Original subtitles

Sehr gut.

(speaking German)

(speaking German)

Sehr gut.

(horse neighs)

(speaking German)

(speaking German)

(speaking German)

Oh. My name is Henry Jones Jr.

M-My family is staying

at the American embassy here.

My father's on a lecture tour.

We move on next week,

but I've had a great time here,

especially these riding lessons.

You're a fine horse rider.

You should know that. You probably do.

My English is nicht good.

Probably better than my German.

Yes, it is.

They call you "Your Highness."

Are you a Princess?

Yes. My father's next for the throne.

Do you have another name?

Sophie, after my mother,

but my father calls me "Pinki."

Pinki? So what should I call you?

Your Highness.

Mr. Jones?

Yes?

We're going park-walking now.

Is it that you're going, too?

Sure.

Good.

Is it always this cold in Vienna?

At Christmas, it was colder.

Your governess is very old.

Miss Seymour?

Yeah. Too old.

Are you hungry, Miss Seymour?

I am a bit peckish. Why?

Then we should go this way.

Children!

Sophie!

Kommen sie hier.

You go to many places in Vienna?

Everywhere.

I have lived in London.

Oh. How long were you there?

Have you been on the Ferris wheel?

Of course. Second day here.

Can you see far from up there?

Right across the city.

You've never been on it?

No.

But why? You're the Princess. You practically own it.

Would you like to look around?

Emilia... (speaking German)

(speaking German)

Do you know how to skate?

Skate?

Skating.

Oh, oh, ice skating.

Of course I do.

I love to skate.

We could go skating now if you like.

I don't think so.

Why not?

I could never do that.

But you're the Princess.

You can do what you want.

Come on.

We'll only be gone a few minutes.

They won't even miss us.

You're sure?

Trust me.

Come on.

I'll take care of you.

(speaking German)

There's too many people...

too many.

(speaking German)

(playing Viennese waltz)

Please help me.

Thank you, Indy.

(both giggling)

Sophie!

Sophie!

(shouting in German)

Sophie!

Kommen sie hier!

(music stops)

Young man has no kind of respect!

So? Taking the Princess Sophie into such peril!

Kommen sie hier!

You have not heard the last of this.

EMILIE: Have you no sense

of responsibility, young man?

Sophie!

Henry, that's quite enough!

(Emilie scolding in German)

Oh, mein liebchen!

I really didn't mean to cause any trouble.

Trouble?

You almost caused a diplomatic incident.

This was sent to Ambassador Kerens,

a man who has been kind enough

to let us stay at his residence,

used his power and influence

so that we can enjoy the best of the city.

And then you go and take

a member of the royal family here on a joy ride.

It's from the Archduke Franz Ferdinand himself.

He feels our ambassador is abusing his position

and has asked him to exercise some control

over his citizens.

I'm sorry.

You have brought shame on us all

and your country.

I will apologize on your behalf.

Thank you, sir.

And no more riding lessons.

No?

No.

I really didn't mean to cause any trouble.

I know.

I know, dear.

But her family is in constant danger.

Really?

They live on a powder keg.

Many people want the Hapsburg Empire destroyed.

But why can't you just explain to her father

that I meant no harm?

I just want her to be my friend.

You'll find other friends.

No, I won't.

There's no one like her in the whole world.

(door opens)

Hmm. Perhaps you'd like to draw me an isosceles triangle

since you're making such headway.

An isosceles triangle. Sure.

INDY: Your Royal Highness,

I'm sorry if I got you in trouble.

Being with you was just great,

and I think of that day all the time.

I am worried to hear that you live in a powder keg.

If I had known this...

Very good.

Well, I think that's enough Geometry for today.

I think we should try something else.

Can we just finish early for once?

Oh.

Will you recite this for me, please?

I don't feel so well.

Are you ill?

Well, my stomach's in kind of a knot.

I can't concentrate.

Please.

Recite this.

"What meaneth this? When I lie alone,

I toss, I turn, I sigh, I groan.

My bed me seems as hard as stone.

What means this?

In slumbers oft for fear I quake.

For heat and cold I burn and shake.

For lack of sleep my head doth ache,

what means this?"

Go on.

"But if I sit near her by,

with loud voice my heart doth cry,

and yet my mouth is dumb and dry.

What means this?"

Who wrote this?

Sir Thomas Wyatt, 1503 to 1542.

All that time ago,

and that man felt just like me?

He was in love.

Literature has tried to come to terms

with these emotions for many centuries, Henry.

I didn't know poetry was about anything.

Well, it is,

and poetry can help you.

How?

There can be no greater way to comfort your own feelings

than by sharing them with someone else.

Wow.

No one ever put it to me like that, Miss Seymour.

This one looks good.

"Love's philosophy, Shelley."

"The fountains mingle with the river,

and the rivers with the ocean.

The winds of heaven mix forever

with the sweet emotion.

Nothing in the world is single,

all things by law divine

in one another's being mingle.

Why not I with thine?"

"See the mountains kiss high heaven

and the waves clasp one another."

You know it?

Of course.

"The sunlight clasps the earth,

and the moonbeams kiss the sea.

What are all these kissings worth

if thou kiss not me?"

Here. Let me look.

Miss Seymour,

do you think I could be in love?

You're awfully young, Henry.

Yes, but... do you think I could be?

I don't know.

We all fall in love, Henry.

Some of us too soon...

and some of us...

too late.

You look pretty.

Are you going out?

Yes. We're going to the opera.

It's very late. You should be asleep.

But I'm reading poetry.

So Miss Seymour tells me.

Now you must go to sleep.

But I'll never get to sleep.

Shh. Now, please.

♪ I'll give to you a paper of pins ♪

♪ For that's the way our love begins ♪

♪ If you will marry me ♪

♪ If you will marry me ♪

(humming)

Here you are, darling.

SOPHIE: Dear Mr. Henry Jones,

I'm hoping you are well

and that I'm not causing you sorrow and pain

because of what we did.

For me, it was a very beautiful day,

and maybe one day, we can meet again.

Affectionately yours, Sophie.

Well, I am looking forward to the dinner tonight.

Aren't you?

It's so good of Ambassador Kerens

to recognize the importance

of the first psychoanalytic conference.

Yes.

Yes, very good.

ANNA: But I wonder

if young Henry should be there.

Why on earth shouldn't he?

Well, with what little you've told me

about Dr. Freud's ideas,

I... I wonder if they're altogether suitable

for a young child's ears.

I've seen him talk, Anna.

Don't worry.

I'm not worried. It's just--

Please. Sigmund Freud is a very important man.

I want Henry to meet him.

Besides, he will be eating,

not lecturing.

What's so special

about watching an important man eat?

I want him to be there,

as long as he behaves himself.

Mother?

Yes?

Did father ever give you a gift when you were courting?

Why, yes, um...

a locket.

I still wear it.

Hello.

(speaking German)

(speaking German)

(speaking German)

(speaking German)

(speaking German)

Danke!

Sophie!

Sophie!

(speaking German)

(speaking German)

Sophie! Over here!

You don't understand!

I know her!

Please, I just want to give her something!

Which is why I ask us all to raise our glasses tonight

to wish Dr. Freud,

Dr. Jung,

and Dr. Adler

the very best of luck in their new science.

Ladies and gentlemen.

Dr. Freud, may I ask you,

what did you find

was the most fascinating moment

of the conference?

When they declared my theories

had nothing to do with science

but instead were a matter for the police.

(everyone laughs)

Dear me.

It's because everything you say

is couched in biological terms.

I suppose you would rather I spoke of the spirit?

Maybe.

But what is spirit?

Everything.

No. Everything that shows what you call spirit

has more to do with repressed sexuality.

MAN: Please, gentlemen,

not in the middle of the dessert.

Our culture is our spirit, our whole civilization.

Civilization, Carl?

And don't tell me

it's just a consequence of repressed sexuality.

Yes, I'm afraid it is.

The whole dilemma of power, Eros, and love

seems to be never-ending.

To quote you, Carl,

"The pendulum of the mind

swings between sense and nonsense,

not between right and wrong."

That makes sense.

I beg your pardon?

Well...

his idea about the mind

swinging between sense and nonsense.

So you also agree

that power, Eros, and love

present us with an unsolvable dilemma.

Why? Do you know what love is?

There are many kinds of love.

There are?

Ja, sure. There is romantic love,

the kind we all know about,

especially your father.

Romantic love was the creation

of the medieval troubadour

to show that there was more to it all

than the, uh... biological act.

I suppose that romantic love was invented

as a brilliant means of seduction.

Love was invented?

Yes, and that was the beginning

of the end, young man.

Why do you say that?

The notion of romantic love

has led to more death and destruction

than anything, save possibly religion.

Please, Sigmund,

this boy asked me what love is.

Let me try and explain.

Well, your explanations are of no importance, Carl.

What you really should try to explore

is why he wants to know.

I just want to know, that's all.

What is love?

Love stems from the desire for balance.

We all share a picture of what we think of men and women.

We all have the female and male image

stored inside of all of us.

So, like a memory?

No.

If we understand the full nature

of both the female and male

in all of us,

we gain a balance,

and it is our yearning for that balance

that makes us feel this thing we call love.

So love is a yearning for balance?

Someday you'll meet a girl,

and she will feel

like the missing half of yourself.

I think I already have.

You have?

I read a poem--

Love's Philosophy by Shelley.

"Nothing in the world is single,

all things by law divine

in one another's being mingle--"

This child can understand what Jung is talking about.

I tell you, children's minds are incredible.

But where exactly

does love come in to all that?

Sex.

That's where love comes in to all of that, young man.

Please, Sigmund!

No, no, no, no. The boy asked a question.

All love is derived from the need

for sexual gratification,

even this boy's love of his mother.

Perhaps the ladies would like to withdraw.

Yes. We've... we've a lot of packing to do tomorrow.

Henry, I think it's time you were in bed.

But that's not what I'm talking about.

Come on, Henry.

Please, let the boy stay. He asked a question.

My apologies, ladies, but, please, let him stay.

Henry, love in the heart of someone your age

is a powerful and dangerous thing.

I've been watching you tonight

sitting there all quiet...

withdrawn.

Is she pretty?

Ah, you must be in a terrible situation.

How did you know?

Gentlemen, can't we help him?

In love,

your whole personality is involved.

But my whole personality is involved.

I think about her all the time.

I dream about her.

If you think

what you feel is love,

treasure that feeling.

Build on it,

and it will provide a strong basis

for your later life.

Yes, but why do I feel so out of control?

Because you are,

but you must not be afraid, Henry.

You must not let the castle walls

keep you from your love.

But I still don't know what love is.

Love can be an act of the spirit

if you're Carl Jung,

a romantic act if you're your father,

an act of companionship

if you like Dr. Adler's interpretation,

but as far as I'm concerned, it's a biological act.

It's a sexually motivated act.

Either way,

it is painful

and wonderful all at once.

But, please, Henry, remember one thing.

What's that?

Don't turn away from it.

To deny your love for someone

is dangerous.

Dangerous both for you

and to the person you love.

Shout out your love,

loud.

I wish I could.

What do you think, gentlemen?

I think you can.

And I think so, too.

I'm sure you can, Henry.

Sophie! Sophie!

(speaking German)

(speaking German)

Herr Jones.

Please, take me to see the Archduke.

You say it is a matter of life and death, no?

I can only say what I have to say

to Princess Sophie's father.

Very well.

I will take you to him.

(speaking German)

You were foolish to come here uninvited.

The guards are trained marksmen,

able to kill at great distance.

The dogs have been trained to kill as well.

I wasn't scared.

You should have been.

Wait here.

After your behavior at the riding school,

I hope for your sake that you have good reason

for disturbing us.

Sir, I have come to ask your permission

to ask Princess Sophie for her hand in marriage...

When I am older.

(clears throat)

And because of that,

I would like to say farewell before we go.

I know it's late,

but tomorrow I leave Vienna,

and in the short time that I've been here,

I believe that I've fallen in love with your daughter.

I hope she feels the same way about me.

Oh, you do?

Sir, I believe your daughter to be in danger.

Why?

Because it is dangerous to deny our feelings of love.

We leave tomorrow.

Please, sir.

I think Sophie would be very upset

if I did not see her before I went.

Follow me.

I made a vow

that my children will marry

who they please.

Wait here.

So long as they are Austrian.

I guess that counts me out.

It's strange.

The emperor denied me permission

to marry Sophie's mother

because she was not a Hapsburg.

Like you, I had to storm the palace.

It is fitting

the first young man to fall in love with my daughter

should storm my home.

Here is your letter.

I am sure Sophie would appreciate

your concern for her welfare,

but I could never allow her to marry an American...

Especially one who has made up his mind about her

when he was so young.

You are very courageous

and doubtless in years to come

will prove to be a great soldier.

Thank you, sir.

So I think you should be wise enough

to wait until you have lived a little longer

before committing yourself to any young woman.

But Sophie is not just any young woman,

and who knows when I'll be in Vienna again?

Please.

Please let me say good-bye to her.

No.

It would only upset her.

She's in bed, where you should be, too.

Kurt.

Arrange a carriage

to take Mr. Jones to the American embassy.

But--

Enough. Good night.

Farewell, Mr. Jones.

(horses neigh)

(speaking German)

(cursing in German)

(speaking German)

(horse neighs)

(neighs)

(neighs)

Shh.

Shh.

Shh.

(snoring)

(clang)

(speaking German)

(calling in German)

(piano playing in next room)

(footmen calling in German)

(speaking German)

(speaking German)

(speaking German)

(speaking German)

(snoring)

Sophie.

Indy.

I'm so glad to see you.

There was something I wanted to give you.

Here.

I just had to see you.

I had to.

I leave tomorrow.

Thank you.

I just wanted to give you something, too.

Wunderschon.

Sophie.

I'm going to write to you wherever I go.

If my letters don't get through,

I'll just keep on writing.

You see,

no one can take away what I feel for you.

No one.

(whistle blows)

I wonder if I'll ever see her again.

Well, even if you don't, darling,

it won't be the end of the world.

Sure feels like it.

ANNA: I know.

But somewhere,

someone is waiting for you

even at this very moment.

Your other half.

My other half?

ANNA: Mm-hmm.

Everyone has another half,

and when you meet yours,

you'll realize that you've never been

a whole person before.

Is that what it was like for you?

Of course.

What's that?

Nothing. We're just talking.

Well, Junior should be studying,

not wasting his time in idle chatter.

Quite right, professor Jones.

And there will be splendid opportunities

to enlarge his understanding

when we arrive in Florence.

And while in Florence,

we shall be applying ourselves to the study of science.

MISS SEYMOUR: In the Renaissance,

many scientists worked in Florence.

Above all, the great Galileo Galilei.

Perhaps we shall be lucky enough to visit Pisa,

where he conducted one of his most famous experiments.

We're going to Italy, Henry.

One of the most beautiful

and romantic countries

in the world.

I know you are just going to love it.

(whistle)

Is this where we're supposed to stay,

do you think?

It looks kind of crowded to me.

Tante scusi, signore.

Now, now, what happened?

Was there some mix-up with the bookings?

Professor Reale send his apologies.

The university

had no idea you would be

traveling with your family.

These rooms are meant for one person only.

And a rather small person at that, huh?

Henry.

What do you think, dear?

I don't know.

I like it here.

It's... it's all so lovely.

Well, we, uh, we ought to make the best of it.

Um, Anna, perhaps you could share

a room with Helen.

Of course.

And, uh, I'll move in with Junior.

We'd be glad to accept the room.

Thank you.

Henry, did you know that Florence

is not only the center of science,

it's also the cradle of art.

MAN: But, Signore Jones,

I trust you count on me

to trounce your ideas about the painting?

Signore Reale,

I am ready to enlighten you.

SIGNORE REALE: Heh heh.

My wife insists you make our home yours

while you stay in Florence.

ANNA: No, no. We couldn't do that.

INDY: Scusi.

SIGNORE REALE: Well, you must come and stay with us.

My wife would never take no for an answer.

"No" is not an acceptable answer, Mrs. Jones.

-You know when my wife insists. -It is far healthier for a boy

to be in a home.

A hotel is too stuffy.

It is all arranged.

I will have your luggage sent for.

Think of your child.

You will have your own private sitting room

-in our home. -(bell rings)

Never on time.

Don't say another word. You will be our guests.

(speaking Italian)

È las tua prima opera, giovanòtto, eh?

Your first opera?

Oh, y-yeah. Yes, my first opera.

La...

La mia prima opera.

La mia prima opera.

Femminile, femminile.

♪ Che gelida manina ♪

♪ Se la lasci riscaldar ♪

♪ Cercar che giova ♪

♪ Al buio non si trova ♪

♪ Fremon già nell'anima ♪

♪ Le dolcezze estreme ♪

♪ Tu sol comandi, amore ♪

Mother, do people really

fall in love that quickly?

MISS SEYMOUR: Please stop.

♪ Nell'anima ♪

♪ Oh! come dolci scendono Le sue lusinghe al core ♪

♪ Mimi ♪

♪ Mimi ♪

(sniffling)

(applause)

Bravo!

Bravo!

Maestro, it is I,

Signora Reale,

with my guests.

Oh. Oh, yes.

I must beg your forgiveness,

but I will not be able to join

your supper party tonight.

I'm too tired.

Oh, no.

An excuse is not acceptable, Maestro.

Allow me to introduce

Mrs. Anna Jones

of New Jersey, America.

Mrs. Jones.

It would be an honor.

Professore! Professore!

(laughing)

(laughing and singing arias)

(speaking Italian)

Did you, uh, did you write that opera?

Yes.

How?

By putting one note after another.

Do you enjoy music?

Yeah. Yeah, I like music.

My mother loves it.

Tonight, she cried.

No.

Yes.

Is that true?

Yes.

Yes.

Well, then you understand great love.

PUCCINI: How long will you stay in Florence?

Well, we're staying for the week

while my father goes off to Rome

to give a lecture.

That's a wise choice.

Florence breathes arts and culture.

Rome sweats trying to keep up.

No, no, no. Ah.

(Indy chuckles)

And what will you do here?

Um, I'm studying the Laws of Physics.

Physics?

Yes.

Did you know that if I hang these two objects

side by side

that they'll attract each other

and eventually come towards each other?

You know why?

PUCCINI: Mm-hmm?

All objects attract because of gravity.

Fascinating.

It's a law of physics.

It's a law of physics.

And tomorrow, we're going to Pisa

to do an experiment, just like Galileo.

Miss Seymour.

Oh, no, really. One glass is enough for me.

Miss Seymour, in Italy,

"enough" is barely living.

You're in my country.

-You must let me show you the way. -(chuckles)

This is my special welcome.

You must let me escort you to Pisa tomorrow.

I grew up near there.

I know and I love the country.

That is very kind--

SIGNORA REALE: I would be unable to accompany you.

I have an important meeting to discuss a music festival.

Professor Jones,

I'm offering my services to your family.

I'm the happy owner of a touring motorcar,

and I would gladly chauffeur them to Pisa tomorrow.

A guided tour.

What make of car is it?

Generous offer. Very kind.

May we, father?

We don't wish to impose. You must be busy.

No. I'm between operas,

and I'm searching...

searching, searching for inspiration.

Perhaps I shall find it at Pisa.

(speaking Italian)

MISS SEYMOUR: An object at rest

stays at rest

unless acted on by a force.

Write and repeat, please.

"An object at rest stays at rest

unless acted upon by a force."

See? It's at rest.

Nothing disturbing it.

It does not move.

INDY: So...

So it'll stay there forever

unless I move it?

MISS SEYMOUR: Unless a gust of wind

comes through the window

or someone bumps into the table or--

INDY: Or if I poke it with my pencil?

MISS SEYMOUR: That's right, Henry. That is correct.

I trust you are comfortable.

Um, yes. Yes.

My husband is waiting with the taxi...

downstairs.

Yes. I'll tell Henry.

MISS SEYMOUR: Will you please pay attention?

A force is anything that causes change

in an object's state of rest. Now write this down.

The greater the force,

the greater the change.

Professor Reale is waiting downstairs in the cab.

There's plenty of time, my dear.

SIGNORA REALE: The trains do leave on time.

Does the professor know that?

I'm sure he's aware of it.

We already have an iron.

Sometimes one is not enough.

Miss Seymour, I'll see you in a week.

Have a productive trip.

You said that

as if you were still my tutor.

Bad habit, I suppose.

(taxi horn honks)

Here, sweetheart.

MISS SEYMOUR: Now, the further the object is away,

the harder it is for that force to affect it.

Write that down.

(honking)

Junior,

take good care of your mother.

Yes, sir.

Have a good trip, Father.

Good-bye.

"The further the object is away,

the harder it is for the force

to affect it."

Mr. Puccini will be picking us up

at noon.

Don't forget.

I won't.

PUCCINI: Aah! Ow! Aah!

Aah!

Mamma Mia!

Aah.

Oh, my goodness.

This is a great car.

Who did think of the first self-propelled car, Indy?

Henry Ford?

Leonardo da Vinci

in the 1500s.

Italians are innovators because we are dreamers,

and we take the time to dream of the impossible.

And we also take the time to sing.

Sing?

♪ Take me out ♪

-♪ To the ball game ♪ -♪ Ball game ♪

-♪ Take me out to the crowd ♪ -♪ Take me out to the crowd ♪

ALL: ♪ Buy me some peanuts And cracker jacks ♪

Aah!

♪ I don't care if we never get back ♪

♪ So it's root, root, root For the home team ♪

♪ If they don't win, it's a shame ♪

♪ 'Cause it's one, two, three strikes You're out ♪

♪ At the old ball game ♪

ANNA: Henry? Oh, Henry, please.

Come on, Miss Seymour, you slowpoke.

If only you'd use that energy

for your studies, young Henry.

INDY: Can't read while you run.

If only one could, it might be you to teach him.

MISS SEYMOUR: We have two irons.

One is bigger and heavier

than the other,

but they are both made of iron.

Now, if you were to drop them both

at the same time,

which one would hit the ground first?

That's easy.

The... the bigger one because it's heavier.

That's what Aristotle thought,

but Galileo thought otherwise.

The smaller one hits first?

Nope.

Well, it has to be one or the other.

Nope, that is

an erroneous assumption, Henry.

There are at least two other possibilities.

One is that they will float.

Irons don't float in the air.

Why is that?

Because gravity pulls them towards the earth.

Fantastico.

Now, get my umbrella and follow me.

We'll let the experiment show us

that they land at the same time.

Why?

Well, Galileo postulated

that two objects of the same density,

in this instance, the density of iron

fall at the same rate

even though they are of very different size and weight.

Give it a go.

INDY: Mother!

Mother! Mr. Puccini!

Look up here!

Oh, there they are.

Henry!

Tell me which one lands first!

One.

Some people come to Pisa for the science.

I come for the beauty.

PUCCINI: Oh!

They hit at the exact same moment!

They did, they did!

Galileo was right!

Thank goodness.

We won't have to rewrite scientific history.

So... you grew up in New Jersey?

No. Virginia.

Virginia. Where The White House is?

Very famous.

Now even more famous,

because it is the place where you were born.

Heh heh.

I will never be mentioned in the history books.

Who cares of the history books?

Famous to me.

It is the place where you became you.

I grew up very near here

in a town called Lucca, 20 miles away.

One day, when I was 18,

I walked from Lucca to Pisa

to see my first opera, Verdi's Aida,

and that night, as I was walking back

under the rain,

I knew exactly what I must do with my life.

My father had died when I was five,

so my mother had to sacrifice

to send me for study.

She did not live to see my success.

I could never repay her.

She must've felt her son would be a great artist.

(chuckles)

Great? I don't know.

An artist is a man who looks at beauty

through a pair of looking glasses

which, as he breathes, become clouded over.

He takes out his handkerchief,

he cleans his glasses.

He sees clearly again.

But with the first breath,

the absolute beauty is faint again.

It is...

It is only the approximation

which we can create.

Art is elusive.

It is not like the beauty of a woman.

INDY: Mother!

Mother, I'm coming down!

Ahh.

My son had Indiana's spark as a boy.

Now he's grown up,

and he uses his energy to try to keep peace

between my wife and myself.

I cannot create where there is conflict.

I cannot hear music anymore.

Hear nothing.

Great pain.

Forgive me, forgive me, forgive me.

It's all right.

(singing opera)

Give it a whack.

Now, it will go in a straight line

until we again

exert a force to deflect it.

I've written your father a wonderful letter

about our excursion.

If I send the letter off tonight,

he should have it by the end of the week.

SIGNORA REALE: Mrs. Jones.

(taps floor)

Mrs. Jones?

Yes?

Someone seems to have sent you

all the flowers in Florence.

ANNA: Oh, my.

Oh. (laughing)

Well, who could have sent them?

The card.

Oh, my.

They are from Signore Puccini

for... for all of us.

How very...

Italian.

Wouldn't it be nice

if we all could be a little more Italian?

(speaking Italian)

(woman sings aria from Madame Butterfly)

(speaking Italian)

PUCCINI: She has two more days

to learn about despair.

Due giorni!

Singers.

A singer alone cannot convey my emotions.

I need an actress also.

It's very difficult.

Signora Seymour,

tell me, what are your thoughts

on unrequited love?

Well, it has its place

in romantic novels and operas.

And not in real life?

Oh, how optimistic of you.

Eh! (speaking Italian)

Well, I took piano lessons

from Mrs. Schwartz.

She had a mustache.

The right instructor is everything.

When I was your age,

I took lessons from a man

who used to kick my shins

every time I played the wrong note.

I vowed I would never become a musician.

Then my mother found me a wonderful teacher

and here I am.

You're so silent.

I'm sorry.

Madame Butterfly is such a sad story,

and the music is... is haunting.

Then you must have a part of it.

"To Signora Jones,

who feels the music."

It's yours.

I don't know what to say.

Say you will allow me to show you

my favorite Florence tomorrow.

Well...

I will need to restore my soul

after this day

with this unfeeling butterfly.

Scusi, Maestro.

(speaking Italian)

Bene.

I will call for you tomorrow.

Andiamo!

INDY: Look. Look, Mother. The notes.

They look like a chicken

walked all over the paper.

Well, it doesn't matter how it looks.

It's how it sounds.

Watch.

(hums melody)

Heh.

It's kind of like reading a book then,

isn't it?

Mm-hmm.

Music is a very special language.

It can make you feel happy or sad or lonely

just by the way the notes follow one another.

Buona notte, tesóro.

Buona notte.

ANNA: Oh, my! Heh heh.

It is so good of you to share this with us.

Henry is ecstatic.

And you?

The same.

(giggling)

ANNA: Henry!

Heh heh.

-INDY: Mother! -(Anna chuckles)

ANNA: Henry, Henry, you must wait

till everyone sits at the table.

Ha ha.

(Anna laughs)

This is truly a beautiful city.

Please don't.

I want to hold you in my arms.

It is not possible.

You are a beautiful woman.

I am married.

Yes. I am, too.

But it must be a sin

to run away from what God

has brought together.

PUCCINI: We are connected, Anna.

Please.

We are connected.

Please let go of my hand.

Please.

Anna, my life has been renewed

from the moment I saw you.

I cannot listen to this.

I need you.

Henry!

It's time for us to go back to the house!

Oh, Mother,

just 10 more minutes. Please?

PUCCINI: Try to deny it. Try.

I will look into your eyes,

and I will know that you are lying.

ANNA: I love my husband.

PUCCINI: But me?

You don't feel nothing for me?

No matter what my feelings are for you,

I must ask you to speak no further.

Then you don't deny it?

Yes, I do deny.

Now, will you take us back to the house,

or shall I hail a cab?

Mrs. Jones, are you all right?

You look pale.

Suddenly, I feel... I don't feel well at all.

I will take you home.

I will take you back.

You must rest.

But what's wrong?

Your mother doesn't feel very well.

We must take her home.

Ugo!

Bye.

(sighs)

Are you still sick today?

No.

Then...

how come you're not eating your breakfast?

I'm not hungry.

I wonder if there's any mail.

There is no mail.

I will be gone until late.

I wish you a good day.

I looked this morning

when I went out for my walk.

There's not a letter in the box.

I didn't really expect your father to write.

He's very busy. Excuse me.

(Anna sniffles)

Why are you crying?

Maybe...

maybe you are sick.

No. I just feel

particularly lonely for your father, that's all.

But he'll be back tomorrow night.

Yes. It seems as if he's been gone

a very long time.

Mr. Puccini said he'd take us riding

in his car again today.

Maybe... maybe that'll make you feel--

Mr. Puccini will not be coming today.

He is very busy and has rehearsals.

But he said--

Young man, we have a big day

of studying ahead of us.

I can't send you back to--

Miss Seymour.

Perhaps, um, Henry's studies

could wait until this afternoon?

We... we could all go sightseeing.

After all, we are in Florence.

yeah, we are in Florence.

Buon giorno, Signora Seymour.

Oh, good morning.

INDY: Hey, Mother, maybe we could go

for another ride with Mr. Puccini today?

Henry. Henry.

I believe Rossini may be buried

somewhere around here.

Who's Rossini?

He's an opera composer.

INDY: Oh, like Mr. Puccini.

MISS SEYMOUR: Yes.

When Mr. Puccini dies,

will... will he be buried here, too?

MISS SEYMOUR: Perhaps, if he doesn't make

too many blunders along the way.

Forgive me. I could not stay away.

You're making me very unhappy.

Unhappiness comes

from not following your heart.

Stop!

I thought Mr. Puccini was Mother's friend.

MISS SEYMOUR: He is, of course.

INDY: Then why is he getting her upset?

Perhaps he's telling her the story of a new opera.

Anna. I cannot let you step away from me.

I cannot.

You have given me life again.

You are inspiration.

I long to work with you at my side.

Look at me. Look at me.

Not a wink of sleep. I'm desperate. I...

Ugh!

Don't destroy what...

Don't destroy this passion we have.

Don't destroy me.

No.

You think of me.

No!

Yes.

No.

You cannot sleep

because you think about me.

No.

Yes, you do.

I know. Don't you think I see?

But I mustn't.

You have given me your answer.

You feel the same.

My head is all turned around.

I cannot think. You must leave me alone.

Never.

I will not turn away

from that which feeds my soul.

(clearing throat) Mother.

Yes, Henry?

You said we could have lunch.

Yes, it is time for lunch.

Will you be joining us, Mr. Puccini?

No, Mr. Puccini will not be able

to have lunch with us today.

Meet me at the Boboli Gardens.

This evening.

No, I will not come.

I will be there.

I will wait until you come.

MISS SEYMOUR: Now rub your hands together

very vigorously.

Faster!

Now, that is an example of friction.

Now put your hand on your cheek.

How does it feel?

It feels hot.

Why? Because friction generates heat.

Miss Seymour,

I... I think I'll take a walk.

Will you and Henry be all right

for an hour or two?

MISS SEYMOUR: Yes.

Yes, of course.

Shall we, uh, wait for you for supper?

I'll eat later.

I won't be long.

You study well, Henry.

I won't be long.

Anna.

(speaking Italian)

(singing aria)

(applause)

Signore Puccini, prego.

Oh, no, no. La prende, la prende.

Tante grazie.

No, no. Grazie.

(clearing throat)

Miss Seymour.

I was a little longer than I thought.

Is Henry asleep?

Yes.

Did he have a good supper?

He has a voracious appetite

for a young boy.

Yes, he does.

Well, good night.

Yes, it is time for bed.

Florence is a beautiful, romantic city, isn't it?

Yes, it is.

We'll be leaving it

when Professor Jones gets back,

isn't that right?

Yes. On to Paris.

Ahh, Paris.

Well, I'll see you in the morning.

(whispering) Yes.

Good night.

MISS SEYMOUR: Galileo believed, like Copernicus,

that the earth was not the center of the universe.

Where did mother say she was going today?

Shopping.

I thought she said

she was going to come with us.

She changed her mind.

Most people at the time believed that the sun

moved around the earth.

I'm glad Father is coming back tonight.

Well, yes.

Yes, it'll be good to see him.

INDY: Mother's acting kind of strange.

She doesn't act strange when Father is around.

There's the telescope.

Galileo constructed

the first complete astronomical telescope.

By looking through his telescope,

Galileo supported the idea that the earth

was not the center of the universe.

Now, have a look.

Can you see anything?

INDY: I'm focusing it.

Oh.

I wish he had written Mother a letter.

Are you speaking of your father?

Mother would have liked that.

Henry, would you please concentrate

on the matter at hand and tell me what you see

through the telescope?

I see...

see a boy with a great bicycle.

I wish I had one like that.

Do the people look close or far away?

Close.

MISS SEYMOUR: The opera glasses you used when we saw La Bohéme

are two telescopes mounted together.

Henry?

We haven't finished here yet.

I want to go back

to the Reales' house, please.

I'll do my studying there. Please.

Very well.

I have to go to Milan tonight.

Come with me.

Ohh.

Anna.

Anna, I love you.

I don't want to live without you.

With you by my side,

I can create again... I will create again.

Oh, my God, what has happened?

Say yes.

Say you will come.

This is too fast. This is too fast.

The train leaves at midnight.

From that moment on,

we will be together forever.

I know that you love me.

I know it.

Don't break my heart.

Excuse me.

Anna...

Excuse me.

SIGNORA REALE: 8:00.

Mmm. I must retire.

Good night.

Sleep well.

Yes, good night.

Henry, it's time for you to go to bed, too.

I have to read my Physics book.

You can read your book tomorrow.

I want to read it now.

Please don't argue with me!

(slams teaspoon down)

(slams door)

What did you, uh,

what did you buy when you went shopping?

Shopping?

Yeah. Didn't you, um,

didn't you go shopping today?

Yes. I bought a scarf.

Oh.

I, uh, I looked through, um, Galileo's telescope today.

That's nice.

Did you see Mr. Puccini today?

Yes. I ran into him while I was...

while I was shopping.

Henry, please don't stall.

I'd like you to get ready for bed.

What are you doing?

I'm straightening up.

Please put this in your room.

Someone could sit on it and break it.

You probably would have liked

the Science museum, mother.

Mother?

Mother?

Yes?

I'm sorry.

What were you trying to say?

Nothing. I'll go put my pajamas on.

Fine.

It's a lovely night out.

I had a splendid supper at a trattoria.

I almost sat on that this afternoon.

Henry looks more like his father every day.

(sobbing)

Mrs. Jones, please.

May... may I be of any assistance?

I don't know.

I don't know anything at all right now.

I feel as if I don't even know myself.

But of course you do.

Your senses are a little clouded

at the moment, that's all.

I... I don't want you to think ill of me.

Nonsense. I think very highly of you.

I truly believe

that I didn't mean to bring this on.

Signore Puccini is a very persuasive man.

Have I been so... so transparent?

He has been transparent.

He wants me to go away with him.

What?

Run away.

He wants me to live with him.

He wants me to take a train with him tonight.

What was your answer?

I couldn't...

I couldn't answer.

(choking back sobs)

I'm so... I'm so confused.

Do you love him?

(whispering) Yes.

You must allow yourself time to think.

But I can't think.

I feel as if something has a hold of me

and it's leading me. Is it my heart?

Should I follow my heart?

Anyone can see by his operas

that Signore Puccini is a passionate man.

Let us remember,

passion burns bright when it's new.

But he says that he...

he cannot create without me.

He cannot live without me.

That is responsibility you did not seek.

He has no right to inflict that on you.

I always thought that I was happy,

content.

I love my husband...

but I am electrified when I am with him.

MISS SEYMOUR: Signore Puccini is blessed with artistic genius,

but not, perhaps, with an altruistic soul.

Imagine him asking you to make a sacrifice like this.

He's asking you to go away with him,

give up everything...

your country,

a husband you love,

your child.

Henry.

What would happen to my little boy?

Oh, my God!

What a horrible mess I've gotten into!

I never wanted this! I never, never!

I presume to tell you

what I would do in your situation,

but this is a momentous decision.

There will be no turning back.

You must consider your actions

and their repercussions...

very carefully.

(train whistle blows)

Anna!

Anna!

PROFESSOR HENRY JONES SR.: Anna?

Oh, Henry.

What a nice surprise.

Henry, I missed you. I missed you so much.

I missed you, too, my dear.

Let's always be together.

Let's always stay together.

(train conductor speaking Italian)

Come on.

(sobbing)