Trees  Die on their  Feet by Alejandro Casona - video Dailymotion

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Translated and adapted by George Leeson  Do means justify ends? When an old lady's happiness is at stake, there is no question.  "Do not see me fall. Dead inside, but standing tall. Like a tree.”  A married old couple spends their days regretting that their beloved grandson left. Mr. Balboa, in order to help with his wife’s sadness, fakes letters and pretends they are written by their grandson. One day, a real letter saying he is coming back arrives. The grandson decides to come back home to get some money, but the boat sinks. Balboa hires an imitator, together with a very nice girl, who pretends to be the lost grandson in front of the grandmother. But the evil and real grandson arrives by surprise: he is not dead as they thought.  Producer:….Norman Wright  Helena:……Polly Murch Professor:……Earle Grey Isabel:…..Beryl Calder Director:……Simon Lack Balboa:……Norman Claridge Hunter:…….Gordon Faith Genoveva:…….Kathleen Helme Felisa:……..Patricia Leventon Grandmother:……..Olga Lindo The Other:……Edward Kelsey  Saturday-Night Theatre: Trees Die on their Feet Sat 8th Aug 1964, 20:30 on BBC Home Service Basic    Do you enjoy the variety on Oldtuberadio? Like, Share and Subscribe to be notified of our new shows #radio #crime #thriller #drama To Support this channel please visit https://www.buymeacoffee.com/oldtuberadio https://ko-fi.com/oldtuberadio98 https://www.patreon.com/oldtuberadio https://locals.com/Oldtuberadio

Transcript

00:00:00...Lindo, Beryl Corder, Simon Lack and Norman Claridge in Trees Die on Their Feet by Alejandro

00:00:13Casona, translated and adapted by George Leeson. Alejandro Casona died last year, and as he

00:00:19was considered a leading playwright of the Spanish-speaking world, we're repeating this

00:00:23production in commemoration of him.

00:00:30She hasn't come yet, then.

00:00:38Who?

00:00:38The girl with sad eyes, wearing a berry and with a blue card.

00:00:41Oh, the Bunch of Roses girl.

00:00:42How did you know?

00:00:43Oh, I've heard of...

00:00:44Let me advise you again not to overhear, and if you do overhear, not to repeat. When will

00:00:49you realise that we're not dealing with packets of soap, but with people's lives?

00:00:52I'm sorry.

00:00:53The director will be in conference for some time, so if this girl arrives, make her comfortable,

00:00:57and do try to be discreet.

00:01:00Perhaps that's her.

00:01:02Don't be stupid.

00:01:03That's the staff door, the secret entrance. Probably the professor. Ah, yes, I thought

00:01:07so.

00:01:07I protest. I protest.

00:01:10Not again.

00:01:10Yes, again and again. I was appointed as a language specialist. Nine living languages

00:01:16and four dead ones. Forty years of study and five university degrees. And to what purpose?

00:01:22Why am I always sent out on inferior jobs? What? A mission involving the discussion of

00:01:27religious principles with an English lady and...

00:01:29Scott, remember that? The lady never doubted for a moment that I was the Reverend James McGregor

00:01:35from Aberdeen.

00:01:36Splendid, Professor. Then what are you protesting about?

00:01:38Another old maid. That's what. I've had four in less than a week.

00:01:42Well, you'll have no cause for complaint with your next assignment. That'll be masculine

00:01:45enough. Here you are. Change right away. Seaman's outfit.

00:01:49Oh, no, no, no. I refuse. Point blank. Do you call that a job worthy of five university

00:01:56degrees?

00:01:57You're the only one who speaks Norwegian. Now, Professor, just think of the effect on

00:02:02those poor lads when they go into that tavern thousands of miles from home and hear you

00:02:06singing songs from the old country.

00:02:08Yes, I know. Great hefty blondes weeping into their beer.

00:02:12And enjoying every minute of it. Come on now, F-48.

00:02:16Well, that's another thing. That blasted number, F-48. Can you imagine anyone saying,

00:02:22I love you, F-48?

00:02:23If you know the rules, it's better that none of us should ever refer to another by name

00:02:27or even know the names of the others.

00:02:29I agree with everything else that Shakespeare said, but how could he say, what's in a name?

00:02:36Well, still, I'll say no more. I'll endure the metaphysical agony of being buried beneath

00:02:42a letter and a number.

00:02:44The police!

00:02:45Are you off again? For goodness sake, control yourself. Go and answer the door.

00:02:48Oh, very well.

00:02:50And you, F-48, get into the dressing room and change out of that Parsons' outfit.

00:02:53I really don't see why I should take orders from you.

00:02:55Oh, don't be so silly. I'm the director's personal assistant.

00:02:59The orders, as you call them, come from him.

00:03:01Oh, I'm all right.

00:03:03Ah, these clothes stink on seaweeds.

00:03:08It's the Bunch of Roses.

00:03:09I mean, the fad-eyes, berry and blue cargo.

00:03:12Then show her in at once.

00:03:14Oh, will you come in, please?

00:03:16We're really delighted that you've come.

00:03:18Won't you sit down?

00:03:19Thanks.

00:03:20Was it you who sent for me?

00:03:22No, I don't do things on my own, but the director will be very pleased to know that you're here.

00:03:26One moment.

00:03:28The director's office?

00:03:29Yes, what is it?

00:03:30The young lady you were expecting has arrived.

00:03:32Excellent.

00:03:33Welcome her on my behalf and tell her I should be pleased to see her as soon as I'm finished here.

00:03:37Very well.

00:03:38There you are.

00:03:39I don't know how to thank you.

00:03:41Could you please tell me why you asked me to come here?

00:03:43The director will explain everything.

00:03:45Now, just sit there and relax.

00:03:47The police!

00:03:48What on earth are you talking about?

00:03:49Go and answer the door.

00:03:50Oh, there's no peace here at all.

00:03:52What did she mean, the police?

00:03:53Don't alarm yourself, miss.

00:03:55She has the police on the brain.

00:03:56But why?

00:03:57I hadn't the slightest idea.

00:03:59She's the nervous type, I suppose.

00:04:00There's a gentleman here who wants to see the director.

00:04:03He says he was sent by Dr. Ariel.

00:04:04By Dr. Ariel?

00:04:05Then show him in at once.

00:04:06Come in, sir, if you please.

00:04:09Very much.

00:04:10Take a seat, will you?

00:04:11I expect the doctor has told you...

00:04:13Nothing, except to give me your address and to say that you are the only people who can help me.

00:04:18I have to go along to the director's office.

00:04:20I'll tell him you're here.

00:04:21Will you please wait with this young lady?

00:04:23I won't take the liberty of introducing you, but consider yourself friends.

00:04:30My name is Quintana.

00:04:32Marta Quintana.

00:04:33I am honored, Señorita Quintana.

00:04:36And mine is Balboa.

00:04:38Fernando Balboa.

00:04:41Do I have to take this lusted accordion as well?

00:04:46Oh, pardon me.

00:04:50I thought it was the secretary.

00:04:54You're new here, aren't you?

00:04:56Yes, I suppose we are.

00:04:58Have they given you numbers yet?

00:05:02Mine's F-48.

00:05:04Numbers?

00:05:05Oh, no.

00:05:05They will.

00:05:07You mark my words.

00:05:08And then you'll be nothing but ciphers.

00:05:10Take my advice and get out while there's still time.

00:05:15Forty years of cloistered study.

00:05:18The Saban, Oxford, Bologna.

00:05:20Just to go down to the docks and sing for those great hulking Nordic blondes who weep floods of beer.

00:05:27F-48.

00:05:29F-48.

00:05:30Do you know what he was talking about?

00:05:42I wish I did.

00:05:43But I know one thing.

00:05:44He's no seaman.

00:05:46On the way here, I saw him in the park dressed as a Protestant clergyman.

00:05:50He was sitting on a bench talking to a red-haired English woman.

00:05:53That is, unless she was in disguise, too.

00:05:55Good heavens.

00:05:56Tell me, have you any idea where we are?

00:05:58No, I haven't.

00:06:00Do you think we've come to the wrong address?

00:06:02Let's see, shall we?

00:06:03What does your card say?

00:06:05Two, four, four, eight, Avenida de los Romes.

00:06:09Exactly, and so does mine.

00:06:11Well, there could be only one such address in town.

00:06:14Do you think we should answer that?

00:06:16Oh, better not.

00:06:17You'll never know.

00:06:20Thank goodness.

00:06:22Oh, blast that thing.

00:06:24Hello?

00:06:25Yes, speaking.

00:06:27What?

00:06:27Oh, certainly not.

00:06:28The business of the kidnapped children is all finished.

00:06:31Yes, closed.

00:06:33Negative result.

00:06:35Oh, P53, yes.

00:06:37Oh, wait a minute.

00:06:39I have the details here.

00:06:41Yes, opium smoker.

00:06:43That's right, opium...

00:06:45What are you doing?

00:06:46Oh, here, give me that.

00:06:48Hello?

00:06:50No, I'm sorry, it's impossible now.

00:06:52No, it just can't be done.

00:06:53I'll call you back.

00:06:54You'd better go and do the filing in the outer office.

00:06:56I'm delighted, I'm sure.

00:06:58You must forgive me, but these employees are so stupid.

00:07:01The director will be free in about ten minutes.

00:07:05Opium smoker, kidnapped children.

00:07:08That's rather extraordinary, don't you think?

00:07:10Well, one end of a phone conversation can be confusing, but the parson disguised as a sailor, or vice versa, F-48 and the type is screaming about the police.

00:07:21They all add up to something.

00:07:22There's no doubt about it.

00:07:23We've fallen into a trap.

00:07:25What do you think it is, then?

00:07:26Oh, it could be some kind of a lodge or a sect.

00:07:30A secret sect.

00:07:31Some sort of sect, religious, not in these days, political, a terrorist organization.

00:07:37Against ordinary people like us.

00:07:39What else could it be?

00:07:41Now, tell me, how did you come to be here?

00:07:44Did they threaten you?

00:07:45On the contrary, they made me the most wonderful promises.

00:07:47Oh, you should have told me that right away.

00:07:50Now do you realize the danger you're in, my girl?

00:07:53A young girl, pretty and alone.

00:07:55Oh, why didn't you suspect this shady intrigue?

00:07:59You don't mean I've been kidnapped.

00:08:01What other explanation can there be?

00:08:03Oh, but they have me to deal with.

00:08:05I may be old, but I'm a gentleman, and I shall consider it my duty to protect you from these scoundrels.

00:08:15Look, the bookcase is opening.

00:08:17A secret door.

00:08:18Stand behind me.

00:08:20Look who's standing there.

00:08:21It's the blind beggar who stands at the park gate.

00:08:25Of course, he's not blind at all.

00:08:27Another disguise.

00:08:28Shh, he's coming in.

00:08:31Hello, this is S-24 reporting.

00:08:34Mission completed.

00:08:35No complications.

00:08:37No, I can guarantee no one followed me.

00:08:39Quite a good haul.

00:08:41Four wallets, three watches, five cigarette lighters, two bracelets, 12 carats, one string of pearls, four imitations.

00:08:47Right, I'll hand it in to dispatch.

00:08:49Okay.

00:08:49Hello, hello, hello.

00:08:52I didn't notice you.

00:08:53It's these dark glasses.

00:08:55Wait a minute, I'll take them off.

00:08:57Let's have a look at you.

00:08:58New recruits, I suppose.

00:09:01You're the wounded colonel, I imagine.

00:09:03Wounded colonel?

00:09:04Oh, no, shame.

00:09:06It is the type.

00:09:08All he needs is a white-dough TV and a walking stick and a monocle.

00:09:11Well, I must be off.

00:09:12C'est long, fellas.

00:09:15You see what it is?

00:09:16We've fallen into a den of common things.

00:09:18Then we must get out quickly.

00:09:20Oh, all the doors will be guarded.

00:09:22Perhaps the secret door in the bookcase.

00:09:25There must be a button here somewhere.

00:09:27Stop.

00:09:28Suppose you press the wrong button and blow us to pieces.

00:09:31Now, wait.

00:09:32Let's study the situation calmly.

00:09:35Let's study the situation calmly.

00:10:05The T-41, take a note.

00:10:07Required for dawn tomorrow, three dozen rabbits.

00:10:10Dead?

00:10:10Of course not.

00:10:11Alive, and I've been kicking.

00:10:12Yes, I need more dogs.

00:10:13As many as you can get.

00:10:14Ten, fifty dogs.

00:10:16Hungry?

00:10:17Yes.

00:10:18Don't worry, I see if they're fed.

00:10:19Okay, so long, pal.

00:10:22Lie down, Romeo.

00:10:23Good dog.

00:10:25You too knew here?

00:10:26New?

00:10:27Yes, we've been initiated.

00:10:29Do you still under observation?

00:10:30Oh, half and half.

00:10:32You're novices, then.

00:10:33That's right, novices.

00:10:34Don't worry, it's only the beginning of this hard.

00:10:36After that, you'll get to enjoy it.

00:10:38Well, so long.

00:10:40Come on, Romeo.

00:10:41Come on, Juliet.

00:10:42You're light.

00:10:44You're light.

00:10:46You're light.

00:10:47You're light.

00:10:53Now, what do you make of that?

00:10:55It can't be real.

00:10:57We must both be dreaming.

00:10:58I could believe anything now.

00:11:00It wouldn't surprise me if that door opened and Napoleon came in.

00:11:05Napoleon?

00:11:06That's it.

00:11:06What?

00:11:07Why didn't I think of it before?

00:11:09Didn't you read in the papers about that mental home where the lunatics mutated and locked up the attendants?

00:11:13Oh, vaguely.

00:11:14Well...

00:11:15The same thing has happened again.

00:11:17We're at the mercy of a gang of escaped lunatics.

00:11:19The dogs.

00:11:22The 50 hungry dogs.

00:11:24Oh, help.

00:11:25Help.

00:11:26Open up for this sake.

00:11:28The dogs.

00:11:29The dogs.

00:11:31Whatever is that?

00:11:32You dare to ask that?

00:11:34You, the prime organizer, stand aside from that door, madam.

00:11:38But I don't understand.

00:11:39You know well enough.

00:11:40We're going out through that door, madam, and I defy you to stand in our way.

00:11:44Didn't you hear, Elena?

00:11:46Stand aside and let them leave if they wish.

00:11:49And who are you, pray?

00:11:51This is the director.

00:11:52There must be some unfortunate mistake, and the gentleman has the right to an explanation.

00:11:57Let me assure you, sir, that you are not among kidnappers, thieves, or lunatics.

00:12:01If you wish to leave, you may.

00:12:03And so may this young lady, if she wishes to continue living as she did till yesterday.

00:12:09I think we have heard and seen enough.

00:12:12Shall we go, senorita Quintana?

00:12:14No.

00:12:15I think I shall stay.

00:12:18Tell me, sir, why did you say if she wishes to continue living as she did till yesterday?

00:12:23What do you know about me?

00:12:25Very little.

00:12:26But it is too intimate to be spoken about in the presence of others.

00:12:29Senor Balboa, you've been very kind to me, and I shall never forget it.

00:12:33But somehow I trust this gentleman, and I should like to have a private talk with him.

00:12:38Alone?

00:12:39Yes.

00:12:39I'm sure there's nothing to be afraid of.

00:12:41I understand, sir, that you have been sent here by our founder, Doc Ariel.

00:12:45Perhaps you would like to go into the other room with my secretary.

00:12:48She will explain our whole organization.

00:12:49I cannot imagine any explanation of what I have seen and heard here.

00:12:54Please.

00:12:54I'm sure it would be all right.

00:12:56After all, I believe you need our help as well.

00:12:58Oh, very well.

00:13:00I'll go with your secretary then.

00:13:02This way, please.

00:13:03Are you quite sure you're not afraid anymore?

00:13:09No.

00:13:10It's something deeper now.

00:13:12I feel that my whole life hangs on what you're going to say to me.

00:13:16Before I can help you, you must tell me something.

00:13:19What happened to you last night, Senorita Quintana?

00:13:22What right have you to ask me?

00:13:23I have no right, but I must ask you.

00:13:25Leave me alone.

00:13:27Don't make me think about it.

00:13:30Oh, come.

00:13:31It'll be all right.

00:13:33Look at me.

00:13:35I'm not a policeman or a judge.

00:13:37I don't be afraid.

00:13:39Just tell me what happened.

00:13:42I couldn't go on anymore.

00:13:45I've never had a home, nor any brothers or sisters.

00:13:48And not even a friend.

00:13:51Yesterday, when I lost my job,

00:13:53I suddenly felt that I was such a failure,

00:13:57so useless.

00:13:59That's when I thought of buying the vernal.

00:14:02I emptied the whole tube in the glass.

00:14:06Even though I put out the light,

00:14:07I closed my eyes.

00:14:10Then, suddenly,

00:14:12I heard something like a stone hit the windowpane.

00:14:15And something fell into the room.

00:14:18Trembling, I put on the light.

00:14:20It was a bunch of roses.

00:14:24With a paper which had just one word on it.

00:14:27Tomorrow.

00:14:29Where did that message come from?

00:14:32Among so many useless words,

00:14:34who had found the one word which would save me?

00:14:37Tomorrow.

00:14:37I felt that I could not die without finding out.

00:14:42And I slept.

00:14:45With the light on.

00:14:47Hugging my roses.

00:14:50Mine.

00:14:52The best I'd ever received.

00:14:55This morning, when I awoke...

00:14:57There was a blue card under your door which said,

00:15:00Don't lose faith in life.

00:15:02We are expecting you and giving this address.

00:15:04Was it you?

00:15:05Yes.

00:15:06But why?

00:15:08How did you know?

00:15:09We have our sources of information.

00:15:11And when I heard that you had lost your job

00:15:13and I saw you walking along without feeling the rain,

00:15:16I had to follow you.

00:15:17How did you guess what was going to happen?

00:15:19I hadn't even thought of it then.

00:15:21The tube of vernal was suspicious enough.

00:15:24Then I saw you go into your room without closing the door.

00:15:27And when a woman does that,

00:15:28it means she has nothing more to fear.

00:15:29Please, don't make fun of me.

00:15:31Who are you?

00:15:34And what kind of place is this?

00:15:36Well, for centuries,

00:15:38there have been public charities in many countries,

00:15:40but no one but Dr. Ariel

00:15:42has ever thought that it could be an art.

00:15:44So that's it, a charity institution.

00:15:46This is not a matter of shelter and free meals.

00:15:49We are attempting to provide charity for the soul.

00:15:51Soul?

00:15:52Who has ever thought of those who go through life

00:15:54without a single happy memory?

00:15:57Those who have never seen a dream come true

00:16:00or experienced the thrill of the gleam of mystery and faith?

00:16:05Are you beginning to understand?

00:16:07I don't know.

00:16:09It's like something from a book.

00:16:11Exactly.

00:16:12Why keep poetry locked up in a book

00:16:14instead of letting it out into the air,

00:16:16into the gardens and streets?

00:16:17What a lovely idea.

00:16:19You should do that again.

00:16:21Do what?

00:16:22Smile as you did then.

00:16:23You do it very well.

00:16:24I think we could do with you and our organization.

00:16:26I wouldn't be much good.

00:16:28That smile alone would be an asset.

00:16:29Tell me, that man who came in yodeling with a couple of dogs...

00:16:33Oh, he goes out in the country letting loose rabbits and losing dogs.

00:16:36He's a protector of poor hunters.

00:16:38Well, I never.

00:16:39And the beggar who came in with a lot of stolen watches and wallets.

00:16:42Ah, the robber of thieves.

00:16:43He specializes in young lads who are starting off on the wrong track.

00:16:46He watches them through his dark glasses,

00:16:48and when he sees them lift something,

00:16:50he just lifts it back off them.

00:16:52The stolen things are returned to their owners,

00:16:53and the boys find the card in their pocket saying,

00:16:56please don't do it again, lad.

00:16:57You're making it difficult for us.

00:16:58It works sometimes.

00:17:00Amazing.

00:17:01But really and truly,

00:17:03aren't you all just a little bit, you know?

00:17:07Well, certainly.

00:17:08If there are any people left in the world who aren't complete idiots,

00:17:11then it would be a good thing if they were a little man.

00:17:12Well, there must be some very moving stories,

00:17:14and quite complicated.

00:17:15The most moving are usually the least complicated.

00:17:18Take the case of Judge Mandithabal,

00:17:21a human life saved by a bird song.

00:17:24One night, Judge Mandithabal was sitting at his desk

00:17:27about to sign a death sentence.

00:17:30He had signed so many

00:17:31that we knew his hand wouldn't tremble

00:17:33and that no tears and no appeals would deflect him.

00:17:36But we also knew

00:17:38that this man who was insensible to human sorrow

00:17:41had a soft spot for birds.

00:17:43Just as he was about to sign his name,

00:17:47a nightingale began to sing in the garden.

00:17:50It was like the very heart of the evening

00:17:52pulsing there in the darkness.

00:17:55That icy hand trembled for the first time

00:17:58and laid down the pen.

00:18:01Judge Mandithabal realized for the first time

00:18:03that even in the meanest life

00:18:05there is something so lofty and sacred

00:18:08that no one has the right to take it away.

00:18:10Don't tell me that you made the nightingale sing at your orders.

00:18:13Not quite, but we have a wonderful imitator of bird songs.

00:18:17As a sign of gratitude,

00:18:18he sometimes goes back again to sing in the judge's garden.

00:18:22Now, would you like to join us?

00:18:25What could I do?

00:18:26I have no talent.

00:18:27You have seen how a human life can be saved

00:18:29by a bird song or a bunch of roses.

00:18:32But to begin with, there is your smile.

00:18:35You're very kind.

00:18:36Not at all.

00:18:36I assure you that I meant that as a mere statement of fact

00:18:38without any attempt at gallantry.

00:18:41As the director, it is my job to put that smile to a practical use.

00:18:44Oh, is that possible?

00:18:45It may be.

00:18:46Have you ever walked past the back of the jail?

00:18:49No.

00:18:49You will.

00:18:51It's a dreary waste, littered with rubbish.

00:18:54Overlooking it is a barred window

00:18:56through which a man gazes across

00:18:58at the waste of rusty cans and broken bottles.

00:19:01You will walk past there at noon tomorrow,

00:19:05look up at that window,

00:19:06and smile.

00:19:08And the next day, you will do the same.

00:19:10And the next day, and the next.

00:19:11And will that do any good?

00:19:13The greatest anguish of prison

00:19:15is the emptiness which makes time unbearable.

00:19:18When that man sees the miracle repeat itself,

00:19:21even his nights will seem shorter,

00:19:23as he thinks,

00:19:24tomorrow at noon.

00:19:27I'll do it.

00:19:28Thanks.

00:19:29I knew it.

00:19:31Hello, Elena.

00:19:33You can bring that gentleman in now.

00:19:38Here's the gentleman.

00:19:40Is everything settled?

00:19:40Oh, sit down, sir, please.

00:19:41I won't keep you a moment.

00:19:42Yes, the young lady is staying.

00:19:44Give her the room over the garden.

00:19:46Very good.

00:19:47Will you come with me, then, senorita?

00:19:48Yes, indeed.

00:19:49It was a wonderful kidnapping.

00:19:51Thank you for everything.

00:19:54Now, sir, your name is...

00:19:57Balboa.

00:19:58Fernando Balboa.

00:19:59And you feel more reassured now?

00:20:02I do, yes.

00:20:03I must say I was scared out of my wits at first,

00:20:06but the young lady, your secretary,

00:20:08explained everything.

00:20:09I wasn't very hopeful when Dr. Arior recommended me to come here,

00:20:13but I really believe now that if anyone can help me...

00:20:17It is you.

00:20:18We'll do what we can.

00:20:19Tell me quite frankly about it.

00:20:21Imagine a large, happy family suddenly struck by misfortune

00:20:26and reduced to two grandparents and a grandson.

00:20:30The fear of losing the one we had left caused us to be too indulgent.

00:20:35That was our only fault.

00:20:38Soon it bore bitter fruit, undesirable friendships,

00:20:42whole nights away from home, gambling debts.

00:20:46Now, one day I caught him opening the drawer of my desk.

00:20:50There was a scene which I don't wish to remember.

00:20:53Though it hurt me to the quick,

00:20:55I slapped his face and threw him out of the house.

00:20:58Didn't he come back?

00:20:59Never.

00:21:00His only virtue was his pride.

00:21:03When we tried to find him,

00:21:04he had already stowed away on a cargo boat going to Canada.

00:21:08That was 20 years ago.

00:21:11You have had news of him?

00:21:12I wish I never had.

00:21:14Cards, sharpers, smugglers, street fighting,

00:21:18false papers, gunmen, professional rogue.

00:21:21Oh, of course I kept all that from my wife.

00:21:24But our life together became a tense silence of unspoken reproach,

00:21:30which is worse than any accusation,

00:21:33as though I were the guilty one.

00:21:35And then she received a letter from Canada

00:21:38in which my grandson begged forgiveness.

00:21:40Yes, three pages of wonderful promise and happy memories.

00:21:46That letter was a forgery.

00:21:49I wrote it.

00:21:50You?

00:21:51What else could I do?

00:21:53The poor woman was slowly dying,

00:21:55and those three pages restored her to life.

00:21:58Rather elementary, but effective.

00:22:00Then there was no option but to continue it.

00:22:03My wife joyfully answered the letter,

00:22:05and every two or three months there was another letter from Canada.

00:22:08One day my grandson graduated at Montreal University.

00:22:13Another time it was a sleigh journey through pinewoods and lakes.

00:22:17He became an architect.

00:22:19Then he fell in love with a charming girl.

00:22:21I tried to spin out the courtship,

00:22:24but eventually I had to marry them.

00:22:28But women are never satisfied.

00:22:30But something has happened to upset your plans.

00:22:32Last week when I came home,

00:22:34my wife came running out and embraced me,

00:22:37mad with joy,

00:22:39holding a telegram.

00:22:40After 20 years of absence,

00:22:42my grandson was coming home.

00:22:45I don't understand.

00:22:46What do you expect to achieve with that telegram?

00:22:48I?

00:22:49Oh, don't you see?

00:22:51The farce had come to life.

00:22:53It was a real telegram.

00:22:55From your grandson?

00:22:55He sailed a week ago on the Saturnia.

00:22:58Good heavens.

00:22:59You can imagine the sleepless nights I've had since then,

00:23:02thinking of that ship,

00:23:04steaming towards me with its load of truth.

00:23:07A miserable, shameful truth.

00:23:09Now, don't worry.

00:23:10We'll arrange something.

00:23:11An ambush at the docks,

00:23:12a kidnapping party boarding the ship.

00:23:14There will be no need of that.

00:23:16Didn't you see last night's paper?

00:23:19The Saturnia went down with all hands.

00:23:22How terrible.

00:23:24And does she know?

00:23:25She mustn't know.

00:23:27I've kept all the newspapers away from her,

00:23:30cut off the phone,

00:23:31and put the radio out of action.

00:23:33She mustn't know.

00:23:35After 20 years of waiting for just one day...

00:23:39But what can I do to help?

00:23:40We have no remedy against death.

00:23:42You don't understand.

00:23:44There is still the other grandson who must be saved.

00:23:48The one who wrote those wonderful letters.

00:23:50The only one she knows.

00:23:52He must come home.

00:23:54Ah, one moment.

00:23:55You expect me to supply a grandson for you?

00:23:58Not to supply.

00:24:00To be.

00:24:02Me?

00:24:02Why not?

00:24:03You've done more difficult things, apparently.

00:24:06The judge,

00:24:07and then the nightingale.

00:24:08Anyone can invent a bird,

00:24:09but a man has a real face,

00:24:11eyes, and a voice.

00:24:12Luckily, he never sent any photos.

00:24:14And 20 years is a long time.

00:24:17What about the shipwreck?

00:24:18I told you, she doesn't know.

00:24:21Or any way he could have missed the boat or come by air.

00:24:24Well, even then.

00:24:26Suppose I get through the first meeting.

00:24:27What then?

00:24:28You need only stay a week.

00:24:29A few days.

00:24:31Even just one night.

00:24:32Oh, please.

00:24:34Unless your theories are all lies,

00:24:36you can't refuse this old woman

00:24:38one hour of happiness,

00:24:40which may be her last.

00:24:43May I offer you a glass of cherry?

00:24:46No, thank you.

00:24:48I'll have one if you don't mind.

00:24:52The worst of it is,

00:24:53I'm attracted by it.

00:24:55Will you do it?

00:24:56Don't trust me.

00:24:57I'll have to think.

00:24:58Good.

00:24:59Now, wait a bit.

00:25:01We've got to work this out.

00:25:02It's more than a little tricky.

00:25:04The university was all right,

00:25:05and we can manage the sleigh ride

00:25:07with a bit of geography,

00:25:08but these additional complications,

00:25:10making him an architect,

00:25:11and then to get him married,

00:25:13couldn't we invent a sudden divorce?

00:25:15No.

00:25:16My wife has very decided ideas on that.

00:25:20He could be coming alone.

00:25:21Why should he?

00:25:22Family complications on her side.

00:25:24His wife has no family.

00:25:26She only had a father,

00:25:27and I killed him off last year

00:25:29in a hunting accident.

00:25:31Well, she could be ill.

00:25:32And he would leave her

00:25:33when they are so much in love.

00:25:35Ah, this wife is going to ruin everything.

00:25:37Um, dark?

00:25:40Blonde.

00:25:41Blonde.

00:25:42Deeply in love.

00:25:43An orphan.

00:25:44I must have another drink.

00:25:48Wait a minute.

00:25:49I've got it.

00:25:51Hello, Elena.

00:25:53Bring the young lady back here, will you?

00:25:55Now, what do you think?

00:25:56She's blonde,

00:25:57and she actually is an orphan.

00:25:59And very charming into the bargain.

00:26:01Will she do?

00:26:02She's ideal.

00:26:03Oh, thank you, sir.

00:26:07You wanted her, sir?

00:26:09Yes.

00:26:09Come in, both of you.

00:26:11Now, I want you to buy this young lady

00:26:13a complete outfit of clothes for all occasions.

00:26:16Have some photos taken of her

00:26:17with a snow and pine tree background.

00:26:20Label her suitcases,

00:26:21Hotel Ontario, Halifax, Canada.

00:26:23What?

00:26:24Is Senorita Quintana going to Canada?

00:26:25No.

00:26:26She has just come from there.

00:26:28And drop the senorita.

00:26:30Young lady,

00:26:32allow me to introduce you

00:26:33to your husband's grandfather.

00:26:35Well, that's all the cleaning done.

00:26:42Felisa?

00:26:42Yes, Senoriva?

00:26:44Have you finished everything upstairs?

00:26:45Have you hung the new curtains?

00:26:46No, I've just taken them down.

00:26:48Didn't madam want the old ones put up again?

00:26:50Yes, she did.

00:26:51That's why I ask.

00:26:52And did you put the flowers in the room?

00:26:54Seven times.

00:26:55First, they weren't fresh enough.

00:26:57Then, they were too fresh.

00:26:58She wanted roses.

00:26:59He said a pine branch.

00:27:01Then, she said it was the scent that mattered.

00:27:03And he said flowers are unhealthy at night.

00:27:05Oh, for the past week,

00:27:06it's been impossible to get any scents in this house.

00:27:09Which flowers did you leave after all?

00:27:11All of them.

00:27:11They can choose.

00:27:13Oh, I've had enough with going up and down stairs,

00:27:15putting up and taking down curtains,

00:27:17hanging and taking down pictures.

00:27:19Won't they ever decide?

00:27:21It's no small thing, Felisa.

00:27:22Sir, don't you get nervous

00:27:24when your boyfriend keeps you waiting half an hour?

00:27:27Yes, well, imagine what it's like

00:27:28to wait 20 years for a man.

00:27:30Did you put the linen sheets on the bed?

00:27:32No, the cotton ones.

00:27:33He said the linen ones are too heavy.

00:27:35When he says something and she says something else,

00:27:38you should agree with him and do what she tells you.

00:27:41Well, then, shall I leave the cotton sheets

00:27:43or take up the linen ones?

00:27:44The linen, girl, the linen.

00:27:47I made them myself.

00:27:48It's as though I were covering them

00:27:50with something from my own hands.

00:27:53You understand?

00:27:54Oh, it's you, ma'am.

00:27:55Yes, I understand, ma'am.

00:27:56Well, up you go, then, and put them on.

00:27:58And close the door properly

00:28:00and pull the curtains double.

00:28:02The noise of the church clock might wake them up.

00:28:05Yes, ma'am.

00:28:05And leave the window wide open.

00:28:07Oh, what if the insects come in from the trees?

00:28:09No, it doesn't matter if the whole garden comes in.

00:28:13Up you go, girl.

00:28:14Yes, ma'am.

00:28:15You know, Anna Weber,

00:28:17when he was a boy,

00:28:18he was mad on sleeping out of doors.

00:28:21Sometimes on a summer's night

00:28:23when he thought we couldn't hear him,

00:28:25he used to climb out on the bow

00:28:27of that jacaranda tree right outside the window.

00:28:30You remember that my husband

00:28:32wanted to cut the branch away some years ago?

00:28:35He was right, in a way.

00:28:36It blocks the window and keeps out all the light.

00:28:38Oh, what does the light matter?

00:28:40I was sure that he'd come back.

00:28:44And who knows,

00:28:45but he might like to climb out there again

00:28:47as he used to.

00:28:49It won't be the same now.

00:28:51That branch could hold a little boy,

00:28:53but not a grown man.

00:28:54Oh, why not?

00:28:55The jacaranda is also 20 years older.

00:28:59Oh, yes, no.

00:29:00Put the plates here.

00:29:02They'll be too far apart

00:29:04with the length of the table between them.

00:29:06That's the way you always have it?

00:29:08Oh, for us, yes,

00:29:09but they've been married less than three years.

00:29:12A honeymoon.

00:29:14Oh, the oven isn't getting cold, is it?

00:29:17I left the nut tart in on a low gas.

00:29:20I can still hear him yelling

00:29:22when he used to come home from school.

00:29:26Nut tart with honey, Grandma.

00:29:30Why are you shaking your head like that?

00:29:33Nut tart.

00:29:35Jacaranda as though he were still a boy.

00:29:37Do you think a man who builds 30-story buildings

00:29:40is going to remember little things like that?

00:29:42Well, don't I remember them, then?

00:29:45When the same years have passed for me as for him.

00:29:47No, not the same.

00:29:49You've been sitting quietly here

00:29:51while he's been out in the world.

00:29:52What difference will that make?

00:29:54That his voice will be deeper

00:29:56and his eyes less bright?

00:29:58Oh, will that make him any less mine?

00:30:01No matter how much he may have grown,

00:30:03he won't be too big for my arms to go around him.

00:30:08A man isn't just a grown-up boy.

00:30:10He's something different.

00:30:11I should know with three sons

00:30:15lost in this wide world.

00:30:18Shh!

00:30:19Quiet!

00:30:21Can you hear a car?

00:30:24It's the wind in the garden.

00:30:26Sit down and keep calm, Mom.

00:30:29I need strength to meet such happiness.

00:30:33I'm more used to facing bad news.

00:30:35Get me a drop of water, please.

00:30:41Would you like another tablet?

00:30:42Oh, I've had enough medicine.

00:30:44The only medicine that'll do me any good

00:30:46is what's coming.

00:30:48Do you think it's because I'm afraid of being tired

00:30:50that I'm not going out to the door?

00:30:52No.

00:30:53It's because I don't want to share him

00:30:55with so many others.

00:30:57He went out from this house

00:30:59and here I shall wait for him.

00:31:04What's the time?

00:31:05It's early yet.

00:31:07The last few minutes are the longest, aren't they?

00:31:10Long, but full.

00:31:13As though he were part of them.

00:31:17I felt that many a time

00:31:19when I received his letters.

00:31:20I'd turn the envelope round and round

00:31:23before opening it

00:31:24and I'd close my eyes

00:31:26and try to guess what was inside.

00:31:29Oh, it seems silly,

00:31:30but it makes the letters last longer.

00:31:34Oh, did you hear?

00:31:38The wind again.

00:31:40They won't be long now.

00:31:42Oh.

00:31:43It doesn't matter.

00:31:45It's like turning the envelope round.

00:31:47What do you think that she'll be like?

00:31:53Who?

00:31:54Well, whom do you think?

00:31:56Isabel, his wife.

00:31:57Didn't he tell you in the letters?

00:31:59Oh, what does that tell me?

00:32:01People in love see what they want to see.

00:32:04It's not that I have anything against her,

00:32:06but these women from far-off places jealous.

00:32:10Oh, well, a little, perhaps.

00:32:14You look after them

00:32:16and watch them growing up

00:32:18from measles to algebra

00:32:19and then suddenly,

00:32:22out of nowhere,

00:32:24someone unknown comes along

00:32:26and takes away all the fruit of your labor.

00:32:29I only hope that she's good enough for him.

00:32:35Now.

00:32:36Now.

00:32:37Can you hear them now?

00:32:38Oh, no.

00:32:39Help me up quickly.

00:32:41Yes.

00:32:43They're here, Mom.

00:32:45They're here.

00:32:45Go to the door, Felicia.

00:32:47Quickly.

00:32:47Oh, yes, of course.

00:32:48No, not you, Hanovera.

00:32:51No, you.

00:32:52You stay here with me.

00:32:53I know I'm going to be strong,

00:32:56but just in case.

00:32:59Grandma!

00:33:00Open the door

00:33:01or I'll go through the window.

00:33:03Grandma!

00:33:04You hear him?

00:33:05As mad as ever.

00:33:10Mauricio!

00:33:12Grandma.

00:33:14Grandma, darling.

00:33:15Who said that my granny was weak?

00:33:22There's still plenty of strength

00:33:23in these little hands.

00:33:25Now, let me look at you.

00:33:27My eyes are not much help now,

00:33:29but they remember.

00:33:31They remember.

00:33:34Oh, you've changed, my boy.

00:33:37Twenty years, Grandma.

00:33:39A whole lifetime.

00:33:41What matter?

00:33:42Now it's like opening a book

00:33:44at the same page.

00:33:47Let's see.

00:33:48Oh, your hair's a bit thinner.

00:33:50I've probably left some of it over there.

00:33:53And your voice is deeper,

00:33:55more manly.

00:33:57But your eyes are different.

00:33:59So clear,

00:34:01but with the same laughter in them.

00:34:04Now let me see you, love.

00:34:05Not with my eyes.

00:34:06That's it.

00:34:07And that little speck of gold

00:34:09that I was looking for.

00:34:11Oh, I'm the same as ever.

00:34:14It made me forgive you anything,

00:34:16and you know it, you rascal.

00:34:18But it's a good thing

00:34:18that something is the same.

00:34:20My Mauricio.

00:34:24Mine.

00:34:26Mine.

00:34:28No, no tears.

00:34:31Haven't you shared enough?

00:34:32No, don't worry.

00:34:34These are different.

00:34:36And the last.

00:34:38Oh, turn to the light

00:34:40so that I can see you better.

00:34:41One moment, Eugenia.

00:34:43Mauricio isn't alone,

00:34:45and he's in very good company.

00:34:47Oh, I'm sorry.

00:34:49Come in, young lady.

00:34:50Don't be shy.

00:34:51Look, Grandma,

00:34:52here is your beautiful enemy.

00:34:55Enemy?

00:34:55Now, why do you say that?

00:34:57You think it didn't show through

00:34:58in your letters?

00:34:59Who is this intruder

00:35:00who has come to rob me?

00:35:01Well, here is the intruder,

00:35:03the fair Isabelle,

00:35:05the man-eater.

00:35:05Can't you see it in her face?

00:35:07Now, please don't take

00:35:08any notice of him, my girl.

00:35:10And that's just his way of talking.

00:35:11I should know.

00:35:13Madam.

00:35:14Oh, none of you, madam.

00:35:16There's going to be

00:35:17nothing stiff and starchy with us.

00:35:20And you don't kiss my hand.

00:35:22Oh, come on.

00:35:24I'm glad.

00:35:26What are you looking for, Grandma?

00:35:28Something hidden in her eyes?

00:35:29No.

00:35:30They're clear and peaceful.

00:35:33And they can't lie.

00:35:34You look at her once

00:35:35and you know everything.

00:35:37Ah, I suppose this is

00:35:39the famous Henovaver.

00:35:40You know my name, sir.

00:35:42Grandma always wrote to me

00:35:44about all the good things

00:35:45in this house.

00:35:46And you're one of the good things.

00:35:48Two sons in Mexico

00:35:49and one on a ship in the Pacific.

00:35:50Isn't that right?

00:35:51How are they?

00:35:52They're fine, thank you, sir.

00:35:53I brought the bags in

00:35:55from the car, sir.

00:35:56Oh, the chauffeur asked

00:35:57if he should go back

00:35:58to the customs house

00:35:59for the trunk tomorrow.

00:36:00What we have will be

00:36:01more than enough for tonight.

00:36:02Take them up, please.

00:36:03And between ourselves,

00:36:05why call him the chauffeur?

00:36:07Just call him Manolo

00:36:08as you do on Sundays.

00:36:10Thank you, sir.

00:36:11Oh, he's nice, isn't he, Henovaver?

00:36:14Yes, and a real gentleman.

00:36:17Ah, home again at last.

00:36:20And everything just as it was.

00:36:23The cedarwood table,

00:36:24the rigadoon fans,

00:36:26the easy chair

00:36:27where you sat

00:36:28and taught me what was right.

00:36:29All old and old-fashioned.

00:36:32But houses are like wine.

00:36:34They improve with age.

00:36:35Do you like it, Isabel?

00:36:38Oh, I do.

00:36:39It gives me a funny feeling

00:36:41in my throat.

00:36:42I've always dreamed

00:36:43of a house like this.

00:36:44Would you like to look around?

00:36:45I'll come with you.

00:36:46Well, there's no need.

00:36:47We've talked about it so much

00:36:48that Isabel could go around

00:36:49the whole house

00:36:50with her eyes closed.

00:36:51No.

00:36:51Almost.

00:36:52There is the kitchen

00:36:53with its stack of firewood

00:36:55and the trap door and stair

00:36:57leading to the cellar.

00:36:59And over the garden

00:37:00is Maurizio's room

00:37:01with the branch

00:37:02of the jacaranda tree

00:37:03right against the window.

00:37:04Oh, you know that, do you?

00:37:05Oh, I don't know

00:37:06how many times

00:37:06Maurizio has told me

00:37:07if I go back someday

00:37:09I want to climb out

00:37:10on that branch again.

00:37:11Oh, you see, Fernando.

00:37:13You see why you couldn't

00:37:15cut it down.

00:37:17Come here, my girl.

00:37:19Oh, God bless you.

00:37:21Oh, Grandmama.

00:37:24What's the matter

00:37:24with your child?

00:37:26Are you going to cry now?

00:37:27You mustn't take any notice

00:37:28of her.

00:37:29She's sentimental.

00:37:30Didn't you hear her say

00:37:31she always dreamed

00:37:32of a house like this?

00:37:32And she'll certainly

00:37:34have one.

00:37:35Oh, why have an architect

00:37:36for her husband?

00:37:37Oh, we architects

00:37:38don't build old houses.

00:37:40Time makes them.

00:37:41You take care of the outside

00:37:42and she'll make the inside.

00:37:45Promise?

00:37:46Promise.

00:37:47Just like that.

00:37:49Well, here in your own country

00:37:51when a husband makes a promise

00:37:53he seals it

00:37:53in a different way

00:37:54from that.

00:37:55Isabel doesn't know

00:37:56our customs.

00:37:57Yes, I do, Grandma.

00:37:59Thank you, Mauritio.

00:38:03Like that.

00:38:04On the cheek?

00:38:05Oh, well, well,

00:38:06if that's your way.

00:38:08If I remember rightly,

00:38:10you've been married

00:38:11less than three years.

00:38:12About that?

00:38:13No, not about that.

00:38:15Exactly three years

00:38:16on October 6th.

00:38:18That's right.

00:38:18The 6th of October.

00:38:20Well, is that the way

00:38:21you kiss

00:38:21after three years

00:38:22of marriage?

00:38:23It looks as though

00:38:24things are different

00:38:25where you live.

00:38:26You see, darling,

00:38:27you're always so shy.

00:38:28What will Grandma

00:38:29think of us

00:38:30and of Canada?

00:38:31Now, show a little patriotism.

00:38:34Oh, now,

00:38:36that's what I call

00:38:37a real kiss.

00:38:38Hey, Maria.

00:38:40Oh, very good.

00:38:41Sealed with a kiss.

00:38:42And now,

00:38:43let's think of

00:38:44more practical things.

00:38:45Perhaps they're tired

00:38:46or hungry.

00:38:47In a very...

00:38:47Oh, don't talk of food.

00:38:48We did nothing else

00:38:49on the vote

00:38:49but eat it all hours

00:38:50of the day.

00:38:51What I'd like

00:38:51is to change my clothes.

00:38:53Did you call, sir?

00:38:54Yes, Anna Weber.

00:38:55About dinner.

00:38:56Only they don't

00:38:57seem to want any.

00:38:58Won't you really

00:38:59have anything?

00:39:01Anna Weber's taken

00:39:02so much trouble

00:39:02preparing it.

00:39:04Well, after all,

00:39:05it's better that way.

00:39:06With so many things

00:39:07happening,

00:39:07I've forgotten the kitchen.

00:39:09The hot punch

00:39:10will be cold

00:39:10and the cold till pot.

00:39:12Well, there's one thing

00:39:14at least you can't

00:39:15refuse me.

00:39:16I made it myself.

00:39:18You remember

00:39:18how you used to

00:39:19come home from school?

00:39:21No.

00:39:22Not tart with honey?

00:39:24You hear that,

00:39:26Herrot, baby?

00:39:27No.

00:39:28Go and take them

00:39:29out of the oven

00:39:29and put a spot

00:39:30of the very best

00:39:31honey on them

00:39:32before they cool off.

00:39:33Right away.

00:39:34Will you be needing

00:39:35me any more tonight,

00:39:36Mom?

00:39:36No, that'll be all,

00:39:38Felicia.

00:39:38Good night.

00:39:40Good night, Felicia.

00:39:40Good night, all.

00:39:42Good night, sir.

00:39:43Good night, sir.

00:39:43Good night.

00:39:45Now,

00:39:46come and let me

00:39:47show you your room,

00:39:48Isabel,

00:39:48and we'll see

00:39:50whether you think

00:39:51I'm right.

00:39:52In what, Grandma?

00:39:53In an argument

00:39:54with Grandad.

00:39:56Just fancy,

00:39:57he was insisting

00:39:58on putting in

00:39:59twin beds,

00:40:00saying that times

00:40:01have changed

00:40:02and this and that.

00:40:03But we believe

00:40:04in the old way,

00:40:05don't we,

00:40:06my girl?

00:40:07As God wills.

00:40:09The old way?

00:40:10Don't worry.

00:40:11There's a communicating

00:40:12door to another room.

00:40:14You didn't answer,

00:40:15Isabel.

00:40:16Oh, yes, Grandma.

00:40:18As God wills.

00:40:20Let's go.

00:40:20Not too fast,

00:40:22Eugenia, now.

00:40:23Careful with those stairs.

00:40:25Don't talk nonsense.

00:40:27A heart that has put up

00:40:29with what mine has

00:40:30is capable of anything.

00:40:31Take my arm.

00:40:32And that I will.

00:40:34With a young arm beside me,

00:40:36I can face old age

00:40:38and stairs.

00:40:40And without a stick.

00:40:42With the strength

00:40:45of my own two feet

00:40:47and of my two grandchildren.

00:40:51Well,

00:40:55how do you think

00:40:55it's going?

00:40:56Oh, marvelous.

00:40:57How lively she is

00:40:59and how happy.

00:41:00She's changed completely.

00:41:03Thank you

00:41:03with all my heart.

00:41:05I'll never be able

00:41:07to repay you

00:41:07for what you're doing

00:41:08in this house.

00:41:09I'm enjoying it.

00:41:10I'm an artist at heart

00:41:11and nothing thrills me

00:41:12so much as overcoming difficulties.

00:41:15And the one thing

00:41:15I regret is that

00:41:16from now on

00:41:16everything is going

00:41:17to be too easy.

00:41:18You think we've got over

00:41:20the worst?

00:41:21Oh, I'm sure of it.

00:41:22The big danger

00:41:22was the first meeting.

00:41:24If I had allowed myself

00:41:25to be overcome

00:41:25by emotion

00:41:26in that embrace

00:41:27and let her look calmly

00:41:28at me,

00:41:29we should have been lost.

00:41:30That's why I squeezed her

00:41:31so hard

00:41:32that it brought tears

00:41:32to her eyes.

00:41:33A little mist over the eyes

00:41:35and 20 years' absence

00:41:36help a lot.

00:41:37I'm not surprised

00:41:38the way you carried it off.

00:41:40Oh, you've had experience

00:41:42and you have

00:41:43the coolness

00:41:44of an artist.

00:41:45But the girl

00:41:46did marvelously

00:41:47for a beginner.

00:41:48Oh, the girl's not bad.

00:41:49She has possibilities

00:41:50but, oh,

00:41:51that sobbing

00:41:51in grandma's arms.

00:41:53Oh, what do you mean?

00:41:54Didn't the sobbing

00:41:55sound natural to you?

00:41:56Too natural.

00:41:57That's what was wrong.

00:41:58You never know

00:41:59with women.

00:42:00You prepare to seem

00:42:01most carefully for them

00:42:02and when the time comes

00:42:03they allow their feelings

00:42:04to interfere with the job

00:42:04in hand

00:42:05and spoil everything.

00:42:06We must keep an eye on her.

00:42:07Yes, I see.

00:42:08She's so new

00:42:09and spontaneous

00:42:10she might give us

00:42:11away without thinking.

00:42:12But that amazing memory

00:42:14of the old lady.

00:42:15The less we leave

00:42:15them alone together

00:42:16the better.

00:42:17And what do you think

00:42:18of doing now?

00:42:19Oh, the usual

00:42:20in such cases.

00:42:21Family chat before bed,

00:42:22memories of the past,

00:42:24travels...

00:42:24Do you remember

00:42:25all the details?

00:42:27Oh, don't worry.

00:42:28Where my geography fails

00:42:29I'll use my imagination.

00:42:30You see to it

00:42:31that the family chat

00:42:32doesn't last too long

00:42:33just in case.

00:42:34If we get through

00:42:35the first evening

00:42:35there'll be no danger.

00:42:37Quiet.

00:42:38Here's my wife

00:42:39coming downstairs.

00:42:41Are you alone,

00:42:42Ehuhenia?

00:42:43Yes.

00:42:45She didn't make

00:42:46a single mistake.

00:42:48She knows the house

00:42:50better than I do.

00:42:51What do you think

00:42:51of the little enemy?

00:42:53Really wonderful.

00:42:55And there are two things

00:42:56especially

00:42:57that delight me about her.

00:42:58Only two?

00:43:00What's the first?

00:43:00Well, the first

00:43:01is the perfectly

00:43:02natural way

00:43:03she speaks Spanish.

00:43:05It wasn't her family English.

00:43:07Well, I'll tell you.

00:43:08Her parents were English

00:43:09but her grandfather,

00:43:10one of her grandfathers

00:43:11was Spanish.

00:43:12Of course

00:43:13that explains it.

00:43:14It's the language

00:43:15of her childhood

00:43:16of the bedtime story.

00:43:18Nothing to do with it.

00:43:20For a woman in love

00:43:21the only language

00:43:22is her husband's.

00:43:24That's what I like.

00:43:25Quite right.

00:43:26What's the other thing

00:43:27you like about her?

00:43:28Something that you

00:43:29yourself haven't noticed.

00:43:31It's something

00:43:31very few women have.

00:43:34And there's a look

00:43:35in her eyes

00:43:35that is more beautiful

00:43:37than the eyes themselves.

00:43:39Now, have you noticed that?

00:43:40I knew there was

00:43:40something I noticed

00:43:41but I didn't know what.

00:43:42Well, now you do.

00:43:43So learn to know

00:43:44what you've got.

00:43:46Have you spoken

00:43:48to him yet, Fernando?

00:43:50What about?

00:43:51I guessed you'd be afraid.

00:43:54But it has to be done

00:43:56and better now

00:43:57that we're alone.

00:43:58A secret?

00:43:59The only one

00:44:00I didn't dare

00:44:01to mention

00:44:02in my letters.

00:44:04That last night

00:44:05when you went away,

00:44:07you know,

00:44:08your granddad

00:44:09didn't know

00:44:10what he was doing.

00:44:11He was beside himself.

00:44:13Oh, none

00:44:14of these sad memories.

00:44:16Please.

00:44:17Fortunately,

00:44:18you knew

00:44:18how to look

00:44:19after yourself.

00:44:19but a young lad

00:44:21alone in the world.

00:44:24If your life

00:44:25had taken

00:44:25a different turn,

00:44:28whose fault

00:44:29would it have been?

00:44:30That's what

00:44:31your granddad

00:44:32hasn't dared

00:44:33to admit aloud.

00:44:34But I know

00:44:36that in his own conscience

00:44:38not a day has passed

00:44:40that he hasn't regretted it.

00:44:43On the contrary.

00:44:44He did what was right.

00:44:46And if there's one thing

00:44:47to which I owe

00:44:47a debt of gratitude

00:44:49and respect,

00:44:50it's to this hand

00:44:51that made me a man.

00:44:54Thank you, granddad.

00:44:56Here are the tarts, ma'am.

00:44:57They're a little overdone,

00:44:59but they smell good.

00:45:01Quick, Isabel!

00:45:02Come downstairs!

00:45:04The tarts with honey

00:45:05have arrived!

00:45:06The first one for you.

00:45:08Here, I'll take two.

00:45:11Hurry up, darling!

00:45:13Maria has talked about them

00:45:14so much

00:45:14I'm dying to take them.

00:45:16I'll have two as well.

00:45:17You like them?

00:45:20Mmm!

00:45:21Mmm!

00:45:21Oh, they're good!

00:45:23Careful, darling,

00:45:23you'll chew.

00:45:26A glass of good wine

00:45:27helps them none.

00:45:28Weaver, light rio,

00:45:30and a good old burgundy.

00:45:31You haven't any

00:45:32of that homemade wine

00:45:33that you used to make

00:45:34with raisins and orange peel.

00:45:36Mine, Henovaver!

00:45:37Mine!

00:45:38Now, get it out

00:45:39of the cupboard!

00:45:40Yes, ma'am.

00:45:40Well, it's not really a wine.

00:45:43It's a liquor for women,

00:45:44but it has a kick in it.

00:45:46You'll see.

00:45:47You'll see.

00:45:48Are you going to drink?

00:45:50Tonight, yes.

00:45:51No matter what happens.

00:45:52And don't you get angry

00:45:53for it'll make no difference.

00:45:56You like a homemade pastry,

00:45:58don't you, my girl?

00:45:59Well...

00:46:00She loves it!

00:46:01It was the first thing

00:46:03she said

00:46:03when she came off the ship.

00:46:05Oh, then we're going

00:46:05to have lots to do together.

00:46:07Well, now,

00:46:08let's drink, then.

00:46:10To the...

00:46:11to the happiest evening

00:46:13of my life

00:46:14and to your country, Isabel.

00:46:16You too, Henovaver.

00:46:18Everyone under her roof

00:46:19is Grandma's family.

00:46:21Thank you, sir.

00:46:22Health and happiness.

00:46:24Health and happiness.

00:46:27Ah.

00:46:28Well, now.

00:46:30How do you think of it?

00:46:31I certainly had a kick.

00:46:32You must give me the recipe

00:46:33unless it's a family secret.

00:46:35There are no secrets

00:46:36from you in this house.

00:46:38You can go to bed now,

00:46:39Henovaver.

00:46:40Good night.

00:46:40At what time

00:46:41do you want breakfast?

00:46:42Oh, we never worry about time.

00:46:44We either sleep like logs

00:46:45halfway through the morning

00:46:46or we go down

00:46:47to the river at sunrise.

00:46:49Good night.

00:46:50Good night, Henovaver.

00:46:53I remember once

00:46:54when you wrote to me

00:46:55about your trip

00:46:55along the St. Lawrence.

00:46:57Now, wasn't that the time

00:46:58that you carved my name

00:46:59on an oak tree?

00:47:01That's right.

00:47:01Well, I'd like you

00:47:03to tell me about that.

00:47:04What, the excursion

00:47:04to the Great Lakes?

00:47:05Oh, that's some story.

00:47:08Just imagine a sledge

00:47:09pulled by 14 dogs

00:47:11with bells.

00:47:12Herds of deer

00:47:13on this side

00:47:14and over there

00:47:15in the pine woods

00:47:16like an endless Christmas.

00:47:18And in the distance,

00:47:19the calm waters

00:47:20of the Great Lakes

00:47:22were the snowy peaks

00:47:23of the huge mountains

00:47:25piercing the sky.

00:47:28What?

00:47:29Are there mountains

00:47:30in the lakes, country?

00:47:31Oh, don't...

00:47:33Well, Maria exaggerates,

00:47:35so he calls anything

00:47:36a mountain.

00:47:36Once we saw a wild cat

00:47:38climbing a tree

00:47:38and a week later

00:47:39he was talking about

00:47:40the tiger

00:47:41and the jungle.

00:47:41I meant hills.

00:47:43As Nova Scotia

00:47:43is so flat,

00:47:44any little hill

00:47:45seems like a mountain.

00:47:46But Nova Scotia

00:47:47is in the east.

00:47:49What's that to do

00:47:50with the Great Lakes?

00:47:52Is it to the east?

00:47:53Well, are you trying

00:47:54to tell me

00:47:55when I followed

00:47:56all your travels

00:47:56on Granddad's

00:47:57big acres?

00:47:59A big country, Canada.

00:48:01A very big country.

00:48:03Another glass of wine?

00:48:05Yes, please.

00:48:06And me, too.

00:48:07Oh, the last one.

00:48:09Now, this really

00:48:10is the last, Fernando.

00:48:12Fernandito.

00:48:13No.

00:48:14Oh, Fernandito.

00:48:15No.

00:48:16Oh, just one little finger.

00:48:18Oh, well.

00:48:18Yes, I like that.

00:48:20Oh, Stingy.

00:48:23And how's your business going?

00:48:26Which business?

00:48:27Which business?

00:48:28The houses.

00:48:29The big hotels.

00:48:31Have you built any churches?

00:48:33No, I'm a civil architect.

00:48:34Oh, what a pity.

00:48:36I'd like to have seen

00:48:37you solve that problem

00:48:38of the Gothic cathedrals.

00:48:40One-third stone

00:48:42and two-thirds glass.

00:48:44Oh, the trouble I had with it.

00:48:47Have you studied

00:48:48architecture as well?

00:48:49Oh, if you were

00:48:50to study medicine someday,

00:48:51I'd take on the microbes.

00:48:53And if you studied astronomy,

00:48:55I'd be there

00:48:55with a peaked cap

00:48:56and a telescope

00:48:57like this.

00:48:59But yours

00:49:00is the best profession.

00:49:02Men make houses

00:49:03and women fill them.

00:49:05Here's to

00:49:06civil architecture.

00:49:08Come on, Grandma.

00:49:09You've had too much excitement.

00:49:11You must have some rest.

00:49:12Well, tonight?

00:49:13Sleep tonight?

00:49:14After waiting

00:49:15twenty years for this?

00:49:17Oh, the Canadian mountains

00:49:19couldn't drag me

00:49:20to bed tonight.

00:49:22Oh, hey,

00:49:22you're for your own good.

00:49:24No, no,

00:49:25we'll have some music,

00:49:26Isabel.

00:49:26I've been dying

00:49:27to hear you play

00:49:28that Irish song.

00:49:30And my heart

00:49:31is waiting for you.

00:49:32What?

00:49:32And my heart

00:49:33is waiting for you.

00:49:35Isn't that

00:49:35what it's called?

00:49:36Oh, yes.

00:49:38Yes.

00:49:38It's the song

00:49:39I like best.

00:49:40And the one

00:49:41you were playing

00:49:42the day you met Mauricio.

00:49:44Don't you remember?

00:49:45Oh, yes.

00:49:47Yes.

00:49:47Well,

00:49:48come along, darling.

00:49:49Over to the piano.

00:49:50But music

00:49:51at this time of night,

00:49:52you're mad.

00:49:54Can you play the piano?

00:49:55Ravel's bolero

00:49:56with one finger.

00:49:57This is terrible.

00:49:58Not tonight, Grandma.

00:49:59Isabel is worn out

00:50:00from the journey.

00:50:01There's nothing

00:50:02so restful as music.

00:50:04Come on.

00:50:04Tomorrow.

00:50:05Some other day.

00:50:06Oh, why not now?

00:50:07Well, I may be superstitious,

00:50:09but something has gone wrong

00:50:10every time Isabel

00:50:11has played that song.

00:50:13Ow!

00:50:13Oh, didn't I tell you?

00:50:15What has happened?

00:50:16Nothing.

00:50:17The wine glass

00:50:18broke in my hand.

00:50:19Have you cut your hand?

00:50:20It's nothing.

00:50:21Just a scratch.

00:50:22Quick, some alcohol.

00:50:23I don't have to bandage.

00:50:24No, no, never mind.

00:50:25Some wine

00:50:26on a handkerchief.

00:50:28There.

00:50:29Does it hurt you?

00:50:30Oh, it's nothing,

00:50:31I assure you.

00:50:32The only thing

00:50:33that upsets me

00:50:33is that Granny

00:50:34won't have our music.

00:50:35Oh, well, never mind.

00:50:37Another little drop, then.

00:50:39Sleep well, Mauricio.

00:50:42Good night, my girl.

00:50:44If you're in the habit

00:50:45of reading

00:50:45before you go to bed,

00:50:47Mauricio,

00:50:47you know where

00:50:48the library is.

00:50:49Would you like a book?

00:50:51Something on architecture

00:50:52and a map of Canada.

00:50:54Are you coming, Fernando?

00:50:56Yes, my dear.

00:50:57Well, we'll have

00:50:58the Irish song tomorrow, eh?

00:51:01Well, now,

00:51:02you two

00:51:03will not dream

00:51:04of anything

00:51:05better than yesterday.

00:51:06Oh, for the Irish song, eh?

00:51:10Well, that's over at last.

00:51:12I wish it were all over.

00:51:14I've never been through

00:51:15anything like it

00:51:15in all my life.

00:51:16It's like walking

00:51:17barefoot on night.

00:51:18Oh, the old lady

00:51:19is really dangerous.

00:51:20Her memory is for us.

00:51:21She's thought of nothing

00:51:21else for years and years.

00:51:23Oh, what would happen

00:51:24to that poor woman

00:51:25if she found out the truth?

00:51:26That's up to us.

00:51:27We've got ourselves

00:51:28into this

00:51:28and it's too late

00:51:29to turn back.

00:51:29And it starts again tomorrow.

00:51:32For how long?

00:51:33Only a few days.

00:51:34Then we'll receive a cable

00:51:35calling us home

00:51:36and the memory

00:51:37will remain here forever.

00:51:38Why did you give me this to do?

00:51:40I can't manage it, Melisio.

00:51:42Are you so afraid?

00:51:43For her.

00:51:45What we're doing

00:51:46is probably good,

00:51:48but seeing her taken in

00:51:49like a happy young girl,

00:51:51it was as much as I could do

00:51:52to avoid blurting out the truth

00:51:54and asking her to forgive us.

00:51:55Just as I feared,

00:51:56letting your heart take charge,

00:51:57that won't get us anywhere.

00:51:58I've done all I could.

00:51:59Didn't I carry it off well?

00:52:00At first, yes.

00:52:01That shyness when you came in

00:52:02and that memory scene

00:52:03were very good,

00:52:04but that sob

00:52:05where you threw yourself

00:52:06into her arms.

00:52:07I couldn't help it.

00:52:09I too know what it is

00:52:10to live all alone

00:52:10and to hope.

00:52:11You must correct that right away.

00:52:12Art doesn't come from the heart.

00:52:14It comes from the head.

00:52:15Didn't you feel anything ever?

00:52:17Real emotion

00:52:18is never artistic.

00:52:19For example,

00:52:20did you notice the way

00:52:20I ate the nut tarts with honey?

00:52:22Well, if there are two things

00:52:23I can't stand,

00:52:24they are honey and nuts.

00:52:25That's what I call

00:52:26an artistic conscience.

00:52:28Did you like them?

00:52:29Delicious.

00:52:29That's a matter of opinion.

00:52:30What about that tremor

00:52:32in your voice

00:52:32when you first met her?

00:52:33An elementary trick.

00:52:34Even the worst actors

00:52:35know that one.

00:52:35That long, silent embrace,

00:52:37even making her cry.

00:52:38All worked out beforehand.

00:52:39It's harder to see clearly

00:52:41with tears in one's eyes.

00:52:43You see now?

00:52:44I do now.

00:52:46It seems I have a lot to learn.

00:52:47Quite a lot,

00:52:48but you'll make it, Isabel.

00:52:49Why don't you call me Isabel

00:52:50when there's no one here?

00:52:51My name is Martin.

00:52:52Not here.

00:52:53We're leading another life

00:52:54and we must forget

00:52:55our own lives completely.

00:52:56No confusion.

00:52:58Very well.

00:52:59Tell me where I went wrong

00:53:01this evening

00:53:01and I'll correct it.

00:53:02The kiss for a start.

00:53:03Or rather,

00:53:04the two kisses.

00:53:05The first one was too...

00:53:06Fraternal?

00:53:07Fraternal.

00:53:08Three years of marriage

00:53:09is too short

00:53:10for such coolness.

00:53:11But the second one,

00:53:12that wasn't a three years kiss either.

00:53:14Too much?

00:53:15Too much.

00:53:16In art,

00:53:16you have to find

00:53:17the right level.

00:53:18I'm sorry.

00:53:19It won't happen again.

00:53:21Something has happened to you

00:53:22in the last few minutes.

00:53:24You look at me differently.

00:53:26You've changed.

00:53:27Couldn't it be

00:53:28that you've changed?

00:53:30Listen,

00:53:31Marithio,

00:53:32the other day

00:53:32when you said

00:53:33that your bird imitator

00:53:34was better than

00:53:35a real nightingale,

00:53:36you were serious,

00:53:37weren't you?

00:53:37Absolutely.

00:53:39A mere bird,

00:53:39no matter how marvelous

00:53:40it might be,

00:53:41can never compare

00:53:42with an artist.

00:53:42Then you really think

00:53:43that art is greater

00:53:45than life?

00:53:45Always.

00:53:46Look at that jacaranda tree

00:53:48in the garden.

00:53:49Today it is something

00:53:49because it gives flowers

00:53:51and shade.

00:53:52But tomorrow,

00:53:52when it dies,

00:53:53as all trees die

00:53:54silently and on its feet,

00:53:57no one will ever

00:53:57remember it.

00:53:58But if a great artist

00:53:59had painted it,

00:54:00it would live forever.

00:54:02Anything else?

00:54:03No.

00:54:04That's all I wanted to know.

00:54:06I'm going to bed.

00:54:07Oh, just a moment.

00:54:08I've only corrected

00:54:08your mistakes so far,

00:54:10but it would be unfair

00:54:11if I didn't also

00:54:11praise your successes.

00:54:12Oh, have I done

00:54:13something well?

00:54:14That's not so bad.

00:54:15One thing in particular.

00:54:17The trick to get out

00:54:18of playing the piano.

00:54:18Oh, the business

00:54:19of cutting my hand.

00:54:20Was it good?

00:54:21I couldn't have done

00:54:21it better myself.

00:54:22What did you use

00:54:23for blood?

00:54:23Your lipstick?

00:54:24That's it.

00:54:24My lipstick.

00:54:25I thought so right away.

00:54:26Congratulations.

00:54:27What's the matter?

00:54:29Nothing.

00:54:29My nerves.

00:54:30Wait.

00:54:31Let me look at your hand.

00:54:34Did you really

00:54:35cut yourself on the glass?

00:54:37I couldn't think

00:54:37of anything else.

00:54:39You have to invent a lie,

00:54:40but the truth

00:54:41is so easy.

00:54:42Good night.

00:54:42You won't be offended

00:54:43if I tell you something.

00:54:45No.

00:54:45You're too soft-hearted.

00:54:47You'll never be

00:54:48a real artist.

00:54:50That's the best thing

00:54:51you sent to me

00:54:52this evening.

00:54:54And you won't be offended

00:54:55if I tell you something.

00:54:56No.

00:54:57If one day

00:54:58all the trees

00:54:59in the world

00:55:00except one

00:55:00had to disappear,

00:55:02I'd like it

00:55:03to be that jacaranda.

00:55:06Forgive him.

00:55:07Forgive him.

00:55:09Good night, Marithia.

00:55:10See you tomorrow,

00:55:11Martha Isabel.

00:55:12No.

00:55:15No, no.

00:55:16No, Barbara.

00:55:17It can't be true.

00:55:19I just can't believe it.

00:55:21No matter how much

00:55:22I think of it,

00:55:23are you sure?

00:55:24I didn't want

00:55:25to believe it either,

00:55:26but I tell you

00:55:27I saw it with my own eyes.

00:55:29Why didn't you

00:55:30tell me before?

00:55:31To tell you the truth,

00:55:32I didn't dare.

00:55:33It's such a delicate matter.

00:55:36If you hadn't cornered me

00:55:37with all your questions,

00:55:38I would never have said a word.

00:55:39That's bad.

00:55:41We must get this

00:55:41cleared up at once

00:55:42and the sooner the better.

00:55:43Suppose I was wrong.

00:55:45Well, you won't be

00:55:45the only one.

00:55:46I've also been putting

00:55:47two and two together

00:55:48these last few days

00:55:49and it always comes

00:55:51to the same thing.

00:55:52I knew in my heart

00:55:53that there was

00:55:54something strange

00:55:55going on here.

00:55:56You were suspicious too?

00:55:57Since the first evening.

00:55:59A look here,

00:55:59a word there,

00:56:00but that's the last thing

00:56:02I would have thought of.

00:56:04Where's Isabel?

00:56:05Are you going to talk to her?

00:56:07Right away.

00:56:08Do you think

00:56:08I'm the sort of woman

00:56:09who spies through keyholes

00:56:10for the truth?

00:56:11Where's Isabel?

00:56:12She's picking some hydrangeas.

00:56:14Well, call her.

00:56:15Please, ma'am.

00:56:16Think about it.

00:56:17Call her, I tell you.

00:56:20Isabel?

00:56:21Isabel?

00:56:24She's coming.

00:56:25Leave us alone.

00:56:26Certainly.

00:56:29Did you call me?

00:56:30Come here.

00:56:33Look me right in the eyes

00:56:34and answer me straight.

00:56:36What have you been hiding

00:56:37from me these last few days?

00:56:39I...

00:56:39Both of you.

00:56:41Granny.

00:56:41Now, don't look away.

00:56:42Answer.

00:56:44I don't know what you mean.

00:56:46You know only too well.

00:56:47And it's no use

00:56:48pretending anymore.

00:56:50Oh, I know it's a very

00:56:51intimate thing

00:56:52to have to admit,

00:56:53perhaps painful,

00:56:55but I'm talking to you

00:56:56as a grandmother

00:56:57to a granddaughter,

00:56:59as woman to woman.

00:57:02Isabel,

00:57:03what is happening

00:57:04between you and Mauricio?

00:57:05Oh, please.

00:57:07Tell me what you suspect.

00:57:08It's not what I suspect,

00:57:10my girl.

00:57:10It's a fact.

00:57:11This morning,

00:57:12when Henovaver

00:57:12took breakfast up,

00:57:13you were sleeping

00:57:14alone in your room

00:57:15and Mauricio

00:57:16was sleeping

00:57:16in the next room.

00:57:17Now, can you explain

00:57:18what that means?

00:57:19Two rooms?

00:57:20Is that all?

00:57:22Well, I don't see

00:57:22anything funny in it.

00:57:24Quite the opposite.

00:57:25Doesn't that nervous laugh

00:57:27mean something?

00:57:28Nothing.

00:57:29Oh, it's just that

00:57:30you spoke so seriously.

00:57:32I thought you'd

00:57:32discovered something terrible.

00:57:34Why don't you think

00:57:35it's serious?

00:57:36First of all,

00:57:37a married couple

00:57:38sleeping apart

00:57:39is immoral.

00:57:40But it can mean

00:57:41something worse,

00:57:42that you've stopped

00:57:43loving each other.

00:57:44Of course not, Granny.

00:57:46How could you even

00:57:47think that?

00:57:47Well, haven't I a reason?

00:57:48None at all.

00:57:51It's just that

00:57:52mosquitoes come in

00:57:53through the garden window

00:57:54and Mauricio

00:57:55can't stand them.

00:57:56And what about you?

00:57:58What sort of marriage

00:57:58is this which can be

00:57:59broken by a mosquito?

00:58:01It wasn't one

00:58:03or two or three.

00:58:04It was a whole plague.

00:58:05What of it?

00:58:06When I was your age,

00:58:08the ten plagues of Egypt

00:58:09wouldn't have separated

00:58:10me from my husband.

00:58:12You must promise me

00:58:13that it won't happen again.

00:58:15Do you think

00:58:17that Mauricio

00:58:17and I don't love each other?

00:58:19Too much

00:58:20in front of me.

00:58:22But very different

00:58:22when I'm not here.

00:58:24Yesterday I was

00:58:25at the window

00:58:26when you were

00:58:26having tea

00:58:27in the garden.

00:58:28Not a word

00:58:29or a glance

00:58:30between the two of you.

00:58:31Oh, silence

00:58:32doesn't mean anything.

00:58:34There are so many ways

00:58:35in which a man

00:58:36and woman

00:58:36can be together.

00:58:37Can you swear

00:58:39with your hand

00:58:40on your heart

00:58:41that you're perfectly happy?

00:58:43Why do you ask?

00:58:44Oh, I don't know.

00:58:47Something strange

00:58:49between the two of you.

00:58:51I've noticed

00:58:51how subdued

00:58:53you are with him.

00:58:54As though he

00:58:55were the boss.

00:58:56In real love,

00:58:58nobody gives the orders.

00:59:00Both obey.

00:59:01Oh, Mauricio,

00:59:01you're so superior

00:59:02to me in everything.

00:59:04He doesn't need

00:59:04to give orders

00:59:05for me to obey.

00:59:06It's bad enough

00:59:07that you should think that,

00:59:08but for heaven's sake,

00:59:09don't let him know it

00:59:10or you're lost.

00:59:12They always say

00:59:14that love

00:59:14is rather like

00:59:15those Chinese carriages

00:59:18where one person

00:59:19sitting very comfortably

00:59:21inside

00:59:21while the other one

00:59:23pulls.

00:59:25Well, it seems

00:59:26that this time

00:59:26it's your turn

00:59:28to pull.

00:59:29What does it matter

00:59:30if the one sitting

00:59:31inside is mine?

00:59:34I only wish

00:59:35the load was heavier

00:59:36and the road harder

00:59:38so that I deserve

00:59:40more what comes

00:59:41at the end.

00:59:41What ever

00:59:42are you saying?

00:59:44You speak of your husband

00:59:45as though,

00:59:46as though he weren't

00:59:47already yours.

00:59:48As though you still

00:59:49had to win him.

00:59:51Well, that's because

00:59:51you can't understand

00:59:53all that Mauricio

00:59:53means to me.

00:59:55It's more than love.

00:59:57It's my whole life.

00:59:59The day that I first

01:00:01knew him,

01:00:01I, I was so desperate

01:00:03that I could have died

01:00:04in a corner

01:00:05like a stray dog.

01:00:06but he passed

01:00:08by with a bunch

01:00:10of roses

01:00:11and a word

01:00:12and that word

01:00:14restored to me

01:00:15all that I thought

01:00:16was last.

01:00:18Oh, there,

01:00:19my girl.

01:00:22Now, to tell you

01:00:23the truth,

01:00:24I, I don't know

01:00:25how to take you.

01:00:27A moment ago,

01:00:28I was worried

01:00:28that you didn't

01:00:29love him enough

01:00:30and now I'm

01:00:32almost afraid

01:00:32to see that you,

01:00:33that you love him

01:00:35so much.

01:00:36But not a word

01:00:37of this to him,

01:00:38do you hear?

01:00:39Now, you take

01:00:40advantage of the fact

01:00:41that you're young

01:00:42to jump into the carriage

01:00:43and let him

01:00:44pull a little.

01:00:46That's what

01:00:47a man's for.

01:00:48Oh, no,

01:00:49look out.

01:00:50Here he comes.

01:00:50Ah, secrets

01:00:52between wife

01:00:52and grandmother.

01:00:54A bad thing

01:00:54for the husband.

01:00:55And what makes you

01:00:56think we're talking

01:00:57about you?

01:00:58Has Isabel

01:00:58been saying anything

01:00:59against me?

01:01:00Nothing of the sort.

01:01:01I, I was saying

01:01:02how happy I am.

01:01:03Oh, and is that

01:01:04why you were crying?

01:01:05Some women

01:01:06have an extraordinary

01:01:07way of being happy.

01:01:09You're too accustomed

01:01:10to having everything

01:01:11fall into your lap.

01:01:13And take care

01:01:14how you treat her

01:01:15from now on

01:01:16for she isn't alone.

01:01:18There are two of us now.

01:01:20Oh, oh, yeah,

01:01:21wait a minute.

01:01:22I've something

01:01:23in the cupboard for you.

01:01:28Here we are.

01:01:30It seems

01:01:31that you need this.

01:01:33What is it?

01:01:34A mosquito repellent.

01:01:37Here.

01:01:39Now,

01:01:40I'm going

01:01:41to have a walk

01:01:42in the garden.

01:01:44What was she

01:01:45talking about?

01:01:47What mosquitoes?

01:01:48Some that I had

01:01:48to invent.

01:01:49This morning,

01:01:50Hanoveva found you

01:01:51sleeping in the guest room.

01:01:52I knew it would happen.

01:01:53The only day

01:01:53I forgot to lock the door.

01:01:54Oh, don't worry.

01:01:55It's fixed up.

01:01:56Are you sure?

01:01:57Hasn't she suspected anything?

01:01:58Nothing.

01:01:58Thanks to you,

01:01:59I'm learning to lie

01:02:00so naturally.

01:02:01That's a very delicate way

01:02:03of calling me a swindler.

01:02:04Imaginative.

01:02:05It was a professional compliment.

01:02:06I suppose you were

01:02:07scared stiff as usual.

01:02:08One gets used to everything.

01:02:10Oh, well,

01:02:10fortunately,

01:02:10it's nearly over.

01:02:12Early tomorrow,

01:02:12we'll receive a cable

01:02:13from Canada

01:02:13and in the afternoon

01:02:15two air tickets.

01:02:16No.

01:02:18Do you mean

01:02:19we're going already?

01:02:20Yes.

01:02:21The office is taking

01:02:22care of everything.

01:02:24Couldn't you

01:02:24wait a little?

01:02:26Just one day?

01:02:27Why?

01:02:28We've already done

01:02:29all we can

01:02:30for the old lady.

01:02:31It isn't for her,

01:02:32Morithio.

01:02:33It's for me now.

01:02:35I need to get used

01:02:37to the idea.

01:02:38I understand you

01:02:39less and less.

01:02:41I gave you

01:02:42one of the most

01:02:42difficult jobs

01:02:43to start with

01:02:43and you've done

01:02:44it amazingly well,

01:02:45just like a young wife,

01:02:46really happy.

01:02:48Are you going

01:02:48to be afraid again

01:02:49now that the curtain

01:02:50is about to fall?

01:02:51I don't know.

01:02:53I'm afraid

01:02:54of what you would call

01:02:55the grand finale.

01:02:58But the farewell

01:02:58is the easiest of all.

01:03:01A little shudder

01:03:02as you pack your bags.

01:03:03A long look

01:03:04around the house

01:03:05as though you were

01:03:05caressing every corner of it.

01:03:08It's not even

01:03:08necessary to talk.

01:03:10Every so often

01:03:11you let something fall

01:03:12as though you can't help it.

01:03:14Something falling

01:03:15in the silence

01:03:16is more moving

01:03:17than any word.

01:03:20Why are you looking

01:03:20at me like that?

01:03:21I admire you.

01:03:24More sarcasm?

01:03:24Not at all.

01:03:25I really admire you.

01:03:27It's amazing

01:03:27the way that you dreamers

01:03:28can only see more clearly

01:03:29what is far away.

01:03:31Tell me, Mauricio,

01:03:32what colour

01:03:32are the Mona Lisa's eyes?

01:03:34Dark olive.

01:03:34And what colour

01:03:35are the sea siren's eyes?

01:03:36Sea green.

01:03:36And what colour

01:03:37are mine?

01:03:38Yours are...

01:03:39Oh.

01:03:40Well, yes,

01:03:41you have me there.

01:03:41Now, don't be angry.

01:03:42It may seem terrible,

01:03:43but I couldn't even tell you

01:03:44the colour of my own eyes.

01:03:45Brown,

01:03:46flecked with hazel,

01:03:47with a little spark

01:03:48of gold when you laugh,

01:03:49with a shade of grey

01:03:50when you talk

01:03:51and you're thinking

01:03:51of something else.

01:03:52I'm sorry.

01:03:53Not at all.

01:03:54When I'm packing

01:03:55the bags tomorrow,

01:03:56if something slips

01:03:58from my hands

01:03:59as though I can't help it,

01:04:01don't worry

01:04:01that it might be

01:04:02through emotion.

01:04:03It'll only be

01:04:04because I've had

01:04:04a good teacher.

01:04:06Thanks, Mauricio.

01:04:07I think I'll go

01:04:08and join Granny

01:04:08in the garden.

01:04:11Hello.

01:04:12She looks annoyed.

01:04:13What has happened?

01:04:14Oh, nothing.

01:04:19Felisa,

01:04:20answer the door,

01:04:21will you?

01:04:22If it's the newspapers,

01:04:23take them straight

01:04:24into my room.

01:04:25Yes, sir.

01:04:26Isn't this the book

01:04:27you were looking for?

01:04:28The latest

01:04:29archaeological discovery?

01:04:30I'm not interested.

01:04:31I've made a more

01:04:32sensational discovery.

01:04:33Oh, you have?

01:04:34When?

01:04:34Right now.

01:04:36After a great deal

01:04:36of excavation,

01:04:37I've just discovered

01:04:38that I'm a perfect idiot.

01:04:40Excuse me,

01:04:40I must go after her.

01:04:42I wish I knew

01:04:44what is happening.

01:04:45It's someone

01:04:46to see you, sir.

01:04:47At this time of night,

01:04:49I'm not expecting anyone

01:04:50and I'm not into anyone.

01:04:52For me, you are.

01:04:56I've made too long

01:04:57a journey

01:04:57to have the door

01:04:58closed on me.

01:04:59What right have you

01:05:00to come into my house?

01:05:02Who are you?

01:05:03Have I changed

01:05:04so much

01:05:04in these 20 years?

01:05:07Mauricio.

01:05:07I don't see why

01:05:08you should be so surprised

01:05:09as though I were a ghost.

01:05:11Didn't you receive

01:05:12my cable saying

01:05:12I was coming?

01:05:13It isn't possible.

01:05:15Saturnia went down

01:05:16with all hands.

01:05:17And you were delighted

01:05:18to hear it, weren't you?

01:05:19That's enough, Mauricio.

01:05:21Why have you come?

01:05:23Do you need to ask?

01:05:24Not a lack of imagination.

01:05:26At least you can't think

01:05:27I'm going on my knees

01:05:28to beg your forgiveness.

01:05:29No, I know you too well.

01:05:32I've followed your whole life

01:05:33and I know

01:05:34what to expect of you.

01:05:35I'm glad of that.

01:05:36It'll save a lot

01:05:37of painful explanations.

01:05:39Painful especially for you.

01:05:41For me?

01:05:42That's the least

01:05:42I could expect.

01:05:44Haven't you felt

01:05:45responsible for one moment

01:05:46for the life

01:05:47I've dragged out

01:05:47far away from my own home?

01:05:49Don't try to shift

01:05:50your thoughts

01:05:51onto others.

01:05:52All that you've done

01:05:53had its beginnings here.

01:05:55So your conscience

01:05:56is easy.

01:05:57I did what I should

01:05:58and if necessary

01:06:00I would do it again

01:06:01a hundred times.

01:06:03You'd like to perhaps

01:06:04but I'm afraid

01:06:05you won't be able to.

01:06:06The kid you used to know

01:06:07has grown a bit harder.

01:06:09Is that a threat?

01:06:11Just a warning.

01:06:12I know from experience

01:06:14that no one

01:06:14has his path ready made.

01:06:16Everyone has to make

01:06:17his own as best he can

01:06:19and mine leads

01:06:20to this house.

01:06:21Then what

01:06:22do you intend?

01:06:24I've already told you

01:06:25what I could choose

01:06:26but I'm reasonable

01:06:27and I'll agree

01:06:28to take only part of it.

01:06:30In a word

01:06:31I need money.

01:06:33Just as I thought.

01:06:35How much?

01:06:36Oh that's the difficult part.

01:06:39Much as I regret it

01:06:39I can't offer you

01:06:40or reduce prices

01:06:41between friends.

01:06:44I'm in a terrible spot

01:06:45you understand.

01:06:46Not with the police

01:06:47I'm used to that.

01:06:48Now it's with the gang

01:06:49and they don't forgive.

01:06:50I'm not asking

01:06:51for explanations.

01:06:53How much?

01:06:54Would 500,000 pesetas

01:06:56seem a lot?

01:06:57Are you mad?

01:06:58Where do you think

01:06:58I could get all that?

01:07:00Think it over?

01:07:01I know you don't care

01:07:02a rap about me

01:07:03but you've a good name.

01:07:05Would you like to see it

01:07:06in the papers

01:07:06or in the police records?

01:07:07I can't give you

01:07:09that amount.

01:07:09I swear I couldn't

01:07:10even if I wanted to.

01:07:12I'm not surprised.

01:07:14It was always a job

01:07:14to drag money out of you

01:07:15but there's someone else

01:07:17who wouldn't let me die

01:07:18in the gutter

01:07:19if she could save me.

01:07:21Where's Granny?

01:07:22Now listen Marithio

01:07:23for pity's sake.

01:07:24She knows nothing

01:07:25of your real life.

01:07:27For her

01:07:27the wild boy

01:07:28of 20 years ago

01:07:30has become

01:07:30a happy man

01:07:31returning

01:07:32full of memories

01:07:34to his home.

01:07:35Ah fairy story.

01:07:37Unfortunately

01:07:38I'm far too old

01:07:39for fairy stories.

01:07:41Where is she?

01:07:41I won't let you

01:07:43think of all

01:07:44you can destroy

01:07:45in one moment.

01:07:46I have no time to lose.

01:07:47Stand away.

01:07:48No you're not

01:07:48going out of here.

01:07:49I don't think

01:07:50you can raise your hand

01:07:50on me again.

01:07:52That was easy

01:07:52with a boy

01:07:53but it's not the same

01:07:53with a man.

01:07:55Granny!

01:07:55Stop shouting.

01:07:57When a man is ready

01:07:58for anything

01:07:58he doesn't shout.

01:08:00Come out of here

01:08:01with me.

01:08:02Can I know

01:08:02who you are?

01:08:03Later.

01:08:04In just a moment

01:08:05she is going

01:08:05to come through

01:08:06this door

01:08:06do you hear?

01:08:08If you say

01:08:09one word

01:08:09in front of her

01:08:10just one word

01:08:12I'll kill you.

01:08:14You're a what?

01:08:14I'd even kill you

01:08:15this moment.

01:08:16Granny

01:08:16you must believe

01:08:17I've never heard

01:08:21such nonsense

01:08:21in my life.

01:08:23Are you serious?

01:08:24Do you mean

01:08:25to tell me

01:08:26that those

01:08:26little green lights

01:08:28of the fireflies

01:08:29are...

01:08:30Oh, I beg your pardon.

01:08:32I thought you were

01:08:33alone, Mauricio.

01:08:34It's nothing.

01:08:35This gentleman

01:08:35is a stranger

01:08:36and he lost his way.

01:08:38I'm going to show

01:08:38him the way.

01:08:40Are you coming

01:08:41with me, sir?

01:08:42Yes, I'm coming.

01:08:43Mauricio.

01:08:44I won't be a moment,

01:08:45Isabelle.

01:08:46I'll be right back.

01:08:47This way, sir.

01:08:50I beg your pardon,

01:08:51madam.

01:08:52Good night.

01:08:53Oh, yes.

01:08:55Good night.

01:08:58How strange.

01:09:01How very strange.

01:09:06Shall I pack

01:09:07the shoes

01:09:08at the bottom?

01:09:08Yes, Sarah Weaver.

01:09:10At the bottom.

01:09:11Ah.

01:09:12And the dresses.

01:09:13Are they all right

01:09:14folded like this?

01:09:15It doesn't matter.

01:09:16Oh, but it does.

01:09:18You know better

01:09:18than me

01:09:19as I've never

01:09:20traveled.

01:09:21Is this all right?

01:09:23Yes.

01:09:25For your own good.

01:09:27Can't you see

01:09:28it's worse

01:09:28to say nothing?

01:09:30Say something,

01:09:31please.

01:09:32What can I say?

01:09:34Anything.

01:09:35Even if it means

01:09:36nothing.

01:09:37Like when you're

01:09:38going through

01:09:39somewhere dark

01:09:40and you start singing.

01:09:41silence is like

01:09:44a funeral.

01:09:45Yes,

01:09:46Senna Weaver.

01:09:47Packing a bag

01:09:48is something

01:09:48like a funeral.

01:09:50It's not so bad

01:09:51for those who are

01:09:51going.

01:09:53You're going

01:09:53back to your home

01:09:54with your whole

01:09:55life before you.

01:09:56But she...

01:09:57Have you talked to her?

01:09:59Not I.

01:10:00Not anyone.

01:10:02She's still

01:10:03shut up in her room,

01:10:04not stirring a hand

01:10:05or opening her lips.

01:10:06But what's the meaning

01:10:07of this silence?

01:10:08Like a protest.

01:10:10She knew that we

01:10:11should have to go

01:10:11sooner or later.

01:10:13Is it my fault?

01:10:14The fault is time,

01:10:16which always flows

01:10:17the wrong way.

01:10:20I remember when

01:10:21the boat was coming.

01:10:22Every minute

01:10:24seemed like a century

01:10:25in this house.

01:10:27Monday,

01:10:28Chama Weaver.

01:10:28Monday.

01:10:31That Monday

01:10:31never seemed to come.

01:10:34And now what

01:10:35happened to that

01:10:36Monday and the

01:10:37next day and the

01:10:38others.

01:10:40My mother used

01:10:41to say there's

01:10:42one clock for

01:10:43waiting and

01:10:45another for

01:10:45goodbye.

01:10:47And the waiting

01:10:48one is always

01:10:49slow.

01:10:50Oh, I'm

01:10:51sorry.

01:10:53I've dropped

01:10:53some of your

01:10:53handkerchiefs.

01:10:54Thank you for

01:10:55that,

01:10:56Hennoveva.

01:10:57Thank you?

01:10:57Why?

01:10:59Oh, nothing.

01:11:00Something I was

01:11:01thinking of.

01:11:02I'll go and

01:11:03wash them again.

01:11:04They're time to

01:11:04dry.

01:11:05Oh, here is

01:11:06your husband.

01:11:08Is there any hope

01:11:09of settling it,

01:11:10Mauricio?

01:11:11None at all.

01:11:12No matter what

01:11:12we've offered him,

01:11:13it's no use.

01:11:14He's coming here

01:11:15himself to say

01:11:15the last word.

01:11:16And you're going

01:11:17to let him come

01:11:17to this house?

01:11:18Unfortunately,

01:11:19it's his house.

01:11:20Nothing works

01:11:21with him,

01:11:21neither reason,

01:11:22entreaties,

01:11:22or threats.

01:11:24He has come

01:11:24prepared for

01:11:25anything,

01:11:25and he won't

01:11:25give in.

01:11:26So all our

01:11:27work is going

01:11:28to be destroyed

01:11:28in a minute,

01:11:29before our

01:11:29very eyes.

01:11:30And are we

01:11:31going to look

01:11:31on with our

01:11:32arms folded?

01:11:32It's no use

01:11:33having reason

01:11:34on our side.

01:11:35He has strength

01:11:36and truth

01:11:36on his side.

01:11:37I don't recognize

01:11:39you.

01:11:40When I first

01:11:41met you,

01:11:42hearing you speak,

01:11:43you seemed like

01:11:44a miracle worker

01:11:45with a new kind

01:11:47of magic in your hands.

01:11:48And now a truth

01:11:49arrives at your door

01:11:50which hasn't even

01:11:51the advantage

01:11:52of truth's greatness.

01:11:53And here you stand,

01:11:55tied,

01:11:55hand and foot.

01:11:56What can I do?

01:11:57When he found out

01:11:58what was going on,

01:11:59we put all the

01:12:00cards in his hands.

01:12:02Now he doesn't

01:12:02need to beg.

01:12:03He can calmly

01:12:03play at blackmail.

01:12:06We have nothing

01:12:06to hope for,

01:12:07Isabel,

01:12:07nothing.

01:12:08You can still

01:12:08do one good thing

01:12:09in this house,

01:12:10one last thing.

01:12:12Confess the truth

01:12:13to Granny yourself.

01:12:14What should be

01:12:15gained by that?

01:12:16It's like taking

01:12:18off a bandage.

01:12:19You do it slowly,

01:12:21with loving hands.

01:12:23Don't wait for him

01:12:24to wrench it off.

01:12:25I can't.

01:12:25I haven't the nerve.

01:12:27I don't want to see

01:12:28a wound opened

01:12:29which I'm not able

01:12:30to cure.

01:12:32Let's get away

01:12:32from here

01:12:33as soon as possible.

01:12:33To your nice,

01:12:34comfortable house.

01:12:35To amuse yourself

01:12:36building dreams

01:12:37which have this

01:12:37awakening.

01:12:38No, Marithio,

01:12:39you go alone.

01:12:40You surely don't

01:12:41think of staying here.

01:12:41I wish to God

01:12:42I could.

01:12:43But nor can I go

01:12:44from this invented

01:12:45life to another

01:12:46equally false one

01:12:47with you.

01:12:47Where will you go then?

01:12:48Are you thinking

01:12:49of going back

01:12:49to your old life?

01:12:50It seems incredible,

01:12:51doesn't it?

01:12:52But that's the greatest

01:12:53lesson I've learned here.

01:12:54My room was small

01:12:56and poor

01:12:57but I don't need

01:12:58anymore

01:12:58but it suited me.

01:13:00In winter

01:13:00the cold used to come

01:13:01in through the windows

01:13:02but it was a clean cold

01:13:03fitting me like

01:13:04my own clothes.

01:13:05There weren't any roses

01:13:07at the window

01:13:07only some dusty geraniums.

01:13:09But it was all suited to me

01:13:10and all my own.

01:13:12My poverty,

01:13:13my cold,

01:13:13my geraniums.

01:13:14And you want to return

01:13:15to that?

01:13:15You shan't.

01:13:16Who's going to stop me?

01:13:17I am.

01:13:17You?

01:13:19Listen.

01:13:20Now that there's no longer

01:13:21any teacher or pupil.

01:13:23Now that for the first time

01:13:25we can talk as equals.

01:13:27I'll tell you my story

01:13:28as if it weren't mine.

01:13:29So that you may see it

01:13:30more clearly.

01:13:32One day

01:13:33a lonely girl

01:13:34was taken from her world

01:13:35into another

01:13:36marvellous world.

01:13:38She suddenly had everything

01:13:39which she lacked before.

01:13:40A family,

01:13:41a house with trees,

01:13:42a young wife love.

01:13:44Naturally

01:13:44it was only acting

01:13:45out of force

01:13:46but she couldn't judge

01:13:47and she became

01:13:48too involved.

01:13:50What should have been

01:13:50a stage

01:13:51became her real house.

01:13:53When she said,

01:13:53Granny,

01:13:54it wasn't just a line

01:13:55from a play

01:13:56but a cry

01:13:57that welled up

01:13:58from inside her.

01:13:59It made her blood

01:14:00throb with happiness.

01:14:02The dream

01:14:03lasted seven days

01:14:04and this is the result.

01:14:08Now I know

01:14:09that my loneliness

01:14:09is going to be more difficult.

01:14:11My geraniums poorer,

01:14:12my cold colder.

01:14:13But they are

01:14:14my only truth

01:14:15and I never want

01:14:17to dream again

01:14:18so that I never

01:14:19have another awakening.

01:14:21Forgive me

01:14:22if I seem unjust.

01:14:26Only in one thing.

01:14:29Why do you imagine

01:14:30that this is only

01:14:31your story?

01:14:33Couldn't it be

01:14:34mine as well?

01:14:37What do you mean?

01:14:39That it also needed

01:14:40this house

01:14:41to discover my truth.

01:14:44Yesterday

01:14:44I didn't even know

01:14:45the color of your eyes.

01:14:47Do you want me

01:14:47to tell you now

01:14:48what color they are

01:14:49at every hour of the day

01:14:50and how their light changes

01:14:51when you open the window,

01:14:52when you look at the fire,

01:14:54when I come

01:14:54and when I go?

01:14:55Marithio.

01:14:57For seven nights

01:14:59I have felt you sleeping

01:15:01on the other side

01:15:01of my door.

01:15:03You weren't mine

01:15:04but I loved to hear

01:15:06you breathing

01:15:07beneath the same roof.

01:15:09Your breathing

01:15:10began to be part of me

01:15:11and now the only thing

01:15:14I know is that

01:15:14I can't live without it.

01:15:17I need it

01:15:19near me forever

01:15:20on my own pillow.

01:15:24What does it matter

01:15:25whether it is

01:15:26in my house

01:15:26or yours?

01:15:28Either of them

01:15:29can be ours.

01:15:32You decide.

01:15:35Marithio.

01:15:37Marta, Isabel.

01:15:39My truth.

01:15:40There he is.

01:15:45I'll speak to him.

01:15:46Not you.

01:15:47Leave me alone with him.

01:15:48Are you mad?

01:15:49I've gone

01:15:49after the door, sir.

01:15:50Very well, Felisa.

01:15:51Perhaps a woman

01:15:52might succeed

01:15:52where you would fail.

01:15:53I'll be close by.

01:15:54Just outside the door there.

01:15:57Don't be afraid.

01:15:58Now I'm strong

01:15:59for both of us.

01:16:00It's the man

01:16:01who came last night.

01:16:02He asked for madam.

01:16:03Tell him to come in here, Felisa.

01:16:04Oh, I don't need to.

01:16:05It seems he makes

01:16:06a habit of coming in

01:16:06without being asked.

01:16:07All right, you've let me in.

01:16:08Now you can go.

01:16:09It's all right, Felisa.

01:16:10You may go.

01:16:14My false wife, eh?

01:16:16That's right.

01:16:17Pleased to meet you.

01:16:18At least I made a good choice.

01:16:21I know the whole game here.

01:16:22The letters,

01:16:23the happy marriage,

01:16:24granny's emotion.

01:16:25A fine story

01:16:26with a moral as well.

01:16:27Too bad it's ending

01:16:28so badly.

01:16:29It hasn't ended yet.

01:16:30For my part,

01:16:31if you want to carry on

01:16:32with it,

01:16:32you know my price.

01:16:33Too high.

01:16:34To sell off this house.

01:16:35The only thing left

01:16:36for these two old people

01:16:37so that they may die in peace.

01:16:38I could die in the gutter

01:16:40if I went without the money.

01:16:41My friends don't understand

01:16:42fairy tales.

01:16:43And they are good shots.

01:16:45Is that your last word?

01:16:46Again?

01:16:47Last night,

01:16:48your boyfriend

01:16:48asked for time to pay.

01:16:50I gave him till now

01:16:51when I've had enough delay.

01:16:53Have you got the money

01:16:54or not?

01:16:54You know as well as I do

01:16:55that it's impossible.

01:16:56We'll soon find out.

01:16:58I suppose you've got

01:16:59the old lady locked up

01:16:59in her room, haven't you?

01:17:00Don't worry.

01:17:01I know the way.

01:17:01Don't move.

01:17:02Not a step.

01:17:02I warn you that no woman

01:17:04has ever stopped me.

01:17:05Even the giving kind,

01:17:06let alone those who threaten.

01:17:07Get away.

01:17:08I beg you,

01:17:09think before it's too late.

01:17:10Do you know that one word

01:17:11from you can kill that woman?

01:17:13It can't be as bad as old man.

01:17:14Well, unfortunately it is.

01:17:16It's only this make-believe

01:17:18that's keeping her alive.

01:17:19And a blow like this

01:17:20could be fatal.

01:17:21Are you so interested

01:17:22in her life?

01:17:22More than in my own.

01:17:23Then why waste time?

01:17:25We can discuss it

01:17:26the way I want.

01:17:27A plain deal.

01:17:29The old lady's life

01:17:30is worth 500,000 pesetas,

01:17:31isn't it?

01:17:32You swine.

01:17:34What, uh,

01:17:35what's happening here,

01:17:37Isabella?

01:17:38Grant?

01:17:39Oh, if I'm not mistaken,

01:17:41this is the same gentleman

01:17:43who was here last night.

01:17:45Do you, uh,

01:17:46want anyone in this house?

01:17:48No one.

01:17:49He only came to say goodbye.

01:17:51It's true,

01:17:52you were going,

01:17:53weren't you?

01:17:54I haven't come all this way

01:17:55to go back with empty hands.

01:17:57Don't listen to him,

01:17:58Granny.

01:17:58Don't listen to him.

01:17:59Oh, are you mad?

01:18:01Oh, in what way

01:18:01is this to treat a visitor?

01:18:03Oh, forgive her.

01:18:04She's a little excited.

01:18:06Now, now,

01:18:06leave us alone, Isabella.

01:18:08This gentleman

01:18:09has something

01:18:10important to say to me.

01:18:12Not he.

01:18:13I'll tell you afterwards.

01:18:14Just the two of us.

01:18:15That's enough, Isabella.

01:18:17Now,

01:18:17go out to the garden

01:18:18and don't come in

01:18:19for any reason

01:18:20until I call you.

01:18:22And do you hear?

01:18:23Not for any reason.

01:18:25Now, leave us.

01:18:29Oh, now,

01:18:30it, uh,

01:18:31it seems that you have

01:18:32something important

01:18:33to tell me.

01:18:35Won't you sit down?

01:18:36No, thank you.

01:18:37It can be said

01:18:38in a few words.

01:18:39So,

01:18:39you have come a long way

01:18:41to talk to me.

01:18:42Where from?

01:18:44From Canada.

01:18:45Oh,

01:18:45a beautiful country.

01:18:48My grandson

01:18:49has come from there,

01:18:50too,

01:18:51a few days ago.

01:18:52Do you know

01:18:53my grandson?

01:18:55Very well.

01:18:56Better than you do yourself.

01:18:58That's possible.

01:19:00He's been away from me

01:19:01for such a long time.

01:19:03When he left this house...

01:19:04When he was thrown out

01:19:05for no reason.

01:19:06Exactly.

01:19:07When his grandfather

01:19:08threw him out

01:19:09for no reason,

01:19:10I was afraid for him.

01:19:12He was a hothead.

01:19:14But I was sure

01:19:14he was good at heart.

01:19:17I knew that he would

01:19:18only need to think of me

01:19:19to keep him

01:19:20to the right path.

01:19:22And that's the way it was.

01:19:24Afterwards,

01:19:24his letters came,

01:19:25telling me of his new life.

01:19:27And at last,

01:19:29he came himself.

01:19:30I know the story.

01:19:32What I can understand

01:19:33is how you swallowed it

01:19:34at your age.

01:19:35Did it never occur to you

01:19:36to suspect that those letters

01:19:37might have been false?

01:19:38False?

01:19:39Everything.

01:19:40The letters

01:19:40and this ridiculous story

01:19:42and even the grandson

01:19:42in person.

01:19:44Have you become blind

01:19:45or are you pretending

01:19:46to close your eyes?

01:19:48What are you trying

01:19:49to insinuate?

01:19:51That that cheerful

01:19:52and happy boy

01:19:53who is living

01:19:54under my roof

01:19:55is not my grandson?

01:19:58That my real grandson,

01:20:00the last drop of my blood,

01:20:03is this poor scoundrel

01:20:05in front of me?

01:20:08Was that what you came

01:20:09to tell me,

01:20:11Mauricio?

01:20:12Granny.

01:20:14And you came all the way

01:20:16across the sea

01:20:17to deliver this blow

01:20:19to an old woman.

01:20:23You can be proud

01:20:24of yourself.

01:20:26That's really manly.

01:20:28So that's it.

01:20:29Do you mean to say

01:20:30you were in it as well?

01:20:31No.

01:20:32I didn't know

01:20:33until last night.

01:20:34And that second

01:20:34when I saw you

01:20:35suddenly opened my eyes.

01:20:37And after that

01:20:38it didn't take me long

01:20:39to make your grandfather

01:20:40confess.

01:20:41It was so dreadful

01:20:43that I couldn't bring myself

01:20:44to believe it.

01:20:45I had only one hope left.

01:20:48At least he won't dare

01:20:50in front of me.

01:20:51And I waited

01:20:52until this moment

01:20:55for one decent word.

01:20:58One gesture of pity.

01:21:01For some slight hesitation.

01:21:03Something that might

01:21:04might help me

01:21:06to forgive you.

01:21:08But no.

01:21:10No, we have gone

01:21:11straight to the wound

01:21:12with your filthy fingers.

01:21:14Right to where it hurts most.

01:21:17I couldn't do otherwise, Granny.

01:21:18I need that money

01:21:19to save my skin.

01:21:20I know the formula.

01:21:22I've just heard it

01:21:22from your own lips.

01:21:24And I'd have given you

01:21:24all you wanted.

01:21:25Just, just for one tear.

01:21:30But it's too late for tears.

01:21:33And I'll give you nothing

01:21:34for that skin

01:21:35which has nothing

01:21:37of mine beneath it.

01:21:38Are you going to let me

01:21:39die on the street

01:21:40like a dog?

01:21:41Isn't that your code?

01:21:42And let it at least

01:21:43have enough dignity

01:21:45to stick by it.

01:21:46to think.

01:21:47Not only could they kill me

01:21:49but I may have to kill them.

01:21:50Oh, for God's sake,

01:21:51Mauricio, that's enough.

01:21:53If you've anything

01:21:54of a man left in you,

01:21:56if you still wish

01:21:57to do something for me,

01:21:58get out of this house

01:22:00at once.

01:22:00This very moment.

01:22:02Do you hate me so much?

01:22:03Go at once.

01:22:05Can't you see

01:22:05that I can't stand anymore?

01:22:09My knees are trembling

01:22:10and I don't,

01:22:11I don't want

01:22:13to collapse

01:22:13that's in front of you.

01:22:16Here, get out.

01:22:17The blame will be yours.

01:22:19Get out.

01:22:21Coward.

01:22:23Coward.

01:22:24Coward.

01:22:31Coward.

01:22:37Oh, my poor Eugenia.

01:22:40didn't I tell you

01:22:43that it would be

01:22:44too much for you?

01:22:46Hell,

01:22:47now you see

01:22:49you were wrong.

01:22:51The sharp pain

01:22:52is over now.

01:22:55The worst will be

01:22:56that which comes afterwards

01:22:58in the silence

01:22:59and enfolds me.

01:23:02but I'm used to that.

01:23:05We're old friends.

01:23:09The young people

01:23:10haven't heard anything,

01:23:11have they?

01:23:12Aren't you

01:23:12going to tell them?

01:23:14Never.

01:23:15I owe them

01:23:16the best days

01:23:17of my life

01:23:17and now I'm the one

01:23:19who's going to do

01:23:19something for them.

01:23:20I'm going to call them in.

01:23:23Mauricio?

01:23:24Isabel?

01:23:26Where

01:23:26do you get

01:23:28the strength?

01:23:29It's the last day,

01:23:30Fernando.

01:23:31I don't want them

01:23:33to see me down.

01:23:35Dead inside,

01:23:37but

01:23:37on my feet

01:23:39like a tree.

01:23:43Not a word, no.

01:23:45Grandma, dear.

01:23:47Grandma.

01:23:48Oh, no,

01:23:49why these

01:23:50sad faces?

01:23:52There'll be time

01:23:53enough for that tomorrow.

01:23:54Has

01:23:55that man

01:23:56gone?

01:23:56A moment ago.

01:23:57And what an

01:23:58extraordinary creature.

01:23:59he says that he's

01:24:01come a long way

01:24:02to speak to me

01:24:02and he stands

01:24:03looking at me

01:24:04in silence

01:24:05and then

01:24:05goes out

01:24:06as he came in.

01:24:08Without saying anything?

01:24:08Well, it seemed

01:24:09that he was going

01:24:10to say something

01:24:11important,

01:24:12but his voice

01:24:13suddenly failed him

01:24:14and he couldn't

01:24:15go on.

01:24:16And he said nothing?

01:24:17Not a word?

01:24:18Only

01:24:19forgive me.

01:24:21can you

01:24:24understand?

01:24:26Oh,

01:24:26some escaped

01:24:28lunatic.

01:24:29Well,

01:24:30have you

01:24:30packed your bags?

01:24:32There's still

01:24:32time.

01:24:33Fernando,

01:24:34go and cut

01:24:35them a spray

01:24:36from the

01:24:37jacaranda.

01:24:38They'd like to

01:24:39have it as a

01:24:39souvenir.

01:24:40Yes,

01:24:41my dear.

01:24:41Oh,

01:24:42and the

01:24:43recipe for

01:24:44the liqueur.

01:24:45Now,

01:24:45we mustn't

01:24:46forget it

01:24:46at the last

01:24:46moment.

01:24:47Have you

01:24:48a pencil

01:24:48and paper?

01:24:49Yes,

01:24:49Granny.

01:24:50Here you are,

01:24:51Isabelle.

01:24:52You write

01:24:53it down.

01:24:53Yes,

01:24:54yes,

01:24:54now write

01:24:55it down,

01:24:55my dear,

01:24:56and we'll

01:24:56see how

01:24:57it turns

01:24:57out.

01:24:58All the

01:24:59women from

01:24:59this house

01:25:00have made

01:25:00it well.

01:25:01Now,

01:25:02now,

01:25:02write down

01:25:04equal

01:25:05quantities

01:25:06of distilled

01:25:07water

01:25:08and alcohol.

01:25:11What

01:25:12time

01:25:13does the

01:25:14plane

01:25:14leave?

01:25:16Early

01:25:16tomorrow

01:25:16morning.

01:25:18Tomorrow.

01:25:20Put

01:25:21in a quart

01:25:22of

01:25:22mustard

01:25:23raisins.

01:25:24Musket

01:25:25yet,

01:25:25if you

01:25:25have

01:25:26any.

01:25:26You'll

01:25:27write to

01:25:29me,

01:25:29won't you,

01:25:30Isabelle?

01:25:31Yes,

01:25:31Granny,

01:25:32I will.

01:25:33Always.

01:25:35I'd like to

01:25:36see the

01:25:36great woods

01:25:37and the

01:25:38sledges.

01:25:40Yes.

01:25:42The whites

01:25:43of two eggs

01:25:44well beaten

01:25:45and,

01:25:47and later,

01:25:50when you

01:25:51have a

01:25:51sun.

01:25:53A sun.

01:25:55You dropped

01:25:56your pencil,

01:25:57darling.

01:25:58Here it

01:25:59is.

01:26:00Well

01:26:01shredded

01:26:02bitter orange

01:26:02peel,

01:26:03and not a

01:26:04raw cinnamon

01:26:05for flavor,

01:26:06and,

01:26:07oh,

01:26:08two drops

01:26:09of essence

01:26:09of rosemary,

01:26:10death and

01:26:11avenge.

01:26:13You'll

01:26:13once come.

01:26:21In

01:26:21Trees

01:26:22Die on

01:26:22Their

01:26:22Feet

01:26:23by Alejandro

01:26:24Cassona,

01:26:25translated and

01:26:25adapted by

01:26:26George

01:26:26Leeson,

01:26:27the part of

01:26:28Isabelle was

01:26:29played by

01:26:29Beryl Calder,

01:26:30that of the

01:26:31director by

01:26:31Simon Lack,

01:26:33grandmother by

01:26:34Olga Lindo,

01:26:34and Balboa by

01:26:36Norman Carriage.

01:26:38The rest of the

01:26:39cast was as

01:26:39follows.

01:26:40The other,

01:26:41Edward Kelsey,

01:26:43Professor Earl

01:26:44Gray,

01:26:45Henoveva,

01:26:46Kathleen Helm,

01:26:48Hunter,

01:26:48Gordon Faith,

01:26:50Felisa,

01:26:51Patricia Leventon,

01:26:53Helena,

01:26:54Polly Merch.

01:26:55The production

01:26:56which was recorded

01:26:57was by

01:26:58Norman Wright.

Trees Die on their Feet by Alejandro Casona

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