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There was once
a young French woman in Geneva.

- And Fabio?
- He's leaving tomorrow.

- Is he going for long?
- For three days.

Where is he going?

To England.

You make me laugh.

A VERY PRIVATE AFFAIR

Hello, Gricha.

Hello, Jill.

- Is your mother well?
- Yes.

Does she think about me?

No!

Hello, goat.

You'll spoil your lunch.

- What's for lunch?
- Gnocchi.

Again?

- Mum!
- Yes.

I'm exhausted.

Take a bath.

- I saw your lover boy.
- Oh!

Him again!

The company Swissair

informs that passengers

for flight 145 to Zurich,

that the departure is delayed
for approximately 20 minutes

due to a late departure
of the aeroplane.

Hey, lovebirds.

I can see a woman.

And a guy.

They're looking at us
through binoculars.

They are old

and ugly.

Paris, Paris...

I don't want you to go.

I'll come and see you often.

That's what they always say.

Why don't you spend winter here

and leave in the spring?

- Good evening.
- Good evening, Mrs Rinaldi.

Come in, come and see.

This is the next issue?

Yes. Expressionism.

Where's the expressionism?
I can't see it.

It could be
Chinese theatre or something.

It has to be out in four days.

- The page is fine.
- Yes.

You're never happy.

Oh, listen to this.

"Intermittent chords,
powerful drama

"and dialogues leap
as if interrupted by street noise."

That's not so good.
Who wrote it?

I did, my friends.

What are you doing?
Come on, we're leaving.

- What's that?
- That's my homeland.

How about getting cakes for dessert?

No cakes.

Your wife told me you're leaving
for Paris.

Yes. In a few months' time.

You can't do anything
worthwhile here.

I don't want to cook.

- Why don't we go to a restaurant?
- That's absurd.

For goodness sake, Albert,
we need two more cups.

Charming!

That boy
knows nothing about serving.

And his mother
knows nothing about cooking.

Albert is incredible!

Is your husband in Geneva, Carla?

No. He's at the Berlin festival.

- Madam, Mr Bornhauser is arriving.
- I don't want to see him.

- Why?
- He bores me.

Madam is not home.

Never mind. I'll come back.

- Hello, Gricha.
- Hello, Jill.

He's always in a dinner jacket.

A kind of club manager.

- Who, Julius Caesar?
- Yes.

And Mark Antony
is a slot-machine expert.

Wonderful!

You know what they said
about the play?

We adapted Julius Caesar

but we didn't change
the intention of the author.

Yes!

If Shakespeare had seen it!

There's not enough contrast.
We need to enhance it.

- Increase the yellow and black.
- Yes.

If we increase the black
it'll be for everything.

- It's safe to increase the yellow.
- Okay.

Jean, increase the yellow
on everything.

On the whole reel?

Hello, Fabio.

Hello, Jill.

I've increased the yellow a little.

- Yes. That's good.
- I've come to see Carla.

What? No, she's not here.

You can print like that.

Can I wait for her?

If you want.

Yes, that's it.

That's solved it.

There's one sheet left to print.

We'll finish tomorrow morning.

Don't forget the English issue
must be in New York for half-past.

- Yes, okay.
- Good night.

- Good night.
- Good night.

See you tomorrow.

- You think it will be ready?
- Yes.

And the stage production
and the report?

- Oh, that...
- It would be a good opportunity

to denounce all the errors committed
in the name of stage production.

Jill, what's wrong?

Nothing.
Leave me alone.

Come and join us.
Everyone is asking for you.

Leave me alone.

Hello.

- Hello.
- Hello.

Let me introduce you
to Estelle.

Oh! You don't keep your promises.

Gilbert.

Your mother thinks I'm a drunk.

She always hates people at first.

Then she loves them.

I'm a patient man.

You look sad, Jill.

Yes.

Is it because of a man?

- Yes.
- Don't worry.

Be patient.

Everything always works out.

Not for me.

- Never?
- Never.

Then you will have to do something.

What?

I don't know.
You will have to move.

Miss Jill! Miss Jill!

Wake up!
Mr Dick is here!

Good morning, sweetheart.

Good morning.

Did you sleep well?

So-so.

Do you know how many
bottles of whiskey they drank?

Fourteen!

- Mum.
- Hmm?

Dick is leaving tomorrow. I want
to leave Geneva and go with him.

- To Paris?
- Yes.

Why?

- Jill!
- Come up!

But why?

Are you in love with this boy?

No.

So, you're bored here, with me.

Not at all.

Well then, why?
Tell me.

Listen, Mum, it's complicated.
I have to leave.

What will you do?

- What will you live on?
- I'll find something.

Good morning, madam.

- Did you put this idea in her head?
- What idea?

I've decided
to leave tomorrow with you.

Don't do it, Jill.

We will fall out.

I'm getting dressed.

Are you my friend?

Yes, I'm your friend.

For several months,

Jill lived in Paris,
accompanying Dick,

leading the carefree life
of a young dancer.

However, she loved neither Dick
nor dance enough

for it to last for very long.

Jill, come back.

- Stay...
- Get lost!

And one, two,

three, four,

five, six, seven.

One.

No, Jill.
No, no, no, no!

You're in the boys' line
and you're doubling the tempo.

The boys go one, and two.

And you double the tempo.

You're late.
You don't work. You do nothing!

And one...

One and two

and three and four.

And one, and two and...

Stop the music.
At the front.

One and two.

Jill was on her own.

Too proud to return to Geneva,

she made a living for a while
as a photo model.

From photography to cinema,
there is only one small step

and one day,
she took it without conviction.

Prepare the clapperboard.

Everything is ready.

Over here.

We're preparing a scene.

It's about time!

That's a great way
to start your career!

Stand here.

Just there. It's not difficult.

You know what a camera is?
That is the camera.

And make it better than in rehearsal.

There are plenty other actresses.

Hey, you came to me!

Camera.

Rolling. Clapper.

Screen test. Jill. One.

Something special happened
with Jill and the camera.

An unexpected encounter.
A mysterious bond

that would inadvertently make Jill

a star,
a phenomenon,

a monster.

THREE YEARS LATER...

THE JOY OF BEING A STAR...

An ashtray, please.

Thank you.

No.

Leave me. Please. Please.

Please!

No.

Okay, it's fine.

- We'll do it again.
- Let's hurry up.

- It's good for Jill.
- Got it.

Yes, I can see her.
She's beautiful.

Excuse me.

This is not a good time.

A BODY WORTH MILLIONS

NEW YORK
6TH MONTH OF EXCLUSIVITY

SHE TURNS DOWN HOLLYWOOD

COUNCIL REFUSES FILM SHOWING

A BILLION-DOLLAR FILM

FORBIDDEN BY THE VATICAN

Okay, let's do it.

- Wait a minute!
- What do you mean?

- There's a problem.
- Guys, this is no good.

Three months of dubbing
while you learn how it works.

The mic cut out. It happens.

No it doesn't, only to you.

What have I done now?

I don't like that guy.

You are so annoying.

It's repaired. We can go.

Michou!

SHE'LL DRIVE HIM CRAZY

SHE HAS THE DEVIL IN THE FLESH!

DOES SHE HAVE A HEART?

I won't go to London.

That's enough for today.

If they want to see me,
they'll have to come to Paris

And for the house?

Another day.

- Let's go!
- Ready?

No. Leave me.

- Please! Please!
- Are you afraid?

Please.
No.

RECKLESS OR PERVERSE?

JILL GOES TOO FAR

Jill, I'm not talking to you
as a producer,

but as a friend.

You've always loved who you wanted,
you have had lovers and left them.

It's not a criticism.

You are a scandalous women
in the eyes of others.

But I know

that you are a liberated woman,
an amazon.

- The first amazon.
- What rubbish!

You decide, you choose.

You leave them.
You're the man.

Be careful!

I've thought long and hard about it.

Let me give you some advice.

- It's her!
- Hey!

- It's her, guys!
- Jill!

- Are you looking for a fiancé?
- Jill!

You won't find another like me, eh?

Once a scout, always a scout.

- Let's move.
- Drive on!

I don't want to run one over.

SEX SYMBOL

TOO RICH
TOO BEAUTIFUL

A PICTURE OF SIN

PARENTS ACCUSE

NAKED

CENSORED

DESPICABLE

ENOUGH!

- Which floor?
- Sixth.

I'm getting out before.

Oh! Forgive me.

I didn't recognise you.

I knew you lived here.

I'd heard. But to see you here...

It's quite a surprise.

I've only seen photos.

I don't watch your films.

No way.

But I read the papers

and, well, there's a lot to say.

But personally,

I'm tired
of seeing your face everywhere.

I'm tired of all your stories.

When will you leave
these poor boys alone?

They've done nothing to you.
Let them be.

Are you going to sleep
with the whole world?

What are you?

A slut?

Yes, that's what you are.
A slut.

A bitch with no respect,
no shame.

You earn millions
for stripping off

while my brother
is fighting in Algeria.

Those things come at a price.

There are still good people
in this world,

one day they'll kill you,

and you won't be missed.

We don't like hussies.

You hear me?
Hussy!

You can run, but we'll find you!

Miss, what is the subject?

Come on, snap out of it.

Listen, Jill...

I can give a message, yes.

No, no, no.
Absolutely not.

That's nothing but a joke.

No, it's not.
I read it in France Soir.

It's out of the question.
You have to come.

Listen to Maxime, Jill.

Leave me alone.

I'm sorry, but there is no other way.

I'm not going.

- Jill, I'm asking as a favour...
- Leave me in peace.

- How long to dress her?
- Half an hour.

Ah! I thought so!

- You've taken some.
- What is it?

Sleeping pills.

I'll make her some hot coffee.

Here's the dress.

Leave me alone.

Please. Leave me alone.

I can't take any more.

I'm sick of everything.

Get out of here!

Jill! Jill! Jill!

Jill! Jill! Jill!

Maybe she doesn't live here anymore.

What shall we do?

I don't know.

Go back to Paris?

Where are you going?

Jill, honey, listen to Juliette,
you're sick.

Come back to the car.

There's a good girl.

Where can we find your friend?

I don't know this city.

What a state of affairs.

I should never have taken you.

And all these cars and people.

They are going to recognise you
sooner or later.

I don't see the connection
with Katie of Heilbronn.

- That's not bad.
- Yes, for the court scene.

- No. It's only an operetta.
- True.

NO NEWS OF JILL
SINCE HER ESCAPE FROM THE CLINIC

Jill?

Jill?

Jill?

Anyway, we shouldn't overdo it
with the flags.

- Good night.
- Good night.

Good night.

What's that?

Dom Juan in hell.

Thomas, be serious.

You would build all that
in a square in Spoleto?

- That's for The Merchant of Venice.
- No. Too modern.

What's that one?

Dom Juan and Death.

That's more what we are looking for.

- Yes, if we take out the...
- What's left?

The stairs?

No problem.
Franco is an excellent set designer.

Just explain well
and everything will be fine.

Where is Carla?

She left, madam.

She lives in Rome now.

In Rome?

Yes. I can give you her address.

You let her leave?
Why?

Jill!

Jill!

Jill.

What's the matter?

If your mother is away,
the staff will be there.

If they have gone out,
they will be back.

Why did Carla leave?

No lights.

The door bell doesn't work.

It's all closed up.

Hold on.

Here it is.

In the same place.

That year,
Carla went on holiday alone.

I stayed here.

We thought it would be for the best.

Tell me more.

There's nothing else to say.

There is. Tell me.

After that,
we tried to live like before,

but it was no good.

It was already over.

Carla stopped dancing.
She was bored, didn't like the city.

Maybe I didn't behave correctly.

I wanted to be alone.

She is in a ballet troupe now.

An excellent Italian troupe.

She tells me she's happy.

That's it.

Here. Some letters for your mother.

See? She's coming back.

Jill?

Where are you?

Jill. Come down, please.

Jill.

We can't stay here.

This is my room.

We must leave.

This is my room!

Leave me now.

Carla was my friend.

I thought you loved her,
that you were happy together.

I believed in you!
I was such an idiot!

Idiot! Idiot!

Someone's turned a light off.

The entrance is here.

It's locked. Do we break a window?

Easy, guys. Calm down.

- They'll see us.
- Be quiet. Don't move.

Go and see
if she's in the house.

- What's the Fiat doing here?
- Look.

Whose car is that?

Has it been there long?

I don't know.
It was raining too much.

She's not there, anyway.

You're talking rubbish again.

Take photos of the house.

You'd be the first.

The bitch! The bitch!

Oh that bitch!

No. No.

It's almost dawn.

We have to leave.

Leave.

They'll be back.
Come on.

You can sleep at my house.

Leave me here.

- I want to stay here.
- Listen, Jill.

Go. And don't come back.

Everything's gone wrong.

I hate you.
You hate me.

Whose fault is that? Mine?
You wanted to come.

They're still there.
We'll go by the lake.

Come on.

- The love scene.
- Easy. It begins in the middle.

When he has his dream,

Katie and Stan separate.

One goes to the courtyard,
the other, to the garden.

- Towards the castle.
- That's right.

They don't know
the people in their dreams yet.

- Your telephone.
- Thank you. Miss?

- Bring me the papers.
- Which ones?

- The morning papers.
- Very well, Fabio.

Hello?

- Are you going with Edmond?
- No. I can't.

You don't need to come
before Saturday.

What about the risers?

SORRY

For the sound,
I called Silveni and Arthuro

and we agreed on the....

No.

I'm thirsty.

I'm here.

Fabio!

You were gone.
You left.

- Don't leave me!
- Calm down.

I'm right here.
I won't leave you.

Fabio?

Who is it? Who is it?

It was nobody.

I feel awful.

I'm not well.

My head hurts.

Come.

Come.

Oh, Fabio.

Fabio! Fabio!

Fabio!

Fabio!

Oh, Fabio.

Fabio.

All this time we have lost,

all these years we have wasted,

all this nonsense.

I didn't know, Jill.

You loved Carla.

Yes, I loved her.

And now?

- Right now?
- Answer!

Listen...

It's all new for me, too.

I just have to get used to it.

Fabio.

- Why?
- I felt like it

and I thought I was in love.

- Every time?
- Yes. Every time.

Not for very long.

What about me?

Answer me.

Answer!

That's right.

- Why would you change?
- Shut up.

- Why me?
- Shut up.

Them. Me.
What's the difference?

- Shut up.
- The same words, actions!

Shut up! Shut up! Shut up!

Forgive me.

Forgive me.

It doesn't matter.

Nothing matters anymore.

Now, nobody is watching you.

Nobody is looking for you.

Except me, Jill...

Talk to me like that.

I need you
to talk to me like that.

It's all dirty.

It's a beautiful day.

There's not even any butter
in this god-awful place.

Boiled coffee is ruined coffee!

Damn!

It's me!

They're still showing my first film.

I saw it in Munich.
I almost fell off my seat.

- You thought I was ugly?
- Oh no!

You spoke German
with a beautiful deep voice.

- Ah?
- Yes.

I saw your mother this morning.
She came back.

Don't look at me like that.

I don't know you,
I never saw you.

You can trust me.

They're talking about you
on the television.

They even said you were dead.

Oh, shoot!

In one week,

you'll be in a tiny corner
on the last page.

It was my first pay check

and my first apartment

with a large room
and a bedroom

on Rue de Babylone.

It looked out
across the ministry gardens

with lots of birds.

Here, open the bottle.

Dick was in America.

I had stopped dancing.
I modelled for fashion photos.

It was a good life.

"You're a bad actress".

What an old fool.

He thought he'd upset me
saying that.

As if I wanted to be
Sarah Bernhardt.

They broke the shop window.

I was inside buying shoes.

The people outside wanted to see me.

They smashed the window.

I was too scared to leave the house.

In the beginning, I remember

when people in the street
recognised me they would say hello.

They would smile kindly.

I haven't changed.

I'm still the same.

You know that.

Then one day,
they started to hate me.

No. That's not true.

It's not that simple.

I brought it upon myself.

I should have stayed away.

It's my fault.

- In Rome?
- No. In Milan.

It was more
of a political journal then.

Then gradually,

the column grew
from two to three pages.

People bought the paper
just to read it.

In two years, it's almost become
a stage journal.

When the Swiss
published Théâtre Europe

I came here.
That's it.

Katie of Heilbronn.

Katie of Heilbronn.

Ka-tie of Heil-bronn.

It's a pretty name.

- Is she German, Katie?
- Yes.

You know, it's a romantic play.

Very romantic.

It's not a complete success,
and the plot meanders a little,

but it's probably
my favourite Kleist play.

And nobody ever stages it.

Too many set designs,
too many actors,

a burning castle,
a parade.

So, this winter,

I translated the play
into Italian, just to see.

And now,

it's going to be
the closing act at Spoleto festival.

- With your translation?
- Yes.

We found a way to combine
all the sets in one support

which they will build outside
in a square.

We'll see.

What is Spoleto like?

It's a town on a hill,

not far from Rome.

Each year,

it hosts operas and ballets.

It lasts a month.

It attracts lots of Americans
and young people,

and celebrities.

I've drunk too much.

Love is a Genevan child.

He never, never knew anyone
but you.

Edmond, it's out of the question.
It would be ridiculous.

It's not a comedy.

I told them.

Yes. Like the last scene.

We'll see over there.

Listen,

we'll have plenty of time
to talk about it on the plane.

Goodbye.

I'll make some coffee.

Are you going to leave, Fabio?

Yes.

I tried to delay it, but...

they need me in Spoleto.

I have to go.

I'll wait for you at my mother's.

I'll be back in two weeks'.

When you love me,
I feel stronger.

When you are near me,
I am afraid of nothing.

If you do not think of me,
I will no longer exist.

It will last, won't it?

It won't change?

Don't think about that.

Happiness is a mere interlude,

whether it lasts 3 days
or 30 years.

What matters
is the present moment.

The minutes
we snatch away from the hands

of passing time, erosion...

death.

The world is hostile,
hostile to happiness.

Looking for something?

Unbelievable.

Where's my goat?

She died last winter.

She was very old.

What does that mean?

The injured bird
has found refuge with its mother.

There's a lovely photo
of the house and garden.

Last night they destroyed the hedge
by the rhododendron.

Dear Richard,
would you mind speaking English?

- How many people for lunch?
- Four.

I'm still waiting
to hear why you're here.

Jill, that's not fair.

You fall ill, you disappear,

I don't sleep for 3 weeks.

Today I'm so happy to be here,
to see you.

And what do you do?
You give me hell!

If you'll excuse the expression.

We'll not talk about films
any more.

No, we won't.

Films can wait.

There are more important things
in life than cinema.

Good health, for example.

Someone thought she was in Madeira.
Why Madeira?

Why Madeira, indeed.

I felt responsible.

She was overworked.
I didn't realise.

- Cigar?
- Never. Thank you.

We were very worried, you know.

A producer who doesn't smoke cigars!

What designer
could ever recreate the charm

and atmosphere
of this young girl's room?

Are you happy here?

I'm bored.

I'll take you back to Paris
if you want.

No more Paris
and no more films.

You don't know me.

It's a long battle.

Don't provoke me,
I'm not just anyone. I'm real.

Lawyers are also real,

the courts too, you hear?
- Yes, yes.

Contracts are real, too.

- So?
- So, if, in eight days' time

you haven't thought it through,
it will be war. And you will lose.

All these old dresses.
They won't fit you anymore.

You can't take that!
And you can't leave either.

Why not?

They'll recognise her instantly.

- I don't care anymore.
- Good.

- You're both conspiring against me.
- Of course not, Mum.

I have to see Fabio.
I need to talk to him.

He'll tell me what to do.

- Call him in Spoleto.
- No. I can't stay here, like this.

- Without him.
- Who will take you?

Allow me to.

What would you do
with all those people?

We're under siege.

They tricked us!

I don't believe it!

- That's not it.
- It is.

You sing very well, Gricha.

I learnt at home.

My second wife was a Viennese singer.

An admirable singer,
but a dreadful pain in the neck.

Will you take my mother to Italy?

If I marry her.

Oh yes, marry her,
that would be good.

- Gricha?
- Yes?

- I'm nervous.
- Oh.

No, guys. That's not right.

It's much too violent.

Let's do it again.

Grab him. Firmly.

That's it.

You come like this.

Is that better?

Let's start over.

Good evening.

Good evening.

I came, Fabio.

- I couldn't wait.
- You did right.

- I had to come.
- You did right.

You're going to keep me with you?

Of course I will, Jill.

Gricha!

Maxime is not a bad guy.
He's just doing his job.

But I don't want
to do that anymore.

I'll talk to him. I'll go and see him
once the play is over.

The concert is over.
You can come in now.

- Who are these people?
- A father and daughter.

He rents out part of the mansion
to musicians and actors.

Good evening.

Well, I never!

He doesn't agree
with his daughter's choice of career.

What about your room?
Where is it?

On the other side.

Oh, it's pretty.

Fabio!

Turn.

- Edmond.
- Yes?

Where is the staircase?

In theory, there.
But it's not in the layout.

Couldn't we make the riser
a little bigger?

- Yes. Ask Franco.
- Good.

Let's continue, gentlemen.

I don't understand what's going on.

Naturally.
Nothing has been built yet.

Then why are you rehearsing?

We always walk through it.

- Is Theobald American?
- Yes.

German play, Italian adaptation

- French stage manager.
- Fabio.

Do you have a minute?

I'll be right back.

Of course.

Hello!

I don't believe it!

I really don't believe it.

Here she is, the divine child.

"Play the oboe,

ring out the bagpipes!"

What are you doing here?

Work and sun,

sun and work.

You look stunning.

Just like my little sister
with that straw hat.

Stay, Gricha.

This is Alain. He is a friend.

No. I promised I'd visit our hostess.

How are you, Jill?

I like this square.

I like this town.

I like this country.

She has been found.
Jill has been found.

- Today's gossip.
- Our news of the week.

But who is this man?

A brilliant intellectual,
and writer for Thêatre Europe.

Fabio Rinaldi,
seductive and modern,

the man of our time.

For three weeks...

It's the fiesta at Spoleto
when she goes on a spree!

They track her misadventure
and revel in her glee!

- That's pretty.
- Take it. My gift.

That's very kind. Thank you.

- Are you better now?
- Yes.

- You're cured?
- Yes.

- You like Italy?
- A lot.

- And Italian men?
- Congratulations!

In Italy, she got engaged.

What's the matter?
Are they bothering you?

No. They're very kind.

They just follow us.

Look at all the presents I got.

What about you?

I finish in an hour.

I'll wait for you here.

What do we do?

- We carry on.
- We can't fire into the crowd.

Maybe you should go inside.

- Yes.
- It will be quieter in the mansion.

Yes.

I've got one in my hair.

- Ah! I won!
- You did.

21-18.

- First to 25.
- No. I lost. Rematch.

You!

Gricha!

We had a wonderful walk.

We are invited to dinner.

Thank you, but no.

You old Dom Juan!

Tomorrow, I promise
I'll go back to your mother.

It will be boring without you.

Nonsense,
it's a marvellous area.

Maybe, but I don't leave the house.

I stay inside now.

Fabio thinks it's better
and he's right.

It's so difficult.
You need...

special occasions like this festival.

I wanted to stage this play
because it is modern.

It's not a psychological play,

it explores
the removal of consciousness

and the despair of men.

Kleist was already a critic
of Bismarck's Germany.

Kleist has a Prussian side to him.

I don't like this play.
I find it too German.

Where did you learn German, Fabio?

In the French Resistance.

I was young, so I was tasked
with gathering intelligence

on the troops' movements.

I made conversation
with the Germans.

I think you will have to do something

for these good people.

Okay.

She has found a man
who is genuine,

and now all is forgiven.

Please be quiet, Alain.

What do I tell your mother?

We'll be back in 8 days,
after the play.

Maybe I should take you with me.

You're sure you want to stay?

Jill?

Yes?

Let me say kiss you goodbye.

Ah, what a jerk!

Let's go.

- Eight, next one.
- Next one.

What an idiot.

Good evening.

I'm learning how to play poker.

These are Alain's friends,
they've come from Rome.

Let's get out of here.

Your record player.

You can have it.

Alain?

Please don't come back here.

This is war.

Really? But why, Fabio?

Because I no longer
want to make peace with them.

The papers are full
of more insane articles.

- You're too accommodating.
- They were just keeping me company.

- He's a nice guy, Alain, a friend.
- Yes, I know.

We can't blame him
for doing his job.

Who should we blame?

Of course, Alain is a nice guy.

Everyone is nice.

But if you keep accepting everything,

you get stepped on.

Don't play their game.

You must defend and protect yourself.

I will protect you, Jill.

No. Look. Your hand is here.

That's it. Like that.

Good evening, Mr Rinaldi.

Good news.
I bought some wine.

- Anything to eat?
- Plenty.

What did you do today?

Nothing.

You stayed on your own?

Yes.

There are guys everywhere
since this morning.

On the balconies, the roofs.

As if it were normal.

Don't worry.
At least their strategy is clear.

You think so?

I am certain of it.

Anyway, we'll be far away
in 5 days.

What are you doing?

There are rooms
on the other side of the mansion.

It will be calmer over there.

How many more stairs?

Come on.

Up we go.

Keep going.

It will be fine, now.

The rehearsals will go quicker.

We talked to the police.
We won't be bothered anymore.

The square
has been closed to the public.

I'll get the rest.

You're doing nothing.
Why don't we see you more often?

I'd like to see you more often.

Yes. Why don't we see you
more often?

Good evening.

- When I'm alone...
- Yes. I know.

It's awful when you're not here.

I need you, Fabio.

I need your presence,

your love.

I can't live without it.

I'm here to see someone.

I'm part of the festival.
I'm a dancer.

- In Maurizio's ballet?
- Yes.

We can't go in?

No. It's absolutely shocking,
isn't it, Ben?

Shocking.

Where is she?

Over there, behind closed doors.
We don't see her anymore.

- And him?
- Well, he's here.

Let me through.

They stop performers going in,
but not them.

It's scandalous! As if journalists
were interested in theatre.

Do you have any questions?

Do you really intend
to perform the play tonight?

Of course.

Have current events
interfered with your work?

What events?

Who proposed to stage this play
at Spoleto?

I can't explain all that
in a few minutes.

Is Jill still at Spoleto, Mr Rinaldi?

Will you adapt other plays?

Are you moving to Geneva?

- Mr Rinaldi, just one question.
- Excuse me.

- Has Jill abandoned cinema?
- Possibly.

Will she come to the show tonight?

Do you want her to do films again?

- How does she do it?
- Modern love, Mr Rinaldi?

Do you want children?

- The couple, on a physical level?
- What about happiness?

Mr Rinaldi, does modern love...

When her laughter opens her mouth

And devours the unwary

She grabs them with her teeth

Her mouth, when she goes to bed

Remains pink with her teeth inside

When laughter opens her mouth

She grabs them with her teeth

Sidonie has more than one lover

Whether you scold or praise her

She doesn't care either way

Sidonie has more than one lover

Until she is nailed

To the pinewood of her casket

Whether you scold or praise her

Sidonie will have
more than one lover

Hey! Where are you going?

I'll be back in 15 minutes.

You wouldn't believe
how many people are in town.

All day, they have been arriving,
driving from Rome.

What time do you start?

At 9pm.

Maxime is here.

In Spoleto?

He sent a message
through one of your policemen.

"I'm at the Hotel Dei Duchi.
I hope to see you after the play."

I'll talk to him.

Why can't I go?

Because I must talk to Maxime.

What about the play?

You don't want me to come?

That's not true.
Do what you like.

You know what will happen.

I have to stay here?

They're all waiting for you
to come down.

That's why they are here.

I don't care. Don't you get it?
I don't care about them.

I won't stay locked up here
for the rest of my life!

I've had enough of the closed doors
and closed curtains.

Jill, listen.

I can't stay here. I can't stand
this horrible room anymore!

I want to get out!
To get out!

- Jill.
- I can't do it anymore!

It's driving me insane!

We leave tomorrow.

And it will be another room tomorrow.

Leave me.
Don't touch me!

- Listen to me.
- No, I won't listen

and I don't believe you anymore.

You're the one who locked me up.

- Jill.
- You put me in prison.

You said you'd protect me.
But you wanted to hide me.

It's not true and you know it.

You don't want me to go out
or to be seen.

You're worse than the rest.

- You're horrible!
- Be quiet.

- You're ashamed of me.
- Be quiet.

- Say it! Say it!
- Be quiet!

Why did you come?

To Spoleto?
What were you thinking?

Spoleto, Rome, Tokyo, it's the same.
Where would you put me?

- On a desert island?
- Yes, one far away.

- As far away as possible.
- I hate you.

I never want to see you again.

Then go!

Go! Disappear!
I've had enough too!

I've had enough of you!

Fabio.

Hurry up, guys. Helmets.

Carla.

It's kind of you
to come and see the play.

- When did you get here?
- Last night.

You know, I know the audience here.

- I'm sure they'll like it.
- Yes.

- What's wrong, Fabio?
- Nothing.

Jill is not here?

No.

She's not coming?

I don't think so.

Why not?

She should come.

Yes.

She should.

- Are you Miss Jill?
- Yes.

There is a call for you
in my apartment.

Jill?
Jill? Are you there?

Jill? Can you hear me?

Come, Jill.

I'm asking you to come.

Please.

Please.

It's not our fault.

None of this is.

Come, Jill.

Please.

Please!

No, Fabio.

Jill! Jill!

Jill!

Jill!

The End