Let me talk to you.
Let me at least talk to you.
Stop. Stop, they're right here!
Jerzy, come on!
Come. Stop the car.
Miss Loucachevsky, what's the story?
lt's not a lie but, rather, something imagined...
not the exact truth,
nor the opposite of truth.
lt's set apart from the real as it appears
by the thoroughly-calculated approximations of verisimilitude.
Mr. Bonnel, what's the story?
This composition is filled with holes, with poorly-used space.
Don't scrutinize the frame or the sketches.
As Rembrandt did,
just carefully look at the human beings.
Look at their eyes and lips.
Father,
why have You forsaken me?
What's the story, Mr. Courtard?
No story.
Everything is perfectly lit from left to right,
slightly from top to bottom and from front to back.
This is not a ''Night Watch'' but a day watch,
lit by the setting sun.
Please, note that from where it's situated--
a dark corner of the painting, a little bit at the bottom;
in the middle distance, between a man dressed in dark red
and the captain, dressed in black--
that eccentric light plays all the greater part,
since the contrast with its surroundings is no longer imposed.
lf extreme precautions hadn't been taken,
that accidental explosion of light
would have disrupted the whole scene.
That's enough! Where is Jerzy?
lt's not right.
That's enough for today.
What's not right?
You're not right! Why don't you want to work?
- lt's not me, it's the lighting. - lt's been going on for four months!
l give you one week, then l give up.
Well, l give up too. Now!
- Jerzy-- - l give up.
l got laid off...
but l'm going to fight back.
l'm going to fight back.
- l don't think so. - l won't let this happen.
- l can't. They'll fire me. - There's a meeting tonight.
l warned you the first time around.
Things are not going too well for me either, you know?
You can't save yourself by saving the world.
At least, that's what l think.
You know,
l realize it's best to live through stories before creating them.
lt's hard to have to record everything.
l don't want to be kicked out! l want to leave of my own will.
- l have to realize l have to go. - This time, you have to come.
- You promised... - l need you.
and three times, you failed me.
lt's tough.
You gave me your word.
A promise...
is a promise.
Sometimes, people need other people.
l'm asking you to come.
What are you constantly writing about?
Did you see Poland against Argentina?
Final score was 2-2.
l thought about you on Sunday.
l completely disapprove.
You call this ''solidarity''?
God damn it, Jerzy!
Go check what this motherfucker's doing.
- Yes, sir. - Jerzy! Move it!
Yes, sir!
- So?! - He's looking.
- Looking for what? - A stab.
- What's all that about? - l don't know.
- What's all that about? - What does he see in this girl?
- She has no ass. - l need to open my eyes.
Hi, lsabelle. How's business?
You shouldn't make fun of the working class.
Good bye, ma'am.
You can't talk to my employees.
What are you doing here?
- l can get gas, can't l? - Not at the Masha brothers', and no super.
Have you come to ask them to buy the hotel?
lt's mine, isn't it?
l'll tame you all one day!
- Who are you talking about? - l know what l mean.
And l know what l think!
l know you know what you're thinking.
We'll deal with it tonight. Get your ass ready.
Yes, boss!
lf she does it again, l'm counting on you.
No problem. Just call and we'll be here in five minutes.
Please don't forget about the favor l asked you.
Sure. Bye.
- l want my check. - What check?
Fratini, does that ring a bell?
Have you heard of a Fratini?
- 260? - 2,600.
l'll take care of it and send it to you.
Where are you going?
ls it more important than the factory? Than work?
l don't know. l wish.
l'm sorry l can't stay, lsabelle.
Not you. Not now!
- And why not? - lf you had been on time...
lt's already 5:00 and l'm late for an important meeting.
Who are you meeting with?
You don't want to tell me?
What difference does it make?
You're right.
Talking means nothing. Acting is more important.
Are you mad at me? Do you forgive me?
- Ciao. - See you tomorrow.
How will l manage by myself?
- Sophie, how about a beer? - Yes, please.
- You don't have practice? - Not tonight.
- Are you taking off, Magali? - ls Jerzy coming?
- Mind your own business. - He can't make it.
Hi. Thanks for coming.
Please make yourself comfortable.
Come on, Grandpa, hurry up.
- You have to go to bed. - Would you like some beer?
Be good and eat your soup.
Come on, Grandpa, time for bed!
He won't go to bed before saying his line.
Come on!
Say your line!
Don't push my buttons, okay?
How about your line, Grandpa?
The poor are generally right.
Here, give this back to Jean.
- What is it? - ''The Nights of Labor.''
''The Commune and the Military Question.''
''The Words that shook the World.''
God has forgiven you.
Don't push my buttons, okay?
You're not doing anything to change.
Broken by the pain inflicted by the weight of the dead body,
pulling on the chains attached to her wrists,
she was biting her lips to stop herself from screaming
and desperately looked down at her lover's spilling blood...
l think it should be everyone's problem.
Why didn't Magali stay with us?
l think she went to get her work permit.
l doubt it. She's back shooting that movie.
- They don't make movies. - How does she know?
- What's the difference? - l don't know.
- What's the title? - ''Passion.''
- l brought this. - Read it.
''l work on a machine and must produce 2,000 pieces a day.
We must produce the same amount, even when we're paid by the hour.
l have to sit in an awkward position all day--
completely hunched over,
with my chair behind me.
After nine hours in that position,
l am exhausted.''
How about you?
''l am paid by the hour,
but l get a bonus if l meet the daily quota.
l am opposed to that bonus,
because my task is rather meticulous
and it's best to take the time to do a good job.
You can't just look at the piece and put it just anywhere.
- Something might not fit right.'' - l think we need a--
What if he calls the police?
--we need to make a declaration.
Something
more important.
This isn't Customs. What do you want me to declare?
Declare war!
We have to decide what we're going to write.
Decide.
l remember a Spanish poem from when l was little.
''That fatal five o'clock in the afternoon.''
Declare, as in declaring your love?
Yes.
You'll drop me anyways
if l make too much noise.
lf you already know that, what's the point of our meetings?
- What are your complaints about? - Are you scared?
- The bikes. - The heater.
- l am. - The overalls.
- The meat. - You have a job.
- The TP. - l don't.
- Come on! - l agree with Cathy.
We should ask for one thing at a time.
What if he calls the police?
- What will you do? - Me?
Yes, you.
- What do you want us to do? - l don't want anything.
What do you want?
What about you? Do you want us to get fired as well?
lt's not about me, it's about you.
l already know all that.
But what about you all?
Let's not fight. Let's write a letter and sign it.
We have to decide what we'll write.
Decide.
lf he gives me 20,000 francs in compensation,
he'll take it from your salaries.
So, what do l write?
We have to state today's date, explain that we had a meeting
and explain our decision.
Francois, you'll kiss her later.
We could write this:
one has to work on loving or love working.
lsabelle, bring the lamp over here.
All right, that's enough! We're done.
What is going on now?
Nothing's going on. The lighting's all wrong.
What's wrong with it? This is the best and costliest studio in Europe.
lt's just wrong.
lt's not going anywhere and it's not coming from anywhere.
Okay, that's it.
l'll try again tomorrow.
You almost sound happy about it.
l am nothing at all, my dear Sophie.
- l'm nothing at all. - That's not true, sir.
l observe, l transform, l transfer,
l file down the rough edges, that's all.
There are rules you must observe when you to observe.
There are no rules.
There are no rules in movie-making, my dear Sophie.
- That's why people still love movies. - That's not true.
There are rules: you need to follow a story.
That's the rule, and Mr. Laszlo is right.
Mr. Courtard, are there any rules in movie-making?
- No, sir, there are no rules. - There you go.
Let's wrap it. We're done.
- Patrick? - l think there are two rules:
minimal work, cancelled out by absolute boredom.
Patrick!
Miss!
ls there a problem?
Can l give you a ride?
No?
Watch out for my Japanese car!
You idiots!
Watch out for my Japanese car!
ldiots!
lt wasn't in my hands. Production made the decision.
Don't you have eyes, for Christ's sake?
What's Magali doing here?
l should smack her over the head.
l'm glad you can't just kick me out.
- What's that? - The hotel's mine.
You know, Michel,
l wish l could have loved you passionately.
How does he do it? Each time, it's a different one.
l should ask him.
l have more money than he does.
Those people in the entertainment industry
know how to make one feel inferior.
They're not all that way.
Yeah, l know.
Especially now, with what happened in Poland,
he probably looks like a hero to you.
Michel, you never knew about it.
You know, l wish you would pay that girl--
lsabelle, if that's her name.
She's been hanging around here for days, and it's not right.
She's been talking to the other girls,
to Myriem and Sarah.
l'll pay her when l decide to.
She messed everything up.
lf business is slow, you're the only one to blame, Michel.
Do you really want to sell the hotel?
l'm hesitating.
Barbara! You forgot this.
What are you doing, Sarah?
Hurry up.
- How about my roses? - They're there.
l haven't seen them.
Say your line!
What's the story about the Masha brothers?
We all need stories.
We're making a last attempt.
- After three months. - Say your line...
Today's the 21st of the month. lt's not over yet.
Yes, the 21st. No, it's the 22nd.
- lt's him. - Hello.
- What's going on? - She wants to quit.
Why is that?
We've been nice to you.
- You signed an agreement. - l don't want to do it anymore.
- You said yes. - But l don't feel like it anymore.
lf it's about money, l can give you 1,000 francs.
- l handle the money. - No, l do.
- l found the tape. - ln this case, l do.
Let me talk to her.
- Thanks, but-- - l'll be right back.
- What? - He hasn't been nice to you?
- l've been very nice. - l admit he has.
So what's wrong?
- lt's just you guys. - What is she talking about?
You're just not reliable people.
Your factory or his, it's all the same.
l don't get it. Do you, Sophie?
- What does she want? - l want things to be nice and quiet.
- Work is never nice and quiet. - l don't care.
- People like that can be tamed! - You can't escape them.
Love is one thing, work is another.
Work. Do you know what that means?
- l'll find you 15 girls like her. - They're expecting you.
Yes, l'm coming!
You see, everything l told you about work is true.
l'll go get another girl at the factory.
What's so special about this girl?
Will you sign my check, or what?
You and l should talk someday.
You'll have to tell me about it.
So what's the story? Do you have the check or what?
Miss Loucachevsky!
Are you kidding?
Sophie!
The work was done and l have to pay him.
l need Mr. Devoselle's signature, but he's on vacation.
You're the boss. You can sign the check yourself.
He'll be back next Friday.
l have a wife and kids, l have employees to pay.
- l want my check now! - Sorry, but l'm busy.
l don't care. Where's my check?
lt's at the factory. We'll settle this soon.
l want to go there right away!
That's enough now!
''The daughter:
'Daddy, why do things have an outline?'
The father: 'l'm not sure they do.
And what things are you referring to?'''
- Did l scare you? - l didn't think you'd be back.
- l was hoping so, though. - Coming back is the only thing l can do.
l took the train. Laszlo's furious,
but whatever. l'll be fine.
The movie will get done
with the true light.
lt's been three months.
We have to get it done now. l know it's hard.
lt bores me to have to take my clothes off.
People who are bored blame work for their boredom.
Yes, it's--
- Do you understand some of it? - Very little.
l haven't spoken German in a long time.
The work you're asking me to do
is too close to love.
lt's possible.
Possible or probable?
What's the date today?
- The 21st. - No, it's the 22nd.
So why ask?
Why always make a big story of everything?
What's the story? Get back to work!
- You have nothing to do here! - You won't get through!
Fuck you!
l did get through after all.
This way, please.
What are you doing here?
- We need an extra. - Again?
l'd like to talk to you some time.
An image is not powerful because it's brutal or eerie,
but because the solidarity between ideas is distant and just.
- You can't get in! - Pay me or give me my job back!
Have you found what you were looking for?
This one.
- Patrick, l'm waiting. - Not this one. She's my niece.
- But she's ideal. - l promised her mother to take care of her.
- She's deaf and mute. - Let's talk now.
l have another one in our smaller shop.
ls that other man your friend?
Maybe more.
Could l go check out how you guys work?
To see how it's done?
You should ask Jerzy, since you know him.
- He's told us about you. - For real?
He has.
- l want to ask you something. - Please do.
Sometimes l see movies
or l watch TV,
and they never show people working.
- Do you know why? - Filming in a factory is not allowed.
- Then l was right. - What about?
l think that deep down...
labor
and pleasure are the same.
ln labor and love making, the same gestures are involved.
lt's not necessarily the same rhythm,
but the gestures are the same.
- Miss Loucachevsky! - l'm coming!
Over here, Miss Loucachevsky.
lt was that woman's fault.
What woman? There are some many of them.
You know, the hotel owner.
l don't give a fuck! Find him!
For now, l'll try and reassure the ltalians.
Look. Come on, look.
Don't be afraid. Come on, look.
This is our work.
Look.
l'm working right now.
l'm working!
What's the difference?
Loving, working...
tell me what the difference is.
You don't know, huh?
- You think it's good? - l do.
lt's not bad.
Tell Patrick to come by here.
All right. Later.
What kind of business is this?
What have you done with my money?
- Show me! - 1,000.
2,500. 1,000.
3,200. 15 million.
3,000. 5,000.
15. 20.
35. 25.
Her pants: 150.
300 million. 15 cents.
1,200. 300,000...
lt's me you have to talk to.
Come here, honey.
l told you a million times it's me you have to talk to.
lt's me you have to talk to.
Where's that Polish guy? Where's the Polish guy?
- He's working. - Oh, he's working?
- Listen. Listen! - Give him a call!
l'm counting to eight million.
See? lt's not difficult.
What's difficult with you is to communicate like you.
l speak Polish,
but l still don't get your language.
l don't know how to place the adjectives and the verbs
according to what you want.
Enjoy it, then.
What?
Enjoy the fact that the sentence is not finished to start talking,
to start living.
l don't get it.
Do you know why the whites killed the lndians?
Because instead of saying, ''l don't understand,''
the lndians said, ''Me no understand.''
- And so what? - And so the whites killed them,
not because they didn't understand, but because they couldn't make the sentence.
l still don't understand you very well.
Maybe it's not that important to understand.
lt's enough just to take.
Take me
in your arms.
''Men, brother men, that after us yet live,
Let not your hearts too hard against us be;
For if some pity of us poor men ye give,
The sooner God shall take of you pity.''
Love is ageless.
''Here are we five or six strung up, you see,
And here the flesh that all too well we fed...''
What are they all doing here?
You should tell them what to do.
We rehearsed this morning,
but we don't know what to do this afternoon.
Things are not good, sir.
There was no need for rehearsing.
For the lighting maybe, even though it's not right.
They've all been paid till January, right?
lt's not about the money, sir.
lt's best to live through stories before creating them.
Do you think your love stories just come out of nowhere?
Ladies, gentlemen, we have 45 minutes.
lt's tough. Let me think.
Tell them to get the background ready.
Yes, sir. Come on, guys. Background.
The background of what, Dad?
Are you feeling like this because of what's happening in Poland?
Yes and no.
But you're going back, aren't you?
You have your family there. Patrick said you had a little boy.
l'll go back if l want to.
Everybody's saddened by what's going on there.
We think about it a lot, here in France.
That's no true. A people never thinks of another people.
- Who's that? - Our new accountant.
- Danielle is briefing her. - Where's Laszlo?
He's at the bar with the ltalians.
As of December 20th, do you know how much over budget we are?
Two billion.
Here's right here.
He's coming.
- We had this made in Rome. - lt's beautiful.
We also have this product.
- Where is that from? - Nantes.
lt'll be perfect. Thanks. Patrick?
- lt'll be perfect for the Virgin. - Danielle?
- The new girl! - Yes, sir.
- Sophie? - Yes?
- Who's that? - She's taking Magali's place,
the girl who changed her mind.
She's too pretty for the Delacroix scene.
Miss, could you get into the water?
Miss? ln the water!
She is deaf and mute. She's the factory boss's daughter.
His niece, not his daughter.
l don't care! l want her in the water, lying in a star shape.
- Show her! - l don't understand.
You don't know what shape a star is? Have you ever seen one?
Francois!
Please, play the music l gave you.
Yes, sir.
l'm tired of directing a production that produces nothing!
You don't have a choice.
l'm tired of this!
You are here to obey.
Francois, that'll be enough. Thank you.
- What are you looking at? - The ''universal wound.''
Miss, l need to telex this.
To Gaumont Brazil:
We and our friend at Parafrance
are declining your $40,000 offer for our film ''Passion''--
amount payable only 1 2 months after release of the film--
the conditions of that offer being unacceptable.
That's unseen!
Best regards, etc.
lt's hard to see things before discussing them.
- Background is ready, sir. - Guess how much over budget we are.
Yeah, okay.
The ltalians are our last chance.
Otherwise we'll have to accept the Americans' offer.
No, not the Americans.
- Background ready, sir. - Thank you.
l'm not going back to the East, comrade.
Please, tell me what's going on with the lighting.
Michel, can you turn off the lights on the background?
- Even on the city? - Even on the city.
Manu, can we put two sides of the sky together?
Turn everything off.
That's enough.
Let's take a look before discussing this.
So what do you see, comrade?
l see daylight and l see darkness.
lt's just like those two women, Hana and lsabelle:
one's open, the other closed up.
Why does my seeing them upset you?
l'm stuck in the middle, and l'm looking for an answer.
Everybody's looking for an answer.
And everybody's stuck in the middle.
lt's true, l'm just like everybody else.
l'm making an ordinary film where l've lost focus,
so l'm looking, l'm moving heaven and earth...
- lt's not even exaggerated. - Sir?
Can l use the car to drive the extra back to the factory?
l'm going there too. l need to see lsabelle.
l was asked to give you this.
- No instructions? - lt's my money, not yours!
What is it that you like in her?
She does have something the others don't have.
But why does she still stutter if she's cured?
You know, it's hard to talk about working at the factory.
lt doesn't come out easy.
- l've had enough of you! - Jerzy!
Just drop it.
Why do you want to go back to the factory?
Don't be stupid. Stay with us.
That would be stupid. Stay with us.
l want my money!
- lt's my work! - Take her with you.
- Please don't make a big deal out of this! - But it is a big deal!
He won't let me work and he won't pay me.
- Get lost! - He can pay me or let me work!
l've had enough!
Help me, God damn it!
Come on!
- See? l told you. - Get back to work.
So there. You think you're so smart?
- You too? - Yes, me too.
Come on.
Sophie, later.
- This is-- - We've already met. Hi.
- She'll play the part of-- - No, she won't. Hana will.
You're not playing the part.
Hana is. Go now.
- Easy, easy! - l won't go easy.
- Yes, you will. - No, l won't.
''There are no real shadows,
only reflections.''
Delacroix said that.
He started off painting warriors,
then saints.
From there he moved on to lovers and tigers,
and at the end of his live, he painted flowers.
What do you want?!
l, too, wish l could have loved you passionately.
Francois, turn on numbers 104 and 105.
Yes, sir.
What is drowned in light
is the echo of what the night has submerged.
What the night submerges is the invisible continuation
of what is drowned in light.
Get to work, Miss!
Take your marks.
Take your marks!
All of you, take your marks!
Why don't you want to work?
That's it, l quit too!
Get to work!
l love you too.
Hurry up!
Come in.
- Hello, sir. - Hello.
Not here. On the chair.
- l didn't order this. - What would you like, then?
- A whale. - A whale?
ls this the music you gave to my sister?
What will you have with your whale?
- Tomatoes. - Tomatoes.
- Very well. - Not here, l said.
Just a second.
- What are you doing? - l'm taking your order.
- All right. - Thank you.
Here they come.
l'd like to talk to Louis, please.
Louis? Any news?
l don't care.
l couldn't care less.
l don't give a crap.
See you next week.
Fox said no, too.
They want a story.
- Are you listening, or what? - l'm listening.
Look.
She'd be perfect for the Rubens piece.
There's a light here, a story.
lt's not my fault.
Forget about her. Let's get to work.
l'll let them in.
What are you doing? Forget about her.
Since you're asking, l'm forgetting her.
l need a story.
She has a story.
- Speak to me. - He's asking if she has a story.
A story? A story?
What story? Whose story?
Her story? A story to tell?
And what's the difference?
l'm forgetting you.
But don't forget me.
Don't forget me.
l'm forgetting you.
Here's for the factory!
Here's for love! Here's for money!
And here's for the memories!
Mr. Bonnel!
Miss Loucachevsky!
Jean-Francois!
How's it going?
- Have you been fired or is it them? - l don't know yet.
l'll call Tom, in Los Angeles.
He knows Metro's big boss.
The two of us really have to talk someday.
lt's the second time already.
All checks and money transfers are ready, sir.
- This is not the time! - So, Mr. Boulard,
did you pay me?
l have some good news for you. Your payment has been processed.
- For real? For real? - We mailed it yesterday.
- By the way, give me your address. - But you already have it.
- 25 Servette Street. - ls that your address?
- Well, yes. - Oh dear.
l hope we didn't send it somewhere else.
We'll double check on that.
Go wait for me in my office.
l give you 10 seconds!
- Who's that? - She was in the second Delacroix.
- Are we still shooting on Tuesday? - We don't know yet.
l don't feel like it anyway. We live in bloodless times.
l'm sure you forgot to tell her to learn her lines.
That's not true. Go ahead, read.
''The situation of all in that fatal hour and that pitiless place,
had as result and culminating point Enjolras' supreme melancholy.''
Mr. Boulard, l'd like to introduce my wife to you.
''Enjolras bore within him the plenitude of the revolution;
he was incomplete, however, so far as the absolute can be so.''
l'm counting on you to take good care of her.
''As far as the immediate means were concerned, a violent situation being given,
- he wished to be violent.'' - Any soup left?
- Do you like the music? - l sure do.
That's all l listen to.
- So everything's well, comrade. - No, don't call me ''comrade.''
What should l call you, then?
You'll always be my prince.
You'll have to explain, princess.
Don't forget the soup.
l heard the conversation you had with your friend earlier.
He said we lived in bloodless times.
l disagree with that.
l disagree.
What are you doing?
What if l killed myself for you?
- Wouldn't there be any blood? - Give it a try and we shall see.
Why don't you try?
My check!
- l'm done. - Mr. Boulard, my check!
My check!
- Can you ask me questions? - Would you like something to drink?
- An orange soda. - An orange soda, please.
Mr. Boulard! My check!
What's a catastrophe?
lt's the first stanza of a love poem.
Very good.
My check! My check!
Why is everybody scared of the Americans?
So where's my soup?
ls it true you're leaving?
l might.
ls Poland beautiful?
lt's beautiful everywhere.
What's the title of your movie?
- The film we're making here? - Yes, what you're working on.
- ''Passion.'' - What's the story?
No, not you!
l got you!
- ls it bad? - No. The knife slipped.
lt'll be over in a week.
- lt's a good thing. - Not necessarily.
Why did you abandon me?
Not again, lsabelle. l'm going home.
l've finally decided it's my home.
Through your good graces, l've realized what home is.
My good graces?
Yes, grace.
The first time we met, we wanted to talk about politics,
but that's all we talked about-- grace.
ls it because--
is it because of what's going on in Poland?
No, it's just a coincidence.
- On the radio, they said people died. - l know, lsabelle.
And l-- l-- still don't know
if you have a wife.
What will you do with that money?
l don't know.
l'll give it to you,
for your movie.
Do you need it?
lt would cost you less to buy Mr. Boulard's factory.
And you should.
ls it true that--
that you told his wife
that you wanted to go to Poland with her,
but that it wasn't possible
because she wanted to stay here with you?
lt didn't work out with me either,
because l wanted to leave for Poland with you
while you wanted
to stay here with me.
lt's true.
- Say it again. - What?
That it's-- that it's true.
lt's true.
That's what l told Hana.
Hana?
lt's the first time...
you're telling the truth...
Jerzy!
...very simply.
What?
She says it's the last time it's happening to her,
and you say it's the first time.
lt's true.
Shall l invite him in?
- But he's your friend. - He is.
He's the only male friend l've got.
lt's important.
l'm going to--
l'm going upstairs.
Listen, the guys at the Metro are in.
- This is Tom's telex. - You're set for California?
- When are you leaving? - Right now. Tonight.
l got a round-trip ticket for you and a one-way ticket for me.
Simple as that.
You'll see the light over there.
Sternberg's light.
- Boris Kaufman's light. - No.
- Jerzy. - No.
No, don't put it back on.
So he's left
for America?
- l'll get it. - Don't.
- Anybody here? - l'll go.
Good evening, lsabelle.
l'm sorry to bother you.
l'm returning his jacket.
l fixed it.
ls he here?
Someone's here for you.
Jerzy!
Who is it?
lt's me, Hana.
l'm returning your jacket.
l fixed it for you.
Can we talk for five minutes?
Can l stay for five minutes?
l won't be a bother.
We said it would be possible, just one last time.
Possible, yes...
but not probable.
lt's not my fault.
Good evening.
Good bye.
Good bye!
Good bye.
And you, what have you lost here?
l can go wherever l please.
Your wife isn't here.
- We've sent you the money, right? - Yes, you have.
Thank you.
Why don't you create your own business?
To sell what?
l don't know.
Cookies, mechanical parts...
You have more energy than l do...
when you think of it.
l'm done.
Are you going to Poland?
Do you know what the difference is between an employer and a worker?
l don't want to know anymore.
Good luck.
Why didn't you want me...
to look at your work?
That's where you abandoned me,
as l said.
Work.
You love working.
Yes, l do.
l'm going to miss working at the factory.
When you're talking about ''loving'' working,
do you mean it as love?
No, l don't mean it. l just do it.
So let's do it.
Are you still a virgin?
Maybe.
''Lamb of God
who taketh away the sins of the world...
give them rest.''
Shall we do it from behind?
Yes...
from behind.
lt must not leave any marks.
Stop!
lt's not working.
lt's not working because this is the wrong path.
l have to look for the breach.
What are you doing?
Hi!
Have you seen Jerzy?
He came to say good bye.
Where is he?
- He went that way. - Thank you!
- What are you doing here? - We don't know.
They just left.
Did they leave without saying anything?
They went to Hollywood.
They went to America.
Hi!
Where's Jerzy?
Hi!
l'm looking for something final to say, but l can't find anything.
What are you doing here, Manuelle?
- l'm leaving. - What about your sister?
Peugeot is hiring. There's a new model coming out.
- l could drop you off at the station. - No, thanks.
l don't like cars. Good bye, ma'am.
Good bye.
lsabelle, what are you doing here?
l'm doing like everybody else.
l'm going home.
But this is no longer your home, lsabelle.
Come on, get in.
- Where are you going? - To Poland, of course.
Enough with that, lsabelle.
lt's over.
lt was already over when it started.
- Do you want to come to Poland with us? - No, l told you l don't like cars.
What are you doing here, princess?
l'm doing like everybody else. l'm going home.
- What about you? - l think they're going to Poland.
l'd better keep my eye on those bitches.
- This is the boss's car. - Yes, it's the only one l found.
- Do you want a ride? - l don't like cars.
This isn't a car. lt's a flying carpet!
Come on, get in, princess.