Original subtitles

Sena.

Let's go.

Sena... come, they are waiting for us.

It's Iate - do it forthem, at Ieast.

Let's go, pIease.

Enough now, come on.

What happened?

Hi, UncIe PaoIo! Hi, Aunt Sena!

- HeIIo! - You've arrived! What did you bring us?

Push; the gate is open, push!

Euthanasia of a Love AKA 'The Break-Up'

- Good evening. And thanks. - Good evening.

Sena?

HeIIo?

May I speak to Sena, pIease?

- Ah, PaoIo. - Yes, it's me. Hi.

I'm sorry, but Ussena isn't here.

Ussena?

And who is she?

Ussena is her name.

- Let me taIk to Sena. - I aIready toId you: she's not here.

- She has a fever. - Afever?

How's that, a fever? If you've just said she's not there...

She's not here. She's overthere, in her room.

Then get her.

She can't get up.

If she can't get up, take the phone to her.

- I need to taIk to her. - But if she can't...

Better say she doesn't want to, ratherthan she can't!

Your caII...

- UnpIug the power cord, or eIse he'II caII again. - Okay.

Thanks for everything, Jane.

Who's there?

Sena, it's me. I need to taIk to you, wiII you open up?

Sena!

Sena!

- Good afternoon, professor. - HeIIo.

- Pio? - Oh, hi.

- Do you know where Sena is? - And you come to ask me that?

- She's your assistant, isn't she? - She was...

but she asked to be repIaced.

- Why? - It's you who has to expIain that to me.

If you have quarreIIed, you shouId know the reason.

No... this is absurd.

Professor, you are to faiI...

After so many years...

working on it, you stiII don't understand a damn thing?

Listen, are you interested in not Iosing her, or understanding why she dumped you?

Both. One can't just Ieave after so many years without even knowing why.

If you were in Iove, you'd know it.

That's what I'm doing, asking myseIf aII the time...

- EvidentIy with the brain, not the heart. - My heart is broken.

Show that to her. Make a photo-montage for her.

PaoIo's heart, with a burning match inside.

Excuse me, Miss, how much does this one cost?

- No, that one is aIready soId, I'm sorry. - Ah, I understand.

You see? You're not in Iove, you're Iaughing...

In tragedies, I find escape through Iaughter.

C'mon, c'mon, don't pose as an inteIIectuaI now.

One time in the mountains, we had to coIIect two peopIe who feII off a cIiff onto some rocks.

A chiIIing scene.

We packed the disfigured corpses into two bags.

It's possibIe we mixed up some ofthe body parts.

AII I was doing was Iaughing...

I was Iaughing at everything.

Great. I'II teII Sena that when she's in pieces you'II have some great Iaughs.

Excuse me, Miss, can you come for a moment?

PaoIo, excuse me, but...

HeIIo, dear.

- What is it? - See, there's a cIient who...

- Patrizia, excuse me! - Yes?

I need to see her, but she's not to be found. Can you caII her?

No, she's not around.

- And where is she? - She Ieft forthe weekend.

Who toId you that?

I just know it. She'II be back on Monday night.

Where did she go?

And with who?

Weren't you the one saying jeaIousy is a possessive feeIing?

I aIso said it's a feeIing that causes Iess compassion, because it makes you Iook siIIy.

You're not ridicuIous, PaoIo, you're just in Iove...

I neverthought it wouId be so painfuI.

A human shouId have the highest degree of awareness of matter, but remain captive.

He's possessed by maternaI Iove, and that's why...

he approaches the Iight suffering,

Iike aII Iiving creatures.

He's part ofthe famiIy, but the young man has to rebeI, causing himseIfto suffer.

He has a joyfuI, Ioving reIationship, but every human...

has the sensation of needing to reduce it to an excIusivity.

But of course, he aIso suffers when he Iacks it...

Instead, Iiving means destroying the prison of emotionaI possession...

expanding one's consciousness, and creating happiness.

AII otherforms of existence are sub-human.

And love, too?

Love is Iike poetry...

It is Iove, or it doesn't exist.

You seem to be a man who knows everything in theory, Professor,

but how do you manage in real life?

Awful... since you dumped me...

Thinking about her?

Here you are...

Do I Iook Iike an idiot?

Yes, you Iook Iike someone who's waIking up the path to GoIgotha.

Come on, Iet's go...

Where?

There's a conference for seduced and abandoned peopIe...

You'II give the inauguraI Iecture... C'mon, move.

Here, you can stop here.

Do you see that IittIe entrance?

- Yes. - You know what it is?

- A schooI. - Sena teaches there.

- How do you know? - It's me who found herthe pIace.

- And she toId you I couId come and get her? - No.

She toId me she hates you...

and that she doesn't want to see you again.

So why did we come here?

She finishes at six... and if you knew anything about women, you'd wait for her.

Bye.

Pio...

You don't want me to assist, do you?

No... thank you.

How do you know it won't be even worse this way?

Bye.

Is this any pIace to stop?

- Go, go! - Are you happy now?

Afine mess you've made! You go to pick her up, and you don't even invite her into the car?

I didn't recognize her, I swear it.

Oh, Jesus! How's it possibIe? She sIept with you for aII those years,

and you don't even recognize her?

- Either you don't Iove her, or you're an idiot! - I prefer 'idiot'!

- You couId at Ieast have asked ifit was her. - And ifit wasn't her, then what?

- You see that you're not in Iove? - Why?

- You're afraid to take chances! - I'm afraid ofIosing her.

One who is in Iove wiII put everything at stake.

One who's in Iove? No... he's weak.

Arrange an encounter. Invite me to dinner and invite hertoo.

- She won't come... - WeII, you don't have to say I'II be there..

WeII done! And who wiII pay forthe broken pIates?

As soon as she sees you, she'II sIing them aII at you.

And at me too, as I'm defending you...

You see that you're not in Iove?

Why are you so insistent with this accusation?

You Iaugh... and say you're desperate...

Maybe you eat too, and afterwards you pose as the victim...

It's not my fauIt I'm eating more than usuaI. Maybe I'm nervous - I don't know...

- And you sIeep too, maybe? - Why shouId I wake up?

Without Sena, Iiving is a curse.

WeII, I'II seat herto your right.

Remember: the one on your right wiII be Sena. Don't faiI anothertime.

And when the battle begins, tell her...

that you didn't have the courage to stop her,

not that you didn'trecognize her.

- PIease. - Thank you. - PaoIo, you're here aIready?

Oh, my God...

Just Iike in that ''say it with flowers'' advert!

Thank you.

Are they for me, orfor her?

I don't reaIIy know.

Hi. We prepared Iunch, but you came too soon.

I was afraid she wouId see me.

- Did she caII? - It's onIy seven!

- But she'II come? - I think so. Yes...

You didn't teII her I wouId be here, right?

Of course not, even if she imagined it.

You guys, you reaIIy think women are fooIs?

Listen PaoIo, now pIease caIm down.

And sit down there niceIy, because you're making me nervous!

And you, get out ofthe kitchen. You're making it Iook Iike a pigsty!

We put the infinite in Iove...

Women never commit this error.

It was I who made a mistake when I married you.

To heII with you and that Vicenza girI that you sIeep with!

Like I didn't know... I aIso know you're impotent with the otherwomen.

Then why are you so angry?

Because you toId me about it...

and if you mention it again, I'II strangIe you!

Did you hear her? She's been Iike that for a month now.

It's not easy, putting up with her.

At Ieast you have her near you, in the same bed.

Yes, but - nothing.

At Ieast you can quarreI.

- I can't even see Sena. - But why did you separate?

It was her. And she didn't even teII me why.

Maybe because she wants to marry you?

No, she knows I'm against it.

She aIso said marriage doesn't soIve a thing, it's just an agreement.

- You couId at Ieast Iive together. - That's what we did.

Maybe it's a crisis of conscience. When they approach 30, women aII become moraIists...

I'm on that road too.

- You're aIready married. - Yes, but to a fag!

Someday, I'II kiII her!

I'm the one who'II kiII you, if you turn up with that Vicenza girI again.

- You men are aII bastards. - Why?

Because you don't know how to make Iove, and you're bIaming women for it.

- Sena toId you that? - For God's sake! Don't start again!

I'm here forthat...

No, it's not her, don't worry.

It's probabIy my mother, teIIing me how to cook the vegetabIes.

- HeIIo. - Hi.

Ah, it's you Sena. Aren't you coming?

Has PaoIo aIready arrived?

No. I toId you, I didn't invite him.

What goes on in your head? Are you afraid he'II eat you?

You'II see: we have prepared you a deIightfuI dish.

- So he's there after aII? - Noo-oo!

Patrizia, teII me the truth.

I've aIready toId you the truth. Hurry up, dinner is ready.

I'm without a car.

I just wanted to ask PaoIo to give me a ride.

Ifhe's not here, how couId he give you a ride?

In fact, I'II caII PaoIo...

What do you say? May I bring him too?

Of course you can, sure.

In fact, I'II caII him myseIf and teII him to go over and get you.

That way, I'II invite him directIy.

I'd preferto do it myseIf.

I haven't spoken to him for a Iong time.

- Are you serious? - Of course. I'II caII him now.

And if I send MarceIIo for you?

ReaIIy, you don't want PaoIo?

Of course I want him...

- Or are you making fun of me? - Making fun of you?

- Maybe it's you making fun of me. - C'mon Sena, cut it...

I'm sending you MarceIIo, so knock it off about PaoIo.

That one isn't easiIy satisfied, he sureIy wouIdn't Iike my dinner.

He'd Iike it, he'd Iike it...

I bet he's aIready there... Put him on.

Are you serious?

So he's there?

No, I've toId you, he's not here. You're so annoying, Sena!

If you don't want to come to dinner, teII me straight and that's it, no?

I was just saying I'd Iike PaoIo to come and pick me up.

- And why not MarceIIo? - It's PaoIo I want.

- ReaIIy? - Yes.

- ReaIIy-reaIIy?

- ReaIIy-reaIIy...

OKthen... then I'II put him on.

Sena...

She toId me: ''Bring it to me, but don't bring PaoIo...

''I don't want to see him!''

WeII, you know, I toId her:

''How come you were togetherfor so Iong and now you don't want to see him ever again?''

- And what did she say? - A IittIe more and she was tearing me to pieces!

''I don't want to taIk to him, after aII he did to me!''

- What did you do to her, for God's sake? - I don't know, I swear!

Listen, PaoIo, you're either an idiot or you don't know shit about women!

WouId you just take care ofthe driving part, pIease?

- Was it aIways this heavy? - Maybe it just fattened up.

Are you sure it won't be worse?

Ring the doorbeII.

And when she opens up, what shouId I do?

You go ahead and I'II hide behind the painting.

CarefuI, easy.

Come up, come up, Lorenzo. I'II be there in a second.

Here I am.

HeIIo... Sena.

When you Ieave, cIose the door. It Iocks even without a key.

No, she hasn't come, she's not here.

Then I'm going.

OnIy if you go home and write to her, OK?

For a hottie Iike Sena, you couId try.

I wouId just make peopIe Iaugh...

Awoman who Iaughs... is aIso ready to cry.

Dear Sena,

How to withstand such a performance without you...

only to find you.

But suddenly the performance brings you there...

The actress had a bronze mask.

She was a woman made of stone, just like you,

a very tender woman, like you.

The woman was searching for her love,

with every millimetre of her movements...

Her mask was expressing a sorrow without tears.

l know...

you cannot cry.

You're all out of tears, as well as all out of love,

but don't carry off the last step. Wait, my love...

Wait for me to come, wait so that l can understand.

How can l know if you love me...

if you won'tremove your blue, cold mask,

if you won't make the gesture of showing me your face.

Don't die, Sena, l beg you...

Don't kill our love...

Wait till l come,

to find out ''why''.

Wait.

lf l come when you're dead,

l'll see you, but l won't understand...

and your death will be useless.

Why did you run away at that traffic light?

My existence has become meaningless since then.

Let me come running towards you.

Your smile - it's my life, but also yours.

Only this way it means love...

Don't kill it.

No one feels the need more than me.

l'm waiting for your conditions, whatever they may be, in order to see you again.

ln front of the mayor...

or in a field of daisies...

Without you, it's impossible for me to live.

- How come you haven't read it? - Read what?

- PaoIo's Ietter. - I got it, but I haven't read it.

You don't think I'II beIieve that...

- That I haven't read it? - No...

Your coIdness.

And what shouId I do? TeII you I stiII feeI him inside of me?

No...

I hate him.

Those were wonderfuI years...

and it's in orderto preserve them that I don't want to see him again.

TeII him whatever you want, Patrizia...

but most importantIy, teII him that I don't want to see him again.

Sena...

can I teII him that you Ieft him for Domenico?

Domenico had nothing to do with it.

I couId teII you that I'm with him in orderto avenge myseIf on PaoIo,

but actuaIIy I need him onIy to keep me away from PaoIo.

It's a way to withstand it, you understand?

What did PaoIo do to you?

Sorry, but I cannot teII you that...

It was such a terribIe thing?

For me, yes.

I can no Ionger stay beside him, I can no Ionger Iove him, without revenging myseIf.

It wouId be necessary to caII him every hour,

and every hourto hang up the phone.

I'm not coId... I use angerto withstand it.

But it's hard.

Do you want to see him again?

If you want to become Picasso, Iearn how to draw a foot weII.

And now to work...

Hey...

excuse me...

That schoIarship in Paris is stiII avaiIabIe?

The course on the sociaI history of art?

Yes. I've decided to go...

but I want to Ieave immediateIy.

Is it a choice... or an escape?

I have to Ieave.

HeIp me, pIease.

PIease Ieave the Iuggage at my pIace; I'II be right back.

Don't worry.

Yes, heIIo?

It's me, PaoIo. Hi.

HeIIo.

Where are you?

At the raiIway station.

What are you doing there?

- I'm Ieaving, PaoIo. - How? Now?

I'm Ieaving for Paris.

Why are you going to Paris?

Are you coming to say goodbye? My train Ieaves in haIf an hour.

Of course, immediateIy. But don't Ieave.

Hurry.

The train on track 16 via Turin, with sleeping cars to Paris, is ready to depart.

PaoIo!

Gentlemen, please board.

Don't Ieave.

I beg you...

I can't...

Of course you can.

But I don't want to.

TeII me why.

What are you going to do in Paris?

- I asked for a schoIarship. - But why Paris?

Because you are not there.

I'II come visit you.

You don't know where I'm going.

I'II ask Pio.

He won't teII you.

I'II caII you every day.

To teII me what?

By now...

By now what?

I'm Ieaving.

I beg you...

You can't Ieave me Iike this.

I have to.

Why?

Ifthere was time to teII you...

Gentlemen, please board now! We are leaving

TeII me anyway.

Here... PIease, take care of your heaIth!

And cover yourseIf up. See you tomorrow...

In a week you'II get accustomed to it. Get dressed.

Sena.

Hi.

Hi.

- What happened to your eyes? - Nothing. I've caught a chiII.

But you can see?

I spotted you, a coupIe of minutes ago.

CertainIy you didn't do much after seeing me.

I thought you were stiII in Paris.

No, I came back 20 days ago.

You know, for months I've been unweII,

and I was a IittIe ashamed to encounter you in this condition,

that's why I didn't address you sooner.

So, if I hadn't crossed the street, you...

- Excuse me, I'm in a hurry. - No, wait...

- I'm going that way too. We can waIk together. - As Iong you waIk fast.

Hey, sorry, you're running so I won't accompany you?

I toId you: I'm in a hurry, or have you aIso become deaf now?

I have to buy some stuff...

before the stores cIose. I have peopIe coming to dinner.

- I was going to invite you... - I'm sorry, but I can't.

If you Iooked for a cIoser shop then you wouIdn't have to rush Iike this...

You've aged for sure, my poor PaoIo.

Who brought you to this state?

You are reaIIy asking me that?

Go ahead, throw it away.

Let's go to the restaurant.

I've aIready toId you that I have guests coming to dinner.

- What guests? - Uh-uh! Why are you interfering?

You have become a true wreck...

and you want to go to the restaurant with those eyes?

- Why? You feeI ashamed? - For me, no.

For me... your presence is enough.

I'm not there for you anymore, PaoIo.

I know that.

You know... what?

Everything, Sena.

AII - what?

Let's not fight in the street.

Are you coming to dinnerwith me?

Where?

Wherever you want.

Here.

Why didn't you respond to my Ietter?

Letter?

What Ietter? I don't know...

The one I wrote you from Paris.

I didn't receive anything.

Why? What did you say in it?

It doesn't matter now.

PIease.

The fareweII at the station was so sweet,

I wanted you...

Perhaps it came when I was in Paris.

You, in Paris?

When?

I came Iooking for you...

At the Sorbonne.

The Academy of Arts...

But no one knew anything.

You Iooked for me onIy in Paris?

Yes.

I was at VersaiIIes instead.

My cIass was Iocated there.

So that's it...

Everything ok?

What?

The cIass.

Yes, of course...

And you?

What about me?

How do you Iive without me?

You can see it, no?

But I had to find you myseIf.

It was an accident.

A desired one...

Not true - if I hadn't caIIed to you, you wouIdn't even have seen me.

You're the same naiiive PaoIo.

I did see you...

I came Iooking for you.

I foIIowed you from the Saint Jacob district.

I went by you reaI cIose, many times.

How you frightened me with those horribIe bIack gIasses!

If you were Iooking for me too...

This means that you...

This is a wonderfuI evening...

WiII you take me home?

Afterward.

That's what I'd Iike most...

And your guests?

What guests, stupid...

I wasn't expecting anyone.

I feeI you...

You want me?

Yes.

Do you Iove me?

Yes.

Forever?

Yes.

ReaIIy?

Yes...

Yes.

Yes, a Iot...

Oh, Sena...

You gave me back my life...

Sena?

I'm here.

How are you?

- ExceIIent. - And your back?

- They toId me you were wearing a corset. - Not true...

And yet this morning, in the courtyard, I found one.

- One? - Yes.

WeII, I had two!

Why aren't we going to the sea?

Doctors say it heIps a Iot with the backache.

I'II straighten out your back.

What do I care... you came back.

No, no, I didn't just come back. I have a Iot to teII you.

Not here...

At the sea.

We aII come from the sea, even the angeIs and the terribIe rectors,

who say they've been created in the image and Iikeness of God.

Do you beIieve you're simiIarto God?

With this back, I don't think so.

- Sea baths! - But it's onIy ApriI now.

- It's good. - Maybe forthe Germans.

For everyone!

In truth, we were thinking about some mud baths, sand baths...

that's why we came here.

My girI, either you Iisten to me, or you Iisten to your urban doctors.

I say no thermaI cures,

onIy sea baths!

Every morning. Five minutes the first day,

10 on the second, 20 on the third and aII subsequent ones, and aIways swimming.

- But, sorry, the coId doesn't do any harm? - It's not true: coId is an anaesthetic.

- It's the contrary of what others say... - I'm not saying the contrary, I teII the truth.

And now, go back to the bosom you came from.

The sea... it's the universaI mother.

In my opinion, that one is mad!

Try it.

But it's coId!

Rise up and swim - they say your Christ heaIed a Iot of peopIe.

It's a conspiracy to eIiminate me?

I have miIderways to kiII you!

Get in the water- I don't want you a wreck!

If I sacrifice myseIf, wiII you expIain why you Ieft?

You couIdn't sustain two punishments. Dive!

It's freezing!

It's an anaesthetic, come on, get it done, don't Ieave the womb of your mother!

Okay, okay,... good!

It's been eight days now that you've got up to see the sunrise.

If I miss one episode, I don't understand it anymore.

What do you want to understand?

Everything I don't understand about you.

It's not enough that I'm here?

I don't know. The fear ofIosing you again is too strong.

Why didn't you want my chiId?

What?

Why did you make me have an abortion?

Ah, so that's it...

So that's the reason why you...

Answer me, why?

I didn't force you... you agreed.

What eIse couId I do? Of course I agreed.

But why don't you want a chiId with me?

It's not that I don't want one with you. I don't want one with anyone, and you know it.

PaoIo...

I want a chiId.

You can have one if you want to.

You don't need me forthat.

What do you mean?

You know very weII.

I know what? What are you taIking about?

In VersaiIIes...

I saw you with Domenico.

Have one with that one!

Then you have to know that 'that one' heIped me when you didn't give a damn.

Domenico came to see me after the abortion. You didn't, why?

- Were you ashamed? - You're throwing such accusations...

Our baby is not an accusation.

It's a reaIity which broke us up, why?

Did you think I wasn't ready to become a mother?

You wouId have been a wonderfuI mother.

But that's exactIy the reason...

You'd have drowned him with a possessive Iove.

FuII of anxiety, of fear. Like me, Iike everyone eIse.

And chiIdren instead have the right to be happy...

and grow up free.

And they don't have the right to Iive?

Being free and happy is more important than just Iiving!

But in orderto Iive happiIy they must exist, and therefore must first be born!

Raising a chiId in the spirit ofthe HoIy FamiIy, wanting him aII to ourseIves, educating him,

imposing on him ourway ofbeing, ofthinking - that's not conceding him freedom!

But if we conceived and then aborted him...

And forthat we have the right to impose sIavery?

We impose a name upon him,

we force him to respect faIse ideaIs,

aII the faiIures we carry around for centuries.

We reduce them to poor monkeys,

which are endIessIy repeating a ''Iove'' they do not reaIIy feeI.

Don't you reaIize?

Yes, we wouId have given him Iife...

but we wouId have broken him inside.

These are convenient theories.

No...

Quite the contrary.

Convenient wouId have been to have you as a mother and a maid,

in that way the spaghetti wouId have aIways been ''aI dente'',

and the chiIdren wouId have been beautifuI, wonderfuI...

Because your chiIdren.

Bright, because your chiIdren...

and they wouId have Ioved us a Iot, I'm sure.

And so, why?

Because I don't want a chiId who owes me gratitude for coming into Iife...

Brought up by parents that hide their own seIfishness behind their sacrifices.

Parents who no Ionger know which moraI vaIues to educate him with.

And I wouId Iike a son who is...

free.

A chiId trained to Iove everything and everyone, from the beginning.

A chiId forwhom everything and everyone...

man and his history...

wouId be mother and father.

But these are fooIish ideas!

Ones that at a time you shared.

I was just a IittIe girI.

And now what are you?

One who thinks that her own womb is the centre ofthe universe?

You're not enough for me anymore, PaoIo.

I want a chiId.

I want that the miracIe repeat itseIfin me...

and I wanted to reaIise it with you.

The onIy man I've Ioved and stiII Iove.

I won't have a test-tube baby, ifthat is your condition.

Let's kiII this Iove of ours...

It won't cause us anything but grief...

It's aIready dying, don't you see?

- Hey, you're going to the port? - Yes.

- Can I come with you? - Sure, of course.

Thank you.

- My name is Lambert, hi. - Sena. - Hi.

- Take the robe. - Thank you.

- Can we start? - Sure, Iet's go.

Want something to drink?

Hey!

- Where's Sena? - Who?

- The one you took on board at the bay. - She went ashore some time ago.

- With whom? - And what do you care?

Kind as aIways...

AIone... but she said nothing.

- Thank you. - Don't mention it.

- Sorry. - No probIem. - The Iady?

She didn't show up, professor, but the keys are upstairs.

Excuse me, are any trains due to depart?

No, I'm sorry sir, the Iast one Ieft an hour ago.

- Thank you. - Don't mention it.

May I heIp you?

Which did you decide: to jump, orto sentence yourseIfto Iife?

- What do you recommend? - I advise you to come to the viIIage tonight.

There'II be a festivaI in the streets.

Come! Among so many peopIe it's easy to foIIow the GospeI principIe:

''Love thy neighbour''.

Loving yourseIf- that's difficuIt.

Try it.

Good evening.

I see you're one of us, I Iike that.

- Good evening. - And your Iady?

Maybe she returned to FIorence... I can't find her.

WouId you Iike to drink a gIass of wine with me?

- Why not? With pIeasure, thank you. - Ours is an exceIIent wine...

What's wrong?

WeII... maybe we have...

two different views on the worId, so to speak.

I don't want to have kids, but she instead...

What does your Iady represent to you?

Everything, I think.

SexuaIity, feeIings, Iove, my beIiefs...

That's not good.

ShaII we sit down?

Wine!

Afinite Iove is a finished Iove.

Give space to your possibiIities to Iove. Look around...

ReaIIy, couIdn't you Iove otherwomen,

other men, other peopIe?

If I understand correctIy, you're trying to save your Iove,

but yours is not a story of'a Iove',

but the story of'Love'.

Love has its own course. It's offered,

but can't be restored.

And what shouId I do?

Drink in the meantime.

- It's the first time you've come around here? - Yes.

This Iand is fuII of archaeoIogicaI sites...

Ancient tombs, whoIe necropoIises,

ancient caves.

Often in winter...

our peopIe bring back to Iight bits of civiIization by now Iong buried.

Vases, pIates, bronzes... amphorae.

Fragments, pay attention.

Now, it just happens that one of our craftsmen...

coIIects the fragments, Iet's say of an amphora,

...and even adds some pieces made by himseIf, to make the amphora whoIe again.

WeII then, you won't beIieve it...

but the amphora... refuses.

After some time, the pieces newIy added...

begin to faII off.

The amphora is right.

It shouId remain so, the way it came to us.

If one tries to put it in order, to recreate it...

she dies... she Ieaves herseIf dying...

Something Iike...

euthanasia...

WouId you add hands to the Venus de MiIo?

It's aImost midnight, wouId you come forthe main dance?

- I'm coming in a moment. Prepare yourseIves! - Excuse us.

You're not coming to dance?

- No, thanks. - A shame; dancing is good.

A rituaI behaviour.

You can Iove whiIst dancing.

Ready? Music!

Greetings to the Iadies!

Greetings to the cavaIiers!

Link up!

Link the otherway!

SingIe Iine!

Labyrinth!

I wanted to commit suicide.

Don't say anything.

I don't want to Iose you.

I'm here.

It's not enough?

Perhaps not anymore.

I experienced what it means to Iose you...

You suffer as though you were becoming a corpse...

and you ask yourseIf whether it is worth Iiving.

Stop taIking, PaoIo.

Stop taIking, PaoIo.

AIIow me to dedicate... this moment...

and this book...

to the person I Iove most in the worId.

Thank you.

Thank you too, sir. Goodbye.

PIease, good evening.

Is it ourfauIt that we are unabIe to Iove differentIy?

What do we have to do?

I want a chiId, PaoIo...

and I want it with you.

I don't want our Iove to end.

PaoIo?

PaoIo?

Do you know anything?

I mean about motors!

- Good afternoon. - Good afternoon.

- What are you doing here at this hour? - I wanted to go to the guII isIand.

A hermit Iives there, who prepares a deIicious fish dish.

Tomorrow we're aII going there on a trip. I wanted to notify him to prepare something...

but this one won't start.

WeII, we can at Ieast try...

CarefuI.

- The petroI and oiI mixture is wrong - It's wrong?

- At this time, the pump station is cIosed. - Oh, my God...

- Why don't you take me? In a coupIe ofhours we'II be there and back. Do you agree?

You've never seen the isIand? It's great.

I'm aII yours!

Okay, thank you.

Do you know the road?

- AIways ahead, tiII the end ofthe worId. - Fine.

Why do you quarreI?

She wants to have kids.

She's right - she's so beautifuI...

And then, who shouId have kids if not you two, who are young and heaIthy?

Is it reaIIy necessary to have them?

If everyone were Iike me then the Earth wouId depopuIate.

I'm steriIe.

Overthere.

Whose dog is it?

The hermit's.

PeopIe say they're the same age.

Leave it, I'II secure the boat myseIf.

Thank you.

Soon some Germans wiII come; they're bringing fresh fish.

- I'II cook it; you'II see what a treat it is. - Let's hope it tastes good.

Horny earthIings, my dear!

I feeI today is the best day of my Iife.

And tomorrow?

''Look at the birds ofthe air; they do not sow or reap, or store away in barns...''

Matthew 6:26.

And Iove is easierto find than food.

Look, it must be the Germans.

Let's hope they had a successfuI fishing session.

- Who knows why they're returning so earIy? - PuII the boat onto the shore.

It Iooks Iike a shipwreck.

- Friends and enemies, aII together. - And what do you consider me?

You're Iike a guII,

that rises up and then disappears.

- The isIand inspires you? - Or maybe scares me.

- Why? - Because I Iike you.

- And that frightens you? - No...

It's the fact that you're Iiving my utopia.

I've aIways asked myseIf, what's the purpose in nature ofthe barren woman,

but now I know: being the mother of aII.

You're the first woman I feeI I can Iove outside ofthe OedipaI compIex.

- Don't speak big words. - OedipaI?

''To Iove'' is big.

No, you can't go, the sea is becoming rough!

But I can't stay here, I have to inform my peopIe.

Don't worry: I'II caII the port authorities and they'II take care ofit.

Tomorrow they'II aII come here and it wiII be great.

Come on, guys, heIp me puII this IittIe boat ashore,

otherwise the sea wiII carry it away tonight!

I'm afraid.

Of what?

That it wiII end...

It must begin first.

But it wiII be over.

No, it won't end...

Because I don't want you just for myseIf...

With you, I feeI I'm Ioving the whoIe worId.

And Sena?

She's part ofthe worId.

When she finds out, it wiII be the end ofthe worId!

Food is the nobIe part of shit.

A human spends aII his Iife between these extremes.

What shouId I do?

Exist.

I don't know how to say it beautifuIIy, but I think I Iove you.

Love is a creation...

For us?

For everyone.

- They are Iooking at us. - It doesn't matter.

- I'm embarrassed. - Love is not private, it's for everyone.

I'm embarrassed, but I'm stiII happy.

Cheers!

I Iove you.

I care a Iot for you.

And Sena?

For her, too.

You Iove the hermit aIso?

Yes...

- And the Germans, too? - Yeah.

Today I discovered what Iove means.

And tomorrow?

- Tomorrow, I'II need to start doing it again. - Start doing what?

Living a new kind ofIove.

Without possession...

suffering...

- destruction. - It's just a dream.

FIying was just a dream, too...

but then it became an idea.

And ideas are carried out, achieved...

And us, we're not jeaIous.

Quite the contrary- we wouId Iike it if others aIso make use ofthem.

It shouId be Iike that with Iove too... That wouId be perfect.

Like this night?

Yes... Yes, Iike this night.

PaoIo?

PaoIo?

If you want to go with them,

I'II send back your boat with someone.

Thank you. I preferto return aIone.

Give me your hand, Miss.

- Can we Ieave? - Yes, come on, raise the Iadder.

- Everything aIright? Your motherwas worried. Why didn't you warn her? - Do you have a Iight?

- We happened to be there by chance. - Hi, shipwreck victim. - Hi.

- This is Domenico. - And you, what did you do? - Nothing.

ShaII we take a swim?

As you wish.

Dear Paolo,

when you'll find this letter, l'll be gone.

lt wasn't in a field of daisies, nor at the City Hall...

that we could save our love.

l am not only a partner, Paolo...

l'm a woman...

Your ideas, which l respect,

they're your problem.

As are my choices,

and l'm not in the mood to abandon one for the other.

By continuing to live together,

e would only obstruct each other.

lt was unavoidable that it would die like this, within us,

quietly, our love.

And if it's still not completely dead...

it's because of the two of us, who can't kill it offfor good.

lt's like those ghoulish people who remain around violent crime scenes,

floating on the corpses, in order to orientate themselves...

before leaving forever.

But will it do us any good, my Paolo...

this last, desperate hope?

EngIish subs by unqflipmo Revised by Iordretsudo