All language subtitles for Take.It.All.1963.1080p.WEBRip.x264.AAC-[YTS.MX]

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JOHANNE: Look at the leaves,
nothing is safe.

I warn you.
Watch your step.

Don't step on Montreal
with bare feet.

Even when there is snow,
the broken leaves
stick through.

(NARRATOR READING)

(NARRATOR READING)

CLAUDE: I really love
Life Magazine.

Leafing through old issues
is still one of the high spots
in my week.

It's so beautiful,
so fascinating,
and so undemanding.

Each page is
a new delight.

Nothing can tear me away.

(WHISTLES)

VICTOR: Hey, Claude,
there's a party tonight.

Come on. Get ready.

I'm not going,
so don't wait for me.

Why not? It'll be fun.
Come on.

Nah.

You sure?

(BLOWING RASPBERRY)

The same to you.

Anyhow, I'm not
going to miss it.

Ciao.

Yeah. Ciao.

CLAUDE: I'm not going
because I hate parties
and I have work to do.

I have work to do
and I hate parties.

However, I have a sneaking
suspicion that I'll go anyway.

But why?

Because as much
as I dislike parties,

I dislike working even more.

VICTOR: ♪ Are you working?

♪ Are you working?

♪ - Mother Claude.
-MAN: How are you, man?

♪ - Brother Claude?
-CLAUDE: I can't
stand that guy. ♪

You know, you've rarely
looked so debonair.

♪ Not if I can help it.

♪ No, not me

♪ No, not me ♪

CLAUDE: Formality is my weapon
against people who bore me.

The fear of work.

Man was made to work.
(LAUGHING)

My dear fellow,
I am delighted.

I'm always running
away from things.

Well, never mind.

I have lots of time.
I'm young, youth.

My youth.

So much happiness
burned away in a fire
that warmed nobody.

This is my last chance.
I can feel it.

My play. Double or nothing.

Shoot.
Walk out of youth with dignity

and let's get rid of all these
make-believe characters

who fight to possess me.

Oh, I hate...

I hate this
whole damn world.

One of these days
I'm going to get
even with all of you.

The suffering of others is
of maximum interest to me.

In exchange for this
fascinating spectacle,

I offer you
my extreme compassion.

All right.
Cut the sentimental crap.

You provide the money
and I'll provide the corpse.

(WHISTLING)

Oh, the enormous avenues
of the holy land.

I remember silver hours
in the sunlight by the river.

I have known neither fear,
nor war, nor misery,

not even love really.

With so little behind me,
what have I to say?

JOHANNE: Then shut up.
(LAUGHS)

CLAUDE: Through orchards
of black wheat,

with a sigh, the river
drove its silver flesh.

And I'm the guy
who can't stand parties.

(PEOPLE CHATTING)

Claude, you're here at last.

Hi. Come here
and say hello to me.

Hello. Goodbye,
goodbye, hello.

My God, it's so boring.

Hello.
How do you feel? Fine.

Do you think
anyone really cares
how you feel?

I am fine now you're here.

You're a real jerk. (YELLS)

Get out of here.
You're blocking traffic.

Oh, she's flirting
with my husband.

You tell her to quit.

CLAUDE: Go tell her yourself.
Slap her face for it.

No.
I'll slit her throat for it.

(LAUGHING)

Hey, Claude, don't go away.

MAN: Please, everybody quiet.
Please quiet.

Johanne is going to sing.

JOHANNE: The song
is in Creole.

You won't
understand the words,
but that doesn't matter.

(SINGING IN CREOLE)

Hey, who is that girl?
Do you know?

I don't know her name.

(SONG ENDS)

(PEOPLE CLAPPING)

CLAUDE: Look at me.
Look at me. Look at me.

JOHANNE: I don't see you.
I don't see you.
I don't see you.

Hello.

A drop?

The whole ocean.

(LAUGHING)
You've got a visitor.

-Hey.
-Hey, Victor.

(JOHANNE GIGGLING)

That's Victor.
He lives next door.

Hey, rise and shine.

CLAUDE: What are you doing
in my bed, Victor?

I'm trying to get some sleep.

Hello.

VICTOR: Oh, boy.

(JOHANNE LAUGHING)

-Did you see that?
-Yeah.

You have to
watch out for that bed.
It's freaky.

-A trick bed?
-A trick.

They're painting my place
and my bed is still there.

Here. Put on my bathrobe.

My razor's in the bathroom
in case you wanna shave.

Thanks, wise guy.

-I'm Johanne.
-I'm Victor.

Good morning, Victor.
A pleasure.

I'm Claude. I live here.

My place is being repainted.
It's a mess over there.

Total chaos.
I'll be out of here
in a second.

Yes, please.
I'd love one.

Oh, it's a French cigarette.

They burn something awful off,
but I don't mind.

I smoke anything.

Bring on the champagne,
and the caviar,
and the dancing girls.

Come on, let's celebrate.

We got to finish
off the evening
with our own party.

Oh, come on, Victor.
Don't look so glum.
Get with it.

Claude,
come on over here
and sit down.

CLAUDE: I'm fresh
out of caviar. Sorry.

Oh, the poor thing,
he's out of caviar.

He wouldn't be
trying to impress me
with his caviar.

He usually has some.

How much sugar?

One lump.

One lump.

How much milk?
One lump too?
Say when.

-Just a little.
-JOHANNE: Just a drop.

JOHANNE: Oh,
you're slopping it.

You're even drunker than I am.

-This is good coffee.
-Yeah.

Get away.

VICTOR: Well, I...

JOHANNE: You are a very
persistent young man.
You know that, Claude?

Well, I better get
myself out of here.
It's awfully late.

Look at my hair.
It's such a mess.

I'm so tired.

Listen, Claude, I'll just...
I got to sneak out
and, you know.

No, no, stay.
I'm leaving now.
I am, really.

Don't go.

I got to go home
to my place, huh?

Yes, yes, I know,
but first have
some more coffee.

Oh, I shouldn't though.

(MARCHING BAND PLAYING)

What's that?

CLAUDE: A military band.

And I'm the darling
of the regiment.
(LAUGHS)

Your hands are so white.

Yes, they are white.

CLAUDE: Johanne leaves me
for the first time.

Wait for me.
I'll be right back.

So that's where she lives.

That's her world,
inside those walls.

(WHISTLING)

What's happening to me?

Don't worry.
If you like her,
you keep her.

And if you don't,
that's the way it goes.

♪ As the mist leaves
no scar on the
dark green hill

♪ So my body leaves
no scar on you

♪ Nor ever will ♪

I'm back.

So I see.

-Are you glad?
-Mmm-hmm.

CLAUDE: In the name of art,
we're going to take pictures.

Lasting souvenirs
of a glorious fishing trip.

Trophies are the
sweetest part of love.

♪ ♪

CLAUDE: It's strange.
I don't mind going out now
as much as I used to,

but I still don't know
why I do it.

JOHANNE: Maybe you've got
something to show off now.

-CLAUDE: Like what?
-Like me.

-CLAUDE: You?
-Me.

JOHANNE: I adore your friends.

CLAUDE: Yes,
I can see that you do.

They think I'm beautiful.

I have to
show my appreciation
for their good taste.

Anyway, it's very
flattering to you.

CLAUDE: And to you.

JOHANNE: Shh, I love you.

Francois, show me
how you do locomotive.
(LAUGHS)

You know, like in your film.

All right. Now, watch.

JOHANNE: It's easy.

Now blow.

-You've got it.
-It's great.

♪ ♪

JOHANNE: Ladies and gentlemen,
here comes the circus.

I make a clown of myself,

but I know
that I am beautiful.

MAN: The triumph of Johanne.

JOHANNE: Thank you. Thank you.
Thank you. Thank you.

Thank you. Thank you.
Thank you.

(PEOPLE CLAPPING)

Hello, hello,
hello, hello, hello.

Is the little woman at home?

(LAUGHS) You bet she is.

CLAUDE:
What pleasure it is to buy,
to possess, and to share.

It doubles the pleasure.

That which we gave away,
we acquire twice.

That which we give
to a beloved,

we both give and keep.

The ritual of the gift.

(BOTH LAUGHING)

Johanne is gone.

That is she's
left for three weeks
in New York with a friend,

a fashion designer
to do some modeling,
a high paying job.

I'm not sorry to go back
to my old solitary life

interrupted by occasional
visits from Victor.

Come on in, Victor.
I don't mind.

I'm alone and I'm not
doing anything important.

(IMITATING FANFARE)

And now the Great Jojo

will perform for you

his death-defying trapeze act.

One, two.

Here, have a drink.

Damn, I don't know
what's the matter with me.

I'm restless, edgy.
I can't concentrate.

I don't know what it is.

I feel as if I've got to
do something or explode.

I got to have action.

-Hey.
-What can we do
that's exciting?

You're messing up your floor.

Oh, come on.

I'd like to feel
something violent, fear,
pain, anything, hunger.

I've never really been hungry.

Between two meals,
there's no time to get hungry.
We're overfed.

I used to hop over to Paris
when I felt like this,

to find a new scene,
to relieve the itch,

and I'd come back saying
I did such and such
and I met so and so.

So what?
Nobody's impressed.
Nobody gives a damn.

You know,
you got a 16 millimeter
view of things.

Don't talk to me
about 16 millimeters.

I feel rotten enough as it is.

And well curtain,
because I'm going to bed.

Nighty-night.

CLAUDE: As far as
physical love goes,

Johanne keeps me
completely satisfied.

I've been faithful
out of saturation
rather than conviction,

but desire dies
if it's centered
on a single object.

Now that Johanne is not here,
maybe I can look around and...

-Claude.
-How are you, Barbara?

-Okay.
-What are you doing here?

Well, I'm waiting
for a friend of mine
and he's an hour late.

Well, why don't you
come with me instead?

Hop on.
I'm going your way.

Oh, I'd love too,
but I can't.

-Oh, why?
-Well.

Oh, plastered again.
Well, what happened to you?

Did you get
run down by a truck?

-You want to be informed,
don't you?
-Yeah.

Well, never mind.
Climb on anyway.

We'll figure something out.
Don't you worry.

Well.

Here, give me your umbrella.

-Up you go.
-Oh.

-Easy.
-Give me a hand.

-BARBARA: Oh.
-There.

You're all set?

I'm scared.

It's perfectly safe.

CLAUDE: Here we go,
Michael Angelo.

Barbara of the old days,

that plaster cast just
adds to the attraction.

Here's a formula worth trying.

Mix for your pleasure,
two bodies at the same time,

a heavenly body
and a foreign body.

Not only did I rediscover
the Barbara of my youth,

but also the
little wooden horse

I used to play with
in my childhood.

MAN: Okay.
Come a little closer.

Now bring those hips forward.

Hold it.

CLAUDE: Meanwhile,

on a certain fashionable
island called Manhattan.

MAN: You're beautiful,
sweetheart.

CLAUDE: As for me,
I must have a bad conscience

because the next day,
I hurry to a friend of mine,

a jewelry maker,
to buy a trinket for Johanne,

but the diabolical
machinery of destiny
is at work again.

Claude.

Barbara?

(BOTH LAUGHING)

What are you doing here?

Well, I live here.

-Really?
-Uh-huh.

Oh.

No.

Alan.

ALAN: Just a second.

CLAUDE: Barbara's
a remarkable girl.

No getting away from it.

She gives you
an appetite for life.

Frankly, I can't find a single
reason for not indulging it.

This is nice, huh?

When you polish it,
it brings out the graining.

-Uh-huh.
-Now this one
is a marvelous piece.

It's very unusual.
You see how it
catches the light?

Yeah.

I could polish that up
and turn it into a beautiful
pendant for you, right?

Here's a piece
of walrus tusk
I picked up.

(EXCLAIMS) Very pretty.

-ALAN: Yeah. It is, isn't it?
-It's lovely.

Yeah.

Say, did you finish
fixing that ring I bought?

Yes, it's all finished.
Do you want to see it?

-Mmm-hmm.
-I'll go get it.

Oh, sorry.
Watch your foot.

Cut it out.
Alan's right there.

-Oh.
-Alan?

ALAN: Yeah, just a minute.

CLAUDE: Ungrateful female.
But to hell with her.

I'm not going let her
dampen my spirits.

How bitter
is this life of ours?

Bitter and unpredictable.

Johanne's homecoming,

these sentimental occasions
can be tricky.

I'd like to tell her
I didn't miss her.

Boast a little
of my adventures.

Confess that now
I love her even more

and somehow prove that
all this does make sense,

but I don't know how to begin.

So we talk of other things.

JOHANNE: Are you
unfaithful to me?

How could I be unfaithful
since I've never sworn
to be faithful?

And anyway,
have you no faith, fool?

(BOTH CHUCKLING)

How about you?
Do you see other men?

No one, but my husband.
That's all.

Is that really all?

Really all, but he knows
something is going on.

I'm not the same
with him anymore.
He senses it.

Is he angry?

When my husband is happy,
he doesn't say anything.

And when he is angry,
he suffers in silence.

So you never know
what he feels.

And aside from me,
does he have
any reason to suffer?

You mean aside from him,
do you have any reason
to suffer?

(CHUCKLES)

CLAUDE: I must confess
that suffering has never
been my strong point.

Mmm-hmm.

JOHANNE: But they say,
the lover who is not jealous
isn't a true lover.

-Are you jealous?
-Not a true lover, eh?

You mustn't generalize.

Those who speak
in generalizations
speak nonsense.

JOHANNE: Then you have
just spoken nonsense.

(BOTH LAUGHING)

I'm the happiest man alive.

(BOTH LAUGHING)

-Happy Halloween.
-CLAUDE: Same to you.

-Goodbye.
-BOY: Stay away from ghosts.

BOY: Let me count
how much money I got.

I did pretty well tonight.

Hey, I just found a dime.
That makes a dollar.

BOY 2: Boy,
are you ever lucky.

BOY 1: I got a dollar,
a whole dollar.

BOY 2: A dollar, wow.

CLAUDE: One dollar,
that's my allowance for today.

Without much hope,
I check the restaurant prices

and before I know it,
I found my main course.

The special of the day
is Barbara with a new hairdo.

There she is,
whooping it up with
another dish, Johanne.

I didn't even know
they knew each other.

(BOTH LAUGHING)

CLAUDE: What's the matter?
Is my fly open or something?

I find their behavior
most disquieting.

I'll never know
what there were
so chummy about,

but that day,
I ate very well
and for free.

CLAUDE: I love you, Johanne.
You're fascinating.

Everything you do
is fascinating.

I want to know all about you.

Your past, when you
were a little girl.

Tell me.

-Everything about me?
-Yes.

Tell me about the island
where you were born.

Oh, yes, my island.

JOHANNE: In the morning
before it got too hot,

(INHALES)

that was when they
used to cut down the
grass on the plantation.

I can still see them
swinging their arms

as if they were dancing
to the beat of the music.

♪ ♪

Having fun?

Great fun. It's wild.

You're beautiful tonight.

-Am I?
-Mmm-hmm.

-Really and truly?
-Really and truly.

This place suits you.
You're in your element.

It's sensational.

It makes me feel alive,
you know.

You don't seem to be
enjoying yourself though.

-Yes, I am.
-Really?

Mmm-hmm.

A great place, huh?

They've always got
fantastic music here.

It makes me want to stay
and dance all night.
Shall we?

Okay. Sure.

MAN: Excuse me.
May I have this dance?

If my friend here won't mind.

MAN: May I borrow her
for a dance?

Is it all right?

Sure. Why not?

-You won't be bored?
-No.

♪ ♪

CLAUDE: All this black flesh
around us,

and the heat, and the music.

Her eyes are
too bright tonight.

She's determined
to dazzle the world even if
it means infuriating me.

There is defiance in the air.

So our first battle has begun,

and both of us
know in advance that the
first victory will be hers.

Johanne, are you trying
to make a fool of me?

JOHANNE: Exactly, my darling.

(PEOPLE CLAPPING)

JOHANNE: There is
something I have to tell you.
Something important

I've never told
anyone before.

I have to be sure
that you really love me.

I have to be sure.

I have to tell you
because I love you

and I feel it's unfair
to hide things from you.

You think I'm from Haiti,
don't you?

Hmm?

And it's not true?

You mean you knew?

No.

Well, I'm not.
I'm not Haitian at all.

It was all a big lie.
I was born right
here in Canada.

I'm an orphan. I was

abandoned at the age
of two months

and raised in an orphanage
from then on.

There was no island,
no dancing, and singing.

Since I was black,
it was difficult to find

Negro parents who were
earning enough money

and who wanted kids
but who weren't able
to have their own.

The adoption agency
was furious with me.

They told me,
"Nobody wants you, Johanne.

"And we can't
place you anywhere."

And that's that,
they passed me
around like a football.

And so it kept on.

Any time that
they found someone
who might adopt me,

they said, "I'm sorry.
We have too many
children to feed already."

They all blamed me for it
but what could I do?

I didn't know anybody
or have any experience.

Then someone said,
"Why not say
you're from Haiti?"

And I said, "How can I?
I've never been there."

"Well, pretend," they said.
And I did.

I read up on it.

I built myself a past
that was all based on lies.

And when
I left the orphanage
I told people,

"Of course,
you've never met me,
I was born in Haiti.

"I just arrived here."

Anyway, I don't know
why I'm telling you
all this because...

(SNIFFLING)

Because what?

Because

now you're disappointed
just the same as the others.

You love me
because I'm so different.

I'm Haitian. I'm new.
I'm strange.

I'm exciting and exotic
and so forth.

No. I love you
because you're you.

And I love you very much.

Anyhow, I'm not asking
anybody for pity.

I don't want pity
but it's just... I'm just...

I'm tired and I...

You know, Claude,
there are moments
when I wonder

how long will this go on?

When will I
settle down somewhere?

And find out
who I really am
and have something.

Something that's my very own.

Johanne, I love you.

I do, my darling.

Please don't... Don't cry.

CLAUDE: Laughing Johanne.
Carefree Johanne.
Where are you?

Come on now, cheer up.

Honey.

I feel so stupid.

There. Come on now,
recite that little
poem of yours.

Do not tame
this love for thee.

Do not tame
this love for thee,
let me burn in agony.

Do not tame hell's agony.

Let me burn, it's lover-ly.

(LAUGHING)

CLAUDE: Johanne's confession
bound me even more tightly.

Love forced the first
breach in my defenses

and compassion
finished the job.

I'm hooked
and I make it official
by visiting my mother

to announce what I'm sure
she's known for a long time.

Looks like a lot of work.

Oh, that's right.

You simply
wouldn't believe it.

The upkeep on this house
is amazing.

I'm doing without
maids now too.
It's frightening.

It all falls on my back.

If I didn't do the book work,
I don't know who would.

Oh, you have no idea
of the work involved

in doing these bills
every month.

CLAUDE: All I can offer
is my silence.

Whatever it is
I came to tell her

is buried under
a hundred trivialities.

By the way, I'm paying
the insurance right now.

You should have
some insurance yourself,
you know.

Insurance? Me?

-Of course.
-Why?

-Well, at least
for your Vespa.
-Uh-uh.

Fortunately,
I took care of it.

Honestly Claude,
don't you understand
the risks you take?

You ride that motor scooter
all over town.

If you had an accident,
you'd spend the rest
of your life paying.

You couldn't kill
anyone with a Vespa.

-You think not?
-Here. Look at these.

My latest, my black rose.

Bruno. (WHISTLES)

Here, Bruno.

Well, how do you
like my dusky beauty?

Oh, she's quite lovely.

(CLAUDE WHISTLES)

Oh, hi, Claude.

How are you doing, Victor?

CLAUDE: You've eaten already?

Yeah, I'm just having coffee.

What did you eat?

Well, just a salad,
a Caesar salad.

-Was it any good?
-All right.

I never know
what to eat anymore.

Why don't you try fasting?
It will cost you less.

What did you do last night?

Well, I... I was...
I don't know. Why?

Well, why do you think?
I was aware that
you weren't home.

-You were?
-(CHUCKLES) Yes.

I got the message.

Oh, on my door.

-Oh, yeah.
-Well, is she nice?

-Oh...
-You don't look
very enthusiastic.

Who is she?
Do I know her, huh?

Does anyone
know anyone, huh?

Victor.

Deep down.

I just want to know
about her surface.

Listen to this,
"The thing that
we perceive as reality

"is the relationship
between the sensations
and the memories

"which surround us at
one of the same time,

"a rapport that
cannot be reproduced
by simple cinematography.

"Actually, the cinema
is as remote from reality

"as its supporters
claim it is near to it."

How about that?

Yeah, how about it?

Is she a blonde?

Are you still harping on that?
Get off my back.

She has one head,
two legs, two arms, one...

(CHUCKLING)

-Satisfied?
-Well, are you?

Is she married?

Mmm-hmm.

She's married.

There's the rut.

You never were with
a married woman before?

-First time in my life.
-Oh.

What's bugging me most is...

Is that you know the husband.

-That's right.
-Is he a friend of yours?

Well, not a friend of mine

but he seems
like a good man.

I like him a lot, in fact.

And it bugs me.

CLAUDE: We interrupt
this narrative for
a special news flash.

Our cameraman has
succeeded in filming the walk
of a young bourgeois...

Well,
not so young anymore,
already a little dissipated.

Still wondering
what happened to
his good intentions.

And now, we see him
a few years later...

...obsessed by great ideas,

carried along by events,

paranoid.

Poet.

Whoops.

When he finds
himself in difficulty...

A look to the east,

a look to the west,

status quo.

And sometimes
a child among children.

(CHILDREN LAUGHING)

And now back to real movies.

MAN: Camera.

MAN 2: Scene 72, take six.

Quiet everyone.

All right. Action.

-MAN: I'm afraid.
-Of what?

Of loving you.

WOMAN: Forget the future.
It's now that counts.

CLAUDE: Now you go
into the house.

Quickly.

Cut. It's good but it's
not quite right yet.

We'll take that scene again.

You got to move
that spot, John.

It still seems
a little bit too bright.

-All right?
-All right.

Get it set up
and we'll take it again.

-Ready on the camera?
-All set.

Man, it sure can get hot
working under those lights.

CLAUDE: Then try
working next to them.

Want to come over to
my place afterwards and
see my butterfly collection?

Butterfly? (LAUGHS)

-All set, Claude.
-Okay. Let's go.

This is the last take
of the day.

And we've printed
three and five, right?

Whew, what a day.

Well, here we are.

Nice butterflies.

(BOTH CHUCKLING)

-Have you got any Scotch?
-Mmm-hmm.

Oh, damn not a drop
in the house.

Don't go away.
I'll get a bottle
from next door.

-Victor?
Victor, it's almost 9:00.
-What?

You're supposed to be
at the theater.

-What?
-It's five to 9:00, look.

-Oh, boy.
-CLAUDE: Hurry up, you idiot.

You're going to
miss your entrance.

Come on.
They're going to have
to start without you.

I'm hurrying. I'm hurrying.

Oh, boy.
I'll have to get a cab now.

A cab. Good idea.
Here. Don't forget your shoes.

My shoes? Oh, boy.

This is awful.
I'm never going to make it.

Come on, hurry up.

You're sure this isn't a joke?

-Yeah.
-It's really five to 9:00?

-It's no joke. Get going.
-Yeah, yeah.

-Good luck.
-Yeah.

MAN: Hello, boys.

-Nobody here.
-(AUDIENCE LAUGHING)

Hey, boys.

Oh, it's my husband.
My husband is on the stairs.

Oh.

Ooh! That's a pretty girl.

(AUDIENCE LAUGHING)

CLAUDE: Well, well,
that's the girl I saw him
with the other day.

-To your health.
-Here's to yours.

What are you thinking?

Same thing you are.

CLAUDE: Oh, hell.

I got to be at
the studio at 9:30.

Oh, too bad.

Yeah, I better hurry.

I'll stay awhile, okay?

Mmm-hmm.
Make yourself at home.

-Shall I answer the phone?
-No, no. Let it ring.

-All right.
-Be at the studio at 1:00.

-Oh, I will.
-Goodbye. (KISSES)

(PHONE RINGS)

Nobody there.

(CHUCKLES)

Well, if it isn't Monique.

You weren't to know.
Well, now, you know.

But look, what are
you doing here?

You mean what are
you doing here, nosy?

Do you always sneak
into other people's houses
through the back window?

-Sure, don't you?
-You put me in
an awkward position.

I'm sure you're aware of that.
What do you want?

Oh, I just came in
to borrow some records.

You got no objections, do you?

Go ahead.

Okay. And you just
forget I'm here. Okay?

You're certainly a cool one.

-May I drink my coffee?
-Be my guest.

Nobody likes cold coffee.

Mind if I sit down?

Not at all.
Want an apple?

Well, you eat apples.

I love apples.

-Is that a symbol?
-It all depends.

-A symbol of what?
-It all depends.

Mind if I borrow these?

You might as well.
They're not mine.

Johanne's.

-Why do you say that?
-Do you know her?

I respect other's privacy.

Do you now?
And I don't respect yours?

Oh, sure.

Down, boy.

So you wanted to
see if Claude had
another girl in here?

I've known for ages
he's had another girl.

But you didn't know
who it was.

I knew exactly who it was.
You know how?

-No, how?
-I recognize your perfume.

How about that?

That's very flattering.

And the other day
on Claude's Vespa,

you were there with the
dark glasses on, right?

-That was you, wasn't it?
-(MONIQUE LAUGHING)

Right.

Look, Monique.
I like you a lot,
you know but...

-But you want to
get back to Olga?
-Uh-huh.

Yes, I do.
She's very pretty.

-You think so?
-Yes.

A little blonder
than you are of course.

-Yes, but she's cold.
-Oh, yeah?

Hey, wait.
Have you got any cigarette?

What? Sure.
But they're not filters.

You've got a good memory.

I'll take one.

Keep them, I got plenty.

Oh, well, I'm out of matches.

-Uh-huh.
-Thanks.

-Goodbye.
-Bye.

-Have fun.
-Sure.

And say hello to Claude.

MONIQUE: Shall I tell him
about this?

-About what?
-That you were here.

Oh, you needn't bother.

We don't keep anything
from each other, you know.

-Well, see you.
-Bye.

CLAUDE: Endless caresses
soothing the flesh,

calming the soul
until it's as serene
as a windless sea.

Caresses performed
with skill and cruelty.

Now, her hand
explores a pimple
or a scar back and forth

as if she were opening
a wound with her finger,

curious weaving of
pleasure and punishment.

-JOHANNE: Hmm.
-Hmm?

Have you ever wanted a man?

Hmm?

Have you ever wanted a man?

CLAUDE: I don't say yes
but I don't deny it either.

With those woman's
hands of hers,

Johanne,
unfolded my confession

and I gave her that secret
ancient as my first memories

without pain
and without shame.

And so this longing,
imperative, and unsatisfied

has at last taken
the form of hope.

MONIQUE: It wasn't me
you loved

but an image,
an image you created.

MAN: No, it was you
because you freed me
from all images.

CLAUDE: Not bad.
Not bad at all.

Don't change a thing
for the lights.

It looks fine from up here.

Now, as for you two
it was almost exactly right.

Except for one thing
and that was the kiss,

you really have to
kiss him, Monique.

Mmm-hmm.

Put your hands like this.
What's the trouble?

-Haven't you ever
kissed a man before?
-Once or twice.

Well, do it
as if you meant it.
Ready everyone?

MAN: Wait, there's a problem
with the sound.

-CLAUDE: Not again.
-No, no, no, it's all right.

From the beginning?

CLAUDE: Clapman.

Scene 25, take two.

CLAUDE: Okay,
remember now, with feeling.

It wasn't me you loved
but an image,
an image you created.

No, it was you
because you freed me
from all images.

CLAUDE: Good. Print it.

Well, was that kiss
hot enough for you?

It was like a blow torch.
It was perfect.

You're beautiful.

CLAUDE: And so this
longing, imperative,
and unsatisfied

has at last taken
the form of hope.

Say when.

(LAUGHING) We had a ball.

Tell me the rest.

Just at the
crucial moment we...

(INAUDIBLE)

(LAUGHING)

Well, tell me
how does the film
look to you so far?

That's not important
right now.

What is important?

CLAUDE: At last.

Bang, bang, bang.

Come on, let's go to my house.

We become addicted to truth
and it begins to use us.

Hello, you.
You look so pensive.

What were you thinking about?

CLAUDE: Our love has got
to be perfect, Johanne.

No tricks, no scheming,
no suspicion.

There must be
absolute trust between us,

total honesty, right, darling?

We'll be different
from others.

Our love will be
perfect, right?

What am I saying?

I hear my own words
resounding in some
pompous fiction

and they grate,
clatter and clang
more and more ludicrous.

-BOY: Okay.
-Hey, over here.

Fiction.

Pure fiction.

-(GUNSHOT)
-(GROANS)

In the nearness
of our intimacy,

a kind of silence
comes between us.

We touched the
depths of something,

of love or of solitude.

Day follows night
but we are hardly
aware of it,

locked as we are
in our room and in our love,

sometimes we forget to eat
but never to drink.

We're cut off from the world,

suspended in some
diffused, colorless region
where no one can find us.

And when we leave our room,
our prison goes with us.

Excursions in broad daylight
are dangerous for lovers.

The crowd hides the enemy.

(WOMAN SCREAMING)

Beware hunters of happiness,

traps have been laid for you.

Here, there, just where
you least expect it.

Claude, where are you going?

Claude, I'm cold.

Where did you go?

You ran off so suddenly
and left me sitting here
all alone.

I didn't know where you were.

I was afraid
you wouldn't come back.

I'm so cold, honey,
let's go home.

CLAUDE: Are you
afraid of death?

JOHANNE: No, but I'm
afraid of suffering.

If I knew I wouldn't suffer
I wouldn't mind dying
right now.

Only, I would want
a bit of time for us to
make love just once more.

CLAUDE: What I'd like to do
is to challenge death,

to dirty it,
to defile it somehow,

that's what I'd like to do,
and maybe I will.

Oh, look,

a flower left by some
orphan or widow.

JOHANNE: It's made of
wire and plastic.

-What's that?
-CLAUDE: Oh, that's nothing.

Hello, darling.

Hi, honey.

I've been to party.

A wonderful party
with lots of friends.

(VOCALIZING)

I have something to tell you.

CLAUDE: Oh? Well, tell me.

Guess.

CLAUDE: Animal,
vegetable, or mineral?

Animal.

And then there were two.

Two what?

Well, to start with,

there's you
and then there's another.

You have a lover.

No,

but I'm pregnant.

Hmm?

I'm pregnant, I said.

It's a shock, isn't it?

Listen, darling,
don't worry about it.

Don't even think about it.

God or somebody
will take care of it.

He always does.

CLAUDE: Aie, aie, aie, aie!

We're having a baby, Claude,
enjoy it while it lasts.

It lasts quite a while I hear.

Nine months.
I can hardly wait to see it.

And when it's born, then what?

Aren't you anxious to see it?

A red head
and the black girl,
just think.

With that combination,
how can we lose?

This is going to be
the handsomest, smartest
baby in the world.

Claude, you're not
listening to me.

Listen, I know you must be
worried and all.

It's completely unexpected,
only it's wonderful, Claude.

I'm not kidding,
really I'm not.

Nine months from now
you will be.

No, no, no, no.

I'm not kidding.
I'm with child.

Kiddy cars, kiddy beds
and all the rest.

I believe you're trying
to get my goat.

CLAUDE: After this
overwhelming news,

I sense her body
change from an object
of desire and lust

to one of tenderness
and reverence,

from a cave into a mirror.

During long quiet evenings,

I sketch
this changed which has
transformed our room

from a refuge into
something like a home.

I'm doing a double portrait.

A double portrait?

Uh-huh.

Don't you mean
a family portrait?

In a way.

Me, May 18th.

CLAUDE: All our attention
is now focused on
that fragile existence

staring deep in her belly

which paternal pride
and arrogance convinces me

is merely a transplantation
of myself.

Me, May 30th.

(TIRES SCREECHING)

JOHANNE: Claude, be careful.

-Claude, listen.
-Hmm.

Yesterday,
I ran into Nicholas.

Who is Nicholas?

Someone I once knew,
someone who loved me
very much.

-Hmm.
-I think maybe
he still does.

Anyway, I talked to him
about our problem

and he'd like you
to meet him so he can
give you some advice.

Advice?

Yes. Well, will you?

-You want me to?
-Mmm-hmm.

Give me the bottle,
will you?

Are you crying?

No, of course not.

Oh, I thought you were.

Would you turn off that radio?
It's getting on my nerves.

There.

CLAUDE: Nicholas.

What have I got to
do with Nicholas?

It doesn't mean
a damn thing to me,

meeting someone I don't know
in a godforsaken
place like this.

There's something funny
going on here
and I don't like it.

(GRUNTING)

(TRAIN HORN BLOWING)

How am I supposed
to recognize him?

I've never seen him before.

I wonder what
the weather is like in
the Ivory Coast right now.

-You're Claude.
-And you're Nicholas?

-Right.
-Pleased to meet you.

Yeah, same here.

Hey, Paul, two more.

Johanne seems to think
you have things to tell me.

Yeah, well, in a way.

Well, actually,
I wanted to meet you

because I had
an affair with Johanne.

Mmm-hmm.

And it meant a lot that
it was a pretty extraordinary
time of my life.

Yes, I can imagine.

I still her love her too
although I realize
we're all through.

-She'd never come back to me.
-Mmm-hmm.

But even so,
I'd say that we were
still good friends.

And I think friendship
is very important.

Mmm-hmm.

If I can use
such a stupid term,
you're sort of my successor.

Yeah, I guess so.

I mean she loved me
and then you came along
and now she loves you.

That's the way life is.

I'm not bitter or anything,
I accept it.

I hope the two of you
are very happy together.

However, I can't help
worrying a little.

It's very important
that whoever she's with

is right for her.

You see, I kind of
grew up on the street as a kid
and I'm still on the street.

For you, it was
obviously a different story

and a woman
appreciates that difference.

Easy childhood,
perhaps too easy,

a brilliant college career,

visits to all the exotic
corners of the world,

bills all paid for
by papa, of course.

Why not?

CLAUDE: Just listen
to this guy.

He comes from nowhere
and defines me, judges me,

instructs me in
morality and I sit here
and swallow it all.

I wonder why.

She doesn't love you
for your money

but you can't blame her
for being influenced

by this image of
wealth and comfort.

Now, perhaps there's
no difference between you
and this image she has.

However, this image
is there and it counts.

Well, it's silly
to equivocate.

To what?

-Good word, huh?
-(BOTH CHUCKLING)

Henry James used it.

You're not such
a bad guy after all.

In other words, take her

but don't hurt her.

(WHISTLING)

Are you sleeping?

No, I'm smoking.

How are you?

Oh, I'm fine.

That's good. So am I.

I have something to tell you.

I'm sure you do.

I'm going to marry Johanne.

But isn't she already married?

And who will pay
for the divorce?

Is her husband
still in love with her?

Why make such an important
decision so abruptly?

She's pregnant and
you're convinced it's yours

but she often
sees her husband.

Does she ever
go out with other men?

She may.
But I believe people
should be free, even lovers.

I go out with other girls.

If she wants to go
out with other men,
that's her business.

I'm not jealous.

Well.

But have you fully realized
how this marriage will
upset your entire life?

It'll mean you...

You'll have a great deal
of responsibility to face,

you'll have to
make a good living,

to change your lifestyle,
to stop being the bohemian,

the free as day gypsy
that you are now.

You will have to learn
how to settle down,

you have to accept
the responsibilities that
you aren't used to.

Are you ready for that?

-I am.
-Have you spoken
to your father?

No?

I think you should
go talk to him about it.

He sometimes
gives good advice

and besides, he is
involved in this, too.

We all are.

As for me...

I've said what I had to say.

I have nothing against it.

I bow.

It's your decision,
after all, it's your life.

And you have to live it.

But I've thought of something.

Two or three years ago

you went on a retreat
to get away from things
in that monastery

and I remember
you met a priest

for whom you had
a lot respect,

Father Simon, I believe.

Why not ask him
for his advice?

Find out what he has to say
before you make

a decision
you may regret, hmm?

All right, if you want me to.

Well, I didn't mean to
keep you up so long.

Good night, mother.

Good night, my dear.

-Hello, Father Simon.
-Hello, Claude.

Oh, it's good
to see you again.

-You too.
-How's everything?

-Well, fine.
-Let me look at you.

-You've gotten older.
-Well, yes.

And so have I.
I've retired from active
service as they say.

You see,
I watch television now,

that's my companion
in my old age.

There we are.

-Cheers to you.
-To your health, Father.

Oh, a little cherry brandy
never hurt anyone.

Well, go ahead,
out with it.

You talk and I'll listen
as in the old days.

Well, it's not a problem
that's very complicated.

I'm in love with this girl.

So I've decided to see you
and ask your advice.

All right, Claude,
tell me more about it.

Well, what can I say?
She's...

What is she like,
is she pretty?

Oh, she's much more
than just pretty.

I'd say she's beautiful and
she has a fantastic figure.

Aha.

And she's intelligent
and she's fun.

Above all, we like
the same things.

We have the same
outlook on life.

How about her moral standards?

Would you say
they're above reproach?

Well, let's say that she's
evolved her own morality

which perhaps doesn't
exactly conform to
middle class standards

or those of the church
but don't misunderstand me.

You haven't changed.

She does have
certain moral standards

which are, well,
they're very close to mine,

that's why I love her
and why we get along so well.

If you don't mind my
talking to you as a...

As a father, so to speak,
you aren't the first?

Well, no,
she's a liberated woman.

Anyway, she's married,
though, she and her husband
have separated.

Despite that you're
sure beyond doubt
the child is yours?

Yes, because she wouldn't lie.

How about fidelity?

You trust her fully?

Tell me, Claude,

if this girl whom you love

and who's been
living with you for
quite a while

abandoned her
first husband,

who's to say
she won't do the
very same thing to you?

Have you ever considered
that this pregnancy of hers

is perhaps only a trap?

You're certain, of course,
that she is pregnant?

Isn't it possible
that she's attracted to
the social world you're in?

Maybe your artistic
world as well?

All I'm interested
in is your happiness,
you understand that,

in your happiness
and in your well being.

A man who's unhappy
can't produce properly,
am I right?

(CHUCKLES) I've had experience
with women through the church.

Oh, my,
I've pretty much formed
my own ideas on that.

In my opinion,
the main thing about a woman
is she's a schemer,

yes, she's...

She's covetous, selfish.

You want to marry,
you must realize
what's in store for you,

recognize all the traps.

Love is a good thing
but it's not enough.

And you won't be the first
to make that discovery.

Hmm?

Well, has my little
discourse on matrimony
been of any value to you?

It's very revealing.

Well, give it some thought.

Hmm?
It's your happiness
you must think of.

Above all what counts
is to be free, unfettered

and also to have
a clear conscience

and remember
that I'm always here
to talk to, Claude.

Come on,
let's drink a toast
to the good old days.

Here's to our earthly vices.

CLAUDE: You know, I think
it's about time we made
a decision, don't you?

Decision about what?

What do you mean
"about what?" About us.

First of all,
this apartment is
much too small.

We're going to
need a bigger one.

We have other things
to think about before that.

CLAUDE: And there's
another thing,
it's very important.

Even if we stay together,
I still want to keep
my freedom.

I have to be free to create.

Well, I see no reason
why you shouldn't be.

For example,
I'd like to be
able to disappear

for two or three
days if I feel like it.

I'd like to be able to be
alone from time to time.

My dear, you are free
to do what you want.

-You wouldn't ask questions?
-No, of course not.

I haven't up to now, have I?

It's all right with you, then?

Oh, Claude, of course it is.

JOHANNE: We'll have
to see the lawyer
about my divorce

if we want it
to come through
before the baby is born.

It can cost a lot of money.

CLAUDE: That doesn't matter.
I can borrow.

JOHANNE: It won't be easy.

CLAUDE: We'll manage.
Don't worry.

You aren't angry
about what I asked you?

JOHANNE: Of course not.

You're really sweet.

(JOHANNE HUMMING)

Hello. (LAUGHS)

CLAUDE: I can't
figure Johanne out.

The more problems we've got,
the more calm and good
natured she is.

As for me, I'm in pain.

There's some dread disease
gnawing at my guts,
I know it,

an ulcer I bet or cancer.

I've hidden it from
my family and friends
all this time

but it can't go on.

I've got to see a doctor.

DOCTOR: Well, everything seems
to be in its right place
and working well, Claude.

In fact I'd say
you're in perfect health.

CLAUDE: So, there is
nothing wrong with me?

That's funny.

All my friends
say I'm nothing
but skin and bones

and mighty little skin.

CLAUDE: I know
what I need, solitude.

A little solitude that's all,

to walk into my own home
and be alone for five minutes.

What? No breast band?

It's good to come home
to you, you know that.

Liar.

You haven't kissed me yet.
You haven't even
told me "good night".

Mmm-hmm.

Kiss me, please.

-You call that a kiss?
-Oh, will you let me sleep?

All right.

You can sleep alone, then.

What are you doing?

-I'm leaving.
-Where are you going?

Home.

Johanne, Johanne.

Come back, Johanne.
Come on back home.

Leave me alone.

-What is all this about?
-I'm not coming back.

This is childish, Johanne.
Now, come on back.

-I am not coming back.
-And let's talk about it.

I can tell
when I'm not wanted.

Oh, don't be silly.
Where are you going?

You don't want me
so I'm going home.

CLAUDE: There was a time
when our quarrels could be
made up with a joke

but not now.

Any attempt at humor
acts as a new provocation.

We can find
no words or gestures
to soothe or to heal.

Love can withstand
serious crisis.

Why does it surrender
to tiny assaults?

JOHANNE: All you think about
is you, you, you, you always,

always, always,
that's all you care about.

-CLAUDE: All you care about
is your divorce.
-It's always you.

-CLAUDE: And your home
and your security.
-You don't care about me.

-JOHANNE: Just go out
and have your fun.
-Always, always!

You don't give a damn
about me and my needs.

-What do you know
about what I'm really like?
-JOHANNE: You're an artist.

CLAUDE: Everybody was
right about you.

-JOHANNE: You have to be free.
-You're only interested in me

for the comfort and security
I can offer you.

JOHANNE: You have to
be free to make your
silly little movies.

Oh, you have to be
free to go anywhere

and sleep with anyone
that pleases you.

CLAUDE: I won't, I won't.
I need to express myself.

To have a change
of scenery once in a while.

JOHANNE: You don't care
about anyone else.

You and your wonderful
act to stick to freedom.

CLAUDE: And that's
the way it's going to be.

JOHANNE: You don't understand
anything at all.

CLAUDE: Here I am, cornered,
forced into action.

I'm about to make a move.

I can't believe
I'm doing it
but I'm doing it.

Watch this closely.

Hello, Johanne.

Hello, darling, how are you?

Johanne, it's all over.

What do you mean?

It's over between us.

I see.
Can we see each other?

No.

-Never?
-Never.

Why not?

Because it wouldn't
mean anything.

-But at least we could...
-Goodbye, Johanne.

NICHOLAS: You're still
not over him?

How can you let
yourself get all upset
over a guy like that?

Johanne, I told you
from the beginning.

It couldn't end any other way,
it's no use looking back.

I mean, even if you're
not mine anymore...

JOHANNE: What? Now, look...

-I always made you
happy when...
-I was never yours.

People don't belong
to each other.

You always used to
treat me as if you owned me
and it made me sick.

Johanne,
I just want to help you.

I hate to sit by
and watch this character
destroy you.

Well, isn't that kind?
Isn't that charitable?

You're too much of a woman,

too much of a woman to
let yourself be treated...

Let go of me.

Let go of me!

Calm down, Johanne.

I hate people
to touch me like that.

-Calm down.
-Take your hands
off of me or I'll...

Ah, what the hell.

Damn it all.

(MAN LAUGHING)

JOHANNE: I know
what I'm going to do.

I'm going to
go see him right now
whether he likes it or not.

After all he owes me
an explanation.

CLAUDE:
She's outside that door.

-(JOHANNE CRYING)
-She's been there for hours.

A mourner
at the door of a tomb.

And guess who the corpse is.

VICTOR: Johanne,
don't stand out there.
Come on in to my place.

Isn't Claude home?

He's home but he
won't open the door.

Huh? He's home but he
won't open the door?

Look, I don't know
what's going on between
you two people,

but, well...
Hey, you want
something to drink?

No.

Oh, how about some coffee?

-No.
-Good strong coffee.

No.

Some orange juice maybe?

Apple juice?

Cherry soda?

Do you want me to turn on
the radio, Johanne?

No.

Well, do you want
to hear a record?

I don't have a television.

I can't stand
seeing you like this.

Oh, yes, that's obvious.

CLAUDE: What is the secret
formula for a quiet,
well-ordered life?

Maybe I could own
a little tobacco store.

(RINGING)

Or the latest novelty,
strings of telephone calls.

Hello?

Hello?

Voices of silence but why?

Why?

I don't know what's
wrong with me lately
but I have this pain.

It's somewhere
right about here.
Maybe I have heartburn.

I'm probably in love again.

(TELEPHONE RINGING)

Hello?

My telephone
is out of order
at the moment.

You ought to get it fixed.

(TELEPHONE RINGING)

No, no, don't bother.
Just let it ring.

The phone's out of order
I said so don't...

Hello?

Hello?

Hello?

CLAUDE: But this time her
voice does come through.

Yes, it's me.

JOHANNE: Claude, my love,

you will never see me again.

Johanne.

I took all those pills,
all those pills you gave me.

What the hell
is this, Johanne?

-My love.
-Johanne.

Oh.

(TELEPHONE RINGS)

Hello?

JOHANNE: Victor,
Claude refuses to talk to me.

-So...
-Johanne.

You tell Claude
that he'll never see me
ever again.

-She just called me.
-Who did?

You know damn well who.

Oh, so, she called you, too.

-Yeah.
-Well, what do you know?

Well, aren't you going
to do anything about it?

It's pretty dramatic,
isn't it?

A big, fat joke,
merely something
to laugh at.

Listen, I'm not laughing,
believe me.

Well, what do you
expect me to...

But didn't you hear?
She'll commit suicide.

Well, don't come
crying to me afterwards.

CLAUDE: I was right,
thank God.

The next evening,
I left a note for Victor.

Victor, our charming suicide

has been after me
all day on the phone.

She seems to be
in perfect health.

Since you're my friend,
I know you won't judge me.

Love, Claude.

P.S. Don't you think
friendship is better?

-Hello.
-Hello, Claude.

Can you guess why I'm here?

No. Why?

I've brought you
something from Johanne.

And remember this,

she's been through hell
since you dropped her.

Answer it at least.

Okay?

Sure.

And don't be hard on her.

JOHANNE: I still love you

and everything
reminds me of you.

Especially what
is growing inside me

and it hurts to know
that this is why
you have left me.

Sometimes I tell myself

that I haven't
lost you completely

and that soon,
no matter what you feel,

there will be
two of us to love you.

It's quite obvious that
this can't go on much longer

and that it's up to me
to make a move.

Why not go for broke?

The whole thing could be
taken care of for $200

and the solution would
be to the satisfaction

of all the parties
that are concerned.

CLAUDE: My moral universe
collapses with
a spectacular display

of nonintervention
on my part.

Goodbye, principles
and honor and all the rest.

A $200 operation,

I better start looking for
the money right now.

Just for the books
that I put on the
appropriate solemn expression

and then breathing free.

I'm off, get it?

BANKER: What can I do
for you, my boy?

CLAUDE: I'd like to
borrow some money.

BANKER: How much?

CLAUDE: $200.

BANKER: Do you have
any guarantees?

CLAUDE: An insurance policy.

BANKER: And what is
the purpose of the loan?

CLAUDE: To help a friend.

BANKER: I see.

And how do you
want the money?

CLAUDE: In cash, please.

BANKER: All right, my boy.
If you would just sign here.

(PEN SCRIBBLING)

Fine. You can get
your money from the teller.

CLAUDE: Thank you.
Thank you very much.

BANKER: Not at all, my boy.
Good luck.

CLAUDE: You know,
I'm really a sweet guy.

It's true.
Ask my friends.

I'm harmless.

Oh, what a beautiful day.

Do you hear weeping
anywhere, cries of pain?

I don't.

The main thing is to
keep your hands clean.

My hands are clean.

Look, no perfumes of Araby
for me, thank you.

You know what,
after all this,

I think I deserve
a little treat,

an Italian mohair sweater.

Yes, this one, right here.

It's just made for me.

I like wool.

It can be made into
all sorts of beautiful things
without killing the sheep.

Bah, bah, black sheep.

And into this
disposable box

goes the old skin
that was so hard to shed.

No, no, not again.

Now, look, can't you guys
get off my back
for five minutes?

Okay.
Have it your way

but this time
it's going to be different.

Catch me if you can
and when you do,

when you do,
I have a little surprise
in store for you.

(GLASS SHATTERING)

(GUN FIRING)

(SHOTS FIRING)

I declare
and solemnly state...

-(GUN FIRES)
-Oh!

(GROANS)

I declare and solemnly state

that true love,

sincere love, eternal love

is nothing but a lie,
a miserable lie.

MAN: And who ordered
the pork chops and peas?

CLAUDE: I did.

Here.

Oh, hi.

-How are you?
-Fine. And you?

Okay if I sit down?

Mmm-hmm.

You're doing a beautiful
job of destroying that girl,
you know that.

Go ahead and screw up
your own life if you want

but leave other
people alone.

You're not
a bad guy, basically.

You don't mean to
be a bastard, only you've
been spoiled rotten.

You don't care
who you're hurting.

You look bored.
Am I keeping you
from a date or something

or am I annoying you
by mentioning things that
you would rather forget?

Well, go keep your date.
Don't let me stop you.

Get out of here.

We don't want garbage
in this place.

Did you hear
what I called you,
you pennywise little punk?

It's fun to play around
with women.

All you need is money.

I called you a pennywise.
Come on, get mad.

You've got the guts
of a dishrag.

Go ahead,
give him his check.

The last check you'll ever
pay in here, mister.

After he's paid, you could
throw him the hell out.

Okay, pay your bill.

And remember what I told you.
Stay out of here.

Guys like that think they can
get away with anything.

Poor little rich boy.
Go on home to mama.

CLAUDE: Now,
the joy of motion,

the marriage of
time and space,

change of landscape,
other faces.

Ah, to stretch my limbs
in this prison which you
have made for me,

you whom I loved,
prison of ebony and crystal,

maximum security
where all the wardens
wear your smile

as they bend to save me,

save me, save me, save me,

save me!

But your eyes,
though different eyes,

your color,
though a different color,

concealed all the old traps,
the old finalities.

No, no, no,

no, no, no, no, no, no, no!

(WOMAN SCREAMING)

Now what?

Won't it ever be finished?

"Dear Claude,
I don't know why I'm
breaking this long silence

"because I realized
it won't..."

Get to the point.

Oh, here we are.
"The thing is over.

"I lost it with nobody's help.

"So, you weren't involved.

"Your body left
no scars on me."

But it did!

We're both so
covered with scars,
we can't recognize ourselves.

My youth.

(LAUGHS) Forget it.

Yeah, forget it.

Concentrate on something else,
but what?

I'll think of something.

Free Quebec.

When the world
is marble and light

and weeping has
dried everywhere,

I will walk
as a sleepwalker might

while stone birds
cry in the air

and then with a...
(GURGLING)

Okay.
Let's take it from the top.

When the world
is marble and light

and weeping has
dried everywhere,

I will walk as
a sleepwalker might

while stone birds
cry in the air

and then with a careful gait
I've practiced too long

to know why I will
fly in the wind.

I will wait till my yearning
is aimed at the sky.

(GUNSHOT)

Even farther out of
this world of feeling,

long live abstraction,
pure delight of the spirit,

exponential function,
remembering that
K is a constant,

the absolute poetry of all
that admits to weight
and measure.

How to seize this discipline

which is so remote from
your embrace, you my love.

JOHANNE: It's very
simple, my dear.

All you have to do is leave.

CLAUDE: To leave,
of course, to leave.

Why didn't I think
of that before?

(LAUGHING HYSTERICALLY)

JOHANNE: Victor, oh, Victor.

How are you?

Fine. You?

-Had any news from Claude?
-No.

-You either?
-No.

Well, goodbye.

VICTOR: Goodbye.
See you around.