The Art of Joy (2024) s01e03 Episode Script
Episode 3
1
(STEPS)
(LITTLE BELL, WHISTLE)
Shoo.
Shoo.
Shoo.
You can't stay here.
Go on.
(MYSTERY MUSIC)
(MYSTERY MUSIC)
No
Not in my room.
(MOANS)
(MOANS)
MODESTA: I could feel Leonora's death
hovering over the whole house,
it seemed to me that I had brought it here.
And that along with Leonora,
my own dead had come too.
And that along with Leonora,
my own dead had come too.
The ones I no longer thought about.
I felt them on me,
they followed me everywhere.
Like my shadow.
Like my shadow.
(DOOR OPENS)
ARGENTOVIVO: Good morning, miss.
Did you sleep well? May I? — Yes.
Here’s breakfast.
Oplà, as the French say.
Here’s breakfast.
Oplà, as the French say.
But you’ve already made the bed?
You shouldn’t have, that’s what I’m here for.
It’s habit —
in the convent we do it that way.
It’s habit —
in the convent we do it that way.
Are you cold?
Shall I light the fire?
— No.
— Shall I help you unpack the vali
But you brought your own cup?
I didn’t know where I was going, so
I didn’t know where I was going, so
— I’m Argentovivo.
— Modesta.
— But I’ll serve breakfast here.
— What a beautiful name.
My real name is Luigia,
but the Princess
called me Argentovivo,
but the Princess
called me Argentovivo,
because I never stop talking
and I never stay still. — Princess?
Princess Brandiforti.
Don’t you know her? This house is hers.
Princess Brandiforti.
Don’t you know her? This house is hers.
This is the country villa, because
the big beautiful palace
is in Catania. Unfortunately,
since the war started,
we moved here. Ah.
we moved here. Ah.
This is for you,
so you know how to behave.
Even though the Princess
instructed me to tell you
that you can do whatever you want.
You can walk in the park
or you know what?
You can walk in the park
or you know what?
Have a nice hot bath prepared —
I’ll prepare it for you.
If you can play the piano,
in the music room
there’s a grand piano
that starts here and never ends.
that starts here and never ends.
Ah. But it is strictly forbidden
to go up to the top floor of the villa.
That absolutely cannot be done,
I beg you.
In fact, last night
I heard noises.
In fact, last night
I heard noises.
I was forgetting
the most important thing.
The princess wants to meet you —
she’ll receive you this afternoon for tea.
Be sure to use the formal “lei” with her
and not “voi” —
“voi” has been abolished in this house.
Her ladyship is from the North.
“voi” has been abolished in this house.
Her ladyship is from the North.
She’s Piedmontese, her mother was even French.
It bothers her.
With your permission.
I’ll leave you to your breakfast. — Yes.
With your permission.
I’ll leave you to your breakfast. — Yes.
Then tell me how it was. Good morning.
— Good morning.
(SOMBER MUSIC)
(SOMBER MUSIC)
GAIA: How is she?
BEATRICE: Je ne sais pas.
A bit gloomy, but pretty.
A bit gloomy, but pretty.
GAIA: “Gloomy”? What do you mean?
BEATRICE: I told you, maman,
I only saw her from afar.
BEATRICE: I told you, maman,
I only saw her from afar.
Come.
Thank God she’s not one of those monsters
that populate our convents.
Despite your clothing, overall
you’re quite graceful.
GAIA: Cavallina,
you could have told me she was normal.
GAIA: Cavallina,
you could have told me she was normal.
If not beautiful, at least normal.
You could have told me. Eh?
GAIA: This is Beatrice,
called Cavallina.
GAIA: This is Beatrice,
called Cavallina.
GAIA: Beatrice is the younger sister
of Leonora, your Mother Superior.
GAIA: Beatrice is the younger sister
of Leonora, your Mother Superior.
— Mother Leonora lived here?
— Yes, she was born here.
— Mother Leonora lived here?
— Yes, she was born here.
I asked for you to come
and stay with us for a while
because I wanted to meet
the girl my daughter
had become so attached to. But remind me,
what’s your name, please?
had become so attached to. But remind me,
what’s your name, please?
Modesta.
Oh! What an ugly name. My God.
What a depressing adjective.
Don’t be offended,
but we’ll have to change it.
We’ll have to change it, yes.
— I’m not offended at all.
GAIA: Sit down.
— I’m not offended at all.
GAIA: Sit down.
VINCENZINA: Shall I serve the tea,
princess?
GAIA: Well, yes, it’s tea time.
And how is Sister Costanza?
Or rather, I should say Mother Costanza,
now that Leonora is no longer with us.
Eh? Still ugly?
She’s well, thank you.
She’s well, thank you.
I would have become a nun too
if I’d been that ugly.
Did you know Leonora for a long time?
Yes, since I arrived at the convent.
I was nine years old.
And did you spend a lot of time with her?
— Yes.
— And did you see her that evening?
No. Well, only at dinner, in the refectory.
No. Well, only at dinner, in the refectory.
MODESTA: Mother Leonora was
extremely important to all of us.
She was always attentive,
caring, almost a saint.
She was always attentive,
caring, almost a saint.
B-but how could it have happened?
Have you found an explanation?
Well, the balustrade that gave way
was in very bad condition, princess.
And Leonora didn’t know?
And Leonora didn’t know?
Our gardener always told her
it needed to be replaced.
He had told her
so many times, my God.
He had told her
so many times, my God.
But that old balustrade was
so beautiful
and Mother Leonora loved beauty so much.
Yes… it’s a family vice.
Yes… it’s a family vice.
(COUGH)
Before you leave,
you’ll have to sign that document.
Before you leave,
you’ll have to sign that document.
What kind of document?
What kind of document? The notary
will tell you when he arrives.
Now go, I’m tired.
The sight of youth tires me.
Now go, I’m tired.
The sight of youth tires me.
Since you’re not ugly,
you can come back for tea
in the coming days too.
in the coming days too.
MODESTA: All those allusions spoke clearly.
GAIA: Are you happy, Cavallina?
— I would be very happy.
MODESTA: I was suspected
of Leonora’s death.
MODESTA: I was suspected
of Leonora’s death.
Who knows what you’ll think of us,
you who are so devout.
MODESTA: I felt everyone’s eyes on me.
MODESTA: I felt everyone’s eyes on me.
When you see our chapel
abandoned to itself.
I had to be more cautious —
I had already made enough mistakes.
I had to be more cautious —
I had already made enough mistakes.
I couldn’t run away.
Where would I go anyway?
I certainly didn’t want
to go back to the convent.
Do you really want to become a nun?
Caution.
The only chance I had
to dispel those suspicions,
The only chance I had
to dispel those suspicions,
was to prove that I was
a devout, observant person
and pious.
BEATRICE: But what is a vocation?
What do you feel? What is it like?
It’s like a birdsong.
It’s like a birdsong.
BEATRICE: How beautiful.
Maman says that for a girl like you
it’s better to have this vocation.
Maman says that for a girl like you
it’s better to have this vocation.
You’ll certainly be safer
in the convent than out here in the world.
Caution.
(THUDS AND CREAKING)
(THUDS AND CREAKING)
It’s Leonora’s room. You can’t go in —
they’re preparing it.
It’s Leonora’s room. You can’t go in —
they’re preparing it.
Preparing it for what?
BEATRICE: Maman wants the rooms
of the dead to always be ready
BEATRICE: Maman wants the rooms
of the dead to always be ready
and clean. For when they return.
Which dead?
Here everyone is dead.
Here everyone is dead.
The only living ones are me and maman.
(IN SICILIAN)
And of course the servants.
And of course the servants.
I’ll show you the rooms,
even though it’s forbidden.
With your permission, forgive me.
BEATRICE: It will be a secret
between you and me.
You mustn’t tell anyone,
You mustn’t tell anyone,
not even Argentovivo —
she’s a spy.
Will you let me come in or
do you want to be alone in prayer?
Will you let me come in or
do you want to be alone in prayer?
BEATRICE: You’re an orphan, right?
Yes.
So Leonora acted as your mother.
In a way, yes.
But is it true that your mother
died burned?
But is it true that your mother
died burned?
It seems you already know
everything about me.
Yes, it’s true.
I can’t promise you
we’ll see each other at dinner,
because we all eat
at different times
and maman never leaves her room
in the evening when she’s in mourning.
and maman never leaves her room
in the evening when she’s in mourning.
See you tomorrow then.
Au revoir.
Au revoir.
(THUDS)
(THUDS)
(THUDS)
(MYSTERY MUSIC)
(INDISTINCT VOICES)
(INDISTINCT VOICES)
(LAUGHTER)
— Oh, but you’re unbelievable. Stop it.
— What did I say?
— Oh, but you’re unbelievable. Stop it.
— What did I say?
(LAUGHTER)
Holy Mother.
SERVANT: Run!
MENA: Run and apologize,
say we were just playing.
(FOOTSTEPS)
Miss
Miss, come on, stop.
Were you looking for something?
Do you need help?
No, no.
I just heard ugly noises
from upstairs.
I just heard ugly noises
from upstairs.
Ah, don’t worry about it.
I imagine you’re tired,
you need to rest.
If it makes you feel calmer
lock your door.
If it makes you feel calmer
lock your door.
BEATRICE: You’ll see, at the procession
of Santa Maria dell’Elemosina
BEATRICE: You’ll see, at the procession
of Santa Maria dell’Elemosina
there will be the Biscari,
the Gravina, the Serravalle.
Even the Dukes of Targagi.
How boring. All unbearable people.
How boring. All unbearable people.
I already regret deciding
to go.
It will be fun instead.
And they make those delicious little sweets.
It will be fun instead.
And they make those delicious little sweets.
What are they called, maman?
The The fingers of something
BEATRICE: And what do you do in the convent?
Well, you study
you tend the garden,
you tend the garden,
embroidery, music lessons.
But above all you pray.
You resemble Leonora a lot.
The way you speak, your gestures.
It’s almost as if you imitate her.
I never knew her.
When I was born she was already in the convent.
I never knew her.
When I was born she was already in the convent.
(THUD)
ROCCO: What’s happening?
Forgive me, princess.
ROCCO: What’s happening?
Forgive me, princess.
Do you want to dry off?
Thank you.
Thank you.
How far along are we?
We’re melting.
I’m almost done.
Cavallina, stop!
You look like a hopping crow.
And stand up straight.
And stand up straight.
Three crows.
Three crows.
That’s what we are.
In these black clothes.
Three birds of ill omen.
In these black clothes.
Three birds of ill omen.
(laughing) Three crows.
Princess, if you’d like to get in,
we can continue the journey.
Princess, if you’d like to get in,
we can continue the journey.
No, we’re going home.
I have no desire to go
all the way to Biancavilla now.
I have no desire to go
all the way to Biancavilla now.
But it’s not fair,
you said we were going.
Well, I changed my mind.
But maman
Don’t I have the right to contradict myself?
Don’t I have the right to leave?
Don’t I have the right to contradict myself?
Don’t I have the right to leave?
But since the war broke out
we no longer see anyone.
We’re prisoners,
like cloistered nuns.
We’re prisoners,
like cloistered nuns.
— So what? — We’re almost there,
let’s take Modesta to pray,
we have to take her to church.
Modesta can pray in the villa,
there’s a beautiful chapel,
Modesta can pray in the villa,
there’s a beautiful chapel,
no one ever goes there,
but it’s still consecrated.
At least someone will use it. Come on.
Quick, quick, quick. En voiture.
Allez. Allez! Rocco.
Allez. Allez! Rocco.
Quick, I said!
There’s already someone in the chapel Ouch!
I wanted to take her to church.
ROCCO: Aren’t you getting in, princess?
— I’m calming down!
In the meantime,
start this blessed machine.
In the meantime,
start this blessed machine.
(DOOR CLOSES)
(ENGINE STARTS AND COUGHING)
(ENGINE STARTS AND COUGHING)
Miss Modesta?
Compared to what you saw yesterday,
I wouldn’t want
Compared to what you saw yesterday,
I wouldn’t want
I won’t say a word to anyone,
if that’s what worries you.
Thank you. I can’t afford
to lose my job.
Thank you. I can’t afford
to lose my job.
Besides, it’s not serious —
it’s just something to keep each other company.
You don’t have to explain anything to me.
You don’t have to explain anything to me.
The girl’s name is Mena.
Before the war she worked
in a circus with her husband.
She was a big attraction,
“The Tattooed Woman”.
She was a big attraction,
“The Tattooed Woman”.
Then they called her husband
back to the war.
And she managed
to get hired here.
All the men are at the front.
There are few of us left here.
All the men are at the front.
There are few of us left here.
And you you’re Rocco, right?
And you you’re Rocco, right?
— Yes.
— Why aren’t you at war?
I have weak lungs,
I have weak lungs,
as a child I had tuberculosis
and they rejected me, unfortunately.
I’m sorry.
I’m sorry.
BEATRICE: Are you afraid of the dark?
Oplà.
(CHIRPING)
(CHIRPING)
BEATRICE: When Aunt Adelaide was alive,
there were many more.
They look like cathedrals.
But did she sleep here
with all this singing?
From the day Leonora
went to the convent,
From the day Leonora
went to the convent,
Aunt Adelaide no longer wanted
to see anyone.
Not even me. I reminded her too much.
She hated maman.
She said it was her fault
Leonora left.
She only took care
of her little animals.
She only took care
of her little animals.
They told me
that when the mother
of one of these little birds died,
leaving the eggs
leaving the eggs
(whisper) she incubated them.
This is the dance hall.
It’s nice, isn’t it?
Then when it’s dry,
I’ll show it to you properly.
Then when it’s dry,
I’ll show it to you properly.
Excuse me.
Nothing. I didn’t hurt myself.
See? I didn’t even fall.
Nothing. I didn’t hurt myself.
See? I didn’t even fall.
What’s wrong? You’re smiling sadly, sadly.
You noticed, didn’t you?
That’s why maman calls me Cavallina.
Do I make you feel sorry for me?
Sorry for what? You’re beautiful.
There.
If I limp in front of maman,
she starts screaming.
If I limp in front of maman,
she starts screaming.
But she’s right — no one
likes to see a lame girl.
MODESTA: I continued to play
my part very carefully,
but I couldn’t tell
if the performance was working or not.
but I couldn’t tell
if the performance was working or not.
I’ll show you the ancestors’ sitting room.
Everything, including her uncertain step
told me I could trust her,
smile.
MODESTA: Her beauty enchanted me.
But when I was alone,
doubt grabbed me from behind.
But when I was alone,
doubt grabbed me from behind.
(AIRPLANE IMITATION)
(AIRPLANE IMITATION)
“The invention of God is
too simple a solution”
“The invention of God is
too simple a solution”
“to justify all the beauty
and mystery of butterflies.”
BEATRICE: That’s what Uncle Jacopo used to say.
He was maman’s favorite son.
BEATRICE: That’s what Uncle Jacopo used to say.
He was maman’s favorite son.
The most handsome of the Brandiforti.
He was a philosopher.
A heretic.
A heretic.
Uncle Jacopo was also a scientist.
He designed airplanes
and was even a pilot.
Then, during the battle,
he was hit and came back here
half paralyzed.
I used to come here every afternoon.
He told me about the war
and said that thanks to airplanes
the war would end quickly.
Instead it never ends.
(MELANCHOLIC MUSIC)
(HEAVY BREATHING AND SNIFFLING)
Is he asleep?
(MELANCHOLIC MUSIC CONTINUES)
(THUD)
(SERVANTS SPEAKING IN SICILIAN)
(SERVANTS SPEAKING IN SICILIAN)
— Good morning, miss.
— Good morning.
— Mourning is over as of today.
— But how, so soon?
— Mourning is over as of today.
— But how, so soon?
Orders from the princess.
Come on, I’ll help you.
Thank you. Take it from here.
Thank you. Take it from here.
Good morning.
ARGENTOVIVO: Like this?
(LAUGHTER FROM OUTSIDE)
(LAUGHTER FROM OUTSIDE)
Come on.
("EL MIRAR DE LA MAJA"
ENRIQUE GRANADOS IN BACKGROUND)
("EL MIRAR DE LA MAJA"
ENRIQUE GRANADOS IN BACKGROUND)
(LAUGHTER AND SINGING CONTINUES)
But what
But what
— How is this possible?
— Haven’t you ever seen a gramophone?
("EL MIRAR DE LA MAJA"
FROM THE GRAMOPHONE)
("EL MIRAR DE LA MAJA"
FROM THE GRAMOPHONE)
(SINGS)
(STOPS THE GRAMOPHONE)
— What devilry is this?
— It eats you!
— What devilry is this?
— It eats you!
BEATRICE: She’s never seen
a gramophone.
Nonsense, Cavallina. Have you ever
seen a gramophone in a convent?
Nonsense, Cavallina. Have you ever
seen a gramophone in a convent?
Anyway,
when you enter a room,
in those clothes you bring a sadness over me,
like a winter evening.
While you’re our guest,
you’ll have to surrender to beauty.
Enough with those religious clothes.
Colors. I want colors,
I need cheerfulness, Maudit.
Colors. I want colors,
I need cheerfulness, Maudit.
Ah, didn’t she tell you?
I’ve decided to call you Maudit.
Verlaine, Baudelaire, Rimbaud,
do you know them? Les Poètes Maudits.
Verlaine, Baudelaire, Rimbaud,
do you know them? Les Poètes Maudits.
I’m sorry, princess.
— Maudit means cursed.
(whisper) Cursed.
(whisper) Cursed.
I use it in the best sense of the term,
also for the sound.
Maudit, Modesta, Maudit Modesta,
Maudit Modesta.
Oh, oh.
Oh, oh.
Should I know these poets?
Of course, let’s go to the library
and I’ll lend them to you.
Of course, let’s go to the library
and I’ll lend them to you.
She can’t sing, but I can play.
(PLAYS "SONATA IN C MAJOR, K 545" MOZART)
(MUSIC CONTINUES)
There like that.
There like that.
Look how beautiful.
All these buttons, Jesus.
ARGENTOVIVO: It’s only for a few days.
ARGENTOVIVO: It’s only for a few days.
It’s just to make Donna Gaia happy.
Your habit stays there — it won’t run away.
(SWEET MUSIC)
(SWEET MUSIC)
But maybe this dress
is too frivolous for you?
But maybe this dress
is too frivolous for you?
Too beautiful.
— Yes.
— See?
MODESTA: “A hair of her flesh,
a nerve of her face.”
MODESTA: “A hair of her flesh,
a nerve of her face.”
In this last line
Verlaine says he feels the ecstasy
of the first Christian.
He was traveling through Europe
with his young lover Rimbaud,
He was traveling through Europe
with his young lover Rimbaud,
on a sort of honeymoon.
Princess, the newspaper has arrived.
And we can also
Today they’ll deliver the candles
and lamp oil,
Today they’ll deliver the candles
and lamp oil,
but there’s very little left in the cashbox.
Antonio, not now, come on.
I’m talking with Maudit.
Go, go.
Go, go.
Certainly, princess.
Actually no, look, Antonio, come.
Do the puppets.
Come on.
Come on.
Orlando Paladino.
Here I am, I want to make you feel
my terrible sword
and the strength of these hands.
and the strength of these hands.
To us. To arms!
(LOUD LAUGHTER)
Ta-ta-ta! Oh!
Ta-ta-ta.
Ta-ta-ta.
— Thank you, princess.
— Now go, go.
— Thank you, princess.
— Now go, go.
Go!
Poor Antonio,
he’s been robbing me his whole life.
Poor Antonio,
he’s been robbing me his whole life.
I hope at least
he made good use of it.
Anyway, almost everyone in here
steals from me, eh.
Anyway, almost everyone in here
steals from me, eh.
It’s fine with me
if that’s the price to pay
for not dealing with boring things.
"Les sanglots longs
des violons de l'automne"
"Les sanglots longs
des violons de l'automne"
"blessent mon coeur
d'une langueur monotone."
I could take care of it.
In the convent I learned well
how to do accounts.
In the convent I learned well
how to do accounts.
And, with your permission,
I could check the expenses
Antonio mentioned.
I could check the expenses
Antonio mentioned.
How enterprising we are.
Tournez, gently,
tournez, tournez, tournez.
Tournez, gently,
tournez, tournez, tournez.
More haughty, up up, more haughty.
DE CIUCEIS: Straight, don’t forget.
Tournez, doucement.
Et voilà, gently.
Tournez, doucement.
Et voilà, gently.
Return, return.
Très bien. Let’s repeat.
(CLASSICAL MUSIC FROM THE GRAMOPHONE)
(CLASSICAL MUSIC FROM THE GRAMOPHONE)
(MUSIC CONTINUES)
(MUSIC BUILDING)
(MUSIC BUILDING)
Come on now.
(MUSIC STOPS)
Come on now.
(MUSIC STOPS)
Sorry, Modesta.
I
Sorry.
(THUD)
(THUD)
Forgive me, I didn’t want to disturb you.
No, no, you weren’t disturbing me —
I wasn’t praying.
No, no, you weren’t disturbing me —
I wasn’t praying.
And anyway when I go back to the convent
I’ll do nothing but pray.
— Excuse me.
— No.
I no longer have anyone
to go visit,
the convent is the only home
I’ve ever had.
the convent is the only home
I’ve ever had.
We can’t choose our fate
the way they do.
Even mine
was decided by others.
They sent me to war.
In the trenches, when it rained
you stayed wet for weeks
In the trenches, when it rained
you stayed wet for weeks
and when you took off your shoes
the skin came off too.
If I hadn’t run away,
I’d already be in a grave.
If I hadn’t run away,
I’d already be in a grave.
You deserted?
The other soldiers were
all poor devils like me.
Friulians, Sardinians And who understood them?
Friulians, Sardinians And who understood them?
And I had to die for Italy?
I hid in the sulfur mines
for months.
— And if they found you?
— They would have killed me.
— And if they found you?
— They would have killed me.
Deserters are shot
by their own comrades.
Sorry for the language.
No, it’s just that even thinking about it
makes my blood boil.
No, it’s just that even thinking about it
makes my blood boil.
So it’s not true
that you have weak lungs.
No.
No one here knows
that I deserted.
I don’t even know why
I’m telling you all this.
I don’t even know why
I’m telling you all this.
I feel I can trust you
sorry, trust you (formal).
Of course you can trust me.
(COUGHING)
No, no, that’s enough.
I want to confess something to you too.
I never had a vocation.
I never had a vocation.
When I pray
I don’t address anyone.
You can use “tu” with me. Okay.
Miss Modesta,
I couldn’t find you.
The princess is looking for you,
she’s waiting in the study.
The princess is looking for you,
she’s waiting in the study.
CARMINE: Donna Gaia, it’s time
to get back in the saddle.
GAIA: I’ve gone soft too.
GAIA: I’ve gone soft too.
She was the only one who beat me.
We have to get back in the saddle.
Ah. Um
Carmine, this
Carmine, this
is the girl I told you about —
her name is Modesta,
but I immediately renamed her Maudit.
but I immediately renamed her Maudit.
Good morning.
Good morning.
Carmine has been in our family
since he was a carusu (boy).
Carmine has been in our family
since he was a carusu (boy).
Now he’s the one
who runs everything here.
Harvests, laborers, animals.
He’s also the tenant
of many of our lands,
He’s also the tenant
of many of our lands,
which were too heavy a burden for me.
— The lands are always yours.
— Yes, all right — Yours.
— The lands are always yours.
— Yes, all right — Yours.
Anyway,
Notary Musumeci is about to arrive,
so you’ll sign those papers
I told you about,
so you’ll sign those papers
I told you about,
you know, before you leave.
Ah, yes?
In two days.
— But no one told me.
— Well, I’m telling you now.
— But no one told me.
— Well, I’m telling you now.
What did you want,
a telegram?
Carmine, go see if Gaetano has arrived.
Maybe he’s waiting downstairs.
Sit down.
I can’t stop thinking
about Leonora’s death.
Tell me the truth.
Tell me the truth.
Was she suffering?
You who were so close to her,
what do you think?
You who were so close to her,
what do you think?
Was she unhappy?
Could it have been
an act of despair?
Could it have been
an act of despair?
Princess, but do you believe she
No, don’t think that
Don’t think that, I swear.
No, don’t think that
Don’t think that, I swear.
Leonora had found peace in the convent,
she was full of life.
It was just a terrible accident.
The balustrade was old,
it needed replacing.
We told her so many times.
We told her so many times.
What you say comforts me.
It takes a great weight off my heart.
It takes a great weight off my heart.
Here. Ah. So Now
let’s sign these papers, come on.
Here. Ah. So Now
let’s sign these papers, come on.
Good morning, princess.
Good morning Gaetano,
always late.
— But I’ve been here for an hour.
— Sit down, sit in my place.
MUSUMECI Thank you.
GAIA: Come, Carmine.
MUSUMECI Thank you.
GAIA: Come, Carmine.
So, Modesta
Spataro.
MUSUMECI: Spataro.
Born January 1, 1900.
MUSUMECI: Spataro.
Born January 1, 1900.
The first day of the new century.
Lucky.
The first day of the new century.
Lucky.
Well, come on, let’s go.
MUSUMECI: Anyway,
here’s the area, Chiana del Bove,
but a municipality
and residence address are missing.
Put the convent’s —
that’s where she’ll live anyway. Come on.
Put the convent’s —
that’s where she’ll live anyway. Come on.
MUSUMECI: In the presence
of Princess Gaia Brandiforti,
the aforementioned Modesta Here, meanwhile
you can sign here, please.
the aforementioned Modesta Here, meanwhile
you can sign here, please.
"In order to guarantee her
a more secure future,"
"the late Mother Leonora Brandiforti
has provided"
"for her an annual income
of 1,800 Lire."
"for her an annual income
of 1,800 Lire."
Well
— For life?
— Yes.
— For life?
— Yes.
"But should she abandon
the religious life"
"for the secular one,
the income would cease."
That won’t happen anyway,
so come on, let’s continue.
That won’t happen anyway,
so come on, let’s continue.
Now, if you could sign here again
GAIA: Well, do you still need me?
Yes, princess,
but I can join you later.
Yes, princess,
but I can join you later.
Then I’m going, because I’m bored.
Princess.
What’s that thing called?
German dirigible.
DE CIUCEIS: It was in all the papers.
The wrath of God of bombings.
The wrath of God of bombings.
All hell broke loose,
everyone terrified.
GAIA: Useless hell.
(LAUGHTER)
GAIA: Useless hell.
(LAUGHTER)
DE CIUCEIS: They didn’t even hit
the targets.
And so I went down to Catania
and started teaching classical dance again
And so I went down to Catania
and started teaching classical dance again
to the daughters of the Baron
of Villagioiosa.
Oh, for heaven’s sake.
Poor creatures, princess.
They’re hopeless.
Poor creatures, princess.
They’re hopeless.
DE CIUCEIS: Fat, short
GAIA: Short legs.
DE CIUCEIS: Princess
No, but even the mother is an ox,
she’s always been an ox.
(THUD)
While our Beatrice moves
with such grace,
While our Beatrice moves
with such grace,
she has, as you say
L'attitude.
L'attitude. Voilà.
L'attitude. Voilà.
(WHIMPERS)
Matilde,
why don’t you entertain us a bit?
Matilde,
why don’t you entertain us a bit?
Maestro, you have to hear
how good she is when she sings,
not like me pretending.
DE CIUCEIS: Ah, yes?
Sing, sing, little one.
MATILDE: Mamma, can I?
MOTHER: Of course, darling.
All right. You’ll see
that once she starts, she never stops.
(VOCALIZES)
(DISTANT THUDS AND MOANS)
DE CIUCEIS: Sounds like a nightingale.
Cavallina, wait.
— What’s wrong?
— So you’re leaving?
(FOOTSTEPS)
PIETRO: Your ladyship.
Greetings.
— Who is it?
— It’s Pietro.
Only he has permission
to go up to the top floor.
Only he has permission
to go up to the top floor.
But can I know
what’s on the top floor?
That’s where the thing lives.
That’s where the thing lives.
Pietro takes care of it.
He’s the only one who can,
because he’s big and strong.
And what is this thing?
And what is this thing?
Eh, I don’t know.
I’ve never seen it.
I’d like to go down to my room.
Good night.
I’d like to go down to my room.
Good night.
(SWEET MUSIC AND CHIRPING)
(SWEET MUSIC AND CHIRPING)
Modesta.
MODESTA: Good morning.
Good morning.
See what a beautiful day today?
Good morning.
See what a beautiful day today?
Yes.
These are my quarters,
I stay here.
These are my quarters,
I stay here.
I was thinking about what
we said the other day, when
I was thinking about what
we said the other day, when
Here, I thought again about
our conversation the other day.
We both suffered.
Life has been hard on us.
We both suffered.
Life has been hard on us.
But your kindness,
the way you trusted me,
made me happy.
the way you trusted me,
made me happy.
In short, I don’t think I’m wrong
if I say I’m not indifferent to you.
I confess to you,
I confess to you,
I’ve felt something for you
since the first day I saw you.
— Rocco, I don’t
— Wait.
You said you don’t want
to go back to the convent, right?
You said you don’t want
to go back to the convent, right?
That you don’t have a vocation.
So stay here.
I’m ready to marry you.
I’m ready to marry you.
If you accept,
we’ll tell the princess ourselves,
say we fell in love.
And I thought you could
work in the accountant’s office,
And I thought you could
work in the accountant’s office,
because you can read, you can write too —
that’s not for everyone.
Yes, but don’t rush.
Rocco, I don’t know what to answer.
I mean, you know, until a few
weeks ago I was living in the convent.
And I’ll have to go back.
And I’ll have to go back.
I’m ready to marry you.
But I understand.
And you don’t have to answer right away.
And don’t be scared,
because falling in love
just means caring for each other.
MODESTA: Marry him. Was that perhaps
the way to stay in the villa?
But I had to return to the convent
so as not to lose the inheritance.
Leonora’s bequest
wasn’t a gift, it was a trap.
Leonora’s bequest
wasn’t a gift, it was a trap.
— Good morning, princess.
— Good morning, Maudit.
Thank you, I finished this one too.
Thank you, I finished this one too.
— You’re voracious in reading, Maudit.
— Yes.
If you don’t mind, I’d like to read
those by the other poet too.
Ba Bad Badelar?
— Baudelaire.
— Baudelaire.
— Baudelaire.
— Baudelaire.
Of course, I’ll lend it to you.
Come. Come, come.
GAIA: It’s here.
In my secret hiding place.
Come, come, come.
I’d gladly give it to you,
but God forbid those God-fearing
nuns in the convent find it.
Thank you.
Thank you.
It saddens me that you’re leaving.
They’re all so boring.
They’re all so boring.
You say little,
but you’re interesting.
And you know how to listen.
And you know how to listen.
Loneliness is ugly
when you grow old.
Loneliness is ugly
when you grow old.
And I
I’ve lost almost all my loved ones.
But you don’t suffer the same way
for every loss, mind you.
But you don’t suffer the same way
for every loss, mind you.
Without Jacopo I was truly alone,
forever.
Without Jacopo I was truly alone,
forever.
Jacopo and I we understood each other.
He was my favorite child.
I’m not so hypocritical as to deny it.
Everyone knew.
No
My daughter
my daughter is another matter.
My daughter was an idiot.
She ruined herself with her own hands.
As beautiful as she was, with the title she had,
she could have had any life she wanted.
As beautiful as she was, with the title she had,
she could have had any life she wanted.
Instead
she got herself pregnant
by a man
she could never marry.
she could never marry.
My husband and I were forced
to hide her pregnancy.
My husband and I were forced
to hide her pregnancy.
Until she gave birth to Beatrice.
I I don’t understand.
I’m talking about Leonora.
My only daughter.
GAIA: When the baby was born
we kept her with us,
GAIA: When the baby was born
we kept her with us,
but for Leonora the convent
was the only possible choice.
And of course
she never forgave us,
she never wanted to see us again,
she tore up all my letters.
she never wanted to see us again,
she tore up all my letters.
If it had been up to me,
I would have kept her here with us,
but in this country it’s fathers
and husbands who decide.
but in this country it’s fathers
and husbands who decide.
Maybe I didn’t fight
hard enough.
Don’t make that ugly, ugly face.
How can maman be my mother?
How can maman be my mother?
Don’t you see she’s too old?
Everyone knows it’s just
a charade to keep up appearances,
Everyone knows it’s just
a charade to keep up appearances,
no one believes it.
Only you.
And these?
MODESTA: And so,
for the first time in my life,
I was loved by loving.
I was loved by loving.
(LAUGHTER)
MODESTA: This is the beautiful eye,
this is its brother.
MODESTA: This is the beautiful eye,
this is its brother.
This is the little church,
these are the little friars.
This is the little church,
these are the little friars.
And this is the bell
that goes ding-dong, ding-dong, ding-dong.
Maman always used to do this for me.
Where did you learn that?
We’ll all miss you, miss.
Tomorrow the car will be
ready by six.
Tomorrow the car will be
ready by six.
Thank you, Rocco.
Yes, we’ll all miss you,
miss, look.
Why the tears, Rocco? Is it necessary?
Why the tears, Rocco? Is it necessary?
She’s leaving, she’s not dying.
Give us a smile, come on,
Holy Madonna.
— Good night.
— Good night. — Good night.
— Good night.
— Good night. — Good night.
(GAIA PLAYS THE PIANO)
Go. I hate goodbyes.
(RESUMES PLAYING)
(RESUMES PLAYING)
What are you taking this for?
You can’t wear it anymore.
Eh? Why are you taking this?
Your beloved bindings! I’ll burn them!
Leonora’s brooch, huh?
Leonora’s brooch, huh?
The poetry book. You’re a thief!
But it’s for remembrance.
Modesta, you’re a thief.
I’m going to tell maman.
But why are you being so cruel now?
For a book? For a brooch?
But why are you being so cruel now?
For a book? For a brooch?
Because I’m sad, because I’m
a thousand times sad that you’re leaving.
I’ll come with you to the convent,
I’ll become a nun.
I’ll come with you to the convent,
I’ll become a nun.
You’re mine.
You’re mine too.
I can’t do it.
Stay with me, stay with me.
— Wait.
— Stay with me.
— Wait.
— Stay with me.
(INDISTINCT VOICES)
Will you marry me?
Will you marry me?
PIETRO: Rocco! Rocco!
Rocco.
Rocco.
PIETRO: Run, Rocco, she’s in a fury!
What did she do to you?
(MOANS / LAMENTATIONS)
I had to tie her up.
(SCREAMS AND MOANS)
Listen. Listen who’s here.
She’s a fury, a real fury.
(SCREAMS)
(SCREAMS)
Miss, don’t go in.
It’s dangerous.
Good, good. Stay calm, stay still.
Good, good. Stay calm, stay still.
(SCREAMS AND THUDS)
Good.
ROCCO: Don’t touch him.
ROCCO: Don’t touch him.
ROCCO: Modesta
PIETRO: A miracle.
PIETRO: A miracle.
A miracle.
She’s a saint, miss.
PIETRO: A saint she is.
("PAROLA"
DONATO DOZZY, ANNA CARAGNANO)
PIETRO: A miracle. A miracle.
He’s calmed down, I can’t believe it.
She’s a saint!
He’s calmed down, I can’t believe it.
She’s a saint!
("PAROLA"
DONATO DOZZY, ANNA CARAGNANO)
Close it.
Close it.
BEATRICE: This family
loves secrets
like this one.
SKY ITALIA
(STEPS)
(LITTLE BELL, WHISTLE)
Shoo.
Shoo.
Shoo.
You can't stay here.
Go on.
(MYSTERY MUSIC)
(MYSTERY MUSIC)
No
Not in my room.
(MOANS)
(MOANS)
MODESTA: I could feel Leonora's death
hovering over the whole house,
it seemed to me that I had brought it here.
And that along with Leonora,
my own dead had come too.
And that along with Leonora,
my own dead had come too.
The ones I no longer thought about.
I felt them on me,
they followed me everywhere.
Like my shadow.
Like my shadow.
(DOOR OPENS)
ARGENTOVIVO: Good morning, miss.
Did you sleep well? May I? — Yes.
Here’s breakfast.
Oplà, as the French say.
Here’s breakfast.
Oplà, as the French say.
But you’ve already made the bed?
You shouldn’t have, that’s what I’m here for.
It’s habit —
in the convent we do it that way.
It’s habit —
in the convent we do it that way.
Are you cold?
Shall I light the fire?
— No.
— Shall I help you unpack the vali
But you brought your own cup?
I didn’t know where I was going, so
I didn’t know where I was going, so
— I’m Argentovivo.
— Modesta.
— But I’ll serve breakfast here.
— What a beautiful name.
My real name is Luigia,
but the Princess
called me Argentovivo,
but the Princess
called me Argentovivo,
because I never stop talking
and I never stay still. — Princess?
Princess Brandiforti.
Don’t you know her? This house is hers.
Princess Brandiforti.
Don’t you know her? This house is hers.
This is the country villa, because
the big beautiful palace
is in Catania. Unfortunately,
since the war started,
we moved here. Ah.
we moved here. Ah.
This is for you,
so you know how to behave.
Even though the Princess
instructed me to tell you
that you can do whatever you want.
You can walk in the park
or you know what?
You can walk in the park
or you know what?
Have a nice hot bath prepared —
I’ll prepare it for you.
If you can play the piano,
in the music room
there’s a grand piano
that starts here and never ends.
that starts here and never ends.
Ah. But it is strictly forbidden
to go up to the top floor of the villa.
That absolutely cannot be done,
I beg you.
In fact, last night
I heard noises.
In fact, last night
I heard noises.
I was forgetting
the most important thing.
The princess wants to meet you —
she’ll receive you this afternoon for tea.
Be sure to use the formal “lei” with her
and not “voi” —
“voi” has been abolished in this house.
Her ladyship is from the North.
“voi” has been abolished in this house.
Her ladyship is from the North.
She’s Piedmontese, her mother was even French.
It bothers her.
With your permission.
I’ll leave you to your breakfast. — Yes.
With your permission.
I’ll leave you to your breakfast. — Yes.
Then tell me how it was. Good morning.
— Good morning.
(SOMBER MUSIC)
(SOMBER MUSIC)
GAIA: How is she?
BEATRICE: Je ne sais pas.
A bit gloomy, but pretty.
A bit gloomy, but pretty.
GAIA: “Gloomy”? What do you mean?
BEATRICE: I told you, maman,
I only saw her from afar.
BEATRICE: I told you, maman,
I only saw her from afar.
Come.
Thank God she’s not one of those monsters
that populate our convents.
Despite your clothing, overall
you’re quite graceful.
GAIA: Cavallina,
you could have told me she was normal.
GAIA: Cavallina,
you could have told me she was normal.
If not beautiful, at least normal.
You could have told me. Eh?
GAIA: This is Beatrice,
called Cavallina.
GAIA: This is Beatrice,
called Cavallina.
GAIA: Beatrice is the younger sister
of Leonora, your Mother Superior.
GAIA: Beatrice is the younger sister
of Leonora, your Mother Superior.
— Mother Leonora lived here?
— Yes, she was born here.
— Mother Leonora lived here?
— Yes, she was born here.
I asked for you to come
and stay with us for a while
because I wanted to meet
the girl my daughter
had become so attached to. But remind me,
what’s your name, please?
had become so attached to. But remind me,
what’s your name, please?
Modesta.
Oh! What an ugly name. My God.
What a depressing adjective.
Don’t be offended,
but we’ll have to change it.
We’ll have to change it, yes.
— I’m not offended at all.
GAIA: Sit down.
— I’m not offended at all.
GAIA: Sit down.
VINCENZINA: Shall I serve the tea,
princess?
GAIA: Well, yes, it’s tea time.
And how is Sister Costanza?
Or rather, I should say Mother Costanza,
now that Leonora is no longer with us.
Eh? Still ugly?
She’s well, thank you.
She’s well, thank you.
I would have become a nun too
if I’d been that ugly.
Did you know Leonora for a long time?
Yes, since I arrived at the convent.
I was nine years old.
And did you spend a lot of time with her?
— Yes.
— And did you see her that evening?
No. Well, only at dinner, in the refectory.
No. Well, only at dinner, in the refectory.
MODESTA: Mother Leonora was
extremely important to all of us.
She was always attentive,
caring, almost a saint.
She was always attentive,
caring, almost a saint.
B-but how could it have happened?
Have you found an explanation?
Well, the balustrade that gave way
was in very bad condition, princess.
And Leonora didn’t know?
And Leonora didn’t know?
Our gardener always told her
it needed to be replaced.
He had told her
so many times, my God.
He had told her
so many times, my God.
But that old balustrade was
so beautiful
and Mother Leonora loved beauty so much.
Yes… it’s a family vice.
Yes… it’s a family vice.
(COUGH)
Before you leave,
you’ll have to sign that document.
Before you leave,
you’ll have to sign that document.
What kind of document?
What kind of document? The notary
will tell you when he arrives.
Now go, I’m tired.
The sight of youth tires me.
Now go, I’m tired.
The sight of youth tires me.
Since you’re not ugly,
you can come back for tea
in the coming days too.
in the coming days too.
MODESTA: All those allusions spoke clearly.
GAIA: Are you happy, Cavallina?
— I would be very happy.
MODESTA: I was suspected
of Leonora’s death.
MODESTA: I was suspected
of Leonora’s death.
Who knows what you’ll think of us,
you who are so devout.
MODESTA: I felt everyone’s eyes on me.
MODESTA: I felt everyone’s eyes on me.
When you see our chapel
abandoned to itself.
I had to be more cautious —
I had already made enough mistakes.
I had to be more cautious —
I had already made enough mistakes.
I couldn’t run away.
Where would I go anyway?
I certainly didn’t want
to go back to the convent.
Do you really want to become a nun?
Caution.
The only chance I had
to dispel those suspicions,
The only chance I had
to dispel those suspicions,
was to prove that I was
a devout, observant person
and pious.
BEATRICE: But what is a vocation?
What do you feel? What is it like?
It’s like a birdsong.
It’s like a birdsong.
BEATRICE: How beautiful.
Maman says that for a girl like you
it’s better to have this vocation.
Maman says that for a girl like you
it’s better to have this vocation.
You’ll certainly be safer
in the convent than out here in the world.
Caution.
(THUDS AND CREAKING)
(THUDS AND CREAKING)
It’s Leonora’s room. You can’t go in —
they’re preparing it.
It’s Leonora’s room. You can’t go in —
they’re preparing it.
Preparing it for what?
BEATRICE: Maman wants the rooms
of the dead to always be ready
BEATRICE: Maman wants the rooms
of the dead to always be ready
and clean. For when they return.
Which dead?
Here everyone is dead.
Here everyone is dead.
The only living ones are me and maman.
(IN SICILIAN)
And of course the servants.
And of course the servants.
I’ll show you the rooms,
even though it’s forbidden.
With your permission, forgive me.
BEATRICE: It will be a secret
between you and me.
You mustn’t tell anyone,
You mustn’t tell anyone,
not even Argentovivo —
she’s a spy.
Will you let me come in or
do you want to be alone in prayer?
Will you let me come in or
do you want to be alone in prayer?
BEATRICE: You’re an orphan, right?
Yes.
So Leonora acted as your mother.
In a way, yes.
But is it true that your mother
died burned?
But is it true that your mother
died burned?
It seems you already know
everything about me.
Yes, it’s true.
I can’t promise you
we’ll see each other at dinner,
because we all eat
at different times
and maman never leaves her room
in the evening when she’s in mourning.
and maman never leaves her room
in the evening when she’s in mourning.
See you tomorrow then.
Au revoir.
Au revoir.
(THUDS)
(THUDS)
(THUDS)
(MYSTERY MUSIC)
(INDISTINCT VOICES)
(INDISTINCT VOICES)
(LAUGHTER)
— Oh, but you’re unbelievable. Stop it.
— What did I say?
— Oh, but you’re unbelievable. Stop it.
— What did I say?
(LAUGHTER)
Holy Mother.
SERVANT: Run!
MENA: Run and apologize,
say we were just playing.
(FOOTSTEPS)
Miss
Miss, come on, stop.
Were you looking for something?
Do you need help?
No, no.
I just heard ugly noises
from upstairs.
I just heard ugly noises
from upstairs.
Ah, don’t worry about it.
I imagine you’re tired,
you need to rest.
If it makes you feel calmer
lock your door.
If it makes you feel calmer
lock your door.
BEATRICE: You’ll see, at the procession
of Santa Maria dell’Elemosina
BEATRICE: You’ll see, at the procession
of Santa Maria dell’Elemosina
there will be the Biscari,
the Gravina, the Serravalle.
Even the Dukes of Targagi.
How boring. All unbearable people.
How boring. All unbearable people.
I already regret deciding
to go.
It will be fun instead.
And they make those delicious little sweets.
It will be fun instead.
And they make those delicious little sweets.
What are they called, maman?
The The fingers of something
BEATRICE: And what do you do in the convent?
Well, you study
you tend the garden,
you tend the garden,
embroidery, music lessons.
But above all you pray.
You resemble Leonora a lot.
The way you speak, your gestures.
It’s almost as if you imitate her.
I never knew her.
When I was born she was already in the convent.
I never knew her.
When I was born she was already in the convent.
(THUD)
ROCCO: What’s happening?
Forgive me, princess.
ROCCO: What’s happening?
Forgive me, princess.
Do you want to dry off?
Thank you.
Thank you.
How far along are we?
We’re melting.
I’m almost done.
Cavallina, stop!
You look like a hopping crow.
And stand up straight.
And stand up straight.
Three crows.
Three crows.
That’s what we are.
In these black clothes.
Three birds of ill omen.
In these black clothes.
Three birds of ill omen.
(laughing) Three crows.
Princess, if you’d like to get in,
we can continue the journey.
Princess, if you’d like to get in,
we can continue the journey.
No, we’re going home.
I have no desire to go
all the way to Biancavilla now.
I have no desire to go
all the way to Biancavilla now.
But it’s not fair,
you said we were going.
Well, I changed my mind.
But maman
Don’t I have the right to contradict myself?
Don’t I have the right to leave?
Don’t I have the right to contradict myself?
Don’t I have the right to leave?
But since the war broke out
we no longer see anyone.
We’re prisoners,
like cloistered nuns.
We’re prisoners,
like cloistered nuns.
— So what? — We’re almost there,
let’s take Modesta to pray,
we have to take her to church.
Modesta can pray in the villa,
there’s a beautiful chapel,
Modesta can pray in the villa,
there’s a beautiful chapel,
no one ever goes there,
but it’s still consecrated.
At least someone will use it. Come on.
Quick, quick, quick. En voiture.
Allez. Allez! Rocco.
Allez. Allez! Rocco.
Quick, I said!
There’s already someone in the chapel Ouch!
I wanted to take her to church.
ROCCO: Aren’t you getting in, princess?
— I’m calming down!
In the meantime,
start this blessed machine.
In the meantime,
start this blessed machine.
(DOOR CLOSES)
(ENGINE STARTS AND COUGHING)
(ENGINE STARTS AND COUGHING)
Miss Modesta?
Compared to what you saw yesterday,
I wouldn’t want
Compared to what you saw yesterday,
I wouldn’t want
I won’t say a word to anyone,
if that’s what worries you.
Thank you. I can’t afford
to lose my job.
Thank you. I can’t afford
to lose my job.
Besides, it’s not serious —
it’s just something to keep each other company.
You don’t have to explain anything to me.
You don’t have to explain anything to me.
The girl’s name is Mena.
Before the war she worked
in a circus with her husband.
She was a big attraction,
“The Tattooed Woman”.
She was a big attraction,
“The Tattooed Woman”.
Then they called her husband
back to the war.
And she managed
to get hired here.
All the men are at the front.
There are few of us left here.
All the men are at the front.
There are few of us left here.
And you you’re Rocco, right?
And you you’re Rocco, right?
— Yes.
— Why aren’t you at war?
I have weak lungs,
I have weak lungs,
as a child I had tuberculosis
and they rejected me, unfortunately.
I’m sorry.
I’m sorry.
BEATRICE: Are you afraid of the dark?
Oplà.
(CHIRPING)
(CHIRPING)
BEATRICE: When Aunt Adelaide was alive,
there were many more.
They look like cathedrals.
But did she sleep here
with all this singing?
From the day Leonora
went to the convent,
From the day Leonora
went to the convent,
Aunt Adelaide no longer wanted
to see anyone.
Not even me. I reminded her too much.
She hated maman.
She said it was her fault
Leonora left.
She only took care
of her little animals.
She only took care
of her little animals.
They told me
that when the mother
of one of these little birds died,
leaving the eggs
leaving the eggs
(whisper) she incubated them.
This is the dance hall.
It’s nice, isn’t it?
Then when it’s dry,
I’ll show it to you properly.
Then when it’s dry,
I’ll show it to you properly.
Excuse me.
Nothing. I didn’t hurt myself.
See? I didn’t even fall.
Nothing. I didn’t hurt myself.
See? I didn’t even fall.
What’s wrong? You’re smiling sadly, sadly.
You noticed, didn’t you?
That’s why maman calls me Cavallina.
Do I make you feel sorry for me?
Sorry for what? You’re beautiful.
There.
If I limp in front of maman,
she starts screaming.
If I limp in front of maman,
she starts screaming.
But she’s right — no one
likes to see a lame girl.
MODESTA: I continued to play
my part very carefully,
but I couldn’t tell
if the performance was working or not.
but I couldn’t tell
if the performance was working or not.
I’ll show you the ancestors’ sitting room.
Everything, including her uncertain step
told me I could trust her,
smile.
MODESTA: Her beauty enchanted me.
But when I was alone,
doubt grabbed me from behind.
But when I was alone,
doubt grabbed me from behind.
(AIRPLANE IMITATION)
(AIRPLANE IMITATION)
“The invention of God is
too simple a solution”
“The invention of God is
too simple a solution”
“to justify all the beauty
and mystery of butterflies.”
BEATRICE: That’s what Uncle Jacopo used to say.
He was maman’s favorite son.
BEATRICE: That’s what Uncle Jacopo used to say.
He was maman’s favorite son.
The most handsome of the Brandiforti.
He was a philosopher.
A heretic.
A heretic.
Uncle Jacopo was also a scientist.
He designed airplanes
and was even a pilot.
Then, during the battle,
he was hit and came back here
half paralyzed.
I used to come here every afternoon.
He told me about the war
and said that thanks to airplanes
the war would end quickly.
Instead it never ends.
(MELANCHOLIC MUSIC)
(HEAVY BREATHING AND SNIFFLING)
Is he asleep?
(MELANCHOLIC MUSIC CONTINUES)
(THUD)
(SERVANTS SPEAKING IN SICILIAN)
(SERVANTS SPEAKING IN SICILIAN)
— Good morning, miss.
— Good morning.
— Mourning is over as of today.
— But how, so soon?
— Mourning is over as of today.
— But how, so soon?
Orders from the princess.
Come on, I’ll help you.
Thank you. Take it from here.
Thank you. Take it from here.
Good morning.
ARGENTOVIVO: Like this?
(LAUGHTER FROM OUTSIDE)
(LAUGHTER FROM OUTSIDE)
Come on.
("EL MIRAR DE LA MAJA"
ENRIQUE GRANADOS IN BACKGROUND)
("EL MIRAR DE LA MAJA"
ENRIQUE GRANADOS IN BACKGROUND)
(LAUGHTER AND SINGING CONTINUES)
But what
But what
— How is this possible?
— Haven’t you ever seen a gramophone?
("EL MIRAR DE LA MAJA"
FROM THE GRAMOPHONE)
("EL MIRAR DE LA MAJA"
FROM THE GRAMOPHONE)
(SINGS)
(STOPS THE GRAMOPHONE)
— What devilry is this?
— It eats you!
— What devilry is this?
— It eats you!
BEATRICE: She’s never seen
a gramophone.
Nonsense, Cavallina. Have you ever
seen a gramophone in a convent?
Nonsense, Cavallina. Have you ever
seen a gramophone in a convent?
Anyway,
when you enter a room,
in those clothes you bring a sadness over me,
like a winter evening.
While you’re our guest,
you’ll have to surrender to beauty.
Enough with those religious clothes.
Colors. I want colors,
I need cheerfulness, Maudit.
Colors. I want colors,
I need cheerfulness, Maudit.
Ah, didn’t she tell you?
I’ve decided to call you Maudit.
Verlaine, Baudelaire, Rimbaud,
do you know them? Les Poètes Maudits.
Verlaine, Baudelaire, Rimbaud,
do you know them? Les Poètes Maudits.
I’m sorry, princess.
— Maudit means cursed.
(whisper) Cursed.
(whisper) Cursed.
I use it in the best sense of the term,
also for the sound.
Maudit, Modesta, Maudit Modesta,
Maudit Modesta.
Oh, oh.
Oh, oh.
Should I know these poets?
Of course, let’s go to the library
and I’ll lend them to you.
Of course, let’s go to the library
and I’ll lend them to you.
She can’t sing, but I can play.
(PLAYS "SONATA IN C MAJOR, K 545" MOZART)
(MUSIC CONTINUES)
There like that.
There like that.
Look how beautiful.
All these buttons, Jesus.
ARGENTOVIVO: It’s only for a few days.
ARGENTOVIVO: It’s only for a few days.
It’s just to make Donna Gaia happy.
Your habit stays there — it won’t run away.
(SWEET MUSIC)
(SWEET MUSIC)
But maybe this dress
is too frivolous for you?
But maybe this dress
is too frivolous for you?
Too beautiful.
— Yes.
— See?
MODESTA: “A hair of her flesh,
a nerve of her face.”
MODESTA: “A hair of her flesh,
a nerve of her face.”
In this last line
Verlaine says he feels the ecstasy
of the first Christian.
He was traveling through Europe
with his young lover Rimbaud,
He was traveling through Europe
with his young lover Rimbaud,
on a sort of honeymoon.
Princess, the newspaper has arrived.
And we can also
Today they’ll deliver the candles
and lamp oil,
Today they’ll deliver the candles
and lamp oil,
but there’s very little left in the cashbox.
Antonio, not now, come on.
I’m talking with Maudit.
Go, go.
Go, go.
Certainly, princess.
Actually no, look, Antonio, come.
Do the puppets.
Come on.
Come on.
Orlando Paladino.
Here I am, I want to make you feel
my terrible sword
and the strength of these hands.
and the strength of these hands.
To us. To arms!
(LOUD LAUGHTER)
Ta-ta-ta! Oh!
Ta-ta-ta.
Ta-ta-ta.
— Thank you, princess.
— Now go, go.
— Thank you, princess.
— Now go, go.
Go!
Poor Antonio,
he’s been robbing me his whole life.
Poor Antonio,
he’s been robbing me his whole life.
I hope at least
he made good use of it.
Anyway, almost everyone in here
steals from me, eh.
Anyway, almost everyone in here
steals from me, eh.
It’s fine with me
if that’s the price to pay
for not dealing with boring things.
"Les sanglots longs
des violons de l'automne"
"Les sanglots longs
des violons de l'automne"
"blessent mon coeur
d'une langueur monotone."
I could take care of it.
In the convent I learned well
how to do accounts.
In the convent I learned well
how to do accounts.
And, with your permission,
I could check the expenses
Antonio mentioned.
I could check the expenses
Antonio mentioned.
How enterprising we are.
Tournez, gently,
tournez, tournez, tournez.
Tournez, gently,
tournez, tournez, tournez.
More haughty, up up, more haughty.
DE CIUCEIS: Straight, don’t forget.
Tournez, doucement.
Et voilà, gently.
Tournez, doucement.
Et voilà, gently.
Return, return.
Très bien. Let’s repeat.
(CLASSICAL MUSIC FROM THE GRAMOPHONE)
(CLASSICAL MUSIC FROM THE GRAMOPHONE)
(MUSIC CONTINUES)
(MUSIC BUILDING)
(MUSIC BUILDING)
Come on now.
(MUSIC STOPS)
Come on now.
(MUSIC STOPS)
Sorry, Modesta.
I
Sorry.
(THUD)
(THUD)
Forgive me, I didn’t want to disturb you.
No, no, you weren’t disturbing me —
I wasn’t praying.
No, no, you weren’t disturbing me —
I wasn’t praying.
And anyway when I go back to the convent
I’ll do nothing but pray.
— Excuse me.
— No.
I no longer have anyone
to go visit,
the convent is the only home
I’ve ever had.
the convent is the only home
I’ve ever had.
We can’t choose our fate
the way they do.
Even mine
was decided by others.
They sent me to war.
In the trenches, when it rained
you stayed wet for weeks
In the trenches, when it rained
you stayed wet for weeks
and when you took off your shoes
the skin came off too.
If I hadn’t run away,
I’d already be in a grave.
If I hadn’t run away,
I’d already be in a grave.
You deserted?
The other soldiers were
all poor devils like me.
Friulians, Sardinians And who understood them?
Friulians, Sardinians And who understood them?
And I had to die for Italy?
I hid in the sulfur mines
for months.
— And if they found you?
— They would have killed me.
— And if they found you?
— They would have killed me.
Deserters are shot
by their own comrades.
Sorry for the language.
No, it’s just that even thinking about it
makes my blood boil.
No, it’s just that even thinking about it
makes my blood boil.
So it’s not true
that you have weak lungs.
No.
No one here knows
that I deserted.
I don’t even know why
I’m telling you all this.
I don’t even know why
I’m telling you all this.
I feel I can trust you
sorry, trust you (formal).
Of course you can trust me.
(COUGHING)
No, no, that’s enough.
I want to confess something to you too.
I never had a vocation.
I never had a vocation.
When I pray
I don’t address anyone.
You can use “tu” with me. Okay.
Miss Modesta,
I couldn’t find you.
The princess is looking for you,
she’s waiting in the study.
The princess is looking for you,
she’s waiting in the study.
CARMINE: Donna Gaia, it’s time
to get back in the saddle.
GAIA: I’ve gone soft too.
GAIA: I’ve gone soft too.
She was the only one who beat me.
We have to get back in the saddle.
Ah. Um
Carmine, this
Carmine, this
is the girl I told you about —
her name is Modesta,
but I immediately renamed her Maudit.
but I immediately renamed her Maudit.
Good morning.
Good morning.
Carmine has been in our family
since he was a carusu (boy).
Carmine has been in our family
since he was a carusu (boy).
Now he’s the one
who runs everything here.
Harvests, laborers, animals.
He’s also the tenant
of many of our lands,
He’s also the tenant
of many of our lands,
which were too heavy a burden for me.
— The lands are always yours.
— Yes, all right — Yours.
— The lands are always yours.
— Yes, all right — Yours.
Anyway,
Notary Musumeci is about to arrive,
so you’ll sign those papers
I told you about,
so you’ll sign those papers
I told you about,
you know, before you leave.
Ah, yes?
In two days.
— But no one told me.
— Well, I’m telling you now.
— But no one told me.
— Well, I’m telling you now.
What did you want,
a telegram?
Carmine, go see if Gaetano has arrived.
Maybe he’s waiting downstairs.
Sit down.
I can’t stop thinking
about Leonora’s death.
Tell me the truth.
Tell me the truth.
Was she suffering?
You who were so close to her,
what do you think?
You who were so close to her,
what do you think?
Was she unhappy?
Could it have been
an act of despair?
Could it have been
an act of despair?
Princess, but do you believe she
No, don’t think that
Don’t think that, I swear.
No, don’t think that
Don’t think that, I swear.
Leonora had found peace in the convent,
she was full of life.
It was just a terrible accident.
The balustrade was old,
it needed replacing.
We told her so many times.
We told her so many times.
What you say comforts me.
It takes a great weight off my heart.
It takes a great weight off my heart.
Here. Ah. So Now
let’s sign these papers, come on.
Here. Ah. So Now
let’s sign these papers, come on.
Good morning, princess.
Good morning Gaetano,
always late.
— But I’ve been here for an hour.
— Sit down, sit in my place.
MUSUMECI Thank you.
GAIA: Come, Carmine.
MUSUMECI Thank you.
GAIA: Come, Carmine.
So, Modesta
Spataro.
MUSUMECI: Spataro.
Born January 1, 1900.
MUSUMECI: Spataro.
Born January 1, 1900.
The first day of the new century.
Lucky.
The first day of the new century.
Lucky.
Well, come on, let’s go.
MUSUMECI: Anyway,
here’s the area, Chiana del Bove,
but a municipality
and residence address are missing.
Put the convent’s —
that’s where she’ll live anyway. Come on.
Put the convent’s —
that’s where she’ll live anyway. Come on.
MUSUMECI: In the presence
of Princess Gaia Brandiforti,
the aforementioned Modesta Here, meanwhile
you can sign here, please.
the aforementioned Modesta Here, meanwhile
you can sign here, please.
"In order to guarantee her
a more secure future,"
"the late Mother Leonora Brandiforti
has provided"
"for her an annual income
of 1,800 Lire."
"for her an annual income
of 1,800 Lire."
Well
— For life?
— Yes.
— For life?
— Yes.
"But should she abandon
the religious life"
"for the secular one,
the income would cease."
That won’t happen anyway,
so come on, let’s continue.
That won’t happen anyway,
so come on, let’s continue.
Now, if you could sign here again
GAIA: Well, do you still need me?
Yes, princess,
but I can join you later.
Yes, princess,
but I can join you later.
Then I’m going, because I’m bored.
Princess.
What’s that thing called?
German dirigible.
DE CIUCEIS: It was in all the papers.
The wrath of God of bombings.
The wrath of God of bombings.
All hell broke loose,
everyone terrified.
GAIA: Useless hell.
(LAUGHTER)
GAIA: Useless hell.
(LAUGHTER)
DE CIUCEIS: They didn’t even hit
the targets.
And so I went down to Catania
and started teaching classical dance again
And so I went down to Catania
and started teaching classical dance again
to the daughters of the Baron
of Villagioiosa.
Oh, for heaven’s sake.
Poor creatures, princess.
They’re hopeless.
Poor creatures, princess.
They’re hopeless.
DE CIUCEIS: Fat, short
GAIA: Short legs.
DE CIUCEIS: Princess
No, but even the mother is an ox,
she’s always been an ox.
(THUD)
While our Beatrice moves
with such grace,
While our Beatrice moves
with such grace,
she has, as you say
L'attitude.
L'attitude. Voilà.
L'attitude. Voilà.
(WHIMPERS)
Matilde,
why don’t you entertain us a bit?
Matilde,
why don’t you entertain us a bit?
Maestro, you have to hear
how good she is when she sings,
not like me pretending.
DE CIUCEIS: Ah, yes?
Sing, sing, little one.
MATILDE: Mamma, can I?
MOTHER: Of course, darling.
All right. You’ll see
that once she starts, she never stops.
(VOCALIZES)
(DISTANT THUDS AND MOANS)
DE CIUCEIS: Sounds like a nightingale.
Cavallina, wait.
— What’s wrong?
— So you’re leaving?
(FOOTSTEPS)
PIETRO: Your ladyship.
Greetings.
— Who is it?
— It’s Pietro.
Only he has permission
to go up to the top floor.
Only he has permission
to go up to the top floor.
But can I know
what’s on the top floor?
That’s where the thing lives.
That’s where the thing lives.
Pietro takes care of it.
He’s the only one who can,
because he’s big and strong.
And what is this thing?
And what is this thing?
Eh, I don’t know.
I’ve never seen it.
I’d like to go down to my room.
Good night.
I’d like to go down to my room.
Good night.
(SWEET MUSIC AND CHIRPING)
(SWEET MUSIC AND CHIRPING)
Modesta.
MODESTA: Good morning.
Good morning.
See what a beautiful day today?
Good morning.
See what a beautiful day today?
Yes.
These are my quarters,
I stay here.
These are my quarters,
I stay here.
I was thinking about what
we said the other day, when
I was thinking about what
we said the other day, when
Here, I thought again about
our conversation the other day.
We both suffered.
Life has been hard on us.
We both suffered.
Life has been hard on us.
But your kindness,
the way you trusted me,
made me happy.
the way you trusted me,
made me happy.
In short, I don’t think I’m wrong
if I say I’m not indifferent to you.
I confess to you,
I confess to you,
I’ve felt something for you
since the first day I saw you.
— Rocco, I don’t
— Wait.
You said you don’t want
to go back to the convent, right?
You said you don’t want
to go back to the convent, right?
That you don’t have a vocation.
So stay here.
I’m ready to marry you.
I’m ready to marry you.
If you accept,
we’ll tell the princess ourselves,
say we fell in love.
And I thought you could
work in the accountant’s office,
And I thought you could
work in the accountant’s office,
because you can read, you can write too —
that’s not for everyone.
Yes, but don’t rush.
Rocco, I don’t know what to answer.
I mean, you know, until a few
weeks ago I was living in the convent.
And I’ll have to go back.
And I’ll have to go back.
I’m ready to marry you.
But I understand.
And you don’t have to answer right away.
And don’t be scared,
because falling in love
just means caring for each other.
MODESTA: Marry him. Was that perhaps
the way to stay in the villa?
But I had to return to the convent
so as not to lose the inheritance.
Leonora’s bequest
wasn’t a gift, it was a trap.
Leonora’s bequest
wasn’t a gift, it was a trap.
— Good morning, princess.
— Good morning, Maudit.
Thank you, I finished this one too.
Thank you, I finished this one too.
— You’re voracious in reading, Maudit.
— Yes.
If you don’t mind, I’d like to read
those by the other poet too.
Ba Bad Badelar?
— Baudelaire.
— Baudelaire.
— Baudelaire.
— Baudelaire.
Of course, I’ll lend it to you.
Come. Come, come.
GAIA: It’s here.
In my secret hiding place.
Come, come, come.
I’d gladly give it to you,
but God forbid those God-fearing
nuns in the convent find it.
Thank you.
Thank you.
It saddens me that you’re leaving.
They’re all so boring.
They’re all so boring.
You say little,
but you’re interesting.
And you know how to listen.
And you know how to listen.
Loneliness is ugly
when you grow old.
Loneliness is ugly
when you grow old.
And I
I’ve lost almost all my loved ones.
But you don’t suffer the same way
for every loss, mind you.
But you don’t suffer the same way
for every loss, mind you.
Without Jacopo I was truly alone,
forever.
Without Jacopo I was truly alone,
forever.
Jacopo and I we understood each other.
He was my favorite child.
I’m not so hypocritical as to deny it.
Everyone knew.
No
My daughter
my daughter is another matter.
My daughter was an idiot.
She ruined herself with her own hands.
As beautiful as she was, with the title she had,
she could have had any life she wanted.
As beautiful as she was, with the title she had,
she could have had any life she wanted.
Instead
she got herself pregnant
by a man
she could never marry.
she could never marry.
My husband and I were forced
to hide her pregnancy.
My husband and I were forced
to hide her pregnancy.
Until she gave birth to Beatrice.
I I don’t understand.
I’m talking about Leonora.
My only daughter.
GAIA: When the baby was born
we kept her with us,
GAIA: When the baby was born
we kept her with us,
but for Leonora the convent
was the only possible choice.
And of course
she never forgave us,
she never wanted to see us again,
she tore up all my letters.
she never wanted to see us again,
she tore up all my letters.
If it had been up to me,
I would have kept her here with us,
but in this country it’s fathers
and husbands who decide.
but in this country it’s fathers
and husbands who decide.
Maybe I didn’t fight
hard enough.
Don’t make that ugly, ugly face.
How can maman be my mother?
How can maman be my mother?
Don’t you see she’s too old?
Everyone knows it’s just
a charade to keep up appearances,
Everyone knows it’s just
a charade to keep up appearances,
no one believes it.
Only you.
And these?
MODESTA: And so,
for the first time in my life,
I was loved by loving.
I was loved by loving.
(LAUGHTER)
MODESTA: This is the beautiful eye,
this is its brother.
MODESTA: This is the beautiful eye,
this is its brother.
This is the little church,
these are the little friars.
This is the little church,
these are the little friars.
And this is the bell
that goes ding-dong, ding-dong, ding-dong.
Maman always used to do this for me.
Where did you learn that?
We’ll all miss you, miss.
Tomorrow the car will be
ready by six.
Tomorrow the car will be
ready by six.
Thank you, Rocco.
Yes, we’ll all miss you,
miss, look.
Why the tears, Rocco? Is it necessary?
Why the tears, Rocco? Is it necessary?
She’s leaving, she’s not dying.
Give us a smile, come on,
Holy Madonna.
— Good night.
— Good night. — Good night.
— Good night.
— Good night. — Good night.
(GAIA PLAYS THE PIANO)
Go. I hate goodbyes.
(RESUMES PLAYING)
(RESUMES PLAYING)
What are you taking this for?
You can’t wear it anymore.
Eh? Why are you taking this?
Your beloved bindings! I’ll burn them!
Leonora’s brooch, huh?
Leonora’s brooch, huh?
The poetry book. You’re a thief!
But it’s for remembrance.
Modesta, you’re a thief.
I’m going to tell maman.
But why are you being so cruel now?
For a book? For a brooch?
But why are you being so cruel now?
For a book? For a brooch?
Because I’m sad, because I’m
a thousand times sad that you’re leaving.
I’ll come with you to the convent,
I’ll become a nun.
I’ll come with you to the convent,
I’ll become a nun.
You’re mine.
You’re mine too.
I can’t do it.
Stay with me, stay with me.
— Wait.
— Stay with me.
— Wait.
— Stay with me.
(INDISTINCT VOICES)
Will you marry me?
Will you marry me?
PIETRO: Rocco! Rocco!
Rocco.
Rocco.
PIETRO: Run, Rocco, she’s in a fury!
What did she do to you?
(MOANS / LAMENTATIONS)
I had to tie her up.
(SCREAMS AND MOANS)
Listen. Listen who’s here.
She’s a fury, a real fury.
(SCREAMS)
(SCREAMS)
Miss, don’t go in.
It’s dangerous.
Good, good. Stay calm, stay still.
Good, good. Stay calm, stay still.
(SCREAMS AND THUDS)
Good.
ROCCO: Don’t touch him.
ROCCO: Don’t touch him.
ROCCO: Modesta
PIETRO: A miracle.
PIETRO: A miracle.
A miracle.
She’s a saint, miss.
PIETRO: A saint she is.
("PAROLA"
DONATO DOZZY, ANNA CARAGNANO)
PIETRO: A miracle. A miracle.
He’s calmed down, I can’t believe it.
She’s a saint!
He’s calmed down, I can’t believe it.
She’s a saint!
("PAROLA"
DONATO DOZZY, ANNA CARAGNANO)
Close it.
Close it.
BEATRICE: This family
loves secrets
like this one.
SKY ITALIA