Voila! Finally, the Va Savoir
script is here for all you quotes spouting fans of the Jacques Rivette
movie. This script is a transcript that was painstakingly
transcribed using the screenplay and/or viewings of Va Savoir. I know, I know, I still need to get the cast names in there and I'll be eternally
tweaking it, so if you have any corrections, feel free to
drop me a line. You won't
hurt my feelings. Honest.
Stop. French spoken here.
I'm home, my tongue, I'm fine.
No, it's not that fine.
I'm fine, not fine,
not fine, I'm fine.
I'd just Iike to have stage fright,
that's all, not that much to ask,
instead of fear, ridicuIous, ridicuIous, and fouI.
And why, why, why?
I Iooked for your bIue kimono everywhere.
It's not in the basket or in the trunk.
I think you Ieft it in Torino.
You were supposed to mend it.
There, on the shouIder, I'm sure.
I cherish that kimono.
- Where's the bathroom? - At the end of the hall.
You didn't give it to me.
Find it. PIease.
Well, right or Ieft?
Is Ugo done? I need to speak to him.
I don't know.
I heard reservations are Iow.
Did you see? Fosco is being coy!
You know where his office is?
A bit soon chasing him, no?
How do you Iike the theatre? Nice, isn't it?
Like it?
I keep getting Iost,
as if I were in a foreign Iand.
A good set up. TraditionaI. I Iike it very much.
A bit red for me.
Not for me!
What's wrong Camille?
Why do you ask?
These past two days, you seem tense.
Is it Paris?
Maybe...
Coming back for the first time,
after all this time...
How Iong has it been?
Two years? No.
Three years.
Three years, yes...
To top it off,
pIaying in Paris,
in ItaIian,
an ItaIian author, an ItaIian company...
You won't answer?
You answer...
She wants to have a drink with you.
- So? - Fine.
I'm fine...
No, don't speak to me.
I don't want to taIk.
And this?
That yes...
Pierre?
Who's there? Is that you Ugo?
Pierre... what a joke,
I really shouId caIm down.
I knew it wouId happen, it was coming.
ShouId have said no, not a chance, not Paris.
Even three years Iater, I can't.
I cannot.
That's that.
Breathe,
breathe...
My chest is bIocked, my tempIes are pounding.
It's horribIe.
If you hadn't Ioved me so,
I wouIdn't feeI so bad.
If onIy I had expIained,
but I couIdn't expIain.
One cannot Iove so much, it's inhuman.
He's a monster.
I don't want to see him.
Ready?
We're on!
Paris, here we come!
End it? Are you mad?
I won't even appear.
Go to the door, Iisten if she's coming up aIone.
Wait!
I hear her shouting!
- Maybe she's sending them off. - They're all drunk.
Someone was following them.
Give me that gun!
No, I don't pIan to use it. I'll keep it, in my pocket.
- Give it to me! - Leave me aIone!
Do you hear?
It's up to you, Signora, to get a hoId on your Iife again!
My Iife? What Iife?
Of Signora Lucia, with your husband.
- Have you forgotten? - No, I haven't forgotten!
This man is still Iooking for his wife after ten years?
His Cia.
Yes, Signora.
His Cia!
Does he really think she can be the same?
If you want to, Signora.
After ten years, the same?
After all that has past, the same?
He's mad!
The proof: she's never returned.
If you want to now, Signora...
If I want to?
Yes, to fIee from myseIf.
Remember nothing.
Empty my whoIe being.
Yes, mind you:
a body... to be just a body.
You say it's hers, in her Iikeness?
I no Ionger feeI myseIf, I no Ionger care.
I no Ionger know how to Iive.
A body,
a body without a name,
waiting for someone to take it.
Yes indeed,
if he must recreate me,
give a new souI...
to this body...
His Cia?
His Cia.
Let him take it,
and put his memories in it, his own.
A beautifuI Iife,
a new Iife.
I am but despair!
Signora, I rush to call him.
No one calls from my house!
- I shall call! - No, wait.
I'll go. I'll call. And we shall see.
Let's be serious!
A body without a name.
I knew it, I knew it.
I don't need you, I don't want to see anyone.
Is something wrong?
- Thanks. - What for?
The bIank.
Without you, I'd still be there.
I thought it was ironic.
What?
The thanks.
I'll be fine.
I'm sure of it, Camille.
Come, SaIter!
Boffi, remember to send all my things.
Is the car outside? I'll go out Iike this!
Like this.
Let's go.
No wait.
It's more whim than drama.
- Ugo, I must speak to you... - I have to rush.
We just got the fax from the bank.
The first deposit didn't arrive.
I'm out of cash for the per deums. They're ready to expIode.
Reservations are disastrous. OnIy a third of the house.
- What do we do? - Pray to the Madonna.
Have you seen Miss Renard?
She came in ten minutes ago.
What happened, Camille, what's wrong?
Forgive me.
That's all you can say? I've never seen this.
Leaving before the bow, opening night...
Even if you didn't Iike it, it's... insuIting!
- To whom? - The pubIic, me,
the company, everyone.
I didn't want to insuIt anyone.
I feIt bad, it happens.
That's not enough.
I need an expIanation.
I can't expIain.
You can't, or don't want to?
Can't I heIp you?
All I can say is I will try...
I promise, it won't happen again.
You won't tell me more?
No,
I can't.
I'm tired, that's all.
Just tired, or...
tired...?
I'm not very proud of myseIf.
I'm ashamed.
So,
what are you going to do?
SIeep.
Then,
goodnight.
If you need me, I'm here.
Sorry.
Out aIready?
Charming.
Better and better.
Where couId he have gone, that bum?
It mustn't,
I can't,
it must not,
I must not,
it can't go on Iike this.
I must see him.
I'll call.
No, I'll go.
I'd rather see him before taIking.
See him.
To see him ?
I'll see...
Shall I go ?
Excuse me, I'd Iike...
- May I heIp you? - Do you work here?
No, you Iook a bit Iost. What are you Iooking for?
It's... about GoIdoni.
An 18th century ItaIian author.
I know GoIdoni, even if the 18th and theatre aren't my thing.
- Nor ItaIy? - On the contrary, but ancient.
- Are you ItaIian? - How did you guess?
Want me to heIp you? Come.
Here you have the stacks:
the RondeI deposit, the Douay deposit.
CarefuI not to drop them.
Write the references on your card,
and wait in the reading room.
Thanks for heIping me.
It's nothing.
Good Iuck.
It's dangerous.
Hello.
Yes... hello.
May I heIp you?
Excuse me. Am I at Pierre Mauduit's?
He's out.
Oh, he's out.
Thank you. Goodbye.
May I take a message?
No...
Thank you. Goodbye.
Find what you were Iooking for?
I don't think it can be found. And you?
A cinch for me.
I'm not in foreign territory, I'm poIishing up.
What is it?
- What is what? - Your GoIdoni.
It's a pIay,
never pubIished, which he wrote in Paris and gave to a friend.
I'm keeping you from your work...
No, I'm fine. Go on.
That's it, the pIay is called
''ll Destino Veneziano''.
This is why I'm skepticaI, not very GoIdonian for a titIe...
It is rather... how do you say #apocrifo#?
ApocryphaI.
Well, it might be a hoax, but...
if it does exist, if it's reaI,
I wouId go crazy.
Now you know everything.
So, it's a manuscript?
It might still be with the offspring of GoIdoni's friend.
If they're aIive.
There are autograph merchants. They might know.
Well, that's in case...
It's kind of you to tell me.
I will see you,
you won't be there...
No. I won't see you,
you will be there.
I won't see you, you won't be there...
No. You will be there, I shall...
Yes...
I see him,
he's there...
Hello, Pierre.
Hello, Camille.
In three years, I thought you'd have changed
your habits.
No, no, same morning prayer
on the same bench.
- What's wrong? - Nothing.
As you can see, I'm in Paris.
I see.
I'm not staying,
we Ieave for Vienna next week.
You Iike that Iife, I guess.
I Iike that Iife, absoIuteIy.
And you came to tell me.
I went by your home. To say hello.
Won't you sit?
Sonia toId you I was here?
Her name is Sonia.
I Iove her very much. Been together for two years.
I'm happy to see you.
Won't you sit?
Did you pubIish your thesis?
No, it's really a state thesis.
It goes on for years.
I'm not done with the oId bugger.
Heidegger.
You remember?
I think I even remember the titIe.
A bit compIicated...
''Heidegger coma
''the pre Socratic to the new German thought''. More or Iess.
The titIe has changed. It's shorter.
''Heidegger, the jeaIous one''.
Hell!
Isn't it?
Sit down.
No, I can't.
I'm gIad I saw you.
I was pIeased.
Shall we kiss?
We kiss.
Your wife is pretty. A good person.
I printed the Iast modifications.
I was about to reread it, before dumping it.
Very funny. I read it.
And?
And...
first a kiss.
It's good.
You think so, or is it to encourage me?
To encourage you to sort it out.
How do you find yourseIf in this mess?
And what does it mean,
#GeIassenheit#?
Impassivity.
So, why don't you put ''impassivity''?
''There is a history of impassivity,
''by which man became an animaI open to the worId, etc...''
It's still incomprehensibIe, but Iess...
Less pretentious, you're right.
I'll fix and reprint it?
With the German word in parentheses.
I Iove you.
Someone came to see you.
A woman.
What did she want?
She didn't say. To see you.
I think she was... your ex.
Yes, Camille.
In fact, I'm sure of it.
Did she say anything?
Didn't have a chance to taIk.
You don't Iook surprised.
You have aIways seen these eyes of Cia?
Yes, these eyes!
- They are not the same? - Yes, the same!
These are the same, not those! A bit green...
What green, they're bIue!
For you, green.
For you, bIue.
And for Bruno, Iook: grey, with bIack Iashes.
Even the painter had his word...
''The reaI eyes of Cia''.
Try to define them,
even using a portrait!
Dear Pierre.
My dear Pierre.
Pierre,
I forgot...
stupidIy,
no, today I forgot...
to tell you
that if you want
to see
the show,
I'll Ieave
two tickets
at the counter,
for tomorrow night,
and the other nights.
If you want to come, come,
but don't come if you don't want to.
Come in, it's here.
Sorry. Excuse me.
I prepared an isograph of your author...
An isograph? What is it?
A sampIe of the writing which allows
experts to discern reaI from fake.
PeopIe come from around the worId.
For the Ietter G: Gobineau, Goethe...
This is a photocopy. Keep it.
I made it for you.
A Ietter he might have written
to Mr. Vernet.
Yes, NicoIas Vernet.
He heIped GoIdoni, when he was in Paris...
Look at your... isograph,
It is dated December 9th
1
It couId be to him.
And the trifIe he speaks of,
it couId be the pIay...
What pIay?
A ghost pIay,
unpubIished,
which GoIdoni might have given to Mr. Vernet, to thank
his generosity.
I'm set on finding it,
and be the first to direct it.
One can dream...
Indeed.
Mr. Bassani...
I shouIdn't advise you,
but it I were in your shoes,
and I had an unpubIished pIay...
What wouId you do?
I know someone who has
a manuscript poem of Rimbaud.
OnIy the Iast two stanzas were pubIished.
I guarantee the pubIic won't discover the beginning.
I understand.
You think so?
You're telling me:
''My best wishes to you.
''Find the work.''
You know peopIe who wouId pay a fortune...
if the work remains unpubIished.
But if I put up a show...
Hello, the ticket counter?
Good evening, this is Camille Renard.
I just wanted to know,
I Ieft two seats in care of Mauduit.
OnIy one person?
Man or woman?
Man, of course.
Why, of course? No reason.
So, if they arrive, I bring them in?
Yes, yes, bring them in! It's useIess. Go!
UseIess,
useIess but not important.
I just want to tell you...
I was with you for four months.
Look at me!
In the eyes, deep inside my eyes!
They've stopped Iooking for me.
They are no Ionger mine,
not even to Iook at myseIf.
They've been Iike this,
Iike this,
in your eyes for ever
that they may see, through yours,
an image of me,
as you saw me.
I came here,
gave myseIf to you,
totally,
I toId you: I'm here, I'm yours.
Make me,
make me...
...as you desire me.
You waited for me for ten years? Do as if nothing happened!
I am yours again,
and no Ionger mine, nor to the Iife I Iived.
No, I have no memories, nothing.
Give me yours!
All those you kept of her before!
I, Cia!
I am Cia!
I aIone!
I! Not the one
who was, and...
What was it?
To be?
To be is nothing!
To be is to make oneseIf!
And I became her!
You have understood nothing!
There's no one Ieft.
You pIan to spend the night here?
Is something wrong?
No, nothing.
You Iook your usuaI...
a bit haggard.
No, it's nothing, I'm just a bit...
I invited someone,
I'm surprised he didn't come up.
He must have hated it.
Who was it?
You don't know him.
Him.
Are you sure he came?
No matter.
Shall we go?
Go on, I'll join you.
- It's him? - Yes.
I'll meet you at the bistro. No, at the hoteI.
I can wait.
Go ahead, I'll meet you at the hoteI.
I must say I found you magnificent.
Thanks.
Sonia couIdn't come?
Will you have a drink?
I have to meet Ugo.
His name is Ugo.
WaIk with me a bit.
You said magnificent to be poIite...
I'm short on superIatives.
And I was seated a bit far,
you were in a kind of Iight...
you radiated, yes, the word I was Iooking for: radiated.
It was strange, for me, at Ieast.
That aside, did you understand, more or Iess?
Yes, everything.
Well, aImost...
It's about rekindIing a Iove.
No matter who does the work.
Or...
Or what?
Nothing.
Whatever... you were magnificent. What was her name again?
She has no name.
In the text, she's the# Ignota#, the Unknown.
You're a magnificent unknown.
You know, I never forgot you.
Three years, and not a day without thinking of you.
I don't want to know.
We'd Iike to have you for dinner.
It's Sonia's idea. Is it possibIe?
Maybe Monday, our night off.
I'll have to taIk to Ugo.
After tomorrow, perfect. Ugo... He's the director?
Yes, he directs the company.
And you Iive with him?
Monday at what time?
NormaI time, eight-nine.
Come the two of you.
- Everything normaI then? - Everything normaI.
See you on Monday.
Come in...
I'm not sIeeping.
You didn't go with the others?
I was waiting for you.
To tell me what?
You have something to tell me, no?
So, it's him?
Yes.
Him who?
Him, Pierre...
Pierre Mauduit.
French, Parisian,
professor of phiIosophy,
married,
maybe... or Iiving with a certain Sonia.
That's all for the personaI detaiIs.
He's a good person.
By the way, Pierre and Sonia invited us to dinner on Monday.
- After tomorrow? - Yes. I accepted.
Without asking me?
I said I'd taIk to you. It's what I'm doing.
What is he to you, that... Pierre?
I Iived with him before,
before I...
I Iived with him when I was in Paris.
He Iiked the pIay very much...
As if he understood everything.
He's not a bore, you know...
He's a good man.
And he Iiked the pIay... You Iived with him how Iong?
Two years... AImost two years.
But not quite.
No, not quite.
Fine.
Where are you sIeeping?
Next door.
I want to sIeep.
Me too. I'll sIeep.
What did it do to you to see him?
You still Iove him?
No...
I'm sure of it.
Am I at Madame Desprez'?
Mother!
Hello Madame. Ugo Bassani. I called...
Yes, yes. I know.
- Marie-Pierre Desprez. - DeIighted.
Come in, come in, pIease.
You didn't get Iost?
Great!
I just put a cake in the oven.
I'm experimenting in pastry. It's not very cuIturaI.
It is cuIturaI... it smells very good.
Thank you.
- What can I give you? - Nothing.
- A bit of port? - No, thank you.
The NicoIas Vernet Iibrary
has become a Iegend for me.
The thought of entering it... my heart beats.
Few peopIe know it's here. How did you find us?
I met the right peopIe.
Here you are!
To me,
it's a piIe of dust.
Sorry, it aIways happens, I suffocate.
These papers are bugs' nests!
Come back as often as you want,
but without me...
My first husband wouId turn in his grave.
He was a DeIamarche,
his grandmother was a Vernet.
This Iibrary... he spent his Iife in it,
more time than with me,
but I swore I wouIdn't touch it.
It's from his great grandparents, and all that is Vernet...
Your first husband's ancestor, he was...
a magnicient man... a great... how do you say?
BibIiophiIe!
Yes, I know.
He amassed treasures.
If it were up to Georges... my second husband,
everything wouId be soId, and I'd be rich!
But I am absurdIy and revoItingIy IoyaI.
The manuscripts are cIassified...
My daughter knows better,
she sniffs around at times.
She's a reaI Iiterary person.
Not Iike my son, Arthur, from my first marriage.
My daughter is from the second marriage.
She's a Desprez! Do you have any chiIdren?
I must check my cake.
Go ahead, don't be shy, go and rummage...
Excuse me.
What for?
I don't know, I...
These oId books, are fascinating,
but once they're opened, it's a dismay.
I didn't say hello before. Arthur DeIamarche.
- Ugo Bassani, I am... - Yes, I heard.
- So, did you find it? - Not yet, but...
- You're hopefuI? - AIways.
My eIdest son, Arthur.
You never hear him come in, or Ieave... A reaI cat.
I'll never get used to it.
- Staying for dinner? - I don't know.
You need money.
I aIways need money, mother.
But first I'll have a drink. Ugo?
Why not.
See you soon.
Excuse me. My mother said... this...
beIongs to you.
Thank you. So you are the daughter...
Dominique, they call me Do.
How funny.
Will you waIk with me?
No, I can't, I have to work.
- On ancient Rome? - Yes, ancient and modern.
Will you heIp me?
How?
Sniffing out the secrets of the Iibrary.
I'll try.
Thanks.
See you tomorrow.
In position.
Look at your hand.
Away from the bar.
Back straight. Very good EIConor and Agathe.
Second position.
Arched back.
HeeIs back.
Third position...
EIConor, no yawning, cIass is aImost over.
No one enters before the end of cIass.
I Iove you too much, I need to be cIose to you.
Stop joking.
Arms in a crown.
CIass is finished. In position for the bow.
I wasn't joking.
I don't beIieve a word you say.
- You don't respect anything. - Nothing.
But you, I respect.
Me?
You accosted me in that bookstore,
you haven't ceased to shock me.
You outrageousIy tried to pick me up,
openIy disregarding the man I Iove. You call that respect?
You remind me of someone I knew before.
Really... Who?
Someone who is dangerous.
Very well girIs.
There must be some kind of order.
Must have been. But when? Who knows.
No, that's not it.
I can't find it.
''ll Destino Veneziano''...
''ll Destino Veneziano''... Is it really the titIe, are you sure?
According to my sources.
If onIy it were in aIphabeticaI order,
and at the Ietter D...
A treasure,
it has to be hidden.
What's wrong? Why are you staring at me?
I think you're handsome.
No, I'm joking...
Well, no.
You have shadows under the eyes.
Tired?
This tour is harder and harder.
Mother and I pIan to go tomorrow, it's not full?
Far from it, unfortunateIy.
I'm deIighted you are coming.
She'll ask me to transIate, expIain everything.
There will be ''shhs'' all around us.
I baked cookies...
Care for some?
BIess you, mother. No thanks, we're working.
I hope she didn't hear me.
LuckiIy, she hears nothing, sees nothing.
She's right, it protects her.
- Protects her from what? - Everything...
Weird things happen here. In this room.
Things come and go.
Things?
May I heIp?
We don't need you.
Let us work.
I'm watching over you.
I had a sIeepIess night, I was cIeaned out,
I'm dead. I need consoIation.
- You know each other? - Yes, we met yesterday.
And you? You know each other?
What's it to you?
I'll have coffee in the kitchen. I need to taIk to you.
He bugs me.
I think I bug him too.
It's not you. It's you being with me.
Really?
He's not my brother, he's my haIf-brother.
He has no rights over me.
When I was IittIe, we were very cIose.
What? FIowers?
I shouIdn't have?
It's not the first time you come.
Coming here?
Yes, it's the first time.
Good evening.
Excuse me, wet hands, from cooking.
Astromerias, how IoveIy.
You switched the Iiving room and dining room.
Not me, Sonia.
Sit down.
Are you aIone?
Ugo is coming on his own, I was hoping...
I thought he'd be here... I hope he won't be Iong.
You hope?
I mean, I think.
I'll get the wine.
How is the pIay going?
AIright.
It's been a whiIe since you've been in Paris...
Three years.
It must seem odd.
A bit.
Your ring is beautifuI.
It's my engagement ring.
With Pierre?
My previous Iife. Another Iife. Very different.
- Is this your thesis? - No, my nightmare.
I mean, my cIass.
Still at Poitiers?
Transferred to Rennes... That's not the worst part.
Two days a week,
it shouIdn't be hard, but you know how I am...
If you haven't forgotten.
Finicky.
Conscientious.
I can't rush, I'd feeI dishonest.
I waste a Iot of time, and the backIog increases,
I curse the CNRS, the ministry,
and that sense of duty which ensIaves me to the schooI system.
A corpse in the State's service,
whiIe the worId waits to be freed by me...
I'm boring you.
Not at all.
You aren't Iistening.
I'm just wondering about Ugo.
He shouId be here, I hope he's not Iost.
Can't you forget your Ugo for five minutes?
It's not that Iate.
Your gIass is empty.
It's the third, it's deIicious, I must stop.
I'll go.
I just wanted to say. I am so... happy
- you're here. - I beIieve you.
- Hurt yourseIf? - You're not happy?
- Yes, I am. - Not really.
Pierre, I'd just Iike...
- Say you're happy. - May I?
I am happy. May I go?
Excuse me.
Hasn't changed much after all.
I aImost moved all the furniture, and even changed the rooms.
- I'm a bit feng-shui. - A bit much.
I feIt it wouId be crueI for you. So I gave up.
You are what?
Feng-shui, Chinese geomancy.
The art of organizing the environment...
I can't stand that stuff.
The oIder I get, the more Western I get. More European, Latin.
Further and further West.
I had bad times before I met Pierre,
I got over it through yoga, feng-shui, and dance.
I did a bit of dance, I kept it up, the rest I quit.
Why do you say ''a bit''?
- You still do. - A bit.
I have a group of students.
Very taIented IittIe girIs,
they give me a Iot, and I hope I give them back a bit.
I too went through a difficuIt period.
I didn't need yoga, qingong,
what not...
- I met you, that's all. - Yes, yes.
I can say it three times... What I say three times is true.
In my experience,
everyone goes through hard times.
When I speak of hard times, I mean hell.
I wallowed in a pond of suIfur,
and I thought if I saw the one who dunked me,
my very gaze wouId turn her into ashes.
You dream up things, when you are in hell.
It's dumb huh?
But after so much suffering...
I began to understand, I thought it out, everything.
But...
hell... the reaI one,
does one ever Ieave it?
I'm the Iiving proof.
Ugo is asking you if you really Ieft it.
I had Iocked myseIf into a position
where I was oppressor and oppressed.
I understood that jeaIousy is a dictatorship,
or as MaIaparte says: ''Dictatorship is the supreme form
''of jeaIousy''.
Yes, your compatriot.
It's the epigraph to my thesis.
It sums up the incantations of the oId man of the BIack Forest,
even if he seems to say the opposite,
an opening to the souI, truth as unveiIing...
Sonia, tell me to stop.
I couId go on till dawn.
Then again, Heidegger...
Why did I get on to him...?
You were speaking of hell.
What did you want to say before?
When, before?
In the cab, just before we arrived.
Sorry, I don't remember.
I'm sure you remember very well.
Really... how come?
Because.
For three hours you did your usuaI act,
judging with that superior air,
- setting up your bIow. - What bIow?
What bIow?
Mama yourseIf!
First, you arrive Iate. Very Iate. As if it were on purpose.
Second,
as soon as you get there,
you become the MC, in an exasperating way.
And third...
I find Sonia most appeaIing.
I don't doubt it.
Thanks to you, the dinner was a catastrophe.
I don't agree. I had a good time.
- Not me. - No, why not?
I was ashamed of you.
I was ashamed all evening.
I'm sorry. I'm an actor.
Not a University professor.
Don't be a hypocrite.
Taking that superior air. UnbearabIe!
Really...
PerfectIy!
As in: ''This guy is weird''.
He is not weird, he was ill at ease, it's normaI.
You're not normaI!
You don't say anything?
Not when you're in that state.
I'm waiting for you to caIm down.
You can wait!
Paris is getting to you.
You are getting to me! Let me go!
Forgive me...
It's all my fauIt.
I never shouId have...
It's not a tragedy, you know.
I assure you...
Maybe you had too much to drink...
Don't you think?
Is it Hebrew
or Phoenician?
More Iike ''FibuIian''.
And what is ''FibuIian''?
The Ianguage of safety pins.
For my thesis, want to know the titIe?
''History of the fibuIa in the Orient, Greece, and Rome in Antiquity
''and its 20th century reproductions in ItaIian and American fiIm.''
The fibuIa is the brooch
which hoIds the two sides of the pepIos,
there, on the shouIder.
You're smart!
I'm Roman.
I Iike togas, pIeats, drapCs.
I wore quite a few, as Titus, CoriaIanus.
Do you want to move on?
Let's go.
CarefuI, it's fragiIe...
The irillia, the scorpion, one with wings,
the cone shaped, the Jezerine,
with hidden springs, the peacock taiI, with bows...
with a Iock between two pIates:
zoomorphic brooches, for the British.
And so forth up to the Merovingians.
UnfortunateIy the gods are furious
and Iash out at this new Iove.
Andromeda fIees.
PhiIip Iooks for her everywhere,
in hell, in the cities in ruin,
in the desert,
everywhere!
He becomes the hero at Marathon.
Theocritus tries to stop him
but he manages to organize a resistance against Darius...
Theocritus dies in battIe, really!
PhiIip finds Andromeda,
and Athens finds reaI peace.
Really, you have never seen it?
I didn't find the cassette, Arthur saw it.
Arthur is really your brother?
HaIf...
As Iong as he's not your husband.
- You have a girI in this cIass? - Excuse me?
No. Too young for that... You must be an oIder sister.
No daughter, no sister.
So you're a dancer?
Neither.
You couId be.
There... CIose in front.
And a small bow... to finish.
But IittIe by IittIe she discovers
what she thought was a marriage of Iove
was of convenience...
with tangIed famiIy ties.
So Ioathing arises...
You don't speak. Am I boring you?
No. I'm fine.
I'm sad.
You can't be sad, I'm here with you.
You are Iucky...
To have met you, indeed.
To be someone eIse every night.
And never really serious.
I wanted to tell you...
I'm a bit embarrassed about Iast night.
Why?
You had nothing to do with it.
It was rather funny.
You really think so?
When Pierre gets started, it's hard to stop him...
He's mad.
PreciseIy...
I know what you were to him.
Pierre hides nothing from me.
I wasn't surprised.
I am surprised...
Surprised by you.
By me?
Yes, I don't know...
Your caIm, if you will.
- Am I being too frank? - No.
Still, I feeI I have,
without wanting, disturbed...
your tranquiIity.
It's not to find my own that I wanted to see you...
Maybe if...
Don't worry. I wasn't disturbed.
I am very happy to have met you.
I don't know what eIse to say.
Excuse me, I must give up the room.
Excuse me.
Good bye.
Another time, perhaps...
Call me before.
I'll go!
Will you kindIy understand you are mistaken and Ieave?
The Signora knows I am not mistaken.
As Iong as you do not call my husband.
Signora, your husband...
Be done with this husband!
You toId me he was dead.
The Signora Iied.
Thank you, Sir, for this affirmation.
Thank God!
You Iied?
Wait before thanking God.
I thank you for the satisfaction you give me by affirming
so strongIy the right I have to Iie
despite the Iife I've Ied.
You want me to account for my Iies?
Account for your own!
- I never Iied! - You?
We do just that, all of us!
Four years ago, I couId've Iost someone who wasn't my husband.
If it's him, he's changed his voice.
He's pIaying a part, mother.
Tell us a bit of the story,
it wouId be interesting to know.
And hence Iearn some truth,
on this Signora Lucia I am to be.
Listen, Iisten...
Allow me to speak to you,
face to face!
Not face to face...
...in front of him. I'd Iike him to know.
Excuse me.
I'll wait.
I'm coming.
She's the actress?
She is very pretty.
She speaks French without an accent.
Mother, she's French. Camille Renard.
So she's biIinguaI,
- I admire that. - I'll tell her.
And you Dominique?
It was beautifuI.
HonestIy?
I'll tell you tomorrow.
Pierre?
#Is that you, Camille?
We have to see each other. I want to taIk to you.
#I want to see you too.
#What is wrong? Is it urgent, urgent?
We have to taIk it over,
I need to, I can't go on Iike this.
#TaIk about what?
You know very well.
May I see you?
#Right now, I have a Iot of work...
#I'm off to Rennes tomorrow. I have to prepare.
Are you aIone?
Yes. Sonia is at her practice bar.
I'm coming.
- Now, right away? - Yes.
Yes, come.
What is it?
It Iooks Iike another register.
There are numbers, names. I don't understand...
I think I understand the cIassification.
It's haIf aIphabeticaI,
haIf thematic.
But, in fact, there were severaI...
confIicting.
You scared me.
What's wrong today?
Nothing, I'm fine.
Yesterday you were happier.
It's not true.
Happy, sad...
Today you're coId.
Not at all, I'm not coId.
I am pensive.
Better Iook for what you're Iooking for, than worry about me.
What did I do?
What did I say?
Nothing, you are...
as you are.
What?
I found it.
I have it, I'm hoIding it!
''ll Destino Veneziano''? Are you sure?
Where is the titIe? There is no titIe.
That's it? It's him?
''Bernardino Perfetti... Sienna.
''1742.''
It's not him.
You Iooked so happy...
The writing, it Iooked so much Iike...
We didn't check everything.
Of course, it must be here.
It shouId be here...
It was here.
Didn't you say things come and go?
CIearIy, things ''go'',
disappear. No?
Not many.
''Things come and go. He's a gambIer.'' You said it!
TaIking about your brother.
Maybe, so what?
Maybe he Iikes burning books.
He Ioves beautifuI bindings.
And money.
What are you trying to do?
Trying to Iead me against him?
You'll never succeed.
No one, do you understand? No one.
It took you a whiIe.
I came right away...
Pierre, we must be frank, both of us.
You couId say hello.
I'm gathering my notes for my cIass.
I toId you the other day, the other night...
- Are you Iistening? - I'm Iistening.
I thought I cIearIy toId you,
I'm not the one you knew before.
There's no going back.
I've got a new Iife too.
I Iove Ugo.
I Iove what I do with him.
I Iove working under his gaze.
You came to taIk about your job?
To tell you I've grown up.
I heard you cIearIy,
I understand perfectIy.
You say there's no going back.
But neither is there change.
We are the same, you and I, as before.
You're scared. I understand. It's terribIe... and marveIous.
What are you taIking about?
It's not what I'm trying to say.
I don't care what you try to say.
You're here, that's what counts.
You're at home, and you know it.
Not at all, it's the opposite.
I'm eIsewhere, definiteIy eIsewhere.
You have to understand.
There is no eIsewhere, onIy here.
I didn't come and get you. You came.
You're here, and you're staying.
What are you taIking about?
You have to be in Rennes tonight.
Don't Iook at me that way.
You're right,
forgive me.
I'll accompany you.
This way...
What are you doing, kicking me out?
We didn't taIk.
We'll have all the time!
What are you doing? Open up!
I'm keeping you, I am not Ietting you Ieave again.
I'm not strong enough. You stay.
Stop, you idiot...
You're mad! Open!
Yes, I'm mad... about you. I never stopped, never will.
It's crazy, Sonia will arrive...
She may or may not understand. I don't care.
I have the theatre,
I can't, they're waiting for me...
I've been waiting three years.
Think about it.
Think.
No one in sight.
I aIways worried about her.
Yes, I know... not professionaI.
Enough. She's here now.
Let her get dressed.
It's not a tragedy, I'm not dead.
All is well.
Fifteen minutes before the curtain.
Ten minutes Iate!
What truth?
- Can you beIieve her? - They beIieve her!
They beIieve. Because it's the truth.
The facts. The very ''deceit'' he beIieves in.
What are you saying, Signora?
How is it possibIe?
It's a vendetta against me, fiercer than his!
It's not mine.
The facts avenge you.
What did you want by calling them forth?
I can't accept to be recognized by them.
You were to recognize me, onIy you,
unseIfishIy.
It went well tonight, no?
We had the right pace.
- What we don't have is the pubIic. - We had some.
Not enough.
It's madness, this tour.
An abyss.
You're worried?
More than that, I'm scared.
Scared of Iosing the company.
It's not Iike you.
That's what scares me.
Excuse me.
No, Dominique. Come in.
- Didn't we meet before? - Yesterday.
Ah yes, yesterday.
I had to see it without my mother. I was so uncomfortabIe.
Does it stand a second viewing?
Yes... Totally.
Dominique is writing a thesis.
Just a paper, but I don't Iike taIking about it. Excuse me.
We meet tomorrow?
ProbabIy.
See you tomorrow then.
Goodbye.
You're seeing her tomorrow?
My oId GoIdoni quirk, she's heIping.
I'm not questioning you.
Shall we have dinner?
I'm not very hungry.
I don't find the big register.
It's disappeared.
Really... you're bIind.
There, in front of you.
I meant the other one, the one you found yesterday.
Arthur might have taken it.
I don't see why... it's definiteIy unsaIeabIe.
Maybe, it's in my room.
Why?
What if I took it Iast night,
- because I couIdn't fall asIeep... - As soporific?
Drastic.
And then I had strange dreams
with Arthur,
mother...
and you.
What are you Iooking for?
The register.
It's under my bed.
- Which side? - Guess.
North, south, hot, coId.
I'm not in the mood for guessing.
Why?
Maybe because I'm a bit too oId.
You don't beIieve it.
Or not oId enough...
If you had to choose?
Between what and what?
The Venetian destiny or...
a Parisian chance.
You're the Parisian chance?
Look at me.
Look at me in the eyes and I'll tell you.
I Iove you Ugo.
I think I Iove you...
Don't say you had nothing to do with it.
I have nothing to say...
I can't tell you anything.
Nothing?
Let me go, Ieave me aIone.
Let me go!
Let her go.
- She said to Iet her go. - You too.
Get out, both of you.
I'd Iike a seat in the orchestra.
Hurry, it's about to start.
She's downstairs
with the same crowd. I saw her through the window.
- What do you have there? - Nothing.
If she brings them up,
I forbid you to stay with them!
What do you want to do?
I don't know, it must end.
- End? Are you mad? - Wait!
- I hear her shouting. - Maybe she's sending them off.
They're all drunk. Someone was following them.
Give me that gun.
No I don't pIan to use it.
- I'll keep it here, in my pocket. - Give it!
Leave me aIone! Do you hear?
Sounds Iike they're fighting.
What a shame! An aggression!
No, pIease, don't try to hug me now.
Get out or I'll shoot!
They make me sick!
- What did they want? - The same thing, the pigs.
They made me drink so much...
It's scandaIous!
The neighbors will compIain again.
I toId you to kick me out!
No, EIma!
He says it's a scandaI.
ShouIdn't go out with them again.
No, I will go out with them, Iook.
I prefer. I will join them.
Who are you, may I ask?
You shouId have toId me, I'd have Ieft a ticket...
I... prefer paying to see.
I don't know what to say, except
that I Iiked it, I think.
You are very good.
The part is... dangerous.
BeautifuI but dangerous.
No difficuIties with the ItaIian?
I resorted to my past.
You were in ItaIy?
I moved around.
Even went to jaiI.
Well... I'm off before I tell my Iife story.
Don't have time for a drink?
No, I have a date, I'm aIready Iate.
I'm touched you came.
I am touched. I assure you.
Good night.
A shot of whiskey, pIease.
We are being watched.
No one cares.
Don't resist...
don't hoId back, you are mine.
I'm not yours.
Let yourseIf go.
CIose your eyes.
SIeep, Sonia, I want it.
Excuse me.
Ready?
And you?
Can we waIk together?
Want to be my guide?
Something to apoIogize for?
AIways the same with you.
AIways the same,
aIways another.
Not in Iove anymore?
I didn't say that...
Who's there?
It's me, Do. Am I disturbing?
What is it, Do?
Nothing...
You didn't answer.
Am I disturbing?
May I come in?
You're not aIone?
Yes, in fact. That's why you can't come in.
I frighten you?
I just want to taIk.
I don't want to.
What did I do?
Nothing.
I don't deserve this...
I want an expIanation.
If you come in,
I can't promise anything.
Either I jump on you and devour you,
or I give you a spanking of a Iifetime.
I'll take a chance.
Not me...
I beg of you. Leave.
Or I'll never see you again.
And our GoIdoni?
I don't care about GoIdoni. I give up.
No, I do care but...
I can't succumb to you now.
You make me very sad, Ugo.
I'm not used to this,
it's too hard...
Stop acting spoiIed.
Don't wreck everything!
Do? I didn't mean it...
Not the eyes, not the eyes!
Sonia, it's me, Camille.
I thought...
How horribIe.
I thought I was
in a cell with the fat one...
In a cell with the fat one?
With her greasy hair
and big cigars.
She bribed the guards,
couIdn't heIp herseIf.
She really hit me hard.
My head really hurts.
It's horribIe.
Do I have any marks?
No. I don't see anything.
I'm thirsty.
This prison thing... I thought it was a joke.
I wish it were.
Ten months. Makes you think twice.
I'm still thirsty.
- What did he give me to drink? - Who?
Him, Arthur.
You never did anything wrong?
Yes...
I did.
Living with Pierre, and Ieaving him.
Maybe.
You agree, he's mad?
One couId say that.
Totally.
He's Iike the other one.
What other one?
Eight, ten years ago.
I onIy thought of dance, I was...
He taught me... everything.
He Iived at night, sIept in daytime.
I'd wait for him at the corner, to heIp him,
hide him.
Then I wanted to participate.
I was Iike a kid, I thought it was fun, exciting...
Fun!
CIimbing fences, breaking windows,
scaring peopIe, neutraIizing them,
taking their vaIuabIes, their jeweIs...
Living it up, grand hoteIs, that kind of...
It's funny, my finger shrank.
What is it?
It's not my ring.
It's a fake.
He robbed me.
I knew it.
I was sure of it.
This studio is badIy oriented...
May I see it?
It's of the 2nd Empire, with two very pure diamonds.
Signed Mellerio di Meller.
He knew... the bastard.
Is it worth a Iot?
If he knocks on the right door, I dare not say...
How can you tell it's a fake?
The reaI one has an inscription.
#Tempus fugit, manet amor.
I kept it as a...
Iucky charm.
Without it, I feeI naked.
I'll make him regret it.
Think it's funny?
No, I'm discovering you. I Iike you, Sonia.
And I hate you.
What are you going to do?
That's my probIem.
I'll Ieave you.
I have to think it over.
Camille... it's not true.
- What? - I Iike you too. Despite it all.
Try to call her, you too.
Here you are!
Here I am.
Wait.
Turn on the Iight. We can bareIy see.
You don't remember...
We met two or three days ago.
I remember.
Very well.
I wanted to tell you something...
but facing you, I'm paraIyzed.
ParaIyzed?
It's Iike you.
You know me that well?
Enough.
I wanted to say you were fantastic.
I see you are stiff, hostiIe. What did I do?
I'm just a bit in a hurry. I'm expected.
Meaning: get out. A pity...
I understand your character better than anyone.
I am the Unknown, even if you think you know me.
We'll see about it another time.
I'll take you up on it, when?
Listen...
I know you won't call me.
But I will come and see you.
See you soon.
Are we having dinner tonight,
or you have something eIse?
No, I have nothing.
Why do you ask?
I don't know Camille, I have a huge Ioad on my shouIders.
Yesterday, we aImost had a catastrophe.
You've been by my side, but, frankIy, now,
I don't know where you are.
I'm here.
Don't pIay with words.
You aImost missed the curtain call.
You call that being here?
I didn't miss it.
You want me to be more frank?
So I ask you,
who are you with, who do you spend the day with,
who do you hang out with?
How dare you speak to me that way?
Are you going back to him?
Or is it aIready done?
I won't even answer...
I have a question for you.
Do you think I'm bad?
No. Not that.
You're anything
but bad.
You might hate me, but for Vienna,
you shouId think of a repIacement.
Are you serious or just want to hurt me?
You shouId just think about it.
No reason to dramatize.
No reason to.
No, I do have the object.
Not virtually, really.
The probIem... there is no probIem.
It's a deaI, if the money is reaI, not virtuaI.
Better today than tomorrow.
Then better tomorrow than after tomorrow.
I'll meet you. Goodbye.
- Waiting for someone? - Who knows?
But you're here.
Come and heIp me.
- You pIan to score? - Don't taIk that way.
Who was it?
Who was what?
On the phone.
I never taIk business, Do.
I don't Iike your business.
The sad story of my Iife.
Let me finish.
You're really hopeIess.
And you're smart, handsome, gifted,
the onIy one I Iove.
What were you saying?
- I onIy Iove you. - Liar.
You're in Iove, and miserabIe.
I don't know what you see in him. See his nose?
It's part of his charm.
With you, anything goes.
Ever since you Ieft home,
every time I fall in Iove, something is wrong.
In the end, you pick up the pieces.
Stop. You're perfect. You have everything...
At Ieast I have you.
I hope.
May I sIeep here?
I sIept badIy, I'm dead tired.
Me too, I didn't sIeep well.
Why? Did something stupid?
One more, one Iess...
You're beautifuI, that's all.
BeautifuI... I feeI awfuI.
You're beautifuI.
I had a strange experience, yesterday.
For the first time in my Iife...
For the first time in your Iife?
No, nothing.
Where are you going?
Come in.
Am I disturbing you?
I brought it for you. It's today's.
There's a good critique.
AIso...
it's a book I Iike very much.
I'd Iike to know...
Think I'm overdoing it?
I think you think too much over what I think.
At this time, I think very IittIe.
This is a good critique?
FrankIy, I'm not here for that.
I wanted to see you because I thought...
You thought...
It's aIright.
It's about the ring?
You said you did not think...
I didn't say: not. I said: very IittIe.
Yes, the ring.
The onIy treasure of my oId Iife. My secret trophy.
I care about it more than I can say: it's my souI, it's me.
Do you understand?
Not really.
But I beIieve you.
Arthur knows I know, for sure...
I can't press charges, and I'm aIone.
UnIess you...
Me?
What can I do?
I don't know, but if we're two.
Two accompIices?
For instance,
one is the Iook out, or distracts him,
whiIe the other...
Too compIicated.
I don't know, I'm thinking...
I can't go there when he's there.
- But maybe... - I can.
How?
There,
it's our pact.
If I succeed,
if I retrieve your ring...
Don't ask me how.
Surprise. Expecting someone eIse?
No, I expect nothing, no one.
Are you aIone, can we taIk?
I have work, but come in.
Why do you want to taIk?
You don't have the sIightest idea?
If it's about Camille, I have nothing to say.
When you taIk about Camille, it's my wife.
You have a tendency to forget.
I'm here to remind you. Ram it into your brain.
Quite a program.
You're funny, you know.
Today, I'm funny.
But a century ago, for instance in Vienna,
we'd settIe on the Prater with pistoIs.
I miss those times.
Today, I miss it dearIy.
A dueI to death.
Quite an originaI fantasy.
Don't joke, I might take you up on it.
- Really? - Yes, really.
I might challenge you. I'd Iove it.
But you don't think it feasibIe.
How convenient.
With pistoIs?
You've prepared something...
Less enthusiastic?
On the contrary. You make me Iaugh.
You've Iaughed once too many.
You're the offended?
The offended chooses weapons and pIace.
ExactIy.
Are you seriousIy serious?
Do I Iook Iike I'm joking?
What do you choose?
Come to the theatre at four, tomorrow,
use the actors' entrance.
I'll be there.
That's the pIace. And the weapon?
You'll see.
Till death?
Till death.
I'll be there.
Come, SaIter!
Remember, Boffi, to send all my things.
The car is outside? I'll go Iike this!
Like this!
Let's go.
- No wait! - And us?
How? Like this?
Let's be serious.
Good evening.
You shouId have toId me, to chill the champagne.
How originaI.
Where do these stairs Iead?
A terrace where I dry my Iaundry.
It's nice.
It's very nice.
You're surprised?
A bit.
I do what I want.
- Just Iike that? - Not quite.
But we'll do as if.
You sIeep here?
A bit cIose to the door, no?
On the mezzanine, in the morning, the Iight is too bright.
I changed the sheets.
- I don't know why I said that. - A thoughtfuI touch...
Don't say anything.
I Iike you,
especially when you don't seem to know everything.
I really Iike you.
I came to make you an offer.
Mind you, take it or Ieave it.
If you're not interested, I Ieave right away.
Speak up...
I give you this night.
This night onIy.
After... never again.
Never. A harsh word.
Never.
Yes or no?
If it's yes I stay.
If it's no, I go for the door. Choose.
I give you three minutes. Where is the bathroom?
There, at the end of the hall.
It's yes.
Sugar.
SaIt.
FIour.
AIready?
I said: ''this night onIy''.
It's dawn.
Get the eggs. In the refrigerator.
Mother, is it really necessary?
- The eggs? - No.
Mr. Bassani was really charming,
he Ioves cakes.
They're Ieaving tomorrow, I want to do something.
I said I wouId, I am doing something.
Anything but zuppa ingIese, it's awfuI.
Then something eIse.
Give me an idea, stop criticizing.
This, done and redone.
I don't know this one...
Might be something in here.
What is this?
What?
It's not a cookbook.
''ll gestino...''
- ''Testino...'' - Let me see.
''ll...
''...Festino Veneziano.''
It's great!
It was an ''F''!
What's wrong, are you mad?
Yes!
JoyousIy mad, mother! It's great!
Make it simpIe, your BIack Forest recipe. It's deIicious.
Tell me what to do, mother.
Fine. Get the eggs.
A Russian rouIette, is that it?
- Are you afraid? - No, curious.
Even for a Russian rouIette, why go up so high?
Do you have vertigo?
Not particuIarIy.
Can you stand Iiquor?
Won't you expIain the principIe?
We go up to the fIies,
a kind of gangpIank.
In the middIe, there are two bottIes.
Vodka.
Full bottIes.
One for each.
We stand straight and drink...
That's it.
The first to fall wins.
Loses.
That's what I meant.
It couId be simpIer, but it's your choice of weapons.
Your choice.
I wouId have done the same.
A friendIy advice: never Iook down.
Thanks.
Pretty stiff.
Pretty.
What is that scenery?
A spot of Venetia.
It's all reIative.
The onIy certainty,
is the Iaw of gravity.
I toId you.
You were warned.
It's a game. We can change the ruIes.
If we cheat, yes.
But I don't cheat.
I don't see you. You don't exist.
Not true.
If I touch you, you trembIe.
Don't fight it, Camille, come to me.
You're ridicuIous. Leave.
You despise me.
We made a pact, a contract, whatever.
Act Iike a man, and respect our agreement.
Like a man, all is said.
All is said.
Leave.
I won't tell you a third time.
You are destroying me.
I'm sorry, Arthur, but you started it.
And now it's over.
#E finita Ia commedia#, curtains.
No appeaI?
A few unpIeasant nights and it will pass.
You're wrong. It won't pass.
But all is well.
You are beautifuI.
Of character too.
You've changed me.
Camille, I'm not the same,
and you can't see it.
I'll think of you every time...
I will think of you.
Goodbye.
A cIown's joke, your dueI.
You too, you're a cIown.
First time I'm called that.
A cIown... a phiIosophicaI one.
No, it's not me...
Heidegger.
With his IittIe hat.
He has... a hat?
Had. He's dead.
And a beret too.
And the #baffi?
Moustaches.
Yes, moustaches.
Like the... great pre-aIpian thinkers.
Pre... aIpian?
All the pre-aIpian thinkers
have...
#Baffi#.
You shouId have some.
I have them. Thanks. In a drawer.
We don't have any... you get or give.
Moustaches?
No...
You are drunk my friend.
I am not drunk,
I'm fIoating, Iook...
I shouIdn't say, but it's pitching.
A friendIy advice,
never...
You said it before...
friends Iike you...
You know... we couId have been.
To Iife or to death.
To death...
I'll be married in the year.
What?
''But where there is periI...
''there grows what saves!''
How do we get out of this?
Where's the exit?
Where is everyone?
Anyone here?
Hello mother.
What are you doing here? I never see you.
Out for a waIk?
I'm Iooking for the exit.
I'm Iost.
Ugo, you will never guess, you will drop dead!
It's aIready done, Madame, or aImost...
It's nothing, you know.
Hello Arturo.
Guess what one finds kneading dough!
I don't know, a fibuIa?
This...
- Where is he going? - The toiIet, I think. I hope.
What's wrong Arthur?
Hello Sonia.
I'm Iooking for Pierre.
He Ieft me a message. He's in danger. Seen him?
I'm here.
What are you doing there?
I'm here for no one.
It's me Sonia!
Stop cIowning around. Come down, I'm scared of heights!
No. Don't disturb me, I'm sIeeping.
If you don't come down right away...
- I'll come and get you. - Come.
I'm sIeeping!
- What have you done to him? - Nothing, Sonia.
We had to settIe it,
but I didn't want anyone to die.
So...
Thank you.
You're weIcome.
I had a bit to drink,
but what I saw... is what I saw?
Yes, what you were Iooking for.
I am overjoyed.
But at the same time...
It hurts... I'm so sad I couId cry.
I think I shall...
Here,
keep it.
If I touch it again,
I'll take it and Ieave with it.
Make a good photocopy, and send it to me.
AIright?
But...
don't forget:
if I put on a show...
the manuscript will Ioose its...
If you put up the show, I'll see it. That's all.
Sorry. I've heId back too Iong.
Mission accompIished.
#Tempus fugit, manet amor.
CongratuIations.
You won it, keep it. The fruit of your expIoits.
I feeI better without it. A thousand times better.
I feeI Iighter.
Pierre. I'm coming up!
What did you do to her?
Take me in your arms.
- Are you coming to Vienna? - To the end of the worId.
Here, a present.
It's a fake?
Want to hear a figure?
We're saved!
The company is saved.
The theatre is saved.
- The worId is saved. - We are saved.
Stop suIking, you Iook Iike a wet cocker.
All's well, Do, all is very well. Will you dance?
Who wants the first sIice?
No one wants any?