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CAPTIONING MADE POSSIBLE BY WARNER BROS.

GOOD MORNING.

GOOD MORNING.

PLEASE.

UM...

LET'S SEE.

HERE.

CEZANNE.

A MASTERPIECE.

YOU LIKE THAT?

NO.

NO?

POINTILLIST.

UH, WHAT? WHAT?

POINTILLIST.

MY VERSION OF IT.

"POINTILLIST."

POINTILLIST.

MMM?

THEY ARE YOUR PARENTS?

NO.

NO.

WHY, UH, DO YOU PAINT LIKE THIS?

HUH?

UH, WHY DO YOU PAINT LIKE THIS?

WELL...

OH, I'M SORRY. THAT'S NOT MINE.

THAT'S, UH, MY FRIEND BRAQUE, GEORGE BRAQUE.

IT'S HARD TO TELL THE DIFFERENCE SOMETIMES.

IT'S ALL SO LONG AGO.

WHAT IS IT CALLED?

GUITAR, BOW TIE, AND FRUIT BOWL.

THERE'S THE BOW TIE...

GOOD.

BUT, UH, WHERE IS THE FRUIT BOWL?

AH HA-HA.

THERE.

GOOD.

AH.

IT IS ALL, UH, FANTASY?

ALL FANTASY FROM UP HERE.

THIS IS ALSO BY BRAQUE.

MATISSE, HENRI MATISSE.

Officer: MATISSE.

UH-HUH.

THIS...

Officer: WHAT IS THE VALUE YOU WOULD PUT ON ALL THIS?

IT'S HARD TO SAY.

UNFORTUNATELY, NOBODY WANTS TO PAY ME MUCH FOR ANY OF THIS.

WHY DON'T YOU MAKE ME A REASONABLE OFFER?

OH...

MY WIFE WOULD HAVE SOMETHING TO SAY TO ME

IF I BROUGHT HOME A WOMAN LIKE THAT

TO HANG ON OUR WALL.

HA HA HA.

WHAT ABOUT YOU?

NO, I THINK NOT. NO.

Man: GOOD EVENING, SIR.

GOOD EVENING.

HERE WE ARE AGAIN.

DORA.

PIERRE.

MY FRIENDS.

FRIENDS? WHO ARE THEY, HUH?

THEY ADMIRE YOU VERY MUCH.

OF COURSE THEY DO.

GOOD.

Picasso: AH.

GOOD. YES.

OH.

BON SOIR.

GREAT PLEASURE.

BON SOIR.

MY DEAR.

BON SOIR.

AHH.

BOSCHES.

I SHOWED THEM EVERYTHING. MATISSE...

HERE, BOY.

...ROUSSEAU, BRAQUE, EVERYTHING.

I SHOWED THEM SOME EARLY DRAFTS OF GUERNICA.

LAST YEAR THEY RANSACKED MY HOUSE,

AND THEY WALKED OFF WITH MY LINEN AND LEFT MY PAINTINGS BEHIND.

HOW INSULTING.

PREFERRING MY TOWELS AND MY SHEETS TO MY PAINTINGS.

KAZBEC! NO!

NO, NO! BAD BOY!

HOW MANY TIMES DO YOU HAVE TO BE TOLD?

YOU KNOW VERY WELL WHAT YOUR DOCTOR SAID.

BEGGING? I'M ASHAMED.

WHO ARE YOUR FRIENDS, PIERRE?

FRANCOISE. GENEVIEVE.

WHAT DO YOU DO?

I'M A PAINTER.

PAINTER? LIKE ME. AND YOU?

PAINTER.

Picasso: SHARE THE SAME STUDIO?

WHO'S YOUR FAVORITE PAINTER?

VAN GOGH.

VAN GOGH? YEAH, HE'S ALL RIGHT.

YOURS?

I DON'T KNOW.

WHO ARE YOUR FRIENDS?

FRANCOISE AND GENEVIEVE.

THEY'RE PAINTERS.

WHAT DO THEY PAINT...

BESIDES THEIR FINGERNAILS?

HE'S GOING THROUGH HIS USUAL ROUTINE.

"OH, SO YOU'RE PAINTERS.

"I'M A PAINTER, TOO.

"COME TO MY STUDIO, I'D LIKE TO SHOW YOU MY WORK.

"I KNOW YOUR FACE SO WELL.

I PAINTED IT BEFORE YOU WERE EVEN BORN."

YOU MUST COME TO MY STUDIO SOMETIME. I'LL SHOW YOU AROUND.

YOU KNOW, I'VE PAINTED YOUR FACE BEFORE YOU WERE BORN.

NO ONE STOPS YOU ON THE STREET

AND SAYS YOU'RE A PICASSO?

NO? NEVER?

WE HAVE AN APPOINTMENT TO SEE MONSIEUR PICASSO.

HE TOLD US TO COME.

TO SEE HIS WORK.

Man: "THAT SPREAD OVER A SKY DRIPPING WITH HERRING,

"FISHED OUT OF A PLOUGHED-OVER OCEAN,

BROILING UNDER A MYRIAD SUN."

Woman: "TORSO AND TESTICLE,

"WHERE'S THE PARTY YOU PROMISED

"WITH FIERY MEN OF ETERNAL ERECTIONS

"RISING OUT OF FLAMING BUSHES

"TO HEAT UP OUR COLD CAVES?

"AT LEAST GET THE SOUP,

SO I CAN WARM MY FEET IN ITS NOODLES."

Second Man: "MY AUNT HAD A CAT THAT SWALLOWED A PARROT

AND CRIED OUT ALL DAY LONG IN A VOICE AS DULCET AS YOURS..."

"FOOD, FOOD, FOOD!"

"FOOD! FOOD!"

"FOOD!"

"FOOD! FOOD!"

GOOD. ON.

"LIE DOWN, MY SWEET TURTLE, AND"--LIE DOWN.

"AND LET ME WALK YOUR STARRY PLANET

WITH MY 6-TOED FEET OF PLIANT RUBBER."

"WE'RE RESPECTABLE, LICENSED WHORES,

"SO HOLD YOUR FILTHY TONGUE

AND SUPPLY US WITH YOUR STURDIER ORGAN."

"AT YOUR SERVICE, MADAME."

"THEY LEAP OVER A TUB IN WHICH SEA URCHINS ARE BOILING

IN AN ORGASM OF FRENETIC EXCITEMENT."

AH!

"BUBBLING WATER SCALDS THE LOVERS..."

KIND OF YOU TO SPARE ME THE TIME.

ARE YOU COLD?

HMM?

THE OTHER NIGHT THE WATER FROZE IN THE FISH BOWL,

SO MY GOLDFISH IS DEAD.

IMAGINE, A COLD-BLOODED CREATURE LIKE A FISH

COULDN'T SURVIVE THE ARCTIC CLIMATE OF MY APARTMENT.

COME, LET ME SHOW YOU AROUND.

MY PRINT ROOM.

THIS IS WHERE I PRINT MY ENGRAVINGS.

YOU'RE NOW IN THE LABYRINTH OF THE MINOTAUR.

AREN'T YOU AFRAID YOU'LL NEVER GET OUT?

NO?

YOU MUST KNOW THAT THE MINOTAUR PERISHES

IF HE DOESN'T DEVOUR AT LEAST 2 YOUNG MAIDENS A DAY.

THAT'S MY PRESS.

HELP ME.

MMM?

THAT'S GOOD.

SO, YOU'RE PAINTERS?

WHO IS YOUR TEACHER?

GENEVIEVE IS VISITING FROM MONTPELLIER

WHERE SHE'S A PUPIL OF MAILLOL.

MAILLOL.

AND WHO IS YOUR TEACHER?

I DON'T HAVE ONE,

BUT I'M VERY MUCH A PAINTER.

Picasso: REALLY?

MAILLOL IS A VERY GOOD TEACHER FOR YOU.

WHEN DO YOU GO BACK TO MONTPELLIER?

THE DAY AFTER TOMORROW.

OH, SO SOON?

YOU'LL BE LONELY WHEN SHE'S GONE.

NO.

COME AND SEE ME.

BUT COME BECAUSE YOU LIKE ME...

NOT AS IF YOU'RE VISITING THE HOLY SHRINE OF FATIMA,

ALL RIGHT?

LET'S GO. HE'S NOT GOING TO SHOW US ANY PAINTINGS.

OF COURSE HE WILL.

WHY ELSE DID HE INVITE US?

DON'T PRETEND TO BE SO NAIVE.

Francoise: AFTER GENEVIEVE LEFT FOR MONTPELLIER,

I DIDN'T RETURN TO PICASSO'S STUDIO FOR SEVERAL WEEKS.

I DELIBERATELY HELD MYSELF BACK,

PERHAPS BECAUSE I SENSED THAT IF I LET MYSELF COME TOO CLOSE TO HIM,

MY WHOLE LIFE WOULD BE TOTALLY CHANGED.

IT WAS WHAT HAPPENED TO EVERYONE WHOSE LIFE WAS TOUCHED BY HIS.

NO ONE COULD EVER REMAIN THE SAME.

THEY COME ONCE A WEEK TO SEE HIS PAPERS.

ONCE A WEEK I TELL THEM, LET ALONE HIS PARENTS AND HIS GRANDPARENTS,

EVEN PICASSO'S GREAT-GRANDPARENTS ARE NOT JEWISH.

30 FOR THE GROCERIES.

THEY'RE THIEVES. HOW MUCH WAS THE WINE?

20.

MUST BE GERMAN.

JUST CHANGE THE WINE MERCHANTS.

YOU SAID TO BRING HER STRAIGHT IN WHENEVER SHE COMES.

WELL, SHE'S COME.

AH!

GOOD AFTERNOON.

BUT THE POOR GIRL IS ALL WET.

LOOK AT THIS, SABARTES.

HER HAIR IS ALL WET.

INES, GET ME A TOWEL.

I MUST DRY IT FOR HER.

SOAKING WET. HUH.

I HAD A FEELING WHEN I WOKE UP

THAT YOU WOULD COME TODAY.

IT MAY EVEN HAVE BEEN A DREAM.

POOR GIRL COMES HERE DRENCHED TO THE SKIN

AND IN MORTAL DANGER OF CATCHING PNEUMONIA,

THE LEAST WE CAN DO IS DRY HER HAIR FOR HER.

COME WITH ME. I'LL DO IT FOR YOU.

THIS IS INES.

HELLO.

HELLO.

HERE. SIT DOWN.

YOU COULD EVEN HAVE A BATH.

LOOK. HOT WATER.

NO, DON'T! IT'S TOO HOT.

HOW MANY PLACES IN PARIS TODAY

WHERE THERE'S HOT WATER?

SO COME HAVE A BATH ANY TIME.

LET'S SEE HOW GOOD I AM AT DRYING YOU OFF.

GOOD?

BETTER?

YOU DO IT.

HMM.

WELL?

WELL, WHAT?

YOU'RE NOT ANGRY WITH ME?

NO.

IF YOU DON'T EVEN PUSH ME AWAY,

I MIGHT GET THE IDEA I COULD DO ANYTHING AT ALL WITH YOU.

IF YOU WERE A PROPERLY BROUGHT-UP YOUNG LADY,

YOU WOULD FEEL INSULTED.

HERE I AM, AN ARTIST OF SOME REPUTATION,

AND YOU'RE AN INNOCENT YOUNG GIRL COME TO VISIT,

AND WHAT DO I DO?

I TAKE ADVANTAGE OF YOU. I INSULT YOU.

I DON'T FEEL INSULTED.

MMM.

WOULD YOU LET ME DO IT AGAIN?

IF--IF YOU LIKE.

NO.

NO, UNDER SUCH CONDITIONS...

WHAT PLEASURE IS THERE IN SEDUCING ANYONE?

OH, IS THAT WHAT'S HAPPENING?

YOU'RE SEDUCING ME?

YOU THINK YOU'RE VERY SOPHISTICATED, DON'T YOU?

BUT I TELL YOU YOU DON'T KNOW ANYTHING.

WHAT YOU LOOKING AT?

NOTHING.

YES, WELL...

THIS MODERN CULT OF FREE SEX

DOESN'T INTEREST ME AT ALL.

ONE MIGHT AS WELL GO FOR A HAIRCUT

OR EAT A HAM SANDWICH.

THERE'S NOTHING SERIOUS IN IT.

SO...

HMM.

SHALL WE DO SOMETHING SERIOUS?

YES.

OK.

I'LL SHOW YOU MY ETCHINGS.

* LIBERTE *

* LIBERTE *

* LIBERTE *

* LIBERTE *

* LIBERTE *

Francoise: AFTER THE LIBERATION OF PARIS,

PICASSO, WHO WAS ALREADY A WORLD-FAMOUS ARTIST,

ALSO BECAME A HERO OF THE FRENCH RESISTANCE--

NOT THAT HE HAD DONE ANYTHING VERY HEROIC.

HE SAID, "IT WASN'T THAT I BEHAVED WELL,

BUT THAT OTHERS BEHAVED BADLY."

FROM THE WILD WEST?

NO, I'M FROM NEW YORK.

MY MOTHER GOT THAT IN TIMES SQUARE.

Francoise: PICASSO'S SECRETARY SABARTES

CLAIMED THAT AFTER THE WAR,

TOURISTS ONLY CAME TO EUROPE

TO SEE THE POPE, POMPEII,

AND PABLO PICASSO.

Soldier: CAREFUL, PABLO.

Photographer: CHEESE.

Soldier: YEE-HEE! ALL RIGHT!

Francoise: MEANWHILE,

I WAS HAVING MY OWN LIBERATION.

FOR THE LAST FEW YEARS

I'D BEEN WANTING TO GIVE UP MY STUDIES

AND JUST PAINT FULL TIME,

BUT I HADN'T DARED MENTION THIS TO MY FATHER.

NOT TILL I MET PICASSO.

MY FATHER HAD WORKED HARD TO FORM MY CHARACTER,

TO MAKE ME LIKE HIMSELF--

TOUGH AND AFRAID OF NOTHING.

BUT WHEN I GREW UP, I BEGAN TO HAVE MY OWN IDEAS AND DESIRES,

AND IF THEY WERE OPPOSED TO HIS,

HE'D GO WILD AND BECOME COMPLETELY IRRATIONAL.

I KNEW THAT THIS WOULD TAKE ALL MY COURAGE.

WHAT'S THE MATTER WITH YOU?

LISTEN...

I'VE MADE UP MY MIND.

I'M GOING TO STUDY PAINTING FULL TIME.

YOU MUST BE MAD.

I AM RESPONSIBLE FOR MYSELF.

YOU WILL FINISH YOUR DEGREE IN THE HUMANITIES AND THEN GO ON TO LAW SCHOOL.

I TRIED ALL THAT,

BUT I FOUND IT DOESN'T SUIT ME.

I'M NOT GOING ON TO LAW SCHOOL,

BUT I SHALL TRY AND BE A PAINTER!

I'LL GIVE YOU HALF AN HOUR.

GO TO YOUR ROOM AND THINK IT OVER,

AND IN HALF AN HOUR, COME BACK AND TELL ME YOU'VE BEEN A FOOL.

I DON'T NEED TO THINK ANYTHING OVER.

I'M GIVING YOU THIS ONE CHANCE.

THAT'S ALL.

IF YOU DON'T TAKE IT,

I'LL MAKE MY OWN DECISION FOR YOU.

I'LL HAVE YOU COMMITTED...

BECAUSE YOU ARE MAD.

IS GRANDMA HOME?

DON'T YOU DARE TOUCH ME.

DON'T DARE?

I DARE!

I DARE!

AAH! NO!

I'LL TEACH YOU TO SAY NO TO ME!

NO ONE SAYS NO TO ME!

NO ONE SAYS NO TO ME!

NO ONE IN THIS WORLD!

Woman: FRANCOISE?

FRANCOISE!

FROM NOW ON,

YOU BEG FOR YOUR BREAD IN THE STREETS.

WHAT...

SHE DID IT TO HERSELF.

HE'S LYING. HE DID IT.

DON'T BELIEVE HER. SHE'S CRAZY.

I BELIEVE HER.

IT'S YOU WHO ARE CRAZY.

HERE, CHILD.

AND IN MY HOUSE. AREN'T YOU ASHAMED?

PLEASE LEAVE.

LEAVE.

LEAVE, LEAVE MY HOUSE.

FRANCOISE WILL STAY WITH ME.

LET HER STAY WITH YOU.

YOU'RE WELCOME TO EACH OTHER...

BECAUSE I'VE FINISHED WITH YOU.

BOTH OF YOU!

FINISHED!

THERE.

OH.

NOW, YOU DIDN'T PAINT THE WAR

BECAUSE YOU'RE NOT THAT KIND OF PAINTER,

BUT, UH, IT IS THERE, JUST THE SAME.

PEOPLE WERE HUNGRY,

SO I PAINTED SAUSAGES AND LEEKS.

EVEN A CASSEROLE CAN SCREAM.

DO YOU HAVE AN APPOINTMENT?

YES.

HE TOLD ME TO COME FOR A LESSON IN ENGRAVING THIS AFTERNOON.

LISTEN...

IT WILL BE BETTER FOR YOU TO GO HOME.

WHY?

I'M DOING YOU A FAVOR.

THANK YOU...

BUT I DON'T WANT TO ANGER HIM

BY BEING LATE FOR MY LESSON.

EXCUSE ME.

SO, WE ARE AGREED ON THIS AND THIS?

HAVEN'T AGREED ON ANYTHING YET.

AH, FRANCOISE! THIS IS MONSIEUR KAHNWEILER.

HE'S MY OLDEST DEALER.

Kahnweiler: MADEMOISELLE.

HELLO.

THAT IS TO SAY THAT, UH,

HE SHAMELESSLY HAS EXPLOITED ME LONGER THAN ANYONE ELSE.

HE GETS WHATEVER HE WANTS OUT OF ME

BY SHEER PERSISTENCE.

HE SITS THERE LIKE A BIG STONE ON HIS GERMAN BUTTOCKS.

I'D DO ANYTHING TO BE RID OF HIM.

I'LL SEND THE PACKERS THIS AFTERNOON.

I HAVEN'T SAID YES.

SHALL WE SAY AT 4:00?

LOOK, THIS MAY INTEREST YOU.

I DID IT IN 1902.

READ WHAT I WROTE ON THE BOTTOM THERE.

"QUANDO TENGAS GANAS DE JODER, JODE."

Picasso: TRANSLATE IT.

Kahnweiler: OH, NO, NO.

GO ON.

WELL, IF YOU'RE TOO COY...

YOU TRANSLATE IT.

Kahnweiler: GOOD-BYE, MADEMOISELLE.

"WHEN YOU FEEL LIKE FUCKING, FUCK."

WHY ARE YOU WEARING THIS DRESS

FOR AN ENGRAVING LESSON, HMM?

WELL, ONE HAS TO DRESS UP A BIT TO VISIT PICASSO.

OH, WELL...

YEAH.

I WANT TO SHOW YOU SOMETHING.

COME WITH ME.

YOU'RE A VERY LAZY DOG.

YOU'RE ALWAYS SLEEPING.

MAYBE HE'S DEAD.

I'LL COME UP BEHIND,

CATCH YOU IF YOU FALL.

DON'T LET ANYONE IN.

WELL...

HERE.

GO ON.

Picasso: NICE VIEW, HUH?

WOULD YOU LIKE TO STAY HERE?

UP HERE?

YES.

ALONE?

YES.

I'D BRING YOU FOOD TWICE A DAY AND...

AT NIGHT WE'D GO OUT TOGETHER

IN DISGUISE LIKE THE ARABIAN NIGHTS,

AND, UH, YOU'D BE MY SECRET.

MY SECRET CAPTIVE.

I'D LIKE TO BE ALONE AND PAINT ALL DAY.

I WOULDN'T MIND LOSING MY LIBERTY FOR THAT.

BUT THEN YOU'D HAVE TO LOSE SOME OF YOURS, TOO.

AND I'M NOT SO SURE YOU'D LIKE THAT.

I THOUGHT YOU WOULD BE RATHER ANDROGYNOUS

UNDER ALL THOSE CLOTHES YOU ALWAYS WEAR.

BUT YOU'RE NOT.

YOU'RE DEFINITELY NOT A BOY.

THANK GOD WHO MADE YOU.

FOR ONCE HE GOT IT ABSOLUTELY RIGHT.

YES.

IT'S RIDICULOUS THE 2 OF US LIVING IN DIFFERENT PLACES.

TRUE.

YOU SHOULD BE WITH HIM IN THE GRANDS-AUGUSTINS.

MM-MMM.

GIVE ME A GOOD REASON WHY NOT.

SHE'S YOUNG.

YOU'VE GOT TO GIVE HER TIME.

I DON'T HAVE MUCH TIME.

THAT'S TRUE, TOO.

WHAT DO YOU MEAN BY THAT?

I...

YOU CAN TELL YOUR GRANDMOTHER TODAY

THAT YOU'RE MOVING OUT AND COMING TO LIVE WITH ME, OR I'LL TELL HER.

PLEASE, DON'T SAY ANYTHING.

WHY NOT?

WHAT, IS SHE SOME SORT OF AN OGRE?

ANYWAY, I'M NOT SCARED OF ANYONE'S GRANDMOTHER.

HE'S HAD 100 LIVES ALREADY.

AND THE WHOLE WORLD KNOWS HOW MANY WOMEN HE'S DESTROYED.

I COULDN'T BEAR IT FOR YOU, DARLING.

DO YOU REALLY THINK

I'D LET MYSELF BE DESTROYED BY A MAN, EVEN IF HE IS PICASSO?

WELL, I--I DON'T UNDERSTAND YOU.

UH, IT'S GOING AGAINST NATURE.

YOU ARE SO YOUNG.

AND HE'S OLD.

IT'S AS IF YOU'VE TAKEN A WRONG TURNING.

NO.

FOR THE FIRST TIME,

I FEEL THAT EVERYTHING IS RIGHT,

THAT I'M TURNED IN THE RIGHT DIRECTION.

I'M SURE. I'M SO SURE.

I'VE NEVER BEEN SO SURE OF ANYTHING IN MY WHOLE LIFE.

OHH.

THEN IT DOESN'T MATTER WHAT I SAY.

EXCEPT...

I LOVE YOU.

AND WHATEVER HAPPENS...

I LOVE YOU.

GOOD NIGHT.

DON'T GO AND LIVE WITH HIM, FRANCOISE.

REMEMBER THESE YEARS WON'T COME BACK AGAIN.

IF YOU WASTE THEM...

THEY'RE GONE.

IT'S PERVERSE FOR...

A YOUNG GIRL TO LIVE WITH HER GRANDMOTHER AS YOU DO.

I SUPPOSE SHE'S WARNED YOU AGAINST ME, EH?

WHO NEEDS TO BE WARNED?

YOUR LIFE IS NOT EXACTLY A SECRET.

WELL, THERE HAVE BEEN A FEW WOMEN IN MY LIFE, YES.

WOULD YOU STOP DOING THAT?

STOP IT. DON'T DO IT.

DON'T--I CAN'T HELP IT IF MY HAIR'S FALLING OUT.

STOP IT! STOP IT.

IN FACT, THERE HAVE BEEN SEVERAL WOMEN.

HUNDREDS, THOUSANDS OF THEM.

I'VE LOST COUNT.

I CAN'T REMEMBER HOW MANY OF THEM THERE ARE.

SO MANY.

NOW THERE'S ONLY YOU.

I LOVE YOU MORE AND MORE EVERY DAY.

YOU MEAN EVERYTHING TO ME.

"YOU MEAN EVERYTHING TO ME.

"IF I AM SAD,

"IT IS BECAUSE I CANNOT BE WITH YOU AS I WOULD LIKE TO BE.

"I WOULD GIVE ANYTHING FOR YOU TO BE HAPPY.

"MY OWN TEARS WOULD MEAN NOTHING TO ME

"IF I COULD STOP YOU FROM SHEDDING EVEN ONE.

I LOVE YOU."

PAPA LOVES US, MAYA.

THEN WHY DOESN'T HE LIVE WITH US?

WHY DOES HE ONLY COME ON SUNDAYS?

WELL, HE'S VERY BUSY ALL WEEK.

EVERYONE WANTS HIS PAINTINGS,

SO HE HAS TO WORK TERRIBLY HARD.

HE'S DOING IT FOR US.

TO EARN MONEY FOR US.

Francoise: PICASSO HAD MET MARIE-THERESE WHEN SHE WAS 17 YEARS OLD.

SHE WAS SO SIMPLE THAT SHE'D NEVER EVEN HEARD OF HIM.

HE HAD TO SHOW HER HIS PHOTOGRAPH IN A POPULAR MAGAZINE

TO PROVE TO HER THAT HE WAS FAMOUS.

HIS PAINTINGS OF MARIE-THERESE

ARE ALL ABOUT MAKING LOVE.

THEY ARE FULL OF SENSUALITY, OF SEXUALITY.

BUT I SUPPOSE SHE WASN'T VERY INTELLIGENT

AND HE GOT BORED WITH HER.

AND THAT WAS WHEN DORA MAAR ENTERED HIS LIFE.

HIS EARLY PORTRAITS OF DORA WERE AS TENDER AND LYRICAL

AS THOSE OF MARIE-THERESE WHEN HE FIRST LOVED HER,

THOUGH IN MUCH STRONGER COLORS,

BLACK HAIR GLISTENING WITH BLUES AND GREENS

TO EXPRESS DORA'S MUCH STRONGER CHARACTER.

BUT WITHIN A FEW YEARS, HE HAD TORTURED DORA OUT OF SHAPE

AND TURNED HER INTO THE WEEPING WOMAN

WITH BULGING EYES AND SWOLLEN NOSTRILS

AND LASHES THAT HAD BECOME TEARDROPS.

SHE LIVED AROUND THE CORNER FROM HIM,

AND HE SHOWED UP AT HER STUDIO WHENEVER IT SUITED HIM.

SO SHE SPENT HER DAYS AND NIGHTS WAITING FOR HIM.

SHE WAS PSYCHOLOGICALLY HIS PRISONER,

AND ONCE HE ACTUALLY PAINTED HER BEHIND BARS

WITH A CRUST OF BREAD AND A JUG OF WATER.

THAT PICTURE NO LONGER EXISTS.

HE PAINTED OVER IT.

BUT HER MISERY REMAINED.

MORE INSECTS FOR YOU.

THIS IS HOW YOU WAKE UP ONE MORNING, LIKE KAFKA.

WHAT HAS HAPPENED TO YOU?

I WAS ATTACKED.

A MAN ATTACKED ME AND STOLE MY BICYCLE.

WHEN WAS THIS?

JUST NOW.

HE ATTACKED ME AND STOLE MY BICYCLE.

WE MUST INFORM THE POLICE.

I TOLD THEM,

BUT THEY SAID THE ASSAILANT IS WITHIN.

HE'S YOU.

YOU'RE MY ASSAILANT.

PULL YOURSELF TOGETHER.

YOU MAY BE A GREAT PAINTER,

BUT MORALLY YOU'RE WORTHLESS.

YOU LIVE AN EVIL LIFE.

YOU HAVE CONTAMINATED THE WHOLE WORLD.

THAT'S EXACTLY WHAT MY CRITICS SAY.

WHO HAVE YOU BEEN READING?

I'M THINKING OF YOU AND YOUR SALVATION. YOU HAVE TO BE SAVED.

WELL, YOU SAVE ME.

NO, DON'T YOU SEE?

I CAN'T. CORRUPTION IS EATING ME UP, TOO.

I'M LIKE A ROTTED TOOTH IN YOUR MOUTH.

IT'S NOT YOUR FAULT.

IT'S NOT MY FAULT--

IT'S GOD'S FAULT. NO!

ASK TO BE FORGIVEN. WE MUST PRAY TOGETHER.

IF WE DON'T PRAY,

WE ARE DOOMED, DOOMED TOGETHER.

DON'T YOU UNDERSTAND? WE ARE ONE SOUL BEFORE GOD.

PRAY TOGETHER.

ONE SOUL, AND WE'LL BE REDEEMED.

SLOW, SLOW, SLOW.

SLOW DOWN! SHH!

JUST CALM DOWN.

CALM.

THERE.

WE'LL GO SEE DR. LACAN.

DON'T MAKE ME LEAVE YOU!

NO, I'LL TAKE YOU. OF COURSE I WILL.

I'LL TAKE YOU. YOU JUST NEED SOME REST, THAT'S ALL, HMM?

NOT WITHOUT YOU.

NO, NO, NO, I'M GOING WITH YOU.

I'M GOING WITH YOU.

Picasso: DORA'S WEAK.

SHE CRACKED UNDER THE STRAIN.

Francoise: UNDER THE STRAIN OF YOU.

YOU SHOULD BE HELPING HER,

NOT HURTING HER MORE.

IT'S ONLY HUMAN NOT TO PECK

A WEAKER PERSON TO DEATH.

NO. WHAT IS HUMAN IS TO BE STRONG AND SURVIVE.

THE REST IS SENTIMENTAL RUBBISH.

ANYWAY, THERE'S NOTHING BETWEEN DORA AND ME ANYMORE.

SHE'LL TELL YOU HERSELF.

COME ON. IT'S NOT MUCH FURTHER.

I DON'T WANT TO GO.

HUH? SHE'S EXPECTING US.

I THOUGHT YOU FELT SO TERRIBLY SORRY FOR HER.

EXACTLY. THAT'S WHY I DON'T WANT TO GO.

MY GOD, WHAT'S THE MATTER WITH YOU, HUH?

HUH, I'M DOING THIS FOR YOU,

DON'T YOU UNDERSTAND?

I'M A MAN OF DEEP FEELINGS.

YOU HAVE NO FEELINGS. YOU KNOW NOTHING ABOUT LOVE.

YOU'RE AS COLD AS A FISH.

I'LL THROW YOU IN THE SEA AND WARM YOU UP.

WHAT'S THE MATTER WITH YOU?

AN EXAGGERATED SENSE OF HUMOR.

"I DON'T WANT TO GO."

MMM.

COME. "I DON'T WANT TO GO."

"I DON'T WANT TO GO." "I DON'T WANT TO GO."

THE TENSION BETWEEN NEGATIVE

AND POSITIVE SHAPES IS...

VERY STRONG.

SHE'S INTELLIGENT, ISN'T SHE?

I REALLY LIKE INTELLIGENT WOMEN.

SOMETIMES.

OF COURSE, I LIKE STUPID ONES, TOO.

I TAKE IT YOU'VE COME FOR SOMETHING OTHER

THAN TO STUDY MY PAINTINGS.

THAT'S RIGHT. THE POINT IS,

I'M TRYING TO MAKE FRANCOISE COME AND LIVE WITH ME,

BUT SHE SAYS SHE WON'T BECAUSE OF YOU.

SHH!

WHAT DO I HAVE TO DO WITH IT?

EXACTLY.

YOU HEARD IT YOURSELF.

SHE HAS NOTHING TO DO WITH IT.

BECAUSE THERE IS NOTHING BETWEEN HER AND ME.

TELL HER.

NO, ABSOLUTELY NOTHING.

THEN THAT'S SETTLED.

EVERYONE KNOWS WHERE THEY STAND.

OH, YES.

EVERYONE ALWAYS KNOWS WHERE THEY STAND WITH YOU.

SHE'S NOT GOING TO LAST 15 MINUTES WITH YOU.

PERHAPS SHE THINKS YOU'LL IMMORTALIZE HER.

DON'T RAISE HER HOPES.

PICASSOS MAY TURN OUT TO BE NO MORE IMMORTAL

THAN THE SKELETON OF SOME EXTINCT BIRD OF PREY.

HMM.

COME AND HAVE DINNER WITH US.

YOU SHOULD BE GLAD THAT I'M IN A GOOD MOOD AGAIN

AND IN LOVE.

YOU'VE NEVER LOVED ANYONE IN YOUR LIFE.

PSST!

YOU EVEN HATE YOURSELF.

DORA IS QUITE A PSYCHOLOGIST, YOU KNOW.

COME ON, I'LL TAKE YOU TO LIPP

AND FEED YOU SAUERKRAUT.

SO, WHERE ARE YOU GOING THIS SUMMER?

IF YOU'RE NOT GOING TO MENERBES, WE MIGHT.

YOU'LL LIKE MENERBES.

IT'S ON A CLIFF.

IT BELONGED TO ONE OF NAPOLEON'S GENERALS.

IT BELONGS TO ME.

THAT'S RIGHT.

I GAVE IT TO DORA.

THE OWNER WANTED A PAINTING OF MINE,

SO WE MADE AN EXCHANGE.

HIS HOUSE FOR MY PAINTING.

THE OWNER'S WIFE WAS KILLED IN A CAR CRASH.

THAT'S WHY HE COULDN'T BEAR THE PLACE ANYMORE.

I THINK IT'S HAUNTED BY THAT POOR DEAD WOMAN.

DON'T SAY THESE THINGS.

ANYWAY, IF YOU'RE NOT GOING THERE THIS SUMMER,

WE MIGHT. FRANCOISE AND I.

BUT IF IT'S DORA'S HOUSE, THEN I--

IT'S A PRESENT. I GAVE IT TO HER.

TELL HER, DORA.

YES, IT'S MY HOUSE WHICH HE GAVE TO ME,

AS HIS PRESENT TO ME.

IT'S FULL OF SCORPIONS AS YOU'LL FIND OUT.

SHAKE OUT YOUR SHOES IN THE MORNING

BEFORE PUTTING THEM ON.

LITTLE SCORPIONS...

ZZZZ. CH CH CH.

LOOK AT THAT, LOOK!

I LOVE WILD CATS.

THEY'RE ALWAYS PREGNANT BECAUSE THEY THINK OF NOTHING BUT LOVE.

ALL THESE CATS EVER GET TO EAT IS LIZARDS.

THEN THE LIZARDS EAT THEM FROM INSIDE.

THAT'S WHY THEY ARE SO THIN.

FRANCOISE!

FRANCOISE, LOOK!

WATCH!

LOOK, LOOK, LOOK!

AAH!

Francoise: THAT WAS THE SORT OF SCENE HE LOVED:

ONLY MEN WITH SCARCELY A WOMAN IN SIGHT.

IT WAS THE ONLY BASTILLE DAY I HAD EVER SEEN

WHERE THERE WAS NO DANCING AT ALL.

"THANK GOD FOR THAT," PICASSO SAID.

HE HATED DANCING.

TO SLEEP WITH AS MANY WOMEN AS POSSIBLE,

THAT WAS FINE.

BUT TO DANCE WITH THEM...

THAT WAS IMMORAL.

HUH?

THANK YOU.

FROM GRANDMA?

WHAT DOES SHE WANT?

HUH?

FROM MARIE-THERESE, I SUPPOSE?

YEAH, SHE'S SO SWEET,

WRITING TO ME EVERY DAY.

"THERE'S ONLY ONE YOU, MY WONDERFUL, TERRIBLE LOVER.

"NO ONE ELSE IN THE ENTIRE WORLD, NOT EVEN MAYA.

I LIVE FOR YOU WITH EVERY BREATH."

YOU WOULD NEVER WRITE TO ME LIKE THAT.

NO, I WOULDN'T.

MARIE-THERESE REALLY LOVES ME.

SHE'S A REAL WOMAN.

LOOK ABOVE YOU.

HEY! WHAT ARE YOU DOING?

I'M HITCHHIKING TO MARSEILLES,

AND FROM THERE I'M GOING TO ALGERIA.

HA! ALGERIA.

ANOTHER MADWOMAN.

GET IN THE CAR!

NO, I'VE MADE UP MY MIND.

GET IN THE CAR!

HEY, GET IN THE CAR! COME ON!

STOP!

STOP!

FRANCOISE!

FRANCOISE!

I'M NOT GOING BACK TO THAT HOUSE.

COME HERE!

COME BACK!

FRANCOISE!

I AM NOT GOING BACK TO THAT HOUSE.

WH-WHAT'S WRONG?

YOU CAN'T DO THIS TO--

YOU CAN'T, MADEMOISELLE.

MONSIEUR NEEDS YOU.

L-LET ME GO!

GET INTO THE CAR!

LET ME GO!

GET INTO THE CAR!

LET ME GO!

I WISH I COULD WRAP YOU UP IN ONE OF THOSE TENTS

THAT MUSLIM WOMEN WEAR.

IN SPAIN WE BELIEVE THAT THE EYE IS LIKE A SEXUAL ORGAN

AND LOOKING AT A WOMAN CAN BE RAPE.

RAPE WITH THE EYE.

I WANT YOU TO SWEAR

THAT YOU WILL LOVE ME FOREVER.

SWEAR BEFORE GOD.

BUT YOU DON'T BELIEVE IN GOD.

SHH! NOT IN HERE.

KNEEL.

COME ON, KNEEL.

KNEEL DOWN.

NOW, SAY IT,

"I, FRANCOISE, SWEAR TO LOVE PICASSO

"AND ONLY PICASSO

"FOREVER AND EVER.

AMEN."

"I, FRANCOISE, SWEAR TO LOVE PICASSO

"AND ONLY PICASSO

"FOREVER AND EVER.

AMEN."

GOOD, NOW YOU'VE SWORN IT.

YOU CAN NEVER RUN AWAY FROM ME AGAIN.

NOW, YOU SWEAR, YOU SWEAR.

WHY DID YOU RUN AWAY?

AREN'T YOU HAPPY WITH ME?

YOU CAN'T PRETEND TO BE

THE EASIEST PERSON IN THE WORLD TO GET ALONG WITH.

I'M A PERFECTLY STRAIGHTFORWARD CHARACTER

WITH ALL MY CARDS ON THE TABLE.

BUT THERE ARE SO MANY CARDS,

AND SOME OF THEM ARE UNDER THE TABLE, TOO.

AND THEN SUDDENLY THEY POP UP LIKE MARIE-THERESE,

AND NOW WHO KNOWS WHO ELSE IS GOING TO APPEAR.

YOU THINK TOO MUCH UP HERE.

YOU SHOULDN'T THINK UP THERE,

YOU SHOULD FEEL DOWN THERE.

YOU SHOULD HAVE A CHILD.

YOU SHOULD HAVE MY CHILD,

THEN YOU'D LEARN HOW TO FEEL.

YOU'D BE A REAL WOMAN.

YOU'D BE MY WOMAN.

THE EXHIBITION'S ON THE FOURTH.

I HAVE TO HAVE MY ANSWER TODAY.

I MUST TELL MY PRINTER.

WHO KNOWS WHAT THIS DAY WILL BRING

BEFORE THE SUN WILL SET ON IT?

I'VE BEEN HERE EVERY DAY THIS WEEK,

AND EVERY DAY I HEAR THE SAME THING.

WELL, PERHAPS TOMORROW WILL BE DIFFERENT.

WHERE THERE IS LIFE, THERE'S ALWAYS HOPE, MY FRIEND.

HOPE IS GREEN AND ETERNAL.

LOOK, LOOK, LOOK,

I'M NEITHER GREEN NOR ETERNAL.

I-I DON'T KNOW ABOUT EVERYBODY ELSE,

BUT I MUST GET BACK TO NEW YORK.

I HAVE A BUSINESS TO RUN.

AND SO HAVE I.

MY BUSINESS IS CALLED PICASSO.

I HAVE TO SEE HIM TODAY.

IT'S IMPERATIVE.

IMPERATIVE?

IMPERATIVE, THAT'S RIGHT.

WHY DON'T YOU TRY AND GET UP?

NO, NO, DON'T.

TRY!

DON'T TORTURE ME! GO AWAY.

I CAN'T STAND IT, I CAN'T STAND IT ANY LONGER.

OF COURSE NOT, WITHOUT YOUR COFFEE AND BRIOCHE.

WHAT WERE YOU THINKING OF?

THE MAN HAS TO EAT. YES, HE'S HUMAN.

DON'T PUT IT ON THE BED.

I'M--I'M GOING AWAY, I MUST.

THERE'S NO OTHER WAY OUT.

NO, YOU'LL FEEL BETTER IN A MINUTE.

I CAN'T STAND IT ANY LONGER.

YOU KNOW THIS IS NO LIFE.

WHAT AM I DOING HERE?

YOU KNOW VERY WELL I'M NOT DOING ANYTHING.

EVERY DAY I WORK WORSE THAN THE DAY BEFORE.

AND TODAY YOU'LL DO SOMETHING YOU LIKE.

JUST GET UP AND START WORK AND YOU'LL SEE.

WE'VE LIT THE STOVE. THE STUDIO'S ALL WARM.

WHAT MAKES YOU THINK TODAY WILL BE ANY BETTER THAN YESTERDAY?

BUT YESTERDAY WAS WONDERFUL.

YOU FINISHED YOUR WHOLE SERIES ON THE PONT NEUF.

YEAH, BUT IS IT ANY GOOD?

GO AND SEE FOR YOURSELF.

NO. IT WOULD ONLY DEPRESS ME.

BUT IT'S WONDERFUL!

KOOTZ SAYS HE HAS TO SEE YOU TODAY. IT'S IMPERATIVE.

HA! HE SAID IT WAS IMPERATIVE YESTERDAY.

HE SAID IT WAS IMPERATIVE THE DAY BEFORE.

HE'S MAKING MY LIFE HELL.

HE SAYS HE HAS TO GET BACK TO AMERICA,

AND KAHNWEILER IS THERE, TOO.

THEY'RE SITTING SIDE BY SIDE IN THE SALON.

BUT THEY LOATHE EACH OTHER.

WELL, YOU GO AND TELL THEM.

TELL THEM WHAT?

I DON'T KNOW.

TELL THEM PICASSO HAS A STOMACHACHE.

WELL, IT'S TRUE, I HAVE A STOMACHACHE.

EVERY TIME I INFORM MY DOCTOR,

HE JUST SHOWS ME HIS GRANDSON'S DRAWINGS.

IF YOU GET UP, YOU'D FEEL BETTER.

WHY DON'T YOU TRY?

I HATE IT WHEN PEOPLE TRY TO BULLY ME.

IT'S PARTICULARLY UGLY IN A WOMAN, FRANCOISE.

HEY!

GOOD MORNING.

GOOD AFTERNOON.

WANT A LIGHT?

POR FAVOR.

DON'T YOU HAVE ANY MATCHES?

NO.

SORRY TO KEEP YOU WAITING.

MONSIEUR.

HOW DO YOU DO?

BONJOUR, MAITRE.

SEñOR. HELLO.

BUON GIORNO. I'M HONORED.

JEAN-CLAUDE, ARE YOU HERE AGAIN TODAY?

MADAME.

HELLO. MONSIEUR.

PABLO. MONSIEUR.

MADAME, HELLO.

KOOTZ, WHAT ARE YOU DOING HERE?

NO ONE TOLD ME.

WHY DIDN'T YOU TELL ME HE WAS HERE?

FRANCOISE, KEEPING MR. KOOTZ WAITING.

COME WITH ME. I HAVE SOMETHING TO SHOW YOU.

GOOD. FINALLY.

I'LL BE BACK.

OF COURSE HE DIDN'T EVEN SEE ME.

MR. KOOTZ HAS COME ALL THE WAY FROM NEW YORK.

OH, THE ONLY REASON KOOTZ IS IN PARIS IS TO BUY PICASSOS.

HE GOES NOWHERE ELSE, SEES NO ONE ELSE.

HE DOESN'T EVEN GO TO THE LOUVRE.

HE SAYS IT ISN'T ABSTRACT ENOUGH FOR HIM.

DO YOU, UH,

DO YOU THINK PICASSO WILL SELL HIM SOMETHING?

WHAT? WHAT WILL HE SELL HIM? WHAT HAS HE GOT?

I'M SURE HE'LL SHOW YOU VERY SOON.

OH!

NOW, IN NEW YORK I CAN SELL EVERYTHING THAT YOU GIVE ME

IN 5 MINUTES. JUST LIKE THAT.

HOW MUCH?

FOR, HA HA.

FOR MORE THAN ANY PAINTER ALIVE TODAY.

MORE THAN MATISSE?

OH, MORE, MORE.

THIS IS TOO-- THIS IS WONDERFUL.

YOU STILL HAVE THIS, HUH?

IT'S A BRAQUE.

I'VE HAD IT FOR 30 YEARS.

WELL, M-MATISSE HAS SENT A LOT OF NEW WORK,

BUT I KEEP TELLING THEM IN NEW YORK,

"WAIT TILL YOU SEE THE NEW PICASSOS,

WAIT TILL YOU SEE THE NEW PICASSOS."

I'VE GOT THEM ALL STEAMED UP.

SO, ALL THIS, ALL THIS IS NEW?

HUH, WELL.

AH, AH. HUH.

HOW MANY WERE YOU THINKING OF?

UH, 9.

HE WANTS 9 PICTURES.

IF WISHES WERE HORSES, BEGGARS WOULD RIDE.

SABARTES LOVES OLD PROVERBS.

HE'S SUCH AN OLD WOMAN.

9's IMPOSSIBLE.

7? I--I CAN'T GO HOME WITH LESS THAN 6.

WHAT ABOUT MY OTHER DEALERS?

WHAT ABOUT KAHNWEILER?

KAHNWEILER?

KAHNWEILER IS STILL ON PRE-WAR PRICES,

PRE-WORLD WAR I PRICES.

I AM HERE TO MAKE A SERIOUS OFFER.

KAHNWEILER'S MY OLDEST DEALER.

HE BOUGHT WHEN NO ONE ELSE WOULD SPIT AT ME.

YES, BUT GREAT ART CAN'T BE BOUGHT WITH SENTIMENT.

YOU NEED SOMETHING MORE SUBSTANTIAL.

UH-HUH?

I LIKE YOUR NECKTIE.

OH, THANK YOU.

IS IT AMERICAN? YES.

NEW YORK? UH, SAKS FIFTH AVENUE.

OH.

ARE YOU INTERESTED?

AM I INTERESTED?

I WOULD...

I WOULD HAVE IT SHIPPED THE MOMENT THAT,

UH, IT WAS FINISHED.

A PAINTING CAN NEVER BE FINISHED.

WELL, OF--OF COURSE, THAT'S--THAT'S WHAT I MEANT.

ART IS ALWAYS IN PROCESS.

I DID--I DIDN'T MEAN TO IMPLY...

TO FINISH A PAINTING MEANS TO DESTROY IT, TO ROB IT OF ITS SOUL.

TO GIVE IT THE PUNTILLA, THE COUP DE GRACE.

NO, MY FRIEND, THE DAY I FINISH A PAINTING, THAT DAY I'M FINISHED.

I REALLY LIKE THAT NECKTIE.

THEN IT WOULD BE MY PLEASURE TO GIVE IT TO YOU.

HMM?

HERE.

HUH?

OH, THANK YOU.

OH.

MR. KAHNWEILER, YOU'RE STILL HERE.

I'M SO SORRY. I CAN'T THINK WHAT HAPPENED TODAY,

WHY YOU'VE BEEN KEPT WAITING SO LONG.

WELL, IT AMUSES HIM TO THINK OF ME SITTING OUT HERE,

WONDERING WHAT HE MIGHT BE SELLING TO OTHER DEALERS.

IT'S BEEN HIS FAVORITE GAME WITH ME

FOR THE PAST 35 YEARS.

Picasso: OK. SEE YOU TOMORROW.

Kootz: WELL, I CAN CHANGE THE RESERVATION TIME.

KAHNWEILER, WHAT ARE YOU DOING HERE? NO ONE TOLD ME YOU--

WHY DIDN'T YOU TELL ME MR. KAHNWEILER WAS HERE?

HE'S MY OLD FRIEND. HOW ARE YOU?

DO YOU LIKE MY TIE? KOOTZ GAVE IT TO ME. IT'S FROM NEW YORK.

I THINK IT LOOKS NICE ON YOU.

SAKS FIFTH AVEN-- IS IT SAKS? YES. MM-HMM.

HOW ARE--WHY DIDN'T YOU TELL ME HE WAS HERE, YOU SILLY--

SO, S--LISTEN--

I'LL SHOW YOU SOMETHING.

UH, YOU HAVE A GOOD JOURNEY.

WELL, THANK YOU--

GOOD. YOU HAPPY?

WELL, I HOPE TO BE. I--

GOOD.

BAD.

THINK HE'LL SELL HIM ANYTHING?

DID HE SELL YOU ANYTHING?

HE TOLD ME TO COME BACK TOMORROW.

WHY DID YOU GIVE HIM YOUR NECKTIE?

HE SAID HE LIKED IT. WHAT COULD I DO?

I'VE GOT SUCH A PAIN RIGHT HERE. I-- HAVE YOU?

...CAN CHANGE MY RESERVATION,

BECAUSE HE TOLD ME THEY WERE ALL BOOKED.

DON'T YOU GET TIRED STANDING ALL THAT TIME?

YOU'VE BEEN WORKING FOR NEARLY 9 HOURS.

WHILE I WORK, I LEAVE MY BODY OUTSIDE THE DOOR,

THE WAY MUSLIMS TAKE OFF THEIR SHOES

BEFORE THEY ENTER THE MOSQUE.

I LOVE THESE SPOTLIGHTS.

I EVEN PREFER THEM TO NATURAL LIGHT.

THEY SET OFF EVERY OBJECT.

THERE.

YOU'LL FIND THE DEEP SHADOWS THEY MAKE

IN MOST OF MY STILL LIFES,

BECAUSE THEY WERE PAINTED AT NIGHT.

PAINTING IS STRONGER THAN I AM.

IT MAKES ME DO WHAT IT WANTS.

IT HOLDS THE BRUSH.

IT DOESN'T SEEM TO OBEY MY BRAIN,

BUT SOMETHING ELSE OVER WHICH I HAVE NO CONTROL.

NOW, LOOK AT THIS.

OBVIOUSLY, IT'S A WOMAN.

IT'S YOU IN YOUR LONG BLACK DRESS.

BUT YOU SEEM TO BE TURNING INTO A...

A BOUQUET OF FLOWERS OR A LILAC BUSH.

VERY MYSTERIOUS...

I THINK I'VE PAINTED ONE THING, AND IT'S ANOTHER.

I'VE BECOME SO FATALISTIC,

I THINK, WELL, IF IT'S BLUE, IT MUST BE A WOMAN,

IF IT HAS A BEARD, IT MUST BE A MAN.

I MAKE A LOT OF MISTAKES, AND SO DOES GOD.

HE MAKES A DACHSHUND AND THEN AN ELEPHANT AND A SQUIRREL AND A WHALE.

LIKE ME.

HE'S TRIED EVERYTHING, LIKE ME.

WE HAVE NO STYLE.

STYLE ONLY COMES AFTER YOU'RE DEAD.

THERE ARE PAINTERS WHO MAKE THEMSELVES A LITTLE CAKE MOLD,

AND THEN THEY BAKE CAKES.

ALWAYS THE SAME CAKES.

YOU CAN TRY ANYTHING IN PAINTING,

PROVIDED YOU NEVER DO IT AGAIN.

DON'T SELL YOURSELF ANYTHING.

DON'T BECOME YOUR OWN CONNOISSEUR.

NOW!

WHAT ARE YOU GOING TO CALL HIM? PABLO?

OR PAULO, LIKE YOUR OTHER SON? HOW OLD IS PAULO NOW?

UH, WHY NOT PABLO? ANOTHER PABLO PICASSO.

MMM.

AH. DOESN'T HE LOOK EXACTLY LIKE ME?

AN AUTHENTIC PICASSO.

HE CERTAINLY HAS THE SAME HAIR.

WHAT UGLY FLOWERS.

AREN'T THEY?

PRIME EXAMPLE OF MY TASTE FOR BAD TASTE.

I HAVE EXCELLENT TASTE IN WOMEN AND CHILDREN.

LET ME SEE HIM.

HOLD HIS HEAD!

Francoise: EVERY THURSDAY AND SUNDAY, HE WOULD DISAPPEAR.

THOSE WERE THE DAYS HE SPENT WITH HIS OTHER FAMILY,

MARIE-THERESE AND MAYA.

SHE WAS THE ONLY PERSON ALLOWED TO CUT HIS NAILS,

A DANGEROUS PROCEDURE,

BECAUSE IF THE PARINGS

WERE TO FALL INTO THE WRONG HANDS,

THEY COULD BE USED AGAINST HIM AS BLACK MAGIC.

THE SAME WITH HIS HAIR CLIPPINGS.

ALL OF THESE WERE KEPT AND DATED CAREFULLY,

JUST LIKE EVERY SCRAP HE EVER DREW.

DO YOU WANT ME TO CUT YOUR HAIR TODAY?

IS THERE ANYTHING LEFT TO CUT?

YES. LOOK AT THIS.

HMM, SO SOFT. BEAUTIFUL.

NO, IT'S--LOOK, DO YOU LIKE THIS?

MM-HMM.

SHALL I CUT IT? WANT TO SEE ME BALD?

GIVE ME THE SCISSORS. NO.

COME ON, GIVE ME THE SCISSORS.

RIGHT, HOLD IT THERE.

GOOD.

FINISHED?

THERE, PAPA'S A BALD OLD MAN NOW, HMM?

DO YOU LIKE IT? HUH?

KISS ME ON THE HEAD. YOU LIKE IT?

YES.

YOU LIKE IT? AND ANOTHER.

I'VE HAD SUCH TROUBLE

WITH THE ELECTRICITY BILL.

THEY SAY YOU HAVE TO PAY IT FIRST,

AND THEN THEY'LL INVESTIGATE AND GIVE YOU A REFUND.

COME HERE.

MAYA AND I WILL HAVE TO GO SHOPPING FOR A NEW COAT FOR HER.

SHE'S GROWING SO FAST.

SHH.

MONEY IS SUCH A WORRY FOR YOU,

AND MAYA AND I TRY NOT TO SPEND TOO MUCH.

WITHOUT YOU AND MAYA, MY LIFE WOULD BE...

A DESERT WASTE.

AND FROM NOW ON,

I WANT YOU TO WRITE ME TWICE A DAY.

EVERY DAY, YOU UNDERSTAND?

MM-HMM.

TWICE A DAY, BECAUSE I'M SICK IF I DON'T HEAR FROM YOU.

REALLY SICK. MISERABLE AND LONELY.

AFTER OUR SON WAS BORN

WE SPENT LESS AND LESS TIME IN PARIS.

PICASSO DECIDED THAT CHILDREN NEED SEA AIR,

AND AS SOON AS IT WAS SPRING,

WE WENT TO GOLFE JUAN AND STAYED RIGHT THROUGH THE AUTUMN.

BUT, OF COURSE, WHEREVER PICASSO WENT,

HIS ASSORTED FAMILIES WENT, TOO,

WHY DON'T YOU LET ME TEACH YOU HOW TO SWIM?

I SWIM VERY WELL UP TO MY KNEES.

I CAN MAKE LOVE UNDERWATER, REMEMBER?

ARE YOU COLD?

YES, I'M FREEZING.

YOU KNOW WHAT I THINK WOULD BE NICE?

WHAT?

IF YOU WOULD LET MARIE-THERESE AND MAYA COME AND VISIT US.

WHY?

WHY NOT? GIVE ME ONE GOOD REASON.

YOU DON'T UNDERSTAND THESE THINGS YOURSELF.

I UNDERSTAND THAT CLAUDE HAS A HALF-SISTER,

AND I WOULD LIKE HIM TO MEET HER.

FOR A MIDDLE-CLASS GIRL,

YOU HAVE VERY LITTLE SENSE OF PROPRIETY.

YOU WERE VERY BADLY BROUGHT UP.

VERY BADLY. GO AWAY.

CLAUDE WAS SAYING WHOLE SENTENCES

BY THE TIME HE WAS 18 MONTHS.

Picasso: YEAH.

WHEN DID HE START WALKING?

HE MUST'VE BEEN--

3 DAYS.

15 MONTHS.

OH, I SHOULDN'T.

MAYA WALKED BEFORE SHE WAS A YEAR OLD.

GIRLS ARE USUALLY QUICKER THAN BOYS.

BUT I DIDN'T WEAN HER TILL 14 MONTHS.

OH, I STARTED CLAUDE ON SOLID FOOD AT 4 MONTHS.

4 MONTHS? IMAGINE.

HE DID VERY WELL WITH BANANAS AND CEREAL.

AND BEEF STEAKS.

BEEF STEAKS?

BEFORE HE HAD TEETH?

HE WAS BORN WITH TEETH.

STRONG TEETH, LIKE MINE.

I USED TO MASH THE YOLK OF AN EGG FOR HIM IN MILK.

MM-HMM.

YOU HAVEN'T FINISHED YOUR TEA. IT WILL GET COLD.

OH.

THANK YOU.

DON'T HOPE THAT YOU CAN EVER TAKE MY PLACE.

OF COURSE NOT.

OTHERS HAVE TRIED AND FAILED.

I SHALL ALWAYS BE THE FIRST AND MOST IMPORTANT WITH HIM.

THAT IS ALL I WANTED TO SAY.

Francoise: HE WAS VERY DISAPPOINTED WITH THIS MEETING.

"YOU'RE NOT A REAL WOMAN," HE ACCUSED ME.

A REAL WOMAN WOULD HAVE FOUGHT OVER HIM, PHYSICALLY FOUGHT,

LIKE DORA MAAR DID WITH MARIE-THERESE.

IT HAPPENED WHILE HE WAS PAINTING GUERNICA,

THAT GREAT HUMAN CRY AGAINST AGGRESSION

AND HATE BETWEEN MAN AND MAN...

AND WOMAN AND WOMAN.

THIS MAN IS THE FATHER OF MY CHILD.

YOU HAVE NO RIGHT TO BE HERE.

IT'S TRUE I HAVEN'T GOT A CHILD,

BUT I THINK HE FINDS ME EQUALLY, IF NOT MORE AMUSING,

WITHOUT ONE.

MAKE UP YOUR MIND.

WHICH ONE OF US DO YOU WANT?

I LIKE YOU BOTH. I HAVE NO COMPLAINTS AT ALL.

YOU MUST FIGHT IT OUT BETWEEN YOURSELVES.

OH!

OW! OW!

AND THIS.

AND THIS.

HEY!

GARBAGEMAN!

DON'T LOOK AT HER.

WHO'S THAT?

COMPLETELY CRAZY.

WHEN I WAS MARRIED TO YOU, YOU WERE AN ARTIST.

WHAT ARE YOU DOING NOW? COLLECTING GARBAGE. OH!

WHO IS THAT?

A GARBAGEMAN. ARTIST TO GARBAGEMAN.

OLGA MY WIFE.

THAT'S OLGA?

THEY CALL YOU "KING OF THE RUBBISH DUMP."

KING OF THE RUBBISH DUMP.

THAT'S THE ONLY KIND OF KING YOU ARE.

WHO IS THIS ONE HE HAS GOT WITH HIM?

WHO IS SHE?

WHERE DID HE FIND HER?

GO AWAY. GO HOME.

I'M HIS WIFE.

HIS WIFE.

I AM THE ONLY MADAME PICASSO.

WHERE'S YOUR SON?

MY SON? YEAH.

HE'S YOUR SON. EVERY BIT OF HIM.

HE DOES NO WORK,

HE SPENDS ALL OF MY MONEY,

AND THEN HE ASKS FOR MORE.

HE'S GOING FROM BAD TO WORSE, LIKE YOU.

NOTHING BUT DRINK AND GIRLS,

EXACTLY LIKE HIS FATHER.

Picasso: I DON'T DRINK.

HAVE YOU HEARD OF REMBRANDT?

FRANCOISE?

HAVE YOU...

HEARD OF REMBRANDT?

IF YOU WERE LIKE HIM, YOU WOULD BE A REAL PAINTER.

HAVE YOU HEARD OF BEETHOVEN?

HE IS A GREAT GENIUS.

YOU, YOU ARE NOTHING. NOBODY. GARBAGE.

OH! THAT GOES VERY WELL WITH YOUR TROUSERS.

I EAT CAVIAR...

Francoise: PICASSO HAD MET OLGA IN 1917.

SHE WAS WITH DIAGHILEV'S BALLET RUSSE.

DIAGHILEV CHOSE HIS DANCERS

EITHER BECAUSE THEY WERE GOOD DANCERS,

OR BECAUSE THEY HAD GOOD SOCIAL CONNECTIONS

AND COULD BE USEFUL TO HIM.

OLGA FELL INTO THE LATTER CATEGORY.

WHO'S THE DANCER?

THAT IS OLGA KOKLOVA.

SHE CAN'T DANCE,

BUT HER FATHER IS A GENERAL IN THE RUSSIAN ARMY.

YOU BETTER BE CAREFUL.

OF HER OR THE GENERAL?

YOU START SOMETHING WITH A RUSSIAN WOMAN,

THAT'S IT.

YOU MARRY HER.

NO, SHE REALLY CAN'T DANCE.

BUT MY PEACOCKS ARE GOOD.

Francoise: OLGA AND PICASSO WERE MARRIED IN 1918.

THEIR SON PAULO WAS BORN IN 1921,

THE SAME YEAR AS I WAS.

PAULO CAME IN SECOND AT THE MONTE CARLO RALLY.

HA! IMAGINE?

WITH ALL THOSE PROFESSIONALS.

iVIVA PAULO!

THAT'S ALL HE'S GOOD FOR, RIDING THAT STUPID MOTORCYCLE

I WAS STUPID ENOUGH TO BUY HIM.

PLAYING BOULES WITH YOU.

AW...

YOU'RE A BAD INFLUENCE ON HIM--

WELL, EVERYONE PAULO MEETS IS A BAD INFLUENCE ON HIM.

HE'S A GOOD SON. HE'S VERY PROUD OF YOU.

ISN'T THAT SO, MADEMOISELLE?

STOP CALLING HER MADEMOISELLE.

HERE SHE IS WITH A CHILD.

WELL, 2 CHILDREN, INCLUDING THAT LUMP UP THERE.

WHOO!

WHOO-WHOO-WHOO-WHOO!