One Night with You (1948)
1h 32min | Comedy, Musical | 24 June 1948 (USA)
Two strangers meet when they both miss their trains, and end up spending a penniless day and night together.
Director: Terence Young
Writers: Carlo Ludovico Bragaglia (play), Caryl Brahms (adaptation) (as C. Brahms)
Stars: Nino Martini, Patricia Roc, Bonar Colleano
1h 32min | Comedy, Musical | 24 June 1948 (USA)
Two strangers meet when they both miss their trains, and end up spending a penniless day and night together.
Director: Terence Young
Writers: Carlo Ludovico Bragaglia (play), Caryl Brahms (adaptation) (as C. Brahms)
Stars: Nino Martini, Patricia Roc, Bonar Colleano
Category
🎥
Short filmTranscript
00:00:00♪
00:00:07♪ Mi bata il cor
00:00:15♪ Spettacolo divino
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00:02:15To me, to me, you belong to me.
00:02:25Oh, new world, you belong to me.
00:02:28You belong to me, to me.
00:02:32To me, to me.
00:02:43Listen to the voice, listen to the voice, huh?
00:02:46We'll be here on Monday.
00:02:48We start testing next week, shoot in one month,
00:02:50and show in all the cinemas in four months.
00:02:52I can see it now, Ludovico Fogliatti presents another
00:02:55Ludovico Fogliatti super production with, uh, with, uh...
00:03:00Ludovico Fogliatti.
00:03:01They'll get used to the name if you give them time.
00:03:03I'm Victor, you got the name over there.
00:03:05Give me the name.
00:03:06What is it?
00:03:07His name is...
00:03:08Julia Morris.
00:03:09Julia Morris.
00:03:10Very good name for the films.
00:03:12Julia Morris.
00:03:13A very easy name to change, too.
00:03:15But just think of it, huh?
00:03:16That golden voice.
00:03:18But for Ludovico Fogliatti, it would never have been
00:03:21discovered for a script.
00:03:22What a terrible thought.
00:03:23Yes, yes.
00:03:24Unfortunately, I had one of these hunches,
00:03:27and one of those instincts that make a producer.
00:03:30Mm, I hope all producers don't have your instincts.
00:03:33Now, all I need now is a little story,
00:03:35a beautiful story.
00:03:36Now, it shouldn't be difficult.
00:03:38A song at the beginning, a song in the middle,
00:03:39a song at the end.
00:03:40You will not fail me.
00:03:41Have a cigar.
00:03:42I thought this story conference was for my next film.
00:03:44But this will be your next film.
00:03:46Now, my friends, tell me your ideas.
00:03:54Ideas?
00:03:55All I want is one little, beautiful idea.
00:03:58I can give you plenty of beautiful ideas myself,
00:04:00if I had the time.
00:04:05Yes, your idea?
00:04:07I just coughed.
00:04:08Ah.
00:04:12This is rather like the idea they had for my film.
00:04:16A story about Egypt, perhaps.
00:04:18Egypt?
00:04:19Yes, yes.
00:04:20You could make a picture like Cézanne Cleopatra,
00:04:23but on a large scale, of course.
00:04:24Go on.
00:04:25An Egyptian princess in love with the young soldier
00:04:28who's just returned from victory in battle.
00:04:30Yes, go on.
00:04:31The Egyptian priests do not like the love affair.
00:04:34No, they don't like it.
00:04:35They sing a soldier's chorus in the opening.
00:04:37The soldiers, I mean.
00:04:38We must find a title at once.
00:04:42Yes, we must find a title at once.
00:04:45We might call it Aida.
00:04:46But that would be plagiarism.
00:04:47Go on, go on.
00:04:48There could be difficulties for the young lovers.
00:04:50At once.
00:04:51Yes, bastard, I bet.
00:04:52And plenty of opportunities for singing.
00:04:55Of course.
00:04:56But of course.
00:04:57Yes, tremendous, tremendous.
00:04:59A song in the beginning, a song in the middle,
00:05:01and a song in the middle.
00:05:02And a song in the middle.
00:05:03And a song in the middle.
00:05:04And a song in the middle.
00:05:05And a song in the middle.
00:05:06And a song in the middle.
00:05:07And a song in the middle.
00:05:08And a song in the end.
00:05:09Yes, yes.
00:05:10You like it?
00:05:11No.
00:05:12What about a wandering troubadour?
00:05:14What about him?
00:05:15Well, don't you see?
00:05:16He could wander and he could sing.
00:05:18Could look all right on the posters.
00:05:20Julia Morris, new sensation in tenors.
00:05:22Wandering and singing.
00:05:24And why shouldn't a tenor sing?
00:05:26I still think my first idea's a good one.
00:05:28We could make him a villainous chief of police
00:05:30who tricks the singer.
00:05:32Or why not shoot Tosca and be done with it?
00:05:34You could shoot the tenor, save a lot of time.
00:05:38Listen, Fogliatti, I want a word with you.
00:05:41But I tell you there's a wonderful part for you, isn't there?
00:05:45Is there?
00:05:48Is there?
00:05:49But there will be, my darling, I promise you.
00:05:52Now, when have I ever broken a promise?
00:05:54But there is no need to go into that now.
00:05:56But don't you worry, leave it to me.
00:05:58The last time I left it to you, your name was billed bigger than mine.
00:06:04Come, come, come, come.
00:06:06I'm sure you will be mad about this part.
00:06:08Mad is probably right.
00:06:10No, I warn you, you better find someone else.
00:06:14I could use Lucia Dalmonte.
00:06:17I've heard she's free.
00:06:19That's not all I've heard about her, believe me.
00:06:22You can certainly pull them in.
00:06:24Perhaps.
00:06:25She uses force.
00:06:27No, it'll depend on my part on the finished script.
00:06:30We're just discussing it now, it will be wonderful.
00:06:33Come.
00:06:36Now.
00:06:37What is the subject of our film?
00:06:39I've got a wonderful idea.
00:06:42Well, an idea.
00:06:44Well, that's pretty good, considering there are three of you.
00:06:47Well, what is it? Come on, let me have it. Come on, tell me, I'll pay you after all.
00:06:49Tell me this, what is it?
00:06:51It's a wonderful idea about a troubadour.
00:06:53You see, he can wander and he can sing.
00:06:55Yes, yes, yes.
00:06:56Wander.
00:06:57Where's he going?
00:06:58There are possibilities.
00:07:00There are great companies of knights in shining armour.
00:07:03Medieval castles and battles, all in technicolour, of course.
00:07:06Stop, stop, stop.
00:07:07No, what I want is a simple, beautiful, cheap idea for a teller.
00:07:13Could let him have laryngitis, it'd be simpler.
00:07:15Cheaper, of course.
00:07:17I got it.
00:07:18He'd fall in love.
00:07:19Dear, tell me he's got everything for women, you know.
00:07:23Listen, Furiati.
00:07:25I've known you for a long time.
00:07:27Although it may seem longer, still it was a long time.
00:07:30But no teller's going to fall in love with me.
00:07:32See?
00:07:33But he must fall in love.
00:07:34Do you know what happens to a girl when a singer falls in love with her?
00:07:37He sings at her and sings at her and sings at her.
00:07:39And all she's got to do is sit there as if she liked it.
00:07:41Now, think up a beautiful story, all of you, while I go home.
00:07:44But don't overtax your strength.
00:07:46Come, come, darling.
00:07:47Don't be unreasonable.
00:07:49We'll find you a beautiful story.
00:07:51It's only a question of time.
00:07:52Just leave it to them, my talents.
00:07:55Well, that's one word for them.
00:07:57Well, at least they are fast workers.
00:07:58I promise you we'll have a script ready by Monday, and you'll be ready.
00:08:01What was the quickest time you ever shot a picture?
00:08:04Two weeks.
00:08:05Two weeks.
00:08:06But we never showed it.
00:08:07The script will be ready for you by Monday.
00:08:11We don't even know what he's like.
00:08:13Is he young?
00:08:14Is he old?
00:08:15Has he got teeth?
00:08:16Well, that, my dear, we shall soon find out.
00:08:18But in the meantime, we concentrate on the voice.
00:08:22Well, concentrate, anyway.
00:08:23Think of it.
00:08:24We've got Julia Morris.
00:08:25Yeah.
00:08:26And Leonardo, of course.
00:08:28Of course.
00:08:29The most wonderful cameraman in the whole of Italy.
00:08:32The finest directors.
00:08:34Yes, we have.
00:08:36And, my friend, the greatest director.
00:08:40Nothing could be more perfect.
00:08:43We must not despair.
00:08:45And then we've got Ludovico Faleati.
00:08:51No, we must not despair.
00:08:53It was a great achievement to secure the most wonderful voice in the whole of Italy.
00:08:57But Ludovico Faleati is always one move ahead of his competitors.
00:09:02Ahead of what?
00:09:04His competitors.
00:09:05Oh, I thought you said creditors.
00:09:07Yeah.
00:09:08Goodbye.
00:09:23Goodbye.
00:09:24Goodbye.
00:09:54Now, you go ahead and meet him on the train.
00:10:12Hey.
00:10:13If you'll miss him, we'll pick him up here.
00:10:14But I don't know what he looks like.
00:10:15He'll be the finest voice in Italy.
00:10:16Do you know what he looks like?
00:10:17Now, go on.
00:10:18Hurry up or we'll miss him.
00:10:19I don't know what he looks like.
00:10:20Ah.
00:10:21Don't know what he looks like, huh?
00:10:23By the way, how shall we know him?
00:10:25Now, do please stop worrying, my friend. You can always tell Athena.
00:10:28They got something. They got...
00:10:30They got something!
00:10:31No. Come on.
00:10:43Here he comes. Saw his initials on the back.
00:10:45You'll never forget me.
00:10:47Senor Munch, my name is...
00:10:49Oh, I'm...
00:10:52Senor Morris.
00:10:54I'm going to wake up when I ask you. I'm very pleased to meet you.
00:10:56My friend, Benjamina Pirelli.
00:10:58He's also very pleased to meet you.
00:11:03Let me help you.
00:11:06No, no, let him take it. You've been carrying it long enough.
00:11:09Let him take it.
00:11:11Now, I suppose you would like to get out of here without any fuss, no?
00:11:14Because if they find out who you are, you might get mobbed.
00:11:16Now, you go ahead with my chauffeur.
00:11:19We follow straight behind.
00:11:34Sorry.
00:11:35No, I don't think we can do it today. It's too late.
00:11:38Pirelli, we shoot him tomorrow.
00:11:40My assistant will stay with you all the time to look after you.
00:11:43Believe me, this is going to be the greatest thing that ever happened to you.
00:11:47There will be a tremendous publicity campaign.
00:11:49Of course.
00:11:51Your voice, my production.
00:11:53And don't forget, at my direction.
00:11:56And believe me, the story is tremendous, stupendous, and original.
00:12:01Never missed yet at the box office.
00:12:03But of course, I won't tell you the whole story now.
00:12:05But what a film it will make.
00:12:07Ah, have they found you a woman?
00:12:09A gorgeous creature.
00:12:11Lina Linari.
00:12:13You know her? No? Now, you wait till you see her.
00:12:16I'm trying to decide whether you ought to marry her or not.
00:12:20No, no, no, I think he must marry her.
00:12:22Yes, yes, you marry her. That's right, marry her.
00:12:25Happy husband and wife is always good for the box office.
00:12:27Of course, she can always be unfaithful to you afterwards.
00:12:35For women?
00:12:46Good morning, my children, good morning.
00:12:48Now, we got a story yet?
00:12:52No story?
00:12:54No story, huh?
00:12:56Julia Morris in the studio this morning and we got a no story.
00:12:59Good thing I can keep time.
00:13:02Can't you give us a bit more time?
00:13:04Time, listen, he's asking me for time.
00:13:06Julia Morris in the studio making the make-up test, huh?
00:13:09We don't even know what kind of a person she is.
00:13:12Now what?
00:13:14We could make it a Jekyll and Hyde story.
00:13:16Jekyll and Hyde? None of the make-up tests would be wasted.
00:13:19Jekyll and Hyde? Did Jekyll and Hyde have a golden voice?
00:13:22Find me something, do something.
00:13:24Find me a story for my golden voice.
00:13:27And until you've found a story for me, you're going to stay here.
00:13:30None of you is going to leave the room.
00:13:32I'll lock you in.
00:13:34I'll lock you in.
00:14:04I'll lock you in.
00:14:34I'll lock you in.
00:15:01He's very good.
00:15:03He's very good.
00:15:06Yes.
00:15:12I got the studio. I got the actor. I got the orchestra.
00:15:15All waiting and you bring me this.
00:15:17I...
00:15:19My friends, please.
00:15:21I depend on you. What do you do to me?
00:15:24I did have an idea.
00:15:26Yes?
00:15:27But it didn't work.
00:15:30Well, we have finished make-up.
00:15:32He's trying out costumes now.
00:15:34What do we do after that?
00:15:35We have to do something. Make camera tests.
00:15:37But he's practically passing out. He's so exhausted.
00:15:41Has he complained?
00:15:42No, not a word.
00:15:43For a singer, it is quite uncanny.
00:15:45He's saving his golden voice.
00:15:49My friend, I got faith in you.
00:15:51I depend on you, remember.
00:15:54I know, I know.
00:15:55Sometimes I may speak harshly.
00:15:57I might even shout.
00:15:59But at the end, I depend on you, my friend.
00:16:01My good friend, to bring a beautiful story for a picture.
00:16:04Please, no.
00:16:06I'm tired of that.
00:16:08Go back to your office and work.
00:16:09Work?
00:16:13Pirelli.
00:16:15Benjamino Pirelli.
00:16:17You're the last man I can trust.
00:16:19Now go down to the set and shoot.
00:16:21Shoot anything but with Julia Morris.
00:16:24May not be necessary.
00:16:25Why not?
00:16:26He may have dropped dead in the meantime.
00:16:31THE END
00:17:01© BF-WATCH TV 2021
00:17:31Shoot.
00:17:53Get him.
00:17:57Then, when you're through, you turn to your right.
00:17:59Okay.
00:18:00This is your right.
00:18:02Then, as we told you, you can take full things to this mark.
00:18:06All right?
00:18:07Don't be worried about all these people.
00:18:09Imagine they're not there.
00:18:10Let's try a take.
00:18:11Ready, maestro?
00:18:13Quiet!
00:18:16Quiet!
00:18:17Quiet!
00:18:19Everybody out!
00:18:21Out!
00:18:22Okay.
00:18:23Music.
00:18:24Out!
00:18:26Turn over.
00:18:30Take one, take two.
00:18:49No, no, no.
00:18:50Cut, cut, cut.
00:18:51Oh, my dear Julia, where have you been?
00:18:53You must not be nervous.
00:18:54Then let's try a take.
00:18:56Ready, maestro?
00:18:57Quiet!
00:18:58Quiet!
00:19:00Quiet!
00:19:24Gone, gone, gone.
00:19:28Quiet!
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00:21:17Cigarette?
00:21:18Thanks.
00:21:19Light?
00:21:25I feel much better now.
00:21:30My friend, what am I to say to you?
00:21:32An imposter in our studios, huh? Making fools of all of us?
00:21:35Well, nearly all of us.
00:21:37I wonder who he can be leaving out.
00:21:39Don't be too hard on the man, Fogliatti.
00:21:41You know your imposter provided me with a very charming adventure.
00:21:45Yes?
00:21:46Charming.
00:21:47By the way, have you chosen a subject yet?
00:21:50Well, it's not in its final form yet.
00:21:54I have plenty of ideas, of course. Magnificent ideas.
00:21:57Matter of fact, we are teeming with ideas.
00:22:00But it's a...
00:22:01But you haven't a story to put them in, is that it?
00:22:05Yes.
00:22:06I wonder in that case if my adventure...
00:22:08No, no, please. Don't give it a thought.
00:22:10Please do not give it a thought.
00:22:12Ah, no, a case for an amateur.
00:22:14After all, we were the best scriptwriters in the whole of Italy.
00:22:18I'll fire the lot.
00:22:19But don't worry.
00:22:21Please.
00:22:22Please.
00:22:23We'll find you a story, a beautiful story, a film story.
00:22:26Not something that really happened.
00:22:28But it was charming.
00:22:29Charming.
00:22:30Let me tell you.
00:22:31But the writers union...
00:22:32Let him talk, let him talk. It eases the heart.
00:22:35You shall tell us your story.
00:22:38And then we send out for some more writers.
00:22:40All right.
00:22:41Proceed.
00:22:42It happened on the way here.
00:22:44On the train.
00:22:45There was a young man in my compartment.
00:22:47A very excitable young man.
00:22:49Who would keep speed.
00:22:50Excuse me, please.
00:22:51Could you tell me the time?
00:22:53What, again?
00:22:57It's quarter past seven.
00:22:59That's right.
00:23:00Oh, it's a catastrophe.
00:23:01Catastrophe.
00:23:02Ah, but that is the summer time double up, huh?
00:23:05That doesn't make any difference.
00:23:09Excuse me, please.
00:23:10Could you tell me the time again?
00:23:16Fifteen and a half minutes past seven.
00:23:19Correct.
00:23:20And nothing, nothing to be done about it.
00:23:22Tickets, please.
00:23:27Excuse me, please.
00:23:28Could you tell me what time do we get to Camporiana?
00:23:30Six forty five, senor.
00:23:31Twenty past seven.
00:23:32Do you think the other train will wait?
00:23:33What other train?
00:23:34The train I am meeting at Camporiana.
00:23:35The train she is on.
00:23:36Oh.
00:23:37Oh.
00:23:38Maybe her train will be late too.
00:23:40You think so?
00:23:41Oh, thank you, thank you.
00:23:42You see?
00:23:43Yes, it is a possibility.
00:23:44It is more than a possibility.
00:23:45Our trains are always late.
00:23:47Then bless them, senor.
00:23:48Bless them.
00:23:49But supposing, supposing just for once the train is on time.
00:23:52She will look for me, she will not find me.
00:23:54What will she do?
00:23:55She get out and wait for you.
00:23:56But she cannot get out.
00:23:57She is chained.
00:23:58Chained mentally to that train.
00:24:00Ah, if only you knew what I was suffering.
00:24:03Life is like that, my fellow.
00:24:05Here.
00:24:06Read.
00:24:07Read this.
00:24:11Listen.
00:24:12I preach you to meet me at Camporiana tomorrow evening.
00:24:14Most important.
00:24:15Do not fail me.
00:24:16Please meet me.
00:24:17Very, very important.
00:24:18Mary.
00:24:19I call her Marie.
00:24:21My little English horse.
00:24:23Excuse me, please.
00:24:24Have you got the time?
00:24:28Excuse me.
00:24:29Porter.
00:24:30The other train is very late, isn't it?
00:24:32Only technically, senorina.
00:24:33The timetable says it is due at 6.45.
00:24:35The timetable?
00:24:36Oh, you do not want to take that seriously.
00:24:38We will wait for it, won't we?
00:24:40Who can tell?
00:24:41One must be a fatalist about such things, senorina.
00:24:47Oh, why did I ever buy you that dog?
00:24:50Bad boy.
00:24:51Mummy's angel.
00:24:52Come and sit here.
00:24:53Where are we?
00:24:54Camporiana.
00:24:56Oh, another hour to go.
00:24:59Just time to go over my speech of welcome to the English folk dancers abroad.
00:25:03It's very tricky.
00:25:05At least they're English.
00:25:06English folk dancers are invariably more folk than English.
00:25:09That's why.
00:25:11I think there's a train coming.
00:25:13You'll find I'm able to restrain my enthusiasm.
00:25:21Friend, she has not yet departed.
00:25:23She's still here.
00:25:26Goodbye, my friend, and thank you for your civility.
00:25:28Goodbye.
00:25:32Maria!
00:25:33Piero!
00:25:38Maria!
00:25:39Piero!
00:25:40Maria!
00:25:41Piero!
00:25:42Maria!
00:25:43Piero!
00:25:44Maria!
00:25:45Piero!
00:25:46Maria!
00:25:47Mary!
00:25:48Maria!
00:25:50People, people, where?
00:25:51Sorry.
00:25:52Come with me.
00:25:53Right.
00:25:54And now, my darling, tell me.
00:25:55What has happened?
00:25:56Whatever it is, we will face it together.
00:25:57I can't tell you, Piero.
00:25:59Someone has been unkind to you.
00:26:00I will kill him.
00:26:01Who is it?
00:26:02Come, my darling.
00:26:03Sit down.
00:26:04Calm yourself.
00:26:05You must be cool, calm, and neglected.
00:26:07And now tell Piero all about it.
00:26:09Remember that though I am the man who loves you,
00:26:11I am also your friend.
00:26:13Piero, I'm going to be married.
00:26:15But of course you are.
00:26:16To who?
00:26:17Matthew Cox, his father's daddy's oldest friend.
00:26:20This was all decided a long time ago.
00:26:22I thought they would have forgotten it by now.
00:26:24You do understand, don't you?
00:26:25Understand that you do not love me.
00:26:26Oh, no, Piero, no, it's not that.
00:26:28It's just that daddy, Matthew's father,
00:26:29always thought it was a good idea,
00:26:30and I hadn't got the courage to tell him about you.
00:26:32And why not?
00:26:33I didn't think daddy would think you were a good idea.
00:26:35So here I am on my way to meet Matty.
00:26:37Oh, you'll like Matty.
00:26:38He's like an Englishman.
00:26:39So I will like him, will I?
00:26:41Piero, what are we going to do?
00:26:43Kill ourselves.
00:26:44No.
00:26:45No, that is not a good idea.
00:26:46That comes later.
00:26:47First, where is your father?
00:26:48No, Piero, not that.
00:26:49Do not worry.
00:26:50I do not hurt him.
00:26:51All I want to do is speak to him.
00:26:52Calmly, reasonably, man to man.
00:26:53And now tell me, where is he?
00:26:54Which is he?
00:26:55What does he look like?
00:26:56Piero, darling.
00:26:57Oh, do be careful what you say to daddy.
00:26:58People don't talk to daddy.
00:26:59They just listen to him.
00:27:00He may get mad at you.
00:27:01Will he?
00:27:02If he takes a dislike to you, he may never get over it.
00:27:04Do not worry.
00:27:05I know how to handle English diplomats.
00:27:06All you have to do is talk about the cricket and the baseball.
00:27:09Yes, darling, but wait for me to introduce you first.
00:27:11Oh, quick, darling.
00:27:12Catch a train.
00:27:13I'll follow you.
00:27:14Goodbye, my darling.
00:27:15Goodbye, until the train.
00:27:16Goodbye.
00:27:17Other train.
00:27:23Oh, here we come.
00:27:24Oh, Floppy.
00:27:25Oh, please, do something.
00:27:26Somebody, please.
00:27:27Oh, Floppy.
00:27:28Floppy, darling, you all right?
00:27:30Oh, Floppy.
00:27:35Savage mongrel.
00:27:36Oh, that was the bravest thing I ever saw.
00:27:38Not at all, signorina.
00:27:39Nice dog.
00:27:40Yes, isn't he?
00:27:41He's wonderful.
00:27:42Now, Floppy, you really must be careful.
00:27:43You mustn't do things like that.
00:27:44I don't know how I shall ever...
00:27:45Oh, my train.
00:27:46My train.
00:27:47Oh, Floppy.
00:27:48Floppy.
00:27:49Oh, my train.
00:27:50Floppy.
00:27:51Oh, stop it.
00:27:52My train.
00:27:53Stop.
00:27:54Stop.
00:27:55Too bad.
00:27:58What shall I do?
00:27:59Well, take the next train.
00:28:00You mustn't get upset about a little thing like that.
00:28:02Little thing?
00:28:03The man I love is on that train.
00:28:04But, signorina, he won't stop loving you before the next station.
00:28:07I promise you that.
00:28:08This is no laughing matter.
00:28:09Do I look as if I am laughing?
00:28:11Come to think of it, no.
00:28:13It's probably your normal expression.
00:28:18I'm sorry.
00:28:19Hey, stop the train.
00:28:20Stop the train.
00:28:21Hey.
00:28:22Go on with my train.
00:28:24Come on.
00:28:25You fool.
00:28:29Why take the next train?
00:28:32You mustn't get upset about a little thing like that.
00:28:34My papers, my money, they are in my jacket.
00:28:36And my jacket is on the train.
00:28:38The man I love is on that train.
00:28:39Who cares about the man you love?
00:28:41And who cares about your horrible money?
00:28:44Fancy thinking of money at a time like this.
00:28:47If it hadn't been for the spoiled rat of yours, we would not be in this mess.
00:28:51And who asked you to interfere?
00:28:53He was winning anyway, weren't you, darling?
00:28:55Nonsense.
00:28:56He was getting eaten up.
00:28:57That's a lie.
00:28:59Tell me, is that a dog or is that you?
00:29:08Excuse me, please, inspector.
00:29:10Have you seen a young lady with a Pekingese?
00:29:13Red, gold hair, she has.
00:29:15The lady, of course.
00:29:16A young lady with a Pekingese?
00:29:18About medium height, yes.
00:29:19Pretty?
00:29:20Yes.
00:29:21In a beautiful summer frock?
00:29:22Yes.
00:29:23No, but I wish I had.
00:29:24Ticket, please.
00:29:25Here am I, my shirt sleeve without a cent.
00:29:27And running the risk of losing my luggage.
00:29:29Here I am with a passport and running the risk of losing my father.
00:29:32It's very rare for a father to get stolen.
00:29:35By the way, have you any money?
00:29:37If I had, I wouldn't give it to you.
00:29:39But have you?
00:29:40No.
00:29:41Well, this is where we start.
00:29:43And I have the most important engagement too.
00:29:45So had I.
00:29:46Confound him.
00:29:47If he hadn't been for that young Romeo of yours.
00:29:50Piero.
00:29:51Confound him anyway.
00:29:53Don't sit there cursing, do something.
00:29:55You're a man.
00:29:56There must be something you can do without spoiling the fun of a little dog that's having a romp.
00:30:00Little beast?
00:30:03Go and talk to the station master.
00:30:05Will he listen to me?
00:30:06He'll listen to you.
00:30:08I'll come with you.
00:30:10He will listen.
00:30:13Senor.
00:30:15Excuse me, please.
00:30:16Have you seen a young lady with a Pekingese?
00:30:18Yes, in there.
00:30:19A million thanks, my friend.
00:30:20A million thanks.
00:30:27Maria.
00:30:29Oh.
00:30:30I'll tell you.
00:30:33I beg your pardon, senora.
00:30:35Both of you.
00:30:36Now, you were on the Milan Express.
00:30:38I was on the train to Rome.
00:30:40I was on the Milan Express.
00:30:42Ah, where you lost your father.
00:30:44My father.
00:30:47Excuse me.
00:30:48Hello? Hello? No.
00:30:51Hello? Hello? No.
00:30:56Hello?
00:30:58Oh.
00:31:00Excuse me, please.
00:31:03Hello? Hello? Yes.
00:31:06Hello.
00:31:07Yes.
00:31:08Yes, I'll be home the same time.
00:31:09No, we don't have to get up early in the morning.
00:31:15Yes. Yes.
00:31:16Sue. Sue.
00:31:24My wife.
00:31:25I should hope so.
00:31:28Now, senorina.
00:31:29To recapitulate.
00:31:31You...
00:31:34To recapitulate.
00:31:36You left your coat with your contract and money with your father.
00:31:39My coat with the contract and money.
00:31:42Ah, with your father.
00:31:44My father.
00:31:48Oh, wait a minute.
00:31:49Yes, of course, I see it.
00:31:50You left your coat and money and contract with her father.
00:31:53I've never seen her father.
00:31:56Well, why did you leave your coat and contract?
00:31:58Please, senor, be reasonable.
00:32:00Let's not waste any more time.
00:32:02When is the next train for Milan and Rome?
00:32:05Let's see.
00:32:067.50 and...
00:32:088.10.
00:32:09It's past eight already.
00:32:10Thank heaven, the trains are always late.
00:32:12Come on.
00:32:13Wait a minute.
00:32:14Those trains are tomorrow morning.
00:32:15There are no more trains tonight.
00:32:16No more trains tonight?
00:32:17No.
00:32:18Heavens, what a railway.
00:32:19But you have no money in any case, so you couldn't buy a ticket.
00:32:22No luggage.
00:32:23No papers.
00:32:24No clothes.
00:32:25No father.
00:32:28All right, then.
00:32:29I will take the risk.
00:32:30I will send...
00:32:31I will send a telegram about your luggage, senorina,
00:32:33and another one to your father.
00:32:36My luggage.
00:32:38My father.
00:32:46Now, let's all be very calm.
00:32:48Now...
00:32:49Shut up!
00:32:52And you too!
00:32:54No, not you.
00:32:57Let's all be very calm.
00:33:13Where are we now, my dear?
00:33:15Where are we now, my dear?
00:33:18Mary.
00:33:21Mar...
00:33:23Mary!
00:33:24Mary!
00:33:26Oh, excuse me, sir.
00:33:27But have you by any chance seen a young lady with a peak?
00:33:30With red, bald hair.
00:33:31Yes, I suppose that's how you'd call it.
00:33:33Reddish, anyway.
00:33:34We used to call it Auburn in my young age.
00:33:36Tell me, how do you know her?
00:33:37Know her?
00:33:38I happen to be her father.
00:33:39Oh, that's terrible.
00:33:40Not at all.
00:33:41I like it.
00:33:42No, no, no, no, no.
00:33:43Terrible because you have lost her.
00:33:44You haven't lost her.
00:33:45She's somewhere on the train.
00:33:46Mary.
00:33:47But she's not on the train.
00:33:48I have been all through the train.
00:33:49All through the train?
00:33:50Who are you, sir?
00:33:51I have been in every compartment.
00:33:52I have been outside every...
00:33:54Not a sign.
00:33:55Outside every...
00:33:56Who are you, sir?
00:33:57Never mind who I am.
00:33:58We are wasting time.
00:33:59Come.
00:34:00We will look again.
00:34:01Yes.
00:34:02Excuse me.
00:34:04There's been one here for a child, you know, because you haven't...
00:34:07Excuse me.
00:34:08Ah, you're the gentleman looking for the young lady with the little dog.
00:34:11I am?
00:34:12Where is she?
00:34:13She got left behind at Camp Arena.
00:34:15Left behind?
00:34:16That's terrible.
00:34:17What's that?
00:34:18What's that?
00:34:19The rear guard saw the lady running after us.
00:34:20Very funny.
00:34:21The rear guard said?
00:34:22The lady and the little dog.
00:34:23I don't know why I ever bought the girl that dog.
00:34:25Dog.
00:34:26Cursed dog.
00:34:27That's what I said.
00:34:28Who are you, sir, to curse my daughter's dog?
00:34:30Never mind who I am, but what do you mean by allowing your daughter to go gallivanting
00:34:33about on platforms?
00:34:34Tell me.
00:34:35How did this happen?
00:34:36Well, senor...
00:34:37Come here, inspector.
00:34:38Now, you may find it difficult, but kindly ignore that young man.
00:34:40Now, tell me.
00:34:41The lady didn't get on in time.
00:34:42That's how it happened.
00:34:43Why, we must not betray.
00:34:44No, no, no, senor.
00:34:45You can't do that.
00:34:46Not without a good reason.
00:34:47Reason?
00:34:48A young girl left behind alone and at night, and he wants a reason.
00:34:51But why are you so concerned, sir?
00:34:53You're not her father?
00:34:54Why are you not concerned, sir?
00:34:55You are her father.
00:34:56Now, listen, young man.
00:34:57Gentlemen, gentlemen.
00:34:58Excuse me, sir.
00:34:59Excuse me, sir.
00:35:00There you stand, as calm as a cucumber, feeling nothing, seeing nothing.
00:35:03Does it not worry you to think of your daughter left all alone?
00:35:06It would worry me much more if I thought she wasn't all alone.
00:35:08You ought to be ashamed of yourself.
00:35:09Gentlemen, gentlemen.
00:35:10This is no place...
00:35:11Silence, you!
00:35:12Have you no heart?
00:35:13Do you not realize that this poor, helpless old man has lost his daughter?
00:35:17I agree.
00:35:18I'll measure that.
00:35:19Make sure...
00:35:42Goodbye.
00:35:44You've been very kind.
00:35:45Oh, delighted.
00:35:47Good night.
00:35:48Not at all.
00:35:49If only you had explained sooner, it could have been done earlier.
00:35:51Now everybody's happy.
00:35:52And now, I'll be going.
00:35:53Goodbye.
00:35:54Goodbye.
00:35:55Goodbye.
00:35:56Goodbye.
00:35:57Goodbye.
00:35:58Goodbye.
00:35:59Goodbye.
00:36:00Goodbye.
00:36:01Goodbye.
00:36:02Goodbye.
00:36:03Goodbye.
00:36:04Goodbye.
00:36:05Goodbye.
00:36:06Goodbye.
00:36:07Goodbye.
00:36:08Goodbye.
00:36:09Goodbye.
00:36:10And now?
00:36:11We wait.
00:36:13All night?
00:36:14Uh-huh.
00:36:157.55 and day 10.
00:36:19So we just stay here and wait?
00:36:20Not here.
00:36:24Porter!
00:36:26Where is the waiting room?
00:36:27Over there.
00:36:29Only, you can't wait in the waiting room.
00:36:32What, may I ask, is one expected to do, then?
00:36:34It's locked up until the morning.
00:36:35You see, no trains till the morning.
00:36:37No trains till the morning?
00:36:38So we have heard.
00:36:40At frequent intervals.
00:36:417.55.
00:36:428.10.
00:36:45I'm very, very hungry.
00:36:46So am I.
00:36:48I had no lunch.
00:36:49I had a good one, fortunately.
00:36:51No doubt you'd like to describe it.
00:36:54Oh, poor Floppy.
00:36:55He's hungry, too.
00:36:57Oh, I do wish I'd had lunch.
00:36:59I do wish I'd had dinner.
00:37:02Tell me, I suppose your fiancé will be very worried.
00:37:06You suppose wrongly.
00:37:07Nothing ever worries him.
00:37:08Well, I must say, he didn't seem so calm when you were talking to him.
00:37:12Oh, that's not my fiancé.
00:37:13That's the man I'm going to marry.
00:37:15Would that be the same as the man you love?
00:37:17Now do I look the sort of girl to marry a man she doesn't love?
00:37:20But what about your fiancé?
00:37:21Floppy?
00:37:22Well, what about him?
00:37:24Does he know about this man you're going to marry?
00:37:27What's it got to do with him?
00:37:29Or with you?
00:37:31Why don't you stop asking questions and do something about us?
00:37:34I'm hungry.
00:37:35Brrr.
00:37:36What a woman.
00:37:37Tell me, is there an hotel around here?
00:37:39In the next town.
00:37:41You take a road by the lake and keep on walking.
00:37:44Is it far?
00:37:45A stone's throw, signorina.
00:37:48Come on, Floppy.
00:38:05Come on, Floppy.
00:38:36And now, what can I do for you?
00:38:39We want two rooms for tonight.
00:38:41Two rooms?
00:38:42Two rooms.
00:38:43Your luggage is outside?
00:38:44I'll bring it in.
00:38:45Well, the fact is, we have no luggage.
00:38:47You see, we lost our trains and our luggage.
00:38:50No luggage?
00:38:51That's most unusual.
00:38:53May I see your papers?
00:38:54Well, the fact is, we have no papers.
00:38:57You see, we lost our trains and our luggage.
00:39:00No luggage?
00:39:01That's most unusual.
00:39:03May I see your papers?
00:39:04No papers?
00:39:06That is most unusual in Italy.
00:39:08We will have our luggage and papers and money in the morning.
00:39:12Money?
00:39:13In the morning?
00:39:15I'm sorry.
00:39:17The hotel is full.
00:39:28Sir.
00:39:30Wake up, sir.
00:39:31Mr. Santel's train has arrived.
00:39:32Yes.
00:39:34Where are we?
00:39:35We are in the station waiting room, sir.
00:39:37Impatiently awaiting the arrival of your bride-to-be.
00:39:40Yes, yes, of course.
00:39:42So I am.
00:39:43Is she here yet?
00:39:44I've just seen Mr. Santel, sir.
00:39:46You really should be there to meet him.
00:39:48Yes.
00:39:49Yes, you're right, Parker.
00:39:51I must go.
00:39:53One moment.
00:39:54Oh, one moment, sir.
00:39:56Your flowers, sir.
00:39:57Flowers?
00:39:58That is kind of you, Parker.
00:40:00Oh, yes, for Mary.
00:40:02Oh, there you are, sir.
00:40:03Ah, there you are, Matthew.
00:40:05Terrible journey.
00:40:06Yes, I'm worn out.
00:40:07I expect you are, too.
00:40:08Oh, trains are too hot this time of year.
00:40:09None of us bother about Mary.
00:40:11Mary?
00:40:12Oh, yes.
00:40:13Where is she?
00:40:14Left her behind at Campo Reina.
00:40:15Oh, are we going back for her?
00:40:16Well, of course we're going back for her.
00:40:17I mean, what else can we do?
00:40:18Well, I thought we might have a glass of something first.
00:40:20Have you got a car?
00:40:21A car?
00:40:24Are you the stationmaster?
00:40:25Good.
00:40:26Take a message to Campo Reina.
00:40:27I am the stationmaster.
00:40:28Ah, then you take a message to Campo Reina.
00:40:29Ah, to the young lady who missed her train.
00:40:31Yes, yes, yes.
00:40:32Hurry.
00:40:33Oh, don't you worry, senor.
00:40:34Her father's going to fetch her.
00:40:35Ah.
00:40:36There you are.
00:40:37Brand new.
00:40:38Just running her in.
00:40:39Got to be careful.
00:40:40Nice little job.
00:40:41How'd you get it?
00:40:42That's a long story.
00:40:43Probably a very black one, too.
00:40:44Uh-huh.
00:40:48Uh-huh.
00:40:49What are we waiting for?
00:40:51Oh.
00:40:52Oh, gently, gently.
00:40:53It's a new car.
00:40:54Please.
00:40:55I'm not over 30.
00:40:56Please.
00:40:57Who is this man?
00:40:58That's what I want to know.
00:40:59Who are you, senor?
00:41:00We must be mad.
00:41:01No, please, please.
00:41:02Not over 30.
00:41:03What did Maria say in her wire?
00:41:04She said she was stranded.
00:41:05What business is it of yours?
00:41:06Here, here.
00:41:07Do you know what I think?
00:41:08I think he is mad.
00:41:09Who cares what you think?
00:41:10I care what he thinks.
00:41:11And I thank you for those kind words.
00:41:12I don't know what you think.
00:41:13I don't know what you think.
00:41:14I don't know what you think.
00:41:15I don't know what you think.
00:41:16I don't know what you think.
00:41:17I don't know what you think.
00:41:20I don't know who you are, sir.
00:41:21I don't know why you're here.
00:41:22I don't know why you're so concerned about my daughter.
00:41:24But I have you know that this is my future son-in-law,
00:41:27for better or worse.
00:41:29Aha, the fiance.
00:41:31I will kill you later.
00:41:32If you don't look at the road, you'll kill us now.
00:41:34I can drive a car with my eyes shut.
00:41:41That's splendid.
00:41:42I suggest you try it with your eyes open.
00:41:46Well, at least they're better now.
00:41:48How are yours?
00:41:49My what?
00:41:50Feet.
00:41:51Oh, terrible.
00:41:52But my stomach is worse.
00:41:53Would you like half of my last cigarette?
00:41:56Since you put it so delicately, no.
00:41:58I begin to like you more and more.
00:42:01If so happens, I don't smoke.
00:42:03Here, give me your foot.
00:42:04You'll be catching cold.
00:42:09Do you think it's any better over there?
00:42:11Over where?
00:42:12The other side of the lake.
00:42:14Oh, yes, over there they take us in and give us a meal.
00:42:16Two meals.
00:42:17A room for the night.
00:42:19Two rooms.
00:42:20Yes, they say in guidebooks Italians are hospitable.
00:42:23But not to tramps.
00:42:24Excuse me, I'll do that myself.
00:42:25I'm a bit ticklish.
00:42:26Oh, here, you can make yourself useful and roll up my stocking.
00:42:29And anyway, I'm not a tramp.
00:42:31We are both tramps.
00:42:33Tramps wouldn't be hungry, I can tell you that.
00:42:35Why not?
00:42:36Well, they'd do something.
00:42:37They'd steal or borrow or beg.
00:42:40That's an idea.
00:42:41Beg.
00:42:43You're not asking me to beg.
00:42:45But, my dear, I'm begging you to.
00:42:47Not here, of course.
00:42:48We must go where there are people.
00:42:50Well, I've never done it before.
00:42:54What an empty life some people lead.
00:42:58Mmm, clever.
00:43:00Fool.
00:43:01Here, you do this one.
00:43:03Now watch.
00:43:14Hand down a little more.
00:43:16Like this?
00:43:17That's it.
00:43:18I go to the other side of the square.
00:43:19You stay here.
00:43:21No, no, more pedos.
00:43:25And shiver a little as if you were cold.
00:43:28I am cold.
00:43:29So much the better.
00:43:44Oh, it's you.
00:43:46No luck?
00:43:47No luck.
00:43:48You should be ashamed of yourself, begging.
00:43:51What is the country coming to?
00:43:53A healthy, able-bodied person like you.
00:43:55Yes, they said that about me, too.
00:43:57I must say, you are.
00:43:59Healthy?
00:44:00Able-bodied.
00:44:01Oh, I'm still starving.
00:44:03I'm hungry.
00:44:04I'm hungry.
00:44:05I'm hungry.
00:44:06I'm hungry.
00:44:07I'm hungry.
00:44:08I'm hungry.
00:44:09I'm hungry.
00:44:10I'm hungry.
00:44:11I'm hungry.
00:44:12Oh, I'm still starving.
00:44:14What about him?
00:44:15You mean you need Floppy?
00:44:17There is not enough of him.
00:44:18No, I mean, can he do anything?
00:44:20Turn somersaults?
00:44:21Roll over and over and back?
00:44:23No.
00:44:24What about you, then?
00:44:26I can neither roll over and back nor turn somersaults, if that's what you mean.
00:44:30But there is something Floppy can do.
00:44:32Yes?
00:44:33Stand on his hind legs and catch biscuits.
00:44:35Only we need to have biscuits.
00:44:37Speaking for myself, we do.
00:44:42I did sing at a school concert once.
00:44:44Come back to Aaron, it was.
00:44:46Well, try it again.
00:44:48What?
00:44:49Now?
00:44:50Yes.
00:44:51They might throw some money or something.
00:44:53Oh, I couldn't do it very well.
00:44:55But you're hungry.
00:44:57Very hungry.
00:45:09Good.
00:45:10Good.
00:45:11Sing.
00:45:16Come back to Aaron, Mavorning, Mavorning,
00:45:23come back, come back to Aaron, Mavorning, Mavorning,
00:45:32come back.
00:45:36Mavorning, Mavorning,
00:45:38Go away, go away, clear off.
00:45:40Come back to Aaron, Mavoneen, Mavoneen.
00:45:50They'll never get anyone back to Aaron if you go on like that.
00:45:53It's all right for you to laugh.
00:45:55See if you can do any better.
00:45:58I'd love for you to start showing things.
00:46:00All right, I'll try, I'll try.
00:46:03That's where I look wide as I heard
00:46:07That's where I look wide as I heard
00:46:09Without this busy throng
00:46:12It's a lovely night for singing
00:46:15As we're wandering along
00:46:18Maybe someone will take pity
00:46:21Give a penny for a song
00:46:25Tonight we are vagabonds together
00:46:32Tonight we have another ballad song
00:46:38But it isn't so surprising that I'm feeling gay and free
00:46:42For my lucky star is rising and I'm sure he's mad at me
00:46:46Tonight I've no money, my father
00:46:53We might have to walk the whole night through
00:46:59But a fortune may be on me
00:47:03I'm happy you're to guide me
00:47:10For I've got you here beside me
00:47:14And I'll have one night with you
00:47:17Not bad, not bad.
00:47:19Now my dream is lighted
00:47:22There are people drawing near
00:47:24And they seem to be delighted
00:47:27With the music of the year
00:47:29Don't you feel a bit excited
00:47:32It's success for us, my dear
00:47:35Tonight we are vagabonds together
00:47:42Tonight we have another ballad song
00:47:48But it isn't so surprising that I'm feeling gay and free
00:47:52For my lucky star is rising and I'm sure he's mad at me
00:47:57Tonight we've got money, my father
00:48:04We won't have to walk the whole night through
00:48:10But a fortune may be on me
00:48:14I'm happy you're to guide me
00:48:20For I've got you here beside me
00:48:24And I'll have one night with you
00:48:28And I'll have one night with you
00:48:39Money, money, money.
00:48:41Oh look, a 500 lira note.
00:48:44We must be pretty good.
00:48:46Must have been a millionaire.
00:48:48Food, wine and plenty.
00:48:49And quick.
00:48:50For three.
00:48:51For three?
00:48:53Oh, I would like you.
00:48:55Tagliatelle al burro.
00:48:57Vino secco.
00:48:58Due cotolette alla milanese.
00:49:00And vino secco.
00:49:01E due zabaglioni.
00:49:03And vino secco.
00:49:04And vino secco.
00:49:05Blanco.
00:49:06Bianco.
00:49:07And quick, please.
00:49:08My stomach's making awful rumbling noises.
00:49:10Signorina, I'm fine.
00:49:12Dinner is accomplished.
00:49:13Sleep we will see about later.
00:49:16Well, you always sing another song like that, can't you?
00:49:18I think so.
00:49:21You know, you sing quite well.
00:49:24Flappy.
00:49:25Oh, he never eats bread.
00:49:27No, you sing very well.
00:49:30Thank you twice.
00:49:32Well, they're like that great fat baritone they talk so much about.
00:49:34Giulio Morisotto, his name is.
00:49:36He's not a baritone, he's a tenor.
00:49:38Well, they all sound the same to me.
00:49:40They all even look the same.
00:49:42There are some who do not.
00:49:43Do not what?
00:49:44Look the same.
00:49:47Well, they all make a dreadful lot of noise on the wireless whenever I listen in.
00:49:50Anyway, there's not one that's a patch on my old singing teacher.
00:49:53Believe me.
00:49:54I believe you.
00:49:55From what I heard this evening, he must have been a remarkable man.
00:49:59All right, all right.
00:50:00But I'm sure he could do something with your voice.
00:50:03Have you ever thought of doing anything with it?
00:50:05I even thought of singing with it.
00:50:08Psst, psst.
00:50:12What a dear little man.
00:50:15Is he like one of us trying to earn an honest dinner?
00:50:17Uh-huh.
00:50:24I feel a sort of fellow sympathy.
00:50:26Isn't there something we can do for him?
00:50:28Give him some money or something?
00:50:30I give it all to the waiter.
00:50:33Wait.
00:50:37I love an honest dinner.
00:50:44Tom, there's a path through the forest.
00:50:52There's a pathway to heaven that is waiting for you.
00:51:00Tom is the wall of a safe land where the world is forsaken and has awakened anew.
00:51:14Alone it's hard to find your way by this darkening night.
00:51:21But if I take your hand, there's no darkness at night.
00:51:31Tom, there's a path through the forest.
00:51:38There's a pathway to heaven that is waiting for you.
00:51:56No good.
00:51:57He's looking for one of these.
00:51:59Better go in with the waiter and bring him in.
00:52:00But, senor, you can't arrest him.
00:52:02He sings. He sings beautifully.
00:52:04Never mind.
00:52:05You go and do what the officer tells you.
00:52:07Thank you, senorita.
00:52:08Presto, subito.
00:52:11Now is the start of evening bright and tall.
00:52:17Now in the trees are creepers and murmur and sigh.
00:52:24Moonlight has shed enchantment over the forest.
00:52:32Now in the trees are creepers and murmur and sigh.
00:52:41Magnificent, senor.
00:52:42What's the matter?
00:52:43This way, if you please. The manager, senor.
00:52:45Doesn't he like my singing?
00:52:46Oh, senor.
00:52:47But this way, if you please.
00:52:49Forgive me. I shall be back in a minute.
00:52:53Life, it is so sad.
00:53:02Yes, I gave it to the waiter.
00:53:04Why? What's the matter?
00:53:06You see, he admits it.
00:53:08Admits what?
00:53:09I wish I knew what you were talking about.
00:53:11Don't answer back.
00:53:12I suppose you think you're being clever.
00:53:13Not very, but I think you're being very stupid.
00:53:16You're under arrest.
00:53:17Arrest? Are you trying to be funny?
00:53:19Arrest for what?
00:53:20Just a moment.
00:53:21Surely I can know why I'm being arrested.
00:53:23The superintendent will tell you that soon enough.
00:53:24Come along.
00:53:25But I have a young lady with me.
00:53:26Don't worry about her. She's coming too.
00:53:27Go and fetch her.
00:53:28All right.
00:53:32This is outrageous.
00:53:34Ah, now for food.
00:53:35Not for us. We've got to go.
00:53:37Go where?
00:53:38To jail, I should think. Come on.
00:53:40Why, what have we done?
00:53:41That's what they're going to tell us. Come on.
00:53:44Oh, but I'm hungry.
00:53:54Where did you get this note?
00:53:55A passerby gave it to me.
00:53:57A passerby. What for?
00:53:58For singing.
00:53:59500 liras for singing?
00:54:01Oh, but you should have heard the song.
00:54:04It's very popular at the school concerts.
00:54:06Singing in the middle of the night in spite of regulations.
00:54:08A vagabond.
00:54:09I am not a vagabond.
00:54:11You're speaking to the daughter of an English diplomat.
00:54:13What would the daughter of an English diplomat be doing with a tramp?
00:54:16A likely story.
00:54:17However, we'll investigate.
00:54:19Your papers, signorina.
00:54:20I haven't got them with me.
00:54:21As I expected.
00:54:22Your name?
00:54:23Santel.
00:54:24Alias?
00:54:25Alias nothing.
00:54:27Your age?
00:54:2820.
00:54:3022.
00:54:32Profession?
00:54:33None.
00:54:34You see? A vagabond.
00:54:35You're making a mistake.
00:54:36Silence.
00:54:37Your papers.
00:54:38I left them with my luggage on the train.
00:54:40A likely story.
00:54:41All right.
00:54:42The stationmaster will confirm it.
00:54:44And then I'll let you apologize.
00:54:46Well, I won't.
00:54:47Vagabond.
00:54:48Silence, signorina.
00:54:50I'll telephone the stationmaster.
00:54:54And then we shall see who'll apologize.
00:54:56Ah, stationmaster?
00:54:57Yeah?
00:54:58Good evening.
00:54:59Yeah, that's me.
00:55:00I have a tramp here who says you have sent a telegram for his luggage.
00:55:03Eh?
00:55:05Ah.
00:55:06You did send a telegram.
00:55:07Hmm.
00:55:08That's awkward.
00:55:09What did I tell you?
00:55:10Psst.
00:55:12No luggage?
00:55:13I'm quite sure...
00:55:15Ah.
00:55:16Thank you, stationmaster.
00:55:18Well, my friends.
00:55:19They've been right to the train and they found no luggage.
00:55:21What have you to say to that?
00:55:23Someone must have stolen it.
00:55:24Stolen?
00:55:25In Italy.
00:55:26Lock them up.
00:55:27But you can't do this.
00:55:28I'm Giulio Morris.
00:55:29Pleased to meet you, but lock them up.
00:55:31But I am Giulio Morris.
00:55:32And I'm very patient.
00:55:33Lock them up.
00:55:35Come on.
00:55:36Giulio Morris.
00:55:49Where is she?
00:55:50Where is she?
00:55:51Calm yourself, signor.
00:55:52Where is who?
00:55:53Who?
00:55:54Who?
00:55:55The most beautiful woman in the world.
00:55:57No doubt, signor.
00:55:58But what is her name?
00:55:59Mary Santel.
00:56:00My daughter.
00:56:02My card.
00:56:03My name is Santel also.
00:56:06Ah, the English miss.
00:56:08Oh.
00:56:09Poor signor.
00:56:10She is in prison.
00:56:11In prison.
00:56:12Oh, well.
00:56:13Ah.
00:56:15My good man.
00:56:16Do you realize what you've done?
00:56:18She's the daughter of a very important man.
00:56:20Thank you, Mattie.
00:56:21That's kind of you.
00:56:22But that's not the point.
00:56:23She's a British subject.
00:56:25Yes.
00:56:26But, signor, the police.
00:56:27I will kill them.
00:56:28Where is she?
00:56:29Where are they?
00:56:30Where is it?
00:56:31Where's what?
00:56:32Never mind.
00:56:33Follow me.
00:56:34Oh.
00:56:35Oh, come on, Mattie.
00:56:36Let's follow him.
00:56:44Waste of time.
00:56:53What was it we were going to have for dinner?
00:57:06Tagliatelle al burro, cotoletta alla milanese, and due zabaglione.
00:57:12And vino blanco.
00:57:14Bianco.
00:57:15Bianco.
00:57:18I wonder what Italian skill is like.
00:57:20I don't know.
00:57:21It may surprise you to learn that this is the first time I've been to prison.
00:57:25I suppose you think I make a habit of it.
00:57:27You heard what the superintendent said about you.
00:57:30Vagabond.
00:57:33Two sophisticated people that have never been in prison.
00:57:36It's a scandal.
00:57:38So this is an adventure to you, is it?
00:57:40That's what you thought of it.
00:57:42And why not?
00:57:44We've been tramps and singers, vagabonds, and now jailbirds.
00:57:50A splendid profession.
00:57:54And now what?
00:57:56We wait.
00:58:00All night?
00:58:027.55.
00:58:048.10.
00:58:07Oh, dear.
00:58:08I'm so hungry.
00:58:09What, after the beautiful dinner I served you?
00:58:11Perhaps you prefer English cooking.
00:58:13What, may I ask, is wrong with English cooking?
00:58:15Nothing.
00:58:16It's plain, but bad.
00:58:18Still, it's food.
00:58:27What's that?
00:58:28Relax.
00:58:29He's only a colleague.
00:58:30I wonder what he's in for.
00:58:32For the night, I should think.
00:58:37Oh.
00:58:42I will...
00:58:43Why do you...
00:58:44Go on.
00:58:45You were saying?
00:58:46Why did you tell the police you were Julio Morris?
00:58:48You might have got us into even worse trouble.
00:58:50Well, who's to prove that I'm not?
00:58:52Oh, don't.
00:58:53I can't bear it.
00:58:54Why?
00:58:55What have you got against him?
00:58:56He may be all right.
00:58:58I can't bear opera singers.
00:59:00Now, why?
00:59:01Can't bear them.
00:59:02But why?
00:59:04Well, look at them.
00:59:05They're fat and smug, overdressed, and they wear fur coats.
00:59:11I must confess, I always wanted a fur coat.
00:59:14But they work very hard, you know.
00:59:16Work?
00:59:17You don't call singing work.
00:59:19It's not like farming or being a lawyer or an engineer.
00:59:23By the way, what do you do?
00:59:26Both.
00:59:28You're a lawyer?
00:59:30Yes, I handle engineering cases.
00:59:33Oh.
00:59:34Well, you can't be a very good lawyer.
00:59:36Why not?
00:59:37Well, you don't expect to find a lawyer in a prison cell.
00:59:41You expect to.
00:59:42But somehow, they always manage to keep out.
00:59:45Besides, this is not an engineering case.
00:59:48In fact, it's a case for the foreign minister.
00:59:50There'll be demarches.
00:59:51Notes will pass.
00:59:52I defer to protocol, not banknotes.
00:59:55But that would probably help, this being Italy.
00:59:57Signor.
00:59:58Signor, a million apologies.
00:59:59Two millions.
01:00:00I'm more desolated than I can seem.
01:00:02But how could I tell she was your daughter?
01:00:04No hat, no luggage, singing in the middle of the night.
01:00:07Singing.
01:00:08She has a nice voice.
01:00:10She has a nice voice, I'm told.
01:00:12Do you know at school she once...
01:00:14Anyway, we accept your apology.
01:00:16And then, signor, this fellow with her.
01:00:18What fellow?
01:00:19Yes, I'd like to know that, too.
01:00:21Me, too.
01:00:22A fellow, eh?
01:00:23Yes.
01:00:24Do you mean to tell me that you go about locking people up
01:00:27without knowing who they are?
01:00:29Really, habeas corpus, Magna Carta.
01:00:32Does that mean nothing to you?
01:00:34No, I see it doesn't.
01:00:36Perhaps I pronounced it wrongly.
01:00:38Stupid, incompetent, flat-footed bungler.
01:00:41How dare you, signor?
01:00:43Now, that's a person I would like to have locked up
01:00:45without knowing who it is.
01:00:46Yes, I agree.
01:00:47My car.
01:00:48Oh, my car.
01:00:49There's no time for this gossip.
01:00:51The first thing we've got to do is to free that unfortunate creature.
01:00:54Yes, I agree.
01:00:56Yes, of course, signor.
01:00:57Of course.
01:00:58Signor, excuse me.
01:00:59Signor, your papers.
01:01:01Your passport, sir.
01:01:03Your British passport.
01:01:06But I have another matter to discuss with you in private.
01:01:09Yes, and while you pay him off, here now, go and have a drink.
01:01:12What do you say, old man?
01:01:13Well, I don't mind.
01:01:14This is no time for orgies.
01:01:16Maria!
01:01:20Well, now, I know the fellow's crazy.
01:01:23Now, we can forget the whole affair of my daughter's arrest.
01:01:25It's unimportant.
01:01:26Thank you, signor.
01:01:27But there's another matter which is very serious.
01:01:30Serious?
01:01:31Yes.
01:01:34You do realize you're wearing an old Etonian tie?
01:01:37But if you're not in love with him, why did you say you would marry him?
01:01:40Oh, I don't know.
01:01:42A moment of rage, I suppose.
01:01:44I wanted to get even with him.
01:01:45With your fiancé?
01:01:46No, Piero.
01:01:48We quarreled and afterwards I regretted it.
01:01:50That's when I sent off the telegram.
01:01:52Uh-huh.
01:01:53Then you're in love with Piero.
01:01:55Oh, I don't know.
01:01:56It's all so hopelessly romantic.
01:01:58He sang to me in a gondola.
01:02:00So did the gondolier.
01:02:02Now, that was somebody who really could sing.
01:02:04And which of the two did you accept?
01:02:06Oh, now you're laughing at me.
01:02:08I suppose I do see him a bit of a fool.
01:02:10Piero's all right, but he's difficult and he's jealous.
01:02:14Yes, he has a difficult look about him.
01:02:17I sometimes think it's because he's so young.
01:02:20It's a pity he isn't your age.
01:02:22My age?
01:02:23Yes, you're right.
01:02:25Because you're not really good-looking enough, are you?
01:02:27Oh, it's the jowl.
01:02:29Oh.
01:02:31The jowl.
01:02:33You know, it's wonderful how easy it is to talk to you.
01:02:35We might have known each other for years.
01:02:37We might have, but we haven't.
01:02:40The jowl.
01:02:41You know, you're not the least like any other Italian.
01:02:44You haven't once told me what wonderful eyes I have seen, Irina.
01:02:46But I think you have.
01:02:48Wonderful eyes.
01:02:50I wasn't leading up to that.
01:02:52Santa Maria, this English.
01:02:55Now you're sulking.
01:02:56Do I look the sort of man to sulk?
01:02:58Uh-huh.
01:02:59Just the sort.
01:03:00Oh, come on.
01:03:01Come sit down here and be a good boy.
01:03:03You can sing to me or something.
01:03:05Or something?
01:03:07Sing the song the waiter likes so much when you're so rudely interrupted.
01:03:11All right.
01:03:13And you lean back and close your eyes
01:03:15and pretend you are in a gondola.
01:03:19Now is the start of evening bright in the sky
01:03:25Now in the trees the breezes murmur and sigh
01:03:32Maria!
01:03:33Maria!
01:03:35Huh?
01:03:36The Marines have landed.
01:03:38Piero II?
01:03:39Uh-huh, Piero II.
01:03:40Maria, Maria.
01:03:41Hello, Piero.
01:03:42Mary.
01:03:43No, no.
01:03:44How are we?
01:03:45Hello, Matty.
01:03:46What have they done to you?
01:03:47Have they made you suffer?
01:03:48How dare they?
01:03:49Take your hands off of my man.
01:03:50Well, Mary, what have you to say for yourself?
01:03:51Shame on you.
01:03:52Shame on you, old man.
01:03:53Are you a father or a monster?
01:03:55There you are, old girl.
01:03:56I've remembered them this time.
01:03:57Thank you, Matty.
01:03:58Throw that rubbish away.
01:03:59Rubbish?
01:04:00They're orchids, my favorite flowers.
01:04:02She prefers roses.
01:04:04One day you'll go too far.
01:04:06Who is he, the fiancé?
01:04:07Oh, no.
01:04:08Oh, no, no, no.
01:04:09I'm the lucky man.
01:04:10Who is he, then?
01:04:11Why ask me?
01:04:12You're the detective.
01:04:13All I know is he's been following me about all day like a shadow.
01:04:16Will nobody open this dungeon?
01:04:18Or do I have to tear it to parts with my bare hands?
01:04:22Oh, here they are.
01:04:23Open up.
01:04:24You couldn't, I suppose, possibly by any chance,
01:04:26throw him in, could you?
01:04:28Free at last.
01:04:29Out!
01:04:30He says we're free at last.
01:04:32All good adventure must come to an end.
01:04:34Come on.
01:04:37Aunt Poppy?
01:04:38Poppy?
01:04:40Maria.
01:04:41Oh, no, you don't.
01:04:42What's the matter now?
01:04:43My dear young lady, you are no vagabond.
01:04:45One look at your father and I can see that.
01:04:48Very civil of you, I must say.
01:04:50But tell me, who is he, signorina?
01:04:52That's what I want to know.
01:04:54Now, listen.
01:04:55If I'm all right, he's all right.
01:04:56We're both in the same boat.
01:04:57Gondola.
01:04:58Shut up.
01:04:59If you can release me, you can release him.
01:05:00But who is he, signorina?
01:05:01I am a passenger who has lost his luggage on the train.
01:05:05This young man can vouch for that.
01:05:08I never set eyes on him in my life.
01:05:12All right.
01:05:13Good night, signorina.
01:05:15If ever Floppy has to pick a fight, be sure that I am near.
01:05:19Good night.
01:05:21Well, I'm not going without him.
01:05:23Signorina, be reasonable.
01:05:24If he were a relative, a brother of your father, an uncle or...
01:05:27I'm practically certain he's neither my uncle nor my brother.
01:05:31But I would like to know, however, what you've been doing with my daughter.
01:05:34That's what I want to know.
01:05:35Yes.
01:05:36My ancestors would have sent you their seconds.
01:05:38But most of my ancestors are dead.
01:05:40Why must you keep him here?
01:05:41What has he done?
01:05:42That's what I mean to find out, signorina.
01:05:45Yes.
01:05:46There are ways to make a man talk.
01:05:48You twist his wrist.
01:05:52No, I forget.
01:05:53For the last time, will you let him go?
01:05:55Now, Mary, that's enough of this nonsense.
01:05:57Come along, all of you.
01:05:58Will you?
01:05:59But I can't, signorina. I can't.
01:06:01Mary, stop being obstinate.
01:06:03This is no time to behave like your mother.
01:06:05I won't hear a word against mother.
01:06:07And you wait until I tell her.
01:06:08It's after midnight and I'm worn out and I haven't had dinner.
01:06:12But you did have lunch.
01:06:14He's right, Mary.
01:06:16You better go.
01:06:17Don't worry about me.
01:06:18I'll be all right.
01:06:19Who's worrying about you?
01:06:21I'm just not leaving you here, that's all.
01:06:23Excuse me.
01:06:27Excuse me.
01:06:32Well, I must say, that seems very hard on us, too.
01:06:35Oh, what have I ever done that I should have a child who chooses to be a jailbird?
01:06:39And what have I done, signor, that she should choose my jail?
01:06:42Mary, Mary, please come out.
01:06:45Never, never.
01:06:46Never?
01:06:47Very well, then, Mary.
01:06:48Good night to you.
01:06:49Good night, daddy.
01:06:50Good night.
01:06:53Such a farce to leave his daughter in there alone with that, that, that man.
01:06:58If she stays, then I stay.
01:07:03I beg your pardon.
01:07:04Don't mention it.
01:07:06I can't leave her alone with him.
01:07:10What if I go in?
01:07:11Enter, signor.
01:07:12Enter.
01:07:13Make yourself comfortable.
01:07:14This is not a jail anymore.
01:07:15This is a holiday camp.
01:07:17And you, if you want to go in, too, please, please, don't hesitate.
01:07:21Make yourself at home.
01:07:23Walk in, sir.
01:07:27Ah, the English.
01:07:29Lock them up.
01:07:30And now tell me everything, everything, even if it kills me.
01:07:33That is an idea, of course.
01:07:35There's nothing to tell.
01:07:36Who is this man?
01:07:37What does he mean to you?
01:07:38Answer me.
01:07:39Why should I?
01:07:40Yes, why should she?
01:07:41She must answer to me, her father.
01:07:43And to me, her fiancé.
01:07:44Oh, fiancé.
01:07:46Oh, well, please don't say to me.
01:07:48Mary, who is this?
01:07:49And that.
01:07:51I suppose that's another acquaintance in the corner.
01:07:53Oh, later, daddy, later.
01:07:55Oh, well.
01:07:57Signor.
01:07:58One moment, please.
01:08:02Signor.
01:08:03Oh, go away.
01:08:05I am Piero Santelini.
01:08:07I am clean living, 25, smoking a little and drinking.
01:08:10I am a graduate of Milano University.
01:08:12With honors.
01:08:13I'm sure you ought to be congratulated, but another time.
01:08:15I have no money.
01:08:17Nothing surprises me any longer.
01:08:19But I have an uncle who is a millionaire.
01:08:21And I am his favorite nephew.
01:08:23He is very ill.
01:08:25He is 82.
01:08:26But he's not quite dead.
01:08:28Of course, sir, it is only a matter of time.
01:08:30Well, naturally, I'm sorry for him, but that's his own private affair.
01:08:33And so I have the honor to ask you for your daughter's hand in marriage.
01:08:37I am unmarried.
01:08:39You know, I think he put that rather nicely.
01:08:42We are young.
01:08:43We are in love.
01:08:44We are only waiting for your blessing.
01:08:46Oh, are you?
01:08:47Daddy, steady.
01:08:48Your blood pressure.
01:08:49Mary, do you mean to tell me you're in love with this dangerous lunatic?
01:08:52He's not dangerous.
01:08:53You see, signor, how well we understand each other.
01:08:56And now, signor, your answer.
01:08:58Just a moment.
01:08:59Remember, I am her fiancé.
01:09:02Fiancé.
01:09:03Quiet.
01:09:04Quiet.
01:09:06Keep quiet.
01:09:08Remember where you are.
01:09:10Our colleague is right, you know.
01:09:12Why not leave until the morning?
01:09:14Your daughter is tired out.
01:09:16And so are you.
01:09:17And so am I.
01:09:18And so are all of us.
01:09:19Who is tired?
01:09:20I am.
01:09:22Oh, well, so am I.
01:09:41Still awake?
01:09:43Not sleepy.
01:09:45Just thinking.
01:09:46What about?
01:09:48Adventures, in general.
01:09:50And this one in particular?
01:09:54Pity it had to end like this.
01:09:56Has it been fun?
01:09:57Enormous fun.
01:09:59And you?
01:10:01I don't know.
01:10:02I don't know.
01:10:03I don't know.
01:10:04I don't know.
01:10:05I don't know.
01:10:06I don't know.
01:10:07I don't know.
01:10:08I don't know.
01:10:09Enormous fun.
01:10:11Oh, go on.
01:10:12Sing to me.
01:10:13Last time I was in a gondola, remember?
01:10:16Every time I sing, something terrible happens.
01:10:19Let it be.
01:10:20Go on, sing.
01:10:22Floppy, be quiet.
01:10:40Oh.
01:10:41Oh.
01:10:42Oh.
01:10:43Oh.
01:10:44Oh.
01:10:45Oh.
01:10:46Oh.
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01:14:31Of course, we would have had to wait a while to get it ready.
01:14:33You could have sung.
01:14:35Or something.
01:14:37Or we could have danced.
01:14:39Or both.
01:14:41Or both.
01:14:43Why not?
01:14:45Why not?
01:15:01Look!
01:15:27Look where?
01:15:28The other side of the lake.
01:15:30Yes.
01:15:33Uh-huh. The other side of the lake.
01:15:35It looks different somehow.
01:15:37Early this evening.
01:15:40You do too.
01:15:43And you.
01:15:46We were going to visit it one day.
01:15:49Two meals.
01:15:51Two rooms.
01:15:52It is one day now.
01:15:53There are lights on.
01:15:55And I've got a pocket full of money.
01:15:58There's a small rowing boat down there.
01:16:00Yes. You'll be able to row.
01:16:03And you'll be able to finish your song.
01:16:05No interruptions in the middle of the lake?
01:16:07I don't believe it.
01:16:28I don't believe it.
01:16:58I still don't believe it.
01:17:25That's all.
01:17:27Everything we want. Everything.
01:17:29Romance. Adventure. Suspense.
01:17:32And three songs forever.
01:17:34A song in the beginning.
01:17:35Yes. A song in the middle.
01:17:36Yes. And a song in the end.
01:17:38Yes. And very photogenic indeed.
01:17:40But it's got no ending.
01:17:48Yes. She's right.
01:17:52I agree.
01:17:53It doesn't go far enough.
01:17:55Where's the girl?
01:17:56Yes.
01:17:57Where is the girl?
01:18:03Well, here she is.
01:18:04Lina, my Lina, my little girl.
01:18:06Well, let's leave it at girl.
01:18:08No. The real one.
01:18:10She's at the hotel.
01:18:11I telephoned her father.
01:18:13He's on his way.
01:18:14No, no, no, no, no, no.
01:18:16The public will never stand for that.
01:18:19Never.
01:18:21My dear Giulio, how could you be so thoughtless?
01:18:23Through this to your public.
01:18:25Look, Fogliatti, I did not invent the story.
01:18:27It happened.
01:18:28Exactly.
01:18:29But it got to happen right.
01:18:30But listen.
01:18:31Don't worry. Leave it to the professionals.
01:18:33Now, what would the girl be doing now?
01:18:37Concentrate. Concentrate.
01:18:41Concentrate.
01:18:50Picture of three people concentrating.
01:18:53I can hear them from where I am.
01:18:55Don't give them a chance.
01:18:57Crying her eyes out.
01:19:01Wandering about her room.
01:19:02Wandering and singing, no doubt.
01:19:04Shh, shh, go on.
01:19:08Hugging her dog.
01:19:10No. No good.
01:19:12What would you be doing?
01:19:15Getting in some sleep, I should think.
01:19:20Concentrate.
01:19:23Concentrate.
01:19:29Just a moment, Signorina.
01:19:30Conference.
01:19:31Oh, excuse me.
01:19:32I wanted to speak to...
01:19:34Oh dear, I don't even remember his name.
01:19:36He said he was coming here to...
01:19:37Mary.
01:19:38Oh, hello.
01:19:39Oh, I'm so glad I found you.
01:19:40What made you leave the hotel?
01:19:41Oh, Daddy, Matthew, Piero.
01:19:42They've all arrived.
01:19:43It's enough to make anybody leave a hotel.
01:19:44Magnificent.
01:19:46Perfect.
01:19:47Wonderful.
01:19:48Beautiful idea.
01:19:49Why couldn't you think of that?
01:19:50Ah, now our plot gets moving once more.
01:19:54This is no time for plotting.
01:19:55Listen, you have to go back to your father.
01:19:57Father?
01:19:58No, no.
01:19:59Father.
01:20:00The public would never stand for a father.
01:20:02Please, Signorina, don't listen to him.
01:20:04Please don't.
01:20:05Do something.
01:20:06Something exciting.
01:20:07Something dramatic.
01:20:09Something heroic.
01:20:10Something...
01:20:12Where is she?
01:20:13Ah, so there you are.
01:20:15And the singer, too.
01:20:17And you two, stand aside.
01:20:19Maria, don't rock.
01:20:20Now I'm going to kill her.
01:20:21Wonderful.
01:20:22The very thing most convincing.
01:20:23You see?
01:20:24Now, tear them to pieces.
01:20:25That's very good, too.
01:20:26I like that, too.
01:20:27Now, let's work it out properly.
01:20:28Now, you stand here, huh?
01:20:30Then you rush in, you throw yourself at him, shouting...
01:20:33Ah!
01:20:34I'll kill him!
01:20:35I'll kill him!
01:20:36Very good.
01:20:37Very good.
01:20:38Most convincing.
01:20:39Excellent.
01:20:40Yes!
01:20:41I'll kill him.
01:20:42Stronger.
01:20:43I'll kill him!
01:20:44Yes!
01:20:45She's flinging herself between you.
01:20:46You throw her against the wall.
01:20:48Three revolver shots.
01:20:49Bang, bang.
01:20:51Bang.
01:20:52You die, you are hanged, you go to a convent.
01:20:54Orchestra finale.
01:20:55Heavenly choir.
01:20:56Everybody in tears.
01:20:58Best picture of the year.
01:20:59Sensational success.
01:21:01Academy Award for Ludovico Folia.
01:21:04How's that?
01:21:06Delicately.
01:21:07It stinks.
01:21:10Stinks?
01:21:11You can't kill the hero.
01:21:13The public wouldn't stand for it.
01:21:15You've got to have a happy ending.
01:21:16Sure, a happy ending every time.
01:21:18Yeah.
01:21:19True, true.
01:21:20What a pity.
01:21:21Such a convincing scene.
01:21:24No, no, I'm sorry, young man, but you can't kill anybody.
01:21:26We must find something else.
01:21:28I got it.
01:21:30She marry him.
01:21:31Well.
01:21:32And you go and drown yourself.
01:21:35No.
01:21:36Come in, come in.
01:21:38Come in, everybody, the door is open.
01:21:40Come in, it's a public meeting.
01:21:41Any more outside, come in, sit down, have a cup of tea.
01:21:44Who are you?
01:21:45Ah, so at last you have arrived.
01:21:47Do you mean to tell me that you are going to allow your daughter, my Maria, to marry that?
01:21:52My daughter is marrying nobody.
01:21:54Surely you haven't forgotten me.
01:21:56Nobody, I said, nobody.
01:21:58Fortunately, the engagement was never announced in the times.
01:22:01Come, Mary, we must continue our journey.
01:22:03No, no, no, you can't take away my happy ending.
01:22:06The public would never stand for that.
01:22:09To the devil with the public.
01:22:11Come, Mary, to the devil with her.
01:22:14Did you hear that?
01:22:15Did you hear?
01:22:16Who are you?
01:22:17I'm her fiancé, the one she should marry.
01:22:25No, you're no good, you're a comedy type.
01:22:27He is the comic, the bad joke.
01:22:30I resent that.
01:22:31And I resent you.
01:22:33Gentlemen, please, please, I have no time for chitchat.
01:22:36I must get a finale.
01:22:38I will give you a finale.
01:22:39Yes, you give me a finale.
01:22:40I will kill everybody, starting with you.
01:22:42No, no, no, please, gentlemen, be sensible.
01:22:43There are other things to be done.
01:22:44I will kill everybody.
01:22:46That young man must be selling life insurance.
01:22:48I'm a humane man, but...
01:22:50Well, I still think she should marry the tenor.
01:22:52Now they are thinking.
01:22:53After all, he is the hero.
01:22:55Heaven help him.
01:22:56Tenor, what is going on here? Where is he?
01:22:58You have nothing to fear from the tenor, my friend.
01:23:00Ah, so it is you again.
01:23:02You know what a tenor does in an opera?
01:23:04He sings, and sings, and sings.
01:23:07In the end, the soprano gets all the applause.
01:23:10What?
01:23:11Who are you calling a soprano?
01:23:13In this opera, you are also a singer, my friend.
01:23:15You sing beautifully in a gondola.
01:23:17Remember, Maria?
01:23:19Mary.
01:23:20La commedia finita.
01:23:22What?
01:23:23Well, our little adventure is over.
01:23:26And it was an adventure with a happy ending.
01:23:28Forgive me, please, do please forgive me.
01:23:30I don't understand nothing.
01:23:31What is about this happy end?
01:23:32You marrying her?
01:23:33No, she marries him.
01:23:35Me?
01:23:36Ah, well, that is bad.
01:23:38Surely.
01:23:39But Maria, it's what the public want.
01:23:43He is absolutely correct.
01:23:46Yeah, but what about you?
01:23:49Yes.
01:23:51What about you?
01:23:52Me?
01:23:54I'll sing.
01:23:56Yes, I'll sing the love song.
01:23:59In a final scene.
01:24:01In a slow fade out.
01:24:03Yes, a slow fade out.
01:24:05What more can a singer want?
01:24:30What a finale.
01:24:34What a finale.
01:24:40So artistic.
01:24:46So artistic.
01:24:52And so box office.
01:24:57I'm so box-office.
01:25:09This is no way to end a picture.
01:25:14Giulio!
01:25:17Giulio!
01:25:18Maria!
01:25:23Maria!
01:25:24Maria!
01:25:28Please.
01:25:33Maria!
01:25:35Oh, go away.
01:25:37I'm sorry about your song.
01:25:39Now you can really finish it.
01:25:40You want me to sing?
01:25:42Or something.
01:25:57Come, it's the well of a Satan
01:26:03Where the world is forsaken
01:26:07And has awakened anew
01:26:10Alone it's hard to find
01:26:13Your way by this darkening night
01:26:17But if I take your hand
01:26:22There's no darkness at night
01:26:27Come, there's a path through the forest
01:26:35There's a pathway to heaven
01:26:39That is waiting for you
01:26:52THE END