La Dolce Vita (1960)

1. ALL CHARACTERS, FACTS, AND PLACES HEREIN ARE FICTITIOUS.

2. IS PURELY COINCIDENTAL.

3. Lucy, what is it?

4. Look, it's Jesus! Where are they going?

5. Look, look. It's coming down.

6. What's going on with that statue? Where are you taking it?

7. - What? - Where are you taking it?

8. They're taking it to the pope!

9. - He wants our phone number. - No!

10. Hey, kid, come here.

11. Listen, what did they eat at table 16?

12. The prince ate snails.

13. - What kind of wine did they have? - Soave.

14. Excuse me, Mr. Giulio, I saw them myself. They had Valpolicella.

15. - Hi, Marcello. - Hi, Pierone.

16. So snails and Valpolicella. Giulio, let me take a picture.

17. It's not possible, my friend.

18. Why do you give him all that money? If you want information, I'm always here.

19. Manager! Manager, stop that photographer!

20. - Give me the film! - Oh, come on. The camera is empty.

21. Everyone has a right to their own image.

22. Can you give me a light?

23. - Listen, darling, come here. - Me?

24. - Yes. - What's the matter?

25. I must talk to you. Come.

26. Good evening, how are you?

27. - Well? - Sit down.

28. - Where? There's no chair. - Squat down.

29. - Sorry. - Naughty boy.

30. - Why? - Because you're a naughty boy.

31. And you know what I'll do? I'll break your little face.

32. I have to inform the public, it's my job. After all, it's just a little publicity.

33. You call that publicity? You got her in trouble with her husband.

34. Do I worry about your being cuckolded?

35. - You're not a journalist. - Great journalism.

36. - Shut up. Don't overdo it, Marcello. - You'll kill me.

37. - Has he arrived? - No, miss, he didn't show up yet.

38. When he arrives, tell him he's an idiot. Give me a whiskey.

39. I can't believe this place is still open. It's unbearable!

40. Good evening, Maddalena. How are you? Alone?

41. - Would you like to dance? - No.

42. Shall we have some vodka?

43. No. Everything's going wrong tonight. I'm leaving.

44. - May I accompany you? - Why not.

45. - Your friends are ready to attack. - Marcello, where are you going?

46. - Miss Maddalena! - Please, leave me alone tonight.

47. Welcome back. Here she is. More photogenic than a star!

48. Every night the same story. Don't they ever get bored?

49. Paparazzo, enough!

50. You should be used to it by now. You're a public figure.

51. Marcello, where are you going? Tell us where you're taking her.

52. I'd like to live in a new city. Where I don't know anyone.

53. Personally, I like Rome very much.

54. It's sort of a moderate, tranquil jungle where one can hide well.

55. I'd like to hide too, but I can't. I can't.

56. - What are we going to do now? - Take a ride. Stay here.

57. I'm fed up even with Rome. I'd like an island.

58. Buy one.

59. I thought about it.

60. But would I even go?

61. You know what your problem is? You have too much money.

62. And your problem is you don't have enough.

63. Meanwhile, here we are, the two of us.

64. That's not a problem. We're among the few people left to be unhappy.

65. - What happened to you there? - Nothing.

66. You shouldn't worry. You're so rich, if you fall, you'll land on your feet.

67. - You really think so? - Oh, yes.

68. I can't even stand on my feet.

69. I'd need a sort of charge to stand on my own that I don't have.

70. When I make love... Yes, with love there is this tension.

71. - Only love gives me strength. - Long live love, then!

72. Annamaria, come look!

73. That's not a car, it's an apartment.

74. - Who are you? Liliana? - No, I'm not Liliana.

75. - And who are you? - Good evening.

76. - Good evening. - Who are you talking to?

77. Who's there?

78. Liliana's not here anymore. She went to Milan.

79. Do you want to take a ride with us?

80. - Me? - Yes.

81. Come along.

82. This lady is asking if I can go for a ride with her. Should I?

83. Let's take a ride with this girl.

84. What exactly do you want to do?

85. Nothing. We'll go for a ride and then we'll take her home. You know her?

86. At least, I don't think so.

87. I'm going to eat. I'll see you there.

88. - Here they are. - Turn off the lights, you fanatic!

89. Get some good money. These guys are richer than Onassis.

90. Are you coming with us?

91. If you could take me home, I'd appreciate it.

92. Are you coming?

93. But I live kind of far.

94. - Sit in the back. Can you fit? - Yes. Thanks.

95. - Are you okay there? - Yes, yes.

96. - Bye, Ninnì! - Bye, Annamaria.

97. - Where do you live? - In Cessati Spiriti.

98. - Whose car is this? Is it yours? - Yes.

99. - Did you buy it for her? - Her father.

100. My goodness! All my father gave me were beatings.

101. - Do you know my father? - You introduced him to me once.

102. And where do your parents live?

103. - In Cesena. - By the sea?

104. Well, how's it going?

105. How's it going? It's going.

106. Things didn't go well tonight?

107. Some hypocrite gave me 1000 lira and a pack of smokes.

108. Was he young or old?

109. Who knows? I didn't look him in the face.

110. Would you go with a woman like this one?

111. Why? She's not worse than many others.

112. You don't go with these kind of women?

113. Yes, sometimes.

114. Listen here, Gregory Peck, I'm not getting any of this stuff.

115. What are we doing?

116. - Didn't you say you wanted to go home? - Yes.

117. So we're taking you home.

118. - Why? What did you think? - Me? Nothing. I wasn't thinking a thing.

119. Let's be quiet. Everyone's sleeping here. Turn off that radio.

120. We're leaving anyway.

121. Who do you live with? Is someone home?

122. - What's she saying? - If someone is home.

123. No, my cousin's in Velletri for a check-up and—

124. So will you offer us a cup of coffee?

125. Sure. I can make good coffee.

126. I hope you're not expecting to find a palace.

127. I'll show you the way.

128. The coffee.

129. Watch out for the stairs. The other evening this kind man...

130. Oh, what a mess. It's flooded again. This is no way to live. Damn it!

131. Wait there a moment.

132. The engineer! He should have been a gravedigger!

133. That'll be the day. I've been paying for all the devil's sins!

134. Come on!

135. Hold on, I'll have you go in the bedroom. Good God.

136. It's flooded here too. Have a seat in the bedroom, I'll make you coffee.

137. I need to know someone important. That's what I need.

138. I'm so sorry. I put in a request two years ago, but—

139. Don't worry about it.

140. In the meantime, I'll make some coffee, okay?

141. Would you close the door?

142. You want to make love here?

143. No?

144. I'll leave your coffee here.

145. You didn't agree on the terms before? Are you crazy?

146. Hey, I don't know. They did everything on their own!

147. Was I supposed to kick them out?

148. - Hopefully they'll give me 2000 lira. - 2000 lira? I set the price around here!

149. - Are they husband and wife? - Yeah, right.

150. Here. Many thanks.

151. Must I back up, or is there room to turn around?

152. No. It's easier if you turn right at the end.

153. Can I give you a little kiss? Thanks. Thanks a lot.

154. - Come back when you want! - Bye.

155. Don't go speeding with that car, now!

156. Oh, God. Oh, God. Oh, God!

157. Emma.

158. Emma, what's wrong? Answer me, what happened?

159. What did you do? What did you do, you crazy fool?

160. It's nothing. Stay calm! I'll take you to the hospital.

161. Why, I ask? Why are you so crazy?

162. Do you— Do you want to ruin me, huh?

163. One of these days I'll just let you die. I'll let you die!

164. Emma, answer me. Stop it now.

165. Emma, darling...

166. My love. Emma.

167. Hurry!

168. Rubini! Did you bring that woman who poisoned herself?

169. Giannelli, do me a favor, don't write anything.

170. I'll be in trouble with the police.

171. - What happened? - Nothing.

172. - What is her name? - I can't tell you. Leave me alone, please.

173. You can come in.

174. Don't tire her. She needs to rest.

175. You can take her home in a couple of hours.

176. In the meantime, see the brigadier for the report. It's mandatory.

177. Emma, why did you do it? Tell me. Why?

178. The brigadier is waiting for you.

179. I'll be right back.

180. Wait there, please, he'll be right with you.

181. - Sister, can I use the phone? - Certainly.

182. - You come here. Come down! - I just want to take one picture!

183. Get your hands off me!

184. Sylvia! Sylvia!

185. Your glasses! Your glasses!

186. Take your glasses off!

187. No! Go! Go back.

188. Sylvia, take your glasses off!

189. Come on, smile!

190. Do we give her the flowers first or the pizza?

191. - The pizza! - Be careful not to drop it!

192. Please bring your luggage to customs.

193. Hurry up with this pizza, you morons!

194. Stand back, stand back.

195. He's here.

196. The producer Totò Scalise has just arrived.

197. He's cast the star for a historic joint production which will be shot in color...

198. Is that the Swedish woman?

199. Oh, man, I better not see her, or I'll have to kill my wife tonight!

200. Long live Sweden!

201. offered to the gorgeous Swedish actress.

202. Showing her wonderful teeth,

203. the beautiful Sylvia bites into a typical Italian product

204. which — with its colors and its aroma — is as joyful as our country.

205. Hi, Marcello. Great piece of meat, huh?

206. Totò Scalise is leading the star through customs. A crowd of fans awaits...

207. Such a long trip and she's as fresh as a rose.

208. Clementelli, go over to customs, immediately.

209. - Did you have a good trip? - Yes, thank you.

210. What a confusion!

211. - Come on, Marcello, pass him! - Quit it! There's nowhere to go!

212. Come on, pass him. Run him over!

213. Is it true that every morning you bathe in ice?

214. Do you ever practice yoga?

215. Ask her which Italian historical figure she would like to play.

216. Do you like bearded men?

217. Madam, would you like something to drink?

218. Ma'am, what do you think about Italian actresses?

219. For Cinema Nuovo, do you think Italian neorealism is dead or alive?

220. Do you believe in friendship among peoples?

221. Come on, with this phone!

222. No, no. It's that I couldn't call you before. Thanks.

223. What do you think I'm doing? I'm working.

224. Did you take your drops?

225. Are you alone with her?

226. There are at least 50 people in here!

227. Swear on your mother's life! Go on, swear it!

228. Yes, I swear on my mother.

229. Beautiful? Well, yes, if you like American beauty.

230. She's like a doll, like a big doll.

231. Yes.

232. Marcello, I'll come over there and rip your eyes out!

233. Marcello, why don't you come here right now?

234. No, I can't.

235. - I want to make love. - What?

236. I want to make love!

237. - Yes, hold on a second. - Where shall we take her?

238. First to St. Peter's, then to the Quirinale.

239. Not a bad idea.

240. Here's our Robert! Our actress' boyfriend.

241. - Marcello? - What is it? Are you going out?

242. No, no. I'll wait for you here. I'll stay home all day long.

243. What would you like to eat? Something light.

244. You want a nice plate of ravioli?

245. I've got everything. I'll just go downstairs for vegetables.

246. Then we'll go to the movies, or we can stay in. As you like.

247. Marcello, do you love me?

248. Don't leave her alone!

249. Wonderful! Let's do another one. Stop!

250. She never stops for a minute!

251. I finished the film. I'll be right back, okay?

252. - Hey, where did she go? - She's an elevator, that one!

253. You're everything, Sylvia. You know that you're everything?

254. You're the first woman of creation.

255. You're the mother, the sister, the lover, the friend,

256. the angel, the devil, the Earth, the home.

257. That's what you are: the home!

258. Why did you come here?

259. Go back to America, please. What am I supposed to do now?

260. Oh, our Robert is also a painter. Bravo!

261. I must see you. I must talk to you at all costs.

262. - Who's that madman? - Frankie Stout, a divine actor!

263. - Will you excuse me a moment? - Go, sweetheart, go!

264. He's dancing with the lady!

265. Hi, darling.

266. - He's a good dancer. - Sweet as sugar.

267. Very— very good, yes.

268. - You're having banana flambé? - What else?

269. - The lady's shoes. - I'll take them, I'll take them.

270. - I found them— - That's fine, thank you.

271. Excuse me. One moment.

272. What do you want?

273. Bravo! Bravo, Frankie! You were great!

274. Bravo! Very good! Look, you made me cry.

275. What class, madam. You're divine!

276. Dangerous stuff, but very beautiful.

277. Thank you, sir!

278. Marcello, give me the champagne!

279. I don't know. I'll bring her back immediately.

280. Give me the shoes. Let go. I'll be right back.

281. - Why did she get upset? - Stay here. I'll take care of it.

282. Here she is!

283. - Sylvia, the shoes! - Marcello, what happened?

284. Nothing happened. Go away!

285. Let's take your scooter.

286. Marcello, wait for us!

287. Great idea, Marcello!

288. Let's take her to Ostia.

289. Paparazzo, I'm not kidding, get out of the car!

290. It'll be an incredible scoop. I'll give you 50 percent.

291. I don't give a damn about 50 percent. Go away!

292. I'll give you 30 percent.

293. - Get lost! - Marcello, tell me where you're going!

294. He didn't tell me where he's going. Hurry!

295. We lost them.

296. Yes... No... Of course!

297. What?

298. it's full of holes there.

299. We'd better leave now.

300. Maybe some other time.

301. Sergio will be back on the 12th. I'm his mother.

302. - Do you have the key? - No, he takes the studio key with him.

303. I'm his mother. Was this for work?

304. Yes, madam, it was about a job.

305. But I'll call—

306. I'll call back on the 12th. It doesn't matter.

307. Sorry to disturb, madam. Good night.

308. Excuse me, isn't she that American actress?

309. - Yes. - She's so beautiful!

310. Good night.

311. I can't bring you home. That madwoman wouldn't understand.

312. Understand?

313. Wait a minute. I've got an idea that maybe...

314. - Miss, a phone call for you. - Yes?

315. Marcello! Are you sure you didn't dial the wrong number?

316. Listen, Maddalena, can I come with someone?

317. - Someone? Who? - Who calls her at this hour?

318. Someone— just someone.

319. - Why, you're not alone? - I'm playing cards with my father.

320. Oh, your father's there.

321. Tell me.

322. What is it that you want?

323. Nothing. I'll call you soon. I apologize, Maddalena. Good night.

324. Sylvia, what are you doing?

325. No, dear. Where am I going to find milk at this hour?

326. Sylvia! Where are you going with that cat?

327. Rome is full of cats, if we start—

328. Come here! Stop!

329. You don't know. Wait in the car. I'll go get it.

330. I'm going. Get in the car.

331. Excuse me. Do you know where I can I buy some milk? Some—

332. All right, all right. Thanks.

333. Yes, Sylvia, I'm coming, too.

334. I'm coming, too.

335. Yes, I guess she's right. I'm making a mistake.

336. We're all making a mistake!

337. Sylvia, who are you?

338. Turn him.

339. Stay right there. Good. Don't you move.

340. - And to think this guy did Tarzan. - Put him back.

341. I'll take this one from the mirror.

342. Stay there. I'll take one while you're photographing him.

343. Here they are. Here's Marcello.

344. - Mr. Robert. - Not again, guys. Go away.

345. Hey, wake up!

346. Mr. Robert. Sylvia! Look!

347. Marcello, you've got to give us the details.

348. - Do me a favor. Leave! - But I've got to work!

349. - Enough. - Get lost, will you?

350. - Marcello, why is her dress wet? - Enough, please!

351. - Why is it wet, Marcello? - I don't know!

352. This will end up in a fight.

353. Go after her, Mr. Robert.

354. - How do you say "Go after her"? - Hurry, it's not over yet.

355. Marcello, can you fight in English?

356. - Nice! - Marcello, hit him too, no?

357. - Marcello, raise your head a bit. - Is he leaving already? Mr. Robert.

358. Marcello, what happened?

359. Marcello! This one is done. Now what do I do?

360. Put the horse on the table and her on the ground.

361. I'll be right back.

362. Do I pick you up at 8 tonight? Yes or no?

363. - Boy, you sure are vain. - I'm not vain, dear. I'm working.

364. Steiner.

365. I thought I saw you come in.

366. How are you? What are you doing here?

367. And you? I'm so happy to see you again.

368. Well, I'm kind of at home here.

369. Father Franz found this book for me.

370. It's an old Sanskrit grammar book.

371. It's been so long! How's your book going?

372. It's going. I'm gathering material. Actually, I just finished.

373. I thought I'd let you read it. And you?

374. I read one of your recent articles. I liked it very much.

375. - No. - Why? It was fine.

376. It was vivid, passionate —

377. the best of you.

378. Qualities you insist on hiding which nonetheless belong to you.

379. - I don't think I know how to write. - I live near here.

380. Why don't you come to see me one evening?

381. - Can you stay another five minutes? - Sure.

382. - Father, can I come up with a friend? - Yes. Sure.

383. - Are you sure we're not disturbing? - Not at all. Come on.

384. As you see, these priests don't fear the devil.

385. On the contrary.

386. They even let me play the organ.

387. Okay, Steiner, don't be too noisy.

388. Don't worry. You'll hear some jazz at the most.

389. - Couldn't we close the church? - If it's jazz, I like it.

390. Sorry, I promise I won't do it again.

391. You want to try, Marcello?

392. We're not used to hearing these sounds anymore.

393. Such a mysterious voice. It seems to come from inside the Earth.

394. - What would you like to hear? - You choose. I trust you.

395. Where did they say it was? At the end of a wall?

396. - Hey! Paparazzo! - They told me at the 47th kilometer.

397. - I can't stomach boiled egg at this hour! - Eat it.

398. - I don't want it! - Eat it.

399. And chew slowly.

400. We should've come yesterday. It'll be packed with photographers.

401. - Do you have some coffee? - Not much, and Marcello needs it.

402. I don't want a banana.

403. - I don't want it, Emma! - Eat it. Eat it.

404. And chew slowly.

405. - The Madonna's children? - Yes!

406. - Where is the miracle field? - That way!

407. It's better if you stay here. There's too much confusion.

408. Norman! Norman!

409. Here. Don't go anywhere. Norman!

410. Hi, Norman. Where are the children?

411. They're locked up in police headquarters.

412. Take me with you. I'll tell you all about the Communists.

413. - Is that the miracle tree? - It's down there.

414. Damn you! Damn you! Damn you!

415. You can't keep those two children in there. It's abuse!

416. - They say everyone's upstairs. - Let's go in. Come on.

417. - Where? - This way!

418. - Where are the children? - I don't know.

419. - And where is the marshal? - Who knows?

420. What about the 500 lira the journalist gave you?

421. Can I go home?

422. - Brigadier, sir... - The lady gave you 1000 lira—

423. I feel a bad pain in my waist. I'm catching a cold.

424. You're right. It feels like winter already.

425. If you're going to give me some money, don't tell my husband.

426. - I won't give you any. Look over there. - Where? That way?

427. - Now over here. Like this. - The grandfather's here too!

428. What are the children's names?

429. - Dario. - What?

430. - Dario and Maria. - Dario and Maria. Nice!

431. Good! Yes, cry!

432. It's a real miracle. The Madonna remembers everyone!

433. - Do I look good like this? - You're perfect!

434. - The cigar? - I'll give it to you. Sing first.

435. - Then it's not a miracle? - I don't believe it.

436. The Lord can do it anywhere, they often occur for the less fortunate,

437. - but they are very rare events. - Couldn't this be one?

438. No, those youngsters aren't being honest.

439. Whoever sees the Madonna is changed. They don't make money on her!

440. Miracles are born out of silence, not in this confusion!

441. So, kids, while you were going to school,

442. - who did you see next to that tree? - The Madonna!

443. And who saw her first?

444. - I did! - I did!

445. - You saw her together, then? - No, he saw her first!

446. - Then what happened? - They're my niece and nephew.

447. We got on our knees. The Madonna looked at us and smiled.

448. Her feet didn't touch the ground.

449. Did she tell you she was the Madonna?

450. They really don't want to believe it.

451. Could it really have been the Madonna?

452. It doesn't matter if it is or not.

453. What do you mean, it doesn't matter? Why do you say that?

454. Of course it doesn't matter.

455. Our Italy is an ancient land filled with natural and supernatural forces.

456. Therefore, everyone feels their influence.

457. He who looks for God finds Him where he wants.

458. - Did you come for a miracle too? - No, I'm here with my fiancé.

459. He's a journalist. He's here for work.

460. All this yelling, these people, frighten me.

461. You three stay in that spot. And don't laugh! Bring up the crane.

462. Higher. Keep going.

463. Sorry, I made a mistake! Come down! Come back down.

464. Let's try the children's scene!

465. Remember, the children are smaller. Am I in the shot? Can you see me?

466. Come on! Quickly!

467. Quickly! Hurry, please.

468. - Here's my fiancé. - Good. Go to him.

469. Excuse me for a moment.

470. Ready? Go!

471. Speak up! Why aren't you praying? Everyone has to yell!

472. Pray more! Pray more!

473. Now, it's 7:00. We'll meet in a couple of hours.

474. Grab a bite to eat. Thank you. See you this evening. Have a good meal!

475. Alessi Emilio. Alessi Stefania. Bertolucci Eugenio.

476. Bertone Mario. Bertone Letizia...

477. Holy Madonna, make this child of mine get well.

478. Grant me this wish. I ask you with all my soul.

479. Don't worry, darling. The Madonna hears us. She's good.

480. A large crowd has gathered in this once deserted and unknown area.

481. Many are believers, many are curious.

482. Among the curious, there are journalists, photo reporters and correspondents

483. from papers all over the world.

484. There is an innumerable number of cars piled up.

485. The night is humid but full of stars.

486. The weather has improved after all the rain.

487. We just found out that the two children are still held by the police.

488. We await further word from Rome.

489. We're now interviewing the two children's uncle.

490. We want to ask him, when was the first time they saw the...

491. The miracle.

492. My niece and nephew first saw the holy image of the Madonna on March 15 of...

493. the next year.

494. - You mean the current year? - The current year. And...

495. Emma, the children are coming.

496. - Permission from Rome arrived by phone. - Really?

497. - Yes, they are coming. - The children are coming!

498. Emma, you stay here. Good evening. I'll be right back.

499. - Where are you going? - I'm going up there to see something.

500. - I'm coming, too. - No, darling, stay here with the lady.

501. Come on.

502. Wait here.

503. Marcello, come down.

504. But I just came up. Don't worry.

505. Should I come up?

506. Amilcare, tell the generator operator to move down a bit more.

507. Try the channel hoses and keep them at minimum capacity.

508. Marcello, why did you change so much?

509. Why don't you love me anymore?

510. Holy Madonna, if only he married me...

511. I'd come here on foot every day and thank you.

512. But I'm not asking you that.

513. All I ask is for him to love me and be mine, as he one was.

514. - Here they are! - The children!

515. Here they are! Go as high as you can.

516. As soon as they get to the tree, get a nice dolly shot.

517. Wait, don't start yet. I'll give you the signal!

518. Hi, beautiful, how are you?

519. Put the 5000 on them and then on the crowd. It's dark over here.

520. My wife is there, too.

521. Sometimes she makes me so upset and other times...

522. Heal me!

523. Calm down, keep calm.

524. One at a time.

525. - It's raining. - This is going to get dangerous.

526. Massimo, the water makes the lights explode. Shut everything off!

527. Turn all generators off!

528. We had to take shelter in the bus because it started to rain again.

529. Mario! Mario!

530. Mario, where are you?

531. The Madonna is over there!

532. The children are getting up again.

533. Now they're running in the opposite direction.

534. They cry out that they see the Madonna.

535. The crowd is following them, going wild.

536. They changed direction once again, they're headed to another area.

537. There she is!

538. Let me through, this is going to kill them.

539. They'll catch pneumonia!

540. Quiet!

541. The Madonna said that if you don't build a church here,

542. she won't come anymore. Good night. Go home! Get some sleep!

543. Let me go! Let me go!

544. - Paparazzo, give me a break. - But it's a nice shot!

545. Let me go! How can you be this way? It's not possible to be like you!

546. Hyenas! You're worse than hyenas! You don't respect anyone!

547. You make me sick! Cowards!

548. Why are you crying now? Where did you leave her?

549. I don't remember! I don't remember!

550. He's dead.

551. He's dead!

552. Out of the depths I cry to thee, O Lord. Lord, hear my voice.

553. Let thy ears be attentive to the voice of my supplications.

554. If thou, O Lord, shouldst mark iniquities...

555. to thou, O Lord, we present the humble soul of thy son, Aloisio,

556. who will live with thou forever and ever.

557. Grant him eternal rest, O Lord, and may perpetual light shine on him.

558. Good evening, I'm Steiner's wife. We were waiting for you.

559. Good evening, Marcello. How are you?

560. Good. What a lovely home.

561. Is this Emma? I've been wanting to meet you.

562. - Thanks for coming. - Excuse me.

563. Come here.

564. - Hi, Anna, how are you? - Did you finish your book?

565. This is Margherita. You know her paintings.

566. - Of course. - Sure!

567. - You didn't even come to my exhibition. - What a beautiful hand.

568. She's one of your great admirers,

569. but that can't be true, because she doesn't speak a word of Italian.

570. She only said that you're very decorative.

571. She's right.

572. It might sound strange, but I think I know you well.

573. The day you understand that you love Marcello more than he does...

574. you'll be happy.

575. I always said it. The only real woman is the Oriental one.

576. After all, where was Eve? In the Garden of Eden.

577. And where was the Garden of Eden? In the Orient!

578. - Over there, love is really— - Why did you marry me, then?

579. I know, I made a big mistake.

580. Mysterious, motherly, both lover and daughter.

581. The Oriental woman huddles at your feet like a little tiger in love.

582. This guy's been talking about the Orient for 15 years.

583. Why doesn't he stay there?

584. - Will you introduce Emma to me? - Of course.

585. What a lovely face! Can I say something?

586. Don't lose hold of this man.

587. I'm saying this in his best interest, not yours, otherwise...

588. The Oriental submits both her spirit and her flesh...

589. entirely!

590. May I introduce my friend Marcello and his fiancée Emma?

591. Good evening, everyone.

592. I agree with your concept on women.

593. We have much to learn from these Oriental women.

594. Because they've remained close to nature,

595. the nature they conquered after many centuries of civilization.

596. - What use is civilization to you? - What now?

597. I'll tell you. You don't know how to make love anymore!

598. Speak for yourself, Leonida.

599. - Marcello, would you like a drink? - Yes, thanks.

600. I envy you very much.

601. You know, I've read all your stories from around the world.

602. I'd like to travel myself. You get the chance...

603. to meet exceptional people, women of all races.

604. I'd like to have children of all colors: red, yellow...

605. Imagine the satisfaction. Like a bouquet of country flowers.

606. Can't you say anything else?

607. You must have an extraordinary gallery of memories.

608. Memories? You think someone my age can be happy with memories?

609. Most of all, I have projects.

610. What a splendid creature. You're our friend's fiancée?

611. - Yes. - You must be from the South.

612. What an extraordinary guy.

613. He's written dozens of important books, yet has maintained a childish candor.

614. I wonder where he finds so much optimism, so much faith.

615. I'm happy that he comes and I always watch him with awe.

616. At times, I wonder if I envy him.

617. Listen, I see that you have a magnificent Morandi.

618. Oh, yes, he's my favorite painter.

619. The objects are flooded with a wistful light...

620. and yet painted with such a detachment, precision, rigor...

621. that makes them almost tangible. You can say that it's an art...

622. where nothing is coincidental.

623. Steiner said that you have two loves...

624. and you don't know which one to choose.

625. Journalism and literature. Watch out for prisons.

626. Stay free, available, like me.

627. Never get married. Never choose.

628. Even in love, it's better to be chosen.

629. I read your poetry a few years ago, when I thought about writing poetry.

630. I like it. It's strong, sharp.

631. - It doesn't seem like a woman's writing. - What do you know about women?

632. This is the art I prefer. The one I think we'll need tomorrow.

633. A clear, precise art...

634. without rhetoric, that doesn't lie, that isn't flattering.

635. Now I have a job that I don't like, but I often think about tomorrow.

636. We must all think about tomorrow, but without forgetting to live today.

637. I think if one lives intensely...

638. in fullness of spirit, every instant will count as a year...

639. and every year one will be five years younger!

640. - Iris, you're an oracle tonight. - An alcoholic oracle!

641. Oh, friends, you think too much about the future.

642. But you seem so different. What do you do with your days?

643. I mean, what do you like to do most?

644. Well, I don't know. And you?

645. I know it exactly. I like the three big escapes:

646. - Drinking, smoking and going to bed. - And this is your wisdom.

647. You read my poems, but you never understood me.

648. You are the true primitive, as primitive as a Gothic spire.

649. You're so tall that you can't hear any more voices up there.

650. If you could see my real height, you'll see I'm not much taller than this.

651. as primitive as a Gothic spire.

652. You're so tall that you can't hear any more voices up there.

653. If you could see my real height, you'll see I'm not much taller than this.

654. Oh, this is an old recording. I'm sorry, I'll shut it off.

655. What is it? Why can't we hear it?

656. I don't want to bore you. They're just sounds.

657. They're nature sounds he's recorded.

658. - Tell him to play them, please. - No, it's not worth it.

659. Come on.

660. If they don't interest you, why did you record them?

661. Because I thought they were beautiful. Do you really want to hear them?

662. I already know them, they're extremely stimulating.

663. As you wish.

664. Birds.

665. That's exactly how they sound.

666. This is a forest.

667. What are you guys doing here?

668. - Why did you get out of bed? - Excuse me a moment.

669. You'll get a cold with those bare feet!

670. He heard your storm and he woke up.

671. - You just wanted one more kiss! - Daddy hardhead.

672. Daddy hardhead? All right, everyone knows now!

673. - Daddy's hardheaded. - What lovely children!

674. - Such intelligent eyes he has. - Yes, it's true.

675. When one says something that strikes him...

676. first he thinks about it with a serious little face and then he laughs cheerfully.

677. If you give him a flower, first he looks at every part...

678. then he laughs because he understands that it's beautiful.

679. The same way you smile when you listen to some good music.

680. Well, now, be good and go back to sleep.

681. Then, I promise, I'll come say good night.

682. - Now, say good night to everyone. - Good night.

683. The girl is completely different. She loves combinations of words.

684. A new phrase enchants her.

685. At times she invents beautiful ones herself. I noted some of them.

686. For example: "Who is the mother of the sun?"

687. It's really beautiful. It's like a poet's phrase.

688. - And do they sleep with you? - They'd like to, but we don't allow it.

689. At times, though, the little one sneaks into our room

690. and jumps in bed between his mother and I.

691. He takes her finger and squeezes it really hard.

692. You can't imagine how sweet it is to fall asleep with a child next to you.

693. Have you known Steiner for a long time?

694. Yes, but we've only seen each other three or four times. But...

695. Marcello, one day you too will have a house like this.

696. We get on well together, don't we? We're made for each other.

697. - Let me come here more often. - I told you, you can come anytime.

698. What is it, Marcello?

699. I should change my environment. I should change many things.

700. Your house is a real refuge.

701. Your children, your wife, your books, your extraordinary friends...

702. Me, I'm wasting time. I won't manage anything anymore.

703. Once I had ambitions, but maybe I'm losing everything.

704. I forgot everything.

705. Don't think that safety is being locked up in one's home. Don't do what I did.

706. I'm too serious to be an amateur, but not enough to be a professional. There.

707. A more miserable life is better — believe me —

708. than an existence protected by an organized society,

709. where everything is calculated, everything is perfect.

710. Marcello, I can only be your friend, therefore I can't give you any advice.

711. But if you want my help,

712. I can have you meet an editor who can give you a decent job,

713. and give you the chance to focus on what interests you more.

714. It's always better than writing for those half-fascist papers, no?

715. Do you want to think about it and discuss it later?

716. Come.

717. Sometimes at night this darkness, this silence, weighs on me.

718. Peace frightens me.

719. I'm afraid of peace more than anything else. To me it seems

720. that it's only an outer shell and that hell is hiding behind it.

721. I think of what my children will see tomorrow.

722. "It will be a wonderful world," they say.

723. But how, when a phone call...

724. can end it all?

725. One should live outside of passions, beyond emotions...

726. in that harmony you find in perfect works of art...

727. in that enchanted order.

728. We should learn to love each other so much...

729. to live outside of time, detached...

730. Detached.

731. I can't spend my life calling you on the phone!

732. I want to work in peace! I don't know!

733. Miss, could you please switch off that music?

734. No, I won't tell you where I am. I don't know when I'll be back!

735. Go to hell! Wretched madwoman.

736. Quit it with that little voice, will you?

737. - Paola, this is broken. - Go get another one, then.

738. - Are you having anything to eat? - No. Yes... I don't know.

739. The food is good, you know.

740. - Is it difficult to type? - Do you want to be a typist?

741. I'd like to.

742. - You're a pretty girl, you know? - Pretty, you're exaggerating!

743. Come on, you know very well that you're pretty.

744. - Okay. - Paola, this one's broken, too.

745. You're not from Rome. Where are you from?

746. - I'm from Umbria, near Perugia. - Why did you come here?

747. My father works in Anzio, that's why I came here.

748. After Christmas, though, I'm either going to Ostia or to Rome.

749. - Who is he? Your brother? - No, he's my helper.

750. Wow, they treat you well here.

751. Well, yes, they treat me well, but I don't like it much.

752. I can't wait to go home.

753. Sunday I saw a car with Perugia license plates

754. and I felt so homesick that I could've cried.

755. Let's see your profile.

756. - Why? - Let's see it.

757. - But why? - Come on, one second.

758. You look like one of those little angels

759. from the paintings of an Umbrian church.

760. - They've already told you, huh? - No.

761. Why are you laughing?

762. No reason.

763. - Do you have a boyfriend? - Yeah, right, a boyfriend.

764. You're not writing anymore?

765. - Then can I turn the music back on? - Yes, sure.

766. You want to throw out this piece of paper too?

767. What do you want?

768. - Marcello, your father is here. - My father?

769. - Over there. He said he was your father. - Come on, don't joke around.

770. He's over there, eating at that table. He's been looking for you for two hours.

771. Didn't he say he was his father?

772. Marcello, it's true, he's at that table over there.

773. - Where? - Next to the black man.

774. Dad. Dad!

775. Marcello! Finally.

776. I arrived in Rome this morning.

777. I looked for you everywhere: at home, at work.

778. I was about to leave when a friend of yours told me to wait for you here.

779. Yes, Paparazzo.

780. With my line of work, I run around all day, Dad. I only go home to sleep.

781. How come you're in Rome?

782. To solicit that damn case at the Ministry.

783. Everything gets shelved here. Anyway, you look well.

784. - You look well, too. - I'm okay.

785. And how's Mother?

786. She gave me a letter for you.

787. She's well, but always worrying, you know. She's always been that way.

788. And with age, these things get worse. Here it is.

789. Poor Mother.

790. But really, you could write more often, son...

791. and even come once in a while.

792. - You haven't been home in a long time. - I know, but here—

793. - Hi, Marcello. - Hi.

794. - She said hello. - Yes.

795. - Is she an actress? - An actress?

796. She wishes. She's a two-bit extra. An actress!

797. Do you want a drink, Dad? You want a gin-fizz?

798. What? A "gin-fritz"? No, my beer is just fine.

799. Hell of a hustle here at night! Is it like this every night?

800. - Yes. - In our town, it's pretty sad at this hour.

801. - Are you well here? Have you adjusted? - Well, yes. It's been a while now.

802. How's work going? Is it fruitful?

803. If you're a good journalist, it can be pretty fruitful. I've been lucky.

804. Now I know everyone, I can even get into parliament and the Vatican.

805. - Really? - I have a car — over there —, an apartment...

806. By the way...

807. every time I called, some woman answered the phone.

808. - Who is she? - What?

809. I won't say anything — you're a man now —

810. just don't do anything foolish. Having fun is fine, we're not saints...

811. but marriage is something serious. When someone lives with you—

812. No, no, Dad, I understand. You spoke with the cleaning lady.

813. - Good evening. You finally found him. - Yes, thanks.

814. - You've already met my father, right? - Sure. We're friends.

815. Yes, he's the one who told me to wait for you here.

816. Are you a photographer? A photo reporter!

817. Interesting work. Artistic work, in some ways.

818. Do you work with my son?

819. - Unfortunately, yes, I got gypped. - That's a good one!

820. Do you have any idea where the prince is?

821. I was about to bust him, but he got away.

822. - I'm going to take a look around. Bye. - Maybe you guys are busy.

823. - No, we're not, Dad. - You can tell me if you have to go.

824. - There's work here, too. - Really?

825. You know, important people come here, they make news, we take pictures...

826. - My paper is up there. - I see.

827. Well, you just sit here, then?

828. Shall we go to the cinema?

829. No, I always go to the cinema. At home, there's nothing else to do.

830. It doesn't matter. No, I'll leave you alone now. You guys are young...

831. No, Dad, we don't have a thing to do.

832. Why, what can we do? I mean, just for a couple of hours before going to bed.

833. There are only nightclubs at this hour.

834. By the way, a friend of mine who was here told me...

835. about a place that's not too bad. Some sort of cabaret...

836. The Chit Chat... The Ca Ca...

837. The Cha Cha! That's an old club.

838. - The Cha Cha, right! - Do you want to go there?

839. I mean, just to take a look. Since I'm not here that often.

840. - Paparazzo! - Good. Invite your friend, too.

841. - No, no, no. I'm paying here. - No, Dad, come on... Okay.

842. - Antonio, come here. - Waiter!

843. Paparazzo!

844. - Come on, let's go with my father! - Where?

845. - Let's go! - Hey, what about the prince?

846. Oh, I see. You pay everything together here. That's okay.

847. Paparazzo, hurry, get in the car. This way, Dad.

848. - Let's go! - Where are we going?

849. - We're going to the Cha Cha Cha. - Marcello, but my Vespa...

850. - Take yours, then. - I'll do the scoop myself.

851. Tell the editor-in-chief I'll call him at home.

852. - Get busy, boys! Bye, Mariella. - Paparazzo, see you at the morgue!

853. - Is this table okay, gentlemen? - Nothing has changed.

854. It's just like I remember it. Unbelievable.

855. - Were you here in 1922? - No, I was in Turin.

856. - I've been in Rome for a few years. - Oh, good.

857. Dad, would you like something to drink?

858. Of course I want to drink!

859. - Do you want a whiskey? - Yes, whiskey.

860. Fine. Bring us three glasses of whiskey, please.

861. - Sure. Which brand? - Black & White.

862. Why don't we do a nice report for the paper in here? It's like a tomb.

863. She's beautiful. She's got those long legs.

864. - What? - He said she has long legs.

865. - Have you been to Paris? - No.

866. I've been there a couple times.

867. Once, in a cabaret like this one, there was a beautiful girl...

868. she had long legs like that one.

869. She stripped, and once naked, we discovered she was a guy.

870. - Do you have a father? - Yes, I do.

871. He must be young, you're just a kid. What does he do?

872. Nothing, he's a drifter. He does nothing all day. He just gives my mother grief.

873. He sings, he whistles, he'd like to go to the cinema but has no money.

874. - No, it's not true, Dad. - Well, it could be.

875. Hey, Paparazzo. Isn't that Fanny?

876. - Lilly, look who's here. - He's something!

877. I'm still waiting for the picture in your paper. You jerk.

878. And you're just beautiful!

879. - What's her name? - Fanny.

880. - You know her well? - He sure does!

881. - She's French. - Pleasant girl.

882. So she's French.

883. Liar.

884. Joker. Swindler.

885. How can you go out with friends like him?

886. - He's my father. - Yeah, sure!

887. - She doesn't believe it, Dad. - No?

888. - Really? - Yes.

889. - Good evening, miss. - Good evening, sir.

890. - My compliments! Good job. - It's because I promised her a photo,

891. - but she's really a nice girl. - I don't doubt it.

892. - Shall we invite her to the table? - Why not?

893. Let's invite her. In that case, boys, let's order a bottle of champagne.

894. - What? An orange juice is fine for her. - No, champagne is fine.

895. - Champagne is okay, Dad. - Let's order the best!

896. I know what I'm talking about. I am a connoisseur.

897. I sold champagne to half of Italy!

898. Meanwhile, have a drop of whiskey.

899. Cheers to you.

900. - Cheers to you, Dad. - Thanks.

901. - Good! - Yes, it's good.

902. - Did you order the champagne? - Of course.

903. Here. It comes with a waitress! What more do you want?

904. - Fanny. No, don't bother. - My pleasure.

905. I'm not saying hello to you. You either.

906. - See how your son works? Some job! - I see, I see.

907. Send him back to his hometown!

908. Tell me, you're not really his father, are you?

909. - Sure I am! - It's not possible. You're too young!

910. Oh, please, miss, let's not talk about age.

911. "Don't awaken desperate sorrow, because my heart would suffer!"

912. I'll tell you, it's boredom that ages us.

913. I traveled a lot for business as a young man.

914. When I was on the road, I felt like a lion.

915. Even now, when I travel, I can keep up with any of these young men...

916. but at home, it's as though I were 80.

917. What are you doing? You save your abilities to open a bottle of Coca Cola.

918. But I'll take care of the champagne.

919. Quiet. Look.

920. It's so beautiful. It always makes me cry.

921. Yes, it makes me cry.

922. Miss, your champagne.

923. To your beautiful legs, which I greatly admire. Cheers.

924. Good, very good.

925. But we have to drink another drop. Yes, we do.

926. First I toasted to your beautiful legs...

927. now we must toast...

928. I wasn't going to say anything scandalous.

929. Your father is much nicer than you are.

930. - Much, much nicer! - Come on.

931. Oh, please, miss. Don't be silly.

932. I want to teach you a difficult game. Let's see if you can do it as well.

933. Pay attention. You put a coin on your forehead...

934. and you make it fall without touching your nose.

935. - But this is easy. A baby could do it. - Want to try?

936. Let's take a coin and put it on your forehead.

937. There. Let's see. Let's see you do it.

938. - Wait, wait. - I'm waiting.

939. Wait, perhaps...

940. You got me! Now I'll tell you a joke...

941. a nice little story.

942. Look, it's a story about a woman who sends her husband to the market

943. to buy three shirts, six pairs of handkerchiefs and—

944. What do you call this for women?

945. Brassiere.

946. So along the way, the man drinks some wine and forgets everything.

947. - When he gets home, the teacher says— - The teacher?

948. - The wife. - The wife, come on, Paparazzo.

949. "Well, did you take care of my business?"

950. "I got everything," he answers and takes out his handkerchief, and she says:

951. "Where are the handkerchiefs?" "Here they are!"

952. "One, two, three, four, five, six."

953. "Where are the shirts?" she asks. "Here they are, dear. One, two."

954. Then she says, "And where is the brassiere?"

955. "Wait, I bought a brassiere. It's here.

956. "I got it, I got it.

957. "Here it is!"

958. - But you don't need one. - Dad!

959. Well, she's so beautiful!

960. Hey, there is no more champagne. We have to order some more.

961. Waiter!

962. This is a waltz.

963. I've half a mind to...

964. - Miss, may I have this dance? - Here I am.

965. I'm ready, too.

966. What's wrong? I can manage. I can manage.

967. You know that when I was a boy—

968. Paparazzo. Here you go.

969. When I was a boy, my father was never at home.

970. He'd stay away one week, 20 days. He never came back.

971. How my mother cried.

972. I almost never saw him. I don't really know him.

973. But I was glad to see him again tonight.

974. - He's a nice guy, huh? - Yes, very.

975. You have to show him a good time tonight.

976. Yes, but...

977. Maybe this isn't the way you dance this.

978. No, don't worry. I like it better this way.

979. Oh, yeah? Then let's dance!

980. - What extraordinary eyes. - Oh, yeah?

981. - I'm not sure how to take this. - It's a sign of my infinite admiration.

982. I'm afraid you're just like your son.

983. - How am I? Like my son? - Yes!

984. We must be of the same breed!

985. No, no, no. You, daddy, come with me!

986. Marcello, follow me!

987. Be careful, I go very quickly, even if I don't have an English car.

988. You really want to go to her place to eat spaghetti?

989. Yes, yes, he wants to eat spaghetti Bolognese with me. Go away.

990. Here I am!

991. Are you comfortable in my carriage?

992. - Listen, Dad... - What is it?

993. - ... is everything all right? - Yes, I'm in great company.

994. - Leave me alone. - Say, can you drive?

995. If you made love the way I drive, you'd be very happy.

996. - Be quiet! Be a good girl. - You'll wake everybody up!

997. Don't go too fast!

998. My father is still a good-looking man, isn't he?

999. Gloria, wake up. We're here.

1000. You took the longest way, you know. Oh, my foot!

1001. Why did it take so long?

1002. - Well, you're not getting out? - No, I'm not coming.

1003. Why? What are you, busy?

1004. I'm tired. Actually, Paparazzo, you know what?

1005. I'll leave you the car. Take my father home.

1006. Come on, now.

1007. Listen, tell him I had to stop by the printing house,

1008. and to call me in the morning before he leaves.

1009. Come on, why don't you come?

1010. I don't feel like it. I want to take a walk in this area. I don't know it very well.

1011. Where have you been? I got here half an hour ago!

1012. - Marcello, your father is sick! - What?

1013. He got sick. Maybe he drank too much.

1014. - I was going to the pharmacy. - You left him alone?

1015. He wants these drops he wrote down.

1016. Paparazzo, run to the pharmacy and get these drops!

1017. - What? - Just hurry!

1018. - What floor? - Third.

1019. Which door? What's the number?

1020. Don't scream. It's a respectable building.

1021. Father.

1022. - Turn off the light. - Yes.

1023. - Where's the light? - Over there.

1024. Wait there.

1025. My friend went to the pharmacy. He'll be right back.

1026. It's nothing. Maybe I drank a little too much.

1027. Of course it's nothing.

1028. You want a glass of water?

1029. No, no. It'll pass, it'll pass.

1030. - What happened? - I don't know. He got sick.

1031. I was really scared. Marcello is here now.

1032. - Can I go in to make some coffee? - No, he said to wait here.

1033. What neighborhood is this? Where are we?

1034. It's called Italia.

1035. I've never heard of it. Is it far?

1036. When I used to come to Rome,

1037. I always went to a hotel close to Piazza Fiume.

1038. What time is it?

1039. Almost 4 a.m.

1040. There's a train at 5:30 a.m.

1041. I'll have to take that one.

1042. I can make it. Yes, I can make it.

1043. Listen, Dad, why don't you come to my place? You can rest a bit.

1044. No, no, no. I'd rather leave. So I'll be home by 10 a.m.

1045. - Oh, my watch. - You can leave later.

1046. I feel better. I feel a lot better.

1047. Why don't you stay tomorrow as well, Dad? Please, stay.

1048. If you don't want to stay at my place, maybe you'd prefer your hotel.

1049. What's the name of it?

1050. I'll skip work tomorrow and we can be together all day.

1051. We can talk, we can...

1052. We never see each other.

1053. I have to go. I have to go.

1054. That's the taxi.

1055. - Marcello, the taxi is here. - Which taxi?

1056. I called it. Where's my hat?

1057. We could send the taxi away. Please, go downstairs one moment.

1058. - Don't leave. - I want to leave, I want to go home.

1059. - Good evening, miss. - Goodbye and lots of luck. Goodbye.

1060. Bye, Marcello.

1061. Well, son, I'm happy to have seen you. Write to us.

1062. No, don't accompany me. I prefer going alone, please.

1063. I'll break your face!

1064. Think everyone's like her husband, who gets cuckolded and doesn't complain?

1065. He's showing off because there are women around.

1066. - What did you say? - What's going on?

1067. I don't know, but it was great. I'll find out.

1068. Good, find out.

1069. The fact remains that what he wrote is true.

1070. - Come back here, you ugly bastard! - My mother has lots of money!

1071. - Nico. - Marcellino!

1072. - Bad boy Marcellino! - How are you?

1073. - Where are you going? - To Bassano di Sutri,

1074. - to my fiancé's castle. - Why not take me along?

1075. - Sure. - Paparazzo was looking for you,

1076. he wanted to do a shoot for Jardin de Mode.

1077. I haven't taken fashion pictures in a year. I've had it.

1078. - Nicolina! - There they are!

1079. Nicolina, we're here!

1080. Is there room for my friend and I?

1081. - No, try in the other car. - What a shame.

1082. See you there. Bye.

1083. Stop. Is there room for two forlorn souls?

1084. - There is a bigger car behind us. - Oh, my God.

1085. Stop, Oliviero. Can my friend come too?

1086. - The usual pimps you fall in love with. - Come, come.

1087. As soon as we're out of Rome, you're driving.

1088. After Capranica, the olive grove shortcut.

1089. Follow us!

1090. Let's hope not, so we can go to bed early.

1091. Anyway, only the fossils must be left at this hour.

1092. The parties at our house are famous for being first-class funerals.

1093. Your brother's gone hunting, I believe.

1094. - Irene, take this dog-looking thing back. - Give it to me.

1095. What town are we going to?

1096. - What town are we going to? - Bassano di Sutri.

1097. Why are you crying? What language is that? Where are you from?

1098. Eskimo!

1099. Beautiful night to all of you!

1100. What are you doing? Where are you going with that?

1101. - Careful not to spill everything. - I don't get the meaning of this walk.

1102. - Hi, Clemente. - Giulio, look who I brought.

1103. You trollop.

1104. Who told you to come here?

1105. They came from all regions of Italy.

1106. We were all there. It was a beautiful, touching ceremony.

1107. The people bringing flowers to the tomb of their beloved leader.

1108. Excuse me. I haven't had the pleasure of meeting you.

1109. - I'm the third son. - Rubini, my pleasure.

1110. The least important, naturally.

1111. You want to meet someone else from the family? Or have you had enough?

1112. - Grandma. Grandma! - No, don't bother.

1113. Grandma!

1114. - I'd like you to meet Mr... - Rubini, pleased to meet you.

1115. Good, good.

1116. She's pretending to be asleep so she doesn't have to talk.

1117. Let's continue climbing the genealogical tree.

1118. Father, meet Mr. Rubini, someone who looks like he actually works.

1119. Really? How are you?

1120. - What a nice-looking young man! - Are you a journalist?

1121. I'm beat. I would need a nanny to take me to bed.

1122. Do you want to do it, Jane?

1123. Will you be my nanny tonight?

1124. Lady Rodd, do you ever wash these dogs? They stink.

1125. They have a wonderful odor.

1126. And this is the historic Irene, this year's debutante. Who I really want to marry—

1127. - Thanks, I already know who he is. - Excuse me.

1128. Come on. I'd like to dance.

1129. Which of the two was making advances, you or him?

1130. Me, of course.

1131. You really want to see your name in the papers, huh?

1132. - Why don't we go somewhere quiet? - And where would that be?

1133. My first husband was a journalist. His news was always exaggerated.

1134. Poor me, I only realized it at the end of our honeymoon.

1135. It's better to have exaggerated news than no news at all.

1136. My husband feels the same.

1137. It's often the public who demands these amplifications.

1138. Personally, if you allow me,

1139. I could give you some news that isn't exaggerated at all.

1140. I know this perfume.

1141. Maddalena!

1142. Where did they find you?

1143. I'm fine, I'm just drunk.

1144. - Did you know Jane? - No.

1145. She's an American painter who lives in Rome.

1146. - Everyone invites her... - Really?

1147. to hear the filthy things she says.

1148. You'll see, she's very funny.

1149. Those are the Montalbanos.

1150. Federica, the wolf. She likes to milk the young ones.

1151. The Confalonieris: They own half of Calabria and the nicest flats in Rome.

1152. Little Eleonora: 80,000 hectares, two attempted suicides.

1153. The Sanseverinos: magnificent castle in Tuscany.

1154. And that's Don Giulio and Nico, his Swedish friend.

1155. Next year she'll be a princess, you'll see.

1156. Don't make that face. Do you think we're any better?

1157. At least they know how to do these things with a certain elegance.

1158. - That villa in the park, who lives there? - Nobody. It's vacant.

1159. It's the nicest, as far as style goes.

1160. I'm vacant too, you know?

1161. And what is this gynaeceum?

1162. Great-grandmothers, great-great-grandmothers.

1163. Beautiful women. They all have the same eyes, did you notice?

1164. You know, Maddalena, I thought of you often.

1165. - I don't understand you. - Really?

1166. Neither do I.

1167. It doesn't matter.

1168. If you're trying to talk seriously, I don't want to hear it.

1169. How is your friend?

1170. - Are you afraid of serious talks? - No!

1171. You don't know how to talk seriously. Or do you?

1172. Where are you taking me?

1173. Here. This is the room for serious talks.

1174. - Have a seat. - What are we doing?

1175. Where are you going?

1176. Marcello, can you hear me?

1177. Have you ever felt me so close?

1178. Where are you?

1179. - Can you hear me? - Yes.

1180. Where are you talking from?

1181. From a faraway place, very far away.

1182. It'd be as if I didn't exist anymore, if I were not to speak.

1183. Yes, I'm still here. Don't move.

1184. Would you marry me?

1185. - And you? - Yes, I'm in love with you, Marcello.

1186. Since when?

1187. Listen.

1188. - You know what this sound is? - I don't know.

1189. And now? Guess.

1190. - A kiss? - For you, Marcello.

1191. So will you marry me? Or are you afraid to answer?

1192. Why this question? Are you a bit drunk?

1193. Yes, a little.

1194. I love you, Marcello.

1195. You know, I'd like to be your wife, be faithful.

1196. I'd like everything. I'd like to be your wife and to have fun like a whore.

1197. Tonight, I don't know why, I feel like I love you a lot, like I need you.

1198. - Is that true? - Yes, it's true.

1199. I don't know if you're just playing, but it doesn't matter.

1200. I love you. I only want to be with you.

1201. You'd hate me after a month.

1202. Why should I hate you?

1203. Because one can't have everything. You can have one thing or the other.

1204. For me, it's too late to choose. And I've never wanted to make a choice.

1205. I'm a whore, you know. It's hopeless, I'll always be a whore.

1206. - And I don't want to be anything else! - No, it's not true.

1207. You're an extraordinary woman, Maddalena. I know this.

1208. Your courage, your sincerity...

1209. Really, I need you.

1210. Your desperation gives me strength. You'd be a marvelous companion.

1211. Because I could tell you everything. You know everything.

1212. Maddalena, are you listening? Answer me.

1213. Maddalena, enough playing. Come back. I want to talk to you more.

1214. We're going on a ghost hunt at the old villa.

1215. Is Maddalena with you?

1216. Giulio, tell everyone to be careful. You know that the bridge is rotted.

1217. Once in '22, when I came to Rome,

1218. I spent a night in a castle like this near Genzano.

1219. You know, once, in my sister-in-law's castle, we saw a little girl with a candle.

1220. - Then we found out it wasn't a little girl. - What do you mean?

1221. - Nor was it a candle. - Oh, please! Don't be silly, now.

1222. - I'm ready to bet that when I'm dead— - Listen to the silence!

1223. - Look, there's a light! - It's the reflection of the candles.

1224. You have such lack of fantasy.

1225. Don't you all remember the story that the farmers tell about the hunchback?

1226. - Giulio, don't you have electricity here? - Watch out for the bats, Jane.

1227. Bats? They're my favorite subject.

1228. Nicolina, be careful, the honorable is going to jump you in there!

1229. Darling, the door is closed. There is no key.

1230. It must be here on the floor. Give me some light.

1231. You know, I can't find it.

1232. - It's not here. - So?

1233. - So we'll go back. - Let's break it down.

1234. - Here's the key! - Give it here.

1235. - Good job, Nicolina. - Who found it? Nicolina?

1236. When was the last time you came here?

1237. It's been more than two years.

1238. - What do you use it for? - I'd make it into a great flat,

1239. - but Father didn't want to hear it. - So, what's next for the great journalist?

1240. A nice third-page article on the stupid and corrupt aristocracy?

1241. First of all, I write about other things. Second, you're really not that interesting.

1242. - Who did Maddalena come with? - Who's Maddalena?

1243. Be careful, this place must be full of rats,

1244. cockroaches, snakes and vampires.

1245. - And now whores. - Thanks a lot.

1246. I'll go first and light the way for everyone.

1247. - Giulio, when was this house built? - Five centuries ago. In 1500.

1248. - Who built it? - Pope Giulio II.

1249. - You had a pope in the family? - We had two of them!

1250. - Countess Cristina! - Irene, if you are scared, come to me.

1251. Two popes, my love.

1252. Come, I'll be your guide. This way. Come, this way.

1253. Giulio, we're sweeping the floor with our gowns here.

1254. - Oh, Irene, I could love you up here. - You clown!

1255. Allow me to say that you're an extraordinary vision.

1256. You look like you stepped out of a painting.

1257. What a disaster.

1258. This place is falling apart.

1259. Giulio, it's such a shame to see everything crumbling here.

1260. But you're never around. You're always in Rome and you don't take care of it.

1261. - What should I do, Father? - This place will be yours someday.

1262. - Giulio, I'm your ancestor. - Get lost, you idiot.

1263. Irene, please, if you see a ghost, throw yourself into my arms.

1264. Eugenio, enough! Try to be serious, otherwise go away!

1265. - Is your aunt a medium? - Didn't you know?

1266. Her husband left her because there was always a ghost in her bed.

1267. Yes, I remember.

1268. And yet I've met you someplace before. You don't forget a face like yours.

1269. Perhaps. I work, you might've seen me in some office.

1270. - You work? - Yes.

1271. Who are we trying to summon?

1272. - You're such a jerk. - Cristina's making me laugh!

1273. - It's not true! - Cristina!

1274. Who are you?

1275. Who do you want to communicate with?

1276. I feel some energy—

1277. Countess, keep the contact. Don't laugh!

1278. I'm not laughing.

1279. Do you have a message for one of us? Give me an answer.

1280. What is that light down there that's blinking always in the same place?

1281. Don't be frightened. It's a tractor. In the summer, they also work at night.

1282. - Call Sister Edvige! - Who is she?

1283. It's a nun who, in the summer, walks around here,

1284. - carrying her head on a dish. - Yeah, right.

1285. Is it still you? Why don't you leave me alone?

1286. - Go away, I beg you! - Extraordinary.

1287. Ask if it's the same person as last time.

1288. I feel your breath inside my lungs. Your blood inside my veins!

1289. She's just drunk. She's drunk.

1290. - Why is she doing that? - Easy, easy...

1291. - Blow out the candles! - Mother, I want life.

1292. Blow them out. Blow them out.

1293. I want love. I want life. I want to—

1294. - Who are you? Tell me who you are. - I want truth!

1295. Who do you want to communicate with?

1296. - Giulio. - With Giulio?

1297. Giulio, there's a message for you.

1298. That sleaze is in love with you.

1299. Giulio, you can't escape my love.

1300. - That's enough, now. Turn on the lights! - Irene, don't be stupid. We're joking.

1301. Irene. Irene, come here.

1302. Who are you, poor soul?

1303. Why are you crying?

1304. Why are you crying?

1305. Wait, I'll make some light.

1306. No, not here.

1307. No, love. What are you doing? Crazy! You're crazy, darling!

1308. Do you know this is the first time I've seen the dawn?

1309. Marcello, have you met my son?

1310. Shall we go eat some spaghetti?

1311. He's nothing but a thief. Eggs at 45 lira each!

1312. Forget it. From now on, we'll buy them in Capranica.

1313. You're still running around at this hour?

1314. - Good morning. - Good morning.

1315. - Did you sleep well, Mother? - Do you still feel like a child or something?

1316. We were at the old villa.

1317. Is that crazy Francesca there too? Tell her to come to mass.

1318. - Who is she? - She's the princess mother.

1319. What have I done to be treated this way?

1320. Not even a dog gets treated like this. Who do you think you are?

1321. If you loved me half as much as I love you,

1322. you'd understand some things.

1323. But you can't. Because you don't love anyone.

1324. - Don't shout. - You can't even fathom

1325. - what it means to love someone! - But you do, right?

1326. You're selfish, that's what you are. Your heart is locked, empty.

1327. You only care about women — you think that's love.

1328. Yes, I know. You've been saying it for four hours. I can't take it anymore!

1329. - I want to go home! - Not all men are like you.

1330. Some men are happy to find someone who loves them,

1331. and they don't go looking for other women!

1332. It's you. You're the only one like this. It's a disgrace. A disgrace.

1333. No, it's me who's a disgrace. And my disgrace is having met you!

1334. I can't stand having you around anymore!

1335. Go away! Go away once and forever!

1336. Where're you going, stupid? Come here.

1337. No. Leave me alone! Let me live!

1338. Come on, you fool, get in.

1339. Look, Emma, I'll...

1340. Come on, get in.

1341. What do you want from me? What are you looking for?

1342. You're slime. You're pitiful.

1343. You'll end up alone like a dog!

1344. You'll see.

1345. Who's going to stay with you if I leave you?

1346. What are you going to do with your life? Who could love you like I do?

1347. I can't spend my life loving you.

1348. You always say that I'm the crazy one, that I live in a dream, outside reality.

1349. But you're the one who's off the road.

1350. Don't you see that you've already found the most important thing in life?

1351. A woman who really loves you, who'd give her life for you.

1352. As if you were the only one in the world.

1353. You ruin everything.

1354. You're always cross, always unhappy.

1355. When two people love each other, nothing else matters.

1356. What are you afraid of?

1357. Of you. Of your selfishness, of the miserable bleakness of your ideals.

1358. Don't you see that you offer me the life of a spineless worm?

1359. You can only talk of cooking and bed.

1360. A man who accepts to live like this

1361. is a finished man, he's nothing but a worm!

1362. I don't believe in your aggressive, sticky, maternal love!

1363. I don't want it! I have no use for it!

1364. This isn't love, it's suffocation!

1365. When will you understand that I can't live like this?

1366. That I don't want to be with you anymore? I want to be alone!

1367. - Get out of this car! - No!

1368. You're a beast, a coward. I feel sorry for you.

1369. Yeah, well, and you make me sick. Get out!

1370. No, I'm not going. I'm staying with you!

1371. No, Emma, you're not staying with me any longer. Get out.

1372. Get out of the car.

1373. Get out of the car! It's over, don't you get—

1374. - It's over. Get lost! Go away! - Scoundrel!

1375. That's what you are, a scoundrel. Bastard!

1376. - Damn you! - I never want to see you again.

1377. - Get a truck driver to pick you up, slut! - Go, go with your whores!

1378. Hello?

1379. Where?

1380. Where are you going? You can't go through here.

1381. Go ahead.

1382. Clear the way! Let him through!

1383. - A real monstrosity, Marcello. A monstrosity. - What happened?

1384. Tiziano!

1385. He killed his two children, then he killed himself!

1386. Marcello, let me in. Tell them I'm your photographer.

1387. I'll give the pictures to your paper for cheap.

1388. Let me go in with you. Come on, Marcello, let me in.

1389. - I'm a friend. I must get in. - Just a moment.

1390. There's a young man who says he's Mr. Steiner's friend.

1391. Let him in.

1392. Come in.

1393. Distance between the floor and the bullet hole: 1.5 meters.

1394. Distance between the left wall and the bullet hole: 4 meters.

1395. Did you write it down?

1396. No, the wife doesn't know anything. She's not here. She'll be back at 1:00.

1397. Apparently, before the killings

1398. he called a close friend, begging her to go and meet his wife.

1399. Distance between the back wall and the bullet hole: 5 meters.

1400. Let's listen to that again. Rewind.

1401. You are the true primitive, as primitive as a Gothic spire.

1402. You're so tall that you can't hear any more voices up there.

1403. If you could see my real height, you'll see I'm not much taller than this.

1404. Were you a friend of the Steiner family?

1405. I was a friend of Steiner's.

1406. - For how long? Were you a close friend? - Had you seen him lately?

1407. Can you tell us about it?

1408. No. I was his friend, but we didn't see each other often.

1409. I don't know anything.

1410. Anything at all.

1411. - 3.1 meters. - 3.1 meters.

1412. Foggia!

1413. Did you notice if there was anything unusual going on in his life?

1414. - I don't know, financial problems? - No, I don't think so.

1415. Had he ever shown suicidal behavior?

1416. - I don't know. - Well...

1417. please stay available, we may need you later.

1418. Mondini, get the gun.

1419. a cheerful person, full of love and attention for the family he adored.

1420. His was almost a morbid adulation.

1421. The weapon used — a brand-new revolver, type Browning.675 —

1422. was found near his body, which lies in an armchair next to the fireplace...

1423. in a peculiar position.

1424. I'm done. I'll see him later at the morgue with the children.

1425. Fine. Thanks.

1426. - Doctor, can we cover him again? - Yes.

1427. De Angelis.

1428. Are they done with the pictures in there?

1429. Do you want to go into the children's room?

1430. This way.

1431. Doctor, it's 12:15. I must go to the bus stop and meet his wife.

1432. I'll take someone from the building, since I don't know her.

1433. - I'll come. - Thank you.

1434. - Let's go right away. - Yes.

1435. Polacci, when you're done, meet me at the bus stop.

1436. If someone comes here from the station, call me at the office.

1437. Guys, some compassion, please. At least this one time.

1438. Try to talk to your colleagues, they're really exaggerating now!

1439. Maybe he was just afraid.

1440. You're talking about Steiner? Had he been threatened?

1441. No, not in the way you mean.

1442. Maybe he was afraid of himself...

1443. of us all.

1444. When is she coming?

1445. That's her.

1446. - Please come with me. - Yes.

1447. What is it? Did you mistake me for an actress?

1448. What are you doing? What do you want?

1449. Enough, guys. Get lost!

1450. - Hi, Marcello. What is it? - Good morning. I'm Mr. Lucenti.

1451. - We must speak with you alone. - Alone? Did something happen?

1452. No. Be so kind as to follow us, please. My car is right here.

1453. - Why? - There's been a tragedy.

1454. - What happened? - Don't be scared, ma'am.

1455. - The children! - Follow us, please. Get lost, guys!

1456. What happened? Marcello, you have to tell me!

1457. You'll see them later. They're hurt. They're just hurt. But I promise you—

1458. - Enough! - What do you mean, hurt? Tell me!

1459. Get out of here!

1460. Marcello!

1461. - Stop, will you? - What do we do about the key?

1462. You guys didn't want to wait.

1463. Go in with the car. Break the gate open, come on!

1464. Hey, get out of there!

1465. Go ahead. It's open.

1466. Oh, look at the colors! How wonderful. What are you doing? Are you playing?

1467. Carlo, come and see. Marcello is going to break the glass!

1468. One, two, three!

1469. To Nadia's health and her newfound freedom!

1470. To the annulment of her marriage!

1471. To the annulment of her husband and of everything else!

1472. Thanks! Thanks to everyone!

1473. This marriage experience brings me back to my old friends filled with desire.

1474. - Kind of like being a virgin again. - It's a wonderful sensation.

1475. You have to be married first to appreciate it. Right, my love?

1476. - Be quiet. I'm confessing Lucia. - I want to hear, too.

1477. Put on "Jingle Bells"!

1478. Hey, are you two done confessing?

1479. Today, making love privately is insulting!

1480. Here they are!

1481. Don't make fun of them, because one of them is the senator's lover.

1482. Great! Beautiful!

1483. Who brought these guys?

1484. These two will be dead before Christmas.

1485. Say, weren't you a writer once, a man of letters, am I right?

1486. I announce that I left literature and journalism.

1487. I'm a publicity agent. And with great satisfaction.

1488. It's true that to survive one has to write anything, but this is pretty bleak.

1489. Listen, everyone:

1490. "He has a Greek profile, but the modernity of his expression

1491. "brings him next to the most modern actor of our time, Paul Newman."

1492. - Marcello, you're a worm! - Listen...

1493. why don't you tell us what you'd be capable of doing for an interview.

1494. - You wish I'd write that for you, huh? - Oh, how awful. You'd ruin my career.

1495. If, instead of 250, I gave you 300,000 lira a month,

1496. what would you write about me?

1497. - That you're Marlon Brando. - And if I gave you 400,000?

1498. - John Barrymore. - And a million lira?

1499. First give me the million, then I'll tell you.

1500. You don't know anything! Go to school!

1501. What kind of joke is that? If he's hurt, you'll have to support him.

1502. I saw you trip him!

1503. You're a real asshole, though. You people invited us here.

1504. Now we're taking our things and we're leaving. Great party you'll have!

1505. I've never seen such boring people.

1506. Our guest of honor is bored, she needs to have a good time.

1507. For once you're right, Marcello. Why don't you strip?

1508. Oh, yeah, your intellectual's chest isn't sexy.

1509. If you put some Middle Eastern music on, I can do a great striptease.

1510. No, give me a break, we've all seen you naked.

1511. Come on, let me do it.

1512. I didn't see you. But I propose the panther do it.

1513. Here's Caterina, who's going to strip for us.

1514. No, too much technique. She's a professional.

1515. I'll go back to eating my chicken, then.

1516. If the guest of honor is bored, why doesn't she do it?

1517. With great pleasure.

1518. Now we're talking!

1519. Nadia, if you really do it, I swear I'll stop smoking!

1520. Put on "Patricia". I'll turn off the lights.

1521. - Come on, put on "Patricia". - Great, "Patricia" it is.

1522. An inaugural and commemorative striptease,

1523. performed by our Nadia, to baptize her new life.

1524. - One always has to set a good example. - It's idiotic.

1525. - That's why I'm doing it. - Nadia, your mink stole!

1526. That guy will be at your place with the money ready in no time. Believe me.

1527. At least, not that I remember.

1528. What did the lady say? I didn't understand.

1529. She asked you if you like me.

1530. That's mine, Nadia! You owe it to me. I want that.

1531. Really, Marcello, you got a great deal with this car.

1532. It's a wonderful car, you'll see. It's a beautiful thing.

1533. Give me a hand.

1534. Isn't that enough? Can't you see you're not entertaining anyone?

1535. You starting already? I'm entertaining myself.

1536. You don't have the guts to go all the way. You're scared.

1537. - Might as well stop now. - Oh, no? You'll see. You'll see!

1538. Nadia, you shouldn't have taken off your bra yet.

1539. The bra, it's the second to last item. Am I right?

1540. Good! Congratulations!

1541. No, don't take off the slip. Cover yourself with the stole, and then pull it off.

1542. I'm sorry, I don't understand.

1543. - She's not kidding, then. - Good girl.

1544. Ruggero! Ruggero, are you serious?

1545. You're not a sport. You don't deserve a woman like this.

1546. And now, Nadia, take off the stole!

1547. Come on, Nadia. This is it. We want to see.

1548. How did her husband let her divorce him?

1549. - She's remarkable, isn't she? - She's marvelous. A real dish!

1550. Oh, God, Riccardo is here!

1551. Hey, the host is here.

1552. - Hey, sons of bitches! - Hi, Riccardo!

1553. When someone like Nadia gets rid of a rich husband,

1554. this is the least we can do.

1555. What do I care about her annulment? I have enough trouble on my own.

1556. And I don't want photos, I don't want publicity.

1557. But on the phone, you said we could come. Kiss.

1558. - Who's the idiot that broke the glass? - Hi, Riccardo.

1559. Tomorrow morning at 6:00 I'm leaving for Nice.

1560. So everybody out in half an hour or I will kick you out.

1561. - I met her in Spoleto. - Did you call that person?

1562. No, I didn't. Guys, I'm serious, out in half an hour.

1563. Who cares if you're leaving? We're not going anywhere.

1564. We're all friends, you can go if you want.

1565. Intellectual man, why don't you amuse us. I'll raise your salary.

1566. Nadia was a good sport, but her striptease didn't warm up the room.

1567. Come on, come up with something!

1568. I have a thousand, two thousand ideas.

1569. I could keep you a week without getting bored, but you have to do what I say.

1570. - We'll do anything you want. - First of all, let's close the curtains.

1571. Let's stay in here. Let's keep this nice intimacy.

1572. So I propose that our American dancer makes love with someone.

1573. Oh, yes, that's good!

1574. I bet you've never made love. Have you ever had a man all to yourself?

1575. Yes? No? A man who holds you in his arms?

1576. - What does he want? - Nothing, he's drunk.

1577. - Happy with your little number? - What time is it?

1578. After all, it's a duty of hospitality towards a foreigner, a tourist duty.

1579. So I'll choose for you.

1580. It'll be Tito the Brute who'll give you the delight of the first screwing!

1581. We didn't do anything. We're lacking courage. You take care of the music.

1582. Tito, take your shirt off.

1583. - Come on! - You think he's a man?

1584. I made a good choice. Now, when I turn off the light, make a woman out of her.

1585. At the same time, the Tunisian girl will approach the lawyer,

1586. - who's been living in his memories— - Speak for yourself!

1587. All known means are accepted.

1588. We're leaving. Thank you for the beautiful evening.

1589. No, nobody's getting out of here, there's plenty of time till dawn.

1590. You, half-impotent as a man and as an artist...

1591. when I turn off the light, be brave, make the leap!

1592. - All right. - Tonight...

1593. you'll couple with Mariuccio.

1594. Then, Lisa...

1595. who paints only to take her models to bed...

1596. Lisa, you know what I have for you?

1597. Now you've really bored us. What are you trying to do?

1598. Who are you trying to hurt? I'll kick your ass out of here!

1599. Who invited you? Why are you breaking things?

1600. Riccardino, you'll have a good time now. This party must never end.

1601. We'll all stay here. Someone could come at anytime.

1602. That's a great line! New, especially.

1603. And you...

1604. You're dying to make love with me...

1605. because you can't find anyone who'd come under your sheets.

1606. You release your tension by singing on those lousy records—

1607. God, Marcello, I pity you.

1608. No, not even in Neapolitan dramas! No!

1609. You're a real pig. I don't allow this sort of behavior.

1610. Apologize to the lady!

1611. Leave him alone.

1612. I wanted to give a thank-you speech to all my friends...

1613. - for the beautiful career they gave me. - Don't go. Stay with me!

1614. I wanted to give a speech to thank...

1615. Why? Who did you want to thank?

1616. Ah, a beautiful chubby farm girl from the mountains! I'll bet you're from my parts.

1617. - Come here. - Where are you from?

1618. Let's show this bunch of impotents how strong you are.

1619. You came to Rome to try your luck, didn't you?

1620. But I'm so unlucky. If you only knew how unlucky I am.

1621. What's the matter? What is it? Are you sick? Wake up!

1622. Get her some water, she's sick.

1623. Andrea! Start turning off the lights.

1624. - What about these guarantees? - I'm not signing anything.

1625. - I'm working on a movie. - And you're already broke.

1626. - It's not true. - I said I'm not signing anything.

1627. Riccardo, the case has been postponed to the 15th.

1628. What is this music?

1629. What are you laughing at? Who turned off the lights?

1630. - Riccardo, will you give me a ride? - No, I'm not going to Rome.

1631. You, come on, get dressed. Out!

1632. Darling, don't worry. This will help you.

1633. This medicine will make your headache go away.

1634. To solve the garage problem, I had to put the pool at the bottom of the stairs.

1635. This girl is sick. Take her outside to get some air. Then, thank God I found...

1636. - Stand up! - But I'm sick!

1637. - Let's pretend you're a beautiful chicken. - No, I don't feel like it.

1638. - I bet you're from Fano. - No, close to Fano.

1639. What are you doing to that girl?

1640. I really don't care.

1641. You really don't care?

1642. No, really, I don't care.

1643. - I don't. If you don't write an article... - Come here. Come here.

1644. You sure tell a lot of lies here in Rome.

1645. I'm not finished with you. Come here. Raise your head.

1646. Raise your head!

1647. - You fool. - Do you know Commendatore Angelini?

1648. What are you doing? Will you write in the paper that I wanted to strip?

1649. - Do you want to dance? - Yes.

1650. These are really jokes for men.

1651. - Let's go say hi to the painter. - He's not there.

1652. - He went to Riccione with his wife. - Let's hitchhike.

1653. No, I want to be alone.

1654. - I'm really sad tonight. - Me, too.

1655. - How do I look? - You look like a hooker.

1656. - You were very mean to Odette. - You know Odette?

1657. But I left her the apartment.

1658. - Who is that poor girl? - My tummy hurts now.

1659. It's daytime, people!

1660. - My watch says 2 a.m. - It must've stopped.

1661. What time is it?

1662. - It's 5:15. - I have to be in court at 9.

1663. - Can you give me a ride into Rome? - I'm not going to Rome.

1664. It was a nice party, but that's enough.

1665. Enough, enough, enough.

1666. Where are my shoes?

1667. Caterina!

1668. Sondra and Daniela!

1669. Paul Newman!

1670. - Have a nice trip, Riccardo. - Bye. Sorry, but I really couldn't.

1671. - And now the beautiful Nadia. - Shall we go?

1672. - Bye, I'll call you tomorrow. - No, I'll call you when I get back.

1673. - Bye, Nadia. Congratulations. - Thanks, bye.

1674. - Good luck to both of you! - Thank you! Thank you!

1675. And now it's the lawyer's turn!

1676. - Grand finale with the lawyer! - Why don't you do a striptease?

1677. Well done, Mr. Lawyer.

1678. - What's down there? - Where?

1679. Nature.

1680. Dawn always makes me emotional. So emotional.

1681. I looked so good last night with make-up. Now I feel all sticky.

1682. But who cares anymore? It's time for me to retire anyway. I feel that...

1683. More retire and more come out.

1684. If two retire, 10 more appear.

1685. By 1965, it will be total perversion.

1686. You'll see how disgusting.

1687. - Back! Stand back! - Easy. Easy!

1688. You'll make a fortune with this fish. It's worth millions.

1689. Hey, guys, look! It's a monster!

1690. Oh, my God.

1691. - But it's alive. - It's been dead for two days.

1692. - Is it male or female? - What's it looking at?

1693. Why don't we buy it? Would you sell it?

1694. - I wonder where it comes from. - Maybe it comes from Australia.

1695. - Why Australia? - Where's the head, where's the tail?

1696. Poor thing.

1697. And it insists on looking.

1698. I don't understand. I can't hear you!

1699. I can't hear!

1700. - Marcello! Let's go! - I'm coming.