Rendezvous in July
- Good day, Monsieur. - Good day, Pierre.
Good day. Won't you wait for the boys?
- You're here on time, why aren't they? - They will arrive at any moment.
I'm having lunch.
Here they are.
- Is Dad here? - He just sat down for lunch.
- You see? - What?
Thanks for blocking the elevator.
- Dad is at the table. - Ladies, after you.
Good day, father.
Good day, Madeleine. Good day, Isabelle.
Children, your father was so hungry we started without you.
- We are sorry we were late. - It's alright,
- you're all here now. - I'm due back at work by 2:00.
So are we, but you came straight home.
We had to stop to pick up our wives.
They could take the bus like everyone else.
So can we eat? Pierre, please move that, I can't see my wife.
I arranged it for you. Don't you like it?
I don't know. Where's Lucien?
I believe Mr. Lucien is still in his room.
What?
- Lucien, we're having lunch. - Sorry.
- Do you listen when I speak? - I did apologize.
- What is that? - A sanza, from the Congo.
A musical instrument. Here, listen.
We are at the table!
- Eating without a tie? - No, I'm going to put one on.
- Good day. - Didn't you hear us come in?
Our friend was working on music. He plays the... what was it?
A sanza. An instrument from the Congo.
- Are you going to have a recital? - I'm merely an amateur.
Pity, you'd be a success.
What a shame to see my son waste his time in useless studies.
In what way am I wasting my time?
You know my opinion of your studies.
Maybe we could have a quiet family lunch?
It's family talk.
- So talk. - Instead of an ethnographer,
I need a third son at the factory.
- An engineer, not an armchair explorer. - An armchair explorer with
- an expedition all set to leave. - When? Where?
To study pygmies in the rainforest. As soon as the authorities
- provide me with transportation. - Day dreams are fine for
a 12 year old, but you're 20.
I'm sorry, but our interests differ.
My brothers are happy at the plant...
my fate lies elsewhere.
- My fate is abroad. - Your fate? That's what you think?
In the meantime, I'm feeding you and your fate.
Agreed.
Excuse me, mama. I'm sorry.
Lucien.
- Bravo. - He can't ruin my appetite.
"Listen. I pray you. Our whole life depends on it."
"No, I beg you."
- Same thing. - No, say the right lines.
"I beg you. Our life depends on it."
- Won't you answer it? - Meanwhile, learn your lines.
Thanks.
- Hello? - This is Lucien Bonnard.
- Hello, how are you? - Very good, thanks.
Is Christine in?
Hello.
- Are you ok? - Yes, and you?
- I'm leaving my parents' house. - What happened?
- Nothing. - What will you do?
I'll explain later. When do I see you?
I have a scene to do this afternoon.
- Tonight? - Ask mama.
- Yes? - Miss?
I'd like to see Christine, May I take her out to dinner?
Yes, if you bring her home early. Not if you don't bring her home on time.
Thanks, may I speak with her again?
Nice mother, huh. Where do you want to go?
At Lorientais. I'll be there this evening.
- Ok, see you later. - See you.
- Hello? - Hi, this is François.
Hi... your son.
- François, hello darling. - Hello, mother.
- I just called to say it's all set. - One moment. It's not all set.
- It's not? - Only if you pay the theatre today.
I have plenty - here!
- Not enough. - You have to see the rest?
- I have it already. - Where is your bag?
I don't know... in the hall
- Wonderful. I'm starved. - You like the food here?
You're extraordinary. You never take the time...
- to eat calmly. - And I have a good reason.
If I did, I'd never know such joys as this.
- Is that enough? - Whose is it?
- Betty's... Ours. - My husband loaned it to me...
- In short, we worry about François. - Bravo. Very good.
- You're a tough one. - Yes, I know.
- Mother? - You forgot me.
No, mother. - You did forget me. What is all set?
You said: 'It's all set'. What is it?
My play. What do you want to be?
Rousseau is going to direct it. We start tonight.
- I hope it's for sure this time. - Yeah, yeah, sure.
Let me talk to him. Where?
- With Rousseau, at St. Jacques. - What's with Rousseau?
- Rousseau likes your play? - As much as it pleases him.
- Of course. Right? - Well, you wrote it?
Sorry, I forgot.
- Going to class today? - Yes, why?
Rousseau wants to see you before he casts you.
- What time? - Come around 4:00.
- Agreed. - But listen...
- He hung up. He'd finished. - I'm nervous.
I've got stage fright. I bet you would too.
It's Johnny, let him in. I'll be right there.
- Hi. How are you doing? - Very well. How pretty you are.
- Unusual? - No, as always. Where is your mother?
- She'll be right here. - Sorry, I forgot about the races!
- Come in, but I'm not ready yet. - See you later.
- No cream. - Just a drop. It's so gentle.
Madame Richards. Therese! The phone!
They're having lunch.
- I'm sorry to keep you. - There's nothing amiss. The same job.
- Mr. Richards. How are you? - Fine. Hold on, I'll call Therese.
Therese!
- Yes? - Telephone call.
And if for me your heart is still...
And if for me your heart still beats.
To conquer Chimene
Telephone call. Send your Papa up for lunch.
- Come up to eat. - Okay.
Good morning, ma'am. - Hello
- Thérèse? - Hello.
Listen. Listen hard.
- What is it? - I've got a part in the play.
And guess who is staging...
- ...my brother's play? - The real Guillaume Rousseau?
- Yes, him. - Lucky you. I'm so happy for you.
Thanks. I thought you'd be glad to hear about it.
- Yes. - I thought we had been cut off.
- Going to class this afternoon? - Yes, clearly.
- So until then. - See you later.
- Perfect. - I'm glad, ma'am.
- And how's the theatre? - It's okay... more or less.
Everything has a beginning.
I owe you... shampoo... massage ... brushing... 680 francs.
- Will prices ever stop rising? - Unfortunately not, Madame.
- That's you in the paper? - Yes, an article on my acting classes.
- With the pretty ones. - No, it was purely by chance.
How modest you are! Your teacher is a woman?
- A man: Sebastian Levase. - Levase? The actor?
- He's the great artist. - Excellent.
A male teacher is always better. Good luck.
Goodbye Madame and we'll see you again.
Didn't you realize it's 1:30?
I can't kick a customer out. Unfortunately.
- What wrong? Are you sad? - Me? No.
What's wrong? Why are you sad?
Please, go and eat.
- Hello? - Therese? Hi.
- I'll stop by for you. - Speak up. I can't hear you.
- I hear nothing. Where are you? - On the balcony..
Yes, I will explain when I pick you up.
- When? - In fifteen minutes.
See you then.
- Why were you outside? - Looking for my friend.
- Your friend? - Pierrot Rabut.
The butcher's son?
He's a nice boy. What are you doing?
- He's crazy! You want to kill your mother? - I get it.
Now I see. He was phoning Therese in private.
- He can if he wants to... - 22 years old... 5 feet 11.
Look for a job instead of calling for dates.
- I am looking. - I'm sure the girls help!
Just like that thing.
I do not know what it is.
Diploma of the Cinematographic Institute
awarded to Roger Moulin as as a cameraman."
A diploma that has never led to a contract!
- Thanks a lot Papa. - You chose an overcrowded
profession, but you like it. So get cracking. Look for work.
It's not my fault, France is barely making any films.
I'm looking...
By dating girls in the afternoon...
- or playing Jazz in a Latin Quarter? - Don't scratch it!
Jazz buys my clothes and gives me pocket money
American cigarettes? No, thanks.
I'll stick to French ones. There's your friend.
Pardon.
- Hello. - Park it.
Too tiring.
Aren't we polite.
I'm coming.
- Good day, Miss. - Good day, child.
- Your student. Oh, sorry. - It's okay.
Don't touch that. Let's have your satchel.
Sit down.
I forgot my trumpet.
Sorry.
Try to get home early for once.
You have your Epitomeus?
Yesterday in class we stopped at page 24.
Read slowly out loud. As if you understood it.
Then we will translate.
- Nice dress. - Is it new?
Yes, it's new. Hello, sir..
- How are you? - Come on, get comfortable, fast.
Hello.
- Hurry. - Yes, go, fast.
Don't move. Wait for me.
Hi, Miss. Hello, grandma!
- 100 francs. - What for?
The swimming pool.
- Why are you here? - It's nothing.
- Don't hang around here. - I'm going to work.
You call that work?
Goodbye, grandma. Another 100 francs.
- Easy. In the bag! - We're all set?
- I'm in a hurry. - Come on, move quickly.
- Hi. - Hi. How much?
3 gallons.
- There's four pounds. - That will do.
- That's three gallons. - Thanks. See ya!
- Now what? - We cross the river.
- I'll be late. - This is what you get.
Sit still. Don't upset the captain.
- Magníficent. They sure have it easy. - Where did they get that?
I don't know, but it would be fine for fishing.
We set a record. Four minutes.
Great.
- Good bye. - See you later.
- What a war machine - I bet it eats a lot.
- Only meat. It's yours. - Have you decided?
- Got the 20,000 francs? - I'll give it to you later.
Do you need cash for a girl?
Are you crazy? We mustn't keep the professors waiting.
- See you tonight. - See you tonight.
- You're late. - Yes, I know.
- What's your excuse? - Do you know what time it is?
- Sorry. - Going to be late for the concert?
- You don't give a damn. - You, Kiki, where have you been?
A second place finish.
- Hello. - Hello, Therese, Pierrot.
- We'll get hell for being late.
- Want this? - He's in a foul mood.
Still living with your parents? - Poor thing, are you okay?
- Rousseau's going to come today. - I know, and I think I know why.
Show him. Pure wool.
- What is pure wool? - My pants.
At Fiston's. 3,000 francs.
- Too much. - Pay with two lamb legs.
You think I made the lamb myself?
Here's Levase. Let's sit down.
Quiet, please.
Beatrice Gaumont.
Gisele Gerard. Clovis Granville.
- Clovis Granville. - I'm here.
- What's wrong? Are you deaf? - No, Mr. L'vase.
- Levase. - Levase. My name is Levase.
An actor must ar-tic-u-late.
Curtains.
Close the curtains. Are you finished?
- Sit down. - Yes, Mr. Lavase.
So? Begin.
Please Madame, come in
Mathilda's thoughtlessness is priceless.
- I showed her this bag. - Very nice, let's see.
She looked at it, felt it and turned it over.
She handed it back to me, saying, "What color is it?"
Next.
A young pygmy girl and her brother.
Next.
A tribal leader with characteristic features.
He's making a small animal trap.
- Next. - That's all, sir.
We've seen them all.
We have no more pygmy pictures.
Pardon me, Professor. When were those pictures taken?
On Camus' expedition in 193...
- I believe it was 1932. - Ah yes.
- Over 15 years ago. - Yes and they're still shots.
A film would be much more interesting.
- And your project Bonnard? - I think I will get it.
I'm seeing the merchant navy this week about transportation.
My expedition will leave in two months.
- And I'll take all bets. - Don't bet. Just win.
It's important for you. Understand?
Yes.
I don't want your boyfriends waiting outside!
My school is no dating society. Is that clear?
It's over, Pierrot and Therese, begin.
No! No!
- You hurt me! - You hurt me, look at my wrist.
Your wrist? Look at my eye. You've nailed it with your finger.
- Funny, eh? - Yes, yes.
My fault? You should take care of it for me.
Make me some boracic water.
With black coffee and yeast
- Who is that? - It's Rousseau.
A director from St. Jacques. Yes, I've heard he's a great guy.
- Yea, he's here to see me. - Really?
- You love it when I hit you. - Not when I'm in the corset.
Besides, I don't like it in bed.
- In bed you like everything. - Lies. Lies.
Yes, yes. Go for it.
- And if we go back to bed? - Not now.
Are you coming to bed?
No, I'm too tired. And my eye hurts.
Come on, let's see that eye.
- There's nothing wrong. - It stings.
- It's not serious. - For you, certainly not.
Don't rub it. Eyes are fragile, especially mine.
You still have a mouth. As well as your livelihood.
- Who wrote that? - Sacha Guitry. A Good Marriage.
"And now ask me very politely the way
- to Opera avenue. - What for?
You want to learn the game or not?
Would you kindly tell me, sir, the way
to Avenue Opera?
Opera, Miss? It's... this way."
- She's good. - Very good. They are both good.
Yes, the boy is miscast but they enjoy it.
A little relaxation.
Silence! Quiet! That's enough!
Not bad at all.
However, Therese, you yell a bit at times. Watch it.
It can tire the public and it's not very pretty.
- Understand? - Do I yell, Professor?
No, but you overact at times and it's very obvious.
An actor is not a buffoon!.
- Remember that. - Yes, Mr. Levase. You're right.
- Can you be quiet? - Yes, Mr. Levase.
Now get off the stage. Next.
Danièle Dupré, Felix Fleuret.
I'd like to talk to those two.
- Therese, Pierrot, come here. - They called you.
- Like this? - So?
Come here! We won't eat you.
Come here, they won't eat you
Want their addresses? Give them to Mr. Rousseau.
Not necessary. Just be at my theatre tonight at seven.
- We're doing a reading.
- I know. - You know everything.
- Therese... what else? - Therese Richard.
- And what has she done? - A bit of everything, right Therese?
- Lots of Marivaux. - For how many years?
- Three years. - Just here?
- Yes, she is a product of mine. - She's a credit to you.
- Very nice. Have you done modern plays? - Various things.
- What's all that? - What you see.
- What part? - Adolph.
- For Thérèse, the girl.
Pauline. He wanted Delauny, but she's tied up.
Nothing happens. Her part is bigger than mine.
- So? - Been acting long?
- Four years. And I went on tour. - Very good. Okay,
- see you at the theatre tonight. - Understood. Thanks.
- We'll be there on time. - Alright, that's enough.
- I liked you very much. - Thanks.
- What play are you doing? - His. François Courcel.
- He's young, but not bad. - Bravo, Monsieur...
- Monsieur... what? - Courcel.
- Do you have a sister? - Yes, alas.
- Where is she? - Here she is.
- Charming, lovely girl. - Yes, lovely.
Could she do a scene for him now?
- No problem. - What do we do?
Monsieur... I don't think I can. I've got stage fright.
- Don't act silly. - I'm nervous.
- She has stage fright, poor thing. - Look, proof that I don't lie.
- It's true. - You see?.
What can I say? I'm sorry.
Never mind, you'll be fine. Everything will be fine.
- Master, I'm going. - Leaving?
I have a reading to prepare.
Very good. Goodbye, my friend. Come, now. Begin.
Bring your sister and the others.
- Well, ladies, what do you think? - Alas, what shall we do?
- You saw them? - See you later.
Thanks, Monsieur.
It bothers me, you know? He came on purpose to see you.
And he saw me.
Happy? Really?
- Happy? - She sure is and so am I.
Thanks, François. You're fantastic.
That's your friend Therese?
- Like her? - Christine!
Are you finished? May the others continue to work?
- Shall we go? - You have a date with Lucien.
- I forgot. - Yes, you forget fast.
- Where? - The Lorientais.
- I'm due there too. Let's go. - And Rousseau?
- Later. - I'll buy you all a drink.
"I promise you both...
I am in a condition to do a favor for the editor.
It will be exciting to be published."
- Do you like it here? - No, too noisy.
I love noise.
I like it if it's good noise.
- How much is it? - Are you crazy?
We do not have to pay.
- I like it, if it's good noise. - 50 francs.
Come on, let's try to get in front of the band.
- Looking for Therese? - Yes, I lost her.
You see? She's over there.
- Do you want to dance? - Yes, but there's no room.
Sure, that's true.
Sorry.
- You're wasting your time. - Why?
- And the others? - I'm hot.
- Want a drink? - Good idea.
Hi, Roger. So introduce us!
- You know where to start? - Are you crazy?
- François Courcel. - Roger Moulin.
I've got to go... See you later.
I'll go get you a drink.
I'm dying of thirst.
Look, Lucien.
- Is Christine here? - Yes, by the band.
- Let's dance. - No it'll ruin my dress.
- I'll buy you a new one. - Another day.
Come on, let's go.
- Hi. Any news? - Not yet... soon.
- Are you sure? - Did you tell them?
Call me at Frédéric's from now on, I've left my parents' house.
- What? - Yes. Do not worry.
Have you had enough? Come on, let's get out of here.
- Very smart. - You're alive.
My dress is a mess. I'm lucky our dinner is off.
No dinner?
- No, we're reading François' play tonight. - Tonight?
- Ask Pierre. He's coming too. - You're in it?.
- What a job getting here! - Thérèse came also.
- This man fell in love this afternoon. - You're a pain in the ass.
We have to go. Therese.
- I have to leave. - Where?
- Pick me up later. - Where? - At the St. Jacques theatre.
- At what time? - Anytime.
Coming?
- Goodbye, Lucien. - Goodbye.
Don't sulk. Call me.
Hi, Lucien.
Look, we're here.
- We go in? Is it over? - If not, we'll wait.
- One moment. - What is it?
Nothing, a little slower.
- Start again. - "I was there, I saw it all.
- I swear. - You're crazy."
- End of the act. - How do you know?
Christine let me read the play once when she trusted me.
- That happens? - Sometimes.
- "My brother and you, Isabelle. - Speak."
- Well? - Oh, sorry, "Mr...
- Speak, Isabelle. - Inez lied.
No. Monsignor."
No need to reread act three. It's pretty good in general.
- And me? - You'll be okay.
- And you'll be fine. - See, I told you so.
- And me, Monsieur? - You get off my back!
- Your terrible. - Pierre's funny.
We'll start rehearsing Act 1 tomorrow at 2:00.
- Who goes first? - Perfect. I'll be here. Bye.
See you tomorrow. I'm in the second act, when do I come?
- Then come at 5:00. - Are you okay?
Thanks.
- At what time? - At 11:00.
- Goodbye, Monsieur, thanks. - Bye, sweetheart.
- I can keep my script? - Yes, clearly.
- I don't have a script. - François.
- Come here a second. - Will you excuse me?
- Goodbye, Monsieur... - Goodbye.
- What is it? - You gave me a script yesterday.
- Where is it? - In your room.
Get it for your sister. Go on.
Okay. Thérèse, I'll be right there.
- You're here? - Call Thérèse for me.
Why? Have not you seen her? Thérèse!
Yes. Roger, have you been waiting?
- Have you been here long? - Long enough. Let's go.
Join me later with Christine.
What's up? Isn't it over?
I didn't say goodnight... Oh, I'll see them later
- If you want to stay... - I say no, let's split.
- You had stage fright? - This afternoon...
I was so silly.
- Here you are. - Thanks.
- See you tomorrow. - Yes, tomorrow.
He didn't pick me, the director did.
- Don't get mad - I'm not angry.
- Kiss me. - I shouldn't.
- I wanted to say goodnight. - Very nice of you.
- Not at all, it's... - It's natural.
Well, yes. So that's done.
Can we go now?
- Are you coming Thérèse? - Goodnight, François.
I'll see you.
Thérèse. Until tomorrow then?
See you tomorrow.
I'm too young for the part?
No, I'll make you look older.
- How? - There are plenty of ways.
- Really? - Yes, makeup can age you.
- Is it necessary? - We won't overdo it.
To age you, here is something we can do.
So.
- Am I pretty. - Very much.
Hold on.
Like this?
You are very beautiful.
Really?
- Goodnight. - Goodnight.
Tell my sister I was here, but I left.
I understand.
Museum of Natural History
You're expected.
- Monsieur. Bonnard, sir. - Professor.
- Sit down, please. - Thanks.
- Is Maurice there? - Yes Sir.
Ask him for my soda water and lemon.
The heat has made me thirsty.
- Thanks. - Not at all.
What a racket they make!
But I am glad the work has begun.
Now let me reread your letter.
I agree with your project.
Your idea is excellent, but...
- But? - It won't be easy.
- I know. - Here you are, Director.
Thanks.
- Are you thirsty? - No, thanks.
It will be harder than you think.
Given the budget at my disposal
I can only offer you a small sum. A token gesture.
- Do you see what I mean? - Yes.
Something like a blessing.
- It will help a great deal. - I hope so.
I'll send you a written confirmation shortly.
- Many thanks, Monsieur. - Goodbye, my son.
- Don't lose heart. - I won't.
I'm sorry, but we really can't help you.
- Nothing doing? - You're a fine young man...
but our company rules forbid free transportation.
- Without exceptions? - Neither. Try the Merchant Navy...
- ...or the Colonial Office. - I did.
- And the airlines? - No, I haven't.
- Maybe they'll say yes. - Do you think?
- I'll try, thank you. - Not at all, and don't lose heart!
- Goodbye, sir, and good luck. - Thanks.
I truly wish we could help you.
- Yes, I know. - But our flights are already
filled weeks in advance by our paying passengers.
Then you're making money!
- We're beginning to. - And you'll continue.
So that's it.
- Are you giving up? - Are you crazy? On the contrary.
Give me a cigarette.
- So, how is it going? - Good. We are all very pleased.
- Who? - Me, Pierre, Christine, everyone.
- How is Christine? - She's a little tense, like me.
- Why? - The play opens tonight.
- You'll be there. - Yes, he's got an invitation.
You sent it to me?
No, it's from all of us.
Okay, I'll come.
I have to go. I have an appointment.
- With whom? - The director of the museum.
Bye, beautiful.
- See you tonight. - Yes, tonight.
- Christine is so dumb. - Good.
- Why do you say that? - She's wrong for him.
- How do you know? - It's just my opinion.
You don't know a thing! You are my big bow-wow.
Don't call me that anymore!
A big bow-wow.
No, people will see us. Give me back my bread.
Here, beautiful.
- Isn't he cute? - Yes.
If I had the money I would buy him.
- What for? - I'd put him in my garden.
You don't have a garden.
- Listen... - Yes?
- Will you rehearse after tonight? - No, those are over.
Then we'll have the afternoons to ourselves again?
Yes, but I'll be on stage each night.
I know.
Go on.
- He'll be there each night? - Who?
François Courcel.
Don't you trust me?
Well?
You are more handsome than he is.
The play we have just acted for you
was written by François Courcel.
The sets and the costumes are by Maurice Lécuyer.
It was directed by Guillaume Rousseau.
Bravo, Therese. Bravo.
- She's pretty, eh? - Pretty, but very bad.
You bet.
- I'm going. - Why? Don't you want to come
- say hello to Pierre? - I'd like to avoid the others.
- Meaning Christine. - No.
Don't be silly. Come on.
- You alright? - I don't know, I have to change.
- Yes, go ahead. - You think so?
- What is it? You look... - What's wrong?
Tell us.
- I was awful... - Are you crazy?
Christine!
- Poor girl. - But you were fantastic.
You're just being nice, I was too scared.
- I was very nervous. - Amazing.
What are you doing here?
People shouldn't see you in my dressing room.
What is it? What's wrong with you?
What is it?
- I was bad. - You were marvelous.
- You think? - Don't act cute!
- Always with the "buts." - You're right. He was very bad.
- Really? - Of course not.
Thérèse! Bravo! Very good!
- What the...? - Who are the flowers for?
Give them to Thérese! Leave me alone.
Your dress is great, you're lovely. What more do you want?
- I acted badly. - No. You'll get good reviews.
- I'll see to that. - Don't bother, everyone knows I was awful.
You thought so too. I could see that on stage.
You decided that on your own?
You've always thought so.
You're insane.
- I know why you hired me. - 'Cause your brother backed the play?
- You don't care about that. - No way.
So why did I hire you?
- Tell me. - You got what you wanted.
- Now we are even. - Very nice.
Neither one of us is nice.
Christine, look at me.
- What? - I love you... a great deal.
Leave me alone.
Is Christine here? Her mother is waiting for her.
Now go, go now.
- Guillaume! - A second, Henry. Sorry.
- Later at my place. - No.
- Why? - It's over.
- Bravo, Guillaume. - It will pass.
- Come in my friends. - Fantastic. Outstanding.
Right here, Christine, my darling.
My husband is taking us to dinner.
- I'd love to but... - No "buts," right Alex?
- No - After all...
I brought you a visitor. He couldn't find his way alone.
It happens. You don't have to kiss me.
I love kisses... but in my dressing room.
Good old Pierrot... I'm glad to see you, Lucien.
- You saw the show? - Yes.
How silly of me! You came to see Pierrot!
Such modesty. I came to see you too.
Really? I'm so happy.
Yes.
- We haven't seen each other lately. - That's just it.
All right.
- Madame. - I like you very much, Lucien.
- Introduce me. - Mr. Bonnard, the famous explorer.
- Mr. Johnny Lefébure. - You're an explorer?
Yes.
Perhaps.
Pardon.
It's all set. You will have your plane.
- Did you really say that? - It's true.
- No. - Yes, and I'm very happy for you.
I like people like you. So does the Ministry.
- You're terrific - No.
Yes, yes.
Sir, your gloves.
Excuse me.
Sorry.
- So many steps. - Good for you.
We're missing someone.
The lamb.
Where were you?
Don't ruin the kitchen.
The leg of lamb.
- Give it to me, I'll roast it. - No, let Therese.
In the kitchen.
Give me a baking dish.
- Dish? - To put in the oven.
Yes, for the oven, twit. A big, thick baking dish.
- Here you go. - You do have one. And bring me garlic.
- Garlic? - Yes, garlic, come on.
You too. Come on, come on.
What does it weigh?
- Five and a half pounds. - Thanks. Clear the field.
Fifteen minutes per pound.
- Hello everyone. - Come and dance.
- Are they all here? - Yes.
- What are you doing? - Sit down. You can dance later.
Right now, just have a seat. I want to talk to the guys
- about the expedition. - What about us? Shall we go?
No, sit down. I won't take long.
- I hope so. - Come, sit down.
- What are you playing? - If we can't dance, I want to eat.
You'll eat later. Come, sit down.
May I?
Listen.
I've made it. We're ready to leave.
- No. - Yes.
It's all set. I signed a contract with Cesar Productions.
You'll have 12 cameras in perfect condition.
We will have 2,000 meters of film plus 500,000 francs to cover
the expedition and our film.
- Wonderful. - Also,
the Air Ministry is giving us a plane or two
to fly us and our equipment to Brazzaville.
After the expedition, they'll fly us home.
- Great, Lucien. - Fantastic.
- How did you do it? - Did you get it yourself?
Go, now you can eat.
- Bernard, Are you asleep? - No.
- I was just thinking. - About what?
- When will we go? - I don't know. Anytime.
- In 10 or 15 days... why? - It's terrible.
- Why? - I just found work.
- Dad knows about it. - What job?
It's a job in a radio repair shop. The pay is no good, but it's money.
- And you call that a job? - My father does.
That's incredible.
He's paid for your education.
At 17 you began school to be a sound engineer.
You got your diploma a year ago and you've looked for a job.
But you haven't found one.
You'll get one after we make our film.
Your name! Up on the screen.
Your father made sacrifices for you.
You'd take a stupid job and not come with us?
Dad doesn't think that way. Try to understand him!
Why? Why?
- Don't be like that, Lucien. - Don't be like what?
- Don't get excited. - What are you driving at?
- Life isn't always that easy. - Meaning?
You want me as the expedition's doctor.
- Now I can't go. - Why? The hospital?
No, I need the money. The shots I give people...
- What? - I get paid to give them.
It's the only money I make.
That was the situation when you said you'd come along.
- But my father is dead and my mother's a widow now.
She needs the money you make?
- A little bit. - She can last two months without it!
Very well. Is that all?
- Have you chickened out as well? - Don't be mad...
Listen, Lucien, it comes at a bad time.
I didn't expect to leave so soon. I teach French now.
- To whom? - An American girl I like a lot.
And she likes me!
So? And they're crazy, so?
Her family is due from Chicago in two weeks
and if I'm not here...
But hear that. Listen.
And to think I wanted to leave with such guys.
You pathetic slobs.
It's terrifying. You'll never amount to a thing. You'll just disappear!
Just disappear!
Maybe you don't believe me? No, don't believe me.
You want to live nice little lives with no risks.
Waiting for a chance to come along.
Like your elders, you count on Lady Luck.
You expect her to do all your work for you.
It won't work, it's up to you.
You are all alike.
Even Roger. He studied for years
to be a cameraman. Now he plays trumpet
instead of looking for a film job.
But he could find one.
- No. - You invent excuses for yourself.
The French aren't making movies.
But I'm sure of one thing. If I was like you, I'd never succeed!
Wake up, damn it.
If you stand there like dummies you'll die where you are!
Your folks are half-dead and don't know it.
They found their place and stayed put.
But you're alive!
It's time for us to act.
I sound like a soap-box orator.
Forgive me.
Play some piano! I haven't heard you since I got here.
OK, off you go.
You're right, Lucien. I'm going with you.
- Me too. - To hell with my American in-laws.
It's on the table.
Come and get it while it's hot.
Come, come.
- Why are you staring at me? - Do you mind?
- No, but almost. - Meaning what?
Want me to explain? It's easy.
Let's see.
If I really loved you...
- I'd ask you to make love now. - What?
Why not? If I loved you.
- Go on. And so? - So nothing.
You'd say no. I'd have made a fool of myself...
- ...and of my love. - You're drunk.
No, I'm not drunk. You think you're a virgin, eh?
Here, maybe. But not there...nor there.
Now listen to me.
Let go.
You're bound to give your body
to someone someday.
I don't know who, but you will.
But you'll never give your heart.
You don't have one.
Christine!
- How are you doing? All right? - Sorry.
I wish you'd never talked to me.
- Go. - Listen...
It wasn't true.
- What? - When I said "if".
- If what? - When I said...
"If I really loved you..."
It wasn't true.
Yes, it was true.
My Thérèse. Are you happy?
- What? - That you're a hit in the play.
To hell with the play. You're going away.
- Not for long, you know. - You are.
You're going to leave me.
- Thérèse... - Yes.
- I'd like you to be my wife...now.
Don't be vulgar.
- Thérèse... - No, Roger.
Don't you love me?
Roger. Thérèse.
- My fiancee. - What's got into you? Are you crazy?
No, we're going to get married. After the expedition.
Well, let's dance.
Silly.
Coming?
Let's go.
If I don't go, I'll miss my metro. Someone left a raincoat.
To hell with it! What am I supposed to do?
Since you are working late, I could leave it with you.
- Madame. - Sorry, Sir.
I left my raincoat in the cloakroom.
And I'll miss my metro. Got your ticket?
I'm sorry to bother you. Here.
- Thanks. Bye, Mr. Rousseau. - Working late?
- You strive for perfection. - Yes, what else could you want?
But your play is very good. Yes, yes.
It's true. I am only a simple spectator.
- But I'm quite sincere. - Thanks. Can you see the gentleman out?
- Of course. - I'll find my way.
Again, my congratulations and my apologies.
Good, say your line again.
"With you gone, I locked myself away. I didn't want to live.
You don't believe me. You can't understand.
I'd rather not try. I say you are lying.
- You say you love me? - Yes, you lie to everyone.
You lied to me when you spoke of love."
No! It's impossible.
I don't think you understand one word!
I'll say it again and I hope for the last time.
Stop reciting. It's not smoked ham.
Don't declaim. We are not at the Folies Dramatiques.
"You lied to me when you spoke of love!"
That's how it should be said.
I’ve corrected you 30, 50 times...
You made me waste every rehearsal.
I worked with you all the time.
I didn't correct the others enough because of you.
I didn't have time to take care of them.
Yes.
It's true.
I've got to make a decision about you.
- Will you give me the line again? - "I say you're lying!
You lied when you spoke to me of love."
It's no good.
It's best that we stop.
- I'm willing to try again. - It's not worth it.
- Are you staying? - No.
Thérèse! Don't forget me.
Sorry, I'm meeting some friends.
We'll stop at my place first. I have a new American turntable.
It's great. It can play up to 20 records.
- Thérèse, Want to come? - Great. I love those things..
Sure take your sister. It will cheer her up.
Okay, but let's hurry.
Wait for me.
- Who is it? - Rex Stewart.
- Are you crazy? - No, we're leaving.
In seven hours and five minutes. Central Met says so.
The Central Meteorologist Office.
In two days the weather will be bad.
So they had to advance the takeoff 24 hours. Understand?
- I have to say goodbye. - You can do it when we get back.
Your jacket.
- Ready? - Yes.
- Frédéric, how are you? - We're going.
We have to see the girls at the theatre.
- It's terrible. - What?
- I don't know. - If you don't know, get going.
Pierrot... Wait.
- Why are you here? - Where are the girls?
- They're gone. - What, they're gone?
- Thérèse left? Why? - Why?
We have to see them. We're taking off at 7 a.m.!
What's wrong?
Come on, I know where they are.
- Where are they? - Get in.
- Well? - At François Courcel's house.
Here? What floor?
- I don't know. - We will find it.
- Don't leave. - No, no.
- We can manage. - They're sleeping. You'll find it.
- How? By eavesdropping? - Why not?
Damn baby-buggy. I almost broke my neck.
- Be careful. - Thanks.
I smell gas.
- What do you want? - The switch.
- Hell, it's the ringer. - Come, up here.
Only one door per floor.
Be quiet, I can't hear.
A baby? It can't be here.
- Now what? - The light.
Shit, I hope that tenant doesn't open up.
- He's asleep. - It must be this one.
This must be it. The light.
- It was the same button. - Turn the light on.
Not bad.
Not there, it's an office. Come on.
It must be there.
It's here.
Look, it's here.
- It rang? - Yes, they don't hear it.
Wait.
They didn't hear us.
- The light's off again. - Look.
- What? - You didn't hear it?
I'm sure I heard something.
- It's nothing. Thérèse. - 12:20, I'm due at the Lorientais!
- Must you? - Yes, I shouldn't have come.
Where is my bag? Here. Get me a taxi.
Find me a taxi.
- Where is Christine? - Thérèse.
Christine. Where are you?
- You? - Where is Christine, please.
Christine?
Why are you here?
- Where is Christine? - Is it important?
Never mind, I can see.
I never thought you'd do it.
- Do what? - Lucien, come on.
Roger.
Roger, wait.
Well?
Roger.
Thérèse.
- What did she do? - Not a thing.
Roger!
Lucien!
Take a look. Lucien.
Come look.
Roger.
Look down there.
Stop a second. Just one second.
- Why? - That car has something to give us.
- It's very important. - Okay, but hurry.
Thanks.
- Roger. - Go on, hurry.
- Hello, Pierrot. You alright? - Yes.
Do you love me?
- Well? That was it? - Yes, that was it.
Crap.
Roger. Enough. Come on.
You'll make us miss taking off. Look.
- They sure got a nerve. - You should've told 'em off.
But they're nice guys.
Come, sit down.
Fasten your seatbelts, we're taking off.
Don't cry.
- You think you're clever? - Why?
- Follow me, you can't stop here. - My pals are taking off.
THE END