The Cousins Page #2

Genre: Short
Year:
1911
395 Views


What?

He clearly had the king.

I'm the king, my children!

Help me. Do something!

Mademoiselle says she works

and wants to go to class.

- She's crazy.

- I really must go.

- You're right. Come on.

- You hear this little bastard?

Does he think

you belong to him, Martine?

Are you forgetting you love me?

I'll come back later.

You swear?

Good luck, my friend.

Ah, women.

I thought she was for Philippe.

Philippe's like a part of me.

Between us,

I believe Philippe is sulking.

- So?

- So nothing.

But it's understandable.

I enjoy consoling Philippe.

Don't let us interrupt.

- Take my place.

- Thanks.

Fine, I'll go play pinball.

- How are things, sweetheart?

- Fine.

- You don't look like Paul.

- We're cousins, not twins.

You each look right

for what you do.

- Meaning?

- You know Paul.

Do you play canap?

If you like.

Blackwood convention

or Norman four no-trump?

Norman four no-trump, no?

You use asking bids?

Not very well.

Really?

It's just a question of practice.

Go on, cut.

Let's see here.

Pass.

One spade.

- Pass.

- Two hearts.

- Three clubs.

- Three spades.

Okay.

Your lead.

Sorry.

Hello, Florence.

Paul...

Aren't you playing anymore?

You're up to something.

Who's that?

Who? Florence?

That's Florence.

I don't like her name,

but she's got something.

I'll introduce you.

- Paul, please!

This is a new role for me.

There's a Cupid

awakening in me, dear cousin.

See you later. Did you call?

Yes, to introduce you to my cousin.

Hello.

So you're the famous cousin.

- No. Cousin, perhaps,

but I'm the famous one.

Thanks.

Now I've got to go.

I just dropped in

to ask Vonvon something.

Will we see you again soon?

Of course.

My heart bleeds for you.

For me? Why?

I'm off.

Hello.

What can I do for you?

Nothing. Just looking.

First editions? New editions?

I'm not a collector.

- Detective novels?

- No, I don't really like them.

Delighted to hear it.

What would you like, then?

I could be tempted by a Balzac.

- From the provinces, eh?

- Is it obvious?

Not really, but reading Balzac

at your age smacks of the provinces.

- What do other students read?

- Those next door? Detective novels.

I tried to give one Le pre Goriot.

?e nearly punched me.

Detective novels and porn.

They claim they need to relax.

- It seems to bother you.

- For good reason.

One lifetime isn't enough

for all there is to read,

and to see them

fritter away their time -

You're right.

I spent the last ten years reading

and loved every minute.

I tell them, "Read Dostoyevsky.

He addresses all your concerns."

They say they have no concerns.

- You seem bitter.

- And with good cause.

When only provincials buy Balzac!

And not even buy -

I'm giving you Balzac for free.

Choose one. I like you.

That's very nice, but I can pay.

Why? I'll make it up

on those other suckers.

Besides, my profit

on Balzac is so thin,

and my wish to please you so great,

that I still come out ahead. Go on.

Have you read Lost Illusions?

Then steal it!

Go on, I'm not looking.

Quick now!

You're a very unusual bookseller.

You'll end up broke.

No danger of that.

You really do love books.

Your eyes are full

of the wonders you've read.

But the world you're living in now

is a very strange one.

Perhaps, but it is the world.

Yes, but it can be hard to take.

- What are you doing here?

- Just talking about books.

What? They're furious.

They can't play anymore.

Forgive me.

- Not at all. Your brother?

- My cousin.

- Same difference. Come again.

Good-bye, and thank you.

Good-bye.

Dear Mother, it's very convenient.

No point taking notes in lectures.

Every week I buy

a photocopied set of all the notes

and study the material at home.

I find it a much better way to work.

But I'm taking tomorrow off.

Paul has invited some friends over

for what he calls

"a little get-together."

You coming?

Wait a second.

- That way.

- Booze!

- Is this Charles?

- Yes.

Sh*t! We're the first ones here!

Damn, I said sh*t!

Sh*t, I said damn!

- Hello, darling.

- For you.

You're the one I love.

My cousin Charles.

A pal of mine.

- You almost closed it in my face!

- Ah, my sweetheart!

Hello, boys! I'm thirsty!

Where's the bar?

For you.

Let's get a whisky.

Well, daddy-o?

Drink, for God's sake!

Hello, everyone.

What a surprise!

Sh*t! Philippe's come

to cry on our shoulders.

- How are things?

- No better.

She left Andr.

She'll be dumping Auguste next.

He's a real drag.

- Hello. Everything all right?

- Yes.

I'll leave you two alone.

Come sit down.

They disgust me.

- Not me.

- You'll change your mind.

- Why are you so bitter?

- I don't know.

Look at all these girls.

The trouble is, I love Franoise.

Of course, but Paul says -

She's a slut, I know.

- You want some music?

- Yes!

Shall we dance?

- No Wagner!

- The morons I have to put up with!

Out of the way.

Mozart!

Wunderbar.

There's Franoise.

I don't want to see her.

Who's the guy with her?

I know him by sight.

Rameau's his name.

- Hello, Philippe.

- Hello, Franoise.

Rameau.

Are you Paul's cousin?

- That's right.

Rameau, old boy!

Get yourself a drink.

Hello, you.

- Don't I get a kiss?

- With Rameau's permission.

- Good Lord!

Rameau couldn't care less.

- Nice guy, your cousin!

- His heart's in the right place.

A country boy.

Salt of the earth.

Rameau, the drinks are over there.

Go on, kids.

- What's gotten into you?

- I just don't like him.

- That's no reason.

- Sure it is.

I'm not very civilized.

- Hello, Paul.

Hello, Charles.

- I've been waiting for you.

- Paul told me.

I've been waiting for you for -

Well, for a long time.

May I?

Be my guest.

Grab some glasses.

I like sitting on the stairs.

What about you?

I love it.

You know, when I said

I'd been waiting for you...

I meant it.

What joy, my little ones!

What joy!

Allow me to introduce

Count Arcangelo Minerva of Florence.

He wanted to come

to our little party.

I'm terribly sorry for the intrusion.

You're very welcome here.

- What are you doing there?

- Leave me alone.

I told you to keep out of my way.

It's not good at your age to be here.

Go on, clear out.

Go learn to read.

Go on.

What's gotten into you?

For this we'll forgive

your crashing the party.

Oh, it's just a little bottle.

It's clear

you're a man of gallantry.

And quick to prove it,

my dear child.

The count can be a bit naughty,

but he's as generous as they come.

- At his age he can afford it.

- At my age I can afford

all sorts of things, my sweet.

I'm off!

An Italian friend of mine,

Count Arcangelo Minerva.

Very pleased to meet you.

Welcome to our party.

Not bad, eh?

Delightful.

Ah, Paris, my boy!

Who is that guy?

Oh, you know... times are hard.

Spit it out.

What? He's an Italian friend.

He's here for business...

and entertainment.

Business keeps him busy

until dinnertime...

and then

the entertainment is my job.

Mademoiselle,

age bows before beauty.

And what's your cut?

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Claude Chabrol

Claude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker. Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time. Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career. In 1978, he cast Isabelle Huppert as the lead in Violette Nozière. On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1996). Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium...Some of his films become almost private jokes, made to amuse himself." James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard." more…

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Submitted on August 05, 2018

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