turn around and throw it over your shoulder. | 0:08:45 | 0:08:48 | |
-Oh. -SPLASHES | 0:08:48 | 0:08:50 | |
Bring me...another year of contentment... | 0:08:50 | 0:08:53 | |
whatever gods are listening. | 0:08:53 | 0:08:55 | |
A penny's worth of hope. | 0:08:55 | 0:08:58 | |
Aren't you going to wish? | 0:08:58 | 0:09:00 | |
No. I don't want to come back to Rome. | 0:09:00 | 0:09:03 | |
Anita's going home to be married. | 0:09:03 | 0:09:05 | |
Then I don't blame you. Don't tempt fate. | 0:09:05 | 0:09:08 | |
-Good morning, Eleanor. -Good morning, Anita. | 0:09:30 | 0:09:33 | |
This is my desk. You'll share it with me for the time being. | 0:09:33 | 0:09:36 | |
Oh, when do I meet Mr Burgoyne? | 0:09:36 | 0:09:38 | |
-I'll see if he's in. -ON INTERCOM: 'Yes?' | 0:09:38 | 0:09:41 | |
Good morning, Mr Burgoyne. Miss Williams is here. Shall I bring her in? | 0:09:41 | 0:09:44 | |
'Not at all. I'll come out.' | 0:09:44 | 0:09:46 | |
-Boss loves to make a good impression. -Any particular instructions? | 0:09:46 | 0:09:49 | |
No. Just be yourself. | 0:09:49 | 0:09:51 | |
Well, well, well, Miss Williams. | 0:09:51 | 0:09:54 | |
Welcome to USDA. | 0:09:54 | 0:09:56 | |
I abbreviate the name of the agency. It's the age of the alphabet. | 0:09:56 | 0:09:59 | |
-Oh, I see. Thank you. -We hope you like Rome and the agency. | 0:09:59 | 0:10:03 | |
-Thank you. I'm sure I will. -Good, good, good. | 0:10:03 | 0:10:06 | |
I thought I'd spend the morning showing Maria how we operate here. | 0:10:06 | 0:10:08 | |
Fine, fine, fine. Oh! | 0:10:08 | 0:10:11 | |
Mrs Burgoyne is giving a cocktail party this afternoon. | 0:10:11 | 0:10:14 | |
Anita, if you and Miss Williams are not otherwise occupied... | 0:10:14 | 0:10:17 | |
..Mrs Burgoyne would like to meet Miss Williams. | 0:10:17 | 0:10:19 | |
-Thank you. I'd love to meet Mrs Burgoyne. -We'll expect you, then. | 0:10:19 | 0:10:24 | |
-Buon giorno. -MAN: Buon giorno, signorina. | 0:10:57 | 0:11:00 | |
Oh. Good morning. | 0:11:13 | 0:11:16 | |
I didn't think you'd be up. | 0:11:16 | 0:11:18 | |
-I've been up all night. -I must say, you look it. | 0:11:18 | 0:11:21 | |
You might show a little consideration for a man who's just written 20,000 words. | 0:11:21 | 0:11:26 | |
You've started it. | 0:11:28 | 0:11:30 | |
I got home at midnight intoxicated with an idea. | 0:11:30 | 0:11:33 | |
I worked myself into a creative hangover. | 0:11:33 | 0:11:36 | |
-Let me fix you some coffee. -No. No, thanks. | 0:11:36 | 0:11:39 | |
While you type these up, I'm going to fall into bed. | 0:11:39 | 0:11:42 | |
I'm glad you've given up writing articles... | 0:11:42 | 0:11:44 | |
..and started back to work on a novel again. | 0:11:44 | 0:11:46 | |
-I was afraid you were afraid. -What do you mean by that? | 0:11:46 | 0:11:49 | |
Nothing. I was worried for fear the critics had intimidated you after that last one. | 0:11:49 | 0:11:53 | |
-I should have known better. -Of course you should have. | 0:11:53 | 0:11:56 | |
I write for myself, not the critics. | 0:11:56 | 0:11:59 | |
You'll be pleased to know the old master is back in stride again. | 0:11:59 | 0:12:04 | |
I'm rather anxious to hear what you think about the start. | 0:12:04 | 0:12:08 | |
Not only do I consider it magnificent | 0:12:08 | 0:12:11 | |
but I have a sneaking suspicion it's pretty good. | 0:12:11 | 0:12:13 | |
Get some sleep. | 0:12:13 | 0:12:15 | |
I'll knock on your door in time for you to make it to the Burgoyne cocktail party. | 0:12:15 | 0:12:18 | |
Not I. | 0:12:18 | 0:12:20 | |
I have no intention of exposing myself to that dreary assemblage. | 0:12:20 | 0:12:23 | |
When I get up, I'm gonna stroll through the gardens of the villa | 0:12:23 | 0:12:26 | |
in solitary contentment. | 0:12:26 | 0:12:28 | |
But I've already accepted the invitation in your name. | 0:12:28 | 0:12:31 | |
Then jolly well make an excuse in my name. | 0:12:31 | 0:12:34 | |
Do you know what people say when I mention I work for you? | 0:12:34 | 0:12:37 | |
CHUCKLING Something envious, I presume. | 0:12:37 | 0:12:39 | |
-They say, "Oh, I thought he was dead." -Do they, indeed? | 0:12:39 | 0:12:44 | |
You can't be as antisocial as you are and still expect people to know you're alive. | 0:12:44 | 0:12:50 | |
-So they think that I'm dead, do they? -Hmm. | 0:12:50 | 0:12:53 | |
Well, well. CHUCKLES | 0:12:53 | 0:12:56 | |
Wake me at 4:00. | 0:12:56 | 0:12:58 | |
I'll make an appearance to prove my public only half right. | 0:12:58 | 0:13:02 | |
When these come in from Washington, they have to be translated into Italian. | 0:13:02 | 0:13:06 | |
-By me? -Oh, no. We have interpreters here. | 0:13:06 | 0:13:09 | |
Georgio, would you come in for a minute, please? | 0:13:09 | 0:13:12 | |
Georgio handles our translations for us. | 0:13:12 | 0:13:14 | |
Then they're given to Mr Burgoyne for clearance with the Italian bureau. | 0:13:14 | 0:13:17 | |
-Good morning, Miss Anita. -Oh. Good morning. | 0:13:17 | 0:13:19 | |
Maria, this is Georgio Bianchi. Georgio, this is Maria Williams. | 0:13:19 | 0:13:22 | |
She'll be taking my place when I leave. | 0:13:22 | 0:13:24 | |
If I can be of any help, please call me. | 0:13:24 | 0:13:28 | |
I heard you were returning to America, Miss Anita. | 0:13:28 | 0:13:30 | |
I shall... We shall miss you. | 0:13:30 | 0:13:33 | |
Oh. Thank you. | 0:13:33 | 0:13:37 | |
Here, would you make a translation of these for Mr Burgoyne, please? | 0:13:37 | 0:13:40 | |
Yes, Miss Anita. | 0:13:40 | 0:13:42 | |
Well! | 0:13:46 | 0:13:48 | |
I forgot to tell you. There's a policy here. | 0:13:48 | 0:13:51 | |
Secretaries are not allowed to go out with local employees. | 0:13:51 | 0:13:54 | |
-Mr Burgoyne's policy, if you please. -How do you manage it, then? | 0:13:54 | 0:13:58 | |
Georgio? We've never exchanged more than two words. | 0:13:58 | 0:14:02 | |
-He's just part of the office. -Oh. | 0:14:02 | 0:14:04 | |
Does his hand always shake when he gets near to you? | 0:14:04 | 0:14:07 | |
You're imagining things. He doesn't even know I exist. | 0:14:07 | 0:14:09 | |
Oh! He doesn't know anyone else exists. | 0:14:09 | 0:14:12 | |
He didn't even notice whether I was a blonde or a brunette. | 0:14:12 | 0:14:15 | |
Well, you're wrong. | 0:14:15 | 0:14:17 | |
-Call him in. -GASPS | 0:14:17 | 0:14:20 | |
Well, I just want to look at those beautiful brown eyes again. | 0:14:20 | 0:14:23 | |
-They're not brown, they're blue. -Oh. | 0:14:23 | 0:14:25 | |
I mean... It's a good thing I'm going home. | 0:14:25 | 0:14:28 | |
With you around here, I'd be in a puddle of trouble in no time. | 0:14:28 | 0:14:31 | |
Here, sit down and open those for me. | 0:14:31 | 0:14:33 | |
ORCHESTRA PLAYS | 0:14:36 | 0:14:39 | |
Mr Shadwell, I don't care what the critics said. | 0:14:49 | 0:14:52 | |
I want you to know I just adored your last novel. | 0:14:52 | 0:14:55 | |
Unfortunately, there were not enough of you. | 0:14:55 | 0:14:57 | |
Tell me... do you get your best ideas at night? I always do. | 0:14:57 | 0:15:01 | |
Invariably, but hardly material to write about. | 0:15:01 | 0:15:04 | |
My husband declares that I was simply born to be a writer. | 0:15:04 | 0:15:07 | |
He says if anyone just took a pencil and followed me around, they'd have a novel. | 0:15:07 | 0:15:12 | |
My dear lady, I should be delighted to get behind you with a pencil. | 0:15:12 | 0:15:16 | |
Excuse me. | 0:15:16 | 0:15:18 | |
-ANITA: -We've learned from long experience this is the best way to pass the time. | 0:15:25 | 0:15:29 | |
So this is Rome, where the pigeons eat caviar. | 0:15:29 | 0:15:32 | |
And the secretaries eat alone. | 0:15:32 | 0:15:35 | |
Look, did you ever see such a handsome car? | 0:15:35 | 0:15:38 | |
-You ever see such a handsome man? -It's Prince Dessi. | 0:15:38 | 0:15:41 | |
A prince? Do you know him? | 0:15:41 | 0:15:43 | |
-He's a friend of Mr Shadwell's. -Part of the Roman scene. | 0:15:43 | 0:15:46 | |
Um, eligible? | 0:15:46 | 0:15:48 | |
Dino is handsome, wealthy, and has one of the oldest titles in Europe. | 0:15:48 | 0:15:52 | |
As long as he has the first two, you won't catch him getting married. | 0:15:52 | 0:15:55 | |
Oh, what a shame. Oh! | 0:15:55 | 0:15:59 | |
-What's the matter? -Oh, I knocked my purse off the railing. | 0:15:59 | 0:16:01 | |
-I'll ask Dino to get it for you. -Oh, no. Please don't. | 0:16:01 | 0:16:04 | |
-He'll think I did it on purpose. -He won't mind. Dino! | 0:16:04 | 0:16:07 | |
-Yes? -We dropped a purse from the balcony. | 0:16:07 | 0:16:10 | |
-Would you mind bringing it up? -With the greatest of pleasure. | 0:16:10 | 0:16:15 | |
You sure you didn't knock it off on purpose? | 0:16:17 | 0:16:19 | |
Oh, no, believe me, I didn't. I'm not that quick-witted. | 0:16:19 | 0:16:22 | |
Well, just in case it was instinct | 0:16:22 | 0:16:24 | |
perhaps we'd better warn our friend about Dino before she meets him. | 0:16:24 | 0:16:28 | |
He's known as "the predatory prince." | 0:16:28 | 0:16:30 | |
And girls who are seen in his company more than once are known as Venice Girls. | 0:16:30 | 0:16:33 | |
Why? | 0:16:33 | 0:16:35 | |
The time comes when he asks you to fly to Venice with him. | 0:16:35 | 0:16:38 | |
Once you're known as a Venice Girl, you might as well go home. | 0:16:38 | 0:16:40 | |
-I hope nothing was broken. -Thank you. It belongs to my friend. | 0:16:44 | 0:16:47 | |
Maria, this is Prince Dessi. This is Miss Williams. | 0:16:47 | 0:16:49 | |
-How do you do? -How do you do? | 0:16:49 | 0:16:51 | |
Fresh from the States. Of course, you know Anita. | 0:16:51 | 0:16:54 | |
-Oh, yes. We met when I first came to Rome. -I remember it with sadness. | 0:16:54 | 0:16:58 | |
People said bad things about me, and you would not permit me to show you Rome. | 0:16:58 | 0:17:03 | |
Have they been telling you disgraceful things about me too? | 0:17:03 | 0:17:06 | |
-Oh, no. -That's too bad. | 0:17:06 | 0:17:08 | |
If only half the things said about me were true, I'd be a happy man. | 0:17:08 | 0:17:12 | |
-I suspect half of them are. -You see? | 0:17:12 | 0:17:14 | |
There is a conspiracy against me in Rome. You must excuse me. | 0:17:14 | 0:17:17 | |
I haven't spoken to my host yet. I'll be back. | 0:17:17 | 0:17:20 | |
He's nice. | 0:17:22 | 0:17:24 | |
Oh, I don't believe he's the wolf you say. | 0:17:24 | 0:17:27 | |
-Why, he looks as innocent as a little boy. -Oh, that he does. | 0:17:27 | 0:17:31 | |
But don't try taking him on your lap to mother him. | 0:17:31 | 0:17:33 | |
You'll find yourself suddenly screaming for the police. | 0:17:33 | 0:17:38 | |
Well, so much for your first cocktail party in Rome. | 0:17:42 | 0:17:45 | |
-Shall we walk home or ride? -Let's walk. | 0:17:45 | 0:17:48 | |
Do you know something strange? | 0:17:59 | 0:18:01 | |
Except for that handsome prince... | 0:18:01 | 0:18:03 | |
..not one attractive man came near us at the party. | 0:18:03 | 0:18:06 | |
Well, I guess now is as good a time as any to disillusion you. | 0:18:06 | 0:18:10 | |
If you're romantic, Rome is not the city for you. | 0:18:10 | 0:18:13 | |
Why not? | 0:18:13 | 0:18:14 | |
Well, wealthy Italians don't waste their time on secretaries | 0:18:14 | 0:18:18 | |
and the Italians that work at the agency are too poor. | 0:18:18 | 0:18:21 | |
Oh. No wonder you're going home to be married. | 0:18:21 | 0:18:24 | |
I'm not even engaged. I gave that as an excuse at the agency for leaving. | 0:18:24 | 0:18:28 | |
But at least I'm going back to a country where I hope some nice guy will ask me. | 0:18:28 | 0:18:33 | |
That's why I didn't throw a coin in the Fountain of Trevi. | 0:18:33 | 0:18:36 | |
Oh, dear. It looks as though I've wasted a perfectly good penny. | 0:18:36 | 0:18:40 | |
Well, which way? This way looks sort of interesting. | 0:18:52 | 0:18:55 | |
-You want to try it? -It doesn't look very respectable. | 0:18:55 | 0:18:57 | |
Good. Let's have a look. | 0:18:57 | 0:19:00 | |
WHISTLING CHATTERING | 0:19:05 | 0:19:08 | |
WOLF WHISTLE | 0:19:10 | 0:19:12 | |
-Anita, somebody pinched me. -Don't look back. | 0:19:21 | 0:19:24 | |
It's considered an encouragement. Pretend you didn't notice. | 0:19:24 | 0:19:26 | |
Are you kidding? I'll kick him in his antipasto. | 0:19:26 | 0:19:28 | |
-Oh, let's go. -SPEAKING ITALIAN | 0:19:28 | 0:19:32 | |
BELL DINGING | 0:19:43 | 0:19:46 | |
-Georgio! -Oh. Miss Anita. | 0:19:46 | 0:19:51 | |
We've been waiting for you. I thought you said 7:00. What detained you? | 0:19:51 | 0:19:55 | |
SPEAKS ITALIAN | 0:19:55 | 0:19:58 | |
I've been showing Maria the city, and he followed us. | 0:20:02 | 0:20:04 | |
You shouldn't be in this section unescorted, Miss Anita. | 0:20:04 | 0:20:07 | |
Things can happen that American girls don't understand. | 0:20:07 | 0:20:10 | |
We understand, all right. A pinch is a pinch in any man's language. | 0:20:10 | 0:20:14 | |
As long as you are here and I am here, Miss Anita... | 0:20:14 | 0:20:16 | |
..would you allow me to show you my Rome? | 0:20:16 | 0:20:18 | |
-We'd love to. -Well, sure. | 0:20:18 | 0:20:21 | |
Bene. SPEAKING ITALIAN | 0:20:21 | 0:20:24 | |
It's strange. | 0:20:27 | 0:20:29 | |
We have seen each other every day for two years... | 0:20:29 | 0:20:32 | |
..and yet this is the first time I have ever really talked to you. | 0:20:32 | 0:20:35 | |
I always thought you didn't like Americans. | 0:20:35 | 0:20:37 | |
-Oh, no. I thought you didn't like Italians. -Isn't that silly? | 0:20:37 | 0:20:41 | |
What's that monastery? | 0:20:41 | 0:20:43 | |
GEORGIO: Oh, no, it's not a monastery. It's a palazzo. | 0:20:43 | 0:20:46 | |
-A palazzo? That's a palace, isn't it? -Mm-hmm. | 0:20:46 | 0:20:49 | |
-Who owns it? -It's the home of the prince, Dino Dessi. | 0:20:49 | 0:20:54 | |
Oh. Well, you two just drink your wine. | 0:20:54 | 0:20:57 | |
I'm gonna sit here and look at the palazzo. | 0:20:57 | 0:21:01 | |
-Does he live there all alone? -Oh, no. | 0:21:01 | 0:21:04 | |
-Oh. -He lives with his mother, the principessa. | 0:21:04 | 0:21:08 | |
Oh, how sweet. | 0:21:08 | 0:21:10 | |
But he must get lonely. What does he do for amusement? | 0:21:10 | 0:21:13 | |
Oh, he has diversions. He plays the piccolo. | 0:21:13 | 0:21:16 | |
-He plays what? -The piccolo. | 0:21:16 | 0:21:19 | |
He's an excellent piccolo player. | 0:21:19 | 0:21:21 | |
My cousin is his teacher. LAUGHS | 0:21:21 | 0:21:24 | |
That does it. I think I'll have some wine with you after all. | 0:21:24 | 0:21:27 | |
Good! This is the wine that we drink on our festa. | 0:21:27 | 0:21:31 | |
Have you ever been to an Italian festa, Miss Anita? | 0:21:31 | 0:21:33 | |
No, I don't think so. | 0:21:33 | 0:21:35 | |
We are having one at our farm tomorrow... | 0:21:35 | 0:21:37 | |
..to celebrate my sister's engagement. | 0:21:37 | 0:21:39 | |
You shouldn't go back to America without seeing an Italian festa. | 0:21:39 | 0:21:42 | |
Uh, if you would like to come too, Miss Williams... | 0:21:42 | 0:21:45 | |
No, thank you. I have to stay and write some letters. | 0:21:45 | 0:21:47 | |
My family expect a report from me, and I can't disappoint them. | 0:21:47 | 0:21:51 | |
-Why don't you go, Anita? -I'd love to, but I don't think I could. | 0:21:51 | 0:21:55 | |
I know. It's against the agency rules. Oh, but it's only this once. | 0:21:55 | 0:21:59 | |
You're not gonna let some silly old rule stand in your way. | 0:21:59 | 0:22:01 | |
Well, it isn't that. I have packing to do. | 0:22:01 | 0:22:04 | |
My cousin has a truck. He is driving in to pick up our relatives in Rome. | 0:22:04 | 0:22:08 | |
We could ride in the truck, if you didn't mind. | 0:22:08 | 0:22:11 | |
Oh, all right, Georgio. I'll be darned if I'll spend my last weekend in Rome alone. | 0:22:11 | 0:22:16 | |
CHUCKLING | 0:22:16 | 0:22:19 | |
SHOUTING IN ITALIAN | 0:22:22 | 0:22:25 | |
SHOUTING CONTINUES, LAUGHING | 0:22:31 | 0:22:35 | |
Georgio, you're not giving it wine? | 0:22:39 | 0:22:41 | |
Oh, no, no, Miss Anita. Water. | 0:22:41 | 0:22:43 | |
I am sorry to be late, but unfortunately, a wheel came off. | 0:22:43 | 0:22:47 | |
Andiamo. CHUCKLING | 0:22:47 | 0:22:49 | |
-This is my cousin, Enrico. -How do you do? | 0:22:51 | 0:22:54 | |
SPEAKING ITALIAN | 0:22:54 | 0:22:58 | |
-ALL LAUGHING -What? | 0:22:58 | 0:23:00 | |
-These are all your cousins? -Oh, yeah. Cousins, brothers, nieces. | 0:23:00 | 0:23:04 | |
I will introduce you later. | 0:23:04 | 0:23:06 | |
-ALL: -Andiamo! | 0:23:06 | 0:23:08 | |
SHOUTING IN ITALIAN | 0:23:08 | 0:23:10 | |
SINGING IN ITALIAN | 0:23:17 | 0:23:20 | |
SHOUTING ALL IMITATING HORN HONKING | 0:23:27 | 0:23:31 | |
My cousin has no brakes, nor horn. | 0:23:31 | 0:23:33 | |
Did we frighten you? | 0:23:33 | 0:23:35 | |
Oh, no. I'm all right, I think. | 0:23:35 | 0:23:39 | |
When the driver gives the signal, we must all toot like horns. | 0:23:39 | 0:23:43 | |
But don't you think it's a little dangerous to drive without brakes and a horn? | 0:23:43 | 0:23:47 | |
Oh, no. We hang a St Christopher medal on the windshield. | 0:23:47 | 0:23:50 | |
Nothing can happen to us. | 0:23:50 | 0:23:53 | |
SHOUTING | 0:23:53 | 0:23:56 | |
IMITATING HORN | 0:23:56 | 0:23:59 | |
-Did you ever ride in a truck before? -No, I haven't. | 0:24:03 | 0:24:07 | |
Whoa! | 0:24:07 | 0:24:09 | |
ALL CHATTERING | 0:24:09 | 0:24:12 | |
-Georgio, what happened? -Oh, nothing. | 0:24:22 | 0:24:25 | |
Nothing? It's an accident. | 0:24:25 | 0:24:28 | |
ARGUING IN ITALIAN | 0:24:28 | 0:24:32 | |
Isn't that Anita, your secretary, in that truck? | 0:24:49 | 0:24:53 | |
And with the interpreter from the office. | 0:24:53 | 0:24:55 | |
GUITAR PLAYS SINGING IN ITALIAN | 0:24:59 | 0:25:02 | |
SINGING AND GUITAR PLAYING CONTINUES | 0:25:12 | 0:25:16 | |
TELEPHONE RINGS | 0:25:18 | 0:25:22 | |
Pronto. Why, yes, she is. Just a moment. | 0:25:22 | 0:25:25 | |
-It's for you, Maria. -I don't know anyone in Rome yet. | 0:25:25 | 0:25:30 | |
Hello? Yes. | 0:25:30 | 0:25:34 | |
Yes. It's that Prince Dessi. | 0:25:34 | 0:25:36 | |
Dino? How did he ever find this number? | 0:25:36 | 0:25:39 | |
Well, how did you ever find the number? | 0:25:39 | 0:25:41 | |
Oh, one has ways. | 0:25:41 | 0:25:43 | |
I was planning on flying my plane to Venice this morning. | 0:25:43 | 0:25:46 | |
Have you been to Venice? | 0:25:46 | 0:25:49 | |
He wants to know if I'll fly with him to Venice. What'll I say? | 0:25:49 | 0:25:52 | |
-Say no. -Yes, I'd love to, but I'm sorry. | 0:25:52 | 0:25:56 | |
I can't. | 0:25:56 | 0:25:58 | |
Y... Um... He says we could fly there and be back by tonight. | 0:25:58 | 0:26:02 | |
That's what he always says, and then he'll have trouble with his propeller | 0:26:02 | 0:26:05 | |
and you'll have trouble with your reputation. | 0:26:05 | 0:26:08 | |
-Thank him kindly, but hang up. -Yes, I'd love to, but... | 0:26:08 | 0:26:12 | |
It's very kind of you, but I'm sorry. I can't. | 0:26:12 | 0:26:15 | |
-Say yes. -Yes? | 0:26:15 | 0:26:17 | |
-Yes. -Just a moment. Why? | 0:26:17 | 0:26:20 | |
You want to see Venice. But tell him you have to be back by tonight. | 0:26:20 | 0:26:23 | |
-But you just said... -Never mind what I said. Tell him you'll go. | 0:26:23 | 0:26:27 | |
You will? Oh, I promise you I will get you back tonight. | 0:26:29 | 0:26:33 | |
And I will do everything I can to see that you enjoy your trip. | 0:26:33 | 0:26:37 | |
Can you be ready in a half hour? Good. | 0:26:37 | 0:26:40 | |
I shall be there. | 0:26:40 | 0:26:42 | |
HORN HONKING | 0:26:49 | 0:26:52 | |
You are ready! This is the first time I have not been kept waiting. | 0:26:59 | 0:27:03 | |
It's a good omen. Good morning, Miss Frances. It is very nice to see you. | 0:27:03 | 0:27:07 | |
At the prospect of going to Venice, I could be ready in five minutes. | 0:27:07 | 0:27:10 | |
Oh, I can promise you it will be a trip that you shall long remember. | 0:27:10 | 0:27:13 | |
So let us not waste any time. | 0:27:13 | 0:27:15 | |
You don't mind giving Miss Frances a lift, do you? | 0:27:15 | 0:27:17 | |
Not at all. Where shall I drop you, Miss Frances? | 0:27:17 | 0:27:19 | |
Venice. | 0:27:19 | 0:27:22 | |
-Venice? -Well, if it's not too much trouble. | 0:27:22 | 0:27:25 | |
You see, Frances was going to Venice herself this weekend | 0:27:25 | 0:27:28 | |
and I thought it might be fun if she came along with us. | 0:27:28 | 0:27:32 | |
-Oh. -You don't mind, do you? | 0:27:32 | 0:27:34 | |
Oh, not at all. Not at all. | 0:27:34 | 0:27:36 | |
But, well, my plane is not a large one... | 0:27:36 | 0:27:39 | |
..and, well, I'm afraid it would be most uncomfortable. | 0:27:39 | 0:27:43 | |
Well, I suppose I had better take the train after all. | 0:27:43 | 0:27:46 | |
Oh, that is too bad. I certainly couldn't let you make that trip alone. | 0:27:46 | 0:27:50 | |
So I'll go on the train with you, and I can meet you in Venice. | 0:27:50 | 0:27:54 | |
Is that all right? | 0:27:54 | 0:27:56 | |
SINGING IN ITALIAN | 0:28:23 | 0:28:25 | |
CHILDREN SHOUTING | 0:28:27 | 0:28:30 | |
-Mama! -Caro! | 0:28:54 | 0:28:56 | |
BOTH SPEAKING ITALIAN | 0:28:56 | 0:28:59 | |
This is my mother, Anita. I told her all about you. | 0:28:59 | 0:29:01 | |
Buon giorno, signora. Come sta? | 0:29:01 | 0:29:03 | |
SPEAKING ITALIAN | 0:29:03 | 0:29:06 | |
She talks too fast. What'd she say? | 0:29:08 | 0:29:11 | |
-She said you're very pretty. -Grazie. | 0:29:11 | 0:29:13 | |
-This is my father. -Come sta, signore? | 0:29:13 | 0:29:15 | |
-Ohh! -Bravo, Georgio. | 0:29:15 | 0:29:17 | |
SPEAKING ITALIAN | 0:29:17 | 0:29:19 | |
Quando il matrimonio, eh? | 0:29:19 | 0:29:21 | |
-What did he say? -Oh, nothing. | 0:29:21 | 0:29:24 | |
My father means well, but he misunderstands. | 0:29:24 | 0:29:27 | |
This is my sister Angela. | 0:29:27 | 0:29:29 | |
-We are celebrating her engagement today. -Oh, ciao, Angela. | 0:29:29 | 0:29:32 | |
SPEAKS ITALIAN | 0:29:32 | 0:29:34 | |
SHE REPLIES IN ITALIAN | 0:29:34 | 0:29:37 | |
ALL LAUGHING WOMAN SHOUTING IN ITALIAN | 0:29:41 | 0:29:43 | |
REPEATING ITALIAN PHRASE Dinner is ready! | 0:29:43 | 0:29:47 | |
SINGING IN ITALIAN | 0:29:50 | 0:29:53 | |
SPEAKING ITALIAN | 0:30:12 | 0:30:15 | |
-CHEERING ALL: -Bravo! | 0:30:18 | 0:30:22 | |
HE SINGS A BALLAD | 0:30:22 | 0:30:25 | |
WHISPERING | 0:30:50 | 0:30:53 | |
Off there is Rome. | 0:31:05 | 0:31:07 | |
I used to sit here when I was small... | 0:31:10 | 0:31:12 | |
..and dream someday of going away to the city. | 0:31:12 | 0:31:15 | |
When I first came to Rome as a boy, I threw a coin in the Fountain of Trevi. | 0:31:15 | 0:31:19 | |
I wanted to return and become a lawyer. | 0:31:19 | 0:31:22 | |
-What do you think? -You got your wish. | 0:31:22 | 0:31:26 | |
No. There is something more to the dream than I asked for. | 0:31:26 | 0:31:30 | |
-CHUCKLES -Well, you'll be a lawyer. | 0:31:30 | 0:31:32 | |
You'll be a very good one too, I know. I've always liked lawyers. | 0:31:32 | 0:31:36 | |
That's not what I meant. | 0:31:36 | 0:31:39 | |
The man you are going back to America to marry... | 0:31:40 | 0:31:44 | |
..is he, by any chance, a lawyer? | 0:31:44 | 0:31:47 | |
Well, the truth of the matter is... | 0:31:47 | 0:31:50 | |
-LAUGHS -Actually, it embarrasses me to have to tell you, Georgio | 0:31:50 | 0:31:54 | |
but I guess I do owe you an explanation. | 0:31:54 | 0:31:56 | |
No, you owe me nothing, Miss Anita. | 0:31:56 | 0:31:59 | |
I have no right to cross-examine you. It was not judicial. | 0:31:59 | 0:32:02 | |
-But I... -No, no. Please. | 0:32:02 | 0:32:04 | |
What's in the valley below? | 0:32:06 | 0:32:10 | |
The bottom of the hill. LAUGHING | 0:32:10 | 0:32:13 | |
But there is also a pool and a stream. | 0:32:13 | 0:32:16 | |
-Very shady and beautiful. -Hmm. | 0:32:16 | 0:32:19 | |
I've always liked streams. Could we go down? | 0:32:19 | 0:32:22 | |
But of course. Uh, shall we take my cousin's truck? | 0:32:22 | 0:32:26 | |
-I'll honk when you signal. -All right. | 0:32:26 | 0:32:30 | |
BALLAD CONTINUES | 0:32:30 | 0:32:33 | |
You wouldn't believe it, I know, but this car and I are the same age. | 0:32:41 | 0:32:45 | |
Hmm. I believe it. | 0:32:45 | 0:32:48 | |
OK. | 0:32:48 | 0:32:50 | |
-Oh! Are you hurt? -Put the car in gear! | 0:32:54 | 0:32:57 | |
-Georgio! -Jump, Anita! Jump out! | 0:32:57 | 0:33:00 | |
-Georgio! Georgio! -SHOUTING IN ITALIAN | 0:33:00 | 0:33:03 | |
-GEAR GRINDING -Georgio! | 0:33:08 | 0:33:11 | |
Anita, put it in gear! | 0:33:11 | 0:33:14 | |
Anita! GRINDING CONTINUES | 0:33:14 | 0:33:18 | |
Anita! Anita, jump! | 0:33:26 | 0:33:28 | |
-Jump out! -I can't! | 0:33:28 | 0:33:31 | |
Anita! Anita! | 0:33:36 | 0:33:38 | |
-Georgio! -Anita, did you get hurt? | 0:33:38 | 0:33:40 | |
No. No. | 0:33:40 | 0:33:43 | |
No, I'm all right. I... I just couldn't get it into gear. | 0:33:43 | 0:33:47 | |
You could have been killed, Anita. | 0:33:47 | 0:33:50 | |
No. | 0:33:51 | 0:33:54 | |
Anita. Anita. SPEAKING ITALIAN | 0:33:54 | 0:33:57 | |
I love you so much. I want to tell you that I love you. | 0:33:59 | 0:34:03 | |
MAN SHOUTING | 0:34:05 | 0:34:07 | |
ALL SHOUTING | 0:34:09 | 0:34:12 | |
What are they shouting? | 0:34:14 | 0:34:16 | |
They want to know if we are all right. | 0:34:16 | 0:34:19 | |
-SHE SIGHS -You tell them we're quite all right... | 0:34:19 | 0:34:24 | |
..for the moment. | 0:34:24 | 0:34:26 | |
NO AUDIBLE DIALOGUE | 0:34:52 | 0:34:55 | |
Look. BELL TOLLING | 0:37:11 | 0:37:16 | |
Look. | 0:37:31 | 0:37:33 | |
-It's been a wonderful day. It really has. -I'm glad you enjoyed it. | 0:37:40 | 0:37:43 | |
I'm sorry I was 15 years late in accepting your invitation. | 0:37:43 | 0:37:47 | |
Perhaps we can do it again, in another 15 years. | 0:37:47 | 0:37:49 | |
-MAN: -Scusi, signor. | 0:37:49 | 0:37:51 | |
SPEAKING ITALIAN Oh, grazie. Will you excuse me a second? | 0:37:51 | 0:37:55 | |
Something tells me he's angry. | 0:37:57 | 0:37:59 | |
I don't blame him. It was a mean trick. | 0:37:59 | 0:38:02 | |
Pity is, I really like him, and now he'll probably never want to see me again. | 0:38:02 | 0:38:05 | |
I really should have stayed at home. | 0:38:05 | 0:38:08 | |
Nonsense. We agreed this was my chance to see Venice. | 0:38:08 | 0:38:12 | |
Why don't I take the train back tonight, and you can stay on an extra day? | 0:38:12 | 0:38:15 | |
-If you want to. Do you want to? -Well... | 0:38:15 | 0:38:18 | |
SPEAKING ITALIAN | 0:38:18 | 0:38:21 | |
It was the airport. My plane is ready to take off at any time. | 0:38:23 | 0:38:26 | |
I was just trying to convince Maria that she ought to stay over another day. | 0:38:26 | 0:38:30 | |
Well, of course, if you two wish to remain, but I have to get back tonight. | 0:38:30 | 0:38:34 | |
It is regrettable, but I have a meeting with some of my tenants tomorrow. | 0:38:34 | 0:38:38 | |
If both of you are leaving, there's no point in my staying on here alone. | 0:38:38 | 0:38:42 | |
Alone? | 0:38:42 | 0:38:44 | |
Under the circumstances, I'm sure that I can make some arrangements. | 0:38:44 | 0:38:47 | |
Oh, no. I don't want you to disappoint your tenants. | 0:38:47 | 0:38:50 | |
Well, where are you? | 0:39:12 | 0:39:14 | |
I was just wondering how it would feel | 0:39:14 | 0:39:17 | |
to ride to work on the handlebars of a bicycle. | 0:39:17 | 0:39:19 | |
-Why? -INTERCOM BUZZES | 0:39:19 | 0:39:24 | |
-Yes, Mr Burgoyne? -'Maria, will you come into the office at once?' | 0:39:24 | 0:39:28 | |
Yes. He must have slept here. | 0:39:28 | 0:39:32 | |
DOOR OPENS, CLOSES | 0:39:34 | 0:39:36 | |
Yes, Mr Burgoyne? | 0:39:38 | 0:39:40 | |
I want to talk to you, Maria. | 0:39:40 | 0:39:43 | |
We feel, at the agency, that Americans abroad have a responsibility to their country. | 0:39:43 | 0:39:47 | |
They should always conduct themselves with dignity. | 0:39:47 | 0:39:50 | |
If you mean about my going to Venice, Mr Burgoyne, I assure you... | 0:39:50 | 0:39:53 | |
-I was referring to Anita, Miss Williams. -Oh. | 0:39:53 | 0:39:57 | |
As you know, it is the policy of our agency | 0:39:57 | 0:40:00 | |
that our secretaries do not go out with the local employees. | 0:40:00 | 0:40:03 | |
-Yes, sir. -Anita has been violating that rule, hasn't she? | 0:40:03 | 0:40:07 | |
Why, whatever makes you think that, Mr Burgoyne? | 0:40:07 | 0:40:11 | |
I saw her going out of the city with Georgio. | 0:40:11 | 0:40:13 | |
Oh. | 0:40:13 | 0:40:16 | |
There was some sort of festival in the country and... | 0:40:16 | 0:40:19 | |
She spent the weekend with him? But she's going back to America to be married. | 0:40:19 | 0:40:23 | |
Oh, no, she isn't. She only used that as an excuse... | 0:40:23 | 0:40:28 | |
You... You mean that the situation is such that it became necessary | 0:40:28 | 0:40:31 | |
for her to create this deception? | 0:40:31 | 0:40:34 | |
You don't have to answer that, if you prefer not to. | 0:40:34 | 0:40:37 | |
I'd gladly answer it, Mr Burgoyne. | 0:40:37 | 0:40:40 | |
Anita has done nothing wrong, I promise you. | 0:40:40 | 0:40:43 | |
Why don't you ask her yourself? | 0:40:43 | 0:40:46 | |
I will. Thank you for your reassurance, Miss Williams. | 0:40:46 | 0:40:50 | |
It's only that my interest in my girls here transcends official obligation. | 0:40:50 | 0:40:55 | |
-Is that all, sir? -Yes, thank you. | 0:40:55 | 0:40:58 | |
-ANITA: -Yes. | 0:41:05 | 0:41:07 | |
Yes, but you see, we haven't had any official notification of it yet. | 0:41:07 | 0:41:12 | |
Yes, sir. Yes. All right. | 0:41:12 | 0:41:16 | |
Via Condore. | 0:41:16 | 0:41:18 | |
51, yes. | 0:41:21 | 0:41:23 | |
I can't understand why she said she was going home to get married. | 0:41:35 | 0:41:39 | |
Do you know if she's seen a doctor? | 0:41:39 | 0:41:42 | |
Such a thing would never occur to me. | 0:41:42 | 0:41:45 | |
She seems like such a nice girl. | 0:41:45 | 0:41:47 | |
Nice girls are human, my dear. | 0:41:47 | 0:41:50 | |
Hi. | 0:42:00 | 0:42:02 | |
-What are you doing? -I'm moving. | 0:42:07 | 0:42:11 | |
-Anita, what's happened? -How could you have done this to me? | 0:42:11 | 0:42:15 | |
-How could you? -Do what? | 0:42:15 | 0:42:16 | |
I don't know what you're talking about. | 0:42:16 | 0:42:18 | |
What business was it of yours if I went to the country with Georgio? | 0:42:18 | 0:42:21 | |
What right had you to tell Burgoyne I'm not going home to get married? | 0:42:21 | 0:42:25 | |
Well, he asked me why... I only thought I was helping you. | 0:42:25 | 0:42:28 | |
Did you think you were helping by telling him I spent the weekend with Georgio? | 0:42:28 | 0:42:32 | |
I didn't say it that way. | 0:42:32 | 0:42:35 | |
Well, he asked me if I wanted to consult his doctor. | 0:42:35 | 0:42:39 | |
He said the office would be very happy to pay for it. | 0:42:39 | 0:42:41 | |
He wanted to know how long this had been going on. | 0:42:41 | 0:42:44 | |
Anita, I... | 0:42:44 | 0:42:47 | |
I'm sorry. | 0:42:47 | 0:42:49 | |
Well, I'm going home in a few days anyway | 0:42:49 | 0:42:53 | |
so in the meantime, you stay here in the apartment. | 0:42:53 | 0:42:57 | |
I'm going to stay someplace by myself. | 0:42:57 | 0:43:00 | |
Will you please listen to me? | 0:43:00 | 0:43:02 | |
I can't remember what I said to Mr Burgoyne, but believe me, it's been distorted. | 0:43:02 | 0:43:05 | |
Well, he fired Georgio! | 0:43:05 | 0:43:08 | |
Oh, no. | 0:43:08 | 0:43:10 | |
He fired him without a recommendation. | 0:43:10 | 0:43:13 | |
Jobs are hard to get without a recommendation. | 0:43:13 | 0:43:16 | |
He wanted to be a lawyer. Now he can't. | 0:43:16 | 0:43:19 | |
We certainly left him with something to remember us by. | 0:43:19 | 0:43:22 | |
-Anita! -DOOR OPENS, CLOSES | 0:43:22 | 0:43:26 | |
-Hello, Georgio. -Anita. | 0:44:14 | 0:44:17 | |
You should not have come here. How did you find this place? | 0:44:17 | 0:44:21 | |
I looked your address up in the office files. | 0:44:21 | 0:44:24 | |
-I cannot ask you in. -Please. | 0:44:24 | 0:44:28 | |
It's not a good place. | 0:44:34 | 0:44:37 | |
Burgoyne told me why he fired you. | 0:44:37 | 0:44:39 | |
I knew the rules. I broke them. | 0:44:39 | 0:44:42 | |
I cannot honestly say I regret it. | 0:44:42 | 0:44:44 | |
-What are you going to do? -I shall try for another position. | 0:44:44 | 0:44:49 | |
Failing that, I can always return to my family. | 0:44:49 | 0:44:52 | |
It's not hopeless. | 0:44:52 | 0:44:54 | |
If you'll have to go home, you won't be able to continue your studies. | 0:44:54 | 0:44:59 | |
Perhaps I shouldn't be a lawyer if I cannot honour simple office rules. | 0:44:59 | 0:45:03 | |
Look, don't justify Burgoyne! | 0:45:03 | 0:45:05 | |
This could cost you your career. | 0:45:05 | 0:45:07 | |
-I'm not gonna let him do it to you. -Anita. | 0:45:07 | 0:45:10 | |
You must not be angry. I knew what I was doing. | 0:45:10 | 0:45:13 | |
This happened. I will accept the consequences. | 0:45:13 | 0:45:16 | |
I'm gonna go back to him and make him take you back. | 0:45:16 | 0:45:18 | |
You will only convince him he acted wisely in the first place. | 0:45:18 | 0:45:22 | |
But... I can't just go away... | 0:45:22 | 0:45:24 | |
..leaving you here to face a problem I created for you. | 0:45:24 | 0:45:28 | |
You will go back to America, as you have to... | 0:45:28 | 0:45:32 | |
..and I will return to our farm, if I must. | 0:45:32 | 0:45:35 | |
Georgio, I have a day or two left before I have to go back. | 0:45:37 | 0:45:42 | |
Would it help you at all if we spent them together? | 0:45:42 | 0:45:46 | |
Anita. | 0:45:50 | 0:45:52 | |
Oh, cara. | 0:45:52 | 0:45:54 | |
No. What could I offer you? | 0:46:09 | 0:46:12 | |
I have no job. In the end, you have to leave anyhow. | 0:46:12 | 0:46:15 | |
-You are not free. -I'm free to do anything I please! | 0:46:15 | 0:46:19 | |
-You are going home to be married. -I'm not going to be married. | 0:46:19 | 0:46:22 | |
I'm not even engaged. | 0:46:22 | 0:46:24 | |
I only told Burgoyne that as a excuse for leaving the agency. | 0:46:24 | 0:46:28 | |
There is no-one? | 0:46:31 | 0:46:33 | |
-SHE SIGHS -There's no-one. | 0:46:33 | 0:46:36 | |
-Come in, signorina. -Thank you. | 0:46:54 | 0:46:56 | |
-Frances! -Yes? | 0:47:00 | 0:47:04 | |
-Hello, Maria. -Hello. | 0:47:04 | 0:47:06 | |
-Should I have phoned? -No, of course not. Thank you, Louisa. | 0:47:06 | 0:47:08 | |
-What is it? -I can't find Anita. | 0:47:08 | 0:47:12 | |
I've checked the hotels. She hasn't been back, hasn't been to the office. | 0:47:12 | 0:47:17 | |
-I'm just worried sick. -Well, I don't think we need worry about it. | 0:47:17 | 0:47:20 | |
Anita's hurt and unhappy, and she probably wants to be alone for a few days. | 0:47:20 | 0:47:24 | |
She'll show up. Did you talk to Burgoyne? | 0:47:24 | 0:47:27 | |
He won't take Georgio back. | 0:47:27 | 0:47:29 | |
Oh! He's a fool. | 0:47:29 | 0:47:31 | |
-What can we do? -Nothing at the moment. | 0:47:31 | 0:47:34 | |
Now, stop worrying about it. It wasn't your fault. | 0:47:34 | 0:47:37 | |
Look, do you think Mr Shadwell could get Georgio's job back for him? | 0:47:37 | 0:47:42 | |
-That would help. -Well, we'll see. | 0:47:42 | 0:47:45 | |
I'm going over to the museum to pick him up now. Why don't you come along. | 0:47:45 | 0:47:49 | |
-You haven't been to the museum yet? -No. | 0:47:56 | 0:47:59 | |
Museums I can do without. I was born in one. | 0:47:59 | 0:48:02 | |
-You were? -Sure. | 0:48:02 | 0:48:04 | |
My dad had an Indian museum on the highway next to his gas station. | 0:48:04 | 0:48:07 | |
It was free with 10 gallons of gas. | 0:48:07 | 0:48:09 | |
This one has a different kind of an attraction. | 0:48:09 | 0:48:11 | |
What? | 0:48:11 | 0:48:13 | |
Prince Dino is there with Shadwell discussing some paintings he's donating. | 0:48:13 | 0:48:17 | |
-Oh. -Wouldn't you like to see him again? | 0:48:17 | 0:48:19 | |
-He'd just love to see me. -You could discuss art with him. | 0:48:19 | 0:48:23 | |
That would be a change. What does he collect, nudes? | 0:48:23 | 0:48:27 | |
No, as a matter of fact, he's mad about modern paintings. | 0:48:27 | 0:48:30 | |
Oh, that's a side I'd never suspect. | 0:48:30 | 0:48:33 | |
Why don't you show him you have a side he'd never suspect? | 0:48:33 | 0:48:35 | |
-Show him you have a mind. -Oh-ho! | 0:48:35 | 0:48:38 | |
Oh, I love you, but I couldn't fool a fool. | 0:48:38 | 0:48:41 | |
-I don't know anything about art. -Give it a try. | 0:48:41 | 0:48:44 | |
You might end up meeting his mother. | 0:48:44 | 0:48:47 | |
And why should I want to meet his mother? | 0:48:47 | 0:48:49 | |
Meeting Mama in Italy is the first step to the altar. | 0:48:49 | 0:48:54 | |
Oh. Well, um, let's discuss art some more. | 0:48:54 | 0:48:59 | |
Don't forget - neo-impressionism. | 0:49:09 | 0:49:12 | |
Neo-impressionist. Neo-impressionist. | 0:49:12 | 0:49:16 | |
Neo-impressionist. | 0:49:16 | 0:49:19 | |
Harmony of colour...and infinity. | 0:49:19 | 0:49:22 | |
You'll do. | 0:49:22 | 0:49:24 | |
How can you say it bores you? You, with your heritage. | 0:49:30 | 0:49:34 | |
My heritage included a castle with no plumbing... | 0:49:34 | 0:49:37 | |
..but I happen to prefer running water and modern art. | 0:49:37 | 0:49:41 | |
You'll forgive me if I don't take your opinion seriously. | 0:49:41 | 0:49:44 | |
I knew you when you were still running around in three-cornered pants. | 0:49:44 | 0:49:48 | |
Hello. I'm Maria Williams. | 0:49:48 | 0:49:50 | |
We met at the Burgoyne's, Mr Shadwell, but I'm sure you don't remember me. | 0:49:50 | 0:49:54 | |
You're quite wrong. I remember you very well. | 0:49:54 | 0:49:57 | |
It's the party I've forgotten. | 0:49:57 | 0:49:59 | |
-How do you do, Miss Williams? -Hello. | 0:49:59 | 0:50:01 | |
I drove over with Miss Frances. She asked me to tell you she's waiting for you outside. | 0:50:01 | 0:50:05 | |
Punctuality is the vice of virtuous women. May I drop you? | 0:50:05 | 0:50:08 | |
No, thank you. I have my car. | 0:50:08 | 0:50:10 | |
Dino, take the advice of an old friend. | 0:50:10 | 0:50:13 | |
Don't treat a work of art as you do an automobile... | 0:50:13 | 0:50:16 | |
..turning it in for a new model every year. | 0:50:16 | 0:50:18 | |
-We can't live in the past forever. -Exactly. | 0:50:18 | 0:50:21 | |
Nonsense. We live in the past from the moment we're born. | 0:50:21 | 0:50:24 | |
Personally, I think heritage can sometimes shackle art. | 0:50:24 | 0:50:29 | |
Not to forget plumbing. | 0:50:29 | 0:50:31 | |
-Good day, Miss Williams. -Good day. | 0:50:31 | 0:50:33 | |
I shall leave heretics to their heritage. | 0:50:33 | 0:50:36 | |
Well, it's very nice to see you again. | 0:50:40 | 0:50:44 | |
Oh, I wonder...do you know if the museum has any modern art? | 0:50:44 | 0:50:48 | |
Modern? In what sense? | 0:50:48 | 0:50:51 | |
Now you really will think I'm a heretic, but | 0:50:51 | 0:50:54 | |
I'm passionately interested in the, uh, neo-impressionists. | 0:50:54 | 0:50:59 | |
-You are? -Oh, I thought you'd be outraged. | 0:50:59 | 0:51:02 | |
But, yes, I'm mad about them. | 0:51:02 | 0:51:05 | |
As a matter of fact, I'm a neo-impressionist myself. | 0:51:05 | 0:51:08 | |
There's a fine collection here. May I show you the room? | 0:51:08 | 0:51:12 | |
-Well... -This way. | 0:51:12 | 0:51:15 | |
Unless I miss my guess... | 0:51:21 | 0:51:24 | |
..sending that girl in to get me was a feminine intrigue of yours. | 0:51:24 | 0:51:28 | |
-Am I right? -Whatever makes you think that? | 0:51:28 | 0:51:30 | |
Don't be evasive. | 0:51:30 | 0:51:33 | |
Dino told me of your interference in Venice. | 0:51:33 | 0:51:36 | |
What are you trying to be, Mother Goose? | 0:51:36 | 0:51:38 | |
-Maria is a friend of mine. -And Dino is a friend of mine. | 0:51:38 | 0:51:41 | |
Let people lead their own lives. | 0:51:41 | 0:51:44 | |
They have absolutely nothing in common. | 0:51:44 | 0:51:46 | |
You'd be surprised. Dino's fond of art, and Maria was born in a museum. | 0:51:46 | 0:51:50 | |
-She was born where? -Ask her yourself. | 0:51:50 | 0:51:53 | |
Her father is curator of a museum out west. | 0:51:53 | 0:51:57 | |
You're right. I am surprised. | 0:51:57 | 0:52:00 | |
-Do you like it? -How can you ask? | 0:52:10 | 0:52:14 | |
-Does it speak to you? -Oh, yes, definitely. | 0:52:14 | 0:52:18 | |
Well, then, what does it tell you? What does it say? | 0:52:18 | 0:52:22 | |
Well, different pictures say different things to different people. | 0:52:22 | 0:52:27 | |
Yes, but the right paintings say the right things to the right people. | 0:52:27 | 0:52:31 | |
Yes, and you're so right. | 0:52:31 | 0:52:34 | |
Well, this... | 0:52:34 | 0:52:37 | |
Now, this seems to have a... a feeling of space. | 0:52:37 | 0:52:41 | |
Those lines that carry you off into the distance. | 0:52:41 | 0:52:46 | |
Oh, infinity is...is so lonely. | 0:52:46 | 0:52:50 | |
Yes, it makes me want to cry. | 0:52:50 | 0:52:53 | |
You surprise me. | 0:52:53 | 0:52:56 | |
I could not have put it better myself. | 0:52:56 | 0:53:00 | |
Oh, well, you mustn't let me keep you. | 0:53:00 | 0:53:03 | |
I'm just going to sit here a while and absorb it. | 0:53:03 | 0:53:06 | |
If I may, I'll sit here and absorb also. | 0:53:06 | 0:53:09 | |
-It was such an enjoyable afternoon. -What are you going to do now? | 0:53:31 | 0:53:34 | |
Now? | 0:53:34 | 0:53:37 | |
Well, I'm going to go inside and sit down and just think quietly | 0:53:37 | 0:53:40 | |
about all those lovely paintings. | 0:53:40 | 0:53:44 | |
You must think me silly to feel so deeply about art. | 0:53:44 | 0:53:46 | |
Oh, not at all. One seldom meets an American girl | 0:53:46 | 0:53:49 | |
with your sensitivity, your sense of appreciation. | 0:53:49 | 0:53:51 | |
It's wonderful. | 0:53:51 | 0:53:53 | |
Well, if that is so it's probably because I'm half Italian. | 0:53:53 | 0:53:57 | |
-You are half Italian? -Well, actually, three-quarters. | 0:53:57 | 0:54:00 | |
But I resemble my Irish grandmother. | 0:54:00 | 0:54:03 | |
LAUGHING Now, imagine! Three-quarters. | 0:54:03 | 0:54:05 | |
Mmm, well, that's why I took this job in Rome. | 0:54:05 | 0:54:08 | |
I wanted to be near my own kind. | 0:54:08 | 0:54:12 | |
Well, thank you again for dropping me here. I must hurry in. | 0:54:12 | 0:54:15 | |
Now, I shall see you again? | 0:54:15 | 0:54:18 | |
I don't know. You see, I'm rather afraid of you. | 0:54:18 | 0:54:21 | |
-Afraid? Of me? -Oh, not because of your reputation. | 0:54:21 | 0:54:25 | |
But, you see, I've discovered you have an exciting mind. | 0:54:25 | 0:54:29 | |
Something that handsome men rarely have. | 0:54:29 | 0:54:33 | |
The combination might be too much for someone as responsive as I am. | 0:54:33 | 0:54:36 | |
Well, goodbye, and thank you again. | 0:54:36 | 0:54:39 | |
CAR DOOR CLOSES | 0:54:54 | 0:54:57 | |
ENGINE STARTS, CAR PULLS AWAY | 0:54:57 | 0:55:00 | |
You sent for me, signorina? | 0:55:07 | 0:55:09 | |
Yes. I'm told that the Prince Dino Dessi often dines here. | 0:55:09 | 0:55:13 | |
-He is a friend of the signorina's? -Oh, yes. | 0:55:13 | 0:55:16 | |
I'm giving a small dinner party for him, and I thought you might be able to tell me | 0:55:16 | 0:55:20 | |
what his favourite dish is. | 0:55:20 | 0:55:22 | |
Of course. He is particularly fond of saltimbocca alla Romana. | 0:55:22 | 0:55:27 | |
Oh. Just a moment. | 0:55:27 | 0:55:29 | |
-Saltimbocca... -Alla Romana. | 0:55:29 | 0:55:31 | |
Alla Romana. And his favourite wine? | 0:55:31 | 0:55:34 | |
Oh... Oh, yes. Lacrima Christi. | 0:55:34 | 0:55:38 | |
Lacrima Christi. | 0:55:38 | 0:55:41 | |
Thank you. Thank you very much. | 0:55:42 | 0:55:44 | |
Would the signorina like to order now? | 0:55:44 | 0:55:46 | |
Yes. I'll have a cup of coffee, please. | 0:55:46 | 0:55:50 | |
A cup of coffee. | 0:55:50 | 0:55:52 | |
It is his favourite opera, signorina. This I know. | 0:55:52 | 0:55:55 | |
Oh, no. No, I know that he likes, uh, Wagner. | 0:55:55 | 0:55:59 | |
Wagner? That is impossible! He likes Italian opera. | 0:55:59 | 0:56:03 | |
I heard, myself, him say many times... | 0:56:03 | 0:56:06 | |
..that German music assails the ear with its fists. | 0:56:06 | 0:56:09 | |
Italian caresses with its fingertips. | 0:56:09 | 0:56:12 | |
Well, thank you. | 0:56:12 | 0:56:14 | |
ORCHESTRA PLAYS CLASSICAL MUSIC | 0:56:20 | 0:56:24 | |
ORCHESTRA CONTINUES | 0:56:33 | 0:56:37 | |
MAN SINGING IN ITALIAN | 0:56:42 | 0:56:48 | |
MAN CONTINUES SINGING IN ITALIAN | 0:56:50 | 0:56:54 | |
Will you excuse me? I'll join you presently. | 0:57:23 | 0:57:25 | |
-Yes, of course. -Buona sera, Dino. Come stai? | 0:57:25 | 0:57:28 | |
-Ah, my friend. You must sit with us. -I can only stay a moment. | 0:57:28 | 0:57:32 | |
I'm with the Burgoynes, and I wouldn't want to inflict them on you. | 0:57:32 | 0:57:35 | |
-How do you do, Miss Williams? -How do you do? | 0:57:35 | 0:57:38 | |
-I saw you at the opera. Did you enjoy it? -Rossini is one of her favourites. | 0:57:38 | 0:57:42 | |
Indeed. I do wish Alvarez were less limited in his tessitura. | 0:57:42 | 0:57:46 | |
-Don't you? -Do you? | 0:57:46 | 0:57:51 | |
-No. No, not at all. -I don't either. | 0:57:51 | 0:57:55 | |
But surely you disagree about the various tempi of the conductor? | 0:57:55 | 0:57:58 | |
Why? | 0:57:58 | 0:57:59 | |
Now, my friend, we found no fault with this performance. | 0:57:59 | 0:58:03 | |
-You cannot spoil it for us. -Oh, I'm sure Mr Shadwell wouldn't do that. | 0:58:03 | 0:58:07 | |
-I-It's just that he's a perfectionist. -Thank you. | 0:58:07 | 0:58:10 | |
I know that from your books. | 0:58:10 | 0:58:13 | |
-Which one? -All of them. | 0:58:13 | 0:58:15 | |
Well, you've certainly covered a lot of territory. | 0:58:17 | 0:58:21 | |
Dino, you're in the hands of an expert. | 0:58:21 | 0:58:24 | |
Good evening, Miss Williams. Arrivederci, caro. | 0:58:24 | 0:58:26 | |
Ciao. | 0:58:26 | 0:58:29 | |
He likes you. | 0:58:31 | 0:58:33 | |
And I'm glad, because he's my friend. | 0:58:33 | 0:58:37 | |
Now, what shall we have? | 0:58:37 | 0:58:39 | |
Well, I know this is mad... | 0:58:40 | 0:58:42 | |
..but I would just love some saltimbocca alla Romana. | 0:58:42 | 0:58:45 | |
Excellent! Saltimbocca alla Romana is a favourite of mine. | 0:58:45 | 0:58:48 | |
Now, what would you like to drink with it? | 0:58:48 | 0:58:52 | |
Do you suppose they'd have some Lacrima Christi? | 0:58:52 | 0:58:55 | |
But of course! | 0:58:55 | 0:58:57 | |
Maria, it is astounding how much we have in common. | 0:58:57 | 0:59:00 | |
-CHUCKLES -Well, you're very kind. | 0:59:00 | 0:59:03 | |
Italians certainly have mastered the art of gallantry. | 0:59:03 | 0:59:06 | |
But it's true. | 0:59:06 | 0:59:08 | |
It's sweet of you to say so, but you needn't pretend that you like everything I like. | 0:59:08 | 0:59:11 | |
It's too tiresome for you. | 0:59:11 | 0:59:13 | |
But I swear it's true. I can think of nothing on which we disagree. It's amazing. | 0:59:13 | 0:59:18 | |
You really are a nice person. | 0:59:18 | 0:59:21 | |
You try so hard to make a girl feel that she's chosen the right thing. | 0:59:21 | 0:59:25 | |
Whether it's true or not isn't important. | 0:59:25 | 0:59:27 | |
It's the motive that counts. Don't you think so? | 0:59:27 | 0:59:30 | |
Of course. Which proves that we agree on everything. | 0:59:30 | 0:59:33 | |
SPEAKING ITALIAN | 0:59:35 | 0:59:40 | |
RESPONDS IN ITALIAN Grazie. | 0:59:41 | 0:59:43 | |
What's the matter? | 0:59:49 | 0:59:52 | |
Maria... | 0:59:52 | 0:59:54 | |
..there is something I want. | 0:59:55 | 0:59:57 | |
-Well, what? -I should like to have you meet my mother. | 0:59:57 | 1:00:01 | |
Well, if you like. | 1:00:04 | 1:00:07 | |
-Sunday. -So soon? | 1:00:07 | 1:00:10 | |
I shall call for you. | 1:00:12 | 1:00:14 | |
CLASSICAL MUSIC WITH PICCOLO PLAYS | 1:00:23 | 1:00:26 | |
MUSIC CONTINUES | 1:00:28 | 1:00:31 | |
DOORBELL BUZZES | 1:00:33 | 1:00:36 | |
SPEAKS ITALIAN | 1:00:39 | 1:00:42 | |
MUSIC CONTINUES | 1:00:43 | 1:00:46 | |
Oh, you're early. | 1:00:50 | 1:00:53 | |
You play the piccolo too? | 1:00:53 | 1:00:55 | |
No, but I've always wanted to learn. | 1:00:55 | 1:00:57 | |
If you're going to study music, Rome is the place to do it. | 1:00:57 | 1:01:00 | |
RECORD PLAYER CLICKS OFF But I also play the piccolo! | 1:01:00 | 1:01:03 | |
Now, Dino, you must stop saying that you like everything I like. | 1:01:03 | 1:01:06 | |
You're going to make me think you're insincere. | 1:01:06 | 1:01:08 | |
But I do play the piccolo. | 1:01:08 | 1:01:11 | |
-You see? -But you play like an angel. | 1:01:18 | 1:01:21 | |
Perhaps someday we can play duets. | 1:01:24 | 1:01:28 | |
I should like that. | 1:01:28 | 1:01:30 | |
Well, I think that we should not keep my mother waiting. | 1:01:36 | 1:01:41 | |
SPEAKING ITALIAN | 1:02:04 | 1:02:07 | |
RESPONDS IN ITALIAN | 1:02:07 | 1:02:10 | |
Maria? | 1:02:31 | 1:02:34 | |
-Maria, this is my mother. -How do you do? | 1:02:34 | 1:02:37 | |
It was good of you to come to see me. | 1:02:37 | 1:02:40 | |
Thank you. | 1:02:40 | 1:02:42 | |
-Isn't she lovely, Mother? -You failed to do her justice. | 1:02:42 | 1:02:46 | |
Dino, bring my blue shawl. It is chilly. | 1:02:47 | 1:02:50 | |
Uh, but, Mother, you have your blue shawl. | 1:02:50 | 1:02:54 | |
Take it away. It is warm. | 1:02:54 | 1:02:56 | |
Go away, Dino. I want to talk to Maria alone for a moment. | 1:02:56 | 1:03:01 | |
-Will you have a cigarette? -No, thank you. | 1:03:03 | 1:03:07 | |
-CLEARS THROAT -It's a lovely day, isn't it? | 1:03:13 | 1:03:17 | |
I want to tell you, I was predisposed to like you. | 1:03:17 | 1:03:21 | |
You were? Why? | 1:03:21 | 1:03:22 | |
You have made my son happy. For that, I am grateful. | 1:03:22 | 1:03:24 | |
Oh, I shall not live forever. | 1:03:24 | 1:03:27 | |
It was a matter of concern to me that he should depend on me for understanding. | 1:03:27 | 1:03:31 | |
-Well, I really haven't... -My son tells me you are half Italian. | 1:03:31 | 1:03:34 | |
Oh, yes, uh, actually three-quarters. | 1:03:36 | 1:03:39 | |
Your father? | 1:03:39 | 1:03:42 | |
Yes, but, um, I-I really didn't know him. He died when I was a baby. | 1:03:42 | 1:03:46 | |
A pity. My son also lost his father when he was a child. | 1:03:46 | 1:03:50 | |
You both have an early tragedy in your lives. | 1:03:50 | 1:03:53 | |
It is good that two people should start with understanding. | 1:03:53 | 1:03:57 | |
Yes, I-I guess so. | 1:03:57 | 1:03:59 | |
Dino, you are much too quick. | 1:03:59 | 1:04:02 | |
Now, Mother, I shall tell you something that will amaze you. | 1:04:02 | 1:04:06 | |
Do you know that she plays the piccolo? | 1:04:06 | 1:04:09 | |
I am amazed. | 1:04:09 | 1:04:11 | |
Well, I don't, really. I'm just beginning. | 1:04:11 | 1:04:14 | |
Oh, you are modest. | 1:04:14 | 1:04:16 | |
Dino, bring us some wine. We shall drink a toast. | 1:04:16 | 1:04:19 | |
Do you know what wine she likes? Lacrima Christi! | 1:04:19 | 1:04:22 | |
-No! -Yes. | 1:04:22 | 1:04:24 | |
-Yes? -Yes. | 1:04:24 | 1:04:26 | |
-No. -Yes! | 1:04:26 | 1:04:29 | |
I'm very glad that you like my mother. | 1:04:33 | 1:04:36 | |
How could I help but like her? | 1:04:36 | 1:04:38 | |
She's the only woman I've ever trusted completely...until I met you. | 1:04:38 | 1:04:43 | |
Oh. | 1:04:43 | 1:04:45 | |
EMERGENCY BRAKE SETS ENGINE OFF | 1:05:04 | 1:05:07 | |
There is something I would like to say to you, Maria. | 1:05:12 | 1:05:15 | |
Yes? | 1:05:15 | 1:05:16 | |
But first I should like to explain to you that... | 1:05:16 | 1:05:20 | |
..what experiences I have had in my life before | 1:05:20 | 1:05:23 | |
have left me...suspicious. | 1:05:23 | 1:05:25 | |
But you're not the least bit suspicious. | 1:05:25 | 1:05:28 | |
-That's one of the things I like about you. -I hide it well. | 1:05:28 | 1:05:32 | |
But always beneath... | 1:05:32 | 1:05:34 | |
..there was cynicism. | 1:05:34 | 1:05:36 | |
I say "was," because since knowing you it is gone. | 1:05:36 | 1:05:39 | |
Oh, Maria, it is good to be free of doubt... | 1:05:39 | 1:05:43 | |
..to find someone that you can trust completely. | 1:05:43 | 1:05:46 | |
-Dino, I-I think... -No, wait. | 1:05:46 | 1:05:49 | |
First I want to tell you something. | 1:05:49 | 1:05:52 | |
Here, where the heart asks only to be trusted... | 1:05:52 | 1:05:56 | |
I must tell you, Maria, that I... | 1:05:56 | 1:05:58 | |
Dino, please don't say anything more. | 1:05:58 | 1:06:01 | |
Could it be possible that I misunderstood how you feel? | 1:06:03 | 1:06:06 | |
-Oh, no. -Then why should I not speak? | 1:06:06 | 1:06:08 | |
Because there's something I have to tell you first. | 1:06:11 | 1:06:15 | |
This may hurt you, but I must say it. | 1:06:15 | 1:06:18 | |
Oh, Dino. | 1:06:19 | 1:06:22 | |
I've lied to you from the first moment we met. | 1:06:24 | 1:06:27 | |
I've done nothing to restore your faith or your trust. | 1:06:27 | 1:06:32 | |
I went after you with a well-organized system. | 1:06:32 | 1:06:35 | |
-You are making a joke. -No, I'm not. | 1:06:37 | 1:06:40 | |
Look. Look, I... I... | 1:06:40 | 1:06:43 | |
I made a record... | 1:06:44 | 1:06:47 | |
..of everything about you... | 1:06:47 | 1:06:49 | |
..what pleased you or what displeased you. | 1:06:49 | 1:06:51 | |
And then I pretended to like everything that you liked - | 1:06:51 | 1:06:56 | |
music and food, everything. | 1:06:56 | 1:07:00 | |
And you...you were as trusting as a lamb. You didn't have a chance. | 1:07:01 | 1:07:07 | |
-I cannot believe this. -Well, it's true. | 1:07:09 | 1:07:12 | |
Look, I don't know opera from boogie... | 1:07:12 | 1:07:16 | |
..or Lacrima Christi from Corpus Christi. | 1:07:16 | 1:07:20 | |
And I loathe the piccolo. | 1:07:20 | 1:07:22 | |
Dino, if... | 1:07:23 | 1:07:26 | |
-I'm sorry. -ENGINE STARTS | 1:07:26 | 1:07:29 | |
-Anita! When did you get back? -Last night. | 1:07:41 | 1:07:44 | |
-Does Maria know? -Yes. | 1:07:44 | 1:07:46 | |
Oh, I'm glad to see you. We've looked for you in every hotel in Rome. | 1:07:46 | 1:07:49 | |
Maria told me. I've been in the country with Georgio's family. | 1:07:49 | 1:07:53 | |
We're trying to get Burgoyne to take Georgio back. | 1:07:53 | 1:07:57 | |
He'll apologise to you for all those nasty suspicions before you leave. | 1:07:57 | 1:08:01 | |
He owes me no apology. | 1:08:01 | 1:08:04 | |
Anyway, I'm going home as planned. | 1:08:04 | 1:08:06 | |
What about Georgio? | 1:08:06 | 1:08:08 | |
What about him? | 1:08:08 | 1:08:11 | |
Had you thought of staying and marrying him? | 1:08:11 | 1:08:13 | |
He doesn't think we should. | 1:08:13 | 1:08:16 | |
But you're obviously in love with him. | 1:08:16 | 1:08:19 | |
Well, he's dreadfully poor. | 1:08:19 | 1:08:22 | |
Even with his job, he can barely support himself. | 1:08:22 | 1:08:25 | |
He'd have to give up his studies or take me to live with his people. | 1:08:25 | 1:08:29 | |
He says either way it wouldn't work. | 1:08:29 | 1:08:32 | |
-Well, how do you feel about it? -SOBS | 1:08:32 | 1:08:35 | |
Oh, my darling! | 1:08:35 | 1:08:37 | |
I'm so sorry. | 1:08:37 | 1:08:39 | |
Is there anything I can do? | 1:08:39 | 1:08:42 | |
Just leave me alone, please. | 1:08:42 | 1:08:44 | |
-Well, what are you doing? -Packing. | 1:08:59 | 1:09:02 | |
I can see that. But why? | 1:09:02 | 1:09:05 | |
I'm going home. | 1:09:05 | 1:09:07 | |
I'm going back with Anita. | 1:09:07 | 1:09:09 | |
He hasn't even tried to see me. | 1:09:10 | 1:09:13 | |
Oh, dear. | 1:09:13 | 1:09:16 | |
Never knew I could feel this way. It's pretty awful. | 1:09:18 | 1:09:23 | |
I know it is. It's awful, for both of you. | 1:09:23 | 1:09:26 | |
I hope you won't mind being alone in the apartment... | 1:09:28 | 1:09:31 | |
..but I couldn't stay on, you know. | 1:09:31 | 1:09:34 | |
Of course not. | 1:09:34 | 1:09:36 | |
I'm glad I'm not young and vulnerable any more. | 1:09:38 | 1:09:42 | |
-KNOCKING -Yes? | 1:09:48 | 1:09:52 | |
I have brought the signorina a present. | 1:09:52 | 1:09:54 | |
Why, Louisa, how nice of you. Thank you. | 1:09:54 | 1:09:58 | |
-KITTEN MEWLS -Why, Louisa! | 1:09:58 | 1:10:00 | |
Whatever made you do this? | 1:10:00 | 1:10:02 | |
Oh, he's a dear little thing. | 1:10:02 | 1:10:06 | |
We have worried about your being alone, signorina. | 1:10:06 | 1:10:09 | |
Is he old enough to be taken away from his mother? | 1:10:09 | 1:10:12 | |
Oh, yes. My sister say the age is right. | 1:10:12 | 1:10:15 | |
She's... How do you say? Oh. A maiden lady. | 1:10:15 | 1:10:19 | |
She has many cats. She would not be without one. | 1:10:19 | 1:10:22 | |
She talks to them from morning till night... | 1:10:22 | 1:10:25 | |
..just as if they were people. | 1:10:25 | 1:10:28 | |
Does she, indeed? | 1:10:28 | 1:10:30 | |
I will bring you a box to take it home in. | 1:10:30 | 1:10:33 | |
Thank you, Louisa. | 1:10:33 | 1:10:35 | |
KITTEN CONTINUES MEWLING | 1:10:38 | 1:10:41 | |
LOUD MEOW | 1:10:55 | 1:10:57 | |
Oh, no, my friend. | 1:10:59 | 1:11:01 | |
It hasn't come to that yet. You're dear and small. | 1:11:03 | 1:11:07 | |
But I'm not going to turn to you out of loneliness. | 1:11:07 | 1:11:11 | |
-Good morning, Miss Frances. -Good morning. | 1:11:13 | 1:11:16 | |
-Where did that come from? -Louisa gave it to me. | 1:11:16 | 1:11:18 | |
-Why? -Why shouldn't she? | 1:11:18 | 1:11:21 | |
All the old maids in Rome have cats. | 1:11:21 | 1:11:23 | |
I've seen them in the evening in the courtyard, feeding them leftover spaghetti. | 1:11:23 | 1:11:27 | |
That sounds rather waspish. | 1:11:27 | 1:11:30 | |
Will you be able to type up last night's pages for me this morning? | 1:11:30 | 1:11:33 | |
Yes. | 1:11:33 | 1:11:35 | |
-Is anything the matter? -No. | 1:11:35 | 1:11:37 | |
You seem a bit curt this morning. | 1:11:37 | 1:11:39 | |
I've come to a reluctant decision. | 1:11:39 | 1:11:41 | |
-I'll talk to you about it later. -Moral cowardice? | 1:11:41 | 1:11:44 | |
Very well. | 1:11:44 | 1:11:46 | |
I've decided I want to go back to America. | 1:11:46 | 1:11:49 | |
CHUCKLING Why? | 1:11:49 | 1:11:52 | |
Well, why shouldn't I? | 1:11:52 | 1:11:54 | |
-Have I done anything to offend you? -No. | 1:11:54 | 1:11:57 | |
Then you have no possible reason for wanting to go back to America. | 1:11:57 | 1:12:00 | |
I've been away for 15 years. I want to go home. | 1:12:00 | 1:12:03 | |
-Would you like a holiday? -No. | 1:12:03 | 1:12:06 | |
I'd like to finish this work for you. | 1:12:06 | 1:12:08 | |
Then I'd like to go have my passport checked. | 1:12:08 | 1:12:10 | |
This is nonsense. | 1:12:10 | 1:12:12 | |
What would you go back to? You've no relations. | 1:12:12 | 1:12:15 | |
You'd live alone in a hotel room, go to concerts on Sunday | 1:12:15 | 1:12:18 | |
and work for some dull-witted business executive. | 1:12:18 | 1:12:21 | |
-What is attractive about that prospect? -Nothing. | 1:12:21 | 1:12:24 | |
-Nevertheless, I am going home. -Oh. | 1:12:24 | 1:12:28 | |
What about me? | 1:12:28 | 1:12:30 | |
How am I going to get along without you? I've come to depend upon you. | 1:12:30 | 1:12:35 | |
I dislike change. I dislike new faces. | 1:12:35 | 1:12:38 | |
Friends of mine are going back, and I want to go with them. | 1:12:38 | 1:12:41 | |
Maybe a hotel room alone in New York will be hard to take. | 1:12:41 | 1:12:45 | |
But the prospect of becoming a lonely old maid... | 1:12:45 | 1:12:48 | |
..with a life behind her, a stranger in a foreign country... | 1:12:48 | 1:12:51 | |
isn't much to look forward to either. | 1:12:51 | 1:12:53 | |
And who knows? | 1:12:53 | 1:12:55 | |
Perhaps some nice old man will want to marry me after all. | 1:12:55 | 1:12:59 | |
Have you ever considered the possibility of marrying me? | 1:13:01 | 1:13:04 | |
Every woman considers that prospect with every man she meets. | 1:13:04 | 1:13:08 | |
I'm quite serious. | 1:13:08 | 1:13:10 | |
I would guarantee you the companionship you want. | 1:13:10 | 1:13:13 | |
You've certainly had time to get used to me. There would be no surprises. | 1:13:13 | 1:13:17 | |
You know me too well. | 1:13:17 | 1:13:20 | |
I have enormous respect for you. | 1:13:20 | 1:13:22 | |
You add greatly to my comfort. | 1:13:22 | 1:13:24 | |
In fact, you're about the only woman I know to whom I would make such a rash offer. | 1:13:24 | 1:13:29 | |
A marriage...based on friendship? | 1:13:32 | 1:13:37 | |
The Chinese marry as total strangers. At least we met. | 1:13:37 | 1:13:40 | |
-CHUCKLES -And suppose you should wake up one bright morning and discover | 1:13:40 | 1:13:44 | |
that I was desperately in love with you. | 1:13:44 | 1:13:47 | |
Wouldn't you find that rather disturbing? | 1:13:47 | 1:13:49 | |
The possibility of arousing unsuspected passion at my age would be not only disturbing | 1:13:49 | 1:13:54 | |
but rather miraculous. | 1:13:54 | 1:13:56 | |
Would you care to think this over for a day or two? | 1:13:57 | 1:14:01 | |
Are you sure you wouldn't? | 1:14:01 | 1:14:04 | |
The offer is quite genuine... | 1:14:04 | 1:14:07 | |
..if a bit casual. | 1:14:07 | 1:14:09 | |
Then my acceptance is quite casual | 1:14:09 | 1:14:12 | |
but a bit genuine. | 1:14:12 | 1:14:15 | |
Thank you. | 1:14:17 | 1:14:20 | |
I'm sure we'll be quite compatible. | 1:14:20 | 1:14:23 | |
-Grazie, Anna. -Prego, signorina. | 1:14:27 | 1:14:29 | |
-Hi! -Hi. | 1:14:38 | 1:14:41 | |
I'm just writing my folks that I'm bringing you home to stay a while with us. | 1:14:41 | 1:14:45 | |
But I'm not going home after all. | 1:14:45 | 1:14:47 | |
-But you said this morning... -That was a hundred years ago. | 1:14:47 | 1:14:49 | |
I've decided to stay and get married. | 1:14:49 | 1:14:53 | |
-No! -Isn't it ironic? | 1:14:53 | 1:14:56 | |
You're both so young and so lovely | 1:14:56 | 1:14:59 | |
but of the three of us I'm to be the bride. | 1:14:59 | 1:15:02 | |
-Shadwell? -Who else? | 1:15:02 | 1:15:04 | |
-No! -LAUGHING | 1:15:04 | 1:15:06 | |
-Oh, that's wonderful. How did it happen? -I don't know. | 1:15:06 | 1:15:09 | |
I really don't know. | 1:15:09 | 1:15:11 | |
After being in love with him for 15 years, this silly man has asked me to marry him. | 1:15:11 | 1:15:16 | |
Have you ever heard of anything so absurd? | 1:15:16 | 1:15:19 | |
INTERCOM BUZZES | 1:16:21 | 1:16:24 | |
-Good morning! -Good morning, Louisa. | 1:16:31 | 1:16:34 | |
I brought these flowers. Will you put them in a vase, please? | 1:16:34 | 1:16:37 | |
-Is Mr Shadwell up yet? -He's up and gone out. His door was open. | 1:16:37 | 1:16:42 | |
Have breakfast ready for him. He's probably just gone for a walk. | 1:16:42 | 1:16:45 | |
Yes, signorina... | 1:16:45 | 1:16:47 | |
Oh, the signorina has a new dress! It is very pretty. | 1:16:47 | 1:16:52 | |
Maybe a...a little too young. | 1:16:52 | 1:16:54 | |
Oh, it is spring, signorina! | 1:16:54 | 1:16:57 | |
LAUGHING | 1:16:57 | 1:16:59 | |
You should have come to me the first time this happened, my friend. | 1:17:12 | 1:17:16 | |
That would hardly have been possible. | 1:17:16 | 1:17:18 | |
I've had headaches all my life. | 1:17:18 | 1:17:21 | |
What do I do now? | 1:17:21 | 1:17:23 | |
I would advise you to go to America. Dr Weisner is there now. | 1:17:23 | 1:17:26 | |
-He has managed, in these cases, to delay... -No, thank you. | 1:17:26 | 1:17:30 | |
-I have no desire to prolong uncertainty. -Think about it a while. | 1:17:30 | 1:17:34 | |
I prefer to think how best to spend this year allotted me. | 1:17:34 | 1:17:37 | |
One is not infallible in matters of time. | 1:17:37 | 1:17:40 | |
I don't think I shall work today, Dr Martinelli. | 1:17:40 | 1:17:44 | |
There's never any preparation for a death sentence, is there? | 1:17:44 | 1:17:47 | |
There is a lifetime. | 1:17:47 | 1:17:50 | |
That sounds like something I might have written. | 1:17:50 | 1:17:53 | |
-Goodbye, Doctor. Thank you. -Goodbye. | 1:17:53 | 1:17:56 | |
Come. | 1:18:17 | 1:18:18 | |
Mr Hoyt, there's a gentleman here to see you about something. | 1:18:18 | 1:18:21 | |
Come in, sir. | 1:18:21 | 1:18:23 | |
-Thank you. Mr Hoyt? -That's me, sir. | 1:18:23 | 1:18:25 | |
-I'm John Frederick Shadwell. -Won't you sit down? | 1:18:25 | 1:18:28 | |
That's interesting. Same name as the writer. | 1:18:28 | 1:18:30 | |
-I am the writer. -You are? | 1:18:30 | 1:18:32 | |
Well, I'm one of your fans. | 1:18:32 | 1:18:34 | |
-That's good to hear. -Looking for material for a new novel? | 1:18:34 | 1:18:37 | |
Just information. I want to know what must be done to ship a body to America. | 1:18:37 | 1:18:41 | |
Well, you've come to the right man. That's my specialty. | 1:18:41 | 1:18:44 | |
-I handle former citizens. -LAUGHING | 1:18:44 | 1:18:47 | |
-You seem to enjoy your work. -Oh, I don't mind it. | 1:18:47 | 1:18:50 | |
Other vice-consuls have clients who talk back. Mine don't. | 1:18:50 | 1:18:53 | |
An obvious advantage. | 1:18:53 | 1:18:56 | |
Now then, I should like to know the exact procedure in having a body shipped home. | 1:18:56 | 1:19:00 | |
Well, first I must have a letter making the request. | 1:19:00 | 1:19:03 | |
-Who writes the letter? -That's a good question. | 1:19:03 | 1:19:06 | |
The regulations say a close relative. | 1:19:06 | 1:19:08 | |
Then I must have a certificate from the doctor, | 1:19:08 | 1:19:11 | |
a notarized report for the American port of entry, | 1:19:11 | 1:19:14 | |
then permission from the city of Rome and an export license. | 1:19:14 | 1:19:17 | |
Sounds quite complicated. | 1:19:17 | 1:19:19 | |
Dead or alive, there's still a lot of red tape to it. | 1:19:19 | 1:19:21 | |
Thank you, Mr Hoyt. I shan't detain you any longer. | 1:19:21 | 1:19:24 | |
I assume this is all for a new story of yours. | 1:19:24 | 1:19:27 | |
-There actually is no body. -Oh, there's a body, all right. | 1:19:27 | 1:19:29 | |
-Is there? Whose? -Mine. | 1:19:29 | 1:19:32 | |
Good day, sir. | 1:19:32 | 1:19:35 | |
DOOR OPENS, CLOSES | 1:19:35 | 1:19:37 | |
You were up early this morning. | 1:19:42 | 1:19:45 | |
-You want your breakfast? -Not at the moment. | 1:19:45 | 1:19:47 | |
-I finished these pages. -Thank you. | 1:19:47 | 1:19:49 | |
Is anything the matter? | 1:19:49 | 1:19:52 | |
-I've had a very bad night. -Let me get you some coffee. | 1:19:52 | 1:19:55 | |
I was quite concerned over this impulsive discussion we had about marriage yesterday. | 1:19:55 | 1:19:59 | |
This morning I realised you could not possibly have taken me seriously. | 1:19:59 | 1:20:02 | |
Why not? | 1:20:02 | 1:20:05 | |
Because you have too much self-respect to consider seriously | 1:20:05 | 1:20:08 | |
the offer of a man who is interested only in keeping his secretary. | 1:20:08 | 1:20:11 | |
You handled it extremely well, and my admiration for your tact is boundless. | 1:20:11 | 1:20:15 | |
-Should I have reacted otherwise? -No. | 1:20:16 | 1:20:19 | |
Of course you should go home, since it is so important to you. | 1:20:19 | 1:20:23 | |
In fact, the sooner you can make arrangements, the more convenient it'll be for me. | 1:20:23 | 1:20:27 | |
I want to go to Capri for the summer, and I'd like to get away as soon as possible. | 1:20:27 | 1:20:30 | |
Aren't you going to finish the novel? | 1:20:30 | 1:20:32 | |
No, I seem to have lost interest in it at the moment. | 1:20:32 | 1:20:35 | |
So, if you can book passage... | 1:20:35 | 1:20:38 | |
..I promise not to place any more embarrassing obstacles in your path. | 1:20:38 | 1:20:41 | |
And you do forgive me for my selfish panic? | 1:20:42 | 1:20:46 | |
Of course. | 1:20:46 | 1:20:48 | |
DOOR CLOSES | 1:20:51 | 1:20:53 | |
SPEAKING ITALIAN | 1:21:08 | 1:21:11 | |
Yes, signore? | 1:22:31 | 1:22:33 | |
I should like a bottle of scotch, some ice and a siphon of soda. | 1:22:33 | 1:22:37 | |
Sorry, sir. No bottles. | 1:22:37 | 1:22:40 | |
Why not? | 1:22:40 | 1:22:42 | |
Drinks, yes, but no bottles. | 1:22:42 | 1:22:44 | |
Very well, my friend. | 1:22:44 | 1:22:47 | |
Bring me six double scotches, and line them up before me. | 1:22:47 | 1:22:50 | |
Very good, sir. | 1:22:50 | 1:22:52 | |
Are you, by any chance, following me, Miss Frances? | 1:23:08 | 1:23:11 | |
-Yes. -May I ask why? | 1:23:11 | 1:23:14 | |
Dr Martinelli called after you left. | 1:23:17 | 1:23:21 | |
I see. | 1:23:21 | 1:23:23 | |
Is what you learned from him the reason you changed your mind about us? | 1:23:23 | 1:23:28 | |
I suppose it's quite natural for you to assume that. | 1:23:28 | 1:23:31 | |
But the truth is, it had nothing to do with it. | 1:23:31 | 1:23:34 | |
It was one of those unfortunate coincidences. | 1:23:34 | 1:23:38 | |
Oh. | 1:23:38 | 1:23:41 | |
He told me he suggested you return to America. You will go. | 1:23:41 | 1:23:45 | |
My dear Miss Frances, my life, my career | 1:23:45 | 1:23:47 | |
has been founded on facing facts as I discover them | 1:23:47 | 1:23:50 | |
never by wishful thinking. | 1:23:50 | 1:23:52 | |
I've no intention of seeking a dubious year of grace. | 1:23:52 | 1:23:55 | |
But in an extra year's time perhaps the doctors will have discovered an answer. | 1:23:55 | 1:23:58 | |
Cures must be discovered sometime. | 1:23:58 | 1:24:01 | |
I shall accept my fate with as much good grace as I can muster. | 1:24:01 | 1:24:05 | |
-What do you intend to do with those? -I intend to get drunk. | 1:24:09 | 1:24:12 | |
-Why? -I've been cautious too long. | 1:24:12 | 1:24:16 | |
I'm sorry that you've learned about this. | 1:24:23 | 1:24:25 | |
But since you have, you can be of great service to me. | 1:24:25 | 1:24:29 | |
I intend to spend the time I have left here in Rome, where I've lived most of my life. | 1:24:29 | 1:24:33 | |
But, oddly enough, I want to be buried in America. | 1:24:33 | 1:24:37 | |
There are numerous details involved that I should like to leave in your capable hands. | 1:24:37 | 1:24:41 | |
Please don't. | 1:24:41 | 1:24:43 | |
I can't listen when you talk like this. | 1:24:43 | 1:24:46 | |
Then I shall turn the matter over to someone less emotional. | 1:24:46 | 1:24:48 | |
SOBBING | 1:24:48 | 1:24:50 | |
Your greatest asset has always been your detachment, | 1:24:50 | 1:24:53 | |
your freedom from sentimentality. | 1:24:53 | 1:24:56 | |
It'd be a pity if you shattered that record at the end. | 1:24:56 | 1:24:59 | |
And now, if...if you don't mind, I... | 1:25:01 | 1:25:05 | |
I'd like to be left alone. | 1:25:05 | 1:25:08 | |
Does the signora care to order? | 1:25:23 | 1:25:25 | |
Yes. Bring me six double scotches, please. | 1:25:25 | 1:25:28 | |
-Six? -Six. | 1:25:28 | 1:25:31 | |
Very good, signora. | 1:25:31 | 1:25:33 | |
May I ask what you intend to do with six double scotches? | 1:25:37 | 1:25:39 | |
-SNIFFLES -I intend to drink them. | 1:25:39 | 1:25:42 | |
May I suggest that you'll live to regret it? | 1:25:42 | 1:25:44 | |
You may. | 1:25:44 | 1:25:46 | |
-But why six? -I suspect a trick. | 1:25:48 | 1:25:51 | |
The Americans have thought of a scheme to outwit us of our tips. | 1:25:51 | 1:25:55 | |
I must figure this out. | 1:25:55 | 1:25:57 | |
-How can one save on six drinks? -Well... | 1:25:57 | 1:26:01 | |
That'll be all. | 1:26:16 | 1:26:18 | |
COUGHING | 1:26:25 | 1:26:27 | |
Shall I slap you on the back, or shall I call the waiter to do it? | 1:26:30 | 1:26:34 | |
Neither. | 1:26:34 | 1:26:36 | |
Shouldn't you be at your desk attending to my work? | 1:26:36 | 1:26:40 | |
You've given up. Why shouldn't I? | 1:26:40 | 1:26:43 | |
I had no idea you went in for this sort of thing. | 1:26:44 | 1:26:47 | |
I don't, as a rule. | 1:26:47 | 1:26:50 | |
To the Fountain of Trevi. | 1:26:50 | 1:26:52 | |
To the lovely, romantic Fountain of Trevi, where hope can be had for a penny. | 1:26:52 | 1:26:55 | |
-People are looking at you. -Well, high time. | 1:26:55 | 1:26:58 | |
-Do you really think you should? -I really think I should. | 1:26:58 | 1:27:02 | |
-Why? -Because... | 1:27:02 | 1:27:05 | |
..my life is ending. | 1:27:05 | 1:27:07 | |
Bambino. | 1:27:19 | 1:27:21 | |
Don't hug the shore with it. Be... Be reckless. | 1:27:21 | 1:27:24 | |
You've got your whole life ahead of you. | 1:27:24 | 1:27:27 | |
See what the world is like. | 1:27:27 | 1:27:29 | |
SPEAKING ITALIAN | 1:27:29 | 1:27:32 | |
Oh! All right. All right, all right. | 1:27:32 | 1:27:35 | |
Here, take it. | 1:27:40 | 1:27:42 | |
Take it home and play with it in the bathtub, my brave little adventurer. | 1:27:42 | 1:27:46 | |
-What do you want? -Really, Miss Frances. | 1:27:48 | 1:27:50 | |
Don't you think you're a bit too old to go wading in public? | 1:27:50 | 1:27:54 | |
I'm not too old. I'm not too old to do anything I want to do. | 1:27:54 | 1:27:58 | |
Allow me to assist you from that ludicrous and liquid posture. | 1:28:04 | 1:28:08 | |
Go away. Go away, please. | 1:28:08 | 1:28:11 | |
Give me your hand, then. | 1:28:13 | 1:28:15 | |
SHE SIGHS | 1:28:16 | 1:28:19 | |
This'll make you feel much better. | 1:28:30 | 1:28:33 | |
I want my mother. | 1:28:38 | 1:28:40 | |
You haven't got a mother. | 1:28:40 | 1:28:43 | |
I haven't got anybody. | 1:28:43 | 1:28:45 | |
-Nobody cares what happens to me. -SOBBING | 1:28:45 | 1:28:49 | |
Why didn't you let me drown? | 1:28:49 | 1:28:52 | |
A pity you didn't reveal your capacity for vice earlier. | 1:28:52 | 1:28:56 | |
The years would've seemed much shorter, and well-spent. | 1:28:56 | 1:29:00 | |
You needn't flatter me. | 1:29:00 | 1:29:03 | |
Miss Frances, please lie back. You're going to feel dreadful later on. | 1:29:03 | 1:29:06 | |
I feel dreadful now. | 1:29:06 | 1:29:09 | |
-I've gotta get up. -Why? | 1:29:09 | 1:29:11 | |
I've gotta help my friends. They love me very much. | 1:29:11 | 1:29:15 | |
-I know. -Oh, poor Georgio. | 1:29:15 | 1:29:18 | |
-Poor who? -Oh, don't pretend you don't know. | 1:29:18 | 1:29:21 | |
I've got to get to Mr Burgoyne and make him give Georgio his job back. | 1:29:21 | 1:29:25 | |
Anita loves Georgio, and Georgio loves Anita. | 1:29:25 | 1:29:28 | |
-Yes. -But you wouldn't understand. | 1:29:28 | 1:29:31 | |
You hate everybody! | 1:29:31 | 1:29:33 | |
Well, I should certainly hate to see you make a daily habit of this. | 1:29:33 | 1:29:35 | |
And I've got to talk to Dino. | 1:29:35 | 1:29:37 | |
I want Maria to have her prince. Every girl should have her prince. | 1:29:37 | 1:29:41 | |
At least one. | 1:29:41 | 1:29:44 | |
My dear Miss Frances, please try and get a little rest. | 1:29:44 | 1:29:47 | |
I'll do what I can later, but in the meantime it's important for you to sleep. | 1:29:47 | 1:29:51 | |
Sing to me. | 1:29:51 | 1:29:53 | |
The only song I know would hardly be appropriate - The Star-Spangled Banner. | 1:29:53 | 1:29:58 | |
You'd have to stand up, and... | 1:29:58 | 1:30:00 | |
Do you think you're going to be all right? | 1:30:05 | 1:30:08 | |
Miss Frances? | 1:30:10 | 1:30:12 | |
Sleep. | 1:30:23 | 1:30:25 | |
-SPEAKING ITALIAN -Signor Shadwell. | 1:30:52 | 1:30:55 | |
Show him in. | 1:30:55 | 1:30:57 | |
SPEAKS ITALIAN | 1:30:58 | 1:31:01 | |
-Well, John! -Hello, Dino. | 1:31:01 | 1:31:03 | |
I come bearing presents. You've always wanted these first editions of mine. | 1:31:03 | 1:31:07 | |
-I've decided to give them to you. -But I cannot accept. | 1:31:07 | 1:31:10 | |
-But you will. -Well, I'm overwhelmed, John. | 1:31:10 | 1:31:13 | |
-Why are you doing this? -Saves my packing them. | 1:31:13 | 1:31:16 | |
-I'm going away tomorrow. -Oh. Off to Capri again, huh? | 1:31:16 | 1:31:19 | |
America. I'm going home after 15 years...to be married. | 1:31:19 | 1:31:22 | |
Miss Frances? | 1:31:22 | 1:31:24 | |
How did you know? | 1:31:24 | 1:31:27 | |
For years all of Rome has known how Miss Frances felt. Should I be surprised? | 1:31:27 | 1:31:32 | |
You should be ashamed. You might have told me. | 1:31:32 | 1:31:35 | |
It is much better that you waited, my friend. | 1:31:35 | 1:31:39 | |
No man should marry until he is at least your age. | 1:31:39 | 1:31:42 | |
I shall accept that as a compliment. | 1:31:42 | 1:31:44 | |
-To your happiness. -Thank you. | 1:31:44 | 1:31:46 | |
Now, at my age, you see, we have no judgment. | 1:31:49 | 1:31:52 | |
-We feel too deeply. -I can understand how you feel. | 1:31:52 | 1:31:56 | |
After all, you've just had a narrow escape with that girl at the agency, haven't you? | 1:31:56 | 1:31:59 | |
-You know about this? -Oh, all of Rome has known. | 1:31:59 | 1:32:02 | |
She almost tricked you into marrying her, I understand. | 1:32:02 | 1:32:05 | |
Do you know what that girl did? | 1:32:05 | 1:32:08 | |
Kept a little black book on you, I believe. Listed all your likes and dislikes. | 1:32:08 | 1:32:11 | |
-Even to the piccolo! -Only a woman could sink that low. | 1:32:11 | 1:32:15 | |
HE SCOFFS The duplicity of this grasping girl! | 1:32:15 | 1:32:18 | |
Of course, we all grasp at happiness, but there are such things as rules. | 1:32:18 | 1:32:23 | |
Exactly! I knew you would understand. | 1:32:23 | 1:32:26 | |
And you're quite right in letting her go back to America without a word. | 1:32:26 | 1:32:30 | |
She deserves to be unhappy. | 1:32:30 | 1:32:32 | |
She's going back to America? | 1:32:32 | 1:32:34 | |
Oh, she knows she did wrong, so let her suffer for it. | 1:32:34 | 1:32:38 | |
You're well out of it, my boy. You've acted like a man. | 1:32:38 | 1:32:42 | |
She deceived me. She... She lied to me. | 1:32:43 | 1:32:46 | |
Why can't women play the game properly? | 1:32:46 | 1:32:49 | |
Everyone knows that in love affairs only the man has the right to lie. | 1:32:49 | 1:32:53 | |
-Naturally. -She was very stupid to confess she lied. | 1:32:53 | 1:32:56 | |
She didn't have to. Very stupid. | 1:32:56 | 1:33:00 | |
See, to...to disillusion me so... | 1:33:00 | 1:33:03 | |
These girls in love never realise they should be honestly dishonest | 1:33:03 | 1:33:06 | |
instead of being dishonestly honest. | 1:33:06 | 1:33:09 | |
-Do you know what I mean? -Hmm? Oh, certainly. | 1:33:09 | 1:33:12 | |
So don't let anyone convince you | 1:33:14 | 1:33:16 | |
that you should be flattered she went to such lengths to capture your interest. | 1:33:16 | 1:33:20 | |
Don't worry. I won't. | 1:33:20 | 1:33:22 | |
Of course, I would be highly flattered. | 1:33:22 | 1:33:25 | |
But then, I'm an older man. | 1:33:25 | 1:33:27 | |
-Not much. -Thank you. | 1:33:27 | 1:33:30 | |
Well, I'm glad that I leave you in this happy frame of mind. | 1:33:30 | 1:33:34 | |
You know what you want, Dino. Take care of yourself. | 1:33:34 | 1:33:37 | |
She'll be out of your life tomorrow, and you'll never be bothered by her again. | 1:33:37 | 1:33:41 | |
-Home, Signor Shadwell? -Not yet. | 1:33:59 | 1:34:01 | |
-To the Burgoyne villa, and hurry. -Si, signor. | 1:34:01 | 1:34:04 | |
-I guess that's everything. -Mm-hmm. | 1:34:19 | 1:34:22 | |
Well, goodbye, beautiful apartment. | 1:34:22 | 1:34:25 | |
Goodbye, romantic Rome. | 1:34:25 | 1:34:28 | |
Goodbye. | 1:34:28 | 1:34:30 | |
PHONE RINGING | 1:34:33 | 1:34:36 | |
Hello? | 1:34:41 | 1:34:43 | |
Oh, hello. | 1:34:43 | 1:34:45 | |
Where? | 1:34:45 | 1:34:47 | |
Oh, all right, dear. | 1:34:49 | 1:34:51 | |
Uh-huh. We were just leaving. | 1:34:51 | 1:34:53 | |
Bye. | 1:34:53 | 1:34:55 | |
That was Frances. She wants us to meet her at the Fountain of Trevi. | 1:34:55 | 1:35:01 | |
SPEAKS ITALIAN RESPONDS IN ITALIAN | 1:35:13 | 1:35:16 | |
Why do you suppose Frances wanted to meet us here? | 1:35:24 | 1:35:27 | |
Maybe she decided to go back with us after all. | 1:35:27 | 1:35:29 | |
Well, she'd better hurry up. Our train leaves in half an hour. | 1:35:29 | 1:35:33 | |
Why, it's empty. | 1:35:33 | 1:35:36 | |
WORKMAN SPEAKING ITALIAN | 1:35:36 | 1:35:39 | |
Signor, per che niente acqua? | 1:35:40 | 1:35:44 | |
-WORKMAN: Lo puliscano. -Oh. | 1:35:44 | 1:35:46 | |
-Why isn't there any water? -He says they're cleaning the pool. | 1:35:46 | 1:35:51 | |
Clean out the old dreams. Make way for the new ones. | 1:35:51 | 1:35:55 | |
That fountain is a fraud. | 1:35:55 | 1:35:58 | |
When I tossed my coin in, I wished I could stay for a year in Rome. | 1:35:58 | 1:36:02 | |
And here I am, leaving after a month. | 1:36:02 | 1:36:05 | |
Well, I'm afraid there's no refund. | 1:36:05 | 1:36:08 | |
We can't wait around here much longer. We're going to miss our train. | 1:36:08 | 1:36:11 | |
Oh, here she is. Well, what happened to you? We've been waiting hours. | 1:36:13 | 1:36:16 | |
I only phoned an hour ago. | 1:36:16 | 1:36:19 | |
You're mighty mysterious. What's this all about? | 1:36:19 | 1:36:22 | |
It's a surprise. | 1:36:22 | 1:36:24 | |
Look! The fountain's coming to life again. | 1:36:28 | 1:36:32 | |
# Three coins in the fountain... # | 1:36:37 | 1:36:42 | |
Maria. | 1:36:43 | 1:36:46 | |
Georgio! | 1:37:11 | 1:37:13 | |
# One heart will wear a valentine | 1:37:14 | 1:37:21 | |
# Make it mine! | 1:37:21 | 1:37:23 | |
# Make it mine! | 1:37:23 | 1:37:26 | |
# Make it mine! # | 1:37:26 | 1:37:31 |