THE FOUNDLING
- Is this the Barberin farm? - Yes, sir.
Your mother?
She's in the house.
There she is.
Thank you.
AII I can offer you is a cup of chicory. It's warm.
No, thank you.
This is aII I couId find, Roussette.
But don't worry, it'II soon be spring
and you'II have Iots of grass.
I don't know that man who's just come. Do you?
Remi, come over here, pIease,
with Roussette.
I've seen better cows.
Go back in the house, dear.
I don't need your heIp at the moment.
So you've seen better cows than Roussette, have you?
Look at her feet. And her neck's too short.
She doesn't give miIk from her feet!
I can onIy give you 1 00 francs.
1 00 francs for Roussette?
But in Chavarnon market I couId seII her for twice that!
1 00 francs, no more.
Wait, Remi!
Remi, wait for me.
Don't cry, my dear.
I'm not crying.
Don't be sad. I know how you feeI.
It hurts me to see you cry. You don't want to set me off, too!
I don't understand why you had to seII her.
Mr Barberin feII off his scaffoIding in Paris.
He can't work as a brickIayer any more.
He gave aII his money to the doctor,
and he's coming back to the farm.
Come on, Iet's go in before you catch coId.
How wiII we get miIk and butter?
One day at a time, young feIIow!
How about if I make us some nice pancakes?
PeeI those three appIes for me.
Don't make the peeI too thick.
- Gustav? - I'm back!
Nothing Ieft for me in Paris.
You two aren't suffering, are you?
Eating pancakes...
whiIe I risk Iife and Iimb in Paris!
Get out, scram!
He's off to the orphanage tomorrow. I'm hungry, too!
No, I need him at the farm.
I said the orphanage!
If you Iisten through keyhoIes you don't get any supper.
Go on!
Get out of my sight!
Why the orphanage?
Did you Iearn something about him in Paris?
I contacted the poIice station which originaIIy found him.
Avenue de BreteuiI, a rich area.
WeII, rich or not, no one ever came for the chiId.
Ten years now! I've given up hope.
His parents are gone.
How can you say such a thing?
I soId Roussette so we couId make ends meet.
And you'II get better sometime.
Of course I wiII, but for the moment we've no money.
You shouId have soId the kid, not the cow.
Is there a bottIe Ieft in the ceIIar?
Your poIice service here in Paris wrote this Ietter
to my sister-in-Iaw, the Countess Johanna von Strausberg.
As she is iII, I am representing her.
Yes. Madame Strausberg wrote to us many times
when we had more pressing concerns than Iost Prussian chiIdren.
If you see what I mean.
I'm afraid not.
At that time
there were, in France, perhaps too many Prussians in uniform
unwiIIing to go home.
My nephew was Bavarian.
Bavarian!
We may have a Iead.
I've received a Ietter from the Avenue de BreteuiI.
A brickIayer named Barberin... Let's see.
He found...
on some steps in the Avenue de BreteuiI...
an aImost dead chiId...
AImost?
AImost dead. It was in January,
weII before that awfuI war between our two countries.
- May I? - It's aII here:
the brickIayer's address, the aImost dead chiId, January...
But my nephew disappeared that year in February.
And yet Madame Strausberg...
Countess!
She mentioned January in her Ietters.
May I take this Ietter
to show her?
- Do you have power of attorney? - Of attorney?
She shouId have thought of that
but she's so upset...
I'm sure you'II be understanding.
Thank you.
Remi! Remi, I'm waiting!
Don't worry. I've been thinking.
The counciI might give us some money to bring up the kid.
What do you think?
I'II go and see.
You haven't eaten anything.
We'II go to the cafe.
Come on, Remi.
I Iike the kid, too.
This is on me.
FeII off a scaffoIding, eh? Nasty.
PIease excuse my companion's Iack of manners, young man.
Your companion?
His name is LadykiIIer. Isn't that right?
LadykiIIer.
What are you doing here?
Who's he?
An odd customer.
The counciI won't give us anything.
WeII, if they gave money for every orphan the war produced,
they'd soon run out.
The orphanage is the onIy soIution.
He doesn't work, he eats, he needs new cIothes...
We're ruined!
Is this chiId a bother? Because...
I was thinking...
- What? - Oh, nothing.
Perhaps the chiId couId be usefuI to me in my business.
- What business? - Artist.
Do you hear that?
You want to take this chiId who works on the farm,
who's aIways heIpfuI, eager, never compIains...
Who needs feeding and cIothing.
Think how it wouId hurt me and my wife.
Fifty francs.
No, I have to teII Mr Fontane. Wait!
From whom was that object stoIen?
You? Mr von Strausberg?
- In person, CharIes. - You.
After aII this time.
But to what do I owe the pIeasure...
The pIeasure?
I wouIdn't taIk of pIeasure if I were you, CharIes.
HeIIo, IittIe one.
This is my niece, Lise.
Curtsey to the gentIeman, Lise, and then go to bed.
Come on.
My niece cannot speak.
She became dumb after her parents died in a fire.
I had to take her in.
She survived...
ChiIdren seem to survive in your company,
don't they, CharIes?
I don't understand.
Are you stiII making Iots of money from burgIaries in Paris?
Come and see.
These things go down weII in Germany.
Just Iook!
I didn't come here for that,
I didn't come here for pIeasure.
I toId you,
my dear CharIes...
Can I stiII caII you that?
What are you getting at?
This!
This Ietter addressed to my sister-in-Iaw.
Johanna, the chiId's mother?
Read it and teII me.
It's a miracIe that the postman gave the Ietter to me.
The poIice have found the trace of a chiId
abandoned ten years ago in the Avenue de BreteuiI.
You aIways toId me
the chiId was dead when you reached Paris.
WeII, aImost.
AImost?
Yes, aImost.
And what does ''aImost'' mean?
He was aImost dead of coId when I abandoned him in Paris.
In the Avenue de BreteuiI?
Yes, perhaps. I don't know.
If he hadn't been almost dead,
I wouIdn't be almost the heir to the famiIy fortune.
So that expIains this Ietter.
But there's no proof that...
''There's no proof that...''!
You're right, CharIes, there's no proof.
But I paid you once, and paid you very weII, too,
for a contract which was not honoured.
I demand you now honour it in fuII!
- Honour it? - Understand?
Honour it.
I know who wiII Iike this jeweI.
We mustn't Iose hope.
We stiII have Remi.
And we might even get some money to put by for him.
- From the counciI? - Why not?
Let's drink to it.
The innkeeper promised me a bottIe.
Go and get it for me.
Now?
Yes, now. Go on, hurry up.
A drop goes down weII with coffee.
Get your things and come down.
And hurry!
Where's mama?
Whose mama?
Get your things, now!
Miss DoIce, Mr Capi, Mr Zerbino
and you, Mr LadykiIIer...
wait here and don't move.
Is it stiII a deaI?
I'II give you the chiId.
Look after him.
''Give'' him?
Remi, you're going to Iive with this gentIeman now.
No!
Him or the orphanage!
- Where's my mama? - She's not here.
Come on, Iad.
You're a moneymaker!
I'm going to hoId on to you.
Ready when you are.
Off you go.
I want to see my mama.
What's your name?
Remi.
My name is VitaIis.
Signore VitaIis.
''Signore'' is ItaIian for ''Mr''.
I'm taking you away because...
because I need you.
Don't try to run off.
He's got sharp teeth
and he'II catch you.
Look!
Where's Remi?
He's here, aII nice and shiny!
You mean you soId him?
You soId Remi? How couId you do that?
Mama! Mama!
My IittIe one!
Mama!
Be brave, Iad.
Cry if you want to but...
You'd have been Iess happy at the orphanage.
But why the orphanage?
She's my mother.
But Mr Barberin can't work any more.
He can't starve just to feed you.
Come on.
I'II buy you some shoes in the next town.
ReaIIy? Shoes Iike gentIemen wear?
I've never had any shoes before.
You again!
At your service, my dear Johanna.
At my service?
I have aIso come to offer you
this jeweI.
I beIieve it worthy
of your coIouring...
It's magnificent, it's...
I know you, Georg. You never offer, you buy!
What do you want to buy with this?
Me? Nothing.
Or, rather, I want to buy your good heaIth.
Your return to good heaIth.
My return to good heaIth!
If onIy...
You see.
I don't onIy mean your chest.
Why torment yourseIf about your son?
You're the one tormenting me.
I onIy want your happiness.
My happiness consists of waiting for my son to reappear.
PIease, Johanna!
It's ten years now since your son disappeared.
Face facts.
What facts? AII I know
is that he disappeared. So he couId reappear.
No, not after so Iong.
What about the man who was seen with a baby. He existed.
Which man?
I so want to heIp you,
I so want to see you happy.
In memory of my brother, your Iate husband,
who aIso wanted you to be happy.
And for you, Johanna,
for you...
For me?
For you. I want you to be happy.
Your doctor teIIs me you're on the road to recovery.
You shouId go back to Bavaria.
With you, I suppose?
With or without me, it doesn't matter.
You need a change of air.
Go back to the castIe and parks of your chiIdhood.
Your doctor said so.
Not to me.
He wiII do, Johanna, he wiII.
You don't understand. AII I want is my chiId,
then I'II be better.
A chiId?
You are beautifuI... so beautifuI.
You can aIways have another chiId.
What do you mean?
Perhaps we two, one day...
Us?
You're tiring me, Georg. PIease go.
You Ioved my brother when he was aIive.
I'm aIive now,
don't destroy aII hope in me.
Go and see on that signpost if we're far from ChasIy.
I don't know.
What do you mean?
It must be written here.
Can't you read?
No.
No one taught you?
You hear that? He can't read.
I'II teach you.
But it's much too difficuIt.
What can I do for you, gentIemen? Jackets, waistcoats,
frock coats, trousers, shirts,
gaiters, boots, shoes, jerkins,
hats, dressing gowns...
We have everything here,
incIuding made to measure.
Shoes, for the young man.
Shoes, but of course.
Boots, moccasins, Oxfords, sandaIs,
muIes, sIippers...
HobnaiIed boots Iike those in the window.
HobnaiIed boots, but of course. HobnaiIed boots.
If the young feIIow wouId care to sit down.
An exceIIent choice. Good oId hobnaiIed boots.
We have some beautifuI ones.
What's that?
HobnaiIed boots of this quaIity wiII Iast a Iifetime.
As Iong as he doesn't grow too quickIy.
I'II remove your cIogs.
They're a bit big but with socks... And they'II keep you warm.
It's through your feet that you catch coId, you know!
Try this on.
I'm coming.
- If you don't mind. - No.
CIothes fit for a prince.
Try it on, young man. Raise your arm. And the other.
What did I teII you? A prince! Where is your kingdom?
There!
You must Iook different.
What do you mean?
Not Iike a prince, not Iike anyone eIse.
Not Iike a Frenchman. I'm dressing you as an ItaIian.
Oh, an ItaIian. But of course, an ItaIian!
You and I have to stir peopIe's curiosity.
We're artists!
Artists! Of course, you're artists.
I knew as soon as I saw you.
Artists never have much money. How much do I owe you?
Ten francs. WeII, perhaps...
I'm not an artist, Mr VitaIis.
What's an artist?
Being an artist
means being generous.
WiII eight francs do?
Do you dress aII the artists you empIoy Iike this?
I've never empIoyed anyone before. You're the first.
The first? But why me?
That's a good question.
Perhaps because I'm growing oId.
Miss DoIce, pIease show Remi
what you can do. RoII over!
RoII over. Good. And again, pIease.
Miss DoIce, pIease.
PIease do it one more time for Mr Remi.
Thank you, Miss DoIce.
And now it's the turn of Mr Zerbino. PIease!
Go over there, and quickIy.
Come back, Mr Zerbino, come back.
What's the matter, Mr Zerbino, have you been bitten
by a sheep?
Thank you, Mr Zerbino. Now for music and dancing.
Miss DoIce, wouId you care to dance with me?
Are you a reaI singer?
Me?
A singer?
That's none of your business. A singer, me?
With my rough voice?
Me, a singer?
No, I'm a musician,
a bit of a dog-trainer, a bit of a cIown...
You can be LadykiIIer's partner.
I'II teach you the fIea sketch.
FIeas? You can't perform with fIeas!
You can act anything, Remi.
Anything! ReaI fIeas, pretend fIeas,
peasants marrying emperors, oId foIks Iike me...
You're not so oId.
Thank you, Remi.
Ladies and gentIemen, today,
at nightfaII... Mr Remi.
O honourabIe inhabitants
of this IoveIy town,
what a spectacIe we wiII have the pIeasure of showing you,
with the iIIustrious LadykiIIer...
- my respects, generaI -
a few weII-traveIIed dogs,
the young actor Remi, soon to be famous
the whoIe worId over,
and I, your humbIe servant.
Tonight there wiII be dance,
music, acrobatics and, Iast but not Ieast,
our very own renowned pantomime,
with the speciaI participation
of our friend Germaine.
I shaII say no more. UntiI this evening, then!
What are you waiting for?
Are you Madame Barberin?
Yes, sir.
Is your husband in?
No, he's gone out.
To the hospitaI.
I'm sorry, madam.
Do you have a chiId here who was found by...
Remi?
He hasn't done anything stupid?
I don't know. Where is he?
What do you mean?
I'm asking you where he is.
Are you... from the poIice?
I'm Iooking for this chiId,
who isn't your chiId, if I understand correctIy.
I raised him as if he were my own,
hoping his famiIy wouId one day find him.
Are you a reIation?
I have to check.
I'm just checking, that's aII.
What do you mean, checking? He's not here, he's gone.
Gone? With whom?
I don't know. He's gone Iooking for adventure
with a bohemian, an actor.
It was my husband's idea,
he was the one who soId him.
What is this man's name?
How shouId I know?
An oId man with a sort of circus, Iots of animaIs,
aII sorts of things...
Sir!
He couId have toId me his name.
- WeII? - Disappeared.
Run off for good with a bohemian.
He's no Ionger a threat.
A chiId is aIways a threat. He's aIive, therefore a threat.
If the poIice went Iooking for him,
if his mother managed to find him...
everything wouId be Iost.
Do you understand? For me and for you, CharIes.
But he's compIeteIy disappeared.
You couId disappear too,
in prison!
And your niece couId disappear aIso.
And reappear.
A IittIe girI unabIe to cry for heIp if danger threatened.
Lise has nothing to do with...
Find the chiId and honour the contract
made ten years ago.
Keep me informed.
Are we agreed, CharIes?
Wait for us.
Hurry up! Come on, faster!
Thank you.
Mr LadykiIIer, pIease introduce your friend.
Thank you. HeIIo, Miss Germaine.
You've aII reaIised that she is a European fIea,
Pulex irritans,
of the PuIicidae famiIy,
and a great friend of man.
Mr Remi, pIease,
wouId you pIease bring me Miss Germaine's box,
which is, in fact, her hoIiday home.
Mr Remi, pIease! Miss Germaine is getting coId
and impatient.
- Sorry. - Thank you.
About time too!
Now watch carefuIIy. I put Miss Germaine in her box
and I cIose the box. Miss Germaine is now inside.
You can check.
Now Mr Remi, pIease bIow on the box with your magic breath.
Now Iook!
Look, she's disappeared.
Miss Germaine has disappeared.
You can see that she's disappeared.
God onIy knows where she is.
Miss Germaine,
pIease come back into your home.
Miss Germaine, pIease... PIease don't...
Miss Germaine, pIease! Let's caIm down now.
WiII you pIease come back now.
Itchy, JuIes?
I didn't know you were a cIose friend of Germaine's?
Maybe she saw a few reIatives there.
Goodnight, Germaine, Iadies...
That was good, Remi.
There.
Thanks.
Bon appetit.
See you tomorrow.
What can I get you?
A drop of Iemonade and a drop of wine.
How many gIasses?
Two. No, three.
- Three. - And a bowI for my friends.
A bowI of water. Is that aII?
I'II never be an artist.
Of course you wiII.
But it's harder than being a magician.
Pass me those cups there.
Watch carefuIIy.
Here's five sous.
There's nothing here or here or here.
I'II put the five sous under a cup.
Find it and it's yours.
Watch now.
Where is it?
You Iose.
You owe me a forfeit.
A forfeit?
Sing a song.
I can't sing.
I'm sure you can.
You damned fooI!
Go and wash the bottIes!
You're Iacking in confidence but you have a nice voice.
I'II aIso teach you how to pIay the accordion.
Is that an accorIion?
Accordion. If you pIay that we'II make Iots of money.
Innkeeper, the biII!
Five sous.
PIay for it?
I'II put it under a cup, you pick the right cup
and it's yours. Agreed?
AII right.
Watch now.
- WeII? - That one.
- You thief! - It's a game, sir.
One day you Iose, the next you win.
That's Iife.
Life, eh? I'II show you what Iife is.
Go on, get out, you and your zoo!
Here, this is for getting your backside kicked.
- Thank you. - No probIem.
- Where's Zerbino? - Over there.
Look what he's got!
Never had chiIdren?
Me?
Hundreds.
- Thousands! - You can't count thousands.
What do you mean?
Thousands of eyes watching you, of ears Iistening to you,
of hands appIauding, of happy chiIdren...
You can't count them indeed!
Thousands of wives, too?
OnIy one.
She Ieft me when I stopped working.
What did you do before?
Before? Before...
I promised to teach you to pIay music.
- It's Iate. - It's never too Iate.
And I'II teach you to read. Take the accordion.
No, LadykiIIer, stay put!
- I'm tired. - Yes but... Stay put!
It's never too Iate to work.
Put a finger there, a finger there. Now push and puII.
Push, puII, puII...
No, LadykiIIer. There, push there.
LadykiIIer, we're working!
Do I remember that feIIow? With his dogs,
his monkey and his kid?
Hard to forget.
How Iong ago?
About ten days. Why?
You know them?
The chiId. I know the chiId.
Don't teII me that the oId feIIow is a chiId-thief!
Why not?
- How much do I owe you? - Ten sous. No, fifteen.
They didn't pay, and as you know them...
I never said that.
- Fifteen sous? - Fifteen.
Can you smeII that? It's the sea.
- The sea? - Yes.
Over there.
How big is the sea?
It's as big as... It's much bigger than your country.
And on the other side?
There's a huge continent, it goes aImost to infinity.
- I'd Iike to go. - And why not?
It's caIIed America.
In America there are big cities, theatres, opera houses,
there's Boston, New York, Chicago...
Do you know America?
You'II know Iots of things as weII.
And you'II remember with gratitude poor oId Mr VitaIis,
the dog-trainer...
And musician.
If you Iike. Who taught you to read...
And to pIay the accorIion.
Accordion.
And who showed me the sea and toId me about America.
And who, above aII, taught you to use your eyes.
Look! Look!
Take a big, deep breath.
The ocean!
Is Tarbes a viIIage?
No, it's a town. A big town.
Is it far?
Thirty kiIometres.
What's a kiIometre?
A thousand metres.
And what's a metre?
A metre is one step.
Like this?
That's a smaII step.
- A smaII metre. - No.
A metre is a metre.
You wouId need three steps to make one metre.
- That's a big step. - Yes, that's a metre.
A big metre.
No, you don't have big metres and IittIe metres.
A metre's a metre.
- Like this? - But you don't waIk Iike that.
So, whether you waIk Iike this... or Iike this...
it's stiII a metre.
- No, that's two metres. - What?
You did three of my steps and one of your own.
That's two metres!
Come on, we've a Iong way to go.
Where have those dogs got to?
How many of my steps to waIk thirty-nine kiIometres?
Thirty-nine, thirty-nine...
Why thirty-nine? Why not forty? Thirty-nine!
You're annoying me with your questions.
Save your breath for waIking to Tarbes.
On this very spot, in a short whiIe, a great spectacIe
during which you'II discover how LadykiIIer and Germaine
spIit up and got back together.
Come cIoser, everyone!
Move aIong, move aIong!
We don't want any disturbances.
A disturbance? Me?
This area is for waIking, not for cIowns.
A cIown? Me?
Move aIong, you and your crew!
My crew?
For the Iast time, move!
Fine, but where do I move to?
These peopIe are moved by my eIoquence.
What eIse can I move? May I?
A ribbon.
I'm removing a ribbon!
Mountebank, cIown, did you hear me?
What about our spectacIe?
- But... - The show goes on.
Ladies and gentIemen. LadykiIIer,
pIease introduce your friend Germaine.
You've aII reaIised that she is a European fIea,
Pulex irritans, of the PuIicidae famiIy,
and a great friend of man.
I toId you to be gone!
Germaine, where has Germaine gone?
HeIp me, pIease, generaI, to find Germaine.
Officer, you haven't seen my friend Germaine, have you?
What the... Get this monkey off me!
Do you know who you're taIking to?
Don't you Iaugh
at authority!
Don't hit him!
Come with me. You're under arrest
for assauIting an officer.
You'II be tried tomorrow.
Caught in the act!
PIease. Remi, Iook after him.
This is what a town is: force!
Be quiet! And you, you're a witness.
- But... - A witness, I said.
The pubIic ministry against VitaIis, dog-trainer.
The charges, pIease.
That the so-caIIed VitaIis
did refuse to obey an agent of the Iaw
who ordered him not to cause a disturbance in pubIic,
on the town's fairground site,
in accordance with bye-Iaw 4325...
4325? Are you sure?
I'd forgotten 4325.
It's the IoveIiest, the most poetic...
He's aIso accused of insuIting and assauIting the officer.
I, with my grey hair,
am supposed to have attacked
that nobIe representative of the Iaw,
that pubIic empIoyee, that guardian of the peace?
Peace and order...
Two Ioose women who sIeep with the bourgeoisie!
Be quiet! It is not your pIace to speak.
- You couId aIso say ''PeeIer''... - Be quiet!
Mr Prosecutor, pIease.
Your Honour, we have two witnesses. Sergeant Barois...
''BIuebottIe''.
No, not ''fIatfoot'', that's too rude.
Let's stick with ''PeeIer''... WeII, this PeeIer...
Be quiet, I say!
Kept his eyes peeIed!
Two PeeIers... I mean, two witnesses.
Sergeant Barois, victim of the assauIt,
and someone watching the spectacIe
who came of his own free wiII.
Very weII.
This shady-Iooking individuaI,
whom I asked to move on, started to strangIe me.
Yes, Your Honour, strangIe me! For no reason.
He was Iike a wiId beast.
He's Iying!
SiIence in court!
The accused,
Your Honour,
wouId have strangIed him if he hadn't defended himseIf.
And I must add that the accused had first of aII insuIted him
in the most dreadfuI Ianguage
which I found quite shocking.
What do you have to say?
I didn't insuIt anyone.
I don't know why this gentIeman is making aII this up.
I was doing my job, exercising my dogs,
when the officer went to strike Remi, so...
Remi? Your son?
- No, Your Honour. - Your partner?
Yes, my partner.
But I Iove him Iike a son.
You're sentenced to a 1 0-franc fine and one month in prison.
Next case!
A judge shouId be just,
which you are not!
Take him away!
Be brave, artist.
Young man.
Sir.
Sir, your statement has been recorded,
but we need your signature and your address.
Later. I'II do it Iater.
I'm sorry, sir, it wiII onIy take a few minutes.
EIeven sous.
That's aII we've got.
Stop it. I'm hungry, too.
We're aII hungry.
Come on, Capi.
Stop it, you two.
Where can we go?
Somewhere without poIice officers.
Do you see what I mean, LadykiIIer?
Signore VitaIis is in prison, we don't know where to go,
and he won't be out for a month.
I have to practise
so that he'II see I've made progress.
Bravo!
That's very nice.
Stay here! Don't move!
Bravo. Are you the one...
Are you the one...
- Who was pIaying? - Yes, madam.
WouId you Iike to come in for a drink?
I wouId but...
I'm not aIone.
You're with your parents?
Friends? FamiIy?
- Capi. - Who's Capi?
Good boy, Capi, good boy!
You're both weIcome aboard.
- WeII... - Yes?
There are more.
Other friends?
DoIce! Zerbino! LadykiIIer!
Is that aII?
Then come on in.
My name's Johanna. And yours?
I'm Remi, madam.
You pIay very weII.
It's my profession.
Come in.
Ingrid, something to drink for the boy.
- Madam? - Yes.
Can I share with my animaIs? They're hungry, too.
You haven't eaten.
Not for a whiIe, madam.
Ingrid, a fuII meaI for the boy and something for the animaIs.
Very weII, madam.
Sit down, my poor friends.
I Ieft my things in the woods.
Ingrid wiII fetch them.
Thank you.
LadykiIIer, show your best manners to the Iady.
So you are a performer?
Yes, with my master.
- Where is he? - In pri...
He's in town for a whiIe.
So I'm coping with the animaIs.
Dancing and comedy, whatever the pubIic desires.
Am I the pubIic?
Yes, I think so.
What is your master's name?
VitaIis. Signore VitaIis.
Is he your papa?
I don't have one.
And your mama?
That's oId mother Barberin.
It's nice to have a mama.
But sad to be apart.
Very sad. For her, too.
It's sad for both of us.
My dear!
Why do you Iook so happy?
Happy?
No, I... It's the happiness that comes from comforting a chiId.
It wasn't mama's fauIt. She didn't want to abandon me.
OId man Barberin fixed it up.
Poor IittIe thing.
He made me Ieave with Mr VitaIis without her knowing.
Can you beIieve it? SIeeping in a reaI bed,
and two meaIs in one day!
Go back to the others or they'II be jeaIous.
How oId are you?
Ten. I'II soon be eIeven, I think.
I bet he Iooks Iike you.
Who?
My son.
He Iooks Iike me?
Perhaps.
- Does he Iive on this boat? - No, he's not here.
Where, then?
I don't know.
Aren't you sad, being aII aIone?
Stop it! Stop asking questions!
I'm sorry... I'm sorry.
Don't cry.
If I paid his fine wouId they set him free?
I beIieve so, madam.
I'II see to it right away,
and ask him to come to us here.
Thank you, madam.
I'd Iike to taIk to your master.
TaIk to him? What about?
You've never met.
Oh, what a handsome Iot!
My boy!
I onIy had eIeven sous Ieft
and the Iady on the boat, she's caIIed Johanna,
gave me food and a bed, with reaI sheets,
and she wanted... she had you set free and...
I'II teII her you're here.
My respects, madam.
I want to thank you for...
PIease come in, Mr VitaIis, you must be very tired.
I feeI Iike I aIready know you, Remi has toId me so much.
ReaIIy?
But aIIow me to introduce myseIf.
I am Countess von Strausberg, a widow, and my son is Iost.
- I'm sorry. - PIease...
Come in, I'd Iike to discuss a serious matter with you.
Go and take the animaIs for a waIk.
I'm sure they couId do with the exercise. Go on.
I've grown very fond of Remi, Mr VitaIis.
You hardIy know him.
Not quite as weII as you, true.
But he's endearing, cIever, IiveIy...
He's Iike a ray of sunshine.
I'm iII, you see.
I find it hard to waIk. CoxaIgia as a resuIt of tubercuIosis.
But the cIimate here does me good.
And?
I'd Iike to keep the chiId with me.
I'd make him happy.
- And yourseIf, too. - His happiness is mine.
Yes, you're right.
He'd get the best education, have a bright future...
WouId you Iike some tea? Ingrid, some tea, pIease.
Take a seat.
So, do you agree?
Remi is an exceIIent partner.
I have no intention of Iosing him.
I understand
that you paid a considerabIe sum
to bring Remi under your wing.
I aIso reaIise
how much you have spent on his education
and how his absence wiII affect your future takings.
But we can come to an arrangement.
No, madam, we cannot. Remi is not for saIe!
I have no wish to insuIt you, but we both want the best for him.
We are both very attached to him.
If we wrote to his mother, this poor peasant...
This ''poor peasant'', as you say, is not his mother.
- But Remi... - He doesn't know.
I'm the onIy famiIy he has. He is my responsibiIity.
We shaII not bother you any Ionger. We're Ieaving.
I shan't forget what you did for Remi.
You can be sure of his gratitude, as of mine.
I don't want your gratitude.
OId mother Barberin
wouId have wanted me to stay on the boat.
I don't think so.
I know she wouId!
Listen to me, Remi.
There's something you have to know.
Remi, oId mother Barberin isn't your mother.
Stay there, boys! Remi!
It's not true. She's my mother, she brought me up!
Yes, she did, and she Ioved you
Iike a mother Ioves her son. But...
What?
You were an abandoned chiId,
but oId mother Barberin took you in.
That's what counts.
Not that you were abandoned, but that you were Ioved.
Abandoned... Johanna Iost her chiId.
I know.
No, reaIIy Iost him. He was with his nurse
and one day he was snatched away. StoIen!
Never found again.
Why did she cry just then?
Perhaps she was sad to see us go?
CouId my mother be Iooking for me?
That means I've got two mamas, with oId mother Barberin.
Yes, two mothers and twice as much Iove!
Come on!
In court you said you Ioved me Iike your own son.
I've got a big famiIy!
Yes, a big famiIy.
- Mr VitaIis? - Yes.
I'd Iike to kiss you.
Where to now?
Where wouId you Iike?
I don't know.
Let's go there, then!
Come on!
Your hat!
Come on.
Best foot forward... to Paris!
So this so-caIIed VitaIis joined the chiId on board?
This means Johanna has found her son.
No.
She doesn't know it's her son.
It was just a coincidence.
Perhaps. But if she finds out, you're a dead man, CharIes.
Wait for me.
No one toId me you were here, my dear.
Where does this piece go? Nothing fits any more!
Madam has been sIeeping badIy.
She needs her rest.
Leave us!
PIease, Johanna.
For a few weeks I had someone to heIp me.
A cIever Iad...
Someone to heIp you?
Who? The chiId
who was on the boat?
How do you know?
Everyone on the canaI knows.
Lots of peopIe noticed.
What do you know about this chiId?
What do I know about him? I don't understand.
ReaIIy?
And the dog-trainer who joined him?
What about him?
Poor IittIe Remi.
Where is this Remi?
I don't know. He went off again
with his ''dog-trainer''.
- He's gone? - Yes.
I Iet him go. I must be going mad.
I'm going mad!
That's aII you know?
What eIse do you expect? Your questions are annoying me.
What is it to you?
Nothing.
I'm just worried about your heaIth.
Forgive me, Johanna.
He showed up one day. It was a miracIe.
Remember Gustav's portrait? He was just Iike him.
I'm sure his master, Mr VitaIis, expIoits him terribIy.
But you haven't toId me what brings you here.
Now go. Leave me.
He'II write to me. He promised.
And I'II know where he comes from, that young man.
I'II know...
He can't be far. StiII with his dog-trainer.
Find that chiId and, this time...
Understand?
I understand.
Mr Capi, you're a marveI.
WouId you pIease saIute our honourabIe pubIic.
Mr Capi, thank you.
Mr Remi, what can you do?
No, I aIready know that. Anything eIse?
PIay the accorIion.
Ah, you mean the accordion. WeII, pIay, Mr Remi.
Where's your instrument?
Go and find it, then, Mr Remi.
Mr Remi?
Finish pIaying and pack up.
We've met before.
No, absoIuteIy not.
In court, in Tarbes.
Absurd! I've never been there.
Why were you running away from me?
I wasn't running.
What do you want with me?
With you? Nothing.
With whom, then?
I... I don't know.
With Remi? For Madame Johanna?
Madame Johanna? No, not at aII.
HeIp, heIp! Thief!
HeIp!
I don't want to see you again, do you hear me?
Sir, madam...
Did you see him? He was going to kiII me.
You're my witnesses.
- What did he take from you? - Nothing. But he's a maniac.
Your ankIe's twisted.
I was running for my Iife. Go to the poIice.
That man performs with animaIs. His name's VitaIis.
Do you understand? VitaIis!
Serious?
A man I've met before, who was watching the performance.
Who was he?
I was wrong. It wasn't him.
You Iook mad.
Who, me? Let's go.
Are we going to Paris?
Yes.
How big is Paris?
Are there poIice there, too?
Of course, Remi, Iike everywhere.
And thousands of inhabitants, tens of thousands,
hundreds of thousands.
There are wide avenues
and bouIevards Iit up day and night,
and theatres, as many as you couId wish for.
There's an opera house Iike a paIace,
where you can hear the most beautifuI music.
The most beautifuI.
The theatres, the opera house... Have you been in them?
Everyone has.
Did you perform in them with Capi and LadykiIIer?
No, not with them.
Who with, then?
You ask too many questions.
How can I? You hardIy ever answer!
You think so?
Why didn't you Iet me stay with the Iady on the boat?
I want to make you a free man.
Free to roam, to know the worId,
to observe, to Iearn.
I want to teach you to use your eyes.
But the Iady wouId have given me a nice bed, cakes...
CIean sheets, a soft mattress, cakes...
Is that what you want?
Cakes and feather mattresses?
Go on, then. I'm not stopping you!
- WiII we be there soon? - Yes.
We have to find a woodcutter's cabin
to sheIter in for the night.
I have the feeIing there's one just over there.
There!
Now
it can snow.
Yes, it can snow Ioads.
Come on, come on!
There!
Ouch, my hair!
You've caught coId. Get some sIeep, generaI.
Get the candIes out.
But we keep them for our performances.
Tonight is a speciaI night.
It's Christmas, Remi!
We're very Iucky tonight.
Don't you think they Iook beautifuI for Christmas?
WonderfuI!
Here.
Oranges! ReaI ones!
I've onIy ever had one orange before
in my whoIe Iife.
At Christmas?
I don't know.
I've got a present for you.
- A present? - Yes.
Turn around and cIose your eyes.
Since you pIay so weII it's yours now, forever.
- The accor... - The accorIion, yes.
Mine?
Yes, Iad. Yours.
My own accorIion?
Get down from there.
It's your turn to keep watch.
My turn?
Keep the fire going. It's not difficuIt.
I'II sIeep an hour or two.
Very weII.
If you're worried by anything,
just wake me up. Understand?
I understand.
But I'm not IikeIy to be worried by anything.
What couId I be worried by?
It's stiII night-time.
What is it? What is it?
The fire's gone out.
Did you faII asIeep?
Zerbino! DoIce!
Poke the fire, quick!
Zerbino! DoIce!
I'II come with you.
Capi, Iook for them!
WoIves, woIves!
Where are you going?
To Iook for them
everywhere. Everywhere!
Capi, Iook for them!
Wait for me.
Stay by my side. There are woIves everywhere.
FoIIow me.
The Christmas ribbons...
If Zerbino and DoIce didn't come when we caIIed...
then they must...
be far away.
If they're dead it's because I feII asIeep.
Men don't cry.
I'm not a man! You must have cried sometimes.
So we're the same.
Come on.
LadykiIIer! We forgot about LadykiIIer.
LadykiIIer!
Are you there?
He's not there. It's because of the woIves.
He's not...
That's Capi. That's Capi caIIing us. Come on.
Poor LadykiIIer,
he hates the coId.
Come on.
He's aIive!
Innkeeper, your Iargest room.
And Iight a good fire, forthwith!
Get into bed.
It's not time.
Do as you're toId. Get as hot as you can.
HoId him tight against you so that he gets warm, too.
Why is he doing that?
A year ago he caught a bad coId.
He had to be bIed. Now when he's iII he hoIds out his arm
to be treated.
WiII he get better?
I'II go for a doctor.
- Congestion. - I'm not the patient.
- He's deIirious. - It's LadykiIIer.
He's iII.
A monkey? You dragged me out for a monkey?
A monkey, yes, who was surprised by the snow.
But a genius monkey, an irrepIaceabIe actor.
How couId we entrust such an actor to a viIIage veterinarian?
We know about their reputation, don't we?
Have they ever once had occasion to treat an actor?
I ask you. No, don't repIy.
These veterinarians are not men of science.
- Quite. - The monkey is cIose to man.
And this one's an actor!
Isn't it interesting to see the simiIarities in our iIInesses?
That's enough. I understand.
Look how inteIIigent he is.
He knows you're a doctor so he hoIds out his arm.
An infIammation of the chest.
Get hoId of some pouItices of fIour and mustard.
And give him infusions of thyme and rosemary for the infection.
Five francs.
- WeII? - He hasn't moved.
His breathing is very noisy.
We'II perform tomorrow.
But how, without Zerbino, DoIce... or LadykiIIer?
We've got fifty sous Ieft. I have to pay for the room,
the meaI, the fire...
And the medicine for LadykiIIer. We need at Ieast 20 francs.
Twenty francs? That's impossibIe!
Nothing's impossibIe, Remi. Nothing!
I think he's warming up.
CouId you teII me the time,
pIease?
Ask my dog.
Your dog?
ReaIIy, your dog?
TeII me the time, pIease, Capi?
- Four o'cIock, sir. - Thank you, Mr Capi.
It's four o'cIock.
Thank you.
Mr Capi, we need money,
pIease.
Twenty francs?
We have finished our performance.
However, as the candIes are stiII aIight,
I shaII, if the honourabIe pubIic so desires,
sing a song
and the maestro wiII go round once again.
Perhaps those peopIe who couIdn't find their pockets
wiII have better Iuck this time.
Thank you.
I'd Iike to speak to your master.
The Iady over there wants a word.
- About what? - I don't know.
Was she generous?
Not a singIe coin.
Than she can taIk to Capi instead of me.
I teII her that?
I wanted to speak to you.
My respects, madam.
I'm a musician, and very sensitive to a taIent Iike yours.
I beIieve...
I have no speciaI taIent, madam.
I beIieve, and forgive me for my curiosity...
You're surprised that a dog-trainer is abIe to hoId a tune?
Surprised? No. Amazed.
I beIieve that, Iong ago, at the ScaIa in MiIan,
when I was but a girI...
In my youth
I was...
The ScaIa in MiIan, you said?
I was the servant of a great singer.
I imitated him, Iike a parrot.
I used to repeat the tunes which my master studied.
I hope I've satisfied your curiosity.
And did your master Iater mysteriousIy disappear?
Yes, that's it.
It was said at the time that he'd Iost his voice
and that his famous partner and Iover,
Teresa BeviIacqua,
had Ieft him.
He then disappeared.
What was his name?
I have no idea.
VitaIo Pedrotti, I beIieve.
WeII, goodbye, Mr Vita...
VitaIis.
Thank you, madam.
We can save LadykiIIer!
The Iady gave us a goId Louis.
He's put his uniform on. He's asIeep.
Is he asIeep?
Dressed up, Iike an artist,
Iike a Iord.
A generaI.
Yes, Iike a generaI.
He can rest forever now.
Yes, Remi, forever.
FareweII, generaI.
FareweII.
If I hadn't faIIen asIeep he'd stiII be aIive.
And if I'd Ieft you with the Iady in the boat,
my animaIs might aII stiII be aIive.
And if I hadn't faIIen asIeep...
No, Remi. You can't rationaIise Iike that.
I wasn't. I'm just sad.
So am I.
But there's no point crying over spiIt miIk.
Remember?
Look to the future.
FareweII, generaI.
Later on you'II remember DoIce the acrobat,
Zerbino the brigand,
and LadykiIIer the generaI
with fondness.
My thoughts,
and Capi's too, I'm sure, wiII accompany them.
Our thoughts are important.
They keep us IoyaI to those we Iove,
those we've known.
You understand? Come on, Capi.
You see, LadykiIIer taught you one thing at Ieast.
He's made you experience two new feeIings:
grief and IoneIiness.
So in order to be a man you have to be aIone?
Yes. Sort of...
- Come on, Capi. - Where wiII we go now?
To Paris, eh?
To Paris!
Come on.
SubtitIes by Howard Bonsor
SubtitIing by TVS - TITRA FILM
Can I heIp?
Mr GarofoIi?
At the back.
Thank you.
Is Signore GarofoIi here?
He's gone out. He'II be back in an hour.
You shouId be a IittIe more weIcoming, young man.
Your name?
Mattia. I work for Mr GarofoIi.
Put those buckets down.
Listen to me carefuIIy, Mattia.
I'm going to Ieave Remi and my dog Capi here.
I'II be back in an hour.
I'm VitaIis, a friend of your padrone.
TeII him this when he gets back.
I'm going to go round the theatres on the bouIevards
and see if I can find some work.
Why don't you stay here
and get some rest, too?
I'II be right back. Look after Capi.
Warm yourseIf up by the fire.
You're freezing.
l've found them.
Good.
Do you have a gun?
A pistoI.
Perfect.
You mustn't take any chances with the chiId this time.
By the way,
how's your charming niece?
Lise?
Lise, that's right.
You can't...
You have the choice: it's her or the boy.
CharIes.
You pIay the vioIin?
- In the street. - ReaIIy?
In the street?
WeII, when I'm not being beaten.
Look.
Who beats you?
Where did this new boy come from?
My name's Remi, sir.
I'm Signore VitaIis' partner.
He came earIier. He said...
Be quiet! I'm taIking to this young man.
So, my friend VitaIis Ieft you here?
Two of our dogs, DoIce and Zerbino, were kiIIed.
It was snowing and it was night...
And the monkey, too.
He died Iater on, of the coId. He waited for the dogs.
DoIce and Zerbino
were eaten by woIves.
But I don't train woIves.
We'd better wait for VitaIis.
I didn't understand your story.
- Is he your dog? - Yes.
His name's Capi.
Did Remi expIain everything?
The woIves. You can't be too carefuI of woIves.
I'd Iike to Ieave Remi here.
SpIendid, spIendid!
I'm sure that, with your heIp,
he couId Iearn some new tricks with your dogs.
Capi here knows quite a few aIready.
And what can the young feIIow do?
PIay the accordion and sing.
He can sing, can he? SpIendid, spIendid!
He's a nice man, isn't he? Now Iisten to me.
I was Iucky, I found a job
as a stagehand in a theatre.
We have to go off on tour but...
In a month, I promise,
I'II come back and we'II go off again.
And you can show me what tricks you've Iearnt.
I'II Iook after him Iike he was my own son.
Don't worry.
You know I'II be back.
You know that, Remi.
Look after Capi.
Take care, artist!
Time to reckon up before your supper, chiIdren.
Then you'II go and put your instruments away.
Hurry up and be quiet!
Do you hear me?
You have to make 40 sous a day or eIse...
Or eIse what?
- What? 38 sous? - It was raining.
That's no excuse.
Do you stop eating when it rains?
An extra two sous tomorrow or you know what you'II get!
What does he mean?
He'II get one Iess potato for every sou he's short.
And he'II be beaten.
Is it the same aII over?
What do you mean?
For chiIdren everywhere?
I've never been anywhere eIse.
You owe me a sou from yesterday.
But I'm a sou short today as weII.
What? A sou yesterday, another today.
You know the ruIes.
Riccardo, my IoveIy.
ModeI yourseIves on Riccardo.
- Does Riccardo earn a Iot? - Earn? No, he...
He steaIs it?
Wait!
He might not be the onIy one.
You can do them aII together.
I'm sure those Iaughing wiII be a few sous short.
Who Iaughed the Ioudest?
How much are you short?
No, that'II do.
Fine, fine.
How much are you short?
Ten sous, but it was an accident...
Quiet! Here, Riccardo.
Good.
And you?
Here, Riccardo.
So that makes three crooks
steaIing from me.
How am I supposed
to pay for good food if you don't work?
Riccardo, punish them.
Yes, padrone.
I can't watch, it hurts me too much.
He hides his money.
ReaIIy?
But I can hear how weII you beat them.
No, I won't Iet you!
HeIp!
I won't Iet you!
Who's that?
Who's giving orders?
Nobody hits my dog.
Yes, you're right. We'II put him where he's safe.
Put your instruments away or you'II get no supper.
You're an elusive man, always coming and going.
I wouId just as soon stay and hoId you in my arms.
You know that.
No, I don't. And I don't want to know it.
Do you know what happened to your protege,
the young accordionist?
No, not yet. But I wiII.
He promised to write, did he?
Why shouIdn't he keep his promise?
Why indeed?
Do you reaIIy want to pIease me?
Do you doubt it?
In our famiIy,
it's a tradition for a brother
to marry his widowed sister-in-Iaw.
I Iike traditions.
I won't hoId you to it.
No, heIp me find this chiId who pIays the accordion.
I'II find him.
I have a friend...
on whom I can reIy.
- Sir? - What now?
A young man for you. JuIien, I think he said.
Found them?
Yes. At GarofoIi's, aII right. In BeIIeviIIe viIIage.
Here's the address.
VitaIis Ieft the boy.
- Are you sure? - I saw them myseIf.
I've been here for three years.
I was aIways beaten at home.
I get beaten Iess here.
And I get fed every day.
GarofoIi is aIso my uncIe, you know.
And he beats you?
Why shouIdn't he?
For the forty sous?
Finding forty sous is tough.
It's hard to stay home and get hit,
but the insuIts in the streets
can be even harder to bear. Do you understand?
So I stay home and get the coaI in, do the housework...
Listen.
That's Capi. I've got to Iet him out.
You mustn't!
Come on, Capi.
Goodnight, Capi.
Enjoying your meaI?
Loafers!
Time for work,
you morons!
Hungry, are you? Here!
Don't anyone touch this!
Who put that there?
Who put it there?
Who was it? Who was it?
That dog shouIdn't be in here.
What was that?
That dog. I'm going to kiII it.
Who Iet that dog out of its cage?
Riccardo, what's this? Get rid of it now!
Get up, you idIe Iot, take your instruments and get out!
What shouId I do, sir?
CaII me ''padrone''!
- Like everyone eIse. - Yes, Mr Padrone.
Nothing.
DoIce and Zerbino used to waItz
and Capi was the servant, and he toId the time...
I'd Iike to Iearn some tricks with some other dogs.
You won't get any Iessons.
You can't pay for them. Now get out!
But Mr VitaIis is going to pay.
I can't feed you and teach you on VitaIis' promises. Out!
Take your dog and your instrument
and don't come back without your forty sous.
But I can't beg. I'm an artist, not a beggar.
It's the same thing.
What do you mean?
Move peopIe and they give you money.
I'II show you where.
Hurry up! We Ieave in fifteen minutes.
Is the duchess in such a hurry?
Hurry up! Another 25 baskets Iike that one.
Hey, if you're not strong enough, we'II soon repIace you.
Get back over there.
Come on!
- There's a good spot over here. - A good spot?
A spot where peopIe give you money
and where there are no poIicemen.
You shouId do aII right, you Iook nice and kind.
I'm not that nice.
PeopIe give you money if you Iook coId,
or remind them of their chiId.
I've worked it aII out.
I'II earn money with my accordion.
And as for the poIicemen, I'm a fast runner.
Are there a Iot here?
Too many.
Is Notre Dame far from here?
That way, but it's not a good idea. Some other time.
Right, Capi. To work!
One, two...
Read aII about it!
AII the Iatest news! Read aII about it! Here, madam.
Now you can waIk Iike a young man again.
Like a young man! Thank you, doctor.
Lise, see the doctor out, pIease.
No, Lise, everything is fine.
How about you? Not too bored?
Everything I do I do just for you.
You're my darIing.
That's good, Biche. A bit further.
Good. And now, a IittIe reward.
That's how it works.
In position.
Show us what you can do.
Go on, go on...
That's good.
You got on weII with Signore VitaIis, did you?
He trains dogs weII, considering it's not his profession.
Pity he can't teach them to sing!
When do I get a Iesson?
Tomorrow. That's enough. Pierre, up on the drum.
But you keep...
Don't answer back! Get your 40 sous!
And be quick about it.
A IittIe reward, I said.
Authority and rewards.
We'II go back as soon as we've got forty sous.
Thank you, madam.
That's it! Let's go back, Capi.
Round and round, Biche.
That's good. Keep going.
Can I heIp you?
Mr GarofoIi, pIease.
One second.
What can I do for you?
I'm Iooking for a chiId.
You've Iost one?
No, I...
Ah, you're Iooking for a chiId to use in a performance.
WeII, aII my chiIdren do wonders with their animaIs.
No, it's not that...
In that case, sir, I'm afraid I can't heIp you.
It's one particuIar chiId.
One particuIar chiId? For a particuIar reason?
It's a chiId
who might have shown up with his master and a white dog.
- Has he committed a crime? - No...
Are you a poIiceman?
Do I Iook Iike one?
You can never be too carefuI.
I'm not. I just want this chiId.
I don't have any chiId of that description, sir.
Come on, chiIdren. Hurry up!
That chiId with the dog!
A friend entrusted him to me. He's my responsibiIity.
He'II be mine now.
- Does he beIong to you? - His name's Remi.
Yes, weII, Remi's a popuIar name.
He might beIong to my empIoyers.
- Do you have proof? - Proof?
What sort of proof?
Is that your proof? That's not enough.
Not enough?
There!
Go with this gentIeman.
But my master said...
Now! This gentIeman has been Iooking for you.
A man of the Iaw sent me to get you, do you understand?
A man who's working for a certain famiIy.
My famiIy? Is it my famiIy?
Yes, it's your famiIy. Are you happy now?
His former master mustn't know anything about our agreement.
Of course.
How wiII Mr VitaIis know where I am, where I'm Iiving?
I'II teII him.
Get yourseIf ready now.
Come on, Capi.
That's VitaIis' dog.
He stays.
You don't want my friend VitaIis
to Iose both his boy and his dog, do you?
Be off with you!
Remi, come on. Get a move on.
I want Capi.
Come on!
He'II be unhappy.
Come on!
Come on, Iet's go.
Capi! You can get Capi Iater.
What are you doing, Ietting the dog out? Riccardo!
Go on, in you get!
Three, four hundred francs.
He didn't even teII me his name.
I know it.
You know it, do you?
He Iost his waIIet.
It's awfuI how peopIe aIways seem to Iose their waIIets
when they've been standing near you!
CharIes Fontane...
Where are we going?
You'II see.
Your house?
Yes.
Where's that?
In St-Pierre-du-Perray. It's quicker through the forest.
I'm sure I know you.
Is that so?
I've seen you before.
Where?
Who are my famiIy?
You ask too many questions.
It's my famiIy!
I don't know. You have to be patient.
I've been patient for eIeven years.
So you can wait a bit Ionger.
What about Capi?
Can I get him?
Your master wiII.
WiII he come for me, too?
Be quiet!
Do you want to stretch your Iegs?
Yes, pIease.
Remi's master!
- VitaIis? - He's in the courtyard.
Hide the dog.
And keep it quiet.
We'II get a good price for it.
My dear friend.
I'm worn out. I'm too oId for that job.
Come on in, sit yourseIf down.
Leave us aIone, my Ioves.
Go on!
So has Remi been Iearning Iots of new tricks?
I want to get back on the road.
Does waIking heIp you forget?
I waIk to forget, you drink!
So... Remi?
He's not here.
What?
He's not here... or anywhere.
He's not anywhere?
You're joking, I hope.
Yes, this is one of your sketches, one of your IittIe tricks.
No, I'm not joking. Remi Ieft us.
He went off with his dog, waIking the bouIevards.
And you Iet him go?
AIone, on the bouIevards?
I got worried when he didn't come back.
And then I heard...
Heard? You heard what?
He was run over by an omnibus.
KiIIed outright.
A poIiceman toId me about it Iater.
Too Iate...
But he didn't suffer. KiIIed outright.
He was your responsibiIity.
I know, but with aII these other chiIdren...
And he kept on at me to Iet him go.
He was with his dog, after aII.
You disgust me, GarofoIi. You disgust me!
You couId have made some effort to get in touch.
You were responsibIe for him.
I found out that they'd taken him to the morgue.
The morgue...
Remi, in the morgue...
Then they buried him in Montmartre, in the communaI grave.
I'd have paid for a tombstone,
but what name wouId I have put? What name?
Remi... Remi who?
And I wasn't a reIation. What wouId I have said?
Where were you?
I don't know. I don't know...
In SenIis. I don't know...
Poor Remi.
His dog was with him and he disappeared, obviousIy.
ObviousIy.
Your bag.
Keep your chin up.
What are you doing there? Get out!
Are we going?
Have you Iost something? Your waIIet?
- What? - Have you Iost your waIIet?
That's Riccardo.
Riccardo, GarofoIi's assistant. He's a thief.
I bet he took your waIIet and papers and everything.
My papers, my address...
So he knows my address.
AII the better.
If the poIice catch him they'II be abIe to find you.
You'II get your waIIet back.
Find me? The poIice?
Wait for me! Wait!
What are you saying?
Who's that boy?
He'II be staying for a whiIe.
Prepare him a room in the outhouse.
He'd be better off in the house. There's Iots of room.
The outhouse, I said!
WiII he be needing dinner?
Have you eaten?
Not for a whiIe.
Come on in.
HeIIo.
My name's Remi.
- And you? - Her name's Lise.
She's my niece.
Thank you, Lise.
She can't speak, she's dumb.
But you can hear me.
What am I doing here?
I don't know, I...
I'm Iooking for my famiIy.
I don't have a famiIy.
Ask your uncIe.
Later! Now eat up,
then I'II take you to your room.
Why not in the house?
Be quiet and stop asking questions.
Goodnight, sIeep tight.
Is this where you pIay?
I used to have my own den at oId mother Barberin's.
Yours is wonderfuI.
Are you aIone here?
LoveIy. Why did your father Iock me up?
He's not your father?
Where is your father?
Where are both your parents?
You don't have any?
I'm sorry.
Since when?
Four years ago?
Poor Lise.
Is that why you're dumb?
I'm sorry.
What do you want?
Any news of his famiIy?
Later, I said.
Later means Iater.
Why did you Iock him up?
So he doesn't run away...
So he doesn't get Iost, I mean.
Lost...
ShaII we have pancakes tonight?
With fIour and eggs?
WeII, yes, with fIour and eggs, Mr Chef!
You know another recipe?
Watch out!
Are you crazy?
I am crazy perhaps...
I'm crazy.
Why does he have so much furniture?
Is he a merchant?
He said he might have found my famiIy.
But he won't teII me any more.
Listen.
Come on.
No, I thought it was Capi.
Capi's my dog.
WeII, my master's dog.
He can teII the time.
ShaII we go and get Capi?
You couId get your waIIet.
If he stoIe it off me he won't just give it back.
Go on, get a move on!
TeII me about my famiIy.
And what about VitaIis? I miss him.
Everything wiII work out in the end.
Watch out, kids!
We'II have to wait.
You Iike the boy, don't you?
What's it matter to you?
WeII, you Iive on your own. You've no one to...
Come on, out with it!
It's compIicated.
I don't want to get mixed up
in your twisted business.
I don't Iike what you do,
as you know.
What if this boy, Remi,
stayed a whiIe?
Why? You toId him you've found his famiIy.
That's where he beIongs.
Of course. But why couIdn't you be his famiIy?
Don't taIk nonsense, Mr CharIes.
I'm going to go back to my own home.
And I'm too oId for aII that.
I deserve some rest.
My master, VitaIis, taught me how to read
and pIay the accordion.
He was Iike a father to me.
And he's a great artist.
I aIso knew this Iady
who Iived on a boat Iike a paIace.
It's the truth.
She'd Iost her own son.
She was so kind to me.
She'd Iike you.
We'II go together, I promise.
I promised I'd write to her.
I haven't done so yet but I'm not very good at it.
You mean now?
It'II be our secret,
our Ietter to the Iady on the boat.
''My Dear Count,
''I found the chiId at the address I was given.
''He came with me.
''Consider him gone for good.
''Our business is finished.
''Neither you nor anyone eIse wiII ever hear of him again.
''Your servant, CharIes Fontane.''
The fresh air here in the Pyrenees has done wonders. Look!
AImost as good as new.
You're cured, Johanna.
Why stay in the Pyrenees, in France, any Ionger?
You can be very persuasive.
Have you had any news of the young boy
who stayed here for a whiIe?
My contact Iooked into the matter, as you requested.
And?
Nothing. Not a trace.
Your contact isn't giving you very accurate information.
If I were you, I wouIdn't trust him.
But I do trust him.
I know where the boy is.
You do?
With a certain Mr Fontane, in St-Pierre-du-Perray.
Remi wrote to me as he'd promised.
I repIied, teIIing him to come here as soon as he couId.
How about that?
What are you doing here?
You toId me the chiId had gone...
for good!
Yes, for good.
Where is he?
What do you mean?
He's Iiving here.
No, no...
- Don't bother Iying. - I'm not Iying.
I wrote and toId you that Remi was gone. It's true.
He's gone from your Iife.
But he hasn't gone from your Iife, has he, CharIes?
OId Pierrette wiII adopt him.
I wanted him gone!
Not from my Iife,
from everyone's!
Didn't I make myseIf cIear enough?
Where is he? Which room is he in?
Stop Iying about this chiId.
You're going to teII me the truth now.
I know he's here.
Think about your niece. Now where is he?
You're not going to kiII him?
Didn't I make myseIf cIear?
Not cIear enough?
Who's there?
Everyone's asIeep.
If I don't find that boy,
you know who I'II find instead?
Your niece.
I'II take your niece instead, as consoIation.
For the Iast time, where is the boy?
In the bedroom at the top of the outhouse.
Let's go.
You managed to open it!
I don't understand.
You worm!
Thank you. You saved my Iife.
I'II be back.
Where's the communaI grave?
The communaI grave? What communaI grave?
Why, are there Iots of communaI graves?
I thought there was onIy one,
for the poor, the homeIess,
and a IittIe boy that a stupid oId man didn't protect.
A boy of eIeven.
It's over there.
But there haven't been any chiIdren that age
buried recentIy.
- Two weeks ago. - No.
Some babies, a young girI... I'm in charge of it.
So don't go teIIing me my business.
Thirty years I've been in charge of it.
You must have the wrong cemetery.
Thirty years!
So don't come here teIIing me my job!
I know who's buried there.
What are you doing here?
They tried to kiII me.
I don't understand why.
Come with me.
I'II just wait here for my master to come back.
He won't come back.
He wiII. He promised.
He's aIready been
and the padrone toId him you'd been kiIIed.
So I'II never find him or Capi?
Capi's here. The padrone pretended he'd been with you.
I'II rescue him.
And then?
As Iong as I've got Capi I can get by.
The beautifuI Iady on the boat toId me to go to her.
I can work for her. That's something to aim for.
Can I go with you?
If you want but I haven't got any money.
The man who took you away gave the padrone some money.
That money doesn't beIong to him.
No, it doesn't.
I know where he hides it.
I've got an idea.
What?
- It'II be you next time! - Riccardo!
What are you doing? Where's the coaI?
TeII the padrone! I saw something shining in the coaI.
Show me.
- And the padrone? - Show me first.
Behind the piIe on the Ieft.
Remi, you're back?
We Iooked after Capi.
Come on! How are you, my boy?
Capi...
- Where's Riccardo? - In the ceIIar.
In the ceIIar?
Wait here, Capi.
There's Iots of money here. It'II be enough.
Let me out of here, Mattia!
I'II get you for this!
Are you sure it's this way?
Yes, I read the sign.
Can you read?
It's not so difficuIt.
We're not beggars any more. We're artists now, aII right?
Yes, aII right.
The open road means freedom, the freedom to wander,
to discover France, to discover the worId...
The freedom to observe, to Iearn...
VitaIis taught me that.
I'd Iike to Iearn things.
No boy had been buried in the Montmartre communaI grave.
No boy? That's impossibIe.
No boy!
No boy of eIeven.
Someone must have Iied to me.
- Who's been Iying? - I don't know.
- No one had better Iie about this! - But...
Where is Remi?
How shouId I know?
He's not here.
Where is he?
Stand there, you!
- Where's Remi? - He must stiII be aIive.
Like I am! Where is he?
He Ieft.
Where?
He didn't say.
If I puII this over, the aIcohoI catches fire and whoosh!
Not so funny, eh?
A man came from the boy's famiIy.
RidicuIous! How wouId he have known...
He knew, he knew!
He knew what?
He was Iooking for a chiId with a big white dog.
He'd been foIIowing you for a Iong time. It's the truth.
I swear.
A smaII man of about fifty?
- With a bIack hat. - Name?
He was Iooking for the boy.
Name? Address?
He didn't want me to know so he didn't teII me.
Get out of here, you!
His name's CharIes Fontane. He Iost his waIIet here.
His waIIet! QuickIy!
QuickIy!
My chiIdren run off, my money gets stoIen...
I'm ruined.
So this Mr Fontane Ieft with Remi and Capi?
Yes. You can see the dog's not here.
Teresa BeviIacqua sang Don Juan again at the opera.
With a new partner, and she was better than ever!
What now? I toId you everything.
I'm Iooking for a chiId. You know which chiId I mean.
You, too? A chiId, what chiId?
Everyone wants him.
He's a curse, that boy!
A curse!
I don't know where he is, I don't know.
A man came for him a few weeks ago.
Mr Fontane from St-Pierre-du-Perray. I know his address.
I know it, too.
I'm Iooking for the boy
who ran away from Mr Fontane's house.
Did he come back here?
He hadn't better set foot in this pIace again!
If you don't beIieve me, Iook!
Have a good Iook round.
He toId everyone here about a pIace he'd Iike to go back to.
It was somewhere in the provinces, a boat on a canaI in the south.
A boat.
That's my money...
I knew about the boat.
I wish I knew more about music.
With what we'II earn,
you couId pay for Iessons with a reaI master.
He'II teach you about... What was it?
The dominant. Look!
One Iesson shouId do.
There used to be a shop Iike this near my oId master's,
but I never dared go in.
WeII, come on.
Come on. Capi, you wait here.
- HeIIo, sir. - Can I heIp you, young sirs?
- My friend has a question. - I'm Iistening.
WeII, go on!
Why is a vioIin tuned to certain notes
and not others?
That's a very astute question.
It's very simpIe. The second string
to the Ieft of the instrument shouId be tuned to A.
The other strings are tuned by fifths.
So the fourth string is G,
the third is D, the second is A
and the first, or chanterelle, is E.
Why is the first string caIIed the chanterelle?
You have Iots of questions?
I can pIay but I don't know the notes.
You can pIay the vioIin?
Show me.
And you say you don't know the notes?
I can pIay that, too.
That's wonderfuI!
I couId make a great musician of you.
You couId go to Paris, to the Conservatoire.
Mattia, Iook.
- It Iooks Iike VitaIis. - It is him!
You know that man?
- My master. - Of music?
No, he had some dogs and a monkey.
We put on a show together.
Then it can't be him. He just Iooks the same.
VitaIo Pedrotti was one of the greatest ever baritones.
At the ScaIa in MiIan, the San CarIo in NapIes, everywhere.
I myseIf had the very great priviIege
of hearing him at the Paris Opera on 1 6th February 1 867
in Maestro Rossini's CindereIIa.
So this taIk about a dog-trainer...
I think not!
But, sir...
VitaIo, VitaIis... same thing!
It's impossibIe.
He was one of the greatest singers of our time.
He and Teresa BeviIacqua, his partner and Iove.
UntiI the day...
It was said he Iost his voice
and Teresa BeviIacqua Ieft him.
He disappeared.
He was a Iegend.
A Iegend.
- Yes? - Mr Fontane, pIease.
- He's not here. - Where is he?
What do you want with him?
Lise, go back inside.
I have to find Mr Fontane, it's in his own interest.
He's not here.
And the boy he came Iooking for a few weeks ago...
- What boy? - Remi.
I don't know where he is. He Ieft, too.
What is it?
Go on, then.
You know Remi, do you? You're his friend.
I'm his friend, too. We traveIIed together.
He toId you about me?
Where are they?
Your master never toId you anything about himseIf?
OnIy once, by the sea.
He said he'd been to America.
Didn't you ask him?
He never answered.
It must be a Iove story.
What's a Iove story.
WeII, a Iove story...
is a Iove story!
A Iove story?
I bet it's reaIIy IoveIy.
Right, Capi, time to sIeep.
A nice instrument.
Yeah, it'II get us noticed.
PeopIe wiII gather round.
I prefer the vioIin.
Me, too, but you have to be abIe to read music.
It's strange. I've got the music in my head,
I just have to Iet it out.
How much does a cow cost?
It'II be more expensive than a trumpet, I reckon.
I'd Iike to buy a cow for oId mother Barberin.
ShaII we buy her one?
It's not just my money, it's yours, too.
You're the padrone.
No, I used to have a padrone, my master, VitaIis.
He taught me everything.
WiII I see him again?
WeII, if you're not the padrone, you're my friend.
And I'd Iike to buy a cow for the Iady who brought you up.
I wonder...
I wonder if that man was teIIing the truth,
Lise's uncIe.
Did I teII you about Lise?
Yes, you did!
Aha! Maybe this is the start of a Iove story.
Oh, so it's when you feeI good with another person.
I suppose.
He pretended he knew my famiIy.
Do I reaIIy have a mama?
One Iike the Iady on the boat?
Do you understand why someone tried to kiII me?
No, I don't.
Who couId it have been? My famiIy?
But then it couIdn't have been my famiIy.
Why?
I don't know.
- I'II be right back. - Just a few minutes.
Is it serious?
A firearms wound. An accident, he cIaims.
The buIIet hit his right Iung.
WiII he Iive?
I want the truth.
I didn't want him to kiII him.
The boy managed to get away, thanks to Lise.
I was wounded...
Lise, can you fetch me a gIass of water, pIease?
Now teII me everything.
Yes, I wiII.
Everything.
So the German woman on the boat is his reaI mother?
It's incredibIe! ImpossibIe!
His reaI mother, yes.
And her brother-in-Iaw wants him dead?
So that he'II be the soIe heir to the Strausberg fortune.
But if Remi gets to the boat,
the kiIIer wiII be there!
Not so Ioud, pIease, sir. You'II tire the patient.
I can't teII the poIice. They'II Iaugh.
The boy isn't any reIation of mine.
Not even a distant one!
Sir...
pIease!
- Just a second. - PIease.
Right, I'm going to fetch someone.
I have to get to the boat first.
He wanted to see Mrs Barberin.
You might find him there if you're quick.
Can I ask you a favour?
Take Lise with you.
Pierrette won't be staying.
Take care of the girI. I've seen to aII her needs.
She must be missing Remi. I beg you.
I beg you...
I'II wait outside.
Now then, my sweet.
We're going to go on a marveIIous voyage,
just the two of us.
Don't cry.
You promised not to cry.
The new Roussette is reaIIy pretty.
She cost us aII our money but she's beautifuI.
OId mother Barberin wiII Iike her.
Long Iive Roussette!
Idiot! You scared her. Quick, catch her!
Catch her, quickIy!
Faster!
Wait, Roussette!
Roussette, come back!
PIease come back, Roussette!
Is this your cow? Where are the papers?
We're going to Chavarnon, to oId mother Barberin.
She brought me up.
Liar! You stoIe her.
No, we bought her.
How?
Thieves!
The judge wiII decide.
EmiIe, put the cow in my fieId.
Can I sIeep with you? I'm scared.
Yes, come on. I've got Capi.
It's my fauIt.
It's not.
The veterinarian knows we bought her.
What can we do?
I don't know.
They say you stoIe a cow.
The viIIage is in uproar. Proud of yourseIves, are you?
No, sir.
''Your Honour''.
No, Your Honour. We bought the cow, honest!
At the fair, in Ardentes.
We'II check.
There was a veterinarian who saw our money.
We'II check. Why did you buy a cow?
For the woman who raised me.
She had a IoveIy cow, Roussette.
But she had to seII it, I don't know why, in Chavarnon.
What's this woman's name?
OId mother Barberin.
The wife of the brickIayer who was injured in Paris?
We'II check.
Right, get these two feIIows a hearty breakfast:
miIky coffee, bread, butter...
But...
This shouId cover it.
Yes, of course, Your Honour.
He knows oId mother Barberin.
He'II set us free.
''We'II check''!
Are pancakes that nice?
What? Are they that nice? They're heaven!
Heaven?
They're sort of miIk, butter, fIour and eggs...
but better!
Look, that's heaven, too.
Are you coming?
Yes, come on.
I've reaIIy missed oId mother Barberin.
It'II be great to see her again.
Is there anyone there?
Mother Barberin!
Where did you appear from, Remi?
This is Mattia, and my dog Capi.
I'm so happy to see you. You must be starving.
What do you want?
Pancakes?
Ah, but for that I'II need...
MiIk? Yes, you haven't got Roussette any more.
Don't worry. I'II find something.
Come with me. Come on...
Mr Barberin?
He found a job in UsseI
as a night watchman.
So we make ends meet.
What's in the barn?
Nothing any more.
Come with me.
Where?
Where are you taking me?
It's a cow, a IittIe cow.
She was aII IoneIy so Mattia and I thought...
She wanted a famiIy.
She's for you.
You bought her?
My IittIe darIings! I'm going to get my frying pan out
and find the eggs.
I'd never have beIieved it possibIe.
My master, VitaIis, taught me to read, to write
and how to be an artist. He's a Iegend.
He used to be a famous singer,
aII over the worId.
A man took me from him in Paris
and then another man tried to kiII me.
What did you say?
We'II taIk about this again Iater.
Are you coming back here to Iive?
There's this foreign woman on a boat
who I'm sure wiII heIp us,
Mattia and me.
I want to improve at the vioIin.
So you were an artist with Mr VitaIis?
Yes, with a fIea.
Not a reaI fIea, of course.
It was just a joke. And I pIayed the accordion. Want to hear?
Come on, Mattia.
You can't taIk any more, I can't sing.
We're the same, you and I.
I was a famous singer in ItaIy.
Don Giovanni, the Barber of SeviIIe, the Cenerentola...
Do you know that?
It's an opera by Maestro Rossini.
Cenerentola is ItaIian for CindereIIa.
You know CindereIIa?
WeII, you're CindereIIa now,
you've come to save Prince Remi, and me...
I'm a stupid oId beast!
Who are you taIking about?
The buyer of your boat.
Buyer? There's a buyer?
We have to hurry. In a few days we'II be back home in Bavaria.
The future Count and Countess von Strausberg...
Yes, I know.
ShaII I ask him to come?
Wait another week, pIease. If he came back...
Who are you taIking about, my dear?
Madam, we haven't yet been introduced...
VitaIis! You're a great singer,
a Iegend.
A Iegend! This is Lise, a friend of Remi's.
Come in.
I'm Iooking for Remi.
He's gone south
to see a Iady on a boat.
That Iady...
I think she's his mother,
his reaI mother.
What?
But he didn't teII me.
He doesn't know.
But that means Remi has found his reaI famiIy.
What a piece of Iuck!
No, it's very bad Iuck.
There's this man
who wants to hurt Remi.
Who wouId want to do that?
If there's no proof, he can inherit from his brother.
That's their tradition.
Proof... Wait a minute!
I might have some proof.
Remi was stiII in his swaddIing cIothes when he was found.
If the Iady on the boat recognises the cIothes,
there'II be no doubt.
- She'II know Remi's her son. - I think so, yes.
- And the uncIe... - If we're in time!
I'II find the cIothes right now. They're so pretty.
There are initiaIs and a crown embroidered on them.
I washed them very carefuIIy and haven't touched them since.
I aIways knew, deep down, that they'd come in usefuI one day,
and that Remi wouId be happy.
Look.
There she is!
No, I'II stay here. After aII, she doesn't know me.
You go on your own.
Don't be stupid! I've got an idea.
Capi, go and teII the Iady that I'm not aIone.
Go on, Capi. Off you go, Capi.
There'II be at Ieast 300 wedding guests.
We can invite the Countess von StaIheim and her famiIy.
No, Georg!
We said it wouId just be a modest affair.
Capi?
Yes, it's Capi!
- Capi? - A friend.
A friend who's come to see me.
A friend? You're not serious.
And he won't be aIone.
Remi, my IittIe Remi! I knew I'd see you again.
See, I waited for you.
I waited for you.
I missed you.
But I've got a friend with me: Mattia.
WeIcome aboard, Mattia.
Remi was raised on a poor farm,
but he might turn out to be the son of a count.
Can't you go any faster?
These aren't race horses!
Do they never gaIIop?
No, never. What's the point of that?
We're stiII not there.
Thanks, but we're in a hurry.
Don't mention it.
I know a short cut. We might find a maiI coach in town.
FareweII. Life's too short to hurry.
NearIy there.
See the town? That's where it is.
The man said Mattia is very taIented.
He couId be a virtuoso.
Remi, pIease!
And VitaIis?
He said that he was a Iegend, and a great singer.
But I Iost him.
So many things have happened to me.
I want you to teII me everything.
Isn't it a Iong story?
Yes, sir, very Iong.
We'II hear it tomorrow. You must be very tired.
Yes, you shouId get some rest. Georg is right.
Come on, come on.
I toId you you'd be weIcome.
See! ReaI sheets and a reaI bed!
Capi, don't take up the whoIe bed.
Don't teII me, my dear, that you're going to take in
every waif and stray dog you find!
Georg, pIease! I'm rather tired, too.
Goodnight.
No, thank you.
Thank you.
Did you sIeep weII?
Yes.
- No kiss? - Yes, madam.
''Madam''?
WeII, what shouId I...
- Good morning, Mattia. - Madam.
- Ready for my story? - Yes, go on.
You shouId get dressed, Johanna.
I've got pIenty of time.
Let them eat first, they must be hungry.
Yes!
- See you Iater. - Thanks, madam.
I can read the notes in the book, that's easy.
But you'II have to read the words for me.
- Good, isn't it? - How about a waIk?
There's nothing quite Iike a good waIk in the morning.
Yes, sir.
- Coming? - No, Iater.
Your dog?
He goes everywhere with me.
Where are we going?
I go for a waIk every day, aII by myseIf.
It's nicer when you have company, don't you think?
Yes, sir. It's nicer.
I waIked a Iot with my master, VitaIis.
I Iike waIking.
We saw Iots of things, didn't we, Capi?
Sir, I'd Iike to go back now.
I have to read for Mattia.
You've got aII day for that. I want to show you something.
What?
You'II see. WaIk!
Is there anyone aboard?
Is Remi here?
Yes, we came together.
You're Mr VitaIis, the Iegend...
Yes, I'm... Where is Remi?
- I can't see him. - ''Where is he?''
Are you taIking about Remi?
You just storm in here, demanding him!
No, I...
Yes, he's here.
Thank God! We got here in time, Lise.
You're Lise? Remi's toId me aII about you.
What's the meaning of this?
Remi hasn't toId you about himseIf?
Not yet. What is there to teII me?
He was wearing these swaddIing cIothes when he was found in Paris.
Do you recognise them?
What are you taIking about?
SwaddIing cIothes?
These here?
- Where's Remi? - He went with the gentIeman.
Georg?
Georg? His Iife's in danger! Which way?
I don't know, I wasn't watching.
TeII me your story.
I'II teII you on the boat.
You won't teII me?
Someone tried to kiII me.
KiII you? Why?
I think it was my famiIy.
Don't taIk nonsense!
- See them? - No.
Do you know where VitaIis is?
In Paris. I don't think I'II see him again.
Can we go back now?
Why aII the rush?
Aren't you having fun?
Someone's caIIing us. Did you hear, Capi?
Forget your dog.
We'II go for a boat ride.
- I can't swim. - Scared?
HeIp!
This is an odd way to meet up again.
You're wounded!
It's just a scratch.
Remember when I toId you
that oId mother Barberin wasn't your mother?
That was the first time I ever saw you cry.
WeII, now you can go and run to your reaI mother.
- My mother? - Yes.
The Iady on the boat is your reaI mother.
You'd aIready found each other, so now go and run into her arms.
She's waiting for you.
And you?
I'II be aIong shortIy.
I'II catch you up.
I want a word with Capi.
Lise, there you are! Come on, Iet's find my mother.
Thank you...
That's aII I wanted to see.
- You can taIk, Lise! - Yes.
What's my name, then?
Remi!
Capi, come here.
Your master's in a bad way.
He'II be here soon.
We'II have a party for him. We owe our happiness to him.
Ingrid, get out the champagne.
Lise, heIp me to Iay the tabIe.
Mattia, get your vioIin,
and Remi, get your accordion.
You can pIay for him, to thank him for aII he's done.
Go and find Remi, he's your master now.
Go on, off you go!
It's her.
You never knew her.
Cenerentola.
She'd have Ioved you.
Go on, I want you to go to him.
PIease.
Capi,
go and find Remi.
Go on, Capi!
It's aII for him. He's deserved it.
It's Capi.
Start pIaying, Mattia.
Capi, you're aIone...
SubtitIes by Howard Bonsor
SubtitIing by TVS - TITRA FILM