All language subtitles for Europe.51.1952.ENGLiSH.VERSiON.720p.BluRay.x264-SADPANDA-HI

♪♪ (DRAMATIC)

- Mrs. Girard, the elevator's out of order.
- Good evening. As usual.

(DOOR BUZZER BUZZING)

Oh, hello, darling.
I'm so sorry. I'm so late.

How are you, dear? How are you?

- Is Mr. Girard home?
- Yes, madam.

- Is everything all ready?
- Yes, I think so.

I'll take a look at the table.

Right. Yes. That's very nice.

Take care of that.

- Have you done your homework yet?
- No.

What's the matter with you? Come along.

- (WHISTLES)
- I want to talk to you.

Yes, yes, Michel.

Hello, George.

- MAN: What happened to you? You're late.
- Yes, I know.

This... This strike business.

The traffic was all tied up.

The police had blocked off
all the main streets.

I wanted to come home early so I could
tell you I invited your Aunt Margaret

- and her son for dinner too.
- But why tonight?

What could I do?
When she called, you had already left.

She's going to be in Rome
only three days...

and I don't know when else
we can see them.

Maybe with his mother here,
he won't make any soapbox speeches.

But anyway, you hurry up.
I haven't even started yet.

Tell me, what have you been doing all day?

- Nothing.
- What do you mean, "nothing"?

Ring the bell for Cesira.

(BUZZER SOUNDS)

Will you listen to me now, Mother?

Of course, but please hurry up, Michel.

- (KNOCK AT DOOR)
- Come in.

I forgot if I told Mafalda
to cook something plain...

for Signora Casati. She's on a diet.

Mafalda has prepared some fish
for her, like Michel is having.

Very good, very good.
That was all, Cesira.

Please, Mother, will you listen to me now?

But I am listening, Michel.

Turn around while I change.

What is it?

I won't tell you anymore.

Are you trying to make me angry? Tell me.

- I was alone the whole day.
- Didn't the teacher come?

No, he didn't come this afternoon either.

It's that strike.
There weren't any buses running.

Even last week,
he didn't come for a couple of days.

Well, you know he wasn't feeling well.

Tomorrow I'll phone him and send the car.

- Satisfied?
- No.

What's the matter now?

You know I don't like that teacher.
He talks too much.

He always gets too close to me.

He sweats and laughs,
and I just don't like him.

What you'd like is to have
your old nurse back again.

But you're a man now,
and you need a man to teach you.

Oh, my goodness, that Cesira.

Cesira! Cesira!

Please bring my white dress and shoes.

- And please hurry.
- Yes, right away.

- Good evening.
- Good evening, madam.

- Have you put the champagne on ice?
- Yes, madam.

(DOORBELL RINGING)

The bell rang. Go to the door.

George, they're already here.

You go. I'll be ready in a minute.

- Good night, Michel.
- Good night.

WOMAN: What were you saying, dear?

- Where have you been all day?
- Well, I went...

What do you mean?
What kind of question is that?

You've got to stop being so spoiled,
acting like a mama's boy.

You're 12 years old,
and it's time you grew up.

If you want to know the truth,
I'm very disappointed in you lately.

- (DOOR OPENS)
- Hello, Michel. Where's Mummy?

- I'm in here.
- Hello, darling. How are you?

Better hurry. Your guests are here.

- I'll be right with you.
- I've got to tell you the latest scandal...

they talked about at the Antonellis' today.
You'll never believe it.

Hello, everybody. How are you?
I'm so glad to see you.

Hello, Irene. How are you?

- Look what Richard brought for Michel.
- Oh, that's wonderful!

He'll just love that.
Thank you very much, Richard.

- Here's Aunt Margaret.
- Good evening, Aunt Margaret.

- Good evening, Irene, George.
- Hello, André.

- She's looking much better, isn't she?
- Yes. A little thinner, maybe.

Aunt Margaret, I want you to meet
Mrs. Orange, a friend of mine.

- (EXCHANGING GREETINGS)
- Mr. Chandler and Mr. Orange.

You remember Luciana, don't you?
Mrs. Casati and her son.

Come and sit down, Aunt Margaret.

George, why don't we call Michel
to take a look at his new train?

- He's not asleep yet.
- Yes.

What shall we have to drink?
You already have something.

Aunt Margaret, would you like
something to drink?

Nothing, thank you. Well, perhaps
a little vermouth, but very little.

- And André? Nothing?
- Not for me. No, thanks.

There. What am I going to have?
Luciana, what are you having?

- Dry martini, as usual.
- Good idea. I'll have one too.

Here's Michel.

Here's what Mr. Orange brought you.
Say good evening to your Aunt Margaret.

My, how you've grown.
Last year you were only this tall.

You look a little pale, though. Maybe
you've been studying too much, huh?

- He does look a little pale, but...
- GEORGE: Michel?

Have you said good evening to Mrs. Orange?

Hello. How are you?

And that's your Cousin André.

- How are you, Michel?
- Fine.

And say thank you to Mr. Orange.

Thank you.

Isn't it a wonderful present?
Are you happy now?

Now, say good night nicely
to everybody and go to bed, huh?

Now, would you like it very dry?

Very dry, please.

What's the matter with Michel?
Doesn't he like his new train?

He's in one of his moods, I guess.

Such a lovely train too.

Yes. Just seeing it
makes me feel like a child again.

- I'd like to try it out.
- Shall we go?

Let's.

IRENE: But of course, here you are.

I didn't know that you were there.

What are you two up to?

Are you keeping the train
all to yourselves?

Shall we join them?

- Make it stop.
- Here's your drink.

Thank you. What else can it do?

- Make it go backwards.
- Look how well it runs.

- It's lots of fun. And so realistic.
- Dinner is served, madam.

Dinner's ready.

Let's go, huh?

- It's lots of fun, even for grown-ups.
- Take your glasses to the table.

Aunt Margaret, Richard, ready to eat.

Now, you are here...

and Eric there, and André to my left...

and, uh, George...

I made a mistake. Aunt Margaret
at the head of the table...

and Richard on this side...

and George over there.

One gets confused with these things.

Here we are, Aunt Margaret.

Thank you.

Have you been in Italy a long time?

Yes. I came from America
years ago to study in Florence...

with my sister, George's mother.

Then I married an Italian,
Vladimiro Casati.

- Does your son work in Italy?
- Yes, in Rome.

- What does he do?
- He writes. He's a newspaperman.

Oh, a newspaperman. Now you can tell us:

Are we going to have peace or war?

My guess would be peace.

You certainly are optimistic.

I think we're heading
straight for war myself.

- But I still hope for peace.
- I don't see how.

What makes you think I'm wrong?

I happen to have
definite ideas on the subject.

Now, there you go with politics.

Let's have politics after supper.
Have you been to the horse show?

Excuse me, dear.

I'd really like to know
why you're so optimistic.

Maybe it's because there are so many
of us in the world who desire peace.

Yvonne, darling, I think we'd rather change
the subject, huh? André is slightly radical.

- YVONNE: Oh, a socialist?
- Worse than that, I'm afraid.

You see what a good hostess I am?

Whew! A real diplomat.

I put the dove of peace on my left...

and the Marshall Plan on my right...

and somewhere in the middle
I put a neutral buffer state...

like Switzerland, and look what happens.

Michel has asked me to call you.
Can you please go to him?

I'm awfully sorry. I...

I think I have to go and see
what Michel wants. Excuse me.

But do let's have peace. Cheers.

Well, I've solved a lot of problems,
but that boy still beats me.

- What is it?
- I don't feel well.

- Stomachache?
- Yes. It hurts me right down there.

- Where? Where does it hurt you?
- All over.

- Here?
- Ouch!

- Here?
- Ooh.

Oh. It's nothing. You know it's nothing.

Don't try to fool me.
Listen, you're not a baby any longer.

I'm not sleepy. Please stay with me.

- I can't. We have guests. Don't be silly.
- Go away!

- Be quiet and go to sleep.
- Go away!

- Behave yourself.
- Shame on you! You're all naked!

Stop it immediately!

(SOBBING)

(BUZZER SOUNDING)

That's Michel ringing.

Tell him his father
will come if he goes on.

(BUZZING CONTINUES)

Cesira?

Turn off the light in his room.
Tell him I told him to go to sleep.

He's been so nervous lately.

He had a governess
from the day he was born...

until six months ago,
when George let her go.

Maybe that's what's wrong with him.

What children Michel's age need
is a good boarding school.

Michel is not like other children.
He's extremely sensitive.

I am his mother, and even I have
a hard time understanding him.

Imagine what would happen
to the poor boy in a boarding school.

I wish I could get you to understand
that progressive education has changed.

That's very true. Our schools
in Switzerland are among the best.

In my opinion, it's leaving a child alone...
that's what spoils him so much.

That's exactly what I say.

The Chandler boy goes
to boarding school in Boston.

- You couldn't ask for a finer son.
- We're pleased with him.

GEORGE:
He's only one year older than Michel.

Last year he flew from Boston
and back by plane.

Flew across the Atlantic?
Weren't you afraid to let him go?

Oh, no. He loves airplanes.

All this is well and good...

but don't forget that during the war,
while George was in the army...

Michel and I spent five years...

running all over England,
dodging air raids.

- Madam, quick! Michel is hurt!
- Where?

He fell down the stairs!

(CHATTERING, INDISTINCT)

Cesira, the key! The key to the car!

Here you are, sir.
I put them in the coat pocket.

To Santo Spirito.
It's the nearest hospital.

It's a fracture. Just a simple
fracture of the hip bone.

Nothing serious. Fortunately, there
seems to be no concussion of the brain.

He's in the operating room now, under
an anesthetic. They're almost finished.

I still want Dr. Alessandrini
to examine him.

I'll try him again on the telephone.

Mr. Girard would like to use
the phone again. Would you mind?

Don't worry.

Michel...

- Well, Doctor?
- Everything's proceeding well.

(SOBBING)

Don't let it upset you, please.
Everything will be all right.

So sorry.

These things happen to children,
no matter how careful we are.

- Let me speak to the doctor in charge.
- He has a fracture of the hip bone.

There's nothing to worry about.
He'll be laid up for a while...

- but nothing really serious.
- (DOOR OPENS)

- Cassiani.
- How do you do?

- What's the situation?
- It's a fracture of the hip bone.

We took him to the operating room
and applied a cast.

- Any complications?
- Well, we hope not.

Can we take him home?

Not yet.
There are still possible developments.

At least we could get
a private room for him.

I'll do my best. As for the boy,
tomorrow we'll know more.

And the next day, he should be home.

IRENE:
When did you give him the injection?

WOMAN: Right after we brought him home.

He's resting very nicely now.

But isn't it dangerous to give
morphine to a boy his age?

Oh, no. Besides...

the sedative we gave him
isn't as strong as morphine.

It won't hurt him, will it?

No, it won't.

Don't worry.

Fractures of this kind
are often very painful at first.

Mm. Yes, they must be.

Excuse me.

- Will you see Mr. Casati?
- Ask him to come here.

- I'll be right outside the door.
- All right.

- Hello, André.
- Hello. How's it going?

Oh, so-so.

Courage, now. It could have been
much worse, you know.

- I just can't understand it.
- Come, now.

Don't take it so hard.

I've come to say good-bye, Irene.

- I'm leaving town for a few days.
- Oh, yes?

Have you talked to Michel
about the accident?

No, not yet.

Irene...

I don't know whether
I ought to tell you this or not.

The doctor at the hospital...
you know, my friend... told me...

that is, he had the impression that...

that Michel's fall was no accident.

"No accident"? What do you mean?

Don't get upset, Irene.

It seems that when Michel
was under the anesthetic...

he began talking,
and he said certain things...

which led my friend to believe that...

- The whole thing's absurd!
- Maybe so...

but my friend thinks
unusually sensitive children...

are liable to do anything...

even go to extremes
when they're greatly upset.

But it's impossible, André!

Now, now, Irene.
He thought you ought to know.

MICHEL: Mother!

Right away, dear. Just a minute.

- So you think he tried to commit suicide?
- No, not necessarily.

It may be that he tried to hurt himself...

to draw your attention.

But go on in. Don't keep him waiting now.

We'll talk it over when I come back.

Good-bye. It'll be all right.

I'm glad you told me, André. Good-bye.

(WEAKLY) Mother?

I am coming. Please forgive me, dear.

- How do you feel?
- (GROANS)

Now...

Now, be a good boy and don't move, hmm?

Just like that. Stay... Stay still.

Do you want me to stay with you?

You... You can go away for a while.
I'll stay with the child.

Make yourself comfortable anywhere.

Are you happy?

We are together...

just like we used to be
when you were a little baby.

Do you remember during the war...

when we used to sleep together...

and your little feet were so cold?

And we used to cuddle up
together to get warm.

And do you remember when we heard...

the air-raid sirens...

and you used to say...

"Bombers"...

and then you fell asleep again?

And you wouldn't even know
when I carried you down to the shelter.

I used to roll you up in a blanket.

Do you remember that day in the sun...

that day in the country...

when a soldier scolded me for something...

and... what did you say to him?

I don't remember. What did I say?

You turned just like
a little man to him...

and you said, "Do you want me
to punch you in the nose?"

My little man.

And you remember when Father
came back home from the war?

From then on I didn't see you as much.

(SOBBING)

But I'm with you now.

I'll stay with you always.

- Like the time I was operated on?
- Yes.

Yes. (SOBS) Just like that.

I'll always be with you. Always. Always.

(WHISPERING) He's asleep.

Let's go.

George, what happened
to Michel was no accident.

What are you talking about?

It is not what we thought.

It's terrible.

Terrible. He tried to kill himself.

Oh, darling, please!

Let's not invent fantasies.

No, it is true. He tried to kill himself.

Well, that's impossible.

Why should he want to do
a thing like th...

Who told you all this?

The doctor at the hospital. André said so.

Well, he's crazy.

They're both crazy.

I tell you, it is true.

I feel it is true.

In his own way, Michel...

Michel told me too.

George, we have to change
our way of living. We have to.

We can't go on like this any longer.

(NO AUDIBLE DIALOGUE)

George?

George?

- What's happened?
- Irene, don't.

Let me go in! What has happened?

Let go of me! What has happened?

- He's dead. He's dead!
- (EXCLAIMS)

- He's dead!
- IRENE: Michel!

Please hurry. Mrs. Girard's mother
wants to see what we've prepared.

I can't stand this any longer.

I haven't slept for three nights.

Will this be all right?

Yes, that's fine.
You can take it in to Mrs. Girard.

She can't go on living on fruit juice.

Poor Irene. She hasn't changed one bit.

Ever since she was a child...

she would run away and hide
when she was sad...

when things went wrong.

I remember one time we spent
a whole day looking for her.

She was hiding in the attic.

To this day, she has never told me
what she was doing up there.

I know. I know.
Michel used to be the same way.

She asked me to leave
her supper in the room.

She said she'd eat later.

Excuse me.

Hello, darling. How do you feel tonight?

Better, thank you.

Have you had anything to eat today?

No, not yet, but...

I'll eat something later.

Irene, darling, you can't go on like this.

You've had no sleep.

You haven't had a decent meal in 10 days.

You've got to pull yourself together.

Yes, George. I'll be all right.

I feel better.

Listen, darling,
I don't want to be irritating, but...

if you won't take care of yourself,
somebody has to do it for you.

- George...
- No, please let me finish.

Whether we like it or not...

we've got to keep on living.

Life goes on, and...

we have to do what we can with it.

Think of your mother.

At her age, she flew all the way...

from America just to see you...

and in three days
you've hardly said two words to her.

If you don't want
to think about yourself...

at least you might try to think of her.

I can't, George. I can't.

I get upset so easily, and she...

You must explain to her
that I need a long, long rest.

- (KNOCK AT DOOR)
- Come in.

It's London.

Hello?

Hello?

Will you speak a little louder?
I can't hear you.

Ah, yes.

Thank you. Good.

I'll let you know by cable. No.

No, call me at the office in the morning.

- Thank you. Good-bye.
- (PHONE HANGS UP)

Don't worry about me, George.

I'll be all right,
but you must give me time.

I wish you'd take
one of these sleeping pills too.

It'd relax you.

- You said yourself you needed rest.
- Yes.

You're right. Sleep will do you
more good than anything else.

Yes, yes. Don't worry. I'll take them.

Listen, don't leave Mother all by herself.

Stay with her for a while
and then come back to me after dinner.

Would you like me to turn off the lights?

Yes, please do.

(PHONE RINGING)

Hello? Who's speaking?

Oh, André, it's you.

Yes, I called you several times
because I needed to speak with you.

You've heard?

Well, it is urgent. If you can, tonight.

I hate to bother you,
but it's very important to me.

No. No, no.

Let me come to you.

Yes. Where are you?
At the office? Where is it?

All right, fine. I'll be there shortly.

Good-bye.

Irene, dear.

- So you know?
- Not everything.

It... It was a blood clot.

Please, what can I say to help you?

Nothing. Nothing.

Unfortunately, nothing.

- Where are we going?
- I don't know. Wherever you like.

Anywhere. We can just
drive around a bit, if you prefer.

Yes. Oh, I... I longed for your return.

I...

I wanted to ask all sorts of things. I don't
know how many times I've called your office.

Yes, they told me.

And now I can... I can ask you
all the questions...

- that I want...
- (ENGINE TURNS OFF)

it seems so useless.

(ENGINE STARTS)

Irene, please don't,
unless it makes you feel better.

Please, dear.

Sometimes I don't know what I'll do.

I can understand that.

Where are you going? Back to your office?

No, it's still quite early.
Just tell me where you'd like to go.

- Let's turn around there.
- I'm afraid I'm not very good company.

Come on, dear. Let's get out.

We can walk around
and get a bit of fresh air.

ANDRÉ: This square has always had
a peculiar charm for me.

This statue is quite impressive.

Don't you think?

Yes.

Michel must have said something quite
definite while under the anesthetic...

to make the doctor understand
that his fall was not an accident.

Listen, Irene, you mustn't
torture yourself this way.

If we hadn't had guests that night...

if things had only gone
a bit differently...

if I'd said one word instead of another,
or made a different gesture.

You see how tragic it is...
that a gesture or a word...

that can't be taken back must have
made something go wrong...

(SOBBING) that caused his death.

I can't stand it any longer.

No, no, Irene.

It's useless to say that.

What's the good of repeating,
"If I had said this, if I had done that"?

Things are as they are.

Then... it was destiny,
but why this destiny?

Now, wait. I said nothing about destiny.

What has destiny to do with this?

Then if it wasn't destiny,
the fault was mine.

No, Irene, the fault is not yours.

If you must blame something,
blame this postwar society.

What has society got to do with it?

Look, Irene. Think of a boy.

Just a boy, and the first impressions
he's received of this world...

have been puzzling fear,
bombardments, and war.

Whose fault is it?

But why should the chil...
children pay for it?

It's not just. Then God isn't just.

Tell me something.
Do you think it right, for example...

that a child must die because
his parents haven't enough money...

to buy him the necessary medicine?

Unfortunately, this is true.
It happened just today at my office.

A mother came to see us...

begging us to do something to help her.

She has four children.
Her husband is a street cleaner...

so poor he makes hardly enough
to keep the family going.

The medical care the boy needs...

is impossibly expensive,
some special drug.

Is it possible that the life
of that child must depend...

upon the money required
to buy that medicine?

Why didn't you tell me this before?
I can give them what they need.

How can we do it?
You want to go right away?

No, tomorrow.
Tomorrow will be time enough.

- Shall we go together? Hmm?
- Yes.

Oh, George.

Where in heaven's name
have you been, Irene?

I'm terribly sorry. Didn't the doorman
give you my message?

- I had to go out.
- Yes, I got your message.

You shouldn't do things like this.

I've been pacing up and down
this room for three hours...

from the door to the window.

Couldn't you tell me you were going out?

I've been imagining all sorts
of things happening to you.

You know...

all this has been pretty hard on me too.

I'm sorry, George.

You have to be patient with me.

Sometimes...

I think I'm going out of my mind.

Can't you tell me where you've been?

I've been with André.

André? What are you doing with him?

Now I don't know.

(WRY CHUCKLE)
It doesn't make sense, does it?

Irene, you've got
to pull yourself together.

We can't go on like this.

At least we ought
to try to help each other.

Yes. Don't-Don't worry, George.

Somehow I'll find a way out of all this.

I wish I could help you.

I'd like to.

No one can help you more
than I can. Not even André.

You need me just as I need you.

Yes, George.

We'll be all right now.

Excuse me. Can you tell me
where the Third Block is?

Down there. I'll show you.

- That's it.
- Thank you.

There you are.

(KNOCKING)

- Does Mr. Galli live here?
- Who are they?

They were looking for the Third Block.

- (KNOCK AT DOOR)
- Who is that?

There's a lady and gentleman
here to see you.

Oh, good. It's you. Any news?

- We've got the money for you.
- Ah, bless you.

Here you are. This ought to be enough...

for the medicine
and the hospital expenses.

If you need anything else
later on, just let me know.

MR. GALLI: You saved our Bruno's life.

See how we're cooped up in this one room?

There are six of us.

But without Bruno,
the house seems very empty.

ANDRÉ: Well, everything will be all right.

Good-bye and good luck.

MRS. GALLI: Good-bye, and thank you.

Don't thank me.

Hello, John. Any mail?

Yes, I think so.
I'll get it in a moment. Only one.

Thanks. Come along.

Oh, it's you. I was looking for you.

- Pisani, meet Mrs. Girard.
- Pleased to meet you.

- How should I set this up?
- I'll tell you in a moment.

Come in.

Sit down, Irene.

Now, then.

This goes out.

So does this.

We must slant it like this:

"The initiative of the State Department...

must be considered in relation...

to the quite obvious intention
of Wall Street financiers to...

to take the place of England...

and control the Persian oil fields.

The Foreign Office follows this move...

of the American government...

with suspicion and dismay."

- That's it.
- And the headline?

Well, let's say,
"Panic in London financial circles...

caused by an unforeseen
U.S. maneuver in Persia."

- Right. Single column?
- No, spread it across the first page. 3 columns.

- Very well. Good morning, Mrs. Girard.
- Good morning.

- Can you wait a moment?
- No, I'd better go.

I don't feel too well. I'm tired.

- You need a change of environment.
- Oh, it's not that.

I hope seeing that family will help.

You mustn't shut yourself up
alone with your sorrow.

Yeah.

I've been thinking...
those people that we've seen.

How strange it is. They're so resigned.

It's our duty to stir them,
wake them up...

give them some knowledge
of the class struggle.

- Or a hope.
- Knowledge, knowledge.

- They need help.
- Yes, they need help.

You could learn many things
if you were one of us.

Interested in those books? Take them.

- This is very good.
- Thanks.

(PHONE RINGING)

- Mr. Casati's on the telephone.
- Ah, yes.

Mother, would you mind pouring for me?

Hello? Yes.

Oh, the boy's back from the hospital.
That's wonderful.

Thank you, André.

But... But if you can't go, I'll go.
I know how to get there.

Yes. I'll go today.

Thank you, André. Yes. Good-bye.

- You're happy, are you?
- Yes, it was good news.

Now, Irene...

I've seen a lot of rather strange...

books and newspapers around the house.

What's so strange about them?

Now, you listen to me.
Give me my wool, please.

I know you've been through a great deal...

but there's a limit to everything.

You mustn't forget who you are.

Why don't you pack your bags
and come with me to England?

Oh, Mother, please.

I know you so well.

It's just impossible
to talk sense with you.

You're going to do
just what you want to do.

If you keep on like this, you're going to
find yourself in a great deal of trouble.

Your cousin John thinks so too.

Irene, your mother's quite right.

You must be careful these days.
You can't take chances.

You know very well how they've been
investigating all those people everywhere.

If war breaks out, do you want to be
thrown into a concentration camp?

- All this has nothing to do with it.
- Listen, just what are you accusing me of?

You talk to me as if I were a disgrace...

as if I were ruining the family name.

I can feel you're spying on every move
I make, as if I were crazy.

JOHN: You must remember, Irene, you have
certain responsibilities toward the family.

Certainly, I... I know that.

Let me explain to you, Mother.
I'm not hurting anyone.

I'm only trying to find a way.
Don't you understand?

Well...

why don't you just go ahead
and say what you're thinking...

that I have lost my mind.

(DOOR OPENS, SHUTS)

This is no way to talk to her.

She's an intelligent woman.
She knows what she wants.

Even if she makes a mistake...

it's up to us to stand by her,
show her that we love her.

Hello. How are you?

Good morning. How are you?
Bruno, come and say hello.

You see? He's already looking
a little better. Much better.

- Say thank you to the kind lady.
- Don't be shy.

I had nothing to do with it.

Please tell the lady
to thank those who did it.

Will you have a glass of wine with us?

- Thank you.
- Please do.

And now with your permission, I would like
to have you meet all these good friends.

- This is Mr. Giuseppe Manzetti.
- How do you do? Very pleased to meet you.

- And this is a very good friend, Mr. Strada.
- How do you do?

He's out of a job,
and his son plays the trumpet.

He's got lots of hard luck.
And this is his wife.

How do you do? Please sit down.

- ♪♪ (GUITAR STRUMMING)
- MR. GALLI: Please be quiet, everybody.

- Gigetto's going to sing.
- Oh, he's going to sing!

♪ Cheer up and flock around ♪

Go ahead. I was only trying
to get some sleep. Don't mind me.

And thanks for the welcome.

♪ Let all my dear friends ♪

She shouldn't be here.
She lives upstairs, next to us.

It's a disgrace, and I've got
a boy just 17. You can imagine.

- ♪ Leave us in peace ♪
- MAN: And don't forget to write!

Great, great, I get it.
Excuse me for living.

Good-bye. We'll see you again sometime.

(PEOPLE LAUGHING)

Come, Gigetto, play.

♪ Cheer up and flock around ♪

♪ The joy of singing comes ♪

♪ So naturally ♪

♪ Let's celebrate
because Brunetto is back ♪

- ♪ He's now among us ♪
- (PEOPLE CHEERING)

- ♪ We celebrate... ♪
- ♪♪ (TRUMPET PLAYING: LOUD)

Sorry, it's my son.
He's practicing his horn.

He has lots of talent. Promises well.

But in the meantime he's breaking
everybody's eardrums.

Here. Take some of this. Try it.

No, I must be going. Thank you.

Just as you please.

(ALL SAYING GOOD-BYES)

Good-bye, Mrs. Galli, and thanks.
Good luck, Bruno.

- Good-bye.
- Good-bye.

Good-bye. Good-bye.

Good-bye.

The little boy doesn't look well
to me yet. So thin.

You know, he's never been
a very healthy kid.

He's always had
something wrong with him...

but what can you expect,
living six and seven in a room?

It was touching, really.

- These people are so simple and nice.
- ♪♪ (DRUMS, TRUMPET)

Hey, you, stop it.
Let my son go to work. Come on down.

Oh, your son's got more sense
than you. Bye, beautiful.

A woman like that ought to be put away.

She gives a bad name
to the whole neighborhood.

People here are desperate
because they're so poor.

In Block Seven, there's a family
of 12 piled into one room.

In some others, they sleep
five and eight in a room.

There's everything they need
to get factories going here...

and give the men a chance
to get steady work...

and make a decent home for their kids.

The way it is now with them,
they're lucky, these people...

if they do get a day's work
once in a while.

And their kids hang around
the streets in gangs...

and turn into hoodlums.

Hey, Georgie! They just pulled
a body out of the river!

- Let's go and see!
- Who is it? Did you find him?

Giorgio, Pietro, come back here!

Where are you going?

- Come on!
- (ALL CHATTERING)

(EXCITED CHATTERING)

(BABY WAILING)

IRENE: No, no, no!

You can't keep the children here.
Where do you live?

- Over there.
- I'll help you. Let's go.

Now...

Come on. Up. There.

And now you. There.

How sweet you are.

Oh, little one.

(LAUGHS) Run along.

- Tell me your name, won't you? Huh?
- Arnaldo.

Arnaldo. And what do you want
to be when you grow up?

I want to be a bandit.

(LAUGHING)

♪♪ (WOMAN SINGING IN SPANISH)

♪♪ (CONTINUES)

What have you been up to this time?
Where are the other kids?

- They went to the football game.
- They went to do what?

Come here. Blow your nose, you.
Blow hard. Harder.

Show your brother
how you do it. That's good.

- (BLOWS)
- There.

- Won't you come in, miss?
- I don't want to bother you.

No bother at all.
Come on in. Glad to have you.

- Thank you.
- Come in, come in.

- Sit down.
- Thanks.

Excuse me. Where did you find them?

Down by the river.
They were playing close to the water.

I brought them home because...

How many times did I tell you you
should never play near that place?

You know very well it's dangerous.

These kids are just
wearing the life out of me.

Why didn't you watch them?

They ran away. I ran after them.

Then you should've called me!

Take the boy back to its mother
and go call your brother.

No, wait, wait. We'll give him
a slice of bread and cheese.

That's what we'll do. Isn't that a baby?

He's such a handsome baby.
Me, I'm crazy about him.

I could steal him. Here. All for you.

Like it? Here's a kiss.

Go take him to his mother and call
your brothers. Tell them to come.

Isn't he a darling?

- Yes. How many children do you have?
- Six.

- Six?
- But they're not all mine.

Three are really mine,
and three I picked up.

- "Picked up"?
- Yes, picked up.

They were... what do you call 'em?...
orphans, so I naturally took them in.

- You must like children.
- Do I like them?

I'm simply crazy about them.

So am I. Children are adorable.

How can I explain it, miss?
Babies make me very happy!

Hey, look at these two. What a
mess they've made of themselves.

Take this bread. And you too, Daniela.

Take your bread nicely.

Now we'll all go out and play.
Don't sit there. Get a move on.

There you go. Shoo!

Come here, Daniela. Beautiful, isn't she?

Look at her eyes. Show the lady
your dimples. Show 'em.

And those eyes. She's got
exactly the same kind of eyes...

as that good-for-nothing father of hers.

- And where is he?
- Oh, he's gone.

- Is he dead?
- Oh, no.

I don't think so.
Why should he be dead, poor fellow?

Well, you said... and so I thought...

- No. Will you have some bread and cheese?
- No, thank you.

Don't be bashful. It's good for you.

- Separated?
- No. No, you haven't got me right.

You see, I went to the country
for the wheat harvest.

- That's where I met him. You know how it is.
- And then he...

- I never saw him again.
- He left you?

Oh, no. Not right away, poor man.

He was always as good as gold.
I'm the crazy one. Oh, I know myself well.

It's just that I hate to be
a load on anybody.

Anyway, men are just big babies.
You gotta act stupid all the time...

so that they feel they can run
the whole thing. They're impossible.

They're good for only one thing: to make
love. And only after you show 'em how.

- You said babies.
- Babies are different.

Ah, I love them so much.
And you know what?

- (CHILDREN CHATTERING)
- Hey!

Is that any way to come into a house?

- Say hello to your mama's friend.
- Good morning.

- Good morning.
- Bruno and Luciano and Gabriella.

- Good morning.
- Say hello, Gabriella.

She's absolutely
the spitting image of her mama.

I never get tired of kissing her!

Oh, what have I done?
I clean forgot the soup on the stove.

It's been boiling for two hours!
Set the table.

Oh, what an idiot I am!

Here, the soap.
Now, wash her clean... but clean, eh?

To me you seem like a foreigner.
Where are you from?

- Are you from the IRO?
- What?

The IRO.
The displaced persons organization.

- Oh, yes.
- What do you think of that?

I had a friend once.
She came from the IRO too.

She was an actress.
Worked in a circus or something.

If there's anything I can do for you,
let me know. I'll be glad to help.

Here we go. Ready?

Oop-la!

Now, Mother will dry you.
Here's a nice, warm towel...

and we'll wrap you up in it.

Come to your mother. Come on!

Come on.
Now we'll go fly, fly, fly, fly...

fly, fly, fly, fly.

There, now. Stand up.

And you, pull those suspenders up.
Hurry, or we'll be late for the movies.

(WHISTLES)

George, I have discovered
a world I had no idea existed.

But you've got to slow down, darling,
and take some rest.

- Breaks my heart to see you looking like this.
- Don't worry, George.

I want so much to see you strong
and at peace with yourself again.

You know, George, in the last few days...

I have discovered
and understood so many things...

and I grasp each little discovery
desperately, so as not to remember.

Oh, sweetheart,
you do exactly as you please.

- ANDRÉ: Irene! Stranger!
- Hello, André.

- You look excited about something.
- I need your help.

- Good. What can I do for you?
- I met a young woman with six children.

She's courageous, she's full of life,
and she's intelligent too...

and she just barely manages to get by.

"Without too much luxury," she says,
but you should see her.

She needs a job, any kind of a job.

I'm convinced that only through work will
she be completely satisfied and happy.

A job? I'll do everything I can.

I'm so happy to hear you speak this way.

Remember when you first
arrived here in Italy?

In '47, wasn't it?

The things that have changed.

And the things that have
happened since then.

In those days, you were
rather selfish and frivolous.

Now you're full of enthusiasm...

and concern for the class struggle.

Irene, dear, I really want
to help you any way I can.

You know how very fond of you I am,
how much you mean to me.

Now, then, about this woman...

you'll leave me her name,
address, and so forth.

- Good morning. I see you are still eating.
- Good morning! No. We're almost through.

- How are you? Nice to see you.
- Very well, thanks.

You must excuse me, but I've had
so many things to look after.

While they were waiting for me to bring
the soup they ate three loaves of bread.

Won't you sit down?
Let's go, children. Get up, all of you.

I gotta fix up the room now.

Maria, help Daniela
get down from her high chair.

There, that's better.
Make yourself comfortable. Go on.

I'll be with you in a minute.

- Hello.
- Some coffee?

No, thank you. Listen.
I have found some work for you.

- Really?
- Starting Wednesday.

- Wednesday?
- Yes, in a factory.

Why did it have to be Wednesday? Now that
you found me a job, I don't think I can take it.

- Why can't you?
- Well, I happened to meet a young fella.

He worked in a bakery near here.

You get out! Go outside and play,
you with the big ears!

He's quite a little fella, you know.

But with such eyes, such eyes!
Just out of this world!

Well, anyway,
he was drafted into the army...

and they sent him to Turin...
Third Regiment, Artillery.

Well, you know how these things are.

- No. How are they?
- Just a minute.

You see, he wrote me.

They're sending him to a nearby town for
two days to get flour for the regiment...

and he can't come down to Rome
because he won't have time.

If I could only find some way.

After all, I'm not doing anything wrong.

No, I quite understand.

But you'll lose your job.

Oh, there must be some way to work it out.

There's no way, as far as I can see.

Maybe someone would have to go
over on Wednesday to the factory...

and take my job there.

I don't think it will be that simple.

- If they found out...
- But how could they?

All one has to do is punch
the time clock and go to work.

- Who could possibly go?
- That's just the problem...

the person who could do it.

Hey, you could go.

I go?

I wouldn't have
the slightest idea about it.

Neither would I...

but you might learn.

Probably.

(HORN SOUNDING)

(HORN CONTINUES)

(HORN WINDING DOWN)

(MACHINERY ROARING)

(NO AUDIBLE DIALOGUE)

(ROARING CONTINUES)

George, I'm beginning to get worried.

We must do something about her.

No, she's all right. She knows
we're going to the theater.

Well, suit yourself. You're her husband.

(DOOR OPENS)

GEORGE:
Well, at last. What happened to you?

Forgive me.

- We'll never get to the theater on time.
- If we don't hurry...

we're going to miss the whole first act.

I'm so sorry. I'm late. I...

- Hello, Irene.
- Oh, Irene.

Didn't you know they were calling for us?

Oh, dear. I forgot all about it. I'm...

- Forgive me. Please forgive me.
- Excuse me.

- Well?
- Oh, George...

How long do you intend to keep this up?

It won't last, believe me. Please be
patient with me just a little longer.

No, we've got to settle
this thing once and for all.

I've given into every one of your whims.

I've agreed with everything you've said.
I've accepted every explanation.

I've defended you to your mother,
to cousin John, to everybody.

And now I've had more than I can stand!

It's perfectly clear to me
what's going on.

It shows in the way you act and dress.
Everything you do is to please him!

Oh, George.

They're expert, all right,
at helping women in distress.

Why do you avoid me?

Every time I come near you now, you...

you draw away.
If you're in love with this fellow,

why in heaven's name
haven't you the courage to say so?

It's not like you to try to fool me.

For a long time I thought
it was Michel. (LAUGHS)

Now I know you've been
hiding behind your grief.

And I'm fed up! Fed up.

No, George, no. George...

It's too late for that.

All right, George.

I don't want to embarrass you...

and I won't.

Good!

I had to see and feel that work.
It was frightening...

like being condemned.

It's horrible to say so,
but that's the way it felt.

My dear, I knew you would
understand, but don't exaggerate.

I am not exaggerating, André.
Believe me, I'm not.

It was like being condemned.

Those workers seemed like
the slaves of some evil god.

You're drawing a conclusion that justifies
my confidence in your wisdom, my dear.

I've always been sure we'd agree.

You've seen the slavery of work.

That's the reason
why we want to... to free...

the exploited, even if
we must use violence and hate...

No, André. Humanity that hates
is something monstrous.

To poison the hearts
of those people with hate...

how can you imagine they would be happier?

With the world rid of those who exploit...

there would be justice.

We would have a paradise here on earth...

real, material, willed and made by man.

Perhaps.

But if only everyone would
understand that the problem...

is much deeper than that, more spiritual.

"Thou shall love thy neighbor as thyself."

Only that will bring us close.

Closer to one another as equals.

Humble in the same way.
For only with love...

can we find salvation together.

I want to thank you, André.
You have opened my eyes...

in spite of your ideas.

I know now that
all my life's been a mistake.

If God would help me.

Oh, Michel!

I want to make sure that Michel knows...

how great my love for everyone is.

It's part of my love for him.

I'm sure if he knows this,
if he could see me now...

Belief in the hereafter may be
a helpful illusion for the ignorant...

but you, dear Irene,
should try to realize...

to visualize this paradise
here on earth more concretely.

- You and I together...
- No, André.

I'm searching for a different path,
the spiritual path.

In your paradise here on earth,
there is no place for Michel...

because he's no longer alive.

The paradise that I dream of...

is not only for the living
but for the departed.

Something eternal.

And this is my paradise.

♪♪ (CHURCH ORGAN)

♪♪ (CONTINUES)

♪♪ (ENDS)

- WOMAN: Who are you talking to?
- WOMAN 2: Who do you think?

- Leave me alone, you slob.
- You cat! You filthy pig!

- Yeah, go back to your pigsty.
- Give yourself a break.

- And that goes for you too.
- WOMAN 2: Who, me?

Yes, you. If you don't stay off this street,
we'll scratch your eyeballs out.

- Scram!
- Okay, okay.

What are you doing here?

Nothing. I was just going by.

My sweet friends ganged up on me.

I've got a fever
that's just burning me up...

and I'm freezing to death.

- Why don't you go home?
- I haven't got a cent for carfare.

I'll wait for the dogcatcher.

Come. You can't stay here. I'll take you.

What is this? You think I want charity?

No, of course not.
I'm going that way myself. Come.

Come.

Hurray for us.

And don't come back.

(COUGHING) I can't stand it anymore.

But why are you going to my neighborhood?

I have to see someone.

Who? At this hour?

Why does everyone lie to me?

Nobody says the truth. (COUGHS)

- (COUGHING)
- Where is your key?

Oh, there. Now...

(COUGHING CONTINUES)

Do you have a doctor? Do you
know where I can find a doctor?

Oh, no. How do I know?

Just go outside and ask someone. How do
you want me to know where the doctor is?

(COUGHING)

- I don't want to go to any hospital, Doc.
- No.

- I want to stay right here.
- You'll stay right here. No hospital.

Now, don't breathe.

I don't want to go to any hospital.

You won't.

I want to stay home.

Well, Doctor?

There's nothing to be done. She ought
to be taken to a hospital immediately.

No, but listen: Can't we possibly
find some other solution?

- Is there really no hope?
- None whatever.

Maybe three, four days.
A week at the most.

- And then it'll be all over.
- There is no way to save her?

Nothing. Two years ago
she could have been cured, perhaps.

But now the disease is so far advanced
that it has spread to both lungs.

There's nothing to do but wait
for the end, unfortunately.

Good-bye, Doctor. Thank you.

(WOMAN MOANS)

- Good morning.
- Good morning. Were you coming to see us?

No, I'm staying with Ines. She's very ill.

That one? She's only acting.
You don't know her.

No, this time she isn't, I'm afraid.

- Is there anything I can do to help?
- No, I was just going to the coffee shop.

- He'll go down for you.
- That's fine. Will you ask them...

to bring up to number seven two eggs,
some coffee, and a couple of doughnuts?

- Go on, now. Hurry.
- Thank you.

- How is your wife?
- So-so. Always about the same.

- Good-bye.
- Good-bye.

- (INES MOANING)
- What is it?

Where are my furs? I don't see my furs.

Look in that closet.
See if they're still there.

They steal everything around here.

Is it these?

(KNOCK AT DOOR)

Good morning, good morning.

- How's tricks, Ines?
- Ooh, your hand is cold.

MAN: This one's warmer.

- Who's the babe?
- Go away. Can't you see I'm sick?

- Good-bye.
- How much is it?

Oh, everybody charges around here.

- This'll do me good.
- Uh-huh.

Here you are.

♪♪ (TRUMPET PLAYING)

Please, not that again.
He wants to drive me crazy. Stop him.

I'll go and speak to him.

Yes, go. He'll drive me crazy.
He'll drive me out of my mind.

Good evening. How are you?
How's the fever?

Oh, it's gone. Anything new?

Nothing. They've found no trace of her.

And your Cousin André?

Nothing.

He's been followed.
Every move's been checked.

The private detective
did a good job, but... nothing.

Good heavens. I'm so worried.

Irene was so upset.

I've been imagining
the most terrible things.

(LATIN)

(LATIN)

Amen.

You may go now.

- Thanks.
- Nothing.

It's late. You'd better go if you're busy.

It doesn't matter.

But maybe I'd better go
and get some food ready.

I'll be back right away.

Last edition. Neighborhood bank robbery.

One gangster killed,
two manage to get away.

Police already closing in.

Neighborhood bank robbery.
Police closing in.

(SHUDDERING MOANS)

(MOANING INTENSIFIES)

Quick, open the door.

- Mrs. Strada, Ines is dead.
- (SOBBING)

Keep going.

What has happened? What is this?

- You tell her and drop the gun!
- Stop it!

He's a thief! Our son is a thief!

A common thief... that's what he is!

It's that bunch of gangsters!

They tried to break into a bank!

The police had to kill... (INDISTINCT)

Shut up, all of you!

Why have you done this to your parents?

Why? They are your father and your mother.

- Where did Remo go?
- To call the police! I sent him!

The police? You fool!
I'll kill you! I'll kill you!

MRS. STRADA: Your own father!

Stop it, stop it! Listen to me.

Get away from here immediately!
Don't let them catch you here!

You must go to the police
and give yourself up!

Go of your own free will! Hurry! Hurry!

It's the only way to save yourself!

Do you understand?

(DOOR OPENS)

- Here you are.
- Did you send a car for the captain?

Over a half hour ago.

I'll look again.

He's here now.

All right, lady, hurry up.
He wants to see you.

Now, then...

you admit you urged the boy,
Ferdinando Strada...

to escape when you were told
the police were after him.

Yes.

Then I have no choice
but to report this to headquarters...

and send you to the Mantellate.

- What is Mantellate?
- It's the women's jail.

Can you tell me why
you allowed him to escape?

- Of course.
- Well, go ahead.

The boy was in such a state of despair...

there was nothing he wouldn't do...

kill others or himself.

So... you just let him get away.

In fact, you helped him.

- Didn't you know you were breaking the law?
- Listen.

I'm sure he will give himself up
of his own free will.

He's not really a criminal.
I'm certain that he will.

Tell me.

There's something
I don't understand, Mrs. Girard.

If you're really the person
you've been telling me you are...

mind you,
we're checking it out carefully...

why did you leave your husband...

and why did you go to live with a woman...

with a reputation like hers?

She was an unfortunate human being.

No doubt, but be more explicit.

It... It would take too...

too long to explain.

Perhaps I don't know myself.

- Maybe I could tell you why.
- (PHONE RINGING)

Yes?

Speaking. Oh.

Good.

Have you questioned him?
Will you send him here?

Good. Thank you.

Well, it seems...

the boy has surrendered
to police headquarters.

- Good morning, Captain.
- Good morning.

- Nice to see you again.
- How are you?

- This is Mr. Girard.
- How do you do?

Sit down, please.

Captain, have you had a chance
to examine Mrs. Girard's case yet?

Yes, yes. Go on.

I imagine you've seen the morning papers.

They even dare to hint
of a relationship...

between Mrs. Girard
and that young hoodlum.

Absolutely shameful!

Now, on the other hand...

of course, it's up to you to decide...

it would seem to me that...

since the boy has given himself up...

the charge for having
helped him to escape...

could be dropped.

Yes.

Now, from my client's viewpoint...

there is a more important
aspect to this case...

the family's social position.

As I told you this morning...

after her son's tragic accident,
Mrs. Girard suffered from...

a very severe shock.

She did a great many strange things.

I would ask you to consider
her husband's position in Rome.

As you know, Mr. Girard represents all
of America's most important industries.

Of course, he and Mrs. Girard's mother...

and the entire family have done
everything to help Mrs. Girard...

everything that was possible...
up to the time when...

of her own free will...

Mrs. Girard abandoned her home.

Am I correct in stating
you haven't heard about...

or seen your wife
from the day she left your home...

until this morning,
when you read about it in the papers?

- Yes, that's right.
- Have you considered, by the way...

the idea I suggested this morning?

You recall... the desirability
of having Mrs. Girard...

enter some kind of mental institution...

only for a period
of observation, of course.

Yes, I've taken it up
with the proper authorities.

It would seem to me
we should do everything possible...

to protect Mr. Girard from as much
harmful publicity as possible.

We should really try to avoid...

to prevent a scandal that...

But why are you taking me to be examined?

Because the doctor thinks
it's the best thing to do.

- But I'm well.
- I know, I know, I know.

But don't talk now, please.

Please be a good girl, darling.

(HORN HONKING)

Girard.

Down there, at the end of the road.

Good morning.

Good morning. Will you come this way?

This way, Mrs. Girard. Just a moment.

(WOMAN MOANING, SOBBING)

I'll be with you in a few moments.
Don't worry.

(MOANING, SOBBING CONTINUE)

This way, please.

- Where's my husband?
- He'll be right with you.

Will you go in?

All right.

- Isn't my husband coming?
- He'll be here right away. Don't worry.

- Is this my room?
- Yes.

(DOORKNOB RATTLES)

(KEY RATTLES IN LOCK)

(VEHICLE DRIVING AWAY)

Mrs. Girard, I've brought some
of the things you'll need...

your bathrobe and some toilet articles.

And if you'll tell me
what else you want me to do...

There's nothing I won't do.
Anything you want.

No, Cesira, no.
You're acting like a child.

But I'm perfectly all right.

Besides, I'm counting on you now to see
that everything goes well at home.

Oh, Mrs. Girard,
but why did they do this to you?

You've always been so good and patient.

To be shut up in here...
they should never have done it!

Cesira, don't cry.

Don't you see that I'm all right?

It'll be good for me to be here
for a while, to be here alone.

You shouldn't think
that they've done me harm.

And I'm counting on you now,
Cesira, now when I...

I'm not home anymore, to see to it that
Mr. Girard has everything he needs...

that he doesn't have
to worry about anything.

I can count on you, can't I, Cesira?

Yes. Of course.

It's so unfair! So unfair!

- Where are you taking me?
- The doctor wants to see you.

This way, please.

(DEVICE HUMMING)

Everything normal. Try flashing the light.

Faster.

Faster.

Turn back to four.

Stop.

I'm going to show you
a series of images drawn in ink...

or, rather, ink spots.

I want you to tell me everything
that comes to your mind...

as you see these images.

I must ask for your full cooperation...

and please try to give the greatest
possible number of responses.

Above all, don't leave out anything
that might come to your mind.

But this, I... I don't know. It's nothing.

What do you mean by "nothing"?

A wild beast that pounces.

A totem.

And then?

A vertebra.

A bat.

Yes, it could be a bat. (CHUCKLES)

I...

Nothing. I don't know.

Oh, but I don't know. It's just spots.

I don't... I really don't know what it is.

It's so ridiculous. I don't... I...

I don't know what to answer.
Please stop it.

It's too ridiculous.

Father, they will never allow me to speak
to you but I wanted to explain...

that it is all my sister's fault, because
it is she who had me put in here...

while she is the one who has
something wrong with her mind.

- Yes, yes.
- Good morning, Father.

Good morning.

But listen, Father...

But I must speak to the father.

- No, later. We'll talk later on.
- Father, will you?

Don't worry. I won't go away. Don't worry.

- Is that the new patient, Mrs. Girard?
- Yes.

- Might I speak to her, please?
- Of course, Father.

This way.

Thank you.

- What do you want from me?
- What's the matter?

- I don't want to have anything to do with you.
- Don't you know me?

- Good morning.
- Good morning.

How do you feel?

All right, thank you.

I thought you might like to talk to me.

Only if you want to, of course.

But I've met your husband.

You know, he comes
every day to ask after you...

and we've had some good talks together.

The poor fellow doesn't quite
seem to know what's happened...

and I thought if I talked to you...

Yes.

You know, we priests come to understand...

many things in the course of our duties.

Please don't think I'm here
to pass judgment on you...

for having left your home
because you allowed yourself...

to be infatuated with another man.

No, you are mistaken.

I know that is what my husband thinks...

but that is not it.

It is just that the love we feel
for those closest to us...

for those who should be...

and maybe really are dearest to us...

suddenly isn't enough.

It seems too selfish, too narrow...

so that we feel the need to share it...

to make our love bigger
until it embraces everyone.

All this that you feel
is certainly the expression...

of a true Christian spirit.

Nevertheless, there are loves
which have rules and disciplines...

which must be abided by.

And it is within these rules
and disciplines that we must try to live...

even if it means sacrificing ourselves...

changing ourselves, changing others.

- And it is through these efforts...
- No.

I think that's exactly what causes...

all the evil in this world...

this necessity we feel to change people.

We should improve their nature.

Who are we to dare to change them?

God made them as they are.

How sad it is suddenly to discover...

that we've been dictators in our lives...

to ourselves and others.

That's all very well...

but isn't it selfish of you...

to give way to these impulses of yours...

to allow yourself to be swept
perhaps to perdition?

The only way not to be selfish
is to love the others...

and ourselves, all of us...

we sinners, all of us sinners...

just as we are...

and to feel mercy and compassion...

for each one of us.

Then a great light fills us...

a great spiritual force...

and it is then
that mountains can be moved.

- Esther, Maria, help!
- (CLAMORING)

Let me go! Out of the way! Let me go!

Stop! Stop! Stop!

- Let me go!
- Let me go! I've got to get out!

No, you don't.

(GASPING)

(WHEEZING GASPS)

You are not alone.

Don't worry.

I'm with you.

I'm with you.

I'll stay with you.

(DOOR OPENS)

May I come in? Good morning.

- Good morning.
- You may go.

May I sit down, Mrs. Girard?

Feeling all right today?

Do you mind if I have
a little talk with you?

I heard about that incident
this morning...

that poor woman
who tried to commit suicide.

It was unfortunate.

In spite of all the precautions we take...

it's not always possible
to know beforehand...

what a person obsessed
with an idea will do, is it?

Anyway, I thank you.

You showed a great deal of courage.

No, I'm not courageous at all.

But tell me...

how did you manage it?

Is it that you felt an urge inside of you?

A kind of mysterious force...

that draws us toward those who suffer?

Was it a desire...

a loving, dominating desire
to help the sufferer...

to lighten her pain, to save her?

Within you, do you feel this force?

No. No. No.

I don't know. I don't...

I-I don't know.

You mustn't be afraid to tell me.

The lives of the saints...

are full of men and women...

who were dominated by the same power...

the power to move mountains.

The power that only
the great in spirit possess.

If I thought I...

had great spiritual power...

I would be insane.

Then it's love.

Love for your fellow man.

Real love.

No. It's hate.

Hate?

Yes. Love for others is born...

out of the hate I feel for myself.

Hate for all that is
and has ever been mine.

It's nothing more than that. Nothing more.

- Good morning, Your Honor.
- Good morning. How are you?

- Very well.
- Have a seat.

I've come to speak about Mrs. Girard,
who was committed to a sanitarium.

I've brought you a medical report.
You can see for yourself.

Your Honor, I honestly think it is time...

to come to some kind of a decision,

and in my opinion
there is no other solution

except placing her definitely
in some sort of mental institution.

Well, for the time being,
leave this report here.

Anyhow, I think it would be advisable
to see Mrs. Girard again...

her family, her relatives, and her doctor.

After a period of time, we can
meet again and reach a decision.

Gentlemen, when one treats ideas
that are religious or social...

it is difficult to pronounce
judgment absolutely...

now especially, when truth
has become so relative.

Too much corruption.
Too much propaganda. But in this case,

would you tell me what we're dealing with...
an insane woman or a missionary?

If Mrs. Girard had wanted
to follow even, shall we say...

fanatically a religion
or political faith, well...

But this?

If we were to think that Mrs. Girard
were right, my dear judge...

then like those fishermen of Galilee...

we should put aside our nets
and become disciples.

Yes, but perhaps
we wouldn't have the courage.

But still, in life there are
certain rules, right or wrong.

Whoever breaks them is disqualified.

Mrs. Girard has broken those rules.
We have no choice.

I agree, especially
since we are called upon...

to defend society as it now stands...

with its present laws
and its present setup.

Mrs. Hamilton, we'll send for Irene.

Try not to show too much emotion
when you see her.

Oh, look who's here. Daniela.

(WOMEN, CHILDREN CHATTERING)

You've all come to see me.
But how nice of you.

How are you? Hello.

How very nice of you.

(CHATTERING CONTINUES)

Take the child.

Won't you please come in now, Mrs. Girard?

- Good morning.
- Good morning. Please, won't you sit down?

Now, to begin with, Mrs. Girard...

we are here to take care
of your interests.

We are here to protect you.

It is our duty, our job,
to do everything we can for you.

So please, speak freely. Don't be afraid.

What do you want to know?

- Do you want to join a religious order?
- No.

- Are you a member of any political party?
- No.

Then what are your ideals?

I've been told you went to work...

- for a day in some kind of factory.
- Yes.

Then perhaps you can tell me
about your experience.

- (SOBBING)
- What was your reaction?

- Oh, no, I can't...
- Now, please, Mrs. Girard.

It's very important for you
to tell me everything. I beg you.

I must know.
What are your plans, your ideals?

My ideals...

are the ideals of those
who need me day by day.

Yes, but let's get to the point. I would
like to know what you plan to do.

Suppose you went back home
to your husband.

No. If I went back home...

I would save
neither myself nor the others.

I would only return
to being what I was before.

Oh, don't think it wouldn't be easier.

It would take so little.

But these people need me
more than my husband does.

I want to share the joy
of those who are happy.

I want to share the sorrow
of those who suffer...

the pain of those who are distressed.

I want to live with the others...

and save myself with them.

I'd rather be lost with them
than be saved alone.

I only feel that I can belong to them...

when I'm free of everything else.

When you're bound to nothing...

you're bound to everybody.

I have nothing more to say.

I have spoken freely...

and you are free now
to do with me what you want...

for your own good.

- Take me back to my room.
- (PEOPLE MURMURING)

- Here she is!
- What is it? What's happened to you?

Oh, nothing, nothing. Don't worry.

MR. GALLI: It'll be all right?

What's happened?

- It's unfortunate. Just as we thought.
- I must see Irene a moment.

Of course. Mrs. Hamilton
would like to see her daughter.

Very well. Nurse, would you mind showing
Mrs. Hamilton to her daughter's room?

- Please, madam, follow me.
- (SOBBING)

Well, dear judge?

(KEY RATTLES IN LOCK)

Irene. Irene, darling.

It's all for your own good. (SOBBING)

- Please believe me.
- Yes, Mother, I know.

Oh, I can't bear it.

Please don't worry.

Don't worry, Mother.

Good-bye, George.

Good-bye, Irene.

- Why isn't she with you?
- (ALL TALKING AT ONCE)

There she is! Mrs. Girard!

- Mrs. Girard!
- She's a saint!

(ALL TALKING AT ONCE)

♪♪ (DRAMATIC)