WINNER, SPECIAL JURY PRIZE
AND ITALIAN CRITICS' PRIZE
AT THE VENICE FILM FESTIVAL
DEDICATED TO B MOVIES
MY LIFE TO LIVE A FILM IN TWELVE TABLEAUX
''Lend yourseIf to others, but give yourseIf to yourseIf'' -- Montaigne
A CAFÉ - NANA WANTS TO GIVE UP - PAUL -- THE PINBALL MACHINE
Do you reaIIy Iike the guy?
I don't know
I wonder what I was even thinking
Does he have more money than me?
What do you care?
Something bothering you?
No, I just wanted to deIiver that Iine a specific way
I didn't know the best way to say it
Or I did know, but I don't anymore
Just when I shouId know, too Doesn't that ever happen to you?
Don't you ever taIk about anything but yourseIf?
You're horribIe
I'm not horribIe, Nana I'm sad
I'm not sad, PauI I'm horribIe
Don't taIk nonsense This isn't a stage
You never do as I ask, but you aIways want me to do what you want
Anyway, I'm fed up I want to die
- Is that so? - Yes, that's so
More nonsense
It's exhausting Ioving you I aIways have to beg
I exist too
You say I'm crueI, but you're the crueI one
Why do you say that? It isn't true You mean Sunday evening?
You know very weII when
I begged you to introduce me to that man
You did it on purpose
Yes, I did
You're pathetic
If we started over, I'd just cheat on you again
Don't say that
It's true
I thought it was important we shouId meet, but I don't anymore
We might have got together again
But the more we taIk, the Iess the words mean
Anyway, if I make it on the stage, it won't be thanks to you
Acting isn't everything
Not you too! Why do you say that?
If it's what I want, why shouId you mind?
I might be discovered someday
Yes, you mustn't give up
I haven't given up music
Not Iike your EngIish Iessons You were never reaIIy interested
I'm not giving up
In fact, that guy's going to take pictures of me
Maybe I'II get into the movies
That'II be the day
You're horribIe, PauI
You reaIIy are It's aIways the same
You say you Iove me, but you don't consider me speciaI
I hardIy Iove you anymore, but I stiII consider you speciaI
Why do you say things Iike that? I think we're aII the same
You don't approve of me Iooking for work?
It suits you even Iess than aII the rest
Anyway, you're Ieaving me because I'm poor
When aII's said and done, maybe
Have you got the pictures you mentioned on the phone?
I forgot them They'II be ready at the end of the week
Is he aII right? Is he eating weII?
He had an earache, but the doctor said it was nothing
What's your job at Pathé-Marconi?
I seII records
Can you Iend me 2,000 francs?
Out of the question
Your parents must be gIad I'm gone
No, they Iiked you
I'II bet
What's that Iook for?
Nothing
Let's not start quarreIing again
How about a game?
Sure
Got a coin? I onIy have one
Yes, I do
You go first
I'm suddenIy thinking of those essays my dad's students write
What about them?
He read us some great ones Iast night over dinner
They're just kids They had to describe their favorite animaIs
One IittIe girI of eight chose a bird
How did it go?
''A bird is an animaI with an inside and an outside
Take away the outside and the inside is Ieft
Take away the inside and you see its souI''
THE RECORD SHOP -- 2,000 FRANCS -- NANA LIVES HER LIFE
No, we're out of that, sir
What about Judy GarIand?
We don't have her either
Do you have a guitar recording by Roméo --
What's his name? RafaeI Romero
I'II ask
RafaeI Romero on guitar
In the bins in back
Is Rita stiII sick?
Yes I think she'II be back Thursday
What a drag She owes me 2,000 francs
- Can you Iend me 2,000? - You crazy? I'm broke
Why? Anything wrong? - No, nothing
Here it is
I'II take this too
This way, sir
That Iooks great
The story's stupid, but it's very weII written
''He gazed at the turquoise, star-Iaden sky
and then turned to me
'You Iive your Iife intenseIy, so IogicaIIy --'
I interrupted him
'You attach too much importance to Iogic'
For a few seconds I was fiIIed with a bitter sense of triumph
No more broken heart, no more struggIe to Iive again
No probing questions to face whiIe masking one's defeat
Yes, a truIy eIegant way of breaking this deadIock''
THE CONCIERGE -- PAUL --
THE PASSION OF JOAN OF ARC -- A JOURNALIST
PIease give me my key
AII right, then
Arthur! Get her!
Come on, give me the key
Here, honey
Hi
Where are you headed?
Want to see the pictures?
He doesn't Iook Iike me at aII He Iooks more Iike you
Come have dinner?
- Where are you going? - BouIevard Saint-MicheI
- Come have dinner - I'm not hungry
I want to see a movie Bye
JOAN OF ARC
We have come to prepare you for death!
Now aIready?
How am I to die?
At the stake!
How can you stiII beIieve you were sent by God?
God knows our path, but we understand it onIy at the end of the road!
Yes, I am his chiId!
And the great victory?
It wiII be my martyrdom!
And your deIiverance?
Death!
Death
I said good-bye aIready
I paid for your movie ticket
Too bad
Evening How are you?
Evening How are things?
- Didn't we have a date tonight? - Yes
I wondered if you were coming - Why? Am I Iate?
Just a bit But that's not why I wondered
I'm usuaIIy very punctuaI
1 1 :00 pm is very Iate
I thought you'd forgotten too
What wiII you have?
- Any roIIs Ieft? - Sorry, no
A coffee, then
Was that a friend outside?
No, it was my brother
You have Iots of brothers and sisters?
Five brothers and three sisters
Surprised? It's true
What's new since Wednesday?
Nothing much
Is that red car outside yours?
What is it? A Jaguar?
No, an AIfa Romeo Are you interested in cars?
No, I don't know a thing about them
When shaII we take those pictures?
You teII me I aIready toId you I'm ready
But I'm onIy free on Sundays
I'm off to London on Sunday
WeII then, I don't know
How about now? Are you tired?
If I say no, you won't think I'm awfuI?
Not at aII
Do you reaIIy think I couId get into fiIms?
I think so
Look, I brought you a composite sheet
I'd Iike to do something Iike that
What's this for?
You send it out to peopIe in fiIms,
and a few days Iater maybe they caII you
I'm a bit shy about undressing
Just a IittIe What can it hurt?
CouId you Iend me 2,000 francs?
I wouId, but I haven't got it
I'm tired
What about my pictures?
You'II come with me then?
THE POLICE -- NANA IS QUESTIONED
Nana KIe/n-what ?
K-L-E-I-N
F-R-A-N-K-E-N
H-E-I-M
Born Apr/I 15th, 1940, at FIexburg, MoseIIe.
No f/xed address. Is that r/ght?
Yes
AII r/ght. What happened?
WeII, I was waIking down the street,
and I saw a woman buying a magazine
Then she took some money out of her bag
She didn't notice she'd dropped 1 ,000 francs
So then I pretended to buy a magazine too,
and I put my foot on her 1 ,000 francs
She Ieft and --
And she reaIized it?
She waIked back toward me
and stared into my eyes for a Iong time
So I gave her back her money
Then why did she bring charges?
I don't know I think it was very mean of her
Don't you have anyone you can stay with in Paris?
Friends, sometimes
Boys?
Sometimes
Why not ask for an advance at work?
I aIready have, too many times
What are you going to do?
I don't know
I
I is someone eIse
THE BOULEVARDS -- THE FIRST MAN -- THE ROOM
How about it?
Is this the pIace?
You've been here before?
Yes, it is
Anyone there?
You want Room 27 or 28?
Room 27
- Do you smoke? - No, thanks
There's never an ashtray
Here's one
How much do you want?
I don't know It's up to you
I don't know
Four thousand francs?
You owe me 1 ,000
I have no change
Keep it It doesn't matter
It's true I'm not just trying to get more
But you have to take everything off
Why not on the mouth?
MEETING YVETTE -- A CAFÉ IN THE SUBURBS -
RAOUL -- GUNSHOTS IN THE STREET
Yvette! How are you?
Is that you? You cut your hair! - A Iong time ago
- How are you? - And you?
- Oh, I'm getting by - Me too
Good for you
- Why? - I thought that --
What are you doing here?
I'm thirsty ShaII we get a drink?
I'd Iove to
How's Raymond?
Oh, I'II teII you aII about it
What happened?
Life is crueI
I'd Iike to get away, escape to the tropics
- Escape is a pipe dream - Why?
It just is
This is it
ShaII we sit over there?
I'II be back in a minute
So teII me
One evening, Raymond
came home with train tickets to Brest
He said he had a job, so we took the kids and moved
and went to Iive in a hoteI by the harbor
He'd disappear for the entire day
He was ''working''
I'd take the chiIdren out, buy them ice cream
I was worried,
because I couIdn't figure out how he earned his money
One evening, after three weeks of that,
he just never came back
I had to manage on my own
with the chiIdren that my mother-in-Iaw wouIdn't Iook after
because she didn't Iike me
I graduaIIy became a prostitute It was the easiest way
Then, two years Iater, I went to the movies one night
and saw him acting in an American movie
And things are fine now?
Everything's fine
What wouId you Iike?
- White wine - Rosé
StiII, it doesn't sound Iike much fun
No, it's depressing, but it's not my fauIt
I think we're aIways responsibIe for our actions We're free
I raise my hand -- I'm responsibIe
I turn my head to the right -- I'm responsibIe
I'm unhappy -- I'm responsibIe
I smoke a cigarette -- I'm responsibIe
I shut my eyes -- I'm responsibIe
I forget that I'm responsibIe, but I am
I toId you escape is a pipe dream
After aII, everything is beautifuI
You onIy have to take an interest in things, see their beauty
It's true
After aII, things are just what they are
A face is a face
PIates are pIates
Men are men
And Iife is Iife
The guy I said heIIo to by the door wants to meet you
WouId you mind?
Not at aII
My g/rI's not the k/nd to be seen
In a ch/c magaz/ne
That's pIa/n to see
No starIet's sungIasses or gowns
She works across town
In a factory
Some pIa/n furn/shed rooms are our home
We I/ve there aIone
She and I
A warehouse and rooftops beIow
From our I/ttIe w/ndow
Meet the eye
Vacat/ons we spend cIose at hand
The R/v/era's too grand
For our pay
Loved ones are d/stant and few
I've a godmother who
L/ves far away
But my g/rI, though just 25
Is the sweetest that I've
Ever seen
No sa/nt /n any church you couId f/nd
Is as sweet or as k/nd
At Ieast to me
When the town dozes off /n the bIaze
Of the sun's summer rays
Burn/ng br/ght
W/th my baby g/rI wrapped /n my arms
I dr/nk /n her charms
And hoId her t/ght
We wh/sper our thoughts, she and I
As I/ght fades from the sky
Up above
In the secrecy of our four waIIs
As n/ght sIowIy faIIs
We make Iove
Is she a Iady or a tramp?
InsuIt her. If she's a tramp, she'II get angry.
If she sm/Ies, she's a Iady.
RaouI.
A hot toddy
We'II find out
You're a friend of Yvette's?
That's right
I know you very weII
- You're Iying - I saw you three months ago
You're Iying
A guy was showing you pictures on BouIevard Saint-Germain
That's true
Then why did you deny it? You say any oId nonsense
You're pathetic
Why do you Iook at me Iike that?
You Iook stupid, and your hair Iooks awfuI
Wait here I need to taIk to you
You okay?
My eyes!
THE LETTER -- RAOUL AGAIN -- THE CHAMPS-ELYSÉES
Dear Madame, a friend who worked for you gave me your address
I wouId Iike to come and work for you
I am 22 years oId
I think I am pretty
My height is
5'6''
I have short hair
but it grows very quickIy
EncIosed is a picture and
Oh, it's you
The cIassic Ietter
Yes, it's me
How did you know I was here?
I foIIowed you
I was in my car, and I saw you come in here
You've got some nerve
No, you're very beautifuI
You reaIIy skipped out quickIy the other day
When?
When that crook was shot outside the café
You just vanished
I don't think they were crooks It was some poIiticaI stuff
ReaIIy? I didn't know
In any case, I didn't mean you aren't brave
I was just making conversation
What do you think of me?
Me?
Yes, you
I think there's a Iot of goodness inside you
What? A Iot of what?
There's a Iot of goodness in your eyes
ReaIIy? I didn't understand
Anyway, that's an odd thing to say
Why?
I wasn't expecting a CathoIic response What I meant was:
Do you pIace me in a speciaI category of women?
You Iike being speciaI?
Why?
No reason
For me, there are three types of girIs:
those with one expression, those with two, and those with three
Did Yvette give you this address?
Are you reaIIy serious about it?
Why?
I'd Iike to earn more money
I can heIp you earn even more here in Paris
ReaIIy? Fine with me
Why not try to get into movies? You're a pretty girI
I did try
Two years ago, I wanted to make it on the stage
I was in Pac/f/co at the ChâteIet
And I was in a fiIm once with Eddie Constantine
I'm teIIing you my Iife story How awfuI
No, it's not I'm a friend
Give me a smiIe
No, I don't feeI Iike it
ShaII I come with you?
When do I start?
''When the c/ty I/ghts go on, the streetwaIkers' desperate rounds beg/n. "
AFTERNOONS -- MONEY -- SINKS -- PLEASURE -- HOTELS
What exactIy do I do?
The prost/tute earns aII she can by trad/ng on her charms
to bu/Id up a good cI/enteIe and estabI/sh the best work/ng cond/t/ons.
Does she have to be beaut/fuI?
No, aIthough beauty /s an /mportant factor /n a prost/tute's career.
It estabI/shes her pIace /n the h/erarchy and attracts the attent/on of the p/mp,
s/nce her phys/caI aIIure can be a source of great prof/t.
Does she have to reg/ster somewhere?
Before the Iaw of Apr/I 13th, 1946,
prost/tutes were subject to med/caI and poI/ce surve/IIance.
Under the new Iaw, onIy med/caI surve/IIance
/s now requ/red.
The 1946 Iaw and Decree 2253 of November 5th, 1947,
estabI/shed the Nat/onaI San/tary Reg/ster for aII women
shown by concIus/ve ev/dence
to be engaged /n prost/tut/on.
But what do I do?
RegardIess of the ne/ghborhood, the procedure /s the same.
By her dress, att/tude, and makeup,
the prost/tute /nd/cates her trade.
Somet/mes, /n def/ance of the Iaw,
she gestures to the cI/ent or propos/t/ons h/m outr/ght.
What do I charge?
It can vary greatIy,
from 300 to 15,000 francs
for an encounter Iast/ng from a few m/nutes to an hour
caIIed a ''tr/ck. "
An ''overn/ght"ranges from 5,000 to 50,000 francs.
Can I go anywhere I I/ke?
ControIs have been attempted. In Par/s, for /nstance
a poI/ce reguIat/on of August 25th, 1958,
forb/ds Io/ter/ng w/th /ntent to soI/c/t
dur/ng certa/n hours /n the Bo/s de BouIogne
and around the Champs-EIysées.
Do I keep a percentage?
A da/Iy ''quota" /s agreed upon /n advance.
Around the Champs-EIysées and the MadeIe/ne,
/t's 20,000 to 30,000 francs a day,
pa/d at the end of the week.
Do I have my own room?
UsuaIIy onIy the toweIs are changed between tr/cks, not the sheets.
Some hoteIs prov/de no bIankets, onIy a bottom sheet.
What about the poI/ce?
They conduct ra/ds and /nterrogat/ons.
Any woman /n v/oIat/on of reguIat/ons
can be deta/ned /n a cI/n/c as Iong as necessary
for extens/ve test/ng.
Can I have a dr/nk /n a café?
A prost/tute who dr/nks heav/Iy earns very I/ttIe.
She's undes/rabIe because she creates a scene.
What /f I get pregnant?
One m/ght th/nk a prost/tute wouId seek an abort/on at any cost.
That's not the case.
They do try to avo/d pregnancy, by chem/caI means or any other.
But once pregnancy /s conf/rmed, abort/ons are rare.
Must I accept anyone?
The prost/tute must aIways be at the cI/ent's d/sposaI.
She must accept anyone who pays.
That man...
that man...
Are there cI/ents every day?
Lower-grade prost/tutes
average f/ve to e/ght cI/ents a day,
earn/ng 4,000 to 8,000 a day.
However, some manage except/onaI turnover.
S/xty cI/ents /s not unheard of on Saturdays or hoI/days.
A YOUNG MAN -- LUIGI -- NANA WONDERS WHETHER SHE'S HAPPY
Do I get days off?
UsuaIIy after the med/caI check.
Her man usuaIIy takes her out,
often to see her ch/Id /n the country.
Afterwards, they go out to a restaurant or a mov/e.
- Is Luigi here? - Upstairs
I'II be five minutes
The movie aIready started anyway
A white wine
Got any GauIoises?
- You have cigarettes? - Yes What kind?
I was just wondering
- Got any cigarettes? - They've got some downstairs
- How are you? - So-so
What's wrong with her?
We were supposed to see a movie
I'II cheer you up
I'II do the kid bIowing up a baIIoon
He's got a baIIoon, and he bIows it up
You ought to be my man
Happy now? WiII you Iet us taIk?
THE STREETS -- A GUY -- HAPPINESS IS NO FUN
Did you see Inspector FIeytoux? He bought a BMW
They couId have provided chairs
It's aIways Iike that
How much?
3,000 5,000 if I undress
Can't you give me one more? - I have to keep some
- One of these, then? - It's aII I've got
A IittIe one It wouId be so nice
You come here often?
But I've seen you before, haven't I?
Maybe
What's your name?
Dimitri
Nice name
Yes, I'm fond of it
What Iine of work are you in?
I shoot pictures for ads
You mean Iike in the movies?
No, stiII pictures
I was in a movie with Eddie Constantine two months ago
No P/ty. Did you see it?
You don't say much Are you the romantic type?
If you give me more, you can stay
That's what you want?
I'II go see
Never mind
- Are you Ieaving? - Yes
- Can you spare five minutes? - Ask Monique She's in 41
- What's up? - Nothing
The eIevators never work
See you Tuesday at the OIympia
- What are you doing? - Going downstairs
- Can you spare a moment? - How much?
I don't know We can discuss it
AII right
Room 45
Work it out with her
- AII right? - Yes
- What's your name? - EIizabeth Like the Queen of EngIand
ShaII I strip too?
ActuaIIy, don't bother
So you don't need me anymore?
I don't know
Like that
PLACE DU CHÂTELET - A STRANGER - NANA, THE UNWITTING PHILOSOPHER
Do you mind me Iooking?
You Iook bored
Not at aII.
- What are you doing? - Read/ng.
WiII you buy me a drink?
If you I/ke.
Do you come here often?
OccasionaIIy Today I just happened by
Why are you reading?
It's my job
It's funny
SuddenIy I don't know what to say
It happens to me a Iot
I know what I want to say
I think first about whether they're the right words
But when the moment comes to speak, I can't say it
Yes, of course
Have you read The Three Musketeers?
No, but I saw the movie Why?
Because in it, Porthos --
ActuaIIy, this is from Twenty Years Later.
Porthos is taII, strong, and a IittIe dense
He's never had a thought in his Iife
He has to pIace a bomb in a ceIIar to bIow it up
He does it
He pIaces the bomb, Iights the fuse, and starts to run away
But just then he begins to think
About what?
How it's possibIe to put one foot in front of the other
I'm sure that's happened to you
So he stops running He can't move forward
The bomb expIodes, and the ceIIar caves in around him
He hoIds it up with his strong shouIders
But after a day or two, he's crushed to death
So the first time he thought, it kiIIed him
Why do you teII me things Iike that?
No reason Just to taIk
Why must one aIways taIk?
I think one shouId often just keep quiet, Iive in siIence
The more one taIks, the Iess the words mean
Perhaps, but can one do that?
I don't know
It's aIways struck me, the fact we can't Iive without speaking
But it wouId be nice
Yes, it wouId be nice, wouIdn't it?
Sort of Iike we Ioved one another more
But it's impossibIe No one's been abIe to
But why?
Words shouId express just what one wants to say
Do they betray us?
Yes, but we betray them too
One shouId be abIe to express oneseIf
We manage to write things quite weII
It's extraordinary that someone Iike PIato
can stiII be understood PeopIe reaIIy do understand him
Yet he wrote in Greek 2,500 years ago
No one reaIIy knows the Ianguage, not exactIy
Yet something gets through, so we shouId be abIe to express ourseIves
And we have to
Why do we have to? To understand each other?
We must think,
and for thought we need words
There's no other way to think
To communicate, one must speak That's our Iife
Yes, but at the same time, it's very hard
Whereas I think Iife shouId be easy
Your taIe about the Three Musketeers may be a very nice story,
but it's terribIe
Yes, but it's a pointer
I beIieve
one Iearns to speak weII onIy when one has renounced Iife for a whiIe
That's the price - So to speak is fataI?
Speaking is aImost a resurrection in reIation to Iife
Speaking is a different Iife from when one does not speak
So to Iive speaking,
one must pass through the death of Iife without speaking
I don't know if I'm being cIear
but there's a kind of ascetic ruIe that stops one from speaking weII
untiI one sees Iife with detachment
But one can't Iive everyday Iife with I don't know --
Detachment?
We go back and forth That's why we pass from siIence to words
We swing between the two, because it's the movement of Iife
From everyday Iife one rises to a Iife --
Let's caII it superior -- why not? It's the thinking Iife
But the thinking Iife presupposes that one has kiIIed off
a Iife that's too mundane, too rudimentary
Then thinking and speaking are the same thing?
I beIieve so
It's in PIato, you know It's an oId idea
I don't think one can distinguish a thought
from the words that express it
A moment of thought can onIy be grasped through words
So to speak is to risk Iying?
Lies too are part of our quest
There's IittIe difference between an error and a Iie
I don't mean ordinary Iies, Iike promising,
''I'II be here tomorrow at 5:00,'' and then not showing up
Those are just pIoys
But a subtIe Iie often differs IittIe from an error
One's searching for something and can't find the right word
That's why you didn't know what to say before
I think you were afraid of not finding the right word
How can one be sure of having found the right word?
One must work at it It onIy comes with effort
To say what must be said in the appropriate way,
that is, that doesn't hurt,
that says what must be said, does what must be done,
without hurting or wounding anyone
One must try to act in good faith
Someone once toId me,
''There's truth in everything, even in error''
It's true
That's what France didn't see in the 1 7th century
They thought one couId avoid errors and Iies,
that one couId Iive directIy in the truth
I don't think it's possibIe
Hence Kant, HegeI, German phiIosophy:
to bring us back to Iife
and make us see that we must pass through error to arrive at truth
What do you think about Iove?
The body had to come into it,
and indeed, Leibniz introduced the contingent
Contingent truths and necessary truths make up Iife
German phiIosophy showed us that in Iife,
one thinks with the constraints and errors of Iife
One must manage with that It's true
ShouIdn't Iove be the onIy truth?
But for that, Iove wouId aIways have to be true
Do you know anyone who knows right off what he Ioves?
No When you're 20, you don't know
AII you know are bits and pieces You grasp at experience
At that age, ''I Iove'' is a mixture of many things
To be compIeteIy at one with what you Iove takes maturity
That means searching
That's the truth of Iife
That's why Iove is a soIution,
but on the condition that it be true
THE YOUNG MAN AGAIN -- THE OVAL PORTRAIT -- RAOUL TRADES NANA
What shaII we do today?
I don't know
ShaII we go to the Luxembourg Garden?
I think it's going to rain
''I thus saw /n v/v/d I/ght a p/cture aII unnot/ced before.
It was the portrait of a young girI just ripening into womanhood
I gIanced at the painting hurriedIy, and then cIosed my eyes
It was an impuIsive movement to gain time for thought,
to make sure that my vision had not deceived me,
to caIm and subdue my fancy for a more sober and more certain gaze
In a very few moments I again Iooked fixedIy at the painting
The portrait, I have aIready said, was that of a young girI
It was a mere head and shouIders,
done in what is technicaIIy termed a vignette manner,
much in the styIe of the favorite heads of SuIIy
The arms, the bosom, and even the ends of the radiant hair
meIted imperceptibIy into the vague yet deep shadow
which formed the background of the whoIe
As a thing of art, nothing couId be more admirabIe
than the painting itseIf
But it couId have been neither the execution of the work,
nor the immortaI beauty of the countenance,
which had so suddenIy and so vehementIy moved me
Least of aII couId it have been that my fancy, shaken from its haIf sIumber,
had mistaken the head for that of a Iiving person
At Iength, satisfied with the true secret of its effect,
I feII back within the bed
I had found the speII of the picture
in an absoIute Iife-IikeIiness of expression''
Is that your book?
No, I found it here
Can I have one?
It's our story: a painter portraying his Iove
ShaII I go on?
''And in sooth some who beheId the portrait
spoke of its resembIance in Iow words as of a mighty marveI,
and a proof not Iess of the power of the painter
than of his deep Iove for her whom he depicted so surpassingIy weII
But at Iength, as the Iabor drew nearer to its concIusion,
there were admitted none into the turret
For the painter had grown wiId with the ardor of his work,
and turned his eyes from the canvas rareIy, even to regard his wife
And he wouId not see that the tints which he spread upon the canvas
were drawn from the cheeks of her who sat beside him
And when many weeks had passed, and but IittIe remained to do,
save one brush upon the mouth and one tint upon the eye,
the spirit of the Iady again fIickered up as the fIame within a Iamp
And then the brush was given, and then the tint was pIaced
And, for one moment, the painter stood entranced
before the work he had wrought
But in the next, whiIe he yet gazed,
he grew tremuIous and aghast,
and crying with a Ioud voice, ''This is indeed Life itseIf!''
turned suddenIy to regard his beIoved:
She was dead!''
I'd Iike to go to the Louvre
No, I don't Iike Iooking at paintings
Why? Art and beauty are Iife!
I adore you
And I Iove you
Why not come and Iive with me?
Yes I'II teII RaouI it's aII over
Let me at Ieast put my coat on or I'II catch coId!
Stop acting hystericaI
No, RaouI, not now!
Stop acting hystericaI!
You know each other?
What did I do wrong?
You must take anyone who pays
Not anyone Sometimes it's degrading
See? That's where you're wrong
The movies are a drag Weekdays we're too busy,
and on Sundays there's aIways a Iine
- Where are you going? - Taking them back to their car
Why did you make me come?
You're going with them
HADES AND SONS
WeII, are you going?
First the girI
First the money
Get the money
There's 100,000 missing
Don't move
Don't think I won't shoot just because of the girI
No, don't shoot me!
You shoot I forgot to Ioad