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Goodbye Again (1961) Ingrid Bergman, Anthony Perkins & Yves Montand

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    Gabby.
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    Oh, Gabby. I'm late.
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    - Has monsieur called?
    - No, madame.
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    I couldn't find a taxi with the traffic.
    Is the dress ready?
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    Be an angel and draw me a bath.
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    Not too hot. Oh, no. My zip...
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    It never works when... It's all right.
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    Oh, Gabby, where did you put my...
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    Oh, never mind. I found it.
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    I think I'll wear my mink jacket tonight.
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    Gabby, did you fix the belt to the dress?
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    - Oui madame.
    - Not oui madame, yes, ma'am.
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    - You're learning to speak English.
    - Oui, madame. Yes, ma'am.
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    Would you answer it, Gabby?
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    Say, I just left.
    I just walked out the door.
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    Hello. Yes, I mean, oui monsieur
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    All right, I'll take it.
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    Watch the water, Gabby.
    Roger, darling.
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    Oh, I'm sorry, but I'm going to be late.
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    Well, really, the traffic in Paris
    this time of day is something...
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    You what? You can't? Oh, no, Roger,
    not again. I know it's business,
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    but it's just that tonight
    is a very special night.
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    It's our fifth anniversary. Of what?
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    Of the night we met.
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    No, no, I understand.
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    Yes, tomorrow will be all right.
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    Good night, darling.
    Good night.
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    It's very useful for a man this business.
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    Yes, very useful.
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    I would give him an ultimatum.
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    What kind of an ultimatum?
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    We are going to get married or out?
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    No, Gabby. I've told you
    we don't want to get married.
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    He doesn't want to.
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    We were both married before.
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    You know that.
    We both learned the same thing.
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    People should be together
    because they want to be,
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    not because they have to be.
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    - Freedom is such a precious thing.
    - For him, not for you.
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    - Oh, Gabby.
    - He goes out with other girls.
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    Yes, he does.
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    - You don't go out with other men.
    - I don't want to.
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    Some freedom.
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    You worry too much about me, Gabby.
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    My mom says it doesn't matter
    when you are young,
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    but when you are old,
    you want to be married.
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    Oh, Gabby, am I that old?
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    No, but you are too much alone.
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    Sorry about last night.
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    - This has been a terrible week.
    - Yes, I know, Roger.
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    I'm still trying to close
    a deal in Denmark,
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    but one in Holland fell through
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    and I have no shipments from America
    because of the strike.
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    - It's not very gay all that.
    - No.
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    Shall we give it up, Paula?
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    I could live quietly in the country
    in the small house by river.
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    You wouldn't know
    what to do with yourself.
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    You couldn't live without
    your trucks and your tractors
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    and the life of your city,
    your long Paris nights.
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    But you've taken
    to driving very fast lately.
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    I know. What's that a sign of?
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    - Trying to stay young.
    - Oh, you'll never be old.
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    Je t'adore.
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    Whatever I say, you understand.
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    Whatever I ask, you can answer.
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    - Oh, I am remarkable.
    - You are.
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    I wonder how many times I've done this.
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    Leaned forward to turn on the radio
    as you drove me home from dinner.
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    Paula.
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    Well, am I very selfish? I mean, with you.
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    No. It's true I feel alone sometimes.
    Not quite so young. And I miss you.
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    But I know how much
    your your business means to you.
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    - Do you know how much you mean to me?
    - I think so.
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    Oh, I forgot.
    I had lunch with Jack Vanette today.
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    He has a friend who needs a decorator.
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    A rich American woman
    with a new apartment.
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    Here's the name and address.
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    You're supposed to see her
    tomorrow morning.
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    Oh, thank you.
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    Sounds like there may be some money in it.
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    I could use it.
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    Well, good night. I'll let you sleep.
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    Well, what happened?
    We were looking for you.
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    Good morning, Suzanne.
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    Would you like to take a walk?
    Then I'd like to take a walk.
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    - Morning.
    - Oh, good morning.
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    I'm Philip Van der Besh.
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    - Have you come to see my mother?
    - Yes.
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    - Won't you sit down?
    - I hope I'm not too early.
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    Oh, no. No. Mother's up, I'm sure.
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    Is it about doing the apartment?
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    - Yes.
    - Well, it could stand a bit of doing.
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    Well, I did wonder where you sit
    when you're more than three.
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    Oh, well, I wouldn't know about that.
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    I work all day, and when I come home,
    I go straight to bed.
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    Oh, you must work very hard.
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    Yes, I do. I do. I'm a lawyer.
    Never get to bed before midnight.
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    Up and out of the break of dawn.
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    - It's almost 11 now.
    - Yes. Well, yes.
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    Well, it's uh unusual.
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    I may as well tell you
    my most important client
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    went to the guillotine this morning.
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    The guillotine? Good heavens! Is he dead?
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    No. Actually, I don't do much work.
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    Not enough really.
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    Would you like a cigarette?
    Yes, thank you.
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    Where did Oh, thank you.
    Is it still raining?
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    No, it's not still raining.
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    Well, there really isn't
    anything else to say, is there?
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    I mean, I don't know you.
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    If I did, I'd tell you how happy
    I was to see you again.
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    - Why?
    - I don't know. I just would.
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    Suzanne, has Mr. Phillip gone?
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    Quick, there's another.
    When were you born?
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    What day? What month?
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    - Phillip.
    - Yes, mother.
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    Oh, there you are.
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    I do think you might get out
    of the house before 11 once in a while.
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    Uh, yes, ma. I was just gone.
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    I can't see why monsieur Fleury puts up with you?
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    Oh, that's easy. You're his richest client. Goodbye.
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    Uh, I do hope I'll see you again.
    Good luck.
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    I'm sorry. Did you want to see me?
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    Mr. Bunnell asked me to stop in
    and see you this morning.
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    Jack Bunell,
    he said he'd spoken to you about...
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    Oh, yes, yes, yes, yes.
    About the apartment. You're the
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    decorator. Well, he said some very nice
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    things about you. Now, before we begin,
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    there's one thing I want you to
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    understand very clearly. If there's one
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    thing I can't stand, it's people who try
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    to take advantage
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    of
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    Suzanne. Suzanne, you have to tell them
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    everything a dozen times. Don't
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    misunderstand me, my dear. I want the
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    apartment to look well, but there are
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    ways of doing it, aren't there? I had a
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    young man. What?
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    Madame, what? Oh, oh, yes. Yes, sir. Now
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    I've told you not to leave the windows
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    open. Leanetra puvet. We madame well
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    kindly remember. We madame. She won't.
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    You know they say servants are cheaper
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    over here with the strain on the nerves.
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    Now what was I saying? You had the young
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    man. Young man. Oh yes. Yes. Of course.
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    The decorator. Well, he didn't last
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    long. I've met robbers in my time. Oh,
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    do sit down, my dear. But for sheer
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    praise and thievery, he
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    was When were you born, dear? Oh, I beg
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    you pardon. When were you born? Oh, you
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    don't have to tell me the year. I
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    wouldn't dream of asking you that. Uh,
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    what the month? June. Oh, what part of
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    June? The 13th. Oh, Gemini. Oh, how
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    interesting. I don't suppose you
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    remember the time of day. No, no, I'm
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    I'm afraid. Oh, that's too bad.
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    Well, now shall we do the downstairs in
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    Louis?
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    It'll cost quite a bit more. And if you
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    want to keep the pieces you already
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    have, I most certainly do. Come along.
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    I'll show you around. You know, these
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    things have been eating their heads off
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    in storage. It's about what time they
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    paid for their keep. But my son is
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    studying international law, you see, and
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    we travel a lot, but now we have to stay
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    in Paris for a while. Oh, did you meet
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    Phillip? Oh, you must meet him. He's
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    quite charming and really quite right.
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    The trouble is I have the fittest idea
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    what goes on in this mind. Oh, this is
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    the dining room. Yes, I am sorry about
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    his arm. Arm? What arm?
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    The one that goes like this. Really? I
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    hadn't noticed it. I must have a look.
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    Oh, about the dining room. Now, I
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    thought over
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    here you are. Oh, but you haven't been
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    here all this time. No, no, I had some
  • 13:03 - 13:05
    things to do. I just happened to drop by
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    this way. I'm going to pull near. Are
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    you sure? Sure. Thank you. There's an
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    art to getting into this thing. You all
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    right? Oh, nothing. Ju just my stuff.
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    Am I driving too fast? Oh, no. I'm used
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    to it. I have a friend who drives very
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    fast. He says it keeps him young. Does
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    he want to stay young? Oh, yes. Not me.
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    I take it you were born into the right
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    sign to do the apartment. I hope so. Do
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    you believe in the stars? No, but your
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    mother seems to be ruled by. Mhm. It's
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    very convenient, too. If you're ruled by
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    the stars, you don't have to feel
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    responsible for the things you do. Did
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    you find her vague?
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    Yes, in a way. She's not a bit vague.
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    It's an act.
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    Oh, it seems that acting runs in your
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    family. How's your arm? Pretty good.
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    It's
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    Listen, make mother pay as you go along.
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    She's rich and stingy and she hates to
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    pay bills. You shouldn't talk like that
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    about your mother.
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    I'm not a child. Oh, that's why. How old
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    are you?
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    25. How old are you?
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    40.
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    What's so funny? The admiring whistle. I
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    was more admiring than you think.
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    Thank you.
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    Will you have lunch with me one day?
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    Nope.
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    Just like that. No,
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    just like that.
  • 14:56 - 14:57
    I'm sorry. Sorry, I didn't mean to be
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    rude, but it's difficult for me to plan
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    lunch the way I work and now with your
  • 15:01 - 15:04
    mother's apartment. I understand.
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    Here to the right, please. Okay.
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    Well, thank you very much. Not at all.
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    Well, goodbye.
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    Hello.
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    Good morning.
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    Morning, Alex. Good
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    morning. He's run for you three times.
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    No. What about How should I know?
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    Probably the guilo brief. I gave him
  • 16:05 - 16:10
    that yesterday. That's probably why.
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    What is it? What's the matter? Have you
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    hurt yourself? No, it's all right.
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    Oh, no. No, no, no, no. Let me go. Let
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    me go.
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    You and your play acting. Really,
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    Alice? I met someone this morning. I
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    know. The most beautiful girl in the
  • 16:30 - 16:32
    world. No, a
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    woman. Warm, charming,
  • 16:35 - 16:39
    gay, and yet sad. There was a deep
  • 16:39 - 16:43
    sadness in her eyes. From what?
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    I don't know. The husband. What husband?
  • 16:47 - 16:49
    Isn't she married? How would I know?
  • 16:49 - 16:51
    Don't think you ought to find out. What
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    difference would it make? Oh, excuse me.
  • 16:54 - 16:56
    Well, if she is, it can't be a good
  • 16:56 - 16:58
    marriage. She's not happy. No, she could
  • 16:58 - 17:02
    only be happy with you, right?
  • 17:02 - 17:03
    Yes,
  • 17:03 - 17:05
    good morning, sir. No, that'll be fine.
  • 17:05 - 17:08
    Six. Six. Six dozen. Thank you. Sorry. I
  • 17:08 - 17:11
    hope you know what time it is. Yes. Yes.
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    Oh, dear. I'm sorry about that. I I was
  • 17:14 - 17:15
    I was delayed at home this morning. My
  • 17:15 - 17:18
    uh my mother's not well. I talked to
  • 17:18 - 17:20
    your mother on the telephone exactly 5
  • 17:20 - 17:22
    minutes ago and she seemed to be in
  • 17:22 - 17:24
    perfect health. Yes. Well, she she is uh
  • 17:24 - 17:26
    she's much better now. Thank Thank you
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    for inquiring. I've read the gu brief.
  • 17:29 - 17:32
    Yes. I do not think I need tell you of
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    the high regard in which I hold your
  • 17:34 - 17:36
    family. And I'm sure you know how
  • 17:36 - 17:38
    pleased I was to take you into my
  • 17:38 - 17:40
    office. Yes.
  • 17:40 - 17:42
    But you seem to have no ambition. You
  • 17:42 - 17:46
    show no desire to work. Why? This is not
  • 17:46 - 17:49
    a brief. It gives no citations. It
  • 17:49 - 17:51
    presents no body of law to support our
  • 17:51 - 17:54
    case. What did you think you were doing?
  • 17:54 - 17:59
    I don't know. Don't you care? Yes. Well,
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    then I just don't know what I'm doing.
  • 18:03 - 18:05
    You're studying French law, I hope. No,
  • 18:05 - 18:08
    I mean, um, what am I doing? What What
  • 18:08 - 18:10
    have I done to prove I'm alive? You
  • 18:10 - 18:15
    understand? Are you trying to be funny?
  • 18:15 - 18:20
    No, I want to know how does one do it.
  • 18:20 - 18:22
    For instance, I I've just realized that
  • 18:22 - 18:25
    I've never even been in love. Well, I
  • 18:25 - 18:29
    have. Do that. Father,
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    what's her name?
  • 18:38 - 18:40
    I don't
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    know.
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    Let's go. We could
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    You look wonderful tonight.
  • 19:18 - 19:20
    You always say that when I wear this
  • 19:20 - 19:22
    dress, I'll have to have it copied. No,
  • 19:22 - 19:23
    no, it's not the
  • 19:23 - 19:26
    dress. Savi,
  • 19:26 - 19:28
    how did you ever find this place? I
  • 19:28 - 19:30
    don't know. Probably came here with
  • 19:30 - 19:34
    business people. Hello.
  • 19:34 - 19:36
    You seem to know everybody. No, it's
  • 19:36 - 19:39
    just one of those nights. That's all.
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    What's up?
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    They seem awfully young, don't they?
  • 19:48 - 19:53
    Young? I don't think so. What about him?
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    No, but he's trying.
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    Oh, I'm afraid I have to go home early
  • 20:01 - 20:02
    tonight. I Oh, I didn't tell you. I got
  • 20:02 - 20:06
    the job. Yes. That card you gave me from
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    Shanel. Oh, you went there this morning.
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    Her name is Van Besh. She's one of those
  • 20:11 - 20:12
    rich women lived all over the world and
  • 20:12 - 20:16
    still give you the feeling that
  • 20:16 - 20:19
    Hello. Hello. That is funny. That is for
  • 20:19 - 20:24
    her son Mr. Van Bes. Mr. Dear. Well, I
  • 20:24 - 20:26
    knew I'd find you. Oh, you were looking
  • 20:26 - 20:29
    for me? Yeah. How nice. I look for you
  • 20:29 - 20:32
    everywhere all the time you were here.
  • 20:32 - 20:34
    Not quite all the time. We had dinner at
  • 20:34 - 20:37
    the B. I finally began to wonder if you
  • 20:37 - 20:41
    were real. Just a dream.
  • 20:41 - 20:43
    Yon
  • 20:43 - 20:45
    whiskey. This place is getting too
  • 20:45 - 20:47
    popular.
  • 20:47 - 20:52
    Are you married? I I I hope you weren't.
  • 20:52 - 20:56
    Ever said, huh? Oh, I'm I'm I'm sorry,
  • 20:56 - 20:59
    sir. I think I said something I
  • 20:59 - 21:02
    shouldn't have said.
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    Hey, would you like some coffee?
  • 21:07 - 21:12
    No, I hate coffee. I I I have one of one
  • 21:12 - 21:16
    of the the stage. This
  • 21:16 - 21:18
    Don't make any difference now. I'll be
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    right back.
  • 21:23 - 21:25
    There's a man for you. A real man. A
  • 21:25 - 21:29
    strong, confident, sure of himself. I
  • 21:29 - 21:31
    don't think it's that simple.
  • 21:31 - 21:36
    You love it. It's none of your business.
  • 21:36 - 21:40
    Oh. Oh, I I I apologize.
  • 21:40 - 21:42
    It's funny. I've done nothing all day
  • 21:42 - 21:44
    but apologize.
  • 21:44 - 21:47
    Close. Good. Close. Will you see my
  • 21:47 - 21:49
    Hello.
  • 21:49 - 21:51
    Well, hello.
  • 21:51 - 21:53
    Small world, isn't it? Envelop charming
  • 21:53 - 21:55
    surprises. I'm afraid I don't quite
  • 21:55 - 21:58
    remember where I am. Sheree, I forgot my
  • 21:58 - 22:02
    writer. Oh, darling. You remember uh Mr.
  • 22:02 - 22:04
    Mare?
  • 22:04 - 22:08
    Oh, yes.
  • 22:09 - 22:13
    Nice to see you again.
  • 22:14 - 22:17
    And then I found out I didn't know your
  • 22:17 - 22:21
    name. Well, here you are. Sir, I I want
  • 22:21 - 22:24
    to apologize if I said anything. Oh,
  • 22:24 - 22:25
    well, we've all had too much to drink at
  • 22:25 - 22:28
    one time or another. Would you like to
  • 22:28 - 22:33
    dance, darling? I love to Excuse me.
  • 22:33 - 22:34
    Do you
  • 22:34 - 22:38
    mind? Thank you.
  • 22:38 - 22:41
    We'll be back. Don't worry. Hey, Philip,
  • 22:41 - 22:42
    we're going to regime. You coming? Come
  • 22:42 - 22:45
    on, Phillip.
  • 22:45 - 22:49
    Ah, strange boy. Not strange. Just very
  • 22:49 - 22:52
    young and a little drunk. I have looked
  • 22:52 - 22:54
    for you all over Paris. I begun to
  • 22:54 - 22:57
    wonder if you're real or just a dream.
  • 22:57 - 22:59
    be coming to home for that. Oh, he's
  • 22:59 - 23:02
    just a boy and I think terribly unsure.
  • 23:02 - 23:05
    Unsure? A young man who looks for you
  • 23:05 - 23:07
    all over Paris and takes your hand and
  • 23:07 - 23:09
    says, "Are you married?" It's not my
  • 23:09 - 23:12
    idea of unsure. Well, it's been a long
  • 23:12 - 23:14
    time since anyone chased all over Paris
  • 23:14 - 23:16
    looking for me. And you like it, huh?
  • 23:16 - 23:20
    Mhm. Yeah. Yes, of course I do.
  • 23:20 - 23:24
    Oh, it's gone.
  • 23:25 - 23:29
    Good. Now I can finish my drink.
  • 23:29 - 23:32
    Excuse me.
  • 23:34 - 23:38
    Bo, I really must go home. If I stay up
  • 23:38 - 23:39
    like this, I'll look 100 tomorrow. Oh,
  • 23:39 - 23:40
    come on. I'm just beginning to like it
  • 23:40 - 23:43
    here.
  • 23:59 - 24:04
    Pora is going to break the window.
  • 24:24 - 24:27
    And Harley, please take him. Ali. Hey,
  • 24:27 - 24:30
    come on. I'm all right. No, no, I'm all
  • 24:30 - 24:33
    right. I'm I'm all I'm all right. Find
  • 24:33 - 24:38
    his key. I got my key. Where is it?
  • 24:38 - 24:42
    I won't tell you. Oh, please.
  • 24:46 - 24:49
    There. There you are.
  • 24:49 - 24:54
    My key. Can you make it all right?
  • 24:55 - 24:57
    Secondly, good
  • 24:57 - 25:02
    night. Wait a minute.
  • 25:03 - 25:06
    Good night.
  • 25:08 - 25:13
    Good night. Good night. Good night.
  • 25:36 - 25:38
    I'm sorry you had a bad time. No, it was
  • 25:38 - 25:41
    quite amusing.
  • 25:41 - 25:44
    Oh, well, good night, darling. May I
  • 25:44 - 25:47
    come up for a drink?
  • 25:49 - 25:52
    Wait a minute.
  • 26:18 - 26:19
    Oh, no. You can't have that. I'm
  • 26:19 - 26:20
    covering a chair for Mara Glenville.
  • 26:20 - 26:22
    Maro Glennville can go to I want this. I
  • 26:22 - 26:24
    adore it. And I shall have it. Now
  • 26:24 - 26:27
    that's settled. I love you passionately.
  • 26:27 - 26:29
    I have to run. Where's my packet? But it
  • 26:29 - 26:31
    won't go with your apricot walls. Well,
  • 26:31 - 26:32
    make the moisture
  • 26:32 - 26:34
    white. Uh, do you want me tomorrow? Yes.
  • 26:34 - 26:36
    I have a pair of lamps coming in that I
  • 26:36 - 26:37
    want you to look at. I'll be in around
  • 26:37 - 26:39
    6:00.
  • 26:39 - 26:43
    Goodbye, my love.
  • 26:43 - 26:45
    Hello.
  • 26:45 - 26:48
    I came to apologize. Oh, you're neat.
  • 26:48 - 26:53
    And please thank your husband for me for
  • 26:53 - 26:56
    how is your head? I'll live, I think,
  • 26:56 - 26:58
    but I'm not sure I want to. Oh, you do
  • 26:58 - 27:00
    look a bit um You ought to get some
  • 27:00 - 27:02
    sleep. Well, the thing is I'm I'm
  • 27:02 - 27:04
    hungry. Well, then go and eat. Well,
  • 27:04 - 27:05
    that's why I'm here. Now, I know you
  • 27:05 - 27:07
    said you were busy, but would you have
  • 27:07 - 27:09
    lunch with me? I I just want to make up
  • 27:09 - 27:10
    for last night. Oh, there's no need. But
  • 27:10 - 27:14
    I want you. What do the stars hold in
  • 27:14 - 27:15
    store for you today? Did your mother
  • 27:15 - 27:18
    tell you? Yes.
  • 27:18 - 27:20
    I must persevere in whatever I'm doing,
  • 27:20 - 27:22
    no matter how hopeless it may seem.
  • 27:22 - 27:25
    You're acting again.
  • 27:25 - 27:28
    Please.
  • 27:28 - 27:30
    It's a beautiful day. We could lunch in
  • 27:30 - 27:33
    the country. I have my car or in the B.
  • 27:33 - 27:34
    Then if you get bored, you can phone for
  • 27:34 - 27:39
    a taxi. You think of everything.
  • 27:49 - 27:51
    Oh, another run. I suppose all your
  • 27:51 - 27:54
    girlfriends wear slacks.
  • 27:54 - 27:57
    I haven't any. No girlfriends. Why not?
  • 27:57 - 28:00
    I don't know.
  • 28:06 - 28:08
    Try to think when did this general
  • 28:08 - 28:10
    falling away from you begin? Oh, I've
  • 28:10 - 28:13
    known lots of girls, but it just doesn't
  • 28:13 - 28:15
    last. It's my fault, I guess. But some
  • 28:15 - 28:18
    other girl so young. What's wrong with
  • 28:18 - 28:21
    that? Oh, I don't know. It must be me.
  • 28:21 - 28:23
    Still, I take this last girl. Now, she
  • 28:23 - 28:24
    was pretty and well, exactly the way
  • 28:24 - 28:27
    older people imagine the young to be.
  • 28:27 - 28:29
    How do older people imagine the young to
  • 28:29 - 28:32
    be? Oh, you know, they they try to look
  • 28:32 - 28:34
    wickedly decadent. They they drive their
  • 28:34 - 28:36
    little cars at top speed, clenching
  • 28:36 - 28:38
    their teeth. They they light cigarettes
  • 28:38 - 28:40
    the moment they open their eyes in the
  • 28:40 - 28:42
    morning. And she kept telling
  • 28:42 - 28:45
    me that love was no more than the
  • 28:45 - 28:48
    touching of two skins.
  • 28:48 - 28:51
    And well, I think love is more than
  • 28:51 - 28:54
    that. She cried when I left
  • 28:54 - 28:57
    her. I'm not proud of that. I hate the
  • 28:57 - 28:59
    breaking up of things, parties and
  • 28:59 - 29:02
    goodbyes. Well, then you must never fall
  • 29:02 - 29:03
    in love.
  • 29:03 - 29:06
    Is that true?
  • 29:06 - 29:08
    I hope not.
  • 29:08 - 29:12
    Are you in love with your husband?
  • 29:12 - 29:15
    I have no husband.
  • 29:19 - 29:22
    Good.
  • 29:22 - 29:24
    Merci. After the last night, you should
  • 29:24 - 29:26
    be drinking water. I feel fine, but I
  • 29:26 - 29:28
    need this for courage. Do I intimidate
  • 29:28 - 29:31
    you? Mm- But I'm afraid you'll get
  • 29:31 - 29:33
    bored. You probably think I'm one of
  • 29:33 - 29:35
    those spoiled and sippid young men who
  • 29:35 - 29:37
    gets pushed into polite jobs that their
  • 29:37 - 29:39
    parents can pay for and from then on are
  • 29:39 - 29:41
    busy trying to keep busy. Is that how
  • 29:41 - 29:45
    you think of yourself? No, I I like my
  • 29:45 - 29:47
    job. You don't sound very enthusiastic.
  • 29:47 - 29:50
    Corporation law, there's nothing duller,
  • 29:50 - 29:53
    not criminal law. Well, then why don't
  • 29:53 - 29:55
    you do that?
  • 29:55 - 29:58
    One doesn't practice criminal law in my
  • 29:58 - 30:00
    family. It isn't done. Have you ever
  • 30:00 - 30:04
    seen a murder trial? H a it's wonderful.
  • 30:04 - 30:05
    It's so different in each country and
  • 30:05 - 30:08
    always so exciting in its own way. In
  • 30:08 - 30:09
    America, it's like a football game. Why
  • 30:09 - 30:10
    did you lie? I didn't. I didn't. We know
  • 30:10 - 30:12
    you had the gun in your hand. I object.
  • 30:12 - 30:13
    Overruled. Answer the question. I
  • 30:13 - 30:15
    didn't. I didn't. You're lying. Oil. You
  • 30:15 - 30:16
    threatened to kill him. I didn't. I
  • 30:16 - 30:17
    didn't. You stood in the corner of
  • 30:17 - 30:18
    Howard and Mason. I object. Sustained.
  • 30:18 - 30:22
    Your honor sustained.
  • 30:23 - 30:25
    Oh, in France it's different. The French
  • 30:25 - 30:28
    have a logic and a sophistry and a true
  • 30:28 - 30:29
    sense of
  • 30:29 - 30:31
    drama.
  • 30:31 - 30:35
    Jacers, sorry. I accuse in the name of
  • 30:35 - 30:37
    the dead. I accuse you of avoiding your
  • 30:37 - 30:38
    duty as a human
  • 30:38 - 30:41
    being. I accuse you of letting love go
  • 30:41 - 30:44
    by, of neglecting your duty to be happy,
  • 30:44 - 30:47
    of living on evasion and subtrifusion
  • 30:47 - 30:49
    resignation. You should be sentenced to
  • 30:49 - 30:52
    death. You will be sentenced to
  • 30:52 - 30:54
    solitude.
  • 30:54 - 30:58
    A horrible sentence. The worst. The
  • 30:58 - 31:00
    worst and the most frightening to be
  • 31:00 - 31:05
    alone and without love. Isn't it?
  • 31:05 - 31:08
    Yes.
  • 31:10 - 31:12
    You must find me even more ridiculous
  • 31:12 - 31:15
    than last night. No.
  • 31:15 - 31:17
    Or do you think I'm acting again?
  • 31:17 - 31:19
    I was thinking of myself, but I was
  • 31:19 - 31:21
    thinking too that you're far too young
  • 31:21 - 31:24
    to feel that way.
  • 31:24 - 31:29
    Alone without love. You don't know. No.
  • 31:29 - 31:33
    Anyway, it takes two. It's not enough to
  • 31:33 - 31:38
    love. One must be loved.
  • 31:40 - 31:43
    You look sad. Oh, no. I'm I'm
  • 31:43 - 31:47
    not. I I I should
  • 31:47 - 31:50
    like I should
  • 31:51 - 31:54
    like I don't really know you, but I
  • 31:54 - 31:58
    should like to think you were
  • 32:04 - 32:07
    happy.
  • 32:07 - 32:10
    First, here we
  • 32:10 - 32:14
    are. Well, thank you for lunch.
  • 32:14 - 32:16
    Goodbye. Where are you going? Oh, just
  • 32:16 - 32:18
    to do a few errands. But can I come with
  • 32:18 - 32:19
    you? No, I really had a good time. Thank
  • 32:19 - 32:22
    you again. Can I just walk with you? No.
  • 32:22 - 32:25
    Goodbye.
  • 32:30 - 32:33
    Hello. I thought I could carry your
  • 32:33 - 32:35
    packages. Well, then I can take you back
  • 32:35 - 32:37
    to your shop. Oh, please don't be mad at
  • 32:37 - 32:39
    me. I don't think I could stand that.
  • 32:39 - 32:41
    Really? You are a child. You must have
  • 32:41 - 32:42
    been terribly spoiled when you were
  • 32:42 - 32:44
    young. Oh yes. Mother gave me
  • 32:44 - 32:46
    everything. Much easier than saying no.
  • 32:46 - 32:48
    What about your father? Oh, we ditched
  • 32:48 - 32:50
    him when I was seven. And from then on,
  • 32:50 - 32:52
    we traveled. Just mother and I. Home is
  • 32:52 - 32:54
    where the heart is. And travel broadens
  • 32:54 - 32:56
    the mind. Oh, you're so very right. I
  • 32:56 - 32:58
    have an amazing fund of useless
  • 32:58 - 32:59
    information which serves me very well at
  • 32:59 - 33:01
    dinner parties. I have thousands of
  • 33:01 - 33:02
    acquaintances without the burden of
  • 33:02 - 33:04
    friendship. I've been in and out of 27
  • 33:04 - 33:06
    schools. And I can say I love you in 13
  • 33:06 - 33:09
    different languages. Not bad at all.
  • 33:09 - 33:12
    Well, yel, that's my favorite. It's a I
  • 33:12 - 33:14
    love you a Norwegian. Did you learn that
  • 33:14 - 33:16
    from a Norwegian girl? Yes. Yelday. It's
  • 33:16 - 33:17
    the extra syllable that gives it the
  • 33:17 - 33:20
    emotion. Yelkaday.
  • 33:20 - 33:24
    Well, here I am. Goodbye. Uh, wait a
  • 33:24 - 33:28
    minute. Yes.
  • 33:28 - 33:30
    Do you like Bronx?
  • 33:30 - 33:32
    What? There's a wonderful concert at
  • 33:32 - 33:35
    South Playel Sunday afternoon. Bronze?
  • 33:35 - 33:38
    Do you like Bronze?
  • 33:38 - 33:40
    What's the matter? I haven't been asked
  • 33:40 - 33:42
    that since I was 17. And And what did
  • 33:42 - 33:44
    you answer? Yes, of course. I was in
  • 33:44 - 33:45
    love and we went to the concert and we
  • 33:45 - 33:47
    sat high up in the balcony and held
  • 33:47 - 33:49
    hands and listened to bronze. Well, I'm
  • 33:49 - 33:51
    not quite sure. Anyway, it was lovely.
  • 33:51 - 33:52
    Then you do like it. I don't know. It
  • 33:52 - 33:54
    was so long ago. Well, will you come to
  • 33:54 - 33:56
    the concert with me and find out? I am
  • 33:56 - 33:58
    busy this weekend. I'm sorry. I try to
  • 33:58 - 34:01
    keep my weekends free. Is it
  • 34:01 - 34:04
    um is it the man you were with last
  • 34:04 - 34:08
    night? Yes. Is it permanent? Yes.
  • 34:08 - 34:12
    Goodbye. Thank you again.
  • 34:22 - 34:25
    Funny. But men always smoke afterwards.
  • 34:25 - 34:28
    Do they? I never thought of that. Oh,
  • 34:28 - 34:31
    yes, they always do. Could I have one?
  • 34:31 - 34:33
    Yeah. You know, such interesting things,
  • 34:33 - 34:36
    Misy. I wish you'd tell me why you call
  • 34:36 - 34:38
    me Maisie. I have very poor memory for
  • 34:38 - 34:41
    names. It makes life easier. Do you call
  • 34:41 - 34:44
    all your girls Maisie? Yes.
  • 34:44 - 34:47
    Oh, I think that's cute. Which Maisie am
  • 34:47 - 34:54
    I? Maisie 7. Mhm. Maisie 27. Maisy 127.
  • 34:54 - 34:58
    Maisy number one. Oh, how galant. A
  • 34:58 - 35:01
    little more champagne, please.
  • 35:01 - 35:03
    You know, I'm awfully glad you were at
  • 35:03 - 35:06
    that cocktail party this afternoon. So
  • 35:06 - 35:08
    am I. But I don't know why you picked on
  • 35:08 - 35:10
    me with all those good-looking boys
  • 35:10 - 35:11
    around.
  • 35:11 - 35:15
    Oh, those kids. They talk and talk. They
  • 35:15 - 35:16
    just love to
  • 35:16 - 35:18
    talk. But
  • 35:18 - 35:21
    you, the moment I saw you, I knew what
  • 35:21 - 35:22
    you had on your
  • 35:22 - 35:25
    mind. Don't laugh. That's very rare
  • 35:25 - 35:28
    these days. Honest. Ask any girl. How
  • 35:28 - 35:31
    did you get rid of Cheryl? Oh, poor
  • 35:31 - 35:34
    Andre. He's awfully important in movies,
  • 35:34 - 35:37
    but if you only knew what a boy he is.
  • 35:37 - 35:42
    I never will. Don't worry about him. Ro,
  • 35:42 - 35:44
    let's go away for the weekend. I'll bet
  • 35:44 - 35:45
    you know some wonderful places around
  • 35:45 - 35:48
    Paris, shall we? You're free, aren't
  • 35:48 - 35:50
    you? Mhm.
  • 35:50 - 35:53
    I heard somewhere that you were sort of
  • 35:53 - 35:57
    tied up. Is it true?
  • 35:57 - 35:59
    No. No. I'm free.
  • 36:02 - 36:03
    Yes,
  • 36:03 - 36:06
    darling. Yes. Well, no. I was waiting to
  • 36:06 - 36:08
    hear from you to see what you want to do
  • 36:08 - 36:11
    this weekend.
  • 36:11 - 36:13
    What?
  • 36:13 - 36:16
    Oh, I'm sorry, darling, but the weekend
  • 36:16 - 36:18
    is the only chance I can get to work on
  • 36:18 - 36:20
    this deal. The man is in Brussels, and
  • 36:20 - 36:23
    I've got to go see him. It may mean a
  • 36:23 - 36:26
    sale of 75 tractors. Yes, I understand.
  • 36:26 - 36:28
    Of course, I
  • 36:28 - 36:31
    do. Oh, I don't know.
  • 36:31 - 36:34
    I'll go to a movie, I guess. Yes, I know
  • 36:34 - 36:36
    she has a bridge game on
  • 36:36 - 36:39
    Saturdays. Who? No, no, I'm not going to
  • 36:39 - 36:43
    call Jimmy. Why should he take me out?
  • 36:43 - 36:45
    Oh, Ro, will you please stop trying to
  • 36:45 - 36:47
    arrange my weekend? Oh, no. Really,
  • 36:47 - 36:49
    dear. If you feel badly about my going,
  • 36:49 - 36:51
    I'll see what I can do. Oh, don't be
  • 36:51 - 36:53
    silly. Of course you have to go. I'll
  • 36:53 - 36:55
    probably work this afternoon. One of my
  • 36:55 - 36:57
    clients asked me to. I said no, but I
  • 36:57 - 36:59
    may as well now.
  • 36:59 - 37:01
    Yes, we'll both
  • 37:01 - 37:03
    work. All right, darling. When will you
  • 37:03 - 37:06
    get back? Well, if you do, I'll be here.
  • 37:06 - 37:09
    And drive carefully. Yes, I will. Yeah.
  • 37:09 - 37:12
    Goodbye.
  • 37:34 - 37:37
    Hey.
  • 37:37 - 37:40
    Hello.
  • 37:42 - 37:44
    Sorry, Dar. I'm late, but you know how
  • 37:44 - 37:46
    it is.
  • 37:46 - 37:49
    Come here.
  • 37:59 - 38:01
    Shift over.
  • 38:08 - 38:12
    12,000 Franks. Good grief. That But
  • 38:12 - 38:16
    that's $24 a yard. Yes. Oh, I feel awful
  • 38:16 - 38:20
    today. Uh, how much is that one?
  • 38:20 - 38:23
    It's a It's
  • 38:23 - 38:27
    14,000. I'll take that one. All right.
  • 38:27 - 38:28
    Well, there's nothing wrong with it, is
  • 38:28 - 38:31
    there? No, no, no. I like it. Oh my. I
  • 38:31 - 38:33
    am pleased with the way things are
  • 38:33 - 38:35
    going. You've done wonders in a short
  • 38:35 - 38:37
    time. Thank you. Now, I may as well tell
  • 38:37 - 38:40
    you I'm planning a dinner party on the
  • 38:40 - 38:42
    19th. Well, that's a week from
  • 38:42 - 38:44
    Wednesday. Oh, but I couldn't. Sorry,
  • 38:44 - 38:45
    but I've already sent out the
  • 38:45 - 38:48
    invitations. Well, I'll do my best. And
  • 38:48 - 38:50
    of course, you must come. Thank you.
  • 38:50 - 38:52
    Now, if you look at these materials,
  • 38:52 - 38:54
    Madame Vanesh,
  • 38:54 - 38:57
    Excuse me. I
  • 38:57 - 38:59
    do call me, Teresa. I have picked this
  • 38:59 - 39:01
    for your bedroom and this for your son's
  • 39:01 - 39:03
    room. Um, as a matter of fact, I've sent
  • 39:03 - 39:07
    an invitation to your
  • 39:07 - 39:09
    friend, Roger Deay. That's his name,
  • 39:09 - 39:12
    isn't it? I hear he's most
  • 39:12 - 39:16
    attractive. Oh, my dear, Paris is like a
  • 39:16 - 39:18
    small town. Really? Everyone knows
  • 39:18 - 39:20
    everyone's business. Now, would you like
  • 39:20 - 39:23
    some tea? No, thank you. But I do wish
  • 39:23 - 39:25
    you'd look at these materials. Oh,
  • 39:25 - 39:27
    Paula, I couldn't look at another thing
  • 39:27 - 39:30
    today. I trust you implicitly. Only just
  • 39:30 - 39:32
    don't spend too much money. Madame, will
  • 39:32 - 39:34
    you bring us some tea, please, Suzanne?
  • 39:34 - 39:37
    Madame, I thought this for your son. I
  • 39:37 - 39:38
    couldn't possibly tell you what Philip
  • 39:38 - 39:40
    would like. Not possibly. He's not that
  • 39:40 - 39:44
    difficult, I dear. He's impossible. He's
  • 39:44 - 39:46
    practically a manic depressive. loves
  • 39:46 - 39:48
    the world, hates the world. Just like
  • 39:48 - 39:52
    his father, he drinks, you know. Oh, his
  • 39:52 - 39:55
    father drank, too. But
  • 39:55 - 39:58
    charming. Oh, there you are, darling. We
  • 39:58 - 40:00
    were just talking about you. I'm in
  • 40:00 - 40:03
    luck. Hello. Hello. I'm sorry. I have to
  • 40:03 - 40:05
    go. But you haven't had your tea. Well,
  • 40:05 - 40:06
    thank you, but I have things to do, and
  • 40:06 - 40:08
    thank you for giving me the time. I'll
  • 40:08 - 40:10
    call you on Friday. Goodbye, my dear.
  • 40:10 - 40:14
    Don't forget the 19th. No, I won't.
  • 40:14 - 40:15
    Goodbye.
  • 40:15 - 40:19
    I'll see you out.
  • 40:21 - 40:24
    What is it? Nothing. Anything at all?
  • 40:24 - 40:29
    No. Can I come down with you?
  • 40:34 - 40:37
    I didn't expect to see you today. No.
  • 40:37 - 40:39
    What happened to your weekend? Proje was
  • 40:39 - 40:43
    called away on business. I see.
  • 40:54 - 40:58
    Goodbye. Goodbye.
  • 41:00 - 41:04
    The switch is behind you.
  • 41:11 - 41:14
    Let me
  • 41:15 - 41:19
    go. Let me go. You're annoying
  • 41:23 - 41:26
    me.
  • 41:26 - 41:30
    Phillip, please let me go.
  • 41:43 - 41:44
    Gabby,
  • 41:44 - 41:47
    we coming.
  • 41:47 - 41:50
    Good morning, madam. Ah, Gabby. I love
  • 41:50 - 41:51
    you every day of the week, but on Sunday
  • 41:51 - 41:54
    mornings, I adore you. I could bring you
  • 41:54 - 41:56
    breakfast every morning. Too sinful,
  • 41:56 - 41:57
    Gabby. Too sinful. Oh, is there no more
  • 41:57 - 42:00
    black cherry jerm? What a shame. Well,
  • 42:00 - 42:01
    I'll get some tomorrow. There's a
  • 42:01 - 42:04
    message for you. Where is it? It was on
  • 42:04 - 42:06
    the telephone. Very early. He said he
  • 42:06 - 42:08
    didn't want to disturb you. Miss you?
  • 42:08 - 42:10
    No, another miss you. He wouldn't give
  • 42:10 - 42:12
    his name, but he made me say the message
  • 42:12 - 42:14
    over and over.
  • 42:14 - 42:18
    Oh, and what is the message? I'm sorry
  • 42:18 - 42:22
    about yesterday. Do you like
  • 42:22 - 42:25
    bras? You understand it?
  • 42:25 - 42:29
    Yes. Yes, I understand it. But what are
  • 42:29 - 42:31
    brands?
  • 42:31 - 42:33
    Look over
  • 42:33 - 42:37
    there. The second album from the
  • 42:37 - 42:41
    top. Yes, that's it. Put it on. Fine.
  • 42:41 - 42:43
    Now the first
  • 42:48 - 42:52
    switch. Those are brown music.
  • 42:58 - 43:00
    You better get dressed.
  • 43:00 - 43:03
    Do I have to? Mhm. What time is it?
  • 43:03 - 43:05
    About 5:30.
  • 43:05 - 43:07
    Why don't we stay over tonight and go in
  • 43:07 - 43:11
    tomorrow? Nope. Why not? I have to be in
  • 43:11 - 43:14
    Paris tonight. Why?
  • 43:14 - 43:18
    None of your business. I'm not going.
  • 43:18 - 43:23
    What? I'm not going,
  • 43:23 - 43:25
    Maisy.
  • 43:25 - 43:29
    Maisy, no. Come on, Misy. I want to stay
  • 43:29 - 43:32
    here. Stop. Misy, will you? No. Please,
  • 43:32 - 43:37
    M. I want to stay here. Stop me. Stop.
  • 43:53 - 43:55
    Hello.
  • 43:55 - 43:57
    Hello. I'm glad you decided that you
  • 43:57 - 43:59
    like bronze. Do I? Well, I don't really
  • 43:59 - 44:00
    know. It doesn't matter so long as
  • 44:00 - 44:03
    you're here.
  • 44:12 - 44:15
    I can look, can't
  • 44:30 - 44:34
    I? Heat. Heat.
  • 45:02 - 45:05
    Heat. Heat.
  • 45:32 - 45:35
    Heat. Heat.
  • 45:55 - 45:59
    Heat. Heat.
  • 46:25 - 46:27
    Sorry,
  • 46:27 - 46:31
    please come be too.
  • 46:32 - 46:35
    No,
  • 46:35 - 46:37
    see,
  • 46:39 - 46:41
    makes no difference. I especially said
  • 46:41 - 46:43
    extra drive.
  • 46:43 - 46:46
    What's the matter? Oh, nothing. Oh,
  • 46:46 - 46:47
    there's the bell. Don't you think we
  • 46:47 - 46:49
    should be getting back? Intermission is
  • 46:49 - 46:51
    almost over. Will you have dinner with
  • 46:51 - 46:53
    me after the concert? I can't. I have to
  • 46:53 - 46:55
    get home. I thought you said he'd gone
  • 46:55 - 46:57
    away for the weekend on business. I
  • 46:57 - 46:59
    expect Rou back tonight. What if he
  • 46:59 - 47:00
    doesn't show up? Well, then I'd have
  • 47:00 - 47:03
    been there alone.
  • 47:03 - 47:04
    Oh, he must be quite a man to deserve
  • 47:04 - 47:06
    such devotion. Such blind
  • 47:06 - 47:10
    self-sacrifice. I love him. What about
  • 47:10 - 47:11
    him?
  • 47:11 - 47:14
    What about him? Does he love you? Yes,
  • 47:14 - 47:16
    of course. All is for the best in his
  • 47:16 - 47:18
    best of all worlds. Don't play the
  • 47:18 - 47:20
    cynic. It doesn't suit you. At your age,
  • 47:20 - 47:22
    you ought to believe in such things.
  • 47:22 - 47:23
    Stop making fun of me. Stop talking down
  • 47:23 - 47:27
    to me as if I were 5 years old.
  • 47:29 - 47:32
    Sorry. I'm not making fun of you, but of
  • 47:32 - 47:34
    of the parts you keep playing. If you
  • 47:34 - 47:37
    would just be yourself. It's true. Since
  • 47:37 - 47:38
    I've known you, I've played the
  • 47:38 - 47:40
    brilliant young lawyer, the bashful
  • 47:40 - 47:43
    lover, spoiled child, god knows what
  • 47:43 - 47:46
    else. But it's all been for you, only
  • 47:46 - 47:47
    for
  • 47:47 - 47:50
    you. Don't you think that's love? We
  • 47:50 - 47:53
    better hurry.
  • 48:10 - 48:14
    I am sorry we are late. Yes.
  • 48:31 - 48:33
    How long
  • 48:33 - 48:38
    has How long have you and Ro?
  • 48:38 - 48:41
    5 years.
  • 48:41 - 48:45
    And you've been happy. Yes, I have.
  • 48:45 - 48:49
    Always. There's no all ways. I've had 5
  • 48:49 - 48:51
    years of happiness and
  • 48:51 - 48:54
    doubt and warmth and
  • 48:54 - 48:58
    pain. But only the happiness matters.
  • 48:58 - 49:00
    You're not happy now.
  • 49:00 - 49:02
    Yes, I am. No, I know you're not. I told
  • 49:02 - 49:04
    you I love him. And I love my mother and
  • 49:04 - 49:06
    my old nurse and my I don't see what
  • 49:06 - 49:07
    that's got to do. No, you say you love
  • 49:07 - 49:09
    him, but you're alone. You spend your
  • 49:09 - 49:10
    Sundays alone. You're you're you're
  • 49:10 - 49:11
    dying alone. How often do you sleep
  • 49:11 - 49:13
    alone? You have no right. I have the
  • 49:13 - 49:16
    right. Sh.
  • 49:16 - 49:18
    I have the right to fall in love with
  • 49:18 - 49:19
    you and nothing can stop me and I shall
  • 49:19 - 49:21
    take you away from him if I
  • 49:23 - 49:27
    can. I will. I
  • 49:27 - 49:32
    will. This is
  • 49:46 - 49:48
    What's that?
  • 49:48 - 49:52
    Brams. How do you know? Well, the
  • 49:52 - 49:58
    announcer said so. Do you like it?
  • 49:59 - 50:01
    Oh, Sunday afternoon so awful on the
  • 50:01 - 50:04
    radio. Put it back where it was. Oh,
  • 50:04 - 50:08
    well, there's nothing else.
  • 50:09 - 50:11
    Funny. When I was eight, I wanted to be
  • 50:11 - 50:15
    a conductor.
  • 50:15 - 50:17
    I wanted to be a movie star, and I'm
  • 50:17 - 50:20
    going to be. Mhm. I've got to have
  • 50:20 - 50:22
    dinner with Charelle tomorrow night, but
  • 50:22 - 50:24
    I'll call you as soon as I can get away.
  • 50:24 - 50:27
    All right. Yeah. Yeah. It's not nice of
  • 50:27 - 50:29
    you to leave me tonight. I'm going to
  • 50:29 - 50:31
    miss you.
  • 50:31 - 50:34
    Maisy, I can't drive. Don't be silly.
  • 50:34 - 50:36
    You're a wonderful driver. As a matter
  • 50:36 - 50:41
    of fact, you do everything well.
  • 51:33 - 51:36
    Hello.
  • 51:36 - 51:37
    Hey.
  • 51:37 - 51:39
    What's the matter? Nothing. I'm just so
  • 51:39 - 51:42
    glad to see you. How was your trip?
  • 51:42 - 51:46
    Fine. Did you just come in? Yes.
  • 51:46 - 51:48
    Where have you been? I've been to a
  • 51:48 - 51:52
    concert at Salel. Oh, do you like br?
  • 51:52 - 51:55
    Why did you ask that? I heard it on the
  • 51:55 - 51:57
    radio driving back. Oh, how did you
  • 51:57 - 52:00
    happen to go? I young Vanderbishes asked
  • 52:00 - 52:01
    me.
  • 52:01 - 52:04
    Oh. And I had nothing to do and I
  • 52:04 - 52:05
    couldn't remember whether I liked Brahms
  • 52:05 - 52:08
    or not. A young boy asked me a silly
  • 52:08 - 52:09
    trite question and I didn't have an
  • 52:09 - 52:12
    answer. I'd forgotten. I I can't keep my
  • 52:12 - 52:14
    mind on anything lately except the man I
  • 52:14 - 52:18
    love is never around. Well, what is it?
  • 52:18 - 52:21
    I told you someone asked me a question.
  • 52:21 - 52:22
    But I have no answers anymore. And all
  • 52:22 - 52:24
    the questions seem so important
  • 52:24 - 52:26
    suddenly. Do I like bronze? What is my
  • 52:26 - 52:29
    favorite color? Do I like roses? Do I
  • 52:29 - 52:32
    love you? What's happened? What's that
  • 52:32 - 52:33
    boy been saying to you? What difference
  • 52:33 - 52:35
    does it make as long as I love you? And
  • 52:35 - 52:36
    you know the answer to that one, don't
  • 52:36 - 52:38
    you? What have you been doing? Listening
  • 52:38 - 52:41
    to Brahms. Oh, stop talking about Brams.
  • 52:41 - 52:43
    I can't leave him out. Well, what's this
  • 52:43 - 52:48
    about? Is it me? Yes, you and me.
  • 52:48 - 52:51
    You know that. I love you. No, I don't.
  • 52:51 - 52:52
    I don't know anything
  • 52:52 - 52:56
    anymore. Oroj has time caught up with me
  • 52:56 - 53:00
    already. Already?
  • 53:00 - 53:03
    Paula, what do you want me to tell you?
  • 53:03 - 53:04
    That you're the most important thing in
  • 53:04 - 53:06
    the world to me? Well, that someone was
  • 53:06 - 53:08
    always there. The one that you can be
  • 53:08 - 53:10
    sure of, to love, and to trust when you
  • 53:10 - 53:11
    want
  • 53:11 - 53:13
    to. Sometimes I wish I was one of the
  • 53:13 - 53:15
    you pick up in bars, not to be
  • 53:15 - 53:17
    trusted or esteemed or
  • 53:17 - 53:20
    admired. Just to be loved. You know,
  • 53:20 - 53:22
    they mean nothing to me.
  • 53:22 - 53:25
    As I know, it's how I am. I've never
  • 53:25 - 53:27
    tried to hide it. Oh, you've been
  • 53:27 - 53:30
    honest. You don't really care. You've
  • 53:30 - 53:32
    said so.
  • 53:32 - 53:35
    That's right. Well, then as long as
  • 53:35 - 53:37
    we're honest, we can be self-indulgent.
  • 53:37 - 53:40
    Well, then what's wrong? I wish you and
  • 53:40 - 53:41
    I were falling in love again. That's
  • 53:41 - 53:44
    all. We must all sure of the future
  • 53:44 - 53:46
    then. I'm sure of it now. Nothing has
  • 53:46 - 53:48
    changed. Well, we can go on just as we
  • 53:48 - 53:51
    are. Of course, forever. Sure, why
  • 53:51 - 53:55
    not? I love you.
  • 54:00 - 54:04
    You've had a bad weekend, Per. I should
  • 54:04 - 54:08
    not have left you. I'm sorry I had to.
  • 54:08 - 54:10
    It's all right.
  • 54:10 - 54:12
    Where should we dine? Where would you
  • 54:12 - 54:15
    like? Oh, I don't care. I'll just change
  • 54:15 - 54:18
    into another dress and fix my face. It
  • 54:18 - 54:20
    won't take a minute. Oh, look. Your mask
  • 54:20 - 54:23
    fell down. Mhm.
  • 54:25 - 54:27
    No harm,
  • 54:27 - 54:29
    Dan. Hey, what
  • 54:29 - 54:33
    up? Tell me, what about Leago? Do you
  • 54:33 - 54:35
    think we can get in? I think so. Don't
  • 54:35 - 54:39
    you want a drink? Mhm.
  • 54:39 - 54:43
    Would you like one? No, thank you.
  • 54:43 - 54:46
    Well, tell me, how was Brussels? Was
  • 54:46 - 54:48
    your trip successful?
  • 54:48 - 54:50
    Yes, fine.
  • 54:50 - 54:53
    You don't sound very enthusiastic.
  • 54:53 - 54:56
    What about now? No. No. I don't think
  • 54:56 - 54:58
    they're open on Sundays. No, no. Let's
  • 54:58 - 55:01
    go. Be fine.
  • 55:01 - 55:05
    Ro. Yes. I'm glad you came home tonight.
  • 55:05 - 55:08
    So am I. Was the traffic awful? Well,
  • 55:08 - 55:10
    it's always bad on Sunday, but the
  • 55:10 - 55:12
    parkway is quick, even when it's
  • 55:12 - 55:13
    crowded. Parkway, but there's no parkway
  • 55:13 - 55:17
    from Brussels.
  • 55:17 - 55:20
    No, of course not. Did I say
  • 55:20 - 55:23
    parkway? They fit their road so well. It
  • 55:23 - 55:26
    seems like a parkway now. I made
  • 55:26 - 55:29
    wonderful time.
  • 55:30 - 55:32
    Well, that's good. What about some place
  • 55:32 - 55:34
    with music?
  • 55:34 - 55:37
    Might be nice.
  • 55:38 - 55:40
    I don't know which ones are open. We can
  • 55:40 - 55:42
    drive around and see.
  • 55:42 - 55:45
    All right.
  • 55:46 - 55:51
    Is that the door? Yes. Yes, I'll go.
  • 55:56 - 55:59
    Hello, Gabby. What's wrong with you? Who
  • 55:59 - 56:00
    is this?
  • 56:00 - 56:03
    Gabby, madame. The letter for you. All
  • 56:03 - 56:05
    right. How's your English, Gabby? I
  • 56:05 - 56:08
    haven't seen you for a long time. I've
  • 56:08 - 56:11
    been here.
  • 56:13 - 56:17
    Who is it from? I don't know. It uh it
  • 56:17 - 56:20
    came by hand here. Thank you. Do you
  • 56:20 - 56:23
    mind reading it to me, darling?
  • 56:23 - 56:29
    It may be personal. Think so.
  • 56:29 - 56:33
    It is. It's from Young Band.
  • 56:33 - 56:34
    It doesn't
  • 56:34 - 56:37
    matter. We have no secrets from each
  • 56:37 - 56:40
    other, have we?
  • 56:42 - 56:45
    I ask you to forgive me. I was jealous.
  • 56:45 - 56:47
    And you can only be jealous of things
  • 56:47 - 56:49
    that you own.
  • 56:49 - 56:51
    Well, now you'll be rid of me for a
  • 56:51 - 56:53
    while. I'm leaving for London tomorrow
  • 56:53 - 56:56
    to work on a case and it's very
  • 56:56 - 56:58
    important. But I don't really care
  • 56:58 - 57:00
    because all of the time I'll be thinking
  • 57:00 - 57:02
    of
  • 57:02 - 57:05
    you. Please, please remember, even if
  • 57:05 - 57:07
    you never want to see me
  • 57:07 - 57:10
    again, that I love
  • 57:12 - 57:16
    you. You're Phillip.
  • 57:19 - 57:21
    I'm ready. You haven't said where you
  • 57:21 - 57:24
    want to go. Oh, I think some place with
  • 57:24 - 57:28
    music would be nice, don't you?
  • 57:30 - 57:32
    Right. It is true, my lord. As my
  • 57:32 - 57:33
    learning friend suggested, that the
  • 57:33 - 57:36
    facts do seem simple. On a certain day,
  • 57:36 - 57:38
    at a certain time, in a certain place,
  • 57:38 - 57:41
    two ships collided. One English, one
  • 57:41 - 57:43
    French. But that the papers you asked
  • 57:43 - 57:46
    for in Paris first class. Good. How's it
  • 57:46 - 57:47
    going? Investigation. Here's a letter
  • 57:47 - 57:50
    for you. Massively complicated. I wonder
  • 57:50 - 57:52
    how my learned friend will explain away
  • 57:52 - 57:55
    in simple terms the testimony of witness
  • 57:55 - 57:59
    Sharp who stated
  • 57:59 - 58:02
    that at no time during the 10 minutes
  • 58:02 - 58:04
    preceding the collision did I hear a
  • 58:04 - 58:06
    signal from the English
  • 58:06 - 58:09
    ship. Complication upon
  • 58:09 - 58:11
    complication. There is to the question
  • 58:11 - 58:12
    of the fog.
  • 58:12 - 58:15
    Witness Glennville states that the fog
  • 58:15 - 58:17
    was lifting, but witness Olivier states
  • 58:17 - 58:20
    emphatically that the fog was
  • 58:20 - 58:22
    thickening. There is to the testimony of
  • 58:22 - 58:27
    the quartermaster Bellnap.
  • 58:28 - 58:31
    Belnap, who was forced to admit that he
  • 58:31 - 58:33
    had left the bridge a few moments
  • 58:33 - 58:35
    earlier to get more sugar for his
  • 58:35 - 58:37
    coffee. Let me recall to your memory, my
  • 58:37 - 58:40
    lord, the statement of Seaman Jeandran,
  • 58:40 - 58:41
    who
  • 58:41 - 58:45
    first ship radar screen at a distance of
  • 58:45 - 58:47
    three miles.
  • 58:56 - 58:58
    London airport, please. But first up at
  • 58:58 - 59:01
    the door jester.
  • 59:10 - 59:12
    It's beautifully done. Don't you think
  • 59:12 - 59:14
    so, Lucia? Yes, my dear. Well, thank
  • 59:14 - 59:16
    you, Myrtle. Is she expensive? Not with
  • 59:16 - 59:18
    me, my dear. Not with me. And uh who is
  • 59:18 - 59:22
    he? Who? He Oh, he's in the truck
  • 59:22 - 59:23
    business or something. I think that's
  • 59:23 - 59:26
    what she told me. I must say he looks
  • 59:26 - 59:29
    it. Is he? He seems rather attractive.
  • 59:29 - 59:32
    You think so?
  • 59:32 - 59:36
    Yes, as a matter of fact, he is rather.
  • 59:36 - 59:39
    Please, Roia, don't be bored. Bored? How
  • 59:39 - 59:41
    could I possibly be bored with such a
  • 59:41 - 59:43
    charming gay crowd? At least try to be
  • 59:43 - 59:45
    nice to Mandes. You haven't even talked
  • 59:45 - 59:47
    to her. Yes, I have. I said good
  • 59:47 - 59:50
    evening. And uh it was nice of you to
  • 59:50 - 59:52
    ask me. Please, here she comes. Paula,
  • 59:52 - 59:54
    dear, everyone adors the apartment. I've
  • 59:54 - 59:57
    never heard people rave so. I'm glad
  • 59:57 - 60:00
    Vitor Tra is here. He should be very
  • 60:00 - 60:02
    proud of you, Paula. Oh, I am, madam.
  • 60:02 - 60:05
    And you have something to do with
  • 60:05 - 60:08
    trucks, haven't you? Oh, how
  • 60:08 - 60:10
    interesting. You buy trucks in America,
  • 60:10 - 60:12
    then sell them in Europe. And sometimes
  • 60:12 - 60:14
    we buy them in Europe and sell them in
  • 60:14 - 60:17
    America. We are very flexible. A
  • 60:17 - 60:19
    fascinating. Isn't it sad Philillip
  • 60:19 - 60:21
    isn't here to see you? You do look so
  • 60:21 - 60:23
    lovely. Philip's my son. He'll be
  • 60:23 - 60:25
    furious when he hears he's missed you,
  • 60:25 - 60:27
    but he had to go to London on something
  • 60:27 - 60:30
    terribly legal. Did he tell you Philip's
  • 60:30 - 60:33
    mad about Paula? You know, it's really
  • 60:33 - 60:36
    quite touching. Yes, I know. Madam. Oh,
  • 60:36 - 60:38
    dinner. All right, Suzanne. Maraine
  • 60:38 - 60:40
    Claw. Dinner. Dinner. Everybody.
  • 60:40 - 60:42
    Raymond, you're sitting next to Madame
  • 60:42 - 60:46
    Flor. Alier, you're sitting with Madame
  • 60:46 - 60:48
    Tessier. Pauladier. Talk to him about
  • 60:48 - 60:50
    modern paintings. He has a fabulous
  • 60:50 - 60:53
    collection. And you're next to me, Mr.
  • 60:53 - 60:55
    Dele. Whoa. And you're going to tell me
  • 60:55 - 60:57
    all about your trucks and what you do
  • 60:57 - 61:00
    with them. You're a Leo, aren't you? I
  • 61:00 - 61:02
    beg you pardon. Well, you must have been
  • 61:02 - 61:04
    born in late July or early August. No,
  • 61:04 - 61:08
    early me. Oh, Taurus the ball. Well, I
  • 61:08 - 61:11
    suppose I should have guessed.
  • 61:11 - 61:13
    See, this is always the most difficult
  • 61:13 - 61:14
    part, trying to get people to find the
  • 61:14 - 61:17
    right places. I can never read my own
  • 61:17 - 61:20
    writing. France, you're here. Mariline
  • 61:20 - 61:24
    over there. Claude, you're next. Oh,
  • 61:24 - 61:27
    here. Oh, yes. Yes. And Buladier, you're
  • 61:27 - 61:28
    here. Oh, no. No. I'm sorry, darling.
  • 61:28 - 61:30
    You're on the other side over there.
  • 61:30 - 61:32
    Alan, you're on her right. Raymond on
  • 61:32 - 61:34
    her left. That's right. Lucen, you're
  • 61:34 - 61:36
    next to France on her right there.
  • 61:36 - 61:38
    Murder, you're here.
  • 61:38 - 61:41
    I'm sorry, but I must be frank with you.
  • 61:41 - 61:43
    I think it's all nonsensical. They call
  • 61:43 - 61:46
    themselves abstract expressionists, but
  • 61:46 - 61:48
    what do they express? That's what I want
  • 61:48 - 61:50
    to know.
  • 61:50 - 61:54
    Yes. Yes. Isn't it?
  • 61:54 - 61:57
    We We were just talking about Jean Prey.
  • 61:57 - 61:58
    Of course, you know about his latest
  • 61:58 - 62:00
    affair. I'm afraid I don't even know who
  • 62:00 - 62:03
    the gentleman is. You don't know Jean?
  • 62:03 - 62:06
    No. I'm sorry. No. And I can't think why
  • 62:06 - 62:08
    his latest affair should interest me.
  • 62:08 - 62:13
    Unless Unless Unless the lady's my wife.
  • 62:13 - 62:15
    And happily, I'm not married. Oh, that's
  • 62:15 - 62:17
    rather a narrow point of view, don't you
  • 62:17 - 62:19
    think? If everyone were like you, what
  • 62:19 - 62:21
    would it be all about?
  • 62:21 - 62:23
    Phillip.
  • 62:23 - 62:24
    Good
  • 62:24 - 62:26
    evening. Hope I'm not disturbing you.
  • 62:26 - 62:28
    Well, Philip, we didn't expect you until
  • 62:28 - 62:31
    Saturday. Well, I uh I thought I'd
  • 62:31 - 62:33
    surprise you. Philip, what's happened?
  • 62:33 - 62:35
    Was the case settled? No, but it's it's
  • 62:35 - 62:37
    going very well. It's going very well
  • 62:37 - 62:38
    indeed. Well, darling, have you had your
  • 62:38 - 62:40
    dinner? Oh, yes. I had something on the
  • 62:40 - 62:41
    plane. I'll just sit here and keep you
  • 62:41 - 62:43
    company.
  • 62:43 - 62:45
    No, no, no, no. Marcel, Mr. Phillips had
  • 62:45 - 62:47
    dinner. Hello.
  • 62:47 - 62:50
    Hello. I must say to Razor Phillip is
  • 62:50 - 62:52
    looking well. Hard work agrees with him.
  • 62:52 - 62:54
    Yes. I don't think hard work I got your
  • 62:54 - 62:56
    note. Just caught up with me. I came
  • 62:56 - 62:58
    straight back. Would you like some
  • 62:58 - 63:02
    fruit? Oh, no. No, thank you.
  • 63:02 - 63:04
    I never thought I could hate London so
  • 63:04 - 63:06
    much.
  • 63:19 - 63:21
    Well, you're in luck. Mother would like
  • 63:21 - 63:22
    to talk to you. And you would like to
  • 63:22 - 63:25
    talk to Paula. That's right. Wait a
  • 63:25 - 63:28
    minute. There's something I want to ask
  • 63:28 - 63:32
    you. What? I
  • 63:32 - 63:36
    uh I wonder if I could have a cigar.
  • 63:36 - 63:38
    Of course.
  • 63:41 - 63:43
    What did you say to Philillip? I asked
  • 63:43 - 63:47
    him for a cigar. Why? He looked angry.
  • 63:47 - 63:48
    He wasn't.
  • 63:48 - 63:51
    Should I have been? Well, I don't know.
  • 63:51 - 63:54
    Here we are. Oh, thank you.
  • 63:54 - 63:57
    Do you like cigars? No. No,
  • 63:57 - 63:59
    unfortunately. Can I get you something
  • 63:59 - 64:01
    to drink? No, no, thank you. I think we
  • 64:01 - 64:03
    should be going home. I have to get up
  • 64:03 - 64:05
    early. Oh, well, if Paula isn't tired, I
  • 64:05 - 64:07
    can drive her home later. I suppose you
  • 64:07 - 64:10
    could. Would you like that, darling?
  • 64:10 - 64:14
    No, I'm It's getting late. Good night.
  • 64:14 - 64:18
    Good night.
  • 64:22 - 64:24
    You certainly brightened up that
  • 64:24 - 64:27
    party. It was dying until young love
  • 64:27 - 64:29
    came along.
  • 64:29 - 64:32
    Now they've got something to talk
  • 64:32 - 64:34
    about. Have you heard about one of
  • 64:34 - 64:37
    Vanderbash's interior decorator?
  • 64:37 - 64:39
    You did over the apartment and seduce
  • 64:39 - 64:42
    her son at no extra
  • 64:42 - 64:44
    charge. I think you've got something
  • 64:44 - 64:46
    there,
  • 64:46 - 64:48
    Paula. If you're going to do the young
  • 64:48 - 64:51
    master's bedroom, why not do the young
  • 64:51 - 64:53
    master? Makes the work so much more
  • 64:53 - 64:56
    interesting.
  • 65:10 - 65:14
    You're going away tomorrow? Yes. Where?
  • 65:14 - 65:16
    I told you. Switzerland, Denmark,
  • 65:16 - 65:18
    Germany.
  • 65:18 - 65:21
    How long will you be gone? About 10
  • 65:21 - 65:24
    days.
  • 65:28 - 65:32
    Ro, good night.
  • 65:49 - 65:52
    Phillip. But how did you get here? You
  • 65:52 - 65:54
    must have driven like a fool. Get in,
  • 65:54 - 65:57
    please. Why do you do such idiotic
  • 65:57 - 66:01
    things? Please, just for a moment.
  • 66:03 - 66:05
    Why did you come back from London? To
  • 66:05 - 66:11
    see you. Oh, but why? Why? Your letter.
  • 66:11 - 66:14
    Well, that's really What did I say? Come
  • 66:14 - 66:18
    back soon. Oh, no.
  • 66:20 - 66:22
    My sweet Phillip, your letter was too
  • 66:22 - 66:25
    sad and more than I deserve. I miss you.
  • 66:25 - 66:28
    Come back soon.
  • 66:28 - 66:31
    I didn't mean it that way.
  • 66:31 - 66:35
    I I was tired and unhappy and and
  • 66:35 - 66:38
    lonely and and oh, I'm sorry. I
  • 66:38 - 66:40
    shouldn't have written it. But you meant
  • 66:40 - 66:42
    it.
  • 66:42 - 66:46
    I suppose so. Then
  • 66:46 - 66:50
    has anything changed since then?
  • 66:52 - 66:55
    No, nothing has changed.
  • 66:55 - 66:58
    Wow.
  • 67:12 - 67:15
    Here you are. SAS 252. Now you can board
  • 67:15 - 67:17
    the aircraft. This way, please.
  • 67:17 - 67:18
    Gentlemen, do you mark Copenhagen going
  • 67:18 - 67:22
    to meet us? Yeah, I still have a car. Ro
  • 67:22 - 67:24
    Scandinavian Airlines announc the
  • 67:24 - 67:26
    departure of flight. You go ahead. I'll
  • 67:26 - 67:27
    catch up. We haven't got much time.
  • 67:27 - 67:29
    Don't worry. All passengers are kindly
  • 67:29 - 67:31
    requested to proceed to customs and
  • 67:31 - 67:33
    passport.
  • 67:33 - 67:34
    What are you doing here? I called you at
  • 67:34 - 67:36
    home, but you' already gone. I wanted to
  • 67:36 - 67:40
    see you. Come over here.
  • 67:40 - 67:42
    I'm sorry about last night. I was angry.
  • 67:42 - 67:43
    I was actually jealous. I wanted to call
  • 67:43 - 67:46
    you. Will you take me with you? What? I
  • 67:46 - 67:47
    want to come with you. Can I? Paul, it
  • 67:47 - 67:48
    makes sense. The plane is leaving in.
  • 67:48 - 67:50
    Yes, I know. But I'll go home and pack a
  • 67:50 - 67:51
    bag and I'll join you wherever you are
  • 67:51 - 67:53
    tonight. Where will you be, darling? I
  • 67:53 - 67:54
    have two men with me from the home
  • 67:54 - 67:56
    office in Chicago. How would I explain?
  • 67:56 - 67:58
    But say I'm your wife. Americans always
  • 67:58 - 67:59
    travel with their wives. They'll
  • 67:59 - 68:01
    understand. Paul, this is
  • 68:01 - 68:04
    crazy. Is it because of that boy?
  • 68:04 - 68:08
    Because of me? Please. Please. Hey.
  • 68:08 - 68:11
    Yes. I'm coming. Paula, don't worry.
  • 68:11 - 68:13
    I'll come back to you soon. 10 days no
  • 68:13 - 68:15
    more. Get rid of that boy. Paul bothers
  • 68:15 - 68:18
    you. And don't worry, everything will be
  • 68:18 - 68:23
    all right. You'll see.
  • 68:24 - 68:26
    Well, you know, I love you. I'll call
  • 68:26 - 68:28
    you when I get back. Goodbye, darling.
  • 68:28 - 68:29
    Attention, please.
  • 68:29 - 68:34
    Will SAS pass on flight 252. Please
  • 68:34 - 68:36
    proceed immediately to customs and
  • 68:36 - 68:40
    passport control. Thank you.
  • 68:42 - 68:46
    law for 40 years and never never did I
  • 68:46 - 68:47
    hear of anyone walking out in the middle
  • 68:47 - 68:50
    of a
  • 68:50 - 68:52
    let me tell you something if it were not
  • 68:52 - 68:53
    for your mother I would ask you to leave
  • 68:53 - 68:57
    at once as it is I'm ready to put you to
  • 68:57 - 69:01
    work on research I start by this he
  • 69:01 - 69:04
    calling pages no I'm afraid Mr.
  • 69:04 - 69:06
    Vanderbesh is occupied at the moment.
  • 69:06 - 69:10
    Oh, just a minute, please.
  • 69:10 - 69:11
    Oh, here he is now. Hold the line,
  • 69:11 - 69:13
    please. Well, you certainly caught it
  • 69:13 - 69:15
    that time. What do you say? I don't
  • 69:15 - 69:16
    know. I wasn't listening. What's this?
  • 69:16 - 69:18
    It's personal call for you. A woman's
  • 69:18 - 69:20
    voice, and it's not your mother.
  • 69:20 - 69:24
    Hello. Yes, Paul. Yes, of course, we can
  • 69:24 - 69:26
    talk. Listen, tonight, I thought we
  • 69:26 - 69:29
    could I'm afraid I I can't. What do you
  • 69:29 - 69:31
    mean? I can't see you again, Philip.
  • 69:31 - 69:33
    Please try to understand that. Whatever
  • 69:33 - 69:35
    happens would only hurt you. Don't try
  • 69:35 - 69:37
    to see me. Please. Will you promise me
  • 69:37 - 69:41
    that, Phillip? Phillip, you must promise
  • 69:41 - 69:43
    me, please.
  • 69:43 - 69:48
    Yes. Yes. Of of course.
  • 70:00 - 70:04
    Say no
  • 70:05 - 70:09
    more. It's
  • 70:09 - 70:12
    goodbye as
  • 70:13 - 70:16
    before. It's
  • 70:17 - 70:19
    goodbye. I can
  • 70:20 - 70:24
    tell. Save the lie.
  • 70:24 - 70:30
    It's farewell and goodbye again, my
  • 70:30 - 70:36
    love. So why deny you? Let's go. I've
  • 70:36 - 70:38
    had it.
  • 70:38 - 70:39
    Well, come on, will you? We've been
  • 70:39 - 70:42
    going like this for days.
  • 70:42 - 70:43
    You said you'd give two years of your
  • 70:43 - 70:45
    life to be really in love. Yeah, I know
  • 70:45 - 70:49
    I said it. I'm sorry I said it. That was
  • 70:49 - 70:53
    way back. Well, I am in love, but she
  • 70:53 - 70:56
    won't believe me. I believe you. You
  • 70:56 - 70:59
    told me a thousand times. Now, let's go.
  • 70:59 - 71:01
    Huh? Phillip, come
  • 71:01 - 71:04
    on. I'm
  • 71:04 - 71:08
    going. You'll be all right. Yeah. I'll
  • 71:08 - 71:12
    check you tomorrow. So long.
  • 71:15 - 71:19
    Hello. Your pal's gone. Left you, huh?
  • 71:19 - 71:21
    You talk about love as if you knew all
  • 71:21 - 71:23
    about love. I
  • 71:23 - 71:27
    do. You going to buy me a drink?
  • 71:27 - 71:30
    Sure.
  • 71:30 - 71:33
    Desc.
  • 71:35 - 71:40
    Tell you what about love? Oh, it's kind
  • 71:40 - 71:42
    of hard to explain unless it's nothing.
  • 71:42 - 71:45
    It's just a word in a song. It's in a
  • 71:45 - 71:47
    million songs. You've said it just
  • 71:47 - 71:50
    right. It's the most used word in the
  • 71:50 - 71:52
    world and it doesn't mean a thing. Just
  • 71:52 - 71:53
    a word in a
  • 71:53 - 71:55
    song.
  • 71:55 - 71:59
    Well, here's to little old love.
  • 71:59 - 72:01
    Here's a little old
  • 72:01 - 72:04
    love. Going to sing me another.
  • 72:11 - 72:13
    Well,
  • 72:13 - 72:16
    love is just a word.
  • 72:16 - 72:20
    It doesn't mean a
  • 72:20 - 72:23
    thing. It's a fancy way of
  • 72:24 - 72:27
    saying two people want to
  • 72:29 - 72:33
    swing. Love is just a
  • 72:33 - 72:37
    word. And when the fun
  • 72:38 - 72:41
    begins, a word we use to cover a
  • 72:41 - 72:46
    multitude of sins.
  • 72:47 - 72:51
    Love is just a
  • 72:51 - 72:55
    word that's
  • 72:55 - 72:59
    dropped all over town.
  • 73:23 - 73:25
    How long have you been here? I don't
  • 73:25 - 73:27
    know.
  • 73:31 - 73:34
    You must be wet through. I had to see
  • 73:34 - 73:37
    you. I tried not to, but it's all right.
  • 73:37 - 73:38
    Since you sent me away, I don't know
  • 73:38 - 73:41
    where I've been or what I've done. How
  • 73:41 - 73:44
    about you? Oh, me? I
  • 73:44 - 73:47
    worked. I went to collection. Bought a
  • 73:47 - 73:49
    new
  • 73:49 - 73:51
    dress. They're tearing up the street in
  • 73:51 - 73:54
    front of my house. Oh, I know. I almost
  • 73:54 - 73:56
    got stuck in my car.
  • 73:56 - 74:00
    It'll be fixed in a few days.
  • 74:30 - 74:32
    Paul, are you sure you don't want Think
  • 74:32 - 74:33
    some good looking cold chicken in the
  • 74:33 - 74:34
    ice
  • 74:34 - 74:38
    box. Boy, am I
  • 74:38 - 74:42
    hungry? Where's the
  • 74:42 - 74:45
    butter? Have you got any wine left? Oh,
  • 74:45 - 74:47
    here. Wait. Oh, right. I found a bottle
  • 74:47 - 74:49
    of
  • 74:49 - 74:53
    beer. Someone cucumber salad left
  • 74:53 - 74:56
    over. I can't find any. Oh, wait. Here
  • 74:56 - 74:58
    it is. Here it is. Darling, the record.
  • 74:58 - 75:00
    Can you turn it over? Never mind. I'll
  • 75:00 - 75:02
    get
  • 75:06 - 75:09
    it. Well, here we are. How does it look?
  • 75:09 - 75:10
    Pretty good, huh? I don't know why I
  • 75:10 - 75:14
    feel as if I haven't eaten in days.
  • 75:14 - 75:17
    Hello, my love.
  • 75:20 - 75:22
    Oh, Gabby, wait. I forgot I put the
  • 75:22 - 75:26
    chain on last night. Morning. It's all
  • 75:26 - 75:28
    right. I'll take it. Would you like me
  • 75:28 - 75:33
    to get Paula? Can you help?
  • 75:33 - 75:35
    Good morning. Can you help me with this
  • 75:35 - 75:37
    thing?
  • 75:37 - 75:42
    Gabby, this is Phil. Um, Mr. Vanderb,
  • 75:42 - 75:45
    don't worry about breakfast. I'll do
  • 75:46 - 75:51
    that. Well, thank you, Gabby.
  • 75:52 - 75:57
    Gabby, I'll call you if I need you.
  • 75:57 - 76:01
    She was embarrassed. Not embarrassed.
  • 76:01 - 76:03
    Surprised. Gabby is my guardian, my
  • 76:03 - 76:05
    protector. She's much older and wiser
  • 76:05 - 76:07
    than I am. My Gabby, look at the time.
  • 76:07 - 76:09
    I'm going to be late. Oh, don't worry. I
  • 76:09 - 76:10
    can drive you to the shop. No, I don't
  • 76:10 - 76:12
    want you to. Could you get the butter?
  • 76:12 - 76:14
    Well, why shouldn't I take you? Oh,
  • 76:14 - 76:16
    there's no need.
  • 76:16 - 76:17
    I can let you off at the corner if you
  • 76:17 - 76:20
    don't want anybody to see us. Why?
  • 76:20 - 76:22
    I don't know. I just thought Don't
  • 76:22 - 76:25
    worry. They'll know soon enough and
  • 76:25 - 76:26
    they'll have such fun. Have you heard
  • 76:26 - 76:29
    about Paula and her new young men? Oh,
  • 76:29 - 76:31
    she must have such vitality, Paula. Such
  • 76:31 - 76:34
    an appetite for life and young men. Does
  • 76:34 - 76:36
    it matter?
  • 76:36 - 76:39
    Not really. All right, then. What time
  • 76:39 - 76:42
    are you through? About 6.
  • 76:42 - 76:45
    6? What am I going to do till 6? Well,
  • 76:45 - 76:46
    how do you know that I'm not busy
  • 76:46 - 76:49
    tonight?
  • 76:50 - 76:52
    That's true. No, I don't.
  • 76:52 - 76:55
    Let me do that.
  • 76:56 - 76:59
    I'm not busy tonight. Good. Still, what
  • 76:59 - 77:02
    will I do to sick? I don't know. Work.
  • 77:02 - 77:05
    Work? Oh, I know what I'll do. I'll
  • 77:05 - 77:07
    wander around Paris thinking of you. And
  • 77:07 - 77:09
    then I'll have lunch alone thinking of
  • 77:09 - 77:11
    you. And well, then I'll wait for 6:00
  • 77:11 - 77:14
    to come.
  • 77:31 - 77:34
    Heat. Heat.
  • 78:49 - 78:52
    Hey, please pass. You go ahead. I'll
  • 78:52 - 78:54
    catch up with you. Why? Where are you
  • 78:54 - 78:56
    going? to make a phone call. Sell the
  • 78:56 - 78:58
    portal to get as a cab. What's his
  • 78:58 - 79:03
    number? 24. Don't worry, I'll be there.
  • 79:10 - 79:13
    Hello.
  • 79:14 - 79:15
    Hello.
  • 79:15 - 79:18
    I just got in. I'm at the airport. How
  • 79:18 - 79:20
    are you? Did you have a good trip? I
  • 79:20 - 79:22
    want to see you. Are you free for dinner
  • 79:22 - 79:24
    tonight?
  • 79:24 - 79:27
    No, no, I can't have dinner.
  • 79:27 - 79:31
    Well, can you manage lunch? Yes. Yes.
  • 79:31 - 79:32
    Yes. Let's have lunch. Where? Where
  • 79:32 - 79:34
    would you like? Oh, it doesn't matter. A
  • 79:34 - 79:37
    place that's not too crowded.
  • 79:37 - 79:39
    Fine. All right. I'll meet you there. Do
  • 79:39 - 79:41
    you want me to pick you up? No. No. I'll
  • 79:41 - 79:45
    meet you there. All right.
  • 79:47 - 79:52
    I I'm looking forward to seeing you.
  • 79:52 - 79:56
    Goodbye, Ro.
  • 80:10 - 80:12
    I'm sorry I'm late. No, it's me. I was
  • 80:12 - 80:15
    early.
  • 80:15 - 80:17
    Don't you feel well? Why? You don't
  • 80:17 - 80:19
    usually drink in the middle of the day.
  • 80:19 - 80:22
    Oh, that I felt a bit tired. Oh, well
  • 80:22 - 80:24
    then I I think I'll have a
  • 80:24 - 80:28
    vermouth. Wait,
  • 80:29 - 80:30
    it seems a long time since I've seen
  • 80:30 - 80:33
    you. 10 days?
  • 80:33 - 80:35
    Seems longer.
  • 80:35 - 80:36
    I called you a couple of time from
  • 80:36 - 80:40
    Germany, but I couldn't get you.
  • 80:40 - 80:43
    I've been out quite a bit. Or maybe I
  • 80:43 - 80:46
    turn off my phone.
  • 80:48 - 80:51
    You never used to.
  • 80:53 - 80:57
    Thank you. Have you seen Jimmy?
  • 80:57 - 80:59
    No.
  • 80:59 - 81:02
    What have you done?
  • 81:03 - 81:07
    I've been seeing Phillip quite a lot.
  • 81:07 - 81:08
    Oh, the
  • 81:09 - 81:14
    young still mad about you.
  • 81:14 - 81:19
    And you do you still find him amusing?
  • 81:19 - 81:22
    Yes.
  • 81:22 - 81:26
    amusing. No more than that.
  • 81:29 - 81:31
    More. Well, there's nothing to say to
  • 81:31 - 81:35
    that, is there?
  • 81:38 - 81:40
    There's so much you could have
  • 81:40 - 81:43
    said, Horushi. If I were to tell you
  • 81:43 - 81:45
    that everything still depends on you,
  • 81:45 - 81:46
    you wouldn't know how to say it, would
  • 81:46 - 81:51
    you? I don't know. But I do.
  • 81:51 - 81:54
    You would say that you were too too
  • 81:54 - 81:55
    obsessed with your freedom, too
  • 81:55 - 81:56
    frightened of losing it. I said I don't
  • 81:56 - 81:59
    know. All I know is that I test the idea
  • 81:59 - 82:01
    of you and that
  • 82:01 - 82:05
    young play. We miss you. I hope it's
  • 82:05 - 82:08
    worth your time.
  • 82:08 - 82:13
    It isn't a matter of he loves me.
  • 82:13 - 82:15
    It never occurred to me when I asked her
  • 82:15 - 82:16
    to lunch that I would have to listen to
  • 82:16 - 82:18
    the story of your love life with that
  • 82:18 - 82:19
    boy.
  • 82:19 - 82:21
    Since you've always made sure I knew all
  • 82:21 - 82:23
    about yours with your girls. At least
  • 82:23 - 82:25
    that's
  • 82:28 - 82:31
    normal. I
  • 82:35 - 82:39
    mean, goodbye.
  • 82:45 - 82:46
    Hey, my name is
  • 83:02 - 83:05
    Martini. Paula,
  • 83:05 - 83:07
    I'm sorry. That was stupid of me. You
  • 83:07 - 83:10
    know I didn't mean it. Oh, it it was
  • 83:10 - 83:12
    just as much my fault. Perhaps we
  • 83:12 - 83:14
    shouldn't see each other for a
  • 83:14 - 83:18
    while. Goodbye, darling. Paula, you know
  • 83:18 - 83:19
    that
  • 83:19 - 83:23
    I You mean so much to me,
  • 83:24 - 83:28
    Paula. You do.
  • 84:24 - 84:27
    Wild.
  • 84:40 - 84:43
    Thank you.
  • 84:43 - 84:46
    17 in the ship. The last four first
  • 84:46 - 84:50
    three all by five. Love, what's our room
  • 84:50 - 84:53
    number? What? Our room number? I don't
  • 84:53 - 84:57
    know what you've got the key.
  • 84:58 - 85:02
    425. All the rest on 4 and 25.
  • 85:16 - 85:18
    It's too much.
  • 85:18 - 85:21
    Ro, hello. Jimmy, what are you doing in
  • 85:21 - 85:23
    Oil? I just decided to get away, you
  • 85:23 - 85:25
    know. Is Paula here? Where are you
  • 85:25 - 85:29
    staying? No, Paula's not here. Oh, I
  • 85:29 - 85:31
    haven't seen Paula in 2 months. Oh, I'm
  • 85:31 - 85:33
    sorry. I didn't know. Well, that's
  • 85:33 - 85:36
    stupid. Well, I
  • 85:36 - 85:41
    mean, see you later, OJ.
  • 85:56 - 86:00
    close the window, love.
  • 86:01 - 86:03
    Love, please close the window. It's
  • 86:03 - 86:06
    cold. Stop calling me love.
  • 86:06 - 86:10
    What time is this?
  • 86:12 - 86:16
    Gosh, do you realize it's it's only
  • 86:16 - 86:20
    5:00? What are you doing up, love? Hey,
  • 86:20 - 86:21
    you haven't been to bed yet. Stop
  • 86:21 - 86:24
    calling me love. Why? You call me Maisy.
  • 86:24 - 86:26
    Just stop using that word. What's the
  • 86:26 - 86:29
    matter with you? Love. Love. Love. Do
  • 86:29 - 86:33
    you know what it means?
  • 86:33 - 86:34
    Well, do
  • 86:34 - 86:37
    you? What does it mean, love? Did we
  • 86:37 - 86:40
    come here to discuss my vocabulary? Just
  • 86:40 - 86:42
    stop calling me love. It's all right at
  • 86:42 - 86:44
    night, but not in the morning. We're
  • 86:44 - 86:46
    getting particular now. Will you kindly
  • 86:46 - 86:49
    close the
  • 86:58 - 87:00
    window? Here's
  • 87:00 - 87:03
    your change. Thank you. Thank you, sir.
  • 87:03 - 87:06
    Speaking. Yes, madam.
  • 87:06 - 87:10
    Mr. De Mar. I haven't seen him, madam.
  • 87:10 - 87:12
    Thank you. Thank you, sir. But how about
  • 87:12 - 87:15
    your luggage, sir? Madam will bring it.
  • 87:15 - 87:19
    Very good, sir. I hope
  • 88:21 - 88:24
    Phillip.
  • 88:35 - 88:38
    Phillip.
  • 88:56 - 88:59
    Phillip.
  • 88:59 - 89:02
    Hello. I want to talk to you. Uhoh.
  • 89:02 - 89:04
    Well, Philillip, this can't go on. You
  • 89:04 - 89:06
    have to work. When was the last time you
  • 89:06 - 89:09
    went to the office? T Tuesday. Tuesday.
  • 89:09 - 89:11
    And when
  • 89:11 - 89:13
    before you've reached a point where you
  • 89:13 - 89:14
    do nothing at all. You see me off in the
  • 89:14 - 89:16
    morning and then you wait for me to come
  • 89:16 - 89:17
    home at night. And now you're taking to
  • 89:17 - 89:19
    sneaking drinks.
  • 89:19 - 89:22
    Oh, no, that's not so. I I just I just
  • 89:22 - 89:23
    rinsed out that glass because I know you
  • 89:23 - 89:26
    hate untidiness. Yes. I hate untidiness
  • 89:26 - 89:28
    and I hate lies and I hate weakness and
  • 89:28 - 89:33
    pretty soon pretty soon I hate you.
  • 89:34 - 89:38
    That was bound to come, wasn't it?
  • 89:38 - 89:40
    Oh, Phillip, I didn't mean it that way.
  • 89:40 - 89:42
    But I can't have you become a stupid
  • 89:42 - 89:45
    sudden lump because of me. I've told you
  • 89:45 - 89:47
    to go to work a hundred times and this
  • 89:47 - 89:50
    is the last. That's all. And if I don't
  • 89:50 - 89:51
    what? Well, I won't be able to see you
  • 89:51 - 89:54
    anymore.
  • 89:54 - 89:58
    You could send me away just like that?
  • 90:06 - 90:08
    Yes. Oh,
  • 90:08 - 90:13
    Philly. Stop it. You're acting.
  • 90:15 - 90:18
    Look at me. Look at
  • 90:18 - 90:22
    me now. What is
  • 90:22 - 90:26
    it? It's just that you don't love me and
  • 90:26 - 90:29
    there's nothing I can do about it. I
  • 90:29 - 90:30
    knew from the beginning that you would
  • 90:30 - 90:34
    send me away someday, but all all the
  • 90:34 - 90:36
    time I kept hoping that it that it never
  • 90:36 - 90:38
    would happen.
  • 90:38 - 90:41
    And all the whiskey I've drunk, all the
  • 90:41 - 90:43
    whiskey in the world, couldn't make any
  • 90:43 - 90:46
    difference because now it has
  • 90:46 - 90:50
    happened. And that's it. Oh no,
  • 90:50 - 90:53
    Phillip. You're such a fool. Such a
  • 90:53 - 90:55
    child. Oh, such a
  • 90:55 - 90:58
    fool. You've played at being the
  • 90:58 - 90:59
    abandoned lover, and you've done it so
  • 90:59 - 91:02
    well. You believe it yourself. I do care
  • 91:02 - 91:03
    about you. You know that,
  • 91:03 - 91:07
    Philillip. Look at me now. Look at me.
  • 91:07 - 91:09
    You don't want me to go?
  • 91:09 - 91:14
    No, not today. But I want you to work.
  • 91:14 - 91:17
    I will. I promise I will.
  • 91:17 - 91:21
    I was so afraid.
  • 91:22 - 91:25
    Were you such a fool?
  • 91:49 - 91:51
    What is it? I just wanted to see if you
  • 91:51 - 91:55
    were in. Sorry.
  • 92:08 - 92:12
    Hello. Who's calling please? Oh yes. Uh
  • 92:12 - 92:15
    one moment please.
  • 92:15 - 92:17
    Madame Tessier.
  • 92:17 - 92:20
    Yes.
  • 92:29 - 92:33
    Dear Hello Roa.
  • 92:34 - 92:38
    How are you? I'm all right. And you?
  • 92:38 - 92:40
    Yes, I'm fine.
  • 92:40 - 92:43
    Well, I'm taking a holiday next week.
  • 92:43 - 92:45
    This is a time of year, you know.
  • 92:45 - 92:47
    Remember, we always went away for a week
  • 92:47 - 92:51
    or so. So, I thought I'd call you and as
  • 92:51 - 92:53
    long as I'm getting my ticket, I thought
  • 92:53 - 92:57
    if you want me to get a ticket for you,
  • 92:57 - 93:00
    I don't think it's possible. RJ, you
  • 93:00 - 93:03
    don't?
  • 93:04 - 93:07
    It's just not that easy.
  • 93:07 - 93:09
    Well, how how could we go away and
  • 93:09 - 93:10
    pretend that
  • 93:10 - 93:13
    not we couldn't help thinking? Oh,
  • 93:13 - 93:15
    that's why I'm going not to think to
  • 93:15 - 93:17
    think of nothing. But there's not a very
  • 93:17 - 93:21
    good reason for going. The best.
  • 93:21 - 93:23
    It isn't that easy. And I'm sure you
  • 93:23 - 93:26
    don't need me for that. For that? I'm
  • 93:26 - 93:28
    sure you'll be all right.
  • 93:28 - 93:30
    by yourself or with some of
  • 93:30 - 93:33
    your someone else. What? Well, nothing.
  • 93:33 - 93:35
    Nothing. They never meant anything to
  • 93:35 - 93:38
    me. You know that. As long as you had me
  • 93:38 - 93:42
    to come back to then you won't come. No,
  • 93:42 - 93:46
    no, no. Ro, goodbye. Hold on.
  • 93:46 - 93:49
    Take care of yourself, will you?
  • 93:49 - 93:53
    Yes, sir. I will.
  • 94:00 - 94:02
    Oh, wait. Come on. Come on. Come on.
  • 94:02 - 94:05
    Don't rush me there. See?
  • 94:05 - 94:09
    Not bad. Excuse me, sir. Good, sir. Oh,
  • 94:09 - 94:11
    at last. Say it's getting cold, isn't
  • 94:11 - 94:13
    it? Yes, a bit. Oh, wait. Would you mind
  • 94:13 - 94:15
    going up to room 16? What would you
  • 94:15 - 94:16
    like, darling? Oh, there's a yellow
  • 94:16 - 94:18
    cardigan on the bed. Yes, ma'am. All
  • 94:18 - 94:20
    right, let's go. No, wait a minute. Wait
  • 94:20 - 94:21
    a little. But no, I did not. Look at
  • 94:21 - 94:23
    that. I knew I would have won. Didn't
  • 94:23 - 94:24
    you cheat pushing him with your foot a
  • 94:24 - 94:28
    little? No, I did not. Oh, you ought to
  • 94:28 - 94:31
    be ashamed of yourself.
  • 94:31 - 94:33
    Oh, it's wonderful getting you away from
  • 94:33 - 94:35
    Paris. You're a different person. You
  • 94:35 - 94:37
    shed your skin. Thank you. Why don't we
  • 94:37 - 94:38
    stay over another night and go back in
  • 94:38 - 94:41
    the morning? Yes. Why don't we live?
  • 94:41 - 94:46
    Oh, good evening. Good. Good evening.
  • 94:46 - 94:49
    You uh you uh know Madame Tessier, don't
  • 94:49 - 94:49
    you?
  • 94:49 - 94:52
    Madame Flurry, Mercio Flurry, and this
  • 94:52 - 94:54
    is Meline and this is Pierre. Good
  • 94:54 - 94:57
    evening. H Did uh you uh drive out from
  • 94:57 - 94:59
    Paris for dinner? It's a wonderful
  • 94:59 - 95:01
    place, isn't it? How was the traffic? We
  • 95:01 - 95:05
    we got stuck in Slooh yesterday. And
  • 95:05 - 95:07
    oh, here we are. Is there a one out?
  • 95:07 - 95:10
    Yes. Thank you. Do sit down, children.
  • 95:10 - 95:14
    Your food is getting cold. Lucian,
  • 95:14 - 95:18
    your key, sir.
  • 95:23 - 95:26
    Well, nice to have seen you. Goodbye.
  • 95:26 - 95:29
    Goodbye. Goodbye. Should we have another
  • 95:29 - 95:32
    drink? It'll warm us up. How old is she?
  • 95:32 - 95:34
    Oh, please. Lucy and Deal. You better
  • 95:34 - 95:35
    start asking for the bill. It takes an
  • 95:35 - 95:37
    eternity here.
  • 95:37 - 95:39
    This way, madam. Your table is ready.
  • 95:39 - 95:43
    You go ahead. I'll be right there.
  • 95:47 - 95:50
    to dry.
  • 95:51 - 95:56
    Children's here. I see.
  • 96:05 - 96:08
    Where's madame? I don't know. She went
  • 96:08 - 96:13
    out, but your dinner is ready, sir.
  • 96:21 - 96:23
    I'd like to go back to Paris. All right,
  • 96:23 - 96:26
    Paula. What do you care what people like
  • 96:26 - 96:28
    that think? I don't. But what difference
  • 96:28 - 96:30
    does it make? It doesn't. Well, then.
  • 96:30 - 96:32
    Well, let's not talk about it. No, we
  • 96:32 - 96:34
    will talk about it and you'll listen.
  • 96:34 - 96:36
    Oh, please don't. This is This is
  • 96:36 - 96:38
    unworthy of you and humiliating for me.
  • 96:38 - 96:39
    You're making too much of it. No, you're
  • 96:39 - 96:42
    making too much of it. I'm not a fool,
  • 96:42 - 96:43
    you know. I'm not a child you have to
  • 96:43 - 96:46
    hide things from. If you'd agree, I'd
  • 96:46 - 96:48
    marry you tomorrow. Oh, don't be silly.
  • 96:48 - 96:50
    I'm so much older. That's not the
  • 96:50 - 96:51
    problem. Age has nothing to do with it.
  • 96:51 - 96:53
    I love you. I need you. And nothing that
  • 96:53 - 96:55
    people say can make any
  • 96:55 - 96:57
    difference. The only problem for you,
  • 96:57 - 97:00
    for us, is
  • 97:01 - 97:04
    Roger. He's still there, isn't he? Deep
  • 97:04 - 97:08
    inside you, and you can't drive him out.
  • 97:08 - 97:10
    What is it they used to do when someone
  • 97:10 - 97:12
    had a demon inside? Say prayers, burn
  • 97:12 - 97:15
    incense, ring bells, make noise. If I
  • 97:15 - 97:17
    did all that, would it drive Roger out
  • 97:17 - 97:20
    of you?
  • 97:21 - 97:23
    I'm sorry. Somehow it never occurred to
  • 97:23 - 97:25
    me that you It just never occurred to
  • 97:25 - 97:27
    you that I could think that.
  • 97:37 - 97:38
    Do you think we should keep going? It's
  • 97:38 - 97:41
    up to you. The price is still low. Who
  • 97:41 - 97:42
    is that revolting man who keeps bidding
  • 97:42 - 97:45
    against us? It's another dealer. He'll
  • 97:45 - 97:47
    stop soon. I know him. Well, it better
  • 97:47 - 97:50
    be soon because
  • 97:56 - 97:58
    there we have them. Well, and a very
  • 97:58 - 98:01
    good prize.
  • 98:08 - 98:10
    Oh, they are a bargain, aren't they? I
  • 98:10 - 98:11
    think they'll go very well in the
  • 98:11 - 98:14
    library. Come to think of it, I may put
  • 98:14 - 98:17
    them in Philip's room. Uh, by the way,
  • 98:17 - 98:21
    uh, how is he? Why don't you see him?
  • 98:21 - 98:23
    Oh, he comes home from time to time to
  • 98:23 - 98:25
    pick up his laundry.
  • 98:25 - 98:27
    Oh, I didn't know. My dear, it's
  • 98:27 - 98:29
    perfectly normal. As a matter of fact, I
  • 98:29 - 98:31
    always hoped Philip would fall in love
  • 98:31 - 98:33
    with an older woman. Do you want me to
  • 98:33 - 98:35
    pay you a commission on those chairs?
  • 98:35 - 98:37
    Well, after all, you took the time, and
  • 98:37 - 98:39
    your time is worth something. Uh, isn't
  • 98:39 - 98:42
    it? Oh, please. Well, if you insist.
  • 98:42 - 98:44
    Now, do you mind if I ask you something
  • 98:44 - 98:48
    about Phillip? Yes, I do. Your car's
  • 98:48 - 98:50
    here, madam. Oh, uh, thank you. Can I
  • 98:50 - 98:52
    give you a lift, Paula? I'm going to do
  • 98:52 - 98:54
    yours. Thank you. No, I'd rather walk.
  • 98:54 - 98:56
    Are you sure? Yes. Thank you. Goodbye.
  • 98:56 - 98:59
    Goodbye.
  • 99:01 - 99:03
    Still, you have learned a certain amount
  • 99:03 - 99:06
    of French law since you've been here.
  • 99:06 - 99:09
    But New York is where you will work. It
  • 99:09 - 99:11
    is where you will live. I've had a long
  • 99:11 - 99:13
    talk with your mother, and we agree that
  • 99:13 - 99:16
    under the circumstances, your career
  • 99:16 - 99:18
    will profit from your immediate return
  • 99:18 - 99:20
    to New York. That's very nice of you,
  • 99:20 - 99:23
    but I'm not going.
  • 99:23 - 99:25
    I'm afraid you have no choice. Oh, yes,
  • 99:25 - 99:28
    I have. Well, you'll have to talk to
  • 99:28 - 99:32
    your mother about that. Ellis,
  • 99:32 - 99:34
    Mr. Flurry, were they to discover that
  • 99:34 - 99:36
    you have a mistress, and I'm sure you
  • 99:36 - 99:39
    have, where would they send you?
  • 99:39 - 99:41
    Goodbye, sir.
  • 99:41 - 99:43
    Goodbye. Goodbye.
  • 99:43 - 99:47
    Goodbye. All
  • 99:53 - 99:56
    this way, please. That table over there.
  • 99:56 - 99:58
    No, no, no. Not that one. Not tonight.
  • 99:58 - 100:00
    I'm afraid everything is reserved. Well,
  • 100:00 - 100:03
    how about this one? Oh, I'm sorry. No
  • 100:03 - 100:05
    butts. No butts. Uh, what's your name?
  • 100:05 - 100:07
    Fras. You don't know me, but this is a
  • 100:07 - 100:08
    night we're both going to remember.
  • 100:08 - 100:12
    We'll take this one. Madame,
  • 100:12 - 100:14
    you asked for me, Mrs. Yes. Yes. We'd
  • 100:14 - 100:17
    like some flowers. No, no, I'd like you
  • 100:17 - 100:18
    to find the most beautiful bouquet you
  • 100:18 - 100:19
    can
  • 100:19 - 100:23
    from. here.
  • 100:23 - 100:26
    You're completely mad. Absolutely. What
  • 100:26 - 100:28
    is this all about? We're celebrating
  • 100:28 - 100:30
    what? My independence. My independence
  • 100:30 - 100:32
    of the world. My dependence on you.
  • 100:32 - 100:36
    Prosa. Yes. We would like to start with
  • 100:36 - 100:37
    something just great. Followed by the
  • 100:37 - 100:39
    most marvelous dinner ever served in the
  • 100:39 - 100:40
    history of Maxine. Would you like to
  • 100:40 - 100:44
    start with some fresh? Yeah. No. No.
  • 100:44 - 100:46
    Caviar.
  • 100:46 - 100:49
    Caviar. Caviar with benise. Yes. and
  • 100:49 - 100:51
    vodka to go with it. Madam, will you
  • 100:51 - 100:53
    dance? May I have the pleasure of this
  • 100:53 - 100:55
    dance?
  • 100:55 - 100:58
    Vodka, the best and lots of it.
  • 100:58 - 101:01
    No, no, no. Champagne, a magnet.
  • 101:04 - 101:05
    Will you please tell me what this is all
  • 101:05 - 101:07
    about?
  • 101:07 - 101:09
    I've quit my job. Or rather, I've traded
  • 101:09 - 101:12
    it in for Paris. You've quit your job?
  • 101:12 - 101:14
    Yep. Why? They were going to send me
  • 101:14 - 101:16
    away to New York. Oh, but spill it. No,
  • 101:16 - 101:18
    but not from you. Let's have a packed.
  • 101:18 - 101:20
    All right. No, Phillip, you can't do
  • 101:20 - 101:23
    this. I won't let you do it.
  • 101:23 - 101:26
    It's done.
  • 101:33 - 101:37
    I saw her at Balenciaga
  • 101:37 - 101:40
    Bis. I saw her at Balenciaga in a dress
  • 101:40 - 101:42
    from Belma and the next day at
  • 101:42 - 101:45
    Lingi. Isn't it funny?
  • 101:45 - 101:47
    Today she was having lunch with Kilar
  • 101:47 - 101:50
    Rosh wearing a Chanel and now here she
  • 101:50 - 101:54
    is holding you. I almost wore that belt.
  • 101:54 - 101:56
    You like it?
  • 101:56 - 101:59
    H what are you thinking? How stupid the
  • 101:59 - 102:03
    world is. What? Nothing. Come on. Let's
  • 102:03 - 102:06
    dance.
  • 102:32 - 102:34
    I have a confession to make. I almost
  • 102:34 - 102:36
    did something terrible. What? Well, it's
  • 102:36 - 102:37
    a beautiful place between your neck and
  • 102:37 - 102:40
    your shoulder which I almost bit.
  • 102:40 - 102:43
    May I? I'll fill it. Well, you think
  • 102:43 - 102:47
    about it and let me know.
  • 102:52 - 102:55
    You are very far away tonight, Sherry.
  • 102:55 - 102:57
    Oh, am I? Shall we go to the elephant?
  • 102:57 - 103:00
    Why? I may be
  • 103:01 - 103:04
    here.
  • 103:21 - 103:24
    Heat.
  • 103:26 - 103:29
    Heat.
  • 103:48 - 103:50
    Here we go back. I think our food is
  • 103:50 - 103:54
    he's there. Okay.
  • 104:20 - 104:23
    Phoenix.
  • 104:29 - 104:33
    Shall we go somewhere else?
  • 104:33 - 104:37
    If you like to.
  • 104:40 - 104:42
    Doesn't really matter.
  • 104:58 - 105:00
    Well,
  • 105:00 - 105:03
    where do we go from here?
  • 105:03 - 105:06
    I don't know.
  • 105:06 - 105:11
    Good night, Philip. Paul,
  • 105:11 - 105:12
    can
  • 105:12 - 105:15
    I see you tomorrow?
  • 105:15 - 105:19
    Yes, of course.
  • 105:43 - 105:47
    Yes. May I help you? Oh, Mr. Mar, I
  • 105:47 - 105:49
    haven't seen you for some time. Yes. Is
  • 105:49 - 105:52
    Paula here? Oh, yes. She's uh she was
  • 105:52 - 105:56
    here a minute ago. Madame Tier. Madame
  • 105:56 - 105:59
    Tessier.
  • 106:05 - 106:10
    Yes, Mr. Stana. Oh, hello. Hello,
  • 106:10 - 106:13
    Paul. Well, I
  • 106:13 - 106:16
    am. Could we go somewhere? Yes, of
  • 106:16 - 106:19
    course.
  • 106:23 - 106:25
    Well, I've been making up speeches, but
  • 106:25 - 106:27
    now I
  • 106:27 - 106:30
    can help
  • 106:32 - 106:35
    me. Last night, I wanted to walk across
  • 106:35 - 106:36
    the room and
  • 106:36 - 106:40
    say, "This is enough. Let's go home."
  • 106:40 - 106:44
    And then later I walked and walked
  • 106:45 - 106:49
    and it can't go on like
  • 106:52 - 106:55
    this.
  • 106:55 - 106:58
    I I can live without you. There. Now
  • 106:58 - 107:01
    I've said it.
  • 107:01 - 107:05
    Why was it such a terrible thing to say?
  • 107:05 - 107:08
    It was all my fault.
  • 107:08 - 107:10
    I shouldn't have let you get involved. I
  • 107:10 - 107:12
    should have stopped you right at the
  • 107:12 - 107:14
    beginning. Oh, my darling, you're not
  • 107:14 - 107:17
    very bright. I'm not. But it doesn't
  • 107:17 - 107:21
    matter. I'm
  • 107:21 - 107:25
    home. for whatever it
  • 107:33 - 107:36
    is there
  • 107:36 - 107:40
    sugar. Oh, Phillip. Phillip tried to
  • 107:40 - 107:43
    understand. We met at the time when you
  • 107:43 - 107:45
    needed me and I needed you and we were
  • 107:45 - 107:47
    very
  • 107:47 - 107:50
    lucky. But it isn't enough to keep two
  • 107:50 - 107:52
    people together. It couldn't
  • 107:52 - 107:56
    last. I kept hoping selfishly that it
  • 107:56 - 107:59
    would, but it couldn't.
  • 107:59 - 108:04
    And all he had to do was say,
  • 108:04 - 108:06
    "Please." Well, I don't know. I suppose
  • 108:06 - 108:10
    I ought to feel proud in a
  • 108:10 - 108:12
    way. I mean, if it wasn't for me, you
  • 108:12 - 108:14
    probably wouldn't be getting married,
  • 108:14 - 108:18
    you know. No, I'm kind of a a Cupid.
  • 108:18 - 108:22
    Yes, that's what I am. A cupid. Look,
  • 108:22 - 108:24
    Phillip, you shouldn't It's true, isn't
  • 108:24 - 108:28
    it? I was sort of a an
  • 108:28 - 108:30
    interlude. Damn
  • 108:30 - 108:33
    it. Damn him. Damn you. Damn us
  • 108:33 - 108:37
    all. Why couldn't you love me? You said
  • 108:37 - 108:39
    it yourself, Phillip. The demon inside
  • 108:39 - 108:44
    of me. I can't drive him out.
  • 109:18 - 109:22
    Phillip. Phillip, I
  • 109:22 - 109:24
    I'll never forget.
  • 109:24 - 109:27
    Sure.
  • 109:29 - 109:31
    Me
  • 109:37 - 109:40
    neither. Well, Paula, what am I going to
  • 109:40 - 109:43
    do? What's going to happen to me?
  • 109:43 - 109:47
    Oh, Phillip, darling,
  • 109:47 - 109:48
    you'll be going back to New York. You
  • 109:48 - 109:50
    have friends there, and your life is
  • 109:50 - 109:52
    there. Sure. No, you're right. You're
  • 109:52 - 109:54
    right. I'll I'll meet the right girl,
  • 109:54 - 109:58
    get married, live happily ever
  • 109:58 - 110:04
    after. Um, where's where's my
  • 110:07 - 110:11
    slippers? Where's the other one?
  • 110:14 - 110:16
    Thank
  • 110:17 - 110:20
    you. Well,
  • 110:20 - 110:22
    uh, am am
  • 110:22 - 110:26
    I ever going to see you again? You can
  • 110:26 - 110:27
    if you want
  • 110:27 - 110:30
    to. I don't think we should.
  • 110:30 - 110:34
    No. No, we
  • 110:34 - 110:38
    shouldn't. What the hell am I doing?
  • 110:38 - 110:40
    Will you leave all this stuff with your
  • 110:40 - 110:44
    concier, please? Yes, I'll get it all
  • 110:56 - 110:58
    together. Phillip.
  • 110:58 - 111:01
    Phillip. Oh, Phillip try to
  • 111:01 - 111:05
    understand. I am old. I am old. I am
  • 111:05 - 111:09
    old. I'm old.
  • 111:50 - 111:53
    Please, Ore.
  • 111:54 - 111:58
    Well, well, that wasn't so bad, was it?
  • 111:58 - 112:00
    You talk as if you just been to your
  • 112:00 - 112:01
    dentist.
  • 112:06 - 112:10
    Gabby. Gabby. Yes, madame. Oh, I thought
  • 112:10 - 112:12
    I'd never get here. Isn't Miss your home
  • 112:12 - 112:14
    yet? No, madame. Oh, would you please
  • 112:14 - 112:17
    throw him your bath? And uh what shall I
  • 112:17 - 112:20
    wear tonight? Let's see.
  • 112:20 - 112:22
    Oh, the black chiffon. No, it's too
  • 112:22 - 112:23
    dressy. We're just going to a small
  • 112:23 - 112:25
    beastro for dinner.
  • 112:25 - 112:27
    This one? No, no, that one is What is
  • 112:27 - 112:32
    that next to it? That? Yes, that's fine.
  • 112:32 - 112:35
    What a day. The trouble with being an
  • 112:35 - 112:36
    interior decorator is that everyone
  • 112:36 - 112:38
    thinks he knows your job. But nobody
  • 112:38 - 112:40
    ever thinks of telling a plumber how to
  • 112:40 - 112:43
    fix a sink. But oh, Gabby, my zipper.
  • 112:43 - 112:46
    No, no, no. It's all right. Never
  • 112:46 - 112:48
    mind. But you just start making a
  • 112:48 - 112:50
    curtain and everybody will Gabby. Did
  • 112:50 - 112:54
    Miss call? No, madam.
  • 112:54 - 112:56
    Not too hot, Gabby. I think we need in
  • 112:56 - 112:58
    tomorrow night, Gabby. Let's get a good
  • 112:58 - 113:00
    steak for Miss No, we had that on
  • 113:00 - 113:02
    Monday. Well, let's get some lamb chops
  • 113:02 - 113:04
    and tell Madame Fu to make me one of her
  • 113:04 - 113:07
    beautiful Oh, I'll
  • 113:08 - 113:10
    take
  • 113:10 - 113:14
    Hello. Oh, Roier, where are
  • 113:18 - 113:21
    you? Yes, I suppose if you have
  • 113:21 - 113:23
    to. Yes, I
  • 113:23 - 113:25
    understand.
  • 113:25 - 113:27
    What? Oh, I'll probably have something
  • 113:27 - 113:30
    to eat and go to bed.
  • 113:30 - 113:32
    All
  • 113:32 - 113:36
    right. Goodbye.
  • 114:14 - 114:17
    Heat.
  • 114:22 - 114:25
    Heat. Heat.
  • 114:44 - 114:47
    Heat.
  • 114:54 - 114:58
    Heat. Heat.
Title:
Goodbye Again (1961) Ingrid Bergman, Anthony Perkins & Yves Montand
Description:

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Video Language:
English
Duration:
01:55:12

English subtitles

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