WARNER BROS. PRODUCTIONS LTD.
Registered Office: WARNER HOUSE, PINEWOOD STUDIOS, IVER HEATH, BUCKS. SLO ONH
Registered in London
Company No. 680511
TELEPHONE: Iver (0753) 654545 TELEGRAMS: W.B. PROD. TELEX: 849361
25th May 1977
Mr. Maurice Rowdon,
5 Tamworth Street,
London, SW6 ILB
Dear Mr. Rowdon,
I am sorry for the delay in getting back to you on
the screenplay A DAY IN BLACK, which you submitted
to us last month.
We have carefully considered this subject, but
unfortunately do not feel that it is anything we
would, want to pursue at the present time.
I am returning the script herewith, and do wish
-you the best of luck in setting it up elsewhere.
yours sincerely,
Bulz ) Acle
Betty Archer,
Story Editor.
enc.
DIRECTORS: PAUL L. HITCHCOCK, ARTHUR J. BUCK, TIMOTHY L. KIRBY.
A Warner Communications Company


"A DAY IN BLACK"
An Original Screenplay
Maurice Rowdon & Valeria Grinfan


CHARACTERS
CLARE TROISI
A LBER' TO BALZAN
MARIO BALZAN
AGNESE BALZAN
LILLIAN TROISI
ANDREA TROISI
GIULIO MARCHETTI
PROFESSOR ENRICO FRANZE TTI
FRANCA DI COSIMO
GERHARD VON GEIGER
JOLE
GIOVANNI BALZAN
GUIDO SANTI
LUIGI SCA TIN
INGE
LE TIZIA
GILSEPPINA GORDI
MALE GUEST
FEMALE GUEST
ROSANNA
GIANFRANCO
VINCENZO BALZAN
A YOUNG MAN
A YOUTH
GERMAN CORPORAL
WAITERS, WEDDING GUESTS, PEDESTRIANS, BARGEHANDS,
GERMAN SOLDIERS, PEASANTS, CHILDR EN.


EXT. FONDAMENTA DEL RIO DI MAL PAGA, VENICE. DAY
We OPEN on a WEDDING PARTY about to see THE MARRIED
CGUPLE off on their honeymoon. It is a splendid morning in
September 1939. A motor-boat is waiting for the MARRIED
COUPLE at the fondamenta. Other motorboats are moored in
readiness to take GUESTS home.
CLARE TROISI and ALBERTO BALZAN have just been married,
and the CROWD of WELL-DRESSED GUESTS is centred on them.
MARIO and AGNESE BALZAN, ALBERTO's parents, are there,
with LILLIAN TROISI, CLARE's mother, also ALBERTO's young
brother GIOVANNI.
THERE are also PROFESSOR ENRICO FRANZETTI, a well-
preserved handsome man in his early fifties, together with friends
and fellow-students of the MARRIED COUPLE - FRANCA DI
COSIMI, a beautifully-portioned girl from southern Italy with long
black hair (CLARE's closest friend) and LETIZIA, another student,
GUIDO SANTI (FRANCA DI COSIMO's boyfriend) and LUIGI
SCATIN, student.
Everyone is shouting Viva gli sposi! Viva gli sposi!, and laughing.
CLARE and ALBER' TO try to reach the waiting motorboat but suddenly
a door of the house behind them opens and ANDREA TROISI, CLARE's
father, emerges, smiling proudly, at the head of a file of FIVE
WAITERS, each bearing a tray with a bottle of champagne and glasses.
There is a great roar of approval as THE FIRST WAITER goes with
ANDREA TROISI to the MARRIED COUPLE, and glasses are poured
for them. The GUESTS move in on THE WAITERS and take glasses.
There are more cries of Viva gli sposi! as everyone raises his glass
and drinks to the health of THE COUPLE.
We TAKE IN the boy VINCENZO BALZAN, one of ALBERTO's cousins,
who has GUIDO SANTI and LUIGI SCATIN close to him.
VINCENZO
Let's follow them to the station!
GUIDO
Yes, come on!
They go to the waiting motorboats, inviting THE GUESTS to join them.
CUT:


ANOTHER ANGLE
MS of the motorboats two or three of them - picking up THE
WEDDING GUESTS.
CUT:
RESUME 1
CLARE and ALBERTO are getting into their motorboat, alone.
A FEW GUESTS cluster round, holding up their glasses of
champagne.
GUESTS
Bravi! Viva gli sposi! Auguri!
Buon viaggio!
Other GUESTS are trying to get into the motorboats behind, at the
invitation of VINCENZO, GUIDO and LUIGI.
The first motorboat draws away from the fondamenta with CLARE
and ALBERTO.
THE GUESTS left on the fondamenta, including the PARENTS of the
MARRIED COUPLE, are hurried towards the other motorboats.
CUT:
ASTHE TITLESBEGINROLLING:
EXT. THE FIRST MOTOR BOA T. DAY
CLARE and ALBERTO are seated side by side as the motorboat draws
off in the direction of the railway station.
The other motorboats followed them in file, and GUESTS hanging out
still shouting Viva gli sposi!, some holding their glasses up in toast.
CUT:
EXT. THE RAILWAY STATION, VENICE. DAY
By a waiting train, with the hiss of steam, and raised VOICES OVER,
the closest RELA' TIVES and FRIENDS, including PROFESSOR
FRANZETTI and FRANCA DI COSIMO, gather round CLARE and
ALBERTO, hugging and kissing them in turn. THE COUPLE
prepares to enter the train. THE WOMEN have tears in their eyes,
with the exception of LILLIAN, CLARE's mother. Even the MEN are
moved.


Contd.
ALBERTO
(as he embraces LILLIAN)
Goodbye, Mrs. Troisi.
(to CLARE, with a laugh
as he kisses LILLIAN
on the cheek)
Your mother's not crying! She's happy
to see you go!
CLARE goes to her MOTHER, embracing her.
CLARE
(with a laugh)
She's English, and strong, and cold, cold!
LILLIAN, her head on CLARE's shoulder, almost gives way to tears,
her face screwed up and trembling, and there is a sympathetic cry
from THE GUESTS.
FRANCA DI COSIMO and CLARE kiss goodbye.
CLARE (contd)
Franca!
FRANCA
(kissing her)
Be happy!
CLARE
I will!
The MEN now embrace the COUPLE. PROFESSOR FRANZE' TTI
approaches CLARE. He kisses her hand. As he raises his head
again (she is watching him closely) he speaks quietly. -
FRANZETTI
If I can ever be of service again, Clare .
CLARE nods, and a certain reserve passes across her face.
CUT:
EZT. RIO DI MAL PAGA.. EVENING
WE OPEN on the house of the TROISI family. This is Venice in 1938,
late autumn. A FEW PEDESTRIANS walk by, their footsteps echoing:
a sandalo or small boat passes.


Contd.
CLARE, her hair disordered, dressed in a simple girl's frock and
autumn coat, emerges from the main door of the house and hurries
along the fondamenta.
She almost breaks into a run over the bridge leading towards the
Accademia. She gives the impression that she threw on her clothes.
CUT:
EXT. A CALLE, VENICE. EVENING
CLARE hurries along a narrow calle, brushing by A PEDESTRIAN.
CUT:
EXT. A CAMPIELLO, VENICE. EVENING
FRANCA DI COSIMO is waiting in the campiello or small square.
She is in a more collected state than CLARE, and,has taken trouble
with her clothes, though the elegance is smalltown.
CLARE appears from the calle and they hurry off together talking
closely.
CUT:
EXT. OUTSIDE A PALAZZO, VENICE. EVENING
CLARE and FRANCA reach the back-entrance of a palazzo on the
Grand Canal. They enter. They hurry up the wide stone staircase
inside.
CUT:
INT. PALAZZO STAIRCASE. EVENING
They reach an apartment door and FRANCA rings the bell.
It echoes inside. the apartment. They wait what seems a long time,
getting their breath back.
The door opens and GIUSEPPINA GORDI appears. She is no longer
young: her eyés have a special penetration. She looks at CLARE
with detachment.


Contd.
FRANCA
(to GIUSEPPINA)
This is the friend I told you about. -
GIUSEPPINA nods and smiles very slightly at FRANCA.
FRANCA (contd)
(to CLARE)
So I'll be going!
(to GIUSEPPINA)
Thank you, Mrs. Gordi. Good evening!
GIUSEPPINA
(as FRANCA leaves)
Good evening.
CUT:
INT. GIUSEPPINA 'S APARTMENT. EVENING
The door closes belind FRANCA. GIUSEPPINA leads CLARE towards
an elegant settee fronted by an ivory-inlaid table. GIUSEPPINA
sits down in an upright winged armchair opposite. She continues
to study CLARE, without undue sympathy.
GIUSEPPINA
It's a matter of the heart?
CLARE
Yes.
GIUSEPPINA
(taking a pack of cards
out of a small drawer
and putting them before CLARE)
Cut, with your left hand.
CLARE cuts the cards.
GIUSEPPINA (contd)
(looking first the cards,
then at CLARE curiously)
But this 'love' of yours is made of air!
Are you sure you want him ?


Contd,
CLARE
Yes! I've tried to stop thinking about
him but I can't! So it must mean some-
thing!
GIUSEPPINA
(studying the cards again)
He thinks of you as a friend, that's all.
CLARE
What can I do?
GIUSEPPINA
(laughing rather to herself)
Make a young man fall in love with you?
Such powers are given to very few!
CLARE
(at once)
Are there such powers ?
CUT:
INT. HOTEL ROOM, ROME. DAY
ALBERTO, in shirtsleeves, is standing at the window looking down
into the street.
FROM HIS PV an OFFICER of the fascist Militia is passing below.
ALBER TO
(singing ironically)
Faccetta nera, bella bambina, aspetta
e spera che l'impero si avvicina
CLARE joins him at the window. She is in a white petticoat and her
hair is rather disordered. ALBERTO puts his arm round her.
ALBERTO (contd)
- (indicating with a nod
THE OFFICER below)
Pity you can'tsee his decorations from
here. The way he walks he must have
a cartload.
(looking at her)
Why don't you look at him ? He's a fine-
looking man!


Contd.
CLARE continues to look at ALBERTO.
ALBERTO (contd)
(smiling with a certain pride)
Do you know what my father said this
afternoon, when he got me alone in the
garden ? Eh?
CLARE
ALBERTO
Can't you guess ? Poor man! My mother
sent him out to remind me to be careful
with you when we made love!
(he laughs)
And did you see all the others ? That look 1
of holy relish on their faces, thinking what
we're going to do tonight! I'd have loved
to raise my glass and say, Ladies and
gentlemen, Clare and I have been enjoying
the fruits of marriage for quite some time
now! Here's health!
(as CLARE remains serious)
It's funny mm ? Can't you see their hair
standing on end?
CLARE
It doesn't interest me.
ALBER TO
(nosing her neck)
You're only interested in me ?
CLARE
I'm interested in us!
ALBER TO
(gazing downat her breasts)
Me too.
He pulls down one of the straps of her petticoat.
CUT:


INT. THE TROISI HOUSE. EVENING
CLARE hurries up the stairs after her visit to GIUSEPPINA GORDI.
LILLIAN (V.O.)
Clare ?
CLARE
Yes mummy?
LILLIAN (V.O.)
You're late!
CUT:
ANOTHER ANGLE
As CLARE reaches the top of the stairs LILLIAN emerges from one of
the rooms dressed for dinner.
LILLIAN
Where you been? They'll be here in a
second!
CLARE
Iv was with Franca!
LILLIAN
Hurry up then! I put out your blue dress!
CLARE
(hurrying to her room)
CUT:
INT. DINING ROOM OF TROISI HOUSE. EVENING
LILLIAN and ANDR EA TROISI, CLARE, PROFESSOR FRANZETTI and
A COUPLE are seated at dinner. It is almost at an end. CLARE is
silent and lifts her eyes from her plate only to look at THE PROFESSOR
with a strange attention of which he is aware without seeming to know
the reason for it.
MALE GUEST
I think men should leave gossiping to
women but I must admit there's a bit of
truth in this story.


Contd.
MALE GUEST (contd)
(with a glance at ANDR EA)
They took every chance they could to
be together I dances - parties!
FEMALE GUEST
And then you know how it is - it doesn 't
take much to burn straw if you put a flame
to it!
ANDREA
Well she's certainly a very beautiful girl.
Young too.
FEMALE GUEST
(with a certain satisfaction)
Unfortunately a scandal ruins a woman at
any age!
FRANZETTI
(digging at her)
May I contradict you? For a woman ruin
doesn't mean having a scandal when she's
young so much as in never having had a
scandal by the time she's not so young!
There is silence.
CLARE
(fixing him with her eyes)
Is that true Professor? Then I've got to
hurry up!
There is laughter.
LILLIAN
(with a smile)
She's twenty. :
FRANZETTI
(to CLARE)
You've got time for as many scandals as
you like, my dear!


Contd.
CLARE
Not all that much - if Igo on wasting my
life on books! It was you, remember,
who told me that one's first year at
college is as easy as falling off a log!
It isn't true! I'm up to my neck in
trouble!
FRANZETTI
(amid the amusement) -
What kind of trouble ?
CLARE
(in a slightly provocative way)
Catullus!
FRANZETTI
(smiling)
Oh Catullus! That's the kind of trouble I
can easily repair. Would you like to come
to me tomorrow ? We'll have a look at the
old fellow together.
CLARE
At five o'clock!
LILLIAN
No really Clare you can't impose on the
professor's time like that. And you
(to the PROFESOR)
shouldn't encourage her.
FRANZETTI
(looking at CLARE)
Clare couldn't impose on me! And then
you know I've got to make up for my lie
about one's first year at college!
CLARE
At five o'clock then?
FRANZETTI
(with elegant gravity)
At five o'clock.
CUT:


INT. PROFESSOR FRANZETTI'S STUDY. DAY
We hear CLARE'S VOICE OVER reading Catullus in Latin.
The walls of PROFESSOR FRANZE TTI's study are lined with books.
The room has a cosy and academic atmosphere. There is a long table
in the middle piled with books and files, and surrounded by leather
armchairs.
PROFESSOR FRANZE TTI is strolling up and down the room, his hands
in his pockets, while CLARE is seated at the table with the Catullus
text before her.
Passer, deliciae meae puellae,
Quicum laudere, quem in sinu tenere,
Cui primum digitum dare adpatenti
Et acris solet incitare morsus,
Cum desiderio meo nitenti
Karum nescioquid libet iccari
Ets solaciolum sui doloris,
Credo, ut tum gravi acquiescat ardor
Tecum ludere sicut ipsa posse
Et tristus animi levare curas!
FRANZETTI
And how would you translate the last
two lines ?
CLARE
(translating confidently)
'If only I could play with you as she plays,
and make my sad heart lighter!
FRANZETTI
(smiling at her)
In other words, perfectly simple' You
don't seem to have any difficulties at all!
(leaning over the table
towards her conspiratorially)
Is Catullus really on your mind?
CLARE
FRANZETTI
Then what is ?


Contd.
CLARE takes a letter from the Catullus book and hands it to him.
He looks at the handwriting on the envelope curiously and then
breaks it open.
FRANZETTI (contd)
(as he sees the signature)
Ah, from Mrs. Gordi!
He glances with sudden alertness at CLARE and then reads the
letter. He coolly puts it down on the table.
FRANZETTI
(with a trace of sharpness)
And how did my name get connected with
your love-problems ?
CLARE
It was Mrs. Gordi. She said only certain
people could do these things.
FRANZETTI
(ironically)
In other words I'm some sort of
magician?
CLARE
She didn't say that!
(gazing at him candidly)
But are you?
FRANZETTI
(with a laugh)
I'm a teacher, and a family-friend. Do you
imagine I spend my. evenings doing kabbala
or somet hing ?
CLARE
(still gazing at him fixedly)
Yes, you might! Why not ?
FRANZETTI
And I'm to let you into my secrets and
make a young man fall in love with you,
(suddenly)
What's his name?


Contd.
CLARE
Alberto! Alberto Balzan!
FRANZETTI
Mario Balzan's eldest boy' ? The doctor ?
CLARE
Yes!
FRANZETTI
He's very good-looking:
CLARE
That's got nothing to do with it!
FRANZETTI
Oh I realise it's serious.
(speaking more quietly)
I've been realising that for a month or
more. And suppose he doesn 't want to fall
in love?
CLARE
Why shouldn't he ?
FRANZETTI laughs and takes up her Catullus.
FRANZETTI
(drawing a chair close to
her side and sitting down)
Read me that finest of all his love lyrics -
here.
(showing her the place)
Ilove to hear your voice
CLARE
(reading)
Odi et amo: quare id faciam, fortasse
requiris,
Nescio, sed fieri sentio et excrucior - e
CUT:


EXT. THE ISLAND OF TORCELLO. DAY
We hear CLARE'S VOICE OVER translating the above lines:
'I hate and I love: you may ask why
I behave like this. I don't know but
that's how it happens, and it's a cross
to bear .
CLARE, FRANCA and LETIZIA are picnicing with ALBERTO BALZAN,
GUIDO SANTI and LUIGI SCATIN.
They are lying or sitting on blankets. ALBERTO has his head in
LETIZIA's lap. GUIDO has just lit a cigarette and its smoke drifts
across FRANCA 's face. She begins singing in a burlesque way
Smoke Gets in Your Eyes.
LUIGI
Have you got a pain somewhere,
Franca?
ALBERTO
(with a wink at the others)
Is it Russian ?
LETIZIA
Can't you hear it's English?
ALBERTO
Really?
FRANCA stops singing.
FRANCA
(to CLARE)
Did I get the words right?
CLARE
I didn 't recognise any!
They all laugh.
FRANCA
(laboriously)
Smok - giz a een - ior
ice!


Contd.
CLARE
ALBER TO
Laughter.
ALBERTO
CLARE
(gazing at him)
'In your eyes. 1
ALBERTO
EEN IOR ICE!
CLARE
Not 'ice'! That's ghiaccio! Like you!
ALBERTO
What?
ALBERTO looks at her for a moment, perplexed amid the amusement.
She continues to gaze at him.
CUT:
EXT. ANOTHER PART OF THE ISLAND. DAY
The picnic party is at the water's edge, running and playing. GUIDO
SANTI half-falls into the water, hangs on to CLARE who also stumbles.
CLARE is on the ground. ALBERTO runs over to her. Her blouse is
soaked. GUIDO is soaked below the waist. They are all gasping with
laughter.
ALBERTO
(to CLARE)
Are you OK?
CLARE
Yes thanks, doctor!


Contd.
ALBERTO
(closer)
Any bruises ?
CLARE
I'm soaked!
ALBERTO
(taking off his jacket)
Here!
Meanwhile GUIDO SANTI is trying to wring out his trousers.
ALBERTO gazes at CLARE's shoulders and breasts which are outlined
under her wet blouse. He hands her his jacket.
FRANCA
(be hind ALBERTO)
Can you give Guido your trousers ?
They all laugh,
CUT:
EXT. CAMPO SS GIOVANNI E PAOLO, VENICE. DAY
IN LS ALBERTO emerges from the hospital and begins walking across
the square.
CUT:
EXT. CAMPO SAN FILIPPO E GIACOMO, VENICE. DAY
CLARE walks across the campo.
CUT:
EXT. CAMPIELLO DELLA QUERINI-STAMPALIA, VENICE. DAY
LS of ALBERTO and CLARE walking towards each other without
realising it. They meet and say hullo. After a few words they each
continue on their way. But ALBERTO stops and calls her. She turns.
He approaches her again, says something and this time they stroll
off together in CLARE's dire ction.
CUT:


REPEAT 12.
From the hotel window an ice-cream cart is seen passing in the
street below. WE PULL BACK to find that this is CLARE'S P.V.
She is standing at the window dressed for dinner.
We hear OVER THE ICECREAM VENDOR's cry, Gelati! gelati!
ALBERTO is whistling, LOVER.
ALBERTO (V.O.)
Are you ready, Clare ?
CLARE continues to gaze at the street below, absorbed in her thoughts.
ALBERTO (contd) (V.O.)
Clare!
She stirs.
CLARE
Yes! I'm coming!
She stays there for a moment longer and then slowly leaves the window.
CUT:
INT. STAIRCASE OF VENE TIAN PALAZZO. DAY
JOLE, a middle-aged Friulian woman, walks slowly upstairs laden
with shopping. It is winter, 1939. She reaches the first landing and
walks towards an apartment door.
From her PV, LILLIAN TROISI is standing outside the door.
JOLE
(stopping)
Mrs. Troisi! Have you rung the bell ?
LILLIAN
I've been ringing for ten minutes.
JOLE
(approaching the door
with her key)
She's still asleep maybe.


Contd.
JOLE (contd)
(opening the door and
calling inside)
Signora!
They both go into the apartment.
CUT:
INT. CLARE'S APARTMENT. DAY
JOLE and LILLIAN walk in, looking for CLARE.
LILLIAN
Clare!
Yes ?
JOLE
There she is! I told you she was
asleep!
LILLIAN
(going towards
CLARE's room)
I've been ringing for ages!
INT. CLARE'S BEDROOM. DAY
CLARE is lying on her bed in her clothes. LILLIAN walks in.
CLARE
Sorry mum. I must have fallen
asleep.
LILLIAN
You certainly must!
(sitting down on the
bed and kissing her)
Is everything OK ?
CLARE
(nodding, yawning)
Yes! We didn't get to bed till four!


Contd.
LILLIAN
Can Jole make me some tea ? I'm
dying for a cup!
CLARE
Of course! Jole! Jole!
Yes, Signora ?
CLARE
Make mummy a cup of tea please!
LILLIAN
We're going to England for Christmas.
We'd like you and Alberto to come too.
CLARE
(sitting up)
You're going to England? you'd like us
to come ? But England's at war!
LILLIAN
I know! But we're not!
OVER, rifle-shots.
CUT:
EXT. A FAIRGROUND, VERONA. NIGHT
Rifle shots OVER. They are from one of the fairground firing ranges,
and mingle with OTHER FAIRGROUND NOISES.
WE TRACK through the crowds, past the Big Dipper and the various
roundabouts. WE ZOOM IN to the young blond GIULIO MARCHETTI
who is strolling along rather dreamily, his light overcoat open,
gazing at the booths on either side. He has a distinguished but relaxed
bearing.
A YOUNG MAN passes, stops and recognises him.
YOUNG MAN
Giulio! I thought you were still in
Sicily with your pots!
GIULIO
I just got back.


Contd.
They stroll along together. They stop and watch one of the firing
booths.
YOUNG MAN
Going away for Christmas ?
GIULIO
London maybe. But I haven't decided
yet.
CUT:
EXT. WOODS, SOUTHERN ENGLAND. DAY
CLARE, ALBERTO and an Englishman DICK WYATT are walking in the
woods and are seen in L.S. WYATT is a sturdy, beefy, weather-beaten
man. He has a walking stick and two dogs are following him. He is
dressed in a hacking jacket and the 'silver' whipcord trousers that were
in vogue among the semi-military. It is a scene of the greatest serenity,
considering that Britain is at war.
CUT:
EXT. FORECOURT OF WYATT HOUSE. DAY
CLARE, ALBERTO and WYATT cross the forecourt of a large house
built in the 'stockbroker Tudor' style of the Thirties. The dogs are
be hind them.
An AIR RAID WARDEN, a local man of about 60, passes on the road
outside. He is wearing a steel helmet and a rifle is slung over his
shoulder.
AIR RAID WARDEN
Morning, Mr. Wyatt!
WYATT
(turning)
Morning, Harry! Invasion started yet?
AIR RAID WARDEN
My wife's on the attack again, that's all
I know!


Contd.
WYATT
(with a laugh)
You ought to be a bachelor like me!
CUT:
INT. LOUNGE OF WYATT HOUSE. DAY
It is shortly before lunch and CLARE, ALBERTO, LILLIAN and
ANDREA TROISI are DICK WYAT TT's guests. The lounge is a long
room withfrench windows giving on to a balustrade, and there are
deep comfortable armchairs covered with gay rustic material.
Carpets are spread opulently over the parquet floor, and there are
one or two oriental bombé sideboards, and pieces of Dresden china.
WYATT is handing a drink to ALBERTO. The others have been
served.
WYATT
It's going to last a long time yet, take
it from me.
(helping himself to a
large whisky and soda
and throwing himself
with self-satisfied
heaviness into an armchair)
Unless the Americans come in of course.
But they won't, not for a long time.
Congress won't buy it.
(turning to ANDREA)
We're alone Mr. Troisi. And damned weak.
(with a sudden candid smile)
So we're going to need at least ten years
to win this war!
(fixing ALBERTO)
Iwouldn't like to be in your boots, my lad!
ALBERTO
What do you mean?
WYATT
Mussolini's got to follow Hitler. Let me
tell you something. Eden made a bloody
mess of our relations with Italy. And
it's too late now. Sooner or later
Mussolini's coming into this war and
that means you! How do you feel about it?


Contd.
ALBERTO looks at WYATT thoughtfully.
ALBERTO
What do I feel about it?
(with a shrug)
I'm sure we agree it's very difficult
to admire Hitler
WYATT
Good! So why don 't you stay here?
ALBERTO
In England?
WYATT
Yes! There's a big need for doctors
here. And it wouldn 't be difficult to
find you a good job.
ALBERTO
I've already got a good job - in Venice.
WYATT
Listen to me! There's no such thing as
an Italian or Englishman as far as Hitler's
concerned. You're either for him or
against him! You and Clare should stay
in this country, Alberto, you should work
here!
ALBERTO
Me being a doctor here is going to stop
Hitler?
WYATT
The question is where you can serve best
and I think you can serve best here!
ALBERTO
It's Clare's mother and father who want
her here! I can understand that. But
I've got to go back. And I want her with
me. She's my wife!


Contd.
LILLIAN
Listen, Alberto, nobody's trying to separate
you from your wife :
ALBERTO
That's exactly what you're trying to do!
ANDREA
We want you to stay as well!
ALBERTO
(to ANDREA)
It's easy for you! You've got nothing to
lose! You're as much at home here as
in Italy! You've got no ties in Venice,
apart from me and Clare - and you want
to keep her here. So everything's fine!
ANDREA
I'm at home nowhere! Thanks to fifteen
years of fascism and all those good people
who've got ties!
WYATT
And what's more Clare's half-English, and
you're putting her into a very tough
situation!
There is silence.
ALBER' TO
(to ANDREA)
So you've absolutely decided to stay ?
ANDREA
(nodding without
looking at him)
We decided before we left Venice.
LILLIAN
(to ALBERTO)
If you're really set on going you could
leave Clare with us for the time being,
until you see how things go over there.


Contd.
CLARE
There's only one person, who-hasn't said
anything so far and that's me!
CUT:
EXT. ST. MARK'S SQUARE, VENICE. DAY
MS of the cafe Florian. We ZOOM IN to see PROFESSOR FRANZE TTI
sitting at a table inside, an overcoat thrown over his shoulders.
A cup of coffee is before him, and he is reading.
CUT:
INT. BEDROOM, WYATT HOUSE, ENGLAND. NIGHT
It is a large room with a vast dark wardrobe and a double bed, at the
foot of which a settee, table and two small armchairs are set.
ALBERTO in his dressing gown is sitting in one'of the armchairs
gazing into the open coal-fire. CLARE is already in bed, half sitting
against the pillows, watching him.
ALBER TO
Is a man a coward just because he
wants to go back home and look after
peopl e he knows, in a hospital where
he's got a job ? Oh, it's easy enough
to talk! 'Hitler' - 'Mussolini'
If Icould be absolutely sure that staying
here and never seeing Venice or my
mother or any of my family again and
maybe getting myself killed was going
to bring Hitler down I'd do it like a shot!
Of course! I'd do anything I could!
(he turns and looks at her)
Have you made up your mind?
CLARE
(tenderly)
Why don 't you come to bed?
ALBERTO gets up and goes to her slowly. At the bed he falls into
her arms and they begin kissing each other. Before she becomes
excited she gazes before her in a slightly detached and thoughtful way.
CUT:


EXT. WOODS, SOUTHERN ENGLAND. DAY
CLARE and WYATT are riding. They. rein their horses carefully
along a narrow path between trees, lowering their heads against
overhanging branches. They are both in hacking jackets and
jodpurs. WYATT leads the way.
WYATT
(ducking)
You know Clare it's awfully tough for
me - I know we're related and all that
but my God when I saw you at the station -
(ducking)
the first time - I just didn't expect you to
be - well, you know - :
CLARE smiles slightly at him, after ducking from branches.
WYATT (contd)
I hope you don't go back!
CUT:
RESUME 31
CLARE is no longer in a detached mood and is responding to
ALBERTO's kisses, passing her fingers through his hair, her eyes
closed.
CUT:
INT. CAFE FLORIAN, VENICE. DAY
PROFESSOR FRANZETTI is reading from the Catullus book that
CLARE once brought to him. We hear CLARE'S VOICE OVER as she
reads one of the love poems in Latin. He gazes before him with a
certain pleasureable regret in his eyes. This narrows to a kind of
determination: he is thinking something out.
Odi et amo; quare id faciam, fortasse
requiris,
Nescio, sed fieri sentio et excrucior . -
CUT:


INT. CLARE'S APARTMENT, VENICE. DAY
The whole apartment has been cleared of furniture. The light-bulbs
are naked. TWO REMOVALS MEN are taking out the last piece - a
tall wardrobe.
CLARE and JOLE are closing the shutters and the windows. They then
go to the front door and JOLE picks up two shopping bags full of small
household articles.
CUT:
INT. THE LANDING OUTSIDE. DAY
JOLE walks down the stairs with the shopping bags. CLARE locks the
apartment door.
EXT. CANALE SAN TROVASO. DAY
A barge loaded with CLARE's furniture is moored at the calle opposite
the side-entrance of the Palazzo Contarini. The tall wardrobe is being
loaded by THE TWO MEN. They strap it down, and ONE OF THEM
releases the mooring ropes.
CLARE and JOLE appear from the calle, and JOLE hands the DRIVER
her bags.
THE TWO MEN jump on board and the barge slips slowly away, while
CLARE and JOLE walk away.
CUT:
CAM MOUNTED ON BARGE
The barge moves slowly along the San Trovaso Canal, and WE PAN
across the Campo San Trovaso taking in the church and then, as we
turn right into the Rio Ognissanti, the GONDOLA YA RD on the
corner (see 157 /158).
We draw slowly along the deserted Ognissanti Canal, the barge-engine
idling, until we turn right into the Rio delle Eremite, which leads into
the Rio Mal Paga.
CUT:


EXT. RIO DI MAL PAGA. DAY
In MS the barge is turning into the Mal Paga Canal. The moored boats
rise and fall with the barge's wash as it steers carefully past them.
It draws towards the fondamenta outside the Troisi house.
A MAN moors the barge with ropes and ANOTHER MAN jumps on to the
fondamenta. When the engine has been switched off THE DRIVER joins
THE TWO MEN and they begin unloading the furniture.
CLARE and JOLE appear from the direction of San Trovaso. CLARE
unlocks the door of the Troisi house and goes inside, while JOLE
opens the other leaf of the door so that the furniture may enter.
CLARE, inside the house, opens the shutters on the first floor, and
stands gazing down at the canal.
CUT:
INT. THE TROISI LOUNGE. DAY
CLARE and JOLE are blacking out the windows With blue paper. CLARE
is working on the french windows that overlook the garden while JOLE
is on a ladder at one of the windows overlooking the canal.
JOLE
(half-laughing)
At least we don't have to clean them every
minute!
CLARE
Not until we get the blackout curtains,
anyway!
JOLE
(stepping back)
Is that all right?
CLARE
(making a face)
Terrific!
They look at each other and laugh.
CUT:


INT. FRANCA 'S APARTMENT, VENICE. DAY
It is a hot July evening. The room is furnished simply in the respectable
style of the period. FRANCA, her boyfriend GUIDO SANTI, LETIZIA
and LUIGI SCAT TIN, together with two older friends, ROSANNA and
GIANFRANCO, are sitting round a table playing at mediumistic
communication. They all have their right hands (except for the thumbs)
on the base of an upturned glass. This is moving about within a large
circle composed of the letters of the alphabet written on cards. They
make cries of surprise as the glass slides about with a force apparently
its own. It pulls their hands across the table and back again.
GUIDO
I think it means 'yes'! :
LETIZIA
Yes to what?
GIANFRANCO
(to ROSANNA)
Ask it again!
ROSANNA
(speaking to the spirit)
What's your name ? have you been here
before? Please tell us your name!
The glass does not move.
LUIGI
Perhaps it doesn't like to identify itself!
(to ROSANNA)
Ask it where I'll be posted.
ROSANNA
(speaking to the spirit again)
Would you mind telling us please where
Luigi Scatin, Luigi Scatin, is going to be
posted?
They wait while the glass is stationary. Then it begins to move, slowly
at first, then more quickly, making an ominous scraping noise on the
table until it is gyrating furiously, quicker and quicker, pulling their
hands round with a force of its own until they are all exclaiming and
laughing.
CUT:


EXT. THE TUNISIAN DESERT. EVENING
With the sound of the gyrating glass still OVER we see LUIGI SCATIN
as a soldier in the desert, sweating and hatless, dragging a machine-
gun and tripod through the sand. It is dusk.
The sound of the glass on the table becomes the screaming engine of a
tank OVER. LUIGI is trying to run. He appears to be giddy and
delirous. He is actually running in circles, making deeper and deeper
indentations in the sand with his machine gun. He runs round and round,
breathing heavily, as the tank comes nearer.
CUT:
RESUME 41
The glass on the table continues to revolve frantically.
LUIGI
(with a laugh)
It means I'm going to be everywhere!
Everywhere!
The glass suddenly sweeps allthe letter-cards off the table. There is
a great cry.
CUT:
RESUME 42
The scream of the tank is even nearer. There is a burst of machine gun
fire OVER. LUIGI SCATIN falls.
CUT:
RESUME 43
The glass on the table comes to a halt. Everyone gasps. Silence.
LUIGI SCATIN is still smiling. FRANCA makes a face towards
LUIGI and they all start laughing again. They pick up the fallen letter-
cards and replace them on the table, pushing at each other.
CUT:
RESUME 44
Silence. The body of LUIGI SCA TIN is lying in the sand along the deep
circular track made by his own machine -gun.


Contd.
In the stillness we hear OVER a Venetian churchbell.
CUT:
EXT. GARDEN OF THE TROISI HOUSE, VENICE. EVENING
It is dusk. With the churchbell still OVER we OPEN on a CAT amid
the heavy summer foliage of the Troisi garden. It disappears in the
shadows of a bush. We PAN TO take in the rest of the garden and
the open french windows of the TROISI house.
CUT:
INT. THE TROISI LOUNGE. EVENING
The churchbell is still OVER. CLARE and PROFESSOR FRANZETTI
are sitting in the deepening shadows. They are dressed for great heat.
FRANZETTI
(with a smile, gazing at her)
I'm just wondering where that young girl is
who used to find translating Catullus so
painful . e
CLARE
Sitting right in front of you!
FRANZETTI
Oh no! In front of me there's a woman -
sure of herself, almost self-sufficient.
CLARE
(smiling)
FRANZETTI
'Almost', yes. Self-sufficient' is one
of those expressions you have to qualify.
I don't want to sound trite, but everybody
needs something done for them by some-
body else which they could never do for
themselves. For instance I wouldn' 't be
happy if I didn't visit this house from time
to time. So in that sense I need you, I'm
not self-sufficient: These rooms are full
of memories for me, you see. The talks I
used to have with your father : All those


Contd.
FRANZETTI (contd)
Christmasses we had together - - those
English Christmasses. And your mother
trying to get everybody to sing. And she
succeeded - she got us all to sing! Every-
body, including me! I
(with an absent air)
Yes, she succeeded! And then I saw you
grow up here and become a young lady
and learn Latin in this house.
CLARE
(a little coolly)
You're wrong, professor. Ilearned Latin
at your place.
FRANZETTI
'You're wrong. Enrico' :
She stares at him.
FRANZETTI (contd)
'You're wrong Enrico '! Would it bore you
terribly Clare to call me by my Christian
name ? It seems a bit ridiculous me calling
you Clare and you calling me professor!
And then, with your parents so far away, I
feel as if I'd taken their place in a way, even
if you don't need me to of course!
CLARE
(a little embarrassed)
I don't know - after all -
FRANZETTI
Try it.: 'After all Enrico' :
CLARE
(with a laugh)
I grew up calling you professor and to
start saying your Christian name now
would feel so funny! Ij just can't do it!
You must give me time! Ipromise you
I'll try! All right?
FRANZE TTI gets up.


Contd.
FRANZETTI
All right.
CLARE rises as well and goes with him to the door. He follows her
into the corridor, and they begin walking down the stairs.
CUT:
INT. THE TROISI STAIRCASE. EVENING
FRANZETTI
(quietly, as they walk downstairs)
And then it's best to let certain strange
things alone, isn't that right, Clare ?
CLARE turns on the staircase to say something but at this moment
ALBERTO enters the house.
CLARE
(to Al LBERTO)
Hullo!
ALBERTO
Hullo! Good evening professor! How
are you?
CLARE and FRANZETTI join ALBERTO at the door.
FRANZE' TTI
(giving ALBERTO his hand)
Well enough! And you? Clare's been
telling me you're still busy at the
hospital.
ALBERTO
(with hesitation)
As busy as ever, yes!
FRANZETTI
(leaving)
Goodbye, both of you!
ALBERTO
Good evening!
CLARE
Good evening, professor!


Contd.
FRANZETTI turns and gives her an amused look. She closes the door.
She follows ALBERTO up the stairs.
CUT:
INT. TROISI BEDROOM. EVENING
ALBERTO enters the bedroom with CLARE behind him. He takes off
his jacket and tie and throws them on the bed.
ALBERTO
Anything new ?
CLARE
(taking up his jacket and
tie and putting them on
the dumb waiter)
Yes. Franca's got officially engaged to
Guido Santi. He's been called up and
has to go on Monday.
ALBERTO
Him too ?
CLARE gives him a frightened look and he lowers his eyes.
CUT:
EXT. A RAILWAY STATION. DAY
On the platform, by a waiting train.
A TRACKING SHOT of GIULIO MARCHETTI as a lieutenant in the
Regio Esercito as he walks down the train. He is in officer's
uniform. He gets into one of the compartments. He closes the
door behindhim. We see him from the front for the first time when
he sits down and looks out of the window on to the platform.
CUT:
INT. THE TROISI DINING ROOM. DAY
CLARE is sitting at the head of the table eating alone. She has just
finished the first course.


Contd.
JOLE comes in with a plate of veal and sets it down by CLARE, who
hands her her dirty plate and puts the plate of veal in its place.
She starts eating and JOLE leaves the room.
CUT:
INT. THE TROISI KITCHEN. DAY
JOLE enters with the dirty plate. She puts it with other china in the
washing-up bowl. She pours herself two fingers of wine. She takes the
glass to the window and gazes down at the garden below. She drinks the
wine.
CUT:
FROM JOLE'S PV
CLARE is sitting in the garden below drinking coffee.
CUT:
EXT. THE TROISI GARDEN. DAY
CLARE sips her coffee, leans back and gazes before her. Her eyes
pass over the pots of geraniums and pinks close by her. She desultorily
picks out the weeds.
CUT:
INT. THE TROISI LOUNGE. DAY
It is autumn. CLARE comes into the room with FRANCA behind her.
FRANCA is carrying a bag.
FRANCA
(excited)
Does it work ?
CLARE
(going to the gramophone)
I hope so! Why?
FRANCA
(taking a record out of her bag)
I've got something for you to hear!
CUT:


INT. THE TROISI LOUNGE. DAY
CLARE and FRANCA are seated listening to the gramophone. The
record is Mussurgsky's Pictures from an Exhibition in the piano
version.
CLARE
(looking at the
record's sleeve)
How did you get this? It's German.
FRANCA
From an officer. A German officer!
CUT:
58, 59, 60, 61, 62 and 63: PIANO MUSIC CONTINUES OVER:
INT. GERHARD VON GEIGER'S OFFICE. DAY
GERHARD VON GEIGER is a handsome young German officer with a
good-humoured self-assurance that seems to be the product of
upbringing. He is standing at the window gazing out.
His secretary INGE (also in uniform) is standing at the files cupboard
putting documents in order. She is a well-built attractive blonde.
CUT:
FROM GERHARD'S PV
We are looking from the window at the Calle della Mandorla and the
bridge leading from Campo Manin.
FRANCA crosses the bridge. She stops to look into a shop-window.
CUT:
RESUME 58
GERHARD leaves the window abruptly and walks out of the office, saying
something to INGE. She turns, surprised at his sudden exit.
CUT:
RESUME 59
From the window we see GERHARD joining FRANCA at the shop-window.
CUT:


EXT. THE SHOP-WINDOW. DAY
FRANCA and GERHARD are standing side by side at the shop-window.
He says something to her. She turns and smiles at him shyly.
He points out something in the shop, and she laughs briefly.
CUT:
RESUME 57
CLARE -
You like him don't you ?
FRANCA
Yes, a lot.
CLARE
And what about Guido?
FRANCA
(with a laugh)
What about him ? This is just a
friendship!
CUT:
INT. FRANCA'S ROOM. NIGHT
FRANCA comes into her room taking off her coat, with GERHARD
behind her. He has his hat in his hand and puts it down on the table.
She turns to him with a smile.
FRANCA
Would you like to do something for me,
Herr Hauptmann ?
GERHARD
I'd do anything for you signorina:
FRANCA
(with a laugh)
Oh but I need a mechanic!
GERHARD
I took a course in aeronautics once!
Will that do?


Contd.
FRANCA
I'm afraid not! Iwant the gramophone
mended!
GERHARD
(going to the gramophone)
Perhaps all it needs is winding up.
He begins winding the machine.
CUT:
THE SAME
With SMOKE GETS IN YOUR EYES from the gramophone FRANCA and
GERHARD are dancing together, very close.
CUT:
INT. CLARE'S BEDROOM. NIGHT
CLARE is undressing to go to bed. When she has her nightdress on. she
goes to the dressing table and begins creaming her face. She gazes at
her whitened image in a thoughtful way.
CUT:
INT. FRANCA 'S BEDROOM. NIGHT
We hear FRANCA's laughter OVER as the door opens and GERHARD
carries her into the room. She kisses him while in his arms. Close
to the bed he seems to lose his balance and they fall together on to
the bed. Once there, they roll over and over, laughing and gasping,
from one side of the bed to the other, almost toppling off. FRANCA
remains on top of him, gazing into his eyes. They are out of breath.
FRANCA kicks off her shoes, and he tries to do likewise, except that
his shoes are not easy to kick off. FRANCA finds this amusing and
sits up to help him. GERHARD sits up too and before they can touch
his shoes he opens her blouse. They fall back on to the bed. They lie
on their sides facing each other. GERHARD runs his hand down her
neck and she closes her eyes. He puts his hands belnd her head, in
her hair, and runs her face close to his, so that their noses and
lips and cheeks brush each other. They become frantic. GERHARD
kisses her ear. She gasps and lies back.
CUT:


INT. CLARE'S BEDROOM. NIGHT
CLARE is in bed. She switches her bedside light off and lies down.
CUT:
RESUME 67
FRANCA's bed is in a tumble. FRANCA and GERHARD are naked,
half covered by sheets. They are lying against pillows at opposite
ends of the bed, he at the head and she at the foot, their legs inter-
twined. Every now and then he moves his legs and she laughs.
FRANCA
That's enough!
GERHARD
(laughing)
Enough ?
FRANCA
You're making me fall off the bed!
GERHARD
(caressing her with
his feet)
You remind me of somebody I met in
Venice about ten years ago.
FRANCA
(sitting up)
So you've been here before ?
GERHARD
I used to come almost every summer.
FRANCA
And who was this 'somebody'? A girl?
GERHARD smiles without saying anything. FRANCA rises to the
kneeling position, draping the sheet round her breasts in a provocative
way.
FRANCA
Nicer than me ?


Contd.
GERHARD
(pulling her down to
him and kissing her)
She was younger.
FRANCA draws back her head and looks at him.
GERHARD
(contd)
(kissing her again)
More beautiful.
(kissing her again)
Sweeter.
They laugh and embrace. She lies at his side again.
GERHARD
(looking across at the
dressing table where there
is GUIDO SANTI's photo)
Who's that?
FRANCA
(following his eyes)
It's Guido.
GERHARD
Guido?
FRANCA
Guido Santi. My friend.
GERHARD leans up to look at the photo more closely.
GERHARD
He looks so young.
(leaning back)
Did. they send him to the front?
FRANCA
I don't know. I haven't heard anything
for some time.
GERHARD
Would you like me to try and get news of
him ?


Contd.
FRANCA
(hesitating)
No. It's better not.
CUT:
EXT. ST. MARK'S SQUARE. DAY
CLARE, in an autumn coat, is walking hands in pockets and head down
in a self-absorbed way towards Cafe Florian.
CUT:
INT: CAFE FLORIAN. DAY
PROFESSOR FRANZETTI is at his usual place. CLARE comes in and
sits down with him. They touch each other's hands lightly.
CLARE
How are they?
FRANZETTI
(with a shrug)
They're fine.
CLARE
Are they still living with Wyatt?
FRANZETTI nods.
CLARE
Can you get news of me to them ?
FRANZETTI
I'll do my poor best! Ipromise!
CUT:
EXT. THE ZATTERE, VENICE. DAY
FRANCA and GERHARD are walking along the fondamenta towards:La
Salute.
GERHARD
Oh, by the way, Guido Santi's all right.
I can't say where he is. But nothing's
happened to him.


Contd.
FRANCA
(looking at him with surprise)
Thank you! Why did you take the trouble ?
GERHARD
(with a smile)
A rival in good health is always less
dangerous than a dead or wounded one!
FRANCA
Are you going to come back soon ?
GERHARD
(with a vague gesture)
I think so, yes!
FRANCA
(putting herself in
front of him)
I'll come with you!
GERHARD looks at her perplexedly.
FRANCA (contd)
I mean, I'll come to the place where you
are. Iwon 't bother you. I'll just wait
for you to come to me. Eh?
GERHARD
That's very romantic. But just
impossible!
FRANCA
I'm in love with you!
GERHARD
(looking at her strangely)
I know! That's why I'm going to come
back!
(taking her hand as if
it were a child's)
All right, I'll go to Hitler and I'll say,
Fuhrer, I can't stay away from Venice
for any reason at all: There's a girl called
Franca there who's in love with me!


Contd.
FRANCA
(with a sad smile)
And would he listen to you ?
GERHARD
Of course he would! The Fuhrer's always
moved by a love story!
(looking at her seriously)
Don't worry. It won't be long. I'll be back
soon.
C.U. of FRANCA who gazes before her.
CUT:
A CLIP FROM 43
The upturned glass is whirling round the table frantically, pulling
their hands with it. There are cries of astonishment. The glass
suddenly sweeps all the letter-cards off the table.
CUT:
INT. THE TROISI HOUSE. DAY
CLARE is walking up the stairs with a shopping bag loaded with food.
CUT:
INT. KITCHEN OF TROISI HOUSE. DAY
CLARE walks into the kitchen with her bag and puts it down on the
table with a sigh. She takes out a few things she has bought and puts
them away in the cupboard. There is a large bag of sugar and a sack
of flour. She. has also bought some fish wrapped in newspaper. She
takes them out - fresh sardines.
CLARE
(calling softly)
Lilly! Lilly!
The CAT runs into the kitchen. CLARE selects two of the fishes to
put them in the CAT's bowl, then stops to think about it and finally puts
only one.
CUT:


INT. THE TROISI HOUSE. EVENING
A SHOT of the garden from inside the TROISI lounge, in the last
shadows of evening. We hear heavy-curtains being drawn on the
other side of the room.
A CAT runs across the floor. We hear a sudden gasp of alarm from
CLARE, OVER.
CUT:
ANOTHER ANGLE
CLARE has just drawn the blackout curtains over the windows which
look on to the fondamenta. She walks across the lounge to the french
windows overlooking the garden and draws the curtains there too.
It is dark for a moment.
CLARE switches on the light. The CAT appears again and then is gone.
CLARE looks round her in the silence. She walks to the bedroom and
WE TRACK after her. She sits down on the end of the bed, rather
huddling herself together.
There is the sound of a plane OVER, a distant humming. She listens,
unsure of the sound. It comes nearer, then goes away. We hear the
long whistle of a distant bomb falling, she jumps up, looks about her
for a place to go but then stands absolutely rigid. There is a booming
crash in the distance which shakes the lampshade, followed by another.
There is a pause. A third bomb follows. She runs from the room,
picking up her overcoat as she goes.
CUT:
INT. THE TROISI STAIRCASE. EVENING
CLARE runs down the stairs to the door. At first, in her fear, she
cannot open the door to the fondamenta. She wrenches at the handle
frantically. Finally it opens.
CUT:
EXT. RIO DI MAL PAGA. EVENING
CLARE rushes out of the house along the deserted fondamenta.
Searchlights play in the sky. There is a burst of anti-aircraft fire in
the distance, from the direction of Marghera.
CUT:


EXT. FONDAMENTA DELLA TOLETTA. EVENING
CLARE hurries along in a FRONTAL SHOT. Hurry as she may she
seems not to be moving. The searchlights play in the sky behind her,
and the anti-aircraft fire echoes in the distance.
CUT:
INT. THE BALZAN HOUSE. EVENING
With the sound of anti-aircraft fire still OVER we are in the cellar of
the Balzan house. In the dimness we perceive AGNESE BALZAN and
her husband MARIO sitting in their hats and coats among demijohns
of wine and oil and hanging hams. There is also the young GIOVANNI
BALZAN who is leaning against his mother. Her arm is round him.
MARIO nods asleep, then wakes up with a start. He nods asleep again.
The doorbell rings persistently.
AGNESE
(nudging MARIO)
There's somebody at the door!
MARIO wakes and jumps up.
AGNESE
Don't go!
He leaves without replying.
CUT:
INT. THE BALZAN CELLAR. EVENING
CLARE has joined AGNESE, MARIO and GIOVANNI. She is sitting
against the wall with a glass of whi te wine in her hand. The anti-
aircraft fire is still OVER.
AGNESE
Were you in the street ?
CLARE
Yes!
MARIO gives CLARE a a uick look.
CLARE leans her head on the wall, closing her eyes.


Contd.
AGNESE
(fixing her steadily)
Is Jole coming back soon ?
CLARE
AGNESE
Why are you so stubborn ? I just don 't
understand you Clare, living alone
like that when we've got all this room!
We can be together, keep each other
company! Why don 't you come and live
with us ?
CLARE
It's nice of you but no. It's not that I
don't want to be with you - you know
that! Ij just can't leave that house, I
couldn't bear to close it up!
MARIO
I know one thing, Clare. Alberto'd be
happier if you were here.
CLARE
He knows he doesn't have to worry
about me!
CUT:
INT. PROFESSOR FRANZE TTI'S STUDY. EVENING
PROFESSOR FRANZETTI is just closing his blackout curtains. The
lamps are not yet lit. He pauses at the last curtain and gazes down
at the fondamenta outside. He sees someone and closes the curtain
abruptly. There is darkness for a moment while he switches on the
light. There is a long ring at the doorbell. He walks quickly out of
the room.
CUT:
INT. ENTRANCE OF FRANZE TTI APARTMENT. EVENING
PROF ESSOR FRANZE TTI opens the door to CLARE. He kisses her
hand and they walk towards his study. He says something to her which
we do not hear.


Contd.
FRANZETTI
(as they come into CU)
How are you?
CLARE shrugs, with a smile.
CLARE
Is there any news ?
FRANZETTI
They're all well. Your father's settled
down nicely.
CUT:
INT. PROFESSOR FRANZETTI'S STUDY. EVENING
CLARE and PROFESSOR FRANZETTI are walking into the study.
FRANZETTI
From what I understand he'd like to
be 'active', if you see what I mean.
But being afraid of harming you in
some way .
CLARE
(a little stiffly)
Daddy thinks of everything. I'm sorry
to be an ostacle! When did you hear all
this ?
(as she sits on the settee)
FRANZE TTI
A couple of days ago.
CUT:
THE SAME
PROFESSOR FRANZETTI is sitting at CLARE's side.
FRANZETTI
You're fed up aren't you?
(gazing at her)
What hurt you more Clare - leaving them
behind or knowing that they chose to stay
th ere, far away from you?


Contd.
CLARE looks at him quickly, then turns away.
CLARE
Running a house all alone - that's what
hurts me!
CUT:
THE SAME
PROFESSOR FRANZETTI is walking up and down the room. CLARE
is still seated.
FRANZETTI
Alberto - you're still in love with him ?
CLARE
If only I knew when it was going to end!
FRANZETTI
The war ? Poor Clare! Always looking
for a fortune-teller: The war depends
on you!
CUT:
THE SAME
PROFESSOR FRANZETTI is pouring vin santo at the big table.
CLARE is still seated.
FRANZETTI
(quietly)
We fight a lot of unnecessary wars Clare!
(as she looks up at him)
Against ourselves! Against our desires.
Everybody has.his little battlefield, his
private hell. I've been trying to find out
about yours for years! And I think I've
got there!
CLARE
Really? Then you understand more than
I do!


Contd.
FRANZETTI
Because I know you Clare. And I hold you
very dear - You're like a butterfly
that ignores the splendour of her wings!
She just doesn't see it: She doesn't want
to see it!
CLARE
Let's talk plainer English OK ?
FRANZETTI
(smiling)
Of course Clare! I've always wanted to do
that!
CUT:
ANOTHER ANGLE
FRANZETTI
Let's agree you're a clever and sensitive
woman but don 't know yourself. Knowing
oneself Clare means accepting oneself!
You came to me once, remember, saying
you were in love with Alberto?
CLARE
Not 'saying' I--!
FRANZETTI
Wait a minute. Just answer this: are you
really in love with Alberto? Or is it love
itself that attracts you? the experience ?
CLARE doesn't reply.
FRANZETTI (contd)
Something that somebody else could maybe
give you?
CLARE raises her eyes abruptly, watching him almost angrily.
FRANZETTI (contd)
Am I shocking you? But that's the situation.
CUT:


ANOTHER ANGLE
FRANZETTI
You often look at my hands, Clare.
(passing behind CLARE
and running his hand along
the back of the settee)
I think you like them.
(putting his. hand in the nape
of her neck and beginning
to caress her)
After all it was I who put the silver tinsel
on your Christmas trees! And a little of
the silver stayed on my hands, do you know
that? Your mother lost a lot of her
battles at the beginning. She came to Italy
looking just like you! The same eyes - always
searching - questing for something!
(with a reflective smile)
How irritated she was, do you remember,
whenever you came to see me ?
CLARE
Irritated ?
FRANZETTI
I mustn't 'encourage' you, she said!
Remember? Christmas was always the
best time! She could open her heart then!
His hand passes down her neck to the opening of her blouse.
CUT:
EXT. A FONDAMENTA. EVENING
CLARE and PROFESSOR FRANZE TTI are walking along arm-in-arm.
She is silent.
CUT:
EXT. RIO DI MAL PAGA. EVENING
CLARE and PROFESSOR FRANZE TTI arrive at CLARE's house. She
turns to say good night.
FRANZETTI
You'll come and see me again ?


Contd.
CLARE
(smiling a little strangely)
You know, I hardly read Catullus any more e
He stands watching her as she goes in.
FRANZETTI
Good night, Clare.
He walks away towards La Toletta.
CUT:
EXT. COUNTRYSIDE, ALTO ADIGE. NIGHT
With the mountains inthe distance, the fields are dark and silent.
It is the night of 7 December 1943. Suddenly there are the cracking
shots of flares being fired, and the sky turns lurid green and red,
two of the colours of the Italian flag. The flares hover over the
countryside, illuminating every detail uncannily I trees, paths,
houses.
CUT:
EXT. FARMHOUSE IN THE CARSO HILLS, NEAR TRIESTE. DAY
WE OPEN on the back of the farmhouse, close to the fields. It is a
hot September morning. There is the sound of slow metallic hammering
OVER.
A YOUTH of about 17 years is squatted hamm ering an iron spike into
the ground. When it is firm he takes the blade of a scythe at his side
and, placing it on the spike, begins hammering its crooked and broken
edge straight.
THE YOUTH looks up suddenly, feeling watched. FROM HIS PV we see
GIULIO MARCHETTI standing before him. He is in uniform, exhausted
and sweating after walking many miles.
CUT:
INT. THE HAY BARN. DAY
THE YOUTH is sitting in the hay with. GIULIO MARCHE TTI. GIULIO
is now dressed in a peasant shirt, with ill-fitting trousers. He is eating
bread and milk from a clay bowl. His uniform is lying in a pile close by,
half hidden under the hay.


Contd.
YOUTH
Have you ever seen anybody killed?
GIULIO
Yes, a lot.
YOUTH
Where ?
GIULIO
In Africa. Here too!
YOUTH
What was it like ?
GIULIO
Would you like to be killed? ?
YOUTH
I'd like to fight. But my parents won' 't
let me go.
GIULIO
Of course they won' 't! They believe in life!
YOUTH
(indicating the uniform)
My father says he'll burn it in the ditch as
soon as it's dark.
GIULIO nods.
YOUTH (contd)
Where do you come from ?
GIULIO
Verona.
YOUTH
Are you going back there ?
GIULIO nods again and continues to eat.
The sound of a German truck in the distance breaks the silence.
They look at each other. GIULIO looks round the barn for a possible
place to hide. THE YOUTH is terrified.


EXT. FARMHOUSE COURTYARD. DAY
We are in the courtyard between the farmhouse and the hay-barn.
The barn-door is closed.
An open German truck drives into the courtyard and comes to a halt
close to the barn. There are THREE WEHRMACHT SOLDIERS aboard,
one of them a CORPORAL. They jump out and after a glance at the
barn walk towards the house. There is silence all round. THE CAM
remains still throughout the scene, watching the house and TAKING IN
a part of the barn.
THE GERMAN SOLDIERS enter the house. We hear their steps on the
stone floor inside. They open doors, shift tables. AN ITALIAN
WOMAN calls out 'Gino!" There is silence again.
The shutter of an upstairs window is flung open. A GERMAN SOLDIER
peers out, gazing from left to right round the courtyard. He withdraws
again. As he does so a MIDDLE -AGED PEASANT AND HIS WIFE are
pushed out of the door downstairs by THE CORPORAL and THE THIRD
SOLDIER. They are made to stand side by side. THE SECOND SOLDIER
is heard coming down the stairs of the house: he joins his two comrades.
THE CORPORAL and THE THIRD SOLDIER walk towards the barn,
leaving the THIRD SOLDIER with TH E COUPLE. As they approach the
barn its door opens and GIULIO MARCHETTI, again in uniform, but now
cool and collected, confronts them. With a certain detachment he salutes
THE CORPORAL, who looks at him doubtfully at first, then salutes back.
GIULIO
(approaching them)
Are you going to Trieste? I must go to
headquarters.
CORPORAL
(after a moment's hesitation)
What headquarters ?
GIULIO
Yours.
CUT:
FROM ANOTHER ANGLE
THE SECOND SOLDIER strolls to the barn and cautiously pulls the door
open while the CORPORAL and GIULIO walk with THE THIRD SOLDIER
to the truck.
CUT:


INT. THE BARN. DAY
FROM THE SECOND SOLDIER'S PV we see a deserted hay-barn.
There is no sign of THE YOUTH.
CUT:
EXT. THE COURTYARD. DAY
GIULIO MARCHETTI mounts the German truck with THE CORPORAL.
THE THIRD SOLDIER gets into the driver's seat.
CORPORAL
(calling out to the
SECOND SOLDIER)
Schnell! Wir gehen weg!
THE SECOND SOLDIER leaves the barn, hurrying to the truck.
THE PEASANT COUPLE remain standing together by the house.
With everyone mounted the truck pulls out of the courtyard on to the
road.
CUT:
EXT. MOVING SHOT, THE GERMAN TRUCK. DAY
THE CORPORAL offers GIULIO MARCHETTI a drink from his hip-flask.
CORPORAL
(shouting above the engine)
Schnapps!
GIULIO takes a gulp and almost throws up. He conceals his discomfort
with a smile at THE CORPORAL.
CUT:
EXT. RIO DI MAL PAGA. DAY
It is winter, 1943. MARIO BALZAN walks along the fondamenta from the
direction of Rio Ognissanti. He is wrapped in a heavy overcoat, a scarf
close round his neck, hands in pockets. He is very pale. He rings the
bell of the TROISI house. CLARE opens a window upstairs. She looks
down and waves to him. He waits, looking up and down the deserted
fondamenta, blowing against the cold, stamping his feet, while CLARE
comes downstairs to let him in.


Contd.
She opens the door.
BALZAN
(as he goes in)
Any news ?
CLARE shakes her head.
The door closes.
CUT:
EXT. A NARROW CALLE. EVENING
TWO MEN, one (Dino di Cosimo) short and dark in ill-fitting
civilian clothes, the other slim, a southerner of the blond type, are
walking swiftly along the calle. They suddenly slip into a doorway.
CUT:
INT. FRANCA 'S APARTMENT. EVENING
FRANCA is dressing to go out. There is a ring at the bell. After
a quick look at her watch she hurries to the door and opens it.
CUT:
ANOTHER ANGLE
Outside FRANCA 's door are THE TWO MEN.
FRANCA suppresses a cry of surprise.
CUT:
INT. FRANCA 'S ROOM. EVENING
THE TWO MEN are standing together while FRANCA puts on her coat.
The doorbell rings again. FRANCA takes her pocket-book and hurries
to the door.
CUT:


EXT. STREET ENTRANCE TO FRANCA' 'S APARTMENT.
EVENING
GERHARD VON GEIGER is waiting. The door opens and FRANCA
joins him in a nervously excited mood, all smiles.
FRANCA
(taking his arm)
Where are we going ?
GERHARD looks at her with cool surprise, then, as they walk off
together, he gives her apartment windows on the ground floor a
backward glance.
CUT:
INT. FRANCA' 'S APARTMENT. EVENING
DINO DI COSIMO and THE OTHER MAN are seated in FRANCA's
sitting room opposite each other. There is utter silence. They look
round the room, then stare at each other without a word.
CUT:
INT. A VENE TIAN CHURCH. DAY
It is still winter 1943. FRANCA is the only person in the church.
She is sitting somewhere near the middle.
CUT:
EXT. THE VENET TIAN CHURCH. DAY
CLARE hurries into the church.
CUT:
RESUME 108
CLARE enters the church and FRANCA at once looks round. She goes
to the aisle and does a quick bow to the altar before joining CLARE
at the fount near the entrance.
FRANCA
I need help.
CLARE
What's happened?


Contd.
FRANCA
A cousin of mine's here. The Germans
caught him in Trieste but he got away.
He's with a friend from his regiment.
They're trying to get south. I've had
them at my place for a night but it's too
dangerous! With Gerhard =
CLARE
I can have them for a night.
FRANCA
They'll come at six o'clock this evening.
Leave your door open.
CLARE
What's your cousin's name?
FRANCA
(taking her arm and
drawing her out of the church)
Dino di Cosimo. He's the dark one. He's
a bit like me.
CUT:
INT. INGE 'S OFFICE. EVENING
INGE is typing a letter. There are hurr ying footsteps outside.
FRANCA rushes in. INGE looks up.
FRANCA
Could you tell the captain I'm here ?
INGE
(with a brief look of irony)
Of course signorina:
CUT:
INT. GERHARD'S OFFICE. EVENING
GERHARD is at his desk working. INGE comes in, closes the door
be hind her.
INGE
A young lady to see you - sir.


Contd.
GERHARD
(meeting her eyes with a smile)
Is that meant to be ironical?
INGE
She's in a hurry.
GERHARD
(returning to his work)
You'd better show her in then.
INGE returns to the door and shows FRANCA in, then leaves again.
GERHARD
(rising)
I said I'd come to your place!
FRANCA
(with a nervous smile)
I felt like seeing you!
A bell outside begins striking the hour OVER. She looks up at the
clock on the wall as GERHARD embraces her. - FROM HER PV we
see it is six o'clock.
CUT:
INT. TROISI LOUNGE. EVENING
With the clock-bell still OVER, CLARE hurries into the corridor.
The curtains are already drawn.
CUT:
INT. THE TROISI STAIRCASE. EVENING
CLARE walks down the stairs. She reaches the door to the
fondamenta and pauses, listening. She opens the door slowly and
noiselessly.
CUT:
INT. FRANCA 'S APARTMENT. NIGHT
GERHARD is sitting alone at the table, which has been set for two
people with napkins etc. and a bowl of flowers in the middle.


Contd.
There is a thump from the kitchen behind him.
GERHARD
(turning)
What's happened ?
Nothing!
GERHARD
You didn't cut your hand off or anything?
FRANCA
He gets up and strolls to the kitchen. WE TRACK after him.
FRANCA is dividing roast chicken with a small household chopper.
He watches her.
GERHARD
What the hell are you doing with that?
FRANCA
(stopping)
Why, do you want to eat it whole ?
GERHARD
It's up to me to carve, not you. Here -
He takes the chicken on its wooden platter and looks round for a
serving plate. He finds one and puts the chicken on it. FRANCA
watches him with some surprise.
GERHARD
(going back to the table)
Now I take it to the table!
He puts the serving plate at his place, still watched by FRANCA.
GERHARD (contd)
And now you give me the carving knife.
FRANCA
I haven't got one!
GERHARD
Not even a carving fork?


Contd.
FRANCA
(with a certain
embarrassment)
Not even that!
GERHARD
(making a humourously
disapproving gesture and
returning to the kitchen) -
Well, you don't seem equipped for a
dinner party do you, signorina?
FRANCA
No, I don't! I'm just a schoolteacher
(nervously)
What shall we do?
GERHARD
(rummaging among her cutlery)
A breadknife will do. And an ordinary
fork, Isuppose.
(shaking his head as
he takes them)
And now
(passing her and giving
her a quick kiss)
come and see how it's done.
He stands at the table, preparing to carve.
GERHARD (contd)
You sit there, and you give me your plate.
FRANCA sits at her place and puts her plate on his in silence.
- GERHARD (contd)
It's an old tribal custom.
(looking at her with a smile)
Only among the best tribes of course
CUT:
EXT. THE TROISI HOUSE. DAY
GIULIO MARCHE TTI is ringing the bell. He is now in the uniform of
the Esercito Repubblicano, newly formed by Mussolini under German
protection.


Contd.
CLARE puts her head out of an upstairs window.
CLARE
Who is it?
GIULIO
(looking up)
Mrs. Balzan ?
CLARE
(half-defensive, half-alarmed)
Yes! What do you want?
GIULIO
(with a smile)
I'm Lieutenant Marchetti.
CUT:
INT. THE TROISI STAIRCASE. DAY
GIULIO is walking up the stairs. CLARE is at the top waiting for
him. GIULIO joins her but she remains where she is, waiting for
him to speak. He returns her gaze calmly. CLARE turns and
leads the way towards the lounge.
CLARE
(brusquely)
Come in.
GIULIO follows her towards the lounge.
CUT:
INT. THE TROISI LOUNGE. DAY
CLARE enters with GIULIO behind her. He has his hat in his hand.
CLARE
Well?
GIULIO
(putting his hat coolly
on the table and speaking
in a casual, almost
indifferent tone)
Have you been putting partisans up ?


Contd.
CLARE
(looking at him hard)
GIULIO
May I sit down ?
CLARE
Of course!
GIULIO
(sitting down)
A neighbour of yours who's very
active in the party informed against
you. He said there were suspicious
movements here a few evenings ago.
It seems he doesn't trust you because
you're English.
CLARE
My mother's English!
GIULIO
(almost to himself)
'Clare' : - Clare means Chiara, is that
right?
CLARE
Yes it means Chiara!
(abruptly again)
You came to see if I was hiding partisans ?
GIULIO
I came to tell you it's a dangerous thing
to do Mrs. Troisi.
(looking at her hair)
Does Clare mean 'bright' in English as
well? Did they call you that because of
your hair?
CLARE
(touching her hair in a.
slightly distracted way)
I don't know!
GIULIO
It's a big house. You live alone ?


Contd.
CLARE
Yes.
GIULIO
Why ? Haven't you relatives ?
CLARE
In-laws. But I live alone.
GIULIO
You prefer it that way?
CLARE
(with a shrug)
It's just how it is!
GIULIO
And you aren't afraid?
CLARE
Afraid of what?
GIULIO is amused. And finally she answers him with a smile. He rises.
CLARE
(surprised)
Are you going ?
GIULIO
(picking up his hat)
I must get back to headquarters.
CLARE
You said you came to warn me?
GIULIO
Yes.
CLARE
Why did you do it?
GIULIO
(with a shrug)
Perhaps I like English names
CUT:


EXT. A CALLE. DAY
MARIO BALZAN is walking along looking about him anxiously. He
stops, uncertain which way to go, then walks on.
CUT:
EXT. THE GIARDINETTI, ST. MARK'S. DAY
GERMAN SOLDIERS and A FEW CIVILIANS are strolling on the
gravel paths, taking the brilliant early-spring sun.
MARIO BALZAN enters the gardens, still looking about him.
FROM HIS PV THE CAM searches among THE CIVILIANS. He
recognises his wife AGNESE. She is sitting on one of the: benches.
MARIO hurries towards her.
CUT:
ANOTHER ANGLE
AGNESE looks at MARIO with scant interest. He sits at her side,
aware of the GERMAN SOLDIERS all round.
MARIO
(keeping his voice down)
Agnese, what are you doing here ?
It's twelve already! Giovanni went
to Alberto's house to look for you!
AGNESE
(looking straight in front)
Alberto's house! That's the Troisi
house!
MARIO
(with another glance
at THE SOLDIERS)
It's too chilly to be sitting here!
Let's go home! Come on!
(trying to help her up)
AGNESE
(shaking his arm away)
What do I care about warmth ? I've got
two boys away from home! Two! And no
news for months!


Contd.
MARIO
(trying to calm her)
If they're away from you they're away
from me too! And what about Clare -
don't you think she misses Alberto?
AGNESE
Clare! Clare isn't his mother! She
doesn't suffer like I do! Nobody does!
And she doesn't love Alberto! If she
loved him she'd have come and lived
with me. She'd have come to see me
sometimes!
MARIO
OK but le t's go home!
AGNESE starts getting up.
MARIO
(taking her arm)
Giovanni must be home. Maybe Clare
too.
AGNESE
(unexpectedly calm)
Oh no! Not Clare! She won't be there!
CUT:
EXT. CAMPO S. MAURIZIO, VENICE. DAY
GIULIO MARCHETTI is leaning against the fountain in the spring sun-
shine, gazing across at the Calle del Piovan. We see the calle FROM
HIS PV. He notices something of interest on a building in that calle,
its corner just visible from where he is standing, and he strolls over
for a closer look. WE TRACK with him and from his PV look up at the
facade in relief on the wall of a small early-Venetian house. He leans
against the opposite wall trying to decipher the damaged inscription.
At this moment CLARE passes. She almost bumps into him. They
step away from each other and smile politely.
GIULIO
Good morning, Mrs. Balzan!
CLARE
Good morning!


Contd.
GIULIO
(looking up at the
facade again)
I'm trying to decipher this inscription.
It seems to be about some Turkish siege.
What do you think ?
CLARE
(looking at him)
Are you interested in these things ?
GIULIO
Yes. What about you?
CLARE
I did an arts course before I got
married!
They begin strolling across the campo.
GIULIO
(with a smile)
I studied archaeology.
CLARE
(with interest)
Archaeology? Have you ever dug in
Sicily or Greece?
GIULIO
In Greece, yes. Have you been there ?
CUT:
EXT. THE ISLAND OF DELOS, GREECE. DAY
WE TRACK along the deserted Road of the Lions.
Only in books. I used to read about
Crete and Delos -
(with a laugh)
I had such a good time in ancient
Greece without moving!
Perhaps you'll go there one day. Do you
like travelling?


Contd.
It depends where.
CUT:
EXT. THE TRAGHETTO STATION. S. MARIA DEL GIGLIO. DAY
CLARE is stepping down into the ferry-gondola, helped by THE
GONDOLIER. ANOTHER WOMAN is already standing in the gondola.
THE GONDOLER goes to his place and the boat moves off. CLARE
stands behind THE WOMAN.
We see the other side of the Grand Canal FROM HER PV.
The station on the other side gradually draws closer, and GIULIO
MARCHETTI is waiting there.
CUT:
EXT. THE ISLAND OF TORCELLO. DAY
In brilliant spring sunshine CLARE and GIULIO are strolling near the
church.
CLARE
(pointing)
That's where we had a picnic once. I
was teaching some friends English as
a joke.
They continue strolling along.
CUT:
EXT. SAN TROVASO CANAL. DAY
WE OPEN on the canal. A stone has just been thrown into the water,
making concentric circles. WE PULL BACK to see CLARE and
GIULIO leaning on the parapet looking down at the water.
GIULIO
They say when you make circles in the
water you get your wishes - as many
wishes as there are circles.


Contd.
CLARE
If that was true there'd be no canal left
- it'd be full of stones!
GIULIO
(with a laugh)
Don't you ever daydream ?
CLARE
(looking at him seriously)
Is that what you like to do?
CUT:
EXT. RIVA DEI SETTE MARTIRI. DAWN
As dawn rises SEVEN CIVILIAN HOSTAGES are seen attached to a
rope their hands (crossed in front of them), with their backs to the
Riva or water. The rope is attached to poles on either side. There
is a boat be hind them into which their bodies will later be thrown.
They are not blindfolded. TWO GERMAN SOLDIERS move along
the rope seeing that THE HOSTAGES are securely tied.
THE CAM PANS UP above THE HOSTAGES to take in the island of
San Giorgio. At this moment we hear OVER the shots of the firing
squad. There is silence. WE PAN DOWN again to see, in the silence,
THE SEVEN HOSTAGES lying dead. The rope has broken.
CUT:
INT. FRANCA 'S SITTING ROOM. EVENING
FRANCA is in the kitchen making coffee after dinner. GERHARD is
looking through her gramophone records.
He puts one on. It is Smoke Gets in Your Eyes.
FRANCA
(at the kitchen door)
No Mussorgsky tonight?
They smile at each other.
She brings him a cup of coffee. As she does so she sings the lines of
Smoke Gets in Your Eyes.


Contd.
GERHARD
(taking the coffee)
You know a bit of English ?
FRANCA
I learned some from Clare.
GERHARD
Ah! Clare Balzan ? Your friend? She's
half-English isn 't she?
FRANCA
On her mother's side.
GERHARD
Does she live with her parents ?
FRANCA
No. They aren't here.
GERHARD
And what about her husband? Is he still
in the army ?
FRANCA
Yes, sure!
GERHARD takes FRANCA in his arms and they dance quietly round
the dining table.
GERHARD
She must be very lonely.
FRANCA
(ironically)
Do lonely women interest you ?
GERHARD
(laughing)
Why not? Can't we introduce her to
some nice officers? Or does she know
one already ?
FRANCA
Maybe. Are we going to talk about her
all evening ?


Contd.
GERHARD begins kissing her.
CUT:
INT. GERHARD'S APARTMENT. DAY
The apartment is furnished in various stylesibut everything is of
value. GERHARD is lying on a divan smoking.
INGE, dressed only in a petticoat and skirt, shoeless, comes in
combing her hair. Her blouse is lying on one of the chairs and she
goes to it.
INGE
Are you coming to the office ?
GERHARD
Yes, a bit later.
INGE
(putting on her blouse)
I'll go ahead. What about this evening ?
(he doesn't answer)
I've never known you keep a woman so
long.
GERHARD turns and looks at her.
GERHARD
You've only known three years.
INGE
(with a penetrating look)
Do you love her?
GERHARD
(leaning back again)
Do you love me?
INGE
(at the door)
Cheerio!
GERHARD
See you later!
CUT:


EXT. CAMPIELLO DELLA COLOMBA (Castello), VENICE.
EVENING
This is a popular district belind the Via Garibaldi. CHILDREN are
beating tin drums improvised from household articles. It is St.
Martin's Day, 11 November 1944. They walk round the tiny campo
singing, while one of them solicits money from passers-by.
CLARE and GIULIO are watching. GIULIO gives the CHILD money.
ONE CHILD, much smaller than the rest, finds it difficult to keep
pace with them. His drum is almost bigger than he is and continually
slips out of his grasp.
GIULIO
(watching THE CHILD)
He's quite a clown eh ?
CLARE
(nodding with a laugh)
He feels so important! It's their day
today! St. Martin brings roasted
chestnuts and sunshine - and some
money.
GIULIO
What are they singing ?
(starting to sing himself)
San Martino, xe riva e
(humming the rest because
he doesn't know the words)
CLARE
Sssh!
GIULIO
Why?
CLARE
It's undignified!
GIULIO
He resets his hat and pushing his chest out gives her his arm.
They exchange a look, then burst out laughing. They cease laughing
and remain looking into each other's eyes.
CUT:


EXT. BRIDGE NEAR THE TROISI HOUSE. DAY
GIOVANNI, ALBERTO's younger brother, is throwing stones into the
canal. He suddenly looks up. FROM HIS PV we see CLARE walking
towards her house. He runs to meet her.
GIOVANNI
Clare! Clare!
(as he draws close to her)
Mama wants you right away! It's
urgent!
CLARE
What's wrong ?
GIOVANNI
(pulling at her)
Come on!
INT. THE CELLAR OF THE BALZAN HOUSE. DAY
MARIO BALZAN is sitting with ALBERTO in silence. MARIO is
drying his eyes. ALBERTO is roughly dressed.
MARIO
You're with the Garemi?
ALBERTO
Yes. Near Asiago.
MARIO
Were you in Posina when the Germans
came ?
AI LBERTO
(nodding)
That hell's over thank God!
There are footsteps on the stairs. ALBERTO gets up excitedly.
It is CLARE.
They' meet at the cellar entrance.
ALBERTO
(embracing her)
Clare!
CUT:


INT. THE BALZAN CELLAR. EVENING
GIOVANNI, alone, is touching with fascination ALBERTO's partisan
jacket. He puts it on and hides under the table, playing the partisan.
CUT:
INT. A BEDROOM IN THE BALZAN HOUSE. EVENING
CLARE and ALBERTO are making love. She has her eyes closed.
While he is kissing her breasts she opens her eyes for a moment and
stares at the ceiling.
CUT:
EXT. OUTSIDE THE TROISI HOUSE. NIGHT
CLARE and ALBERTO are several years younger, before marriage.
It is back in 1938. They say good night at the door and he kisses her
hand. She looks at him and he pulls her gently towards him. They
kiss once, then gaze at each other and begin kissing agàin and again.
She draws him into the doorway.
CUT:
RESUME 134
ALBERTO is kissing the nape of CLARE's neck, burying his face in
her hair.
CUT:
INT. THE TROISI ENTRANCE. NIGHT
The YOUNG CLARE and ALBERTO walk embracing and kissing up the
staircase, unable to let each other go.
CUT:
RESUME 136
CLARE and ALBERTO turn over in the bed, he gasping with excitement.
CUT:
RESUME 137
The young CLARE and ALBERTO stumble
the stairs still
clinging
together, kissing and gasping. Her hair and dress are dishevelled.


Contd.
When they reach the landing she takes off her shoes as he continues
to kiss her on the lips.
In the dark they hurry to the door leading up to the altana or roof-
terrace, still clinging to each other and kissing.
CUT:
RESUME 138
CLARE and ALBERTO are lying on their sides in an embrace. Her
face is towards THE CAM, resting on his as he kisses and fondles her.
She has a quietly pained expression.
CUT:
INT. THE TROISI HOUSE. NIGHT
The young CLARE and ALBERTO struggle up the narrow wooden stair-
case to the roof. He sits on one of the stairs and pulls her on to him,
raising her dress. She kisses him, her arms round his neck, then
draws him up again, and they stumble on up to the open altana, and
fling themselves down on the bare wooden floor and are almost at once
in the final love-embrace.
CUT:
RESUME 140
CLARE and ALBERTO have made love. They lie quiet, he still on top
of her.
RESUME 141
The young CLARE and ALBERTO are lying utterly still in the night-
silence, gazing at each other, side by side. He strokes her hair.
WE PAN over the roofs of Venice in the darkness.
CUT:
RESUME 142
CLARE and ALBER TO are on their backs.


Contd.
CLARE
(quietly)
You were in the hills all that time ?
ALBERTO
Yes and I've got to go back as soon as
this job's over. And what about the
others?
(as she looks at him)
Guido Santi OK?
CLARE
Ihaven't heard.
ALBERTO
Franca ?
CLARE
She's OK.
ALBERTO
And Luigi Scatin ?
CLARE
Dead. He was killed in Africa.
They are silent.
CLARE (contd)
(suddenly agitated)
Why don't you ask me who's alive ?
It'd be quicker! Shall I give you the
names of all the dead ones ? Giovanni
Mandelli, Tito Franzi, Danielle Chiosi,
Piero Frecchin, Antonello Gruva -
ALBERTO
(astonished by her outburst)
What aré you talking about?
CLARE
(even stronger)
Sandro Tornanti, Gigi Anselmi, Vincenzo
Balzan --- Angelo Pogran --


Contd.
ALBERTO
Clare! Clare!
(stopping)
Vincenzo? Which Vincenzo ?
CLARE
Vincenzo Balzan, your cousin.
ALBERTO
Dead? How ?
CLARE
The partisans. They took him from his
village with some other fascists. Didn't
they tell you?
ALBERTO
It can't be true! Vincenzo's a kid! He
was hardly fourteen when I left for the
army!
CLARE
He was seventeen a few months ago.
Silence.
ALBERTO
They had to do it maybe! If he went that
way and chose to be a fascist - : I
CLARE
(abruptly)
You were a fascist when you were
seventeen! And if they'd killed you then
that's how you'd have died - a fascist!
ALBERTO
(getting angry)
But I didn't choose to be a fascist for
Christ sake! Ifound the black shirt on
my back without even knowing what it
was!
(trying to control himself)
Anyway, what are we arguing about?
What's wrong, Clare ? I can't recognise
you any more! What is it? Just when
we're all waking up and starting to pull


Contd.
ALBERTO (contd)
ourselves out of the shit you have to
start niggling and criticising - :
Honestly Clare if your father heard
you talking like that -
(giving her a long,
rather suspicious look)
You've changed.
CLARE
(with a slight, sad,
ironical laugh)
Really? Not you! You haven 't changed!
Not at all!
ALBERTO
Does that disappoint you? What's happened
Clare? Has some nice young officer been
giving you lessons?
CLARE
Why didn't you send me any news ? At
least to tell me you were safe! All those
months without a word: Whenever I heard
of any officers being caught or murdered
I always thought, Suppose he's one of them?
Suppose they'd taken you to Germany?
And all that time you were here, all that
time! A few kilometres away! Couldn" 't you
have done something?
ALBERTO
No I couldn't.
CLARE
What about now' ? How did you manage to
come here ?
ALBERTO
I told you! I had to get some information.
Clare don't be a fool! It'll be over soon!
And it's going to be different afterwards!
Everything!
CLARE
(tired)
Do you really think people who've been in hell
can live in heaven ?


Contd.
ALBERTO
Yes I do! .
CUT:
EXT. OUTSIDE A BREADSHOP, VENICE. DAY
WOMEN are queueing for bread. WE MOVE IN to find CLARE in the
shop, about to buy her bread. She leaves with her bread and walks
down a narrow calle.
CUT:
EXT. THE CALLE. DAY
CLARE walks down the calle past a campiello or small square on the
right-hand side.
We hear GIULIO call her softly from the campiello.
Chiara! Chiara!
CLARE turns quickly.
CUT:
ANOTHER ANGLE
GIULIO walks towards CLARE. He draws her towards the campiello.
GIULIO
(in an undertone)
Listen! Listen carefully! The Germans
know your husband's here. He's got to
get out quick. You as well. You can't
stay' in that house any more. You've got
to be quick. You' 've only got a day at the
most. Ican sit on the information for a
day but no more.
(she is silent)
Do you understand?
CLARE
Y es! Yes I do!
He touches her hair. They suddenly kiss each other. He forces himself


Contd.
to let her go. They look at each other with a kind of astonishment.
GIULIO
Don't be afraid! You mustn't be afraid.
Promise?
CLARE nods in silence.
CUT:
INT. THE CELLAR OF THE BALZAN HOUSE. DAY
ALBERTO is walking up and down while MARIO his father sits smoking.
He goes to his father. He puts a hand on his shoulder and bends to kiss
him.
ALBERTO
You're unhappy eh ?
MARIO shrugs.
ALBERTO (contd)
What did you want me to do, stay
with the Germans ?
MARIO
You could come here and hide yourself
like other people do!
ALBERTO pours himself a glass of wine and gulps it down.
There is a sound on the garden-steps. The door pushes open.
It is CLARE, with the bread.
MARIO
Clare! You're back already!
CLARE
(to ALBERTO)
You've got to leave! They know you're
here!
ALBERTO
Who told you?


Contd.
CLARE
Somebody in the street.
ALBERTO
Who?
CLARE
A man! An officer!
ALBERTO
Do you know him ?
CLARE
I've seen his face before, yes.
ALBERTO looks at her for a time, thén walks away.
ALBERTO
(leaving the cellar by
the internal staircase)
Thank him for me will you? when you
see him again ?
WE STAY on ALBERTO as he walks heavily up the cellar stairs.
CLARE follows him.
CUT:
INT. THE BALZAN LOUNGE. DAY
ALBERTO is coming up from the cellar with CLARE behind him.
ALBERTO
(violently, but controlling
his voice)
Who is he? I want his name!
CLARE
I don' 't know his name I tell you!
: ALBERTO
You've been to bed with him! And that's
why you've changed, isn't it? It's an
officer! Who is he? Iwant to know
who he is!
CLARE doesn' 't reply and ALBERTO takes her by the shoulder and
begins shaking her. He pushes her down on to a 'chair.


Contd.
ALBERTO
(trying to calm himself)
You slept with him!
CLARE
(in a rising tone)
No! No! NO!
I ALBERTO
(putting a hand over
her mouth)
Quiet!
They simply look at each other.
ALBERTO (contd)
(calm now)
OK. I believe you. But I can't believe
you don' 't know his name.
CLARE
I told you I know his face. He came up
to me this morning when I was getting
the bread. He warned me you're in
danger. That's all.
ALBERTO
Perhaps he's one of us
CLARE
Perhaps.
(she gets up)
Aren't you going to ask if I'm in love with
him ?
ALBERTO
(abruptly)
You slept together!
CLARE
I told you no! That's all you're worried
about isn't it?
(taking the curtain-tassle
at the window and pulling
out the threads one by one
as she speaks)
I fucked, I didn't fuck, I fucked, I didn't
fuck, I fucked, I didn't fuck
CUT:


ANOTHER ANGLE
ALBERTO
Do you know anybody who still has a
boat ? Think hard! I'm out of
contact with everyone!
CUT:
INT. FRANCA 'S KITCHEN. DAY
FRANCA, haggard and pale, is drinking coffee with CLARE.
CLARE
Did you tell him you knew ?
FRANCA
No - - it would have wrecked everything.
CLARE
How do you know ?
FRANCA
I know! Oh, he didn 't even tryto hide it!
I could smell her perfume in the bed.
It must have been going on for months!
CLARE
So what are you going to do?
FRANCA makes a helpless gesture.
FRANCA
What are you doing here so early?
CLARE
Oh I was just passing -
CUT:
EXT. OUTSIDE FRANCA 'S HOUSE. DAY
CLARE leaves the building. She walks along the fondamenta in a
pensive mood.
CUT:


RESUME 32
DICK WYATT reins his horse close to CLARE's. He takes an envelope
from his pocket.
WYATT
As you're absolutely set on going back,
this is the best I can do for you.
(holding the envelope
out to her)
All you have to do is take it to the porter's
office.
(laughing as CLARE simply
looks at it, without taking it)
It's all right, it won 't bite!
She takes it.
CUT:
INT. TROISI BEDROOM. DAY
CLARE hurries into her bedroom and pulls open the wardrobe -door.
She kneels down to look for something inside. She pulls out a pocket-
book, opens it quickly and takes out an envelope. She throws the bag
back into the wardrobe and leaves the room hurriedly.
CUT:
INT. A HALL PORTER'S OFFICE. DAY
This is a small room furnished with a table, a rack for letters and a
telephone on the wall. THE PORTER, a man with sharp black eyes
behind glasses, sits at the table reading a newspaper. There is a rap
on the glass door. An envelope is placed on the table before him.
WE PULL BACK to see that the person who leaves it is CLARE.
She goes at once. The door closes after her. WE STAY ON THE
PORTER. He quickly takes off his glasses, goes to the window and
peers out. Then he goes to the telephone, letter in hand, and waits
for the operator to answer him.
CUT:
INT. THE TROISI KITCHEN. DAY
CLARE is making herself a cup of coffee over a wood-stove. She is
fanning the wood quickly with a brush fan.


Contd.
There are three short rings at the doorbell. She takes the pot from the
fire, wipes her hands with a cloth and runs out.
WE TRACK after her to the stairs. At the door below she stoops to
pick up an envelope.
CUT:
EXT. CAMPO SAN TROVASO, VENICE. DAY
The campo is deserted. CLARE crosses it from the direction of the
Accademia, then stops and turns to go back. She is clearly looking
for somebody.
From the other side of the campo PROFESSOR FRANZETTI arrives.
He is much paler and thinner. than before.
Seeing him, CLARE again stops, uncertain where to turn.
FRANZETTI waves to her. She is reluctant to waste time talking
to him but sees she is forced to say something. She goes towards him.
FRANZETTI
Hullo Clare! Are you waiting for
someone ?
CLARE
No. I'm just walking.
(looking round the
campo again).
How are you ?
FRANZETTI
(with a sad smile)
Don't you see how I am ? And you?
It's a long time since we saw each
other!
CLARE
I'm OK. Excuse me, I have to go!
(offering him her hand)
FRANZETTI
(without taking her hand)
Are you in a hurry?


Contd.
CLARE
(moving away)
Yes! Goodbye!
FRANZETTI
(remaining)
Don't you want to know how your mother
is ?
CLARE stops and turns to him.
FRANZETTI (contd)
After all, I only came here to tell
you!
CLARE
(staring at him)
You?
FRANZETTI
Yes, me, certainly. Haven't I always
given you news of your parents ? Let's
go in' here.
He leads the way towards the San Trovaso gondola-yard, and CLARE
follows him slowly.
FRANZETTI (contd)
(opening the door of the
shed with a key)
Gondolas have always fascinated me.
There's never anyone else at this hour..
That's how I like it.
WE TRACK after him into the gondola-shed with its upturned gondolas
in repair. He runs his hand along the bows of one of them.
CUT:
INT. THE GONDOLA YARD, SAN TROVASO. DAY
FRANZETTI walks between the upturned gondolas with CLARE watching
him.
FRANZETTI
Aren' 't they delicious ? Better than when
they're in the water! Lying down like this,
all black! Did you know they used to be gaily


Contd.
FRANZETTI (contd)
coloured at one time ? They painted
them black as a sign of mourning.
After a plague - - so they say.
CLARE
(with bitter irony)
And what about us ? What are we going
to paint black, professor? For this
plague outside, now ?
FRANZETTI
(ironically, as he turns
to a gondola half in the water)
Oh as for this plague, we'll remember it
once a year, a day in black, to honour
those who gavé their lives!
CLARE
And what about people who died fetching
a bag of flour home ?
FRANZETTI
They died by mistake! You can't ask people
to commemorate mistakes, Clare!
(looking at her)
You've changed. You're different.
CLARE
Alberto said the same.
FRANZETTI
Alberto ? He's here?
CLARE
He's here and he needs help. Why are you
looking at me like that? You're the person
who's answering my letter aren't you?
He's got to be out of Venice tonight! We've
been warned!
FRANZETTI
By whom ?
CLARE
An Italian officer.


Contd.
FRANZETTI
(quietly)
Giulio Marchetti?
CLARE
(starting)
What do you know about Giulio Marchetti?
FRANZETTI
That he's in a jam. Through his own
stupidity. He isn't a partisan and he isn't
one of us, he just puts a spanner in the
works when he feels like it! A one -man
show! What can you do with someone like
that? He'll probably be arrested in a few
days' time. And he won't even knowwho
to thank for it! Unless of course some-
body convinces him to face a few facts.
CLARE doesn 't reply but looks at him in an unmoving and frank way.
FRANZETTI (contd)
That Troisi courage - always better in
hard times! Isaw it in your father in the
other war.
CLARE
What do you mean exactly ?
FRANZETTI
That someone must convince him, Clare!
Someone who knows him!
CLARE
It's got nothing to do with me!
FRANZETTI
Listen Clare we haven't got much time.
Marchetti could be arrested any moment.
But first he's got to help us. And you can
convince him to do it!
CLARE
What's that got to do with Alberto?
FRANZETTI
Alberto's no problem. He'll be back in
safety by dawn tomorrow. But we stay


Contd.
FRANZETTI (contd)
on Clare, and we 've got to help each
other! Have I explained myself clearly?
CLARE
Yes and Iwon't do it! You're MAD!
All you men are MAD! And I won't do it!
I just won't!
FRANZETTI
(calmly)
And what will you do?
CUT:
EXT. A FONDAMENTA ON THE GIUDECCA. NIGHT
WE OPEN ona fishing vessel in the darkness, moored at the fondamenta.
A MAN comes from the house opposite, dressed in a roomy sailor's
jersey, hurries to the boat.
CUT:
ANOTHER ANGLE
CLARE and ALBERTO are standing flat against the wall in the darkness,
close together.
ALBERTO
(in a whisper)
Go to Franzetti's house right away.
You'll be safe there. And keep to the
narrow streets. Even if they're longer.
Everything'll be OK. In half an hour
we'll be fishermen like all the others.
They hear a light whistle from the direction of the boat.
ALBERTO kisses her quickly.
ALBERTO (contd)
I'll send you news as soon as I can.
He leaves for the boat.
CUT:


EXT. A NARROW CALLE. NIGHT
CLARE is walking back from the fishing vessel. There are no sounds
but her footsteps.
CUT:
INT. FRANCA 'S ROOM. NIGHT
FRANCA is sitting on the divan, GERHARD in an armchair.
FRANCA
Will Inge go with you ?
GERHARD
Why, are you jealous ?
FRANCA nods.
GERHARD (contd)
So is she.
(he pauses)
If it should happen to be another town
in Italy would you join me there?
FRANCA
(lighting up)
Of course! You know I would!
GERHARD
But I doubt it: It's nobody's luck just
now. It'll be a battlefront.
FRANCA
I could go to Germany, wait for you there!
GERHARD
Germany? You'd wait for me there? Not
at my home. They hate any sort of waiting!
You're so Italian, Franca . Desperately
Italian!
FRANCA
I don't understand.
GERHARD
It. doesn't matter.
CUT:


EXT. CAMPO S. STEFANO. NIGHT
CLARE crosses the empty square hurriedly.
CUT:
INT. THE FRANZE' TTI STUDY. NIGHT
PROFESSOR FRANZE TTI is opening a bottle of brandy. He puts it
down on the coffee table, which has been set in front of the settee.
There are two brandy glasses on the table.
CUT:
EXT. CAMPO SAN MAURIZIO. NIGHT
CLARE enters the campo from Calle del Piovan and turns past the
fountain to the house on the right where GIULIO MARCHETTI lives.
CUT:
INT. GIULIO MARCHETTI'S ROOM. NIGHT
The room is pleasantly furnished, with a hint of the academic.
GIULIO is sitting in his dressing gown reading.
There is a knock at the door. He puts the book down and gets up to
answer it.
It is CLARE. She is much agitated. He stares at her.
CUT:
EXT. THE LAGOON BEYOND THE GIUDECCA. NIGHT
The fishing vessel with ALBER' TO aboard is safely on its way.
CUT:
EXT. CAMPO SAN MOISE. NIGHT
THREE GERMAN SOLDIERS accompanied by A JUNIOR OFFICER
cross the campo heading for the Calle 22 Marzo.
CUT:


RESUME 166
GIULIO and CLARE are still standing together near the door. He is
kissing her all over her face.
CLARE
Giulio! They're mad! They've all gone
mad! They're going to arrest you!
GIULIO withdraws her face a little so as to look at her.
CLARE (contd)
It's true! I know from the people who
helped Alberto get away!
GIULIO
You came to warn me ?
CLARE
Yes!
GIULIO
Just for that?
CLARE shakes her head, looks at him for a moment and then, closing
her eyes, leans her head on him. GIULIO lifts the hair from her
neck and begins kissing her with great tenderness. Suddenly he
embraces her, kissing her insistently on the lips, while her hands
run along his body. CLARE murmurs with pleasure and puts her arms
round his neck, grasping him.
CUT:
170. EXT. BRIDGE BETWEEN VIA 22 MARZO AND S. MARIA DEL GIGLIO.
NIGHT
THE GERMAN SOLDIERS with THE JUNIOR OFFICER begin to cross
the bridge. From the other side GERHARD appears. He is walking
very casually. They meët on the bridge. THE SOLDIERS and
THE JUNIOR OFFICER salute him. He salutes back in an elegant,
indifferent way, without exchanging a word. Once they have passed he
turns to look at them for a moment, then strolls on.
CUT:


EXT. S. MARIA DEL GIGLIO. NIGHT
THE GERMAN SOLDIERS and THE JUNIOR OFFICER cross the campo.
CUT:
INT. GIULIO MARCHETTI'S BEDROOM. NIGHT
CLARE and GIULIO are naked on the bed making love.
CUT:
EXT. CAMPO SAN MAURIZIO. NIGHT
THE GERMAN SOLDIERS and THE JUNIOR OFFICER cross the campo
towards GIULIO's house, past the fountain.
CUT:
RESUME 172
CLARE and GIULIO are still making love.
There are the violent echoing sounds of military boots on the staircase
below.
ASTHE CREDITS BEGINROLLING:
CLARE and GIULIO hear the steps and suddenly cling together,
utterly still, waiting, their eyes closed, their lips touching. They
remain like this. Soon they begin to look peaceful, smiling as they
wait, gazing quietly into each other's eyes.
The sound of the German boots OVER grows to a climax.


EXT. S. MARIA DEL GIGLIO. NIGHT
THE GERMAN SOLDIERS and THE JUNIOR OFFICER cross the campo.
CUT:
INT. GIULIO MARCHETTI'S BEDROOM. NIGHT
CLARE and GIULIO are naked on the bed making love.
CUT:
EXT. CAMPO SAN MAURIZIO. NIGHT
THE GERMAN SOLDIERS and THE JUNIOR OFFICER cross the campo
towards GIULIO's house, past the fountain.
CUT:
RESUME 172
CLARE and GIULIO are still making love.
There are the violent echoing sounds of military boots on the staircase
below.
ASTHE CREDITS BEGINROLLING:
CLARE and GIULIO hear the steps and suddenly cling together,
utterly still, waiting, their eyes closed, their lips touching. They
remain like this. Soon they begin to look peaceful, smiling as they
wait, gazing quietly into each other's eyes.
The sound of the German boots OVER grows to a climax.