Mom!
PIease! CaIm down! CaIm down!
Mom!
That's enough.
Stop it.
Mom, caIm down!
I shouId have noticed.
I didn't reaIize.
Maybe I did see it coming, but...
I'm eating with GuiIia.
I couId have stopped it.
At the door.
He turned and Iooked at me.
And I...
cIosed the door
and nothing, I erased it.
Now there's nothing.
The staircase of his buiIding,
the sawdust on the ground, the books, the Iady downstairs...
I shouId have stopped them.
I Ioved them both, but...
I wasn't abIe to
encIose them
with my Iove.
It was my idea of freedom.
I thought everyone had the right to Iive as they pIeased.
But what freedom is there in death?
What happened?
Did it reaIIy happen? Because I...
I don't beIieve it.
I know it's reaI
when I Iook at Mom.
Just as weII you're here.
Not for Iong. I requested a transfer to SiciIy.
I Ieave in a month.
SiciIy?
They need peopIe. No one wants to go.
You know, I stiII have
a postcard of yours from 1966 in Cape North.
It was written in Norwegian, I think.
And beIow the transIation reads:
''Everything that exists is beautifuI.''
With three excIamation points.
Do you stiII beIieve that?
Not in excIamation points anymore.
Listen, Giovanna.
GiuIia's in Rome.
I'II be seeing her tomorrow.
She wants to see Sara. She wants Francesca to take her.
But I decided to go myseIf.
-I won't Iisten to this. -I'II say it again.
-GiuIia wants to see Sara. -WouId you shut up?
Not this time!
Tomorrow morning.
-At the CoIiseum at ten. -What do you want me to do?
You think it's easy for me?
To ask you to catch her
and Iock her up?
What do you think I shouId do?
Wait untiI someone gets kiIIed?
Wait tiII she gets kiIIed?
Come on, Iet's go!
Dr. Carati? Excuse me.
Giorgia wants to taIk to you.
No, teII her I can't.
Francesca.
AII right, bring her out.
I'II wait here.
How shouId I teII her?
How?
Go on.
Be strong.
Giorgia, I have something to teII you.
Something bad
has happened.
I had GiuIia sent to prison.
I'd thought that...
I think that
it's
the best for her, especiaIIy for her.
This was
her choice, and I think...
it's for the best.
There's something eIse
I wanted to teII you.
Matteo...
Matteo!
''I wander aIong the tracks of the eternaI void,
fIeeing from this fatefuI day
Ieaving behind the hordes of care that torment me.
And as I contempIate peace,
the warrior spirit that roars within me sIeeps.''
ShaII I comment?
The sonnet ''At dusk'' is an inspirationaI work
by Ugo FoscoIo, containing the wonderfuI onomatopoeia:
''The warrior spirit that roars within me.''
The onomatopoeia is contained in the ItaIian ''r'' and ''th'' :
''The warrior spirit that roars within me.''
You can practicaIIy hear the roaring souI of the poet.
Sit down, Berardi.
Sit down.
Adriana?
How are the kids doing in French?
Fine.
-Your wife has been informed. -We're not married.
She refuses to see you.
Say that her daughter's here.
TeII her I'm not Ieaving untiI I see her.
AII right.
Where's Sara?
Outside with Giovanna.
I'II bring her in.
First I need to taIk to you.
I won't Ieave you aIone.
-You're in here, but... -I can't hear you.
You remember right before Sara was born?
The way we argued?
We'd say: ''It's just a piece of paper.''
WeII, I think it's more than that.
GiuIia,
I want you to be my wife.
You hear me?
I want to marry you.
GiuIia, pIease.
Marry me. I'm proposing.
GiuIia!
GiuIia, pIease!
Now you Iisten to me.
Don't come here anymore.
Don't bring Sara.
Don't write... Just Ieave me aIone.
-Wait, I'II bring in Sara! -I can't see her.
-Of course you can! -I don't want to!
She wants to see you!
She can't remember your face. She was four years oId!
You have to see her!
PIease, GiuIia! PIease, pIease!
-I can't... -Yes, you can.
You can, you can.
Come on, GiuIia.
We'II wait a second. She can't see you crying.
AII right?
Thank you.
Sara!
Sara, honey, Iook at me.
How you've grown, Sara!
Look at me, sweetie.
-Weren't you bIond? -I can be bIond again.
SPOLETO MAXIMUM SECURITY PRISON
MonfaIco! You've got maiI!
SPRING OF 1992
MonfaIco, you've got maiI.
My Iove,
I'm sending you something onIy you can read.
Ma'am!
Return to sender.
Come on, Sara!
Come on, Sara, Iet's go!
Ready!
Go.
Come on, Sara!
You see this medaI? It's from a swimming
competition in 1964.
This way you have at Ieast one.
Are you kidding me?
I want my own. I shouId have won.
I aIways beat her in practice.
Go on, eat.
I'm going to MiIan tomorrow.
-Can you stay at AIessia's? -To do what?
To serve as an expert.
A suicide attempt in a prison.
-I've been named a judge. -Who is it?
The manager of a pubIic company.
The defense requested his reIease.
-They say he's going crazy inside. -They steaI and then they compIain.
How do you know?
He's where he beIongs. He shouId have been more carefuI.
-Why do you say that? -PeopIe get into troubIe
and then we pay for it.
Why don't you ask me what I'm thinking?
Because I know.
I know when you think of your mom.
Others without kids can do whatever they want.
Not her.
I think your mom knows that.
That's why she feeIs guiIty.
She shouId. She deserves it.
-She didn't kiII anyone. -Because you stopped her.
She won't see me. She can't.
AII right, what do I care?
But what about you? You write her
and she doesn't answer. You visit her and she won't see you.
You piss me off more than she does.
-What shouId I do? -Find someone eIse.
My friends are crazy about you.
AIessia, for exampIe. Don't you Iike her?
-What are you taIking about? -You have gotten oIder.
I have?
You've got a beIIy.
You shouId be carefuI.
Are you stiII in Iove with her?
I don't know.
I think you are. I read your Iast Ietter...
-You what? -By accident.
It was on the tabIe.
It's obvious you stiII think about her.
-I don't want you to. -If you don't mind,
I'd Iike to handIe my own affairs, aII right?
Fine, sorry.
Did we just have a fight?
No, we didn't.
You and I never fight.
No? Why's that?
Because I Iove you too much.
You don't teII me very often.
There's a Iot I don't teII you.
For exampIe?
I've decided to move to Rome.
With Francesca and CarIo.
I want to study Restoration.
You'd have to check with them first.
It's aIready done.
WouId it upset you if I Ieave?
I know, but I'm Ieaving anyway.
Idiot.
TeII me one thing.
You can't speak, or you won't?
I was summoned by the court. Your Iawyer approved.
Do you agree with this decision?
Say yes or no.
I know you have a daughter.
So do I.
With kids, the shame of being in prison is unbearabIe.
But our kids are much stronger than we are, much more aIive.
They have too much to discover
to be torn apart by what their fathers do.
Or mothers.
Are you here to decide if I'm nuts?
Let's just say your Iawyer wouIdn't mind at aII.
My wife and daughter don't know the truth.
UntiI yesterday, I didn't either.
You didn't know you'd committed a crime?
You work in a hospitaI, right?
There must be companies there paying commissions.
NormaIIy five or ten percent.
Is it possibIe you never noticed?
Or it occured to you,
but you Iooked the other way, Iike miIIions of ItaIians.
Then one day a judge appears.
And says the commissions aren't commissions anymore.
Now they're caIIed bribes.
And that financing poIiticaI parties is iIIegaI.
That I'm a thief.
Now that's news!
Prison isn't just for
poor peopIe steaIing appIes anymore.
Now there's reaI justice.
They forget that they were Iining up to pay.
Buying favors, puIIing strings, eIiminating
competition.
Now they want to change the worId.
BeIieve me, doctor.
Nothing has changed.
It's aII a Iie.
They onIy Iock up idiots Iike me
who get caught.
But the others, and there are pIenty...
keep doing the same: steaIing comfortabIy.
It's ItaIy.
I didn't make it. And neither did you.
It's the ItaIy our fathers created, beIieve me.
No, not my father.
BeIieve me.
Your father was a good person.
And you Iike being one, too, right?
-Have you got a cataIogue? -Sure.
Here.
Thank you.
-Are the photos for saIe? -Yes, most of them.
-''Most''? -WeII...
The one from the biIIboard isn't.
Where was this?
What was he doing?
Have you asked?
No, the person who took it wasn't there.
Here's the name. It's a woman.
Look... MireIIa Uta.
Maybe it was for her.
What was?
The eyes.
Maybe it was for her.
Who couId she be?
Who knows when she met Matteo.
How does she know him?
Why do you ask?
She probabIy passed him on the street.
You're wrong.
They taIked.
If you Iike the book you can keep it.
But I want you to go and meet her.
Who?
Her, MireIIa.
I want you to taIk to her.
How wiII I find her? What for?
-Because I said so. -You're not my boss.
I do what I think is right, and this isn't.
Are you offended?
Do you do as I say?
Have I asked you to Ieave?
How many times have I toId you to move in
with EIda and Gina? Do you Iisten to me?
-I'm better here. -No, you're not.
You think you are, but you're not.
To know for sure you have to try Iiving on the outside.
We're reIeasing everyone, and you insist on staying.
You're not nice anymore. You've changed.
You're not even good.
You were, but not anymore. You were nice, but not anymore.
And they compIain that peopIe don't pay taxes!
They've aIready paid too much, way too much!
Excuse me!
-The station chief? -In back on the right.
-Thanks. -You're weIcome.
Where were you going?
To find who took the photo.
What for?
To taIk to her.
I worked it out with the poIice.
We can go. We can go, can't we?
But I won't take you back to the cIinic.
-No, NicoIa, I can't. -Yes, you can.
-No, no, no... -Yes, you can.
You're aIready out.
You have MarceIIo's jacket on. MarceIIo's wondering:
''Where's my jacket?''
You took the tramway, aII by yourseIf.
You're aIready out.
I won't take you back.
That's the house.
Are the others awake?
I think so.
A bus wiII be coming by to take them to work.
You think I can do it?
You aIready have, don't you see?
Then thank you.
Don't thank me.
Matteo's the one who convinced you to Ieave the cIinic.
This is a gift from him.
-Come and visit me. -Of course I wiII.
I'II come and visit every once and a whiIe.
Come on, smiIe!
This is a big day.
Aren't you happy?
Go on.
-Come with me. -No, I won't.
Get your bag, ring the beII
and they'II open the door.
-Here, you keep it. -No, I gave it to you.
On the Iast page
they Iist the titIe of each photo.
Matteo's is number seven.
-Hi, Giampiero. -Hi, Giorgia.
Sev...
en.
MATTEO WHEN HE WAS NICOLA
Of course, but...
isn't there a way to Iocate her?
I see.
Thanks anyway. Goodbye.
I taIked to the agency, but
she doesn't Iive in MiIan anymore.
She moved to PaIermo to cover the massacre.
What are you taIking about?
They've kiIIed Judge FaIcone.
PALERMO MAY 25TH, 1992
Your honor!
-Where are you going? -To see Doctor Carati.
Not today. You'II have to Ieave.
-I'm her brother, NicoIa Carati. -Can't you see what's going on?
PIease go away.
There's Rosaria, Vito Schifano's widow.
Rosaria wants...
She wants to taIk as weII.
She approaches the CardinaI.
Quiet everyone!
TeII everyone that the Lord wiII punish them.
-WeII... -He'II punish them.
They'II burn in heII,
or even worse!
-Let's hope they convert. -Come here.
You said it yourseIf.
-You teII them! -You just did.
-If they convert... -There is hope.
-They'II be forgiven. -No...
The crowd has noticed
the coffins being brought out.
They gather around...
The moment has arrived to pay homage.
Homage to Giovanni FaIcone,
Francesca MorviIIo,
Antonio Montinaro, Vito Schifano,
Rocco di CiIIo.
''Life is worth a button,''
said Giovanni FaIcone.
I'm a SiciIian, a reaI SiciIian.
It's not necessary, thanks. Wait here.
Hi!
I knew you were here, but things have been a mess.
I saw you this morning.
I couIdn't get cIose.
I'm tired.
We're aII tired.
We don't even know where to start.
I feeI Iike hiding my head Iike an ostrich.
You're no ostrich.
Why are you in PaIermo?
I have to see someone. Are you free for Iunch?
I can't even have you over to my pIace.
We have haIf an hour, we have to stay here.
How's Mom? And Francesca?
I haven't been to Rome in ages.
And Sara?
Sara has turned into a beautifuI girI.
She aIways was. How's your IoveIife?
And yours?
I'm the judge here. I ask the questions.
HeIIo?
Thanks for caIIing.
Yeah, fine. Tomorrow, yes.
Where?
AII right. Good night.
It's not what you think.
We educate our chiIdren to respect others.
We instiII a sense of duty.
We instiII a sense of justice.
We instiII moraIity.
We teach them not to beg for
what is ours by right.
We instiII resistence to the mafia.
We must never forget Giovanni FaIcone.
We must never forget
aII those kiIIed by the mafia.
We must aIways
remember them as our own famiIy.
We must Iove each other Iike brothers.
We must defend our Iove by exampIe.
Sorry to keep you waiting,
but I have to deveIop them this afternoon.
We'II taIk Iater.
Aren't you bored?
Thank you.
The photo you saw was taken here.
Right here.
It was very different.
There were orange tabIecIoths.
Had you known him Iong?
Five minutes.
He said his name was NicoIa.
Later, in Rome...
I don't know why, but he never toId me his reaI name.
I found out for myseIf.
I found out that Iast day.
When...
The next night I Ieft.
I went home.
I wanted to come back to the isIand
to find some siIence.
So you saw him again in Rome?
A few hours before...
I'm sorry.
I can't.
Neither can I.
I stiII can't taIk to anyone about it.
I'm sorry.
I have to Ieave soon.
How can you Iive on an isIand
with your job?
I don't work much.
Enough to get by.
Whenever necessary.
When there's important stuff, Iike today.
Are you going back to Turin?
Yes, tonight.
Back to my daughter.
You have a daughter?
Her name is Sara. She's 18 years oId.
Next year
she'II study Restoration.
-She's aII grown up. -Yeah, she is.
Have you got kids?
One.
He's seven and a haIf.
He starts third grade in September.
His name is Andrea.
And he's as handsome as Matteo.
-Morning! -Good morning.
-Can I heIp you? -No, it's okay, sir.
-Sir? -NicoIa!
Mom, you Iook Iike a poor oId Iady!
I am a poor oId Iady!
Why's it so dark?
-I don't Iike the Iight. -It's Iike a dungeon in here.
-Or a funeraI parIor. -I can't be bothered to open them.
-Without Giovanna... -I'II do it.
-Let there be Iight! -Don't make such a fuss.
Come on, Iook what a nice day it is.
-No, pIease... -Look at that sun!
I have something to teII you.
It's wonderfuI news.
It's about Matteo.
One of those unpredictabIe things he used to do.
In PaIermo I met a woman, MireIIa.
She had an reIationship with Matteo.
-A reIationship? -Yeah, they were in Iove.
MireIIa had a chiId
after Matteo had aIready died.
His name is Andrea.
And I think he'd Iike to meet his grandmother.
A boy?
Yes, Mom. A boy.
The train to NapIes Ieaves in an hour.
We can catch the ferry to SiciIy from there.
Wait a second.
What's wrong, Mom?
You want a gIass of water?
I...
I can't.
I'm not ready.
What do you mean?
-How do you know it's true? -It's true, Mom.
I saw him.
Why didn't she say anything after aII this time?
Why didn't she write?
We think bad news is normaI, but good news is hard to beIieve.
Come on, Mom!
-Let's go. -I can't.
Come on, Mom.
Sara wants to move in with CarIo and Francesca.
I know, we taIked about it.
So I'm the Iast one to hear about it. Great.
-Do you mind? -No, of course not.
On the contrary. I understand.
Sara needs a home with a mother in it.
And Francesca is a great mother.
Thanks, sweetie.
Why?
For never being jeaIous of your sibIings.
Not my sibIings. But there is someone...
-Who? -Your students.
-You're jeaIous of my kids? -Yeah, of your kids.
You took them to museums,
you brought them home, corrected their homework...
You Ioved them more than us.
I had to repIace their famiIies.
At home their parents never taIked to them.
So you taIked to them.
I taIked to them.
And I shouId have taIked more to you.
Mom, that's enough.
Mom, don't Iook at me Iike that.
Don't speak MiIanese, you're awfuI at it.
How did you adapt to Rome?
I Ioved it from the start.
That decrepit air...
Rancid, stuffy...
AII those cynicaI peopIe, so rude...
It's just fuII of irony.
-You know how I met your dad? -No.
In the market. Back then he used to seII
vegetabIes, produce...
He'd bring them from NapIes, one of his businesses.
There he was, at the orange stand,
with a sign: ''Spanish oranges.''
And I said: ''Are they reaIIy Spanish?''
And he said: ''Ma'am, can't you hear the castanets?''
-And what did you do? -Nothing, I...
I bought the oranges and married him.
Andrea, they're here.
HeIIo.
HeIIo...?
HeIIo, Grandma.
-HeIIo. -Hi, uncIe!
Your grandma said ''heIIo.'' Stop crying.
I think they're getting aIong.
I wanted to say... Thank you.
-What for? -For Ietting us come.
-It's normaI. -You couId have said no.
Oh, come on!
-Where's your schooI? -There.
-That's the high schooI? -No, it's in Lipari.
-Where's Lipari? -There. But it has no voIcano.
-Are you afraid of the voIcano? -No.
-What are you afraid of? -Nothing.
How Iucky! I'm afraid of Iots of things.
For exampIe, I was afraid to come here.
-You're afraid of the sea? -Yes.
-You can't swim? -That might be it.
It's easy, I'II teach you.
''I speak of the faith that had never Ieft him,
not even when he was on the verge of desperation.
The faith that comes from experience.
He continued on, as if teIIing himseIf
about his own bravery and taIent.
Everything seemed so cIear...''
Keep reading!
''So cIear that in his mind his tone of voice never changed.''
They're photos... photos of Matteo.
I couIdn't Iook at them again.
I've tried many times.
My hands shake.
You keep them.
Andrea wiII be curious to see what his father Iooked Iike
as a boy.
Can we Iook at them together?
-Goodbye. -Goodbye.
-Thanks for everything. -Bye.
See you soon, eh?
Let's go, Mom.
I'II miss your eyes.
No crying, eh?
Don't make me nervous or I'II smack you one.
Why don't you stay?
-What? -There's pIenty of room.
I'd reaIIy Iike that.
And so wouId Andrea, right?
Yeah, Grandma, stay!
Stay, you heard them.
-I have to cIothes. -You have Iots of stuff.
Have Francesca send anything eIse you need.
-You think? -Sure.
Mom, can't you hear the castanets?
Can't you hear them?
You know which is the gas? The one on the right!
ReIax, Mom. I've got it covered.
There's Iots of hats. What do I do with them?
I'II keep them.
I didn't put in the fIower dress.
No, hoId on. She wants it. I'II get it for you.
-Here. -Thanks.
Hi, Grandma.
Great. I'm Iearning Roman.
Yeah, and how are you?
Good. Grandma, about the fIower dress...
Are you sure you need it? It's in fashion again.
But on you it wouId Iook ordinary, right.
You're awfuI!
Why do you want to Iook oIder than you reaIIy are?
-That's enough. -Not if I wear it.
-Francesca agrees. -It Iooks great on her.
-Go on, teII Grandma. -No, reaIIy.
You remember that photo with Dad in Capri?
Are you ready?
Are you sure it Iooks good on me?
Yeah, you Iook great.
Though with heeIs who knows...
I can't stand up in heeIs.
Hurry up, the kids are getting out of schooI.
-Can I drive? -You'd better not.
-Come on, Iet me! -No, pIease.
Thank you.
I Iike this pIace.
It's faIIing apart. Too much work.
-But it's pretty. -You have to take care of yourseIf.
I'II taIk to the owner.
Yeah, taIk to the owner.
-When's the break over? -Professor!
SIavery doesn't exist!