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4 Adventures of Reinette and Mirabelle

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    FOUR ADVENTURES
    OF REINETTE AND MIRABELLE
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    THE BLUE HOUR
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    Excuse me!
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    Do you know if there's a
    bike shop close to here?
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    Yes. Ten kilometers.
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    I think I have a flat.
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    Can I see it?
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    Can you hold this?
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    Do you have patches?
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    Yes, but... how do you find
    the hole? I don't know...
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    You never repaired a tire?
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    I'll fix it for you.
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    Do you have the cap?
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    No, I don't have one.
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    Okay. Let's go...
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    It's this way.
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    See, there are the bubbles.
    There is the hole.
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    You put your finger on it like this.
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    Can I do it?
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    Yes, come here... There...
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    Let it dry a little. If it's not dry
    you can't put the adhesive on...
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    Let me do it.
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    Give me the sandpaper...
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    You sand a little.
    Can you do it?
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    There, like that.
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    You take the adhesive,
    the patch...
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    - The tube is new.
    - Yes.
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    It's got metal filings.
    This is absurd.
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    It needs something
    sharp to puncture it.
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    Yes, a needle.
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    Wait, I'll bring one.
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    Hold this tight.
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    - Do we need more?
    - No, this is enough.
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    I'll put a bit on the patch
    so that...
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    it bonds well.
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    I put it on top...
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    You didn't put enough
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    This is good. Press it tight...
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    so that it won't come loose.
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    Do you remove the paper
    afterwards?
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    Yes. I'll put it away to dry.
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    What is this?
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    - This, what?
    - I mean this.
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    This is my place.
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    But where do you live?
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    Right here.
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    This is my kitchen...
    all of this...
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    and up there is my room.
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    - This is a house?
    - What do you think?
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    I don't know.
    Seems more like a granary.
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    It was before. They made a room
    out of it. You want to see it?
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    Watch out! There are nettles here.
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    I like the way the grass has been
    allowed to grow. It's so pretty.
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    Yes, I think so too. But the neighbor
    comes to cut it for his goats.
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    What a marvelous tree!
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    It was my great-grandmother's tree.
    It's pretty, isn't it?
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    Your great-grandmother's?
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    Yes, they planted it the day she
    was born, over a hundred years ago.
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    It is a pear tree.
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    Come on, it's this way.
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    It's the green door...
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    Please enter, miss...
    Thank you.
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    Don't mind the mess,
    it's a storage room.
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    The stairway is here.
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    Don't worry, it's sturdy.
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    You live here all alone?
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    Yes... My mother has a
    grocery shop in Rebais,
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    and I like to return here
    in the summer.
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    Your house is very cute.
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    Thanks.
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    You paint?
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    Yes, I intend to.
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    And you, what do you do?
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    I am a student.
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    - Of what?
    - Of ethnology.
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    - What is that?
    - The study of the actual ethnic groups.
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    Of the what?
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    Of the ethnic groups.
    Comes from "etnos",
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    a Greek word that means people.
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    Oh, I see.
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    What's your name?
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    - Mirabelle.
    - And I'm Reinette.
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    Can I look at your pictures?
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    Yes, go ahead...
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    This is "The Escapade".
    It's called that.
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    It's... It's like this.
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    Yes, it's better to look at it
    a bit further away.
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    This is "The refusal".
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    - Of what?
    - Of "The Choice".
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    You deny having your eyes
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    open or shut. Choose the face
    you want for that body.
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    And I put it on top.
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    There you go.
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    And this?
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    This is...
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    Can I put it here?
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    This has to be looked at from afar.
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    In reality... I don't know.
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    I'm lost. There is nothing
    to understand.
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    It's more comic-like.
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    I don't know. The only comics
    I know...
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    are... Grim and Perrault.
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    Grim and Perrault did comics?
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    Ok, I don't know.
    It's almost the same.
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    You want to see my favorite?
    Oh! But first...
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    Wait... I have this funny one.
    I really like it.
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    It's called: "Some millimeters more".
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    Is it because of this?
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    Because this one's smaller
    than that one.
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    This is my favorite ant.
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    - Have you painted many?
    - Yes, I like ants.
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    I like this painting because
    the ant is so well done.
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    And all this happens in the moonlight?
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    Yes, you can say that.
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    Would you like to see my sunset?
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    It'll make you mad.
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    Look, there you have
    some more millimeters.
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    I like it, I think the best part
    is that of the woman.
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    That's why I placed it right
    in the center. I like it.
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    It's so perfect, it's beautiful!
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    What you do is very surrealistic,
    isn't it?
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    Yeah, yeah...certainly...
    It's very suru...
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    Next year, I will go to Paris
    to take classes.
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    You are so lucky to live
    here. It's so pretty!
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    And you, where do you live?
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    In Paris.
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    But you didn't come from Paris today...
    No.
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    My parents own a little cottage
    in La Ferte,
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    with a little gravel drive,
    and a little lawn,
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    little flowers...
    You can imagine it, can't you?
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    And the house next door
    looks exactly the same.
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    I don't know... I've never been
    in the country like this.
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    This is completely wild.
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    Then stay!
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    I don't know about that...
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    Yes, stay. I have
    an extra bed.
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    I don't want to disturb you.
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    If it was like that, I wouldn't have
    asked... I've finished my painting.
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    And when I'm not painting,
    I like to chat.
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    If I talk too much,
    you can always leave.
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    I can't.
    My parents are expecting me.
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    You can call them.
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    Do you have a telephone?
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    No, but my neighbors do.
    Shall we go there?
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    This silence is marvelous.
    In Paris you never have silence like this.
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    There is always a car passing,
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    or a neighbor's loud music.
    There's a continous noisiness.
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    There is no silence here either.
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    Listen...
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    There's a lot of noises...
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    For sure, complete silence
    in nature doesn't exist.
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    Unless it's in the high mountains.
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    Have you ever been to the
    mountains?
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    No, never.
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    But there is silence here too.
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    In the night perhaps?
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    There are many sounds at night:
    the cats prowling, the owls...
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    No, I didn't mean at night.
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    Have you heard of the blue hour?
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    The blue hour?
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    But it's not really an hour,
    it's a minute.
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    Just before dawn
    there is a minute of silence.
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    The day birds haven't
    risen yet
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    and the nocturnal birds have
    fallen asleep. And then...
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    Then, there is silence.
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    When I was little I asked my
    mother to wake me up for that hour.
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    Every day?
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    Oh no, not every day
    I don't know...
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    2 or 3 times every year. Always in
    summer, when the sky was clear.
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    It is hard to explain to someone
    who hasn't experienced it.
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    But in reality, the silence
    of nature is frightening.
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    Look, it's a little bit
    like in a courtroom
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    while the jury deliberates
    and you're waiting for the sentence.
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    Will it be life,
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    or will it be death?
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    If the world came to an end,
    surely it would be in that minute.
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    -Do you know why?
    -No.
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    Because it's the only moment
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    that you get the feeling that
    nature stops breathing.
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    And that... that is frightening!
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    All the peasants have this hour
    on their mind. That's why they say:
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    In all regards,
    tomorrow will be another day.
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    And this is true:
    No matter what you do,
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    you can't stop the day that
    will follow.
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    And this is best lesson in humility
    you can get.
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    We need nature...
    not the other way round.
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    Okay, if you want, we can go to
    sleep now...
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    I'll wake you up for the blue hour.
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    Do you want to?
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    We'll never wake up! There's no
    way I'll hear the alarm clock.
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    Just leave that to me.
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    It is the hour...
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    Listen...
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    The toad,
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    That is a frog.
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    An owl.
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    But what is this?
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    Oh no, it can't be!
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    Come on, hurry up!
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    You don't have to be nervous.
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    But a minute is short, do you
    understand?
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    See, he's going, he goes...
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    Yes, he's gone.
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    Yes, he's gone...
    but everything is screwed up!
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    No I'm telling you!
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    Don't do this, it's not so bad.
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    It was very impressing
    a while ago..
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    But that isn't the silence!
    Damn it!
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    But I really understood it quite well.
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    It's not a matter of understanding.
    Everyone says "I understood it".
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    The fact that a red strawberry is
    better than a green one
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    can not be understood
    until you've tried it.
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    What does it matter...
    stop crying.
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    I've has enough! People always
    screw up everything they've got.
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    I think you've already heard
    this blue hour a thousand times.
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    Yes, but I wanted to show it to you.
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    Look, there will be other
    chances, right? So...
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    So what? Tomorrow you'll be gone
    I don't know where to.
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    Okay, I'll stay if you like.
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    Really?
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    Are you serious?
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    It's enough to make a phone call.
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    Don't cry anymore.
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    Let's go to sleep then.
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    You're so silly.
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    Look at them.
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    They always give you the impression
    that they're talking business.
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    Not now.
    They're just taking a walk.
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    No, they're having a
    very serious discussion.
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    About what, hens?
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    They don't want to eat!
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    You're scaring them.
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    Around the animals,
    you have to move slowly.
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    They're not used to you...
    they don't know you yet.
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    Listen rooster, do you want to eat?
    Come on, don't act so haughty.
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    Seems like they're not
    running to see you!
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    What is that down there?
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    Those are baby goats.
    It looks like they've seen us.
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    Are we going to see them?
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    Hello, goats!
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    -Are we going?
    -Yes.
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    This stinks, yuck!
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    This is the way it is.
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    They're so cute!
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    The red ones go first
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    because they're most numerous.
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    Is it a matter of color?
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    Yes!
    Okay!
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    If there had been more white,
    then it would have been the white ones.
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    I know it's that way with chicks,
    but not with goats.
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    It's just a matter of breed
    and superiority.
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    I don't know, at least
    these are different.
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    The redheared ones are always first.
    They always win. Look!
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    They cut their horns.
    Otherwise, they fight
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    and hurt each other.
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    You see, all those that have
    their horns cut are fighters.
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    There's an old one, there.
    Now he cannot move about.
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    I'll feed him some...
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    Here, you've got a lot of experience...
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    You're not going to disturb her.
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    I give some to the ones that are behind.
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    But... It's the survival of the fittest!
    You don't have to work against that.
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    But today I'm here.
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    This one hurt the others so
    much we had to put it apart.
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    This one's a real bitch!
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    I assure you...
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    That one?
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    Yes. You see how hefty
    it is?
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    What's her name?
    Diane. You can call her...
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    She won't budge. She's like a mule.
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    Come on, let's go!
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    In the fall, it blends in
    with the trees.
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    She's pretty!
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    Are you coming?
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    Nothing, impossible.
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    I'm going to look at it.
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    Aren't you afraid of horses?
    Don't worry about that.
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    If I were you... In the end
    you do what you wish, but...
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    They're gentle, but take care...
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    You can scare her off,
    so watch out.
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    No, it's okay.
    Here are the sheep!
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    It's okay.
    Do you know horses well?
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    I like horses.
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    She likes it, right?
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    Come on, I'm going to introduce
    you to our neighbors.
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    Hello Kitty.
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    Mr. Housseau.
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    Hello.
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    Mirabelle.
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    Pleased to meet you.
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    Mrs. Housseau.
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    She is from Paris and wants to
    know the countryside.
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    We're the best to show her!
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    What can we teach her?
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    Here they've got strawberries.
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    They're always blooming...
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    They are beautiful!
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    They've been vegetating.
    They were late enough in growing.
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    Maybe becouse of the frost
    this winter, is it?
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    I don't know so much about the frost.
    But if gets a lot colder...
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    Because of the humidity...
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    And this, what is it?
    It's a rosebush, right?
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    Yes, rosebushes in bloom.
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    The strawberries are wonderful!
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    Are they ready to pick?
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    Can I?
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    Sure, if you want to.
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    They are wonderful!
    Take this, Reinette.
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    I ate one.
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    They are ripe!
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    "This isn't the Place de Concorde..."
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    This is summer cabbage.
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    Those purple ones?
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    They're inbetween the leeks,
    the first leeks we're eating,
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    we call them summer leeks.
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    Why summer leeks?
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    Because they're the first that
    are planted and eaten at once,
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    because in a month and a half
    they're already grown.
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    And the lettuces are very large.
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    Chicory.
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    Lettuce for cooking.
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    And here, what's this?
    All these big stalks...
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    with the little white flowers
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    There? Those are potatos.
    No, maybe green beans.
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    Shall we take a look?
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    At least these are haricots.
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    Aren't the flowers beautiful?
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    What is all this?
    Can you tell me?
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    Those are radishes, cucumbers,
    radishes, and there, endives.
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    How does the endive grow?
    Do you eat the root?
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    Yes, what get's picked is the root
    and it's buried underground
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    there, for the winter...
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    All through winter?
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    When the endives are eaten,
    they're large white bulbs.
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    That's the only part called endive.
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    Ah, I understand. And the leaves?
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    The leaves are for the rabbits.
    There aren't any leaves
  • 24:58 - 25:02
    I'm going to give you flowers, Mr. Housseau.
    Yes, yes.
  • 25:02 - 25:07
    You put it in the pocket.
    One flower in the buttonhole!
  • 25:07 - 25:12
    Red and blue, that's good.
  • 25:12 - 25:13
    Where do they have the cows?
  • 25:13 - 25:16
    Lateron , they go down to the
    pasture, there.
  • 25:16 - 25:21
    Because, like there were a path,
    they go directly there, to the forest.
  • 25:21 - 25:22
    They go over there?
  • 25:22 - 25:23
    Yes, by that path.
  • 25:23 - 25:25
    And to go and see them?
  • 25:25 - 25:30
    One goes this way, or on the other
    side, by the path over there.
  • 25:30 - 25:33
    There is a shed
    where the take shelter when it rains.
  • 25:33 - 25:38
    Today the weather isn't so good.
    Do you think it's going to rain?
  • 25:38 - 25:40
    No, this is nothing.
  • 25:40 - 25:41
    But I think it is.
  • 25:41 - 25:43
    So what?
  • 25:43 - 25:44
    No?
    No.
  • 25:44 - 25:49
    I'll go get my impenitrable.
    You never know.
  • 25:49 - 25:52
    It's better to take precaution.
  • 25:52 - 26:17
    One can always be wrong.
  • 26:17 - 26:22
    How nice, all these poppies!
    Can you pick them?
  • 26:22 - 26:25
    If you want... But they won't last.
  • 26:25 - 26:28
    Now it's really started to rain.
  • 26:28 - 26:29
    Do you have a hood?
  • 26:29 - 26:33
    No, but I like the rain.
    It's good for your hair.
  • 26:33 - 27:23
    We'll go on, right?
  • 27:23 - 27:24
    It's sad
  • 27:24 - 27:24
    that the weather's so bad.
  • 27:24 - 27:32
    No, not at all. This way I'll have
    seen the field in all types of weather.
  • 27:32 - 27:37
    Have you graduated?
    Yes, last year.
  • 27:37 - 27:40
    And I never went to school.
  • 27:40 - 27:42
    Why not? Can you take courses
    via mail?
  • 27:42 - 27:48
    Yes. I like it. Every time they
    took me to school, it was a ball.
  • 27:48 - 27:52
    Really, I think it's ridiculous.
    That honor roll!
  • 27:52 - 27:55
    Every class, they give you new
    stuff.
  • 27:55 - 27:57
    I know; I went there!
  • 27:57 - 27:59
    Really, it's ridiculous.
  • 27:59 - 28:00
    And what are you going to do now?
  • 28:00 - 28:04
    Next year, I'll be doing fine art,
    because with drawing...
  • 28:04 - 28:08
    I know when it's bad,
    but I don't know why it's bad.
  • 28:08 - 28:12
    So that... I think the tecnique
    will be helpful.
  • 28:12 - 28:16
    For that it dosn't matter to me
    whether I've got validation from a school.
  • 28:16 - 28:20
    but, apart from that,
    don't talk bout it!
  • 28:20 - 28:23
    It's true that one needs
    some tecnique.
  • 28:23 - 28:26
    And where are you going to live?
  • 28:26 - 28:29
    I've got cousins in Sartrouville.
  • 28:29 - 28:31
    But that's far away, Sartrouville.
  • 28:31 - 28:32
    So what, it's...
  • 28:32 - 28:34
    20 minutes from Paris.
  • 28:34 - 28:37
    But they're late a lot. It will
    mean an hour of travel every day.
  • 28:37 - 28:41
    Yes, but I like being on a train.
  • 28:41 - 28:42
    The idea is tempting. And...
  • 28:42 - 28:47
    the people are very nice.
  • 28:47 - 28:50
    You know what? I'm renting a
    flat with a girl,
  • 28:50 - 28:53
    but she's leaving in September.
  • 28:53 - 28:57
    So, if you like,
    you could be my roommate.
  • 28:57 - 29:02
    That way, you would be in Paris
    itself.
  • 29:02 - 29:07
    Fine, if it's alright with you...
  • 29:07 - 29:11
    I'm very independent, you know...
  • 29:11 - 29:14
    Anyway, we'll both have a room
    to ourselves.
  • 29:14 - 29:17
    Can you do everything the way
    you like?
  • 29:17 - 29:22
    Sure, if we're flatmates.
    Half and half!
  • 29:22 - 29:25
    Then, it won't be a problem.
  • 29:25 - 29:29
    You can bring anyone you like,
  • 29:29 - 29:33
    do what you like.
  • 29:33 - 29:37
    I've got a friend,
    but she doesn't live in my house.
  • 29:37 - 29:42
    So when he comes...
  • 29:42 - 29:44
    You've got a boyfriend?
  • 29:44 - 29:46
    That's my own private secret.
  • 29:46 - 30:11
    If it's private, you don't have to
    talk about it; if not, it isn't.
  • 30:11 - 30:13
    How well you dance!
  • 30:13 - 30:15
    I don't know how to dance.
  • 30:15 - 30:18
    But everyone would say so!
  • 30:18 - 30:23
    I go out by myself to dance.
    I haven't learned how to.
  • 30:23 - 30:26
    I don't plan to.
    I've never been to a discotheque.
  • 30:26 - 30:46
    You haven't?
  • 30:46 - 30:50
    You're talking nonsense!
    You said you didn't know how to dance!
  • 30:50 - 30:52
    I've travelled.
  • 30:52 - 30:56
    I've bee to Mexico.
  • 30:56 - 31:03
    to Tunisia, Greece, and the
    Antilles.
  • 31:03 - 31:08
    Listen, we shold go to bed because
    if not, we'll miss the blue hour.
  • 31:08 - 31:12
    You have to live in the present,
    that is: become a Parisien.
  • 31:12 - 31:16
    A Parisien has to know how to dance.
  • 31:16 - 31:18
    Are we going to miss the blue hour?
  • 31:18 - 31:20
    Do you really want to?
  • 31:20 - 31:22
    I don't know. It was to please you.
  • 31:22 - 34:39
    Do you want to please me?
    Let's dance until the middle of the night, ok?
  • 34:39 - 36:16
    THE WAITER
  • 36:16 - 36:17
    You're going already?
  • 36:17 - 36:20
    Yes. I'll even be arriving late.
  • 36:20 - 36:21
    At what time will you be leaving?
  • 36:21 - 36:23
    At three o'clock.
  • 36:23 - 36:25
    If you want, we can meet...
  • 36:25 - 36:27
    in Montparnasse?
  • 36:27 - 36:30
    Come to meet me at the exit.
  • 36:30 - 36:36
    It'll be more comfortable in a café.
    I know one, "La Égalité", or something...
  • 36:36 - 36:37
    What's the address?
  • 36:37 - 36:44
    It's at... near the Tour
    Montparnasse, Rue...
  • 36:44 - 36:46
    de la Gaité. You know it?
  • 36:46 - 36:50
    No, but I'll find it.
    What number?
  • 36:50 - 36:52
    Now, I don't know, it a café...
  • 36:52 - 36:55
    Right, there's a square
    by a metro station.
  • 36:55 - 36:56
    Which metro?
  • 36:56 - 37:00
    I don't know. But you'll be walking.
    You don't need to know.
  • 37:00 - 37:03
    Go to la Rue de la Grande-Chaumiére,
    keep to the right...
  • 37:03 - 37:09
    Cross a bouleward, this way.
    Here is another bouleward,
  • 37:09 - 37:13
    There's an alley between the two,
    take that and there is the square,
  • 37:13 - 37:16
    where the station is, and it's
    opposite that.
  • 37:16 - 37:19
    Ok. Rue de la Gaité.
  • 37:19 - 37:21
    Fine... If I can't find it,
    I'll ask around.
  • 37:21 - 38:46
    Yes, it's very easy... See you later.
  • 38:46 - 38:49
    Excuse me, mister, the Rue de
    la Gaité, if you please?
  • 38:49 - 38:52
    You're in luck, go this way.
    It's there on the left.
  • 38:52 - 38:55
    Do you know L'Avenue du Maine?
    Du Maine?
  • 38:55 - 38:59
    It's a wide avenue with trees,
    and this street crosses it
  • 38:59 - 39:03
    without trees, it's underground.
    But go on,
  • 39:03 - 39:08
    to the right, to the left, or is it
    two times left and you're there.
  • 39:08 - 39:09
    Do you understand?
  • 39:09 - 39:09
    Yes, thank you.
  • 39:09 - 39:13
    Are you looking for something, miss?
    Yes, la Rue de la Gaité.
  • 39:13 - 39:16
    It's here to the side. Come this way.
    It's through here.
  • 39:16 - 39:17
    Ah, yes?
  • 39:17 - 39:20
    Yes, you go to the right,
    and along the cemetery...
  • 39:20 - 39:25
    Listen, I think it's much better
    to go left. It's much more direct.
  • 39:25 - 39:27
    Sure, if you want to take a detour!
  • 39:27 - 39:33
    What kind of a detour? You'll find
    la Rue de la Gaité on the left.
  • 39:33 - 39:35
    No, this way is much more direct.
  • 39:35 - 39:39
    The houses of the Rue de la Gaité
    are behind the cemetery.
  • 39:39 - 39:41
    I've a friend who lives there.
  • 39:41 - 39:43
    On the corner of his friend!
    It's not very tasteful
  • 39:43 - 39:48
    to have to cross a cemetary
    to go to the street of joy.
  • 39:48 - 39:52
    All roads lead to Rome
    but you don't need that many.
  • 39:52 - 39:55
    You don't have to cross it,
    but go around it.
  • 39:55 - 39:58
    I'm sorry, but I think
    it's much more sensible
  • 39:58 - 40:01
    than this great detour.
  • 40:01 - 40:03
    I think it's here.
  • 40:03 - 40:05
    Not along it, but across it.
  • 40:05 - 40:07
    That's the same, it's square!
  • 40:07 - 40:08
    Not altogether.
  • 40:08 - 40:10
    Are you from this neighborhood?
  • 40:10 - 40:11
    No, are you?
  • 40:11 - 40:12
    No, but I know it well.
  • 40:12 - 40:16
    And anyway, you're taking up my time.
    I'm sorry.
  • 40:16 - 40:18
    Me too. Goodbye.
  • 40:18 - 40:43
    It's unbelievable!
  • 40:43 - 40:45
    It's here.
  • 40:45 - 40:47
    Thank you.
  • 40:47 - 40:51
    Would you please pay me?
    Yes, sure. How much is it?
  • 40:51 - 40:55
    It's in writing. You can read, can't you?
  • 40:55 - 40:57
    Four francs thirty it's this?
  • 40:57 - 41:02
    Yes, that's it.
  • 41:02 - 41:05
    Here.
  • 41:05 - 41:09
    Are you making fun of me?
    A 200 franc note for 4,30 francs?
  • 41:09 - 41:12
    I'm sorry, I haven't got change.
    Me neither.
  • 41:12 - 41:14
    What do you think? Nobody has
    any money.
  • 41:14 - 41:16
    How should I have, then?
  • 41:16 - 41:18
    Search a little.
  • 41:18 - 41:20
    Right, but where?
  • 41:20 - 41:24
    I'm sure you have 4,30 francs there.
  • 41:24 - 41:29
    Let's see... One thirty, forty,
    fifty, sixty.
  • 41:29 - 41:31
    Only one franc seventy!
  • 41:31 - 41:32
    You don't go down the street with this!
  • 41:32 - 41:34
    I do have 200 francs!
  • 41:34 - 41:38
    Oh yes! If you don't have money,
    don't take a seat at a café.
  • 41:38 - 41:42
    But this is money!
  • 41:42 - 41:45
    I'm waiting for a friend.
    Perhaps she has cash.
  • 41:45 - 41:46
    I don't believe that.
  • 41:46 - 41:51
    Because that about the friend...
  • 41:51 - 41:55
    I already know that! You expect me
    to turn around and leave.
  • 41:55 - 41:58
    I'm alone here.
    I've got the terrasse and the inside.
  • 41:58 - 42:02
    And if I lose concentration,
    people could leave.
  • 42:02 - 42:06
    Right... Not that they can,
    because I'm on the lookout, keeping track.
  • 42:06 - 42:08
    But it doesn't seem easy to me.
  • 42:08 - 42:11
    A girl did that to me the other day.
  • 42:11 - 42:13
    She looked like you.
  • 42:13 - 42:15
    It wasn't me! I've never been here.
  • 42:15 - 42:18
    I didn't say it was you,
    but she looked a lot like you.
  • 42:18 - 42:20
    And I am a specialist in physinomy.
  • 42:20 - 42:24
    Just like the trick about the friend,
    once accepted... See!
  • 42:24 - 42:25
    But it wasn't I!
  • 42:25 - 42:31
    I didn't have to believe that. You
    can talk. You're her or not. Watch out!
  • 42:31 - 42:32
    I'm going.
  • 42:32 - 42:39
    He's crazy!
  • 42:39 - 42:50
    Ninety five.
  • 42:50 - 42:56
    There you are.
  • 42:56 - 42:59
    Now you have change!
  • 42:59 - 43:04
    To be sure, for the clients. For
    people like you, it's not worth it!
  • 43:04 - 43:04
    Staying
  • 43:04 - 43:06
    two hours over one coffee!
  • 43:06 - 43:07
    It was five minutes!
  • 43:07 - 43:10
    But they stay, that much is certain.
  • 43:10 - 43:14
    They don't leave after I've got
    change. And try to delay things.
  • 43:14 - 43:49
    And don't try to leave, as far
    as I can see.
  • 43:49 - 43:51
    But wit, I'm waiting fore someone!
  • 43:51 - 43:53
    I don't need to know that.
  • 43:53 - 43:57
    Don't think about monopolizing two chairs
    all day for 4,30 francs.
  • 43:57 - 43:59
    But there are a lot of vacant tables!
  • 43:59 - 44:01
    Yes, they are vacant.
    Today has been slow.
  • 44:01 - 44:05
    And people who only come in for
    a coffee... I don't call that worth the work's.
  • 44:05 - 44:07
    Is it that you don't believe me?
  • 44:07 - 44:11
    Believe you! If I believed everyone
    I'd be desolate.
  • 44:11 - 44:15
    But that about the friend, don't
    give me that twice.
  • 44:15 - 44:20
    I'm on guard...
  • 44:20 - 44:21
    What would the gents like?
  • 44:21 - 44:33
    I would like a large chocolate
    with a lot of froth.
  • 44:33 - 44:38
    Listen, I won't have this!
    Leave the chair where it is.
  • 44:38 - 44:40
    I'd like to sit down. There isn't
    a chair...
  • 44:40 - 44:44
    I took it. It's not allowed to
    touch it.
  • 44:44 - 44:49
    You're not going to stop me from
    sitting down in front of your cafe, are you?
  • 44:49 - 44:53
    Or... it's you...
    you're the friend.
  • 44:53 - 44:55
    Of whom, of her? And who?
  • 44:55 - 44:58
    I don't think she'll arrive.
    So I've taken the chair.
  • 44:58 - 45:00
    I'm her, so I'll take it.
  • 45:00 - 45:05
    Take it, take it.
  • 45:05 - 45:08
    What would you like?
    A coffee.
  • 45:08 - 45:10
    Another one!
  • 45:10 - 45:11
    What?
  • 45:11 - 45:13
    Al right, have your coffee.
  • 45:13 - 45:18
    I expect you have some coffee .
  • 45:18 - 45:22
    And if you don't like it, let's go to
    another café. There are thousands in Paris.
  • 45:22 - 45:23
    Stay!
  • 45:23 - 45:25
    First you have to pay.
  • 45:25 - 45:29
    We haven't had anything!
    Not you. She.
  • 45:29 - 45:31
    Pay and let's go.
  • 45:31 - 45:33
    Do you have 4.30 francs? I don't
    have any change.
  • 45:33 - 45:36
    No. I've got a 500 franc note.
    Can you change it.
  • 45:36 - 45:41
    Do you do it on purpose? One with 200,
    the other with 500. Would you believe that?
  • 45:41 - 45:44
    We would believe what?
    There's a bank next door, isn't there?
  • 45:44 - 45:46
    I don't have change, and that's it!
  • 45:46 - 45:49
    We're going. This is your problem.
    First you pay!
  • 45:49 - 45:53
    What should we pay! If we don't
    want anything else!
  • 45:53 - 45:56
    The clientel is required to carry
    change.
  • 45:56 - 45:58
    That's news!
  • 45:58 - 46:01
    I've studied law and I can tell you
  • 46:01 - 46:04
    that you're supposed to have change
  • 46:04 - 46:09
    on buses and on the metro,
    but not in shops.
  • 46:09 - 46:11
    Look, young girl!
  • 46:11 - 46:14
    To begin with, talk in a different tone.
  • 46:14 - 46:18
    You can leave, but she has to
    stay until she has got change.
  • 46:18 - 46:20
    As much time as it takes!
  • 46:20 - 46:25
    And by the way, don't try to leave.
    If not...
  • 46:25 - 46:26
    He's like a goat!
  • 46:26 - 46:28
    What a fool!
  • 46:28 - 46:29
    Come on, let's go, it will be fine!
  • 46:29 - 46:33
    You don't have 4.30 francs?
    I'm sorry...
  • 46:33 - 46:36
    No, I don't have 4.30 francs.
    Now that you don't...
  • 46:36 - 46:37
    Wait...
  • 46:37 - 46:54
    Come on, hurry.
  • 46:54 - 46:58
    I was right! I was certain that
    she wasn't going to pay.
  • 46:58 - 47:02
    And that's becouse I'm on the perch!
  • 47:02 - 47:22
    4.30, isn't so much...
    No need to be angry.
  • 47:22 - 47:23
    See you later.
  • 47:23 - 47:26
    I don't intend to get up for
    you return.
  • 47:26 - 47:29
    Any way, return before twelve.
  • 47:29 - 47:34
    It's because... I' going to bed early
    in order to return the money.
  • 47:34 - 47:36
    You're crazy.
  • 47:36 - 47:38
    For 4.50 francs.
  • 47:38 - 47:40
    It's not about that.
  • 47:40 - 47:44
    I feel bad about having one exactly
    what he said: left without paying.
  • 47:44 - 47:47
    Come here!
  • 47:47 - 47:49
    I'm always in situations like this.
  • 47:49 - 47:52
    I must have the face of a clown.
    They don't believe me.
  • 47:52 - 47:57
    When they come they think I'm a
    rascal who's going to throw some prank.
  • 47:57 - 48:00
    The other day: I had a resevation
    at the dentist at 11.
  • 48:00 - 48:03
    I arrived at excactly eleven,
    and went into the waiting room,
  • 48:03 - 48:06
    I said hello and no one replied.
  • 48:06 - 48:10
    I waited, five minutes,
    ten minutes...
  • 48:10 - 48:12
    No one.
  • 48:12 - 48:16
    I went to the secretary and asked her:
    "Why haven't you called me"
  • 48:16 - 48:20
    She replied: "But miss,
    it's not your date"
  • 48:20 - 48:23
    I checked my diary and saw:
    at 11.
  • 48:23 - 48:29
    I told her: "Look, if I've written
    it in my diary, it has to be right."
  • 48:29 - 48:32
    Everyone laughed. They thought
    it was a joke,
  • 48:32 - 48:38
    in order to make good for
    not having an appointment.
  • 48:38 - 48:41
    She said to me: "Anyway,
    if you had an appointment.
  • 48:41 - 48:45
    you would have a small card
    handwritten by the doctor.
  • 48:45 - 48:47
    I: "Yes, he gave me one, but...
  • 48:47 - 48:52
    I'm afraid of losing notes and
    write all in my diary."
  • 48:52 - 48:53
    "No, it's not possible."
  • 48:53 - 48:56
    In rage, I grasped my bag,
    which is enormous,
  • 48:56 - 48:59
    took everything out of it, and what
    did I find? The card.
  • 48:59 - 49:02
    I took it and asked her: "And then,
    did I write it myself?"
  • 49:02 - 49:07
    Every, every one was astonished.
    But to begin with, no one believed me.
  • 49:07 - 49:10
    Afterwards they had to admit that
    I hadn't lied.
  • 49:10 - 49:34
    And with the waiter, the same: I want
    to show him that I had told him the truth.
  • 49:34 - 49:37
    Listen, excuse me...
  • 49:37 - 49:41
    I'm looking for the waiter that was
    here yesterday.
  • 49:41 - 49:45
    They waiter who was here yesterday
    was her only one day. Why do you ask?
  • 49:45 - 49:48
    I owe him my coffee: 4.30 francs.
  • 49:48 - 49:54
    Can a give it to you?
    Yes, of course.
  • 49:54 - 49:58
    Thats alright.
  • 49:58 - 49:59
    Here you are.
  • 49:59 - 50:06
    Thank you.
  • 50:06 - 50:13
    Can you see, she returned for this...
  • 50:13 - 50:40
    THE LIER, THE CLEPTOMANIAC,
    THE SWINDLER
  • 50:40 - 50:42
    Why haven't you given anything?
  • 50:42 - 50:45
    Because he doen't have a
    symphathetic face.
  • 50:45 - 50:47
    You only give to those with a
    symphathetic face?
  • 50:47 - 50:50
    Of course. I'm not going to give
    everyone!
  • 50:50 - 50:53
    He really needs it.
    See: "To eat".
  • 50:53 - 50:57
    But there are fifteen thousand, everywhere,
    in the metro, in the streets.
  • 50:57 - 51:02
    The ones who need money to eat.
    They're fifteen thousand!
  • 51:02 - 51:07
    Shall we go?
  • 51:07 - 51:11
    I don't think its good to leave
    people to die from hunger
  • 51:11 - 51:12
    while we have a full plate.
  • 51:12 - 51:17
    Look.. go on...
    why don't you go to Africa...
  • 51:17 - 51:20
    with "doctors without frontiers"?
  • 51:20 - 51:25
    What are you doing here, tell me?
    What have you got on the floor?
  • 51:25 - 51:28
    One or two francs
    looks to me like the minimum...
  • 51:28 - 51:31
    Your're giving to everyone?
    No.
  • 51:31 - 51:33
    I'm not giving those who play music
  • 51:33 - 51:37
    and if I feel it's pure comedy,
    like they're showing a film...
  • 51:37 - 51:41
    If not, I give a minimum, not much...
    compared to what I have...
  • 51:41 - 51:43
    To everyone that passes here by?
  • 51:43 - 51:48
    Yes, to all that it seems to me
    need it.
  • 51:48 - 55:31
    UNIVERSITY OF PARIS 1
    Pantheon Sorbonne
  • 55:31 - 55:33
    Your bag, if you please.
  • 55:33 - 55:35
    What's up, what do you want?
  • 55:35 - 55:38
    Could we have your bag?
  • 55:38 - 55:39
    And why?
  • 55:39 - 55:42
    There was another bag. Where is
    the other one?
  • 55:42 - 55:44
    Is there someone else, then?
  • 55:44 - 57:19
    Yes, I am absolutely sure that
    she had something.
  • 57:19 - 57:21
    You're not eating out tonight?
  • 57:21 - 57:24
    No, where did you get this from?
  • 57:24 - 57:28
    But I haven't bought anything.
  • 57:28 - 57:33
    No matter.
    Don't you have anything?
  • 57:33 - 57:43
    Not much.
  • 57:43 - 57:46
    Have you bought a bag?
  • 57:46 - 57:52
    I've got lemons, you never know...
  • 57:52 - 57:57
    I don't know what to have them with...
  • 57:57 - 58:00
    Champagne!
  • 58:00 - 58:03
    A bit strange as a mixture...
  • 58:03 - 58:08
    duck paté!
  • 58:08 - 58:12
    and salmon!
  • 58:12 - 58:18
    You knew it was my birthday and
    you have remembered!
  • 58:18 - 58:21
    Thank you! You know, at home
    they never remembered.
  • 58:21 - 58:23
    It's a real birthday.
  • 58:23 - 58:26
    I'm going to put these on a plate
    and warm this,
  • 58:26 - 58:31
    We've got flowers, right?
  • 58:31 - 58:33
    Can I shake your hand?
  • 58:33 - 58:36
    Yes. But it is not I you have
    to thank for all this.
  • 58:36 - 58:38
    Why?
  • 58:38 - 58:42
    You don't have me to thank for
    all this.
  • 58:42 - 58:45
    Who, then?
  • 58:45 - 58:48
    To a beautiful dark girl.
  • 58:48 - 58:49
    Do I know her?
  • 58:49 - 58:55
    With big green or blue eyes,
    I don't remember, hair very...
  • 58:55 - 58:58
    It's not Agathe? No, she's got
    dark eyes.
  • 58:58 - 59:00
    No, it's not her.
  • 59:00 - 59:05
    Anyway, you don't know her
    and neither do I.
  • 59:05 - 59:07
    I am going to tell you about it.
  • 59:07 - 59:12
    When I came out of class, I went
    to buy cake at the supermarket.
  • 59:12 - 59:15
    and was where the cakes are,
    when I saw a girl,
  • 59:15 - 59:17
    this girl, tall, dark, etc...
  • 59:17 - 59:21
    who was pushing her cart,
    at the back.
  • 59:21 - 59:27
    And saw a man and a woman, with
    a lot of makeup very suspicious
  • 59:27 - 59:31
    who were watching her.
    And I asked myself who that was.
  • 59:31 - 59:36
    So I followed the dark one and saw...
  • 59:36 - 59:40
    she had her cart, and a bag
    in the bottom, like this one.
  • 59:40 - 59:43
    and I saw her putting smoked
    salmon into it.
  • 59:43 - 59:48
    Then, I followed her
    and the other two as well.
  • 59:48 - 59:51
    Then I realized that, for sure,
    they were security personell.
  • 59:51 - 59:55
    It was very funny, because I was
    watching them watching the girl
  • 59:55 - 59:57
    who didn't know she was
    being watched.
  • 59:57 - 60:00
    So, I followed her and saw her take...
  • 60:00 - 60:05
    champagne, paté, etc...
  • 60:05 - 60:07
    And then she went to the till,
  • 60:07 - 60:09
    To pay for something small,
  • 60:09 - 60:14
    and I went to the till beside her.
    Her till was there, and mine here.
  • 60:14 - 60:18
    And I saw the security people hide
    behind a column, there.
  • 60:18 - 60:21
    At least, they didn't see me
    or she them.
  • 60:21 - 60:23
    They were waiting for her to
    leave with the bag.
  • 60:23 - 60:28
    And she left her blue bag more
    or less between the two tills
  • 60:28 - 60:33
    and I, then, took the blue bag
    and left.
  • 60:33 - 60:37
    After that, I don't know what happened,
    they must have taken her and not found anything.
  • 60:37 - 60:42
    Anyway, I left and hid myself behind
    a car, across the street.
  • 60:42 - 60:47
    From there, I saw them in discussion.
    And, finally, she walked to...
  • 60:47 - 60:49
    her car and tried to return
    her bag,
  • 60:49 - 60:52
    but, unfortunately the traffic
    was terrible.
  • 60:52 - 60:55
    I couldn't get across and she
    left in her car.
  • 60:55 - 60:57
    That's why we happen now
  • 60:57 - 61:01
    to have salmon and champagne
    for your birthday.
  • 61:01 - 61:04
    Not so bad, is it?
  • 61:04 - 61:07
    But why did you take the bag?
  • 61:07 - 61:10
    And why not? I wasn't going
    to let them catch her, just like that!
  • 61:10 - 61:14
    You should let the secutity
    people do their job.
  • 61:14 - 61:15
    Do their job?
  • 61:15 - 61:17
    Certainly!
  • 61:17 - 61:19
    But why?
  • 61:19 - 61:23
    Why should I let them to their job,
    if I could help her?
  • 61:23 - 61:26
    This isn't helping people!
  • 61:26 - 61:29
    Yes, I helped her. If not, she
    would have had to pay a lot,
  • 61:29 - 61:31
    she would have gone to prison...
  • 61:31 - 61:33
    That's normal.
  • 61:33 - 61:35
    What is it that is normal?
  • 61:35 - 61:38
    She took a chance. She knew they
    might catch her.
  • 61:38 - 61:39
    And why?
  • 61:39 - 61:42
    I was there and took a chance
    by helping her.
  • 61:42 - 61:44
    And they could have cought you
    as well.
  • 61:44 - 61:45
    For nothing. They didn't see me.
  • 61:45 - 61:50
    That's not the issue!
  • 61:50 - 61:52
    You're silly.
  • 61:52 - 61:54
    What a birthday!
  • 61:54 - 61:58
    I don't want your salmon and your
    champignon. Anyway, I don't like the bubbles.
  • 61:58 - 62:02
    Why don't you want it?
    Because I didn't buy them for you?
  • 62:02 - 62:03
    That's not it. What you did
  • 62:03 - 62:05
    is very serious. Don't you see?
  • 62:05 - 62:08
    That girl was grown up.
    What age was she?
  • 62:08 - 62:11
    She was... don't know, twenty-four
    or twenty-five years.
  • 62:11 - 62:14
    Adults want to be responsible
    for their actions.
  • 62:14 - 62:19
    And do you know what they call people
    like her? Cleptomaniacs. And that is a crime and...
  • 62:19 - 62:21
    No, it's an illness.
  • 62:21 - 62:25
    So you helped a sick woman and a criminal.
    And you've made yourself a criminal.
  • 62:25 - 62:33
    This is very serious. I'm not eating
    your salmon, I'm not aiding a criminal.
  • 62:33 - 62:34
    Hay, you're acting like a nun!
  • 62:34 - 62:38
    A nun! You don't know what you're saying.
    It's a matter of logic.
  • 62:38 - 62:42
    The only way to help the sick.
  • 62:42 - 62:44
    or to those that... have problems,
  • 62:44 - 62:48
    is to become a mirror for them, to
    confront them with their actions.
  • 62:48 - 62:51
    The way to make them see
    what they have done
  • 62:51 - 62:56
    is to show them that the consequence
    could be going to jail.
  • 62:56 - 62:58
    I don't agree with you in any sense.
  • 62:58 - 63:02
    This isn't the solution.
    You've got to find the source of the sickness.
  • 63:02 - 63:06
    And at least do what I did...
    that will make her think a bit more.
  • 63:06 - 63:11
    You think so? I think that she'll steal
    something much bigger and will not just get
  • 63:11 - 63:12
    one year but ten instead.
  • 63:12 - 63:15
    A year in jail for some salmon!
  • 63:15 - 63:19
    At least, with such taste for luxury,
    it's sertainly not a necessity.
  • 63:19 - 63:23
    No... I don't understand you. I'm sorry,
    but I don't understand you.
  • 63:23 - 63:26
    The money, what will it change?
    This isn't the problem,
  • 63:26 - 63:29
    but not knowing why she steals.
  • 63:29 - 63:29
    And you?
  • 63:29 - 63:32
    Me neither. I've been trying to
    tell you for an hour.
  • 63:32 - 63:38
    You don't accuse anyone when you don't
    know... you don't know their reasons.
  • 63:38 - 63:42
    What I want to kno is why you helped her,
    that's what I find interesting.
  • 63:42 - 63:46
    Why I helped her?
    Because my little personal problem
  • 63:46 - 63:49
    is that in the end
    not much happens,
  • 63:49 - 63:54
    at least in our small everyday
    life..., going out onto the street,
  • 63:54 - 63:56
    there's nothing funny happening.
  • 63:56 - 63:59
    So nothing fun happens!
    If not, so!
  • 63:59 - 64:02
    Everything is fun.
    I, to be like being at home,
  • 64:02 - 64:06
    when I go out, then... there's sunshine,
    there are birds, it's just enough to look...
  • 64:06 - 64:10
    I'm refering to an adventure,
    to what you read in novels...
  • 64:10 - 64:15
    But my role is that I wanted to have
    a feeling of a little suspence...
  • 64:15 - 64:17
    What a way to get a feeling of suspence...
  • 64:17 - 64:22
    Yes, to feel something... to do something
    else than going to class as usual.
  • 64:22 - 64:26
    I saw this girl who was bad and
    wanted to help her.
  • 64:26 - 64:29
    You can feel suspence in many ways.
  • 64:29 - 64:32
    I prefer helping someone who's
    worth the effort
  • 64:32 - 64:36
    before someone who...
    who is sick...
  • 64:36 - 64:38
    come on, who isn't worth the effors.
  • 64:38 - 64:40
    You, what you want
    is to jail them and that's it.
  • 64:40 - 64:43
    I want to cure them
  • 64:43 - 64:45
    After having said
    you didn't want to help them.
  • 64:45 - 64:49
    Helping and curing isn't the same.
  • 64:49 - 64:54
    What I want is to cure them and
    above all prevent them from continuing.
  • 64:54 - 64:57
    Last year I went to Scotland
    with a friend.
  • 64:57 - 65:01
    At the airport we took a taxi
    to get to the city centre.
  • 65:01 - 65:03
    We started to talk, talk...
  • 65:03 - 65:07
    and unfortunately I noticed that
    he hadn't put on the meter.
  • 65:07 - 65:10
    I took a better look: he hadn't
    started it.
  • 65:10 - 65:15
    I pointed it out to him by knocking on the glass,
    you know, in english taxis they have a glass.
  • 65:15 - 65:18
    Then he made a very strange face,
    very strange,
  • 65:18 - 65:21
    not like someone
    that has forgotten,
  • 65:21 - 65:24
    and, at last, grumbling,
    he turned on the meter.
  • 65:24 - 65:28
    It couldn't do,
    I'm certain it's a rotten idea...
  • 65:28 - 65:33
    or that he wanted to charge us
    what he felt like, just like that.
  • 65:33 - 65:37
    Then my friend and I talked about it.
    When we arrived in the centre,
  • 65:37 - 65:41
    I saw what it said on the meter,
    I don't remember how much it was...
  • 65:41 - 65:44
    and gave him exactly what it said.
  • 65:44 - 65:49
    The guy looked at me.. He had really
    been caught... He understood
  • 65:49 - 65:51
    that I had understood his
    cheating.
  • 65:51 - 65:54
    He took his money
    and left in his taxi.
  • 65:54 - 65:58
    I'm sure he didn't do it again.
    This is what matters.
  • 65:58 - 66:01
    Thinking about that what happens
    afterwards.
  • 66:01 - 66:04
    There I helped someone.
  • 66:04 - 66:05
    Do you think so?
  • 66:05 - 66:09
    I'm sure about it. He wouldn't
    try to cheat on others
  • 66:09 - 66:11
    because, in the end
  • 66:11 - 66:14
    it turned against him,
    the way he wanted to cheat me.
  • 66:14 - 66:18
    But, to be a little bit more honest
    than you, in your shoes,
  • 66:18 - 66:23
    I would have calculated how much I owed
    him, the way you described it,
  • 66:23 - 66:26
    you really only payed him half.
  • 66:26 - 66:30
    But the important thing is the goal,
    and mine was that he wouldn't repeat it.
  • 66:30 - 66:32
    wouldn't do the same
  • 66:32 - 66:35
    to others. That's what interests
    me.
  • 66:35 - 66:40
    Or is it that you want to punish,
    to have your little justice, is that it?
  • 66:40 - 66:44
    We are all just, you too,
    and I...
  • 66:44 - 66:49
    Now you haven't understood anything,
    a while ago you talked about
  • 66:49 - 66:51
    putting people in jail,
  • 66:51 - 66:54
    and critizising the way I was
    playing my part.
  • 66:54 - 66:56
    And now you're demonstrating
    your parts.
  • 66:56 - 67:01
    This is a demonstration of everyone
    killing among themselves, Middle Age style.
  • 67:01 - 67:04
    But... you...
    don't do... justice...
  • 67:04 - 67:07
    I believe in self-discipline
    what I want...
  • 67:07 - 67:08
    is that the taxidriver...
  • 67:08 - 67:13
    But still I don't see that the taxidriver
    is going to learn self-discipline...
  • 67:13 - 67:15
    Yes. He's not going to do that.
  • 67:15 - 67:19
    If you beleive in self-discipline,
    you have to have his confidence.
  • 67:19 - 67:49
    If not, it doesn't work.
  • 67:49 - 67:54
    Please, I'm sorry to disturb you but
    my bag has been stolen, I have nothing,
  • 67:54 - 67:57
    and have to go to Versalles,
    I want to go home,
  • 67:57 - 68:00
    and I don't need much,
    I need 6.70 francs.
  • 68:00 - 68:04
    Ok, I'll give it to you.
  • 68:04 - 68:08
    I've got it here, there you are.
  • 68:08 - 69:30
    Thanks a lot.
  • 69:30 - 69:38
    Sorry, do you have some?
  • 69:38 - 69:55
    Sorry, do you have some change,
    please?
  • 69:55 - 70:14
    Hey, give me two francs?
    One franc?
  • 70:14 - 70:17
    Please, do you have change?
  • 70:17 - 70:19
    I'd like two...
  • 70:19 - 70:22
    I don't speak French, I'm sorry.
  • 70:22 - 70:26
    Beg your pardon, I'm sorry.
  • 70:26 - 70:33
    Sorry, do you have change?
  • 70:33 - 70:37
    They've stolen my bag with all my
    things and I need six francs.
  • 70:37 - 70:40
    I need to get to Versalles,
    I don't need much...
  • 70:40 - 70:43
    How much do you want?
    6.70 francs.
  • 70:43 - 70:47
    I'm going to help you.
    You're very nice.
  • 70:47 - 70:54
    Go on, I've hear this.
    It's still Versailles? 6.70 francs?
  • 70:54 - 70:55
    You keep on asking me for it.
  • 70:55 - 70:59
    Or is it your custom to ask for
    that? Is it a lie?
  • 70:59 - 71:00
    You don't have reason...
  • 71:00 - 71:01
    It's a new proession...
  • 71:01 - 71:03
    I need it...
  • 71:03 - 71:04
    And it gives money, right?
  • 71:04 - 71:09
    Good, I'm going to give you because if
    you hadn't arrived, I would have given it.
  • 71:09 - 71:10
    Isn't there a better profession?
  • 71:10 - 71:14
    Are you from the police?
    No, but all the same...
  • 71:14 - 71:16
    You... you occupy yourself with what I do.
  • 71:16 - 71:20
    Ok, I'm preoccupied by my own.
    Give me back what I gave you, come on...
  • 71:20 - 71:25
    I'm sorry. Here, take this... What's
    it to you? You don't need 6.70 francs.
  • 71:25 - 71:29
    It's not about money but, in all
    the station, how many imbeciles there are.
  • 71:29 - 71:33
    It's an abuse of confidence. Give it to me.
    I'm not giving it to you.
  • 71:33 - 71:37
    Yes, give it back to me now.
    I'm not quitting until you gave it to me.
  • 71:37 - 71:40
    Why don't you let me alon?
    And what are you doing?
  • 71:40 - 71:46
    Don't you feel shame doing this?
    Have you thought about what you do?
  • 71:46 - 71:50
    If you need money, why don't you look
    for a job, or do something? But not...
  • 71:50 - 71:53
    Look, leave me alone...
  • 71:53 - 71:57
    You don't know my life,
    whether I need money...
  • 71:57 - 72:00
    What I know is that this isn't honorable.
    Go mind your business...
  • 72:00 - 72:03
    Give me the money back now.
  • 72:03 - 72:07
    I won't let it pass, I don't know, I could
    tell someone at the station...
  • 72:07 - 72:11
    And what could you do?
    What have you got against me?
  • 72:11 - 72:13
    But you have stolen my money!
  • 72:13 - 72:17
    I haven't stolen it. You have...
    I asked for 6.70 francs and you gave them to me.
  • 72:17 - 72:23
    I did you a favor; you did a number on
    me, that's abusing my confidence.
  • 72:23 - 72:28
    I'm in a situation but I... need
    money... I haven't got a penny...
  • 72:28 - 72:31
    I haven't got a flat... no house...
    I'm alone...
  • 72:31 - 72:34
    I need money and... and...
  • 72:34 - 72:35
    Why don't you say so?
  • 72:35 - 72:43
    I'm saying it now...
    So, do you get it?
  • 72:43 - 72:47
    I don't know, you might try
    to see a social worker...
  • 72:47 - 72:49
    Look... You could let it be...
  • 72:49 - 72:54
    Don't cry, I can't stand seeing
    someone crying, tears break me up...
  • 72:54 - 73:03
    I've got to catch my train,
    you keep the money...
  • 73:03 - 73:04
    I haven't earned much...
  • 73:04 - 73:07
    I'll take a franc for the telephone.
  • 73:07 - 73:15
    And I don't know... You need to get
    a coffee to cheer yourself up a bit, right?
  • 73:15 - 73:56
    SELLING A PAINTING
  • 73:56 - 74:02
    Hey, you still haven't payed the rent,
    have you? This month I was counting on you.
  • 74:02 - 74:05
    I was hoping to have something left
    at the end of term.
  • 74:05 - 74:09
    What's this, things can't be this way.
    There's not a way to get off.
  • 74:09 - 74:15
    And they advice you not to pay late,
    because there will be consequences.
  • 74:15 - 74:18
    I think I have to go back to the
    country...
  • 74:18 - 74:21
    Why?
  • 74:21 - 74:26
    You can't live in Paris without
    money.
  • 74:26 - 74:30
    But didn't your grandmother leave
    you some cash?
  • 74:30 - 74:34
    Yes, but that will take long, come on,
    there's still paperwork to do.
  • 74:34 - 74:36
    And your mother?
  • 74:36 - 74:39
    She hasn't enough for herself,
    how could she then help me?
  • 74:39 - 74:45
    No, I'll return home.
  • 74:45 - 74:49
    You're not that bad with money,
    you could make some...
  • 74:49 - 74:54
    I've thought about getting a job
    at a fruit sellers of greengrocers
  • 74:54 - 74:58
    But in the end it didn't work out.
  • 74:58 - 75:00
    So that... I'm returning home.
  • 75:00 - 75:03
    You might find something better.
  • 75:03 - 75:06
    Look at me when I tell you,
    you might find something better.
  • 75:06 - 75:08
    Like how?
  • 75:08 - 75:16
    You might... Ok, you don't speak English
    but you speak Spanish. You could teach.
  • 75:16 - 75:20
    And teaching French, right?
    You could teach French.
  • 75:20 - 75:22
    I don't know grammar.
  • 75:22 - 75:25
    Grammar doesn't matter,
    it's like with children...
  • 75:25 - 75:28
    Some people ask more questions.
  • 75:28 - 75:32
    I've tought Italian to a very
    small boy.
  • 75:32 - 75:35
    I didn't know a word;
    He had a book
  • 75:35 - 75:40
    and there were the phonetics and the
    translation and it was no problem.
  • 75:40 - 75:43
    And now I speak a little Italian.
    You could do this.
  • 75:43 - 75:48
    Everything I've learned, I've learned
    alone. I don't know how to teach others.
  • 75:48 - 75:53
    How would you like if I taught
    you something?
  • 75:53 - 75:53
    You're no help at all!
  • 75:53 - 75:59
    But I have a small hope.
    Do you know Gontran?
  • 75:59 - 76:01
    The guy who came the other day?
  • 76:01 - 76:04
    Yes, he knows a lot of people
    in painting
  • 76:04 - 76:07
    and a gallerist who's interested
    in young painters.
  • 76:07 - 76:10
    And, according to him, this painting
  • 76:10 - 76:14
    might perhaps interest him.
  • 76:14 - 76:18
    Good? More reason to stay and
    not run in panic.
  • 76:18 - 76:38
    I'm going to call him...
    This might work.
  • 76:38 - 76:45
    Oh, it's the answering mahine.
  • 76:45 - 76:47
    Hello... It's Reinette,
  • 76:47 - 76:52
    I'm phoning about the gallery.
  • 76:52 - 76:59
    I'll be at home tonight.
    Good bye.
  • 76:59 - 77:04
    You know, I don't think I could do
    anything else than paint.
  • 77:04 - 77:09
    When Im not painting, I get the feeling
    I'm waisting time.
  • 77:09 - 77:11
    I believe I'm born for this,
  • 77:11 - 77:14
    perhaps, on the base of it,
    I'm able to do other things...
  • 77:14 - 77:17
    manual labor, for example.
  • 77:17 - 77:20
    I think it's wrong to
    decepreciate it because
  • 77:20 - 77:25
    we need those who work with their hands
    like those who live by using words
  • 77:25 - 77:28
    like professors, lawyers..
  • 77:28 - 77:32
    What I like in painting is
    that it's not necessary to speak.
  • 77:32 - 77:35
    I don't like to speak.
  • 77:35 - 77:38
    Still. Without doubt you speak a lot
    around your painting.
  • 77:38 - 77:42
    You don't stop giving them titles,
    to look for explanations for them,
  • 77:42 - 77:45
    signification...
    You don't stop speaking.
  • 77:45 - 77:48
    Not at all, but that is afterwards.
  • 77:48 - 77:52
    Because... when I paint,
    I don't rationalize...
  • 77:52 - 77:55
    I don't try to explain anything.
  • 77:55 - 77:59
    When I paint, I try to be an
    open door for my emotions,
  • 77:59 - 78:01
    try talking...
  • 78:01 - 78:07
    to my soul, and the only way
    for me to try to talk to my soul
  • 78:07 - 78:10
    is... is silence
    is... is the only domain
  • 78:10 - 78:15
    of what it is... it is possible...
    it is possible to be true...
  • 78:15 - 78:20
    becaouse the words, always...
    cheat, it's... it's a code,
  • 78:20 - 78:24
    and if someone likes my painting,
    I think he would also like me as well
  • 78:24 - 78:28
    because it's from emotion to emotion...
  • 78:28 - 78:31
    It's direct mode, that's what it is,
  • 78:31 - 78:33
    from heart to heart,
  • 78:33 - 78:35
    and when you look at
  • 78:35 - 78:37
    my painting, it's not enough to speak...
  • 78:37 - 78:40
    Because for this type of communication
    to happen,
  • 78:40 - 78:45
    silence is necessary, Yes, the
    silence is necessary. Don't you think?
  • 78:45 - 78:48
    Yes, yes, I believe you.
  • 78:48 - 78:48
    You laugh...
  • 78:48 - 78:52
    I'm laughing because, while you speak
    about not talking, you talk.
  • 78:52 - 78:54
    I have to explain it to you.
  • 78:54 - 78:59
    You don't need to explain it to me,
    I understand.
  • 78:59 - 79:03
    At least, you keep explaining it
    when people have already understood it.
  • 79:03 - 79:05
    I'm sorry, but someone you didn't know
  • 79:05 - 79:09
    might think that you thought
    people were stupid.
  • 79:09 - 79:12
    Really. It's just the opposite.
  • 79:12 - 79:16
    It's out of a desire to respect
    truth, out of honesty
  • 79:16 - 79:19
    towards the one who looks at me.
  • 79:19 - 79:23
    So that, by force, I walk groping
    about trying to find the just expression.
  • 79:23 - 79:26
    But take care, because it can be
    irritating.
  • 79:26 - 79:28
    When I was little I took very seriously
  • 79:28 - 79:31
    the things my parents repeated
    to me twenty times at least.
  • 79:31 - 79:33
    For sure, if you didn't obey...
  • 79:33 - 79:38
    That had nothing to do with it. Until
    I'd noticed a tic of my mother's:
  • 79:38 - 79:42
    she systematically repeated the same
    sentence twice. For example,
  • 79:42 - 79:45
    put on the white shoes,
    put on the white shoes,
  • 79:45 - 79:49
    It wasn't just a habit of my mother's
    but of all adults.
  • 79:49 - 79:53
    I, who am a bit more infantile,
    can therefore say, I don't have this mania.
  • 79:53 - 79:58
    No, I don't have this mania.
  • 79:58 - 80:02
    I may talk a lot but I don't repeat myself,
    I want to use just the right word.
  • 80:02 - 80:05
    But it's so that I don't repeat myself,
    I don't repeat myself.
  • 80:05 - 80:07
    You see.
  • 80:07 - 80:09
    I see what? What?
  • 80:09 - 80:14
    You repeat yourself. You finished by
    saying two times: I don't repeat myself.
  • 80:14 - 80:18
    That doesn't count. You weren't
    replying.
  • 80:18 - 80:21
    Since I speak too much, I'll leave you.
  • 80:21 - 80:25
    On the other hand you can very well not
    speak, not speak at all.
  • 80:25 - 80:30
    As a girl, I did that. I wagered
    with myself that I wouldn't speak for days.
  • 80:30 - 80:32
    Nobody noticed anything.
  • 80:32 - 80:36
    Not even my mother.
  • 80:36 - 80:40
    It's like when I went to Scotland,
    I didn't know a single word.
  • 80:40 - 80:43
    Then I arranged them for myself
    alone.
  • 80:43 - 80:49
    One always talks too much,
    one always talks...
  • 80:49 - 80:52
    Very graceful.
  • 80:52 - 80:56
    I'll bet with you that tomorrow I
    won't say a single word all day.
  • 80:56 - 81:00
    If you think it's fun, why not?
    Anyway, if you speak, I won't hear you.
  • 81:00 - 81:03
    I'm not going to be around you
    all day.
  • 81:03 - 81:08
    Why not? Tomorrow you don't have
    classes.
  • 81:08 - 81:14
    All right. Anyway, theres not much
    at stake. You won't even last an hour.
  • 81:14 - 81:17
    Then, not one word,
    not a sigh, nothing.
  • 81:17 - 81:20
    Agreed!
  • 81:20 - 81:30
    The one that loses is a pig.
  • 81:30 - 81:30
    One moment.
  • 81:30 - 81:36
    It's for you.
  • 81:36 - 81:38
    Hello?
    Gontran!
  • 81:38 - 81:41
    Great.
  • 81:41 - 81:47
    Tomorrow. Could we delay it until
    another day?
  • 81:47 - 81:50
    I understand, I understand.
  • 81:50 - 81:56
    No, no. It's fine, it's fine.
  • 81:56 - 82:03
    So we agree upon tomorrow.
    Thank you. Good bye.
  • 82:03 - 82:07
    Is it about the one at the gallery?
    Let's leave the bet for another day.
  • 82:07 - 82:10
    No. When I say something, I do it.
  • 82:10 - 82:16
    That's silly, you're going to spoil
    everything. At least, let me talk in your place.
  • 82:16 - 82:20
    Then, it's meaningless.
    No, it's going to bring me luck.
  • 82:20 - 82:22
    I don't see how!
  • 82:22 - 82:24
    Leave it up to me.
  • 82:24 - 82:47
    You will come with me but have to
    act like you don't know me, all right?
  • 82:47 - 82:51
    It will be exactly the opposite,
    you will see.
  • 82:51 - 82:56
    Do what I tell you, and don't doubt
    it and put your trust in me.
  • 82:56 - 83:02
    Why? Do you think that it's...?
    No, believe me.
  • 83:02 - 83:05
    Call me at the end of the week,
    at the end of the week.
  • 83:05 - 83:08
    I can't tell you more than
    I've already told you.
  • 83:08 - 83:13
    I'll have to stop, since I'have people here.
    I'll call you at the end of the week.
  • 83:13 - 83:17
    See you soon, think about it,
    see you soon.
  • 83:17 - 83:19
    Ah, it's you.
  • 83:19 - 83:20
    Who?
  • 83:20 - 83:24
    You've come to show me your paintings.
    No, I've just come to have a look.
  • 83:24 - 83:28
    I was expecting a girl,
    they say she doesn't speak at all.
  • 83:28 - 83:28
    Don't worry.
  • 83:28 - 83:44
    Take your time.
  • 83:44 - 83:49
    It's you. Good evening.
    You're here because of Gontran.
  • 83:49 - 83:53
    It's a painting, I expect,
    what you have here.
  • 83:53 - 83:58
    I don't want you to show it to me
    right a way. I'd prefere to see your portfolio...
  • 83:58 - 84:02
    You must have noticed that I said "portfolio"
    and not "book". No English words.
  • 84:02 - 84:04
    Come over here. "Book" is a thing
  • 84:04 - 84:08
    for "cover-girls". Now, I happened to
    say "cover-girls"...
  • 84:08 - 84:16
    and not "models". But for sure,
    it's deceptive. Let's see now...
  • 84:16 - 84:21
    It's interesting.
  • 84:21 - 84:24
    It's not bad at all.
  • 84:24 - 84:27
    It's not that original!
  • 84:27 - 84:30
    But still it's surprising for
    a girl of your age.
  • 84:30 - 84:33
    By the way, how old are you?
  • 84:33 - 84:36
    You're older than fifteen, aren't you?
  • 84:36 - 84:40
    I expect you're older than
    you look.
  • 84:40 - 84:43
    You're not twenty years old?
  • 84:43 - 84:50
    Nineteen? Eighteen?
    Seventeen?
  • 84:50 - 84:56
    Let's say that beforehand they are
    phantasies of an mature man. That is, very mature!
  • 84:56 - 84:59
    You seem annoyed.
    But you don't need to reply.
  • 84:59 - 85:02
    You assume his problems,
    as one would say.
  • 85:02 - 85:03
    But let's stop.
  • 85:03 - 85:06
    critizising the facts so much.
  • 85:06 - 85:10
    Another question, which you neither
    need to reply to.
  • 85:10 - 85:13
    Have you taken drawing lessons?
    They tell me that what merely
  • 85:13 - 85:14
    matters is the result.
  • 85:14 - 85:18
    The knowing would be able to notice
    that you are self-lerned.
  • 85:18 - 85:22
    And what of it? Today, why not?
    This is your power...
  • 85:22 - 85:26
    Even more, you are neither someone
    one would call "naive", between quotation marks
  • 85:26 - 85:31
    From a purely formal point of view
    one can appreciate influences...
  • 85:31 - 85:35
    Can one know? I already know that
    this question could be annoying:
  • 85:35 - 85:38
    at your age, you don't need to rely
    on anyone, and why not?
  • 85:38 - 85:48
    Still, though, one would hazard
    Magritte, right?
  • 85:48 - 85:52
    Dali?
  • 85:52 - 85:55
    Neither! Come on, how unusual.
  • 85:55 - 85:59
    Then, maybe I shouldn't dare to
    mention Labisse, and Delvauz...
  • 85:59 - 86:05
    At least, you don't know him...
    Yes? And he is an influence on you?
  • 86:05 - 86:11
    But, do you like Magritte?
  • 86:11 - 86:13
    Dalí?
  • 86:13 - 86:17
    Well then, this I call to speak
    clearly.
  • 86:17 - 86:20
    Bravo, long live disrespect!
  • 86:20 - 86:34
    Let's see your painting.
  • 86:34 - 86:38
    Let me see.
  • 86:38 - 86:39
    I like it very much.
  • 86:39 - 86:43
    It's extraordinary. The photo
    does not reflect the colors.
  • 86:43 - 86:45
    I like it very much. Very much.
  • 86:45 - 86:48
    But I can see that there is an
    unsteadiness in the composition.
  • 86:48 - 86:51
    Wait a moment, I'll explain.
    Don't interrumpt me.
  • 86:51 - 86:53
    There, there is a vacant space,
  • 86:53 - 86:56
    at the bottom to the right,
    can you see?
  • 86:56 - 86:58
    It creates a certain unbalance.
  • 86:58 - 87:03
    I know already that you would tell me
    that its intentional, to put emphasis
  • 87:03 - 87:05
    on the central motive, right?
  • 87:05 - 87:07
    Perfectly centered, thats for sure.
  • 87:07 - 87:12
    You're not going to tell me that all this
    isn't devilishly orchestrated.
  • 87:12 - 87:14
    Come on, don't protest, I've understood.
  • 87:14 - 87:19
    If I'm not mistaken, it's this painting
    that you want to entrust me with, right?
  • 87:19 - 87:22
    I'll take it with all the usual
    conditions, alright?
  • 87:22 - 87:25
    How much do you want? 2000 francs?
    That's reasonable,
  • 87:25 - 87:32
    taking the fifty percent into account.
  • 87:32 - 87:36
    What is it you don't like?
    Aren't you happy with this?
  • 87:36 - 87:43
    You can state the price. To raise it
    is alright with me, but I don't think it'l sell.
  • 87:43 - 87:46
    Ok, do you want the money?
    Straight away?
  • 87:46 - 87:49
    All right, you're mad.
  • 87:49 - 87:56
    At could give you at least 200 francs,
    no more, to get you out of trouble...
  • 87:56 - 87:59
    2000 francs... I'm much to generous,
  • 87:59 - 88:03
    I'm not even sure if I'll be able
    to get 2000 francs for the painting.
  • 88:03 - 88:07
    I'm proposing 1700 or 1500, it's much
    more in line with your real interests.
  • 88:07 - 88:12
    I don't want to be nasty, but alright,
    your very anecdotical.
  • 88:12 - 88:14
    And it's even a very worn out
    anecdote.
  • 88:14 - 88:18
    I'm going to tell you this outright.
    I'm not saying that you don't have talent
  • 88:18 - 88:21
    but I can tell you that this
    is almost not painting.
  • 88:21 - 88:24
    If it were well painted,
    it would be like a photograph.
  • 88:24 - 88:31
    With a beautiful model, maybe
    it would sell well as an erotic poster.
  • 88:31 - 88:34
    Look, now you're crying!
    This is terrific.
  • 88:34 - 88:39
    Don't cry, miss, don't cry.
    My luck, when I'm in a hurry...
  • 88:39 - 88:42
    Don't cry, miss.
  • 88:42 - 88:47
    My words exaggerated a bit what I
    was thinking. I like your painting.
  • 88:47 - 88:49
    It's very nice. The only thing is that
  • 88:49 - 88:53
    I can't pay you cash down.
    Let me have it, it will surely sell.
  • 88:53 - 88:54
    Don't be afraid, it will sort itself out.
  • 88:54 - 88:57
    What's up with her?
  • 88:57 - 89:00
    Stay on. This one is a bother to me,
    it's got nothing to do with you.
  • 89:00 - 89:05
    Has he been harming you?
    What has he told you?
  • 89:05 - 89:11
    Can't you speak? Are you dumb?
  • 89:11 - 89:12
    I know. She's dumb.
  • 89:12 - 89:16
    What?
    Dumb! Dumb? That's clear?
  • 89:16 - 89:20
    What do you mean, dumb? What is this?
    You can't be dumb, it doesn't exist.
  • 89:20 - 89:24
    Yes, sure it does. There are three hundred
    and fity thousand deaf-dumb in France.
  • 89:24 - 89:27
    Deaf-dumb, what are you saying!
    Exactly!
  • 89:27 - 89:31
    She's not deaf, she's understood
    perfectly what I've told her.
  • 89:31 - 89:32
    Maybe she read your lips.
  • 89:32 - 89:37
    But if she's deaf and dumb, I believe
    she knows how to listen. She's got her language.
  • 89:37 - 89:41
    Oh, yes? And you know this language?
    No!
  • 89:41 - 89:45
    Finally, you see reason. How
    do you want her to use it with you?
  • 89:45 - 89:50
    But how would I know: that she'd write,
    that she was accompanied by someone.
  • 89:50 - 89:54
    This isn't a charity institution for
    cripples and invalids.
  • 89:54 - 89:56
    Watch your words!
  • 89:56 - 90:00
    This way it's like we were talking
    in front of an invalid!
  • 90:00 - 90:01
    If she can't hear!
  • 90:01 - 90:03
    I've told you that she reads your lips!
  • 90:03 - 90:08
    She's got her back turned. And, dumb or not,
    she's started to get on my nerves.
  • 90:08 - 90:11
    I know what she wants. She wants
    2000 francs. She told me.
  • 90:11 - 90:13
    All right, she indicated it to me clearly
  • 90:13 - 90:18
    And I don't want to, that's that! It's
    I who's in charge, here. So others listen!
  • 90:18 - 90:21
    First you kept her silent for a long
    time without a chance to speak.
  • 90:21 - 90:26
    You didn't give her a chance to but in.
    At least let her explain herself.
  • 90:26 - 90:28
    Explain herself! But she can't speak!
  • 90:28 - 90:34
    So the more reason! With this pretext,
    you're taking advantage of the situation.
  • 90:34 - 90:39
    exploiting her handicap. This is
    cowaridice, vileness, disrespect.
  • 90:39 - 90:42
    Then let her express herself,
    come on, let her speak up!
  • 90:42 - 90:46
    If you had been in this situation,
    dumb or not, and had known she was dumb,
  • 90:46 - 90:48
    you would have done exactly the same!
  • 90:48 - 90:49
    Says who?
  • 90:49 - 90:54
    It's not a case of preventing her to speak.
    Because if they don't let me, I don't speak!
  • 90:54 - 90:57
    When you meet with someone
    who doesn't stop speaking,
  • 90:57 - 91:02
    who is pleased with his verbality...
    I don't want to speak anymore...
  • 91:02 - 91:06
    Will you permit me to tell you...
    He makes me sick, I find it repulsive...
  • 91:06 - 91:09
    Don't you think there is something repugnant
    about the act of speaking?
  • 91:09 - 91:13
    Above all talking about painting!
    It's something too sacred
  • 91:13 - 91:15
    in order to be desecrated with words...
  • 91:15 - 91:17
    Yes, finally... I think...
  • 91:17 - 91:22
    In reality, the only posture possible
    in front of a painting is silence...
  • 91:22 - 91:23
    But all right, that's the conclusion!
  • 91:23 - 93:43
    It's the silence. Silence.
  • 93:43 - 93:45
    Yes, it's interesting.
  • 93:45 - 93:46
    You'll sell it?
  • 93:46 -
    4000 francs.
Title:
4 Adventures of Reinette and Mirabelle
Description:

The friendship of a moody urban lass and a simple, neurotic country girl frames their instructive interrelations in Eric Rohmer's slight, charming microproduction.

Directed by Eric Rohmer
Starring Joëlle Miquel, Jessica Forde

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Duration:
01:34:53
Amara Bot edited English subtitles for 4 Adventures of Reinette and Mirabelle
Amara Bot added a translation

English subtitles

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