Original subtitles

Once Upon a Time in the city of Geneva there lived a young French woman named Jill.

- Carla, how's Fabio? He's leaving again tomorrow.

- For how long? -Three days.

- Where's he going? -To England.

Jill was very fond of her young friend, Dick.

Sometimes she even thought she loved him.

Sometimes.

Good morning, goat.

You'll spoil your appetite, Mademoiselle.

- What are we having? -Spaghetti.

Again?

Mom!

I'm dead.

Take a bath.

Have a date with your boyfriend?

Oh, please.

Jill and Dick had accompanied their friend Carla to the Geneva airport.

Carla's husband, Fabio, was returning from a business trip in London.

Lovebirds

I see a woman .

and a man.

They're watching us through binoculars.

They're old.

Old and ugly.

Paris, Paris.

I don't want you to go away.

I'll come to see you often. -That's what they all say ...

What if you spend the winter here?

And even the spring.

Fabio one of Geneva's most successful publishers of art

books and theater magazines.

Come, my friends, I want to show you something.

- Is that the next issue? -That's right, on expressionism.

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

This could be the theater in China or God knows where.

What's more, this issue has to be out in 4 days.

What's wrong? this page looks fine. -You're never satisfied.

Well, listen to this.

''Disjointed decor, cheap shock effects.''

The dialogue rattles as if chopped up by street noises.

What's awful.

- Who wrote it? -Me, by myself.

What are you doing? Come, we're going.

- What's that? -That's where I was born.

-Have a good-bye. -Ciao.

Pleasure. -Ciao, ciao.

How about buying a little cake for dessert?

Oh, no. We've got enough.

My wife tells me you were going to move to Paris.

Yes, in a month or so.

You can't do any serious work here.

Do you feel like cooking tonight?

Why don't we go to a restaurant? - what about all ... - Thank you

I told you, Albert, we'll need two more cups today.

Charming.

I have a butler who doesn't know how to buttle,

and a cook who doesn't know how to cook.

I simply adore Albert.

Is her husband is in Geneva?

Oh no, he's in Berlin at the Festival.

Madame, Mr Barnauser's in the garden. Oh, I don't want to see him.

Madame is not at home.

Hello, Grisha.

Grisha had for years been the unsuccessful but patient suitor of Jill's mother.

-That doesn't stand out enough. -It has to bring it out more.

We need a stronger yellow and black for the graph.

Hello, Fabio.

Hello, Jill.

'That's better. -I was looking for Carla.

What? She isn't here now. I'm sorry.

- May I wait for Carla here? Yes, of course.

Good. It has some life now. -Yes, all right.

There's one more to run in B&W, two tomorrow.

Don't forget the American edition is to be in New York by the 30th.

Sure. Good night.

Good night. Good-bye.

See you tomorrow.

-Jill, what's wrong? Nothing, leave me.

Come downstairs, darling Everyone's asking for you.

Leave me alone.

Good evening.

-Good evening -Hello, Jill.

Hello .

By the way, here comes Stella.

You never keep your promises.

Your mother thinks that I'm an old drunkard.

She always starts out hating people.

Then ends up adoring them.

I'm a very patient man.

You're unhappy, Jill.

Yes.

Is it because of a man?

-Yes. 'It's nothing.

Just learn to have patience.

Everything always works out. - Not for me.

- Never? -Never.

Then you have to do something. - What?

Oh, maybe, go away.

Mademoiselle Jill!

Mademoiselle Jill, wake up! Mr. Dick is coming!

Good morning - Did you sleep well? -So so.

Do you know how many bottles of whiskey they drank last night?

Fourteen.

Mom.

Dick's going tomorrow. I want to leave Geneva and go with him.

- To Paris? -Yes, to Paris.

Why?

Jill!

Come on up!

Tell me why?

- You're not in love with him, are you? -No.

You don't like it here with me?

It's not that at all.

What is it then? Tell me, Jill, you must.

Look, Mom, it's too complicated. I just have to get away.

- What will you do. What will you live on? -I'll manage somehow.

Good morning.

- I suppose you put this idea into her head? - What do you mean?

I'll go to Paris. I'm leaving with you.

I forbid you to do it.

I'm warning you. I'd better get dressed.

Carla would miss Jill

but Carla had her dancing.

and her husband.

Fabio had just returned to Geneva from another of his business trips.

Fabio.

How have you been, Carla? You look fine.

Are you my friend?

Yes, Jill, you know I am.

For several months, Jill loved the life she lived in Paris

enjoying the carefree life of a young dancer.

But it could not last.

Jill wasn't that crazy about dancing.

Or about Dick.

Jill, no, no, no! Bend your head over your shoulders.

No, no, no. You're in the boys line. And double time besides.

You see the boys do one, two, three You're doubling the tempo.

You're late, you don't keep time You're not even trying.

Now Jill was on her own. Too proud to go back to Geneva, she scraped along as a photographer's model.

From modeling to movies there's only a short step.

Jill took that step with great skepticism.

There you are.

Hurry up. You're late.

Well, congratulations, you decided to show up.

That's a great way to start a career.

Stand here. Nothing to it.

You know what a camera is I hope. That's the camera, see.

And, honey, try to do better than at the rehearsal.

Because there are plenty more where you come from. -You know, it was you who asked me to do this.

All right.

Roll it.

Test one, take one, action

Between this face and this machine, something clicked.

Something mysterious, a magical meeting.

that was to make of Jill whether she wanted to or not a great star

a queen, a freak

a goddess.

An ashtray, please.

Let me, please.

Thank you.

No.

Stop.

All right, shall we try it? All right, let's have another one. Stand by.

- Is it her? There she is.

Come on, get out of the way. - What movie is?

Well, come on.

- Emile! - What is it?

Wait a minute. - It's not recording!

We're not going to stay here dubbing while you learn to work your equipment.

These things happen, you know. - No, they only happen to you.

What is it? Now what have I done? - I can't stand that fellow.

You're a bore.

All right. We can record.

Michou

I'm not going to London.

All right, that's enough for today.

If they want to see me, they can come to Paris.

- What about the contract? -I'll decide later.

- Rolling. -Silence.

No.

Stop, stop.

At first all this publicity had pleased Jill's producer.

He was an astute film man and welcomed publicity of any kind.

But as the number of Jill's cast-aside lovers increased

his anxiety grew.

Publicity could turn sour and

box office receipts could dwindle

and strike him in his pocket.

He began pleading with Jill to end the succession of love affairs.

He tried to reason with her,

insisting that he understood her

understood that she felt free

You love them and you leave them.

Be careful.

Jill, I've given this a lot of thought.

Now let me give you some advice.

I must be dreaming.

Guys, look, it's Jill!

Jill, Jill! I'd like your autograph.

Come on, Jill

Let's go, hurry. What are you waiting for.

I don't want to kill anyone.

- What floor, ma'am? -Tenth.

I get out before you.

Oh.

Excuse me, I should have recognized you.

I knew you lived in the building They told me.

But meeting you like this is quite a surprise.

I've only seen photographs of you.

Because I wouldn't go to one of your films.

No way, but I read the newspaper.

But I read the paper and believe me that's enough.

You know what? I'm fed up with seeing your face everywhere.

I'm sick and tired of hearing about your love affairs.

When are you going to leave all those poor boys alone?

What have they done to you?

Let them live in peace.

You can't go to bed with the whole world.

What are you anyway?

A dirty slut? Yes, that's right a slut.

No sense of self respect or decency.

Making millions showing yourself off naked.

While my brother was risking his life in Algeria.

Don't worry. We'll pay for it.

There are still some decent people on this earth. And one day they'll get even with you.

Nobody will be sorry either.

No one likes sluts. Go on run. We'll get you yet.

Then you won't be so proud.

Leave me alone.

Sorry, but it's too late. You have to go. It's too late to back out now.

I'm not going.

-Jill, I'm asking you as a favor. 'Leave me alone, please.

- How much time do you need to get her dressed? -Half an hour.

I should have known.

- You took these, didn't you? - What?

Sleeping pills.

I'll go make a pot of black coffee.

Here's her dress.

Leave me alone.

I beg you, leave me alone.

I'll go out of my mind.

I can't bear it anymore.

Get out of here, all of you, get out!

Jill could bear to stay in Paris no longer.

She forced her reluctant secretary to drive her from Paris

across the Swiss border

home to Geneva

and to her mother.

Maybe she doesn't live here anymore.

What do we do now?

I said what do we do now?

Go back to Paris?

Where are you going?

Listen to me. You're sick.

Get back in the car.

How are we going to find her anyway?

I don't know Geneva.

Where are you?

I never should have brought you here.

This is too big a city. You'll be recognized.

I do not see the relationship to Catherine of Heilbronn.

Not bad. -For the trial scene it's

for an operetta. Yes.

Jill!

Jill!

At any rate, we don't want it overloaded with fliers.

I'm going. Good night.

- Hey, what's this one? -It's for Don Juan in Hell.

Come on. Be serious.

Do you think you can build all that in the square of Spoleto?

-That's the set from the Merchant of Venice. -No, it's too modern.

- What's that? -Don Juan and death.

That's much closer to what we're after.

- If we cut out all that gothic stuff. - There would be nothing left.

No problem Franco is a great decorator.

Tell him what you want and he'll do a good job.

Where's Carla?

She isn't with me anymore.

She lives in Rome now. -In Rome.

Yes, I can give you her address.

You let her go where then? Why?

Jill.

Jill!

Jill.

What's the matter?

Your mother must have just gone out for the evening.

I'm sure she'll be back soon.

Why did you leave Carla just like that?

No light.

The bell does not work.

Everything's locked up.

Wait.

Here it is. I know where the key is.

It was always here.

Last year Carla went on vacation and I stayed here.

We both thought it best.

Tell me the rest.

There's nothing else to tell.

There is. Tell me.

After that we tried living together again

but it didn't work. But it was over.

Carla had given up dancing, she didn't like Geneva

and she was bored.

I supposed I'd treated her pretty badly. We'd had it.

She's in a ballet company now an Italian company, very good.

She wrote me that she's happy and that's it.

Look, letters for your mother.

You see, she'll be back.

Jill, where are you?

Jill, come down, please.

Jill, come on we can't stay here.

It's my room.

-We must go. - It's my room!

Leave me alone! Go away! Carla was my friend.

I thought you were happy. I thought you loved her.

I believed in you, I was such an idiot!

- There's no lights. - Try the door

It's locked. - I break a window?

Come on, take it easy, gentlemen.

-They'll see us. No, they won't. Be quiet.

Look over here behind the house.

Hey what's that car doing there? Look.

- Who does it belong to? How long has it been out here?

I don't know. It wasn't here before.

Anyhow, Jill's not here. You lead us on another wild goose chase.

You can always take pictures of the house. That's worth something too.

Bitch, bitch, bitch!

Bitch!

It's almost dawn. we ought to leave.

Go away.

They'll be back. Come, you can stay at my place.

Leave me alone.

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

Go away. I don't want to look at you.

It's all so ugly.

-I hate you and you hate me. - Whose fault is it? Mine, I suppose.

You came after me.

They're still there. We'll have to leave via the lake.

Let's take the boat.

What about the love scene? -It's simple. It starts stage center.

In the dream sequence, Catalina and Stass separate.

He exits left and she goes out to the garden and toward the castle.

Exactly.

You don't know if it's the characters or your dreams.

You have a call. -Thank you.

Would you please go down and get me the newspapers?

Which one? - It doesn't matter. Get them all.

- Hello?

- Are you leaving with Edmond? -No, I have things to do.

You don't have to be there until Saturday.

And what about the flooring?

Everything supports the sound. I talked to Sibely and Arturo.

Sibely agrees.

I'm thirsty.

I'm here.

Fabio.

I dreamed that you had gone away.

- Please don't leave! - Calm yourself.

I'm here. I won't go away.

Fabio

- Who is it? No one. It's nothing.

I'm sick.

I'm sick.

I have a headache.

Fabio .

Fabio, Fabio!

Fabio

Fabio

Fabio, Fabio.

All that lost time.

All those wasted years. Stupid years.

I didn't know, Jill.

You loved Carla?

-Yes, he loved her. - What about now?

- Now, now! - Answer me, answer me!

Listen.

Everything's different for me too.

I've never felt like this before.

Fabio.

Why?

I always thought I was in love.

Every time? - Yes, every time.

But it never lasted.

What about me?

Answer me.

Answer!

Yes, clearly.

- Why do I even ask? -Shut up.

- Why'd you pick me. -Shut up.

Them or me, what's the difference? -Shut up.

The same words. The same kisses. - Shut up!

Shut up! Shut up!

Forgive me.

Forgive me.

I didn't mean it.

I didn't mean it.

There's nobody watching you now. Nobody looking for you.

Only me, Jill.

I want you all to myself

from now to the end of time

Yuck.

It's beautiful out.

There's not even any butter.

Boiled coffee, spoiled coffee.

Shit.

It was the first money I earned and my first apartment.

A studio with a bedroom on Babylone Street.

The windows overlooked the ambassador’s garden

with lots of birds.

Here, open the bottle.

Dick had gone to the America.

I'd given up dancing and I'd begun working as a model.

It was a wonderful life.

'' You'll never be an actress, Mademoiselle''.

That old fool.

He thought he was hurting me by saying that as if I were Sarah Bernhardt.

They broke the store window.

Imagine, I only wanted to buy a pair of shoes.

The crowd wanted to see me.

The smashed through the windows.

After that I was afraid to go out anymore.

But I remember in the beginning,

if they recognized me on the street, they'd say hello.

They'd smile so nicely for me.

But I'm still the same.

You should remember. It's not me who's changed.

But one day they began to hate me.

No, no

It's not that simple.

I asked for it, I deserved what I got.

It's my fault.

Heilbronn decided to publish the magazine in Switzerland

and I moved here, that's all.

Catalina Heilbronn.

Catalina Heilbronn.

Catalina Heilbronn.

It's a lovely name.

- She's German I guess? -That's right.

It's a romantic play, very romantic.

There are many things wrong with it. It sort of goes in all directions

but I think it's the best thing Kleist ever wrote.

And it's almost never played.

A huge set and many actors

A castle in flames, cavalry ... anyway ...

Last Winter I translated the play into Italian,

Just for fun.

I'm going to try it out in Spoleto

at the Festival.

- With your translation? -Yes.

We found a solution for the large sets.

We'll build it outdoors in a square.

That will give me all the room I need.

What's it like, Spoleto?

A small town on a hill

not far from Rome.

Every year they do operas, ballets.

The festival lasts a month.

Lots of Americans, a young crowd.

Lots of beautiful girls.

I drank too much.

"Geneva is the town of love"

'' There's never any love but you.''

Edmond can not be that. It's ridiculous.

It's a comedy.

I told him already.

Yes, exactly as in the last scene.

We'll decide down there.

Listen, we'll have lots of time to discuss it on the plane.

Goodbye.

I'll start the coffee.

Are you going away, Fabio?

Yes.

I called to delay it,

but it's not going well. They need me in Spoleto.

I've got to go.

I'll wait for you at mother's.

I'll be back within 15 days.

If you love me, I feel strong.

If you're close to me, I'm not afraid.

If you stop thinking of me, I stop living.

Tell me it's going to last, isn't it? It will never change?

Don't think about it.

Happiness is only a truce with life.

It can last three days or 30 years.

What really counts is the present,

these minutes stolen from the rest of the world

We fight for these minutes while awaiting death.

It's a hostile world.

You looking for something?

Imbeciles.

Damned imbeciles.

She's been working too hard. I guess it's my fault.

- A cigar? -No, thanks.

We're very concerned.

Extraordinary, the only producer who does not smoke cigars.

No decorator could ever duplicate the atmosphere, .

the charm of a young woman's room.

Are you happy here?

I'm bored to death.

Then let me take you back to Paris.

I won't go to Paris and I won't make another film.

Jill, I've had about enough.

I won't be pushed around like this.

I won't let you make a fool out of me.

I have lawyers, Jill.

Good ones, hear me? Yes, yes.

I've got you under contract.

So what?

If you don't see reason within 8 days, it's war and you'll lose.

These dresses are so old and I'm sure they no longer fit.

You can't take all this with you. Besides, you can't go.

- Why not? -They'll recognize her.

I don't give a damn if they do. Bravo.

I see. You're both against me. Of course not.

I must speak to Fabio because he's the only one who can

advise me. - Why don't you call him on the phone?

I won't stay here anymore like this without him.

Who's going to drive you? -I will with your permission.

What will you do with that mob out there?

We are surrounded.

-Grisha. -Yes.

I'm afraid.

No, no, you've got it all wrong.

It's too violent. Try it again.

You put your hands on his shoulders

like this

Better?

All right, from the beginning.

Good evening.

Good evening.

I came, Fabio. I couldn't stay away. -You did well.

I had to come. -You did well.

I'll stay with you. -Of course. Of course.

Grisha!

Maxime is furious, but I cannot help that.

But I do not want to work with him.

I'll talk with him after I'm finished with the premiere.

Fabio!

Good morning.

I don't understand at all what you’re doing.

It's natural. The set hasn't been built yet.

How can you rehearse without a set? - I'm just blocking it out.

- Your set designer is American, isn't he? -Yes.

German play, Italian adaptation, American set design, French director.

Fabio.

Will you come here a minute?

I'll be right back.

Excuse me.

Go ahead. -Thank you.

Good morning, Alain.

I must be dreaming.

I'm dreaming.

I see a divine child.

Sound the trumpets beat the drums.

What are you doing here?

Work and sunshine.

Sunshine and work.

You're gorgeous.

You remind me of my little sister with that pretty hat.

Stay, Grisha, It's Alain, an old friend.

I promised to call your mother.

How've you been, Jill?

I love this place, I love this city.

I love this country.

Found at last.

News of the day, news of the week Jill has been found at last.

Who is this mystery man?

Handsome, intellectual, publisher of Theater Europe.

Fabio Rinaldi the avant garde lover. - The man of the moment.

Jill, are these people bothering you?

No, they're all so kind. They just like to follow me around.

They even gave me a little present, look.

How long will you be?

I'll be finished in an hour. -I'll wait for you here.

'Well, what do we do? -Go on, go on.

With this crowd are you crazy?

Maybe you'd better go up to the room.

Yes. -They won't bother you in the palace.

Yes.

That one hit my head.

- I won! -Yes.

-21 to 18. Let's go up to 25.

Let's have another game.

Hello, Don Juan.

Tomorrow I'm going back to your mother.

I promised. -I'll be so bored without you.

Nonsense. There are so many things to do and see in Spoleto.

I know, but I never go out.

I always stay here.

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

It's very difficult,

This festival needs something special.

I like this work and want to do it because it's very modern.

What's that I wonder.

I wouldn't be surprised if you had to make a personal appearance for these good people.

All right.

She's found herself a man, a real man.

Thanks to him, is perfect.

Easy, Alain, please.

What should I tell your mother?

We'll be back in 8 days after the premiere.

Maybe I should take you back with me .

You're staying? Are you sure?

Jill.

Yes.

I'm going to kiss you.

Good evening.

I've been learning to play poker.

They're from Rome. They're friends of Alain's.

Come, let's take off.

What about your record player? -It's a present.

Alain.

I don't want you to come back here.

Then it's war.

Why did you do that? Why?

Because I don't feel like playing with them anymore.

Tonight the papers were full of stupid articles again.

You let them walk all over you. -They were just keeping me company.

-Alain is very nice, a good friend. -Yes, I know.

He's doing his job. You can't blame him for that.

Who should we blame then?

Of course Alain's nice.

The whole world is.

But if we go on being nice all the time, we'll get stepped on.

Do not play their game.

We must fight back, protect ourselves.

I'll protect you, Jill.

With your arms out.

Like this.

-Hello, Signore. Rinaldi. 'Good afternoon, Miss.

I have good news for you.

I brought you some wine.

- And something to eat? - Plentiful amounts.

What did you do today?

Nothing.

Did you stay in your room?

Yes.

They've been reporters everywhere since this morning

on balconies, rooftops.

An invasion.

A siege you mean.

They'll get tired of it sooner or later.

You think?

I'm sure.

We'll be out of here in five days.

What are you doing?

There are rooms upstairs in the other wing.

It'll be quieter there.

How many more floors to go?

Come on.

Forward march.

March.

Everything will be all right now. The rehearsals will go much faster.

We had a talk with the police. We won't be bothered anymore.

They even roped off the square.

I'll get the rest of the things.

Good evening.

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

When you're not here it's awful.

Good morning.

Good morning.

Are you enjoying the festival?

Yes, yes.

I need too much, Fabio.

Your presence, your tenderness.

Without them I would die

Gentlemen, do you have questions?

Please make your questions short. We don't have much time.

- Do you really expect to put on the play tonight? Of course.

Have you been the last few days delayed to work?

How did you come up with the idea Catalina riding?

Who proposed it?

I can sum it up in two minutes.

Why did you choose Spoleto Mr. Rinaldi?

Audacity.

Will you be living in Geneva?

Please Mr. Rinaldi, a question.

Have you thought about doing a movie?

Will she come to the premiere tonight?

- What will you do about Jill? I did not come to talk about that.

Are you against her making movies?

Tell us of modern love.

You two marry?

Will you have children?

How many?

Is it physical attraction?

Mr. Rinaldi, is this modern love ...

Where are you going? -I'll be back in 15 minutes.

You can't imagine how many people turned up.

They've been coming from Rome in carloads all day long.

- What time do you start? -Nine O’clock

-My producer is here. - In Spoleto?

A policeman brought me a letter from him.

'' I'm at the hotel Degli Duchi After the performance, hope to see you''.

I'll go talk with him. -Why can't I go myself.

I'm the one who should speak with him.

The play, the play!

Don't you want me to see it? -It's not that. Do whatever you want.

-But you know what will happen. - You want me to stay here?

They're only waiting for one thing, for you to come out.

I don't give a damn. I don't care about anyone anymore.

I'm sick and tired of being locked up all the time all my life.

I've had enough of closed doors, closed shutters, curtains closed.

Jill, listen.

I don't want to stay in here anymore. I hate this room; I hate it.

I want to get out, out!

Jill! - I can't stand it anymore.

- I'm going crazy, crazy, crazy! -We leave tomorrow.

Tomorrow will be another room and it will start all over.

-Leave me alone, don't touch me. -Listen to me.

No, I won't listen. I won't listen to you anymore.

You lied to me. You're the one who locked me up.

You put me in prison. You said you'd protect me, but you wanted to hide me.

You know that's not true.

You don't want me to go out. You don't want them to see me.

You're worse than the others, You're horrible!

You're ashamed of me. -Shut up.

- Shut up! - Come on, say it, say it!

Shut up!

Why did you come here to Spoleto in the middle of the festival?

Spoleto, Rome or Tokyo, what's the difference?

Where did you want me to go, to a desert island? -Yes, an island

-and the further the better. -I hate you, I never want to see you again.

Then get out, get out. I've had enough of all this too.

I'm sick of you!

Fabio, come on, we're waiting for you.

Everything okay?

Come on, hurry up.

Carla.

You came to see the play. That's Nice of you.

- When did you arrive? -Last night.

I know this audience. I'm sure they'll like it. 'Yes, yes.

- What's the matter, Fabio? -Nothing.

- Isn't Jill here? -No.

Isn't she coming?

I don't think so.

Why not?

She should be here.

Yes.

She should.

Jill.

Jill, are you there?

Jill, do you hear me?

Jill .

I want you to come.

Please.

Jill please It's not our fault.

None of it's our fault.

Please, Jill.

Come.

I'm begging you.

No, Fabio.

Jill, Jill.

Jill .

Jill!

Subtitles by McGanglepang