Madonna of the Seven Moons Page #8

Synopsis: In the early part of this century, Maddelena a teenage Italian girl, is attacked whilst walking in the woods. The attack leaves her mentally scarred and our story flashes forward to the 1940s where Maddelena is still troubled. She disappears one day and her daughter vows to find her.
Genre: Drama, Mystery
Director(s): Arthur Crabtree
Production: General Film Distributors
 
IMDB:
6.5
Year:
1945
88 min
68 Views


Oh, dear, that sounds very indigestible.

I'll go. Get rid ofthose dustsheets.

Hello? Who?

Oh, Mrs Fiske. Yes.

Yes, I just heard. He's coming after dinner.

Thank you very much but I couldn't.

The whole place is in a turmoil.

I quite understand

but you mustn't starve yourself.

You'll keep your promise to dine

with me at the hotel tomorrow?

- It's Carnival night, you know.

- Right you are.

Oh, dear, that's the front door.

I must go. Goodbye.

There's a Mr Barucci to see you.

He says it's important.

- Hello.

- Sandro.

All right, Tessa.

How on earth did you find me here?

They told me at the hotel.

Angela, I think our search is near its end.

- You found the seven moons?

- I know a man who knows where it is.

- Where is it? Tell me.

- It's not quite as easy as all that.

From what he says, it seems that

it's in rather a bad quarter ofthe town.

I don't care where it is.

Take me there. I'll go now.

Not now but very soon.

You see, this man's on the run.

He never goes out except at night.

Besides, unlike myself,

he isn't doing this entirely for love.

- How much does he want?

- I suggested 1 O,OOO lire.

- That's all right.

- Well...

As a matter of fact,

I'm afraid he asked for more.

- I don't mind.

- Very well.

I'll try and get in touch with him

as soon as I can.

- You'll come any time I send for you?

- Of course.

- Tomorrow, if it can be arranged?

- Of course!

Can I get you here on the telephone?

Tonight, yes. Tomorrow I'm dining

at the Hotel Barbarelli with Mrs Fiske.

Good. Then if not here, there.

I hope that neither of us will be disappointed.

Oh, Sandro, when you see this man,

will you ask him if he's ever heard of

Rosanna ofthe seven moons?

Why should I ask him that?

I believe Rosanna had something

to do with Mother's disappearance.

If I hear anything, I'll let you know.

- Goodbye.

- Goodbye.

That clear? Scorpi? Tabalo? Maccho?

Yep.

The job's tomorrow. Carnival night.

Just after 12. To fool the police,

we're all wearing the same kind of costumes.

Understood?

We all know the Labardi house,

but is there anything in it?

- The place has been empty.

- Well, it's not now.

That's all for the present.

- Nino!

- What do you want?

You. And no listeners.

Well, how do you like the new setup, Scorpi?

I'd like it better if I knew

how we'd get into the house.

We can use that thick head of yours

as a battering ram.

Why, you!

Don't be a blind fool.

Angela knows that Rosanna was mixed up

in her mother's disappearance.

That's a lie. When we spoke of her,

Rosanna hadn't even heard the name.

So she says.

You were fool enough to believe her.

There's not much mystery now

why Madame Labardi left her husband.

There was another woman.

The thing's as clear as day.

Rosanna didn't steal those jewels.

Labardi gave them to her.

And he didn't give them to her for nothing.

- Ifthat's true...

- You know it's true.

There's a change in the plans.

I'm going into the Labardi house alone.

I've a private reckoning with Labardi.

When that's settled,

the rest is yours and I want no part of it.

Well, what are you waiting for?

You've had your orders. Get out.

Get out!

Sandro.

If you want to bring that girl here

for any purpose of your own I won't stop you.

- You can work in with us.

- But if she sees Rosanna...

She won't see Rosanna

or any other woman here tomorrow night.

Right.

Well, you're done for. One rat less in the world.

What is it, my son?

You have murder in your eyes.

What is it, Nino?

She's broken my heart, that's all.

Rosanna?

All those years she was lost to me,

she spent with another man.

Didn't you spend them with other women?

What if I did? It was her I loved.

You doubt her love for you?

Of course, he was a gentleman.

He was rich, gave her jewels, money. I'm...

Yet in spite ofthat, she came back to you.

Fair's fair, my son.

I have no great love for Rosanna.

But I had a gypsy mother and I have enough

ofthe clear bright in my veins

to know the true from the false.

I'd trust her love for you

before all the proof in the world.

If she loves me, Mother, why did she leave me?

Who am I to say?

Rosanna's a mystery. Always was.

- I doubt if even she could solve it.

- She says she doesn't know.

- Can't remember.

- Isn't that your answer?

Maybe there's a wondrous curse on the girl.

A call she has to answer.

Call?

Somebody calling, she said, from a long way off.

Isn't that where your vengeance lies?

Yes... Yes!

Mother, I want to believe in her. I must!

Without her, I'm lost.

Then take those knives out of your eyes,

my son.

For it's in your own heart

you'll be driving them.

What am I to do, Mother?

What am I to do?

Take her away somewhere for a little while.

Be alone.

You'll see.

- Wondering where we are?

- Yes, although I...

The last time we were here,

we came to that gap in the wall.

- Nino, it's the old garden.

- So you hadn't forgotten?

But everything is so changed.

The grass and the trees are taller.

- It seems so deserted.

- Deserted. And forgotten.

Like a man whose woman has left him.

Look, Nino, it was here I picked you

a rose and had to stoop for it.

Now the briars are above our head, out of reach.

Lift me up, Nino.

Never let me go again, Nino.

Never let me go again.

Why should you go? Why did you ever go?

Rosanna, why did you leave me?

I don't know. I know I never wanted to.

Well, after tonight, there'll no longer

be any reason for you to.

Why do you say "after tonight"?

I have to deal with something

that has stood in our paths too long.

- You're going into danger.

- Maybe.

- What kind of danger?

- It's best you shouldn't know.

- I shall go with you.

- No.

You must stay in your room till I return.

Things will be going on you're best out of.

- If you don't come back...

- Oh, I shall come back.

- If you're not waiting...

- I promise.

Don't look so worried. Smile for me.

Come on, smile.

That's better. Nino!

Play our song for me.

Hello! What are you doing here?

# Rosanna

# Lovely rose of my heart

# Rosanna

# Must we meet but to part?

# This love I feeljustfor you

is as real as the stars that shine

# You hold a spell though your eyes

never tell me you're really mine

# Rosanna

# When I dream you are near

# Rosanna

# Like a dream you appear

# I know the kiss of a willo-the-wisp

# Till my heart has flown

# You're gone and I'm alone...

What is it? What's the matter?

You're trembling.

Something cold went past me.

The ghost ofthis old garden perhaps.

- There are no ghosts in this garden.

- Oh, yes, there are.

Ladies and gentlemen who used to walk here

when the beds were bright with flowers

and the lawns were smooth and green.

Hmm! That's all very fine

but I much prefer it this way.

Oh, so do I, because it's so wild.

It's broken the shackles

that once made it neat and tidy.

- Why can't we stay here for ever?

- I wish we could.

There's work to be done.

- We'll come back another day.

- Shall we?

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Roland Pertwee

Roland Pertwee (17 May 1885 – 26 April 1963) was an English playwright, film and television screenwriter, director and actor. He was the father of Doctor Who actor Jon Pertwee and fellow playwright and screenwriter Michael Pertwee. He was also the second cousin of actor Bill Pertwee and grandfather of actors Sean Pertwee and Dariel Pertwee. From the 1910s to 1950s, he worked as a writer on many British films, providing either the basic story or full screenplay. He was one of numerous writers working on the script of A Yank at Oxford starring Robert Taylor and Vivien Leigh, the film in which his son Jon made his screen debut, and on Caravan.While he seemingly preferred writing, he acted in ten films (1915–45) and directed Breach of Promise (1942), which he also wrote. more…

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Submitted on August 05, 2018

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