The Cousins Page #3

Genre: Short
Year:
1911
395 Views


I can't live off

the sandwiches you feed me...

my dear Augustine!

Here's Genevive.

Hello, Paul.

I hope I'm not intruding.

You know I'm very fond of you.

I'm feeling great.

It was a false alarm.

Hallelujah.

You were both so sweet.

Real pals!

You can be proud of yourselves.

Care for a drink?

?as anyone ever asked

when Correggio painted you?

- Who's Correggio?

- A friend of mine.

She's a pretty little thing.

Have you got a light?

Of course, signorina.

Excuse me.

That's enough Mozart.

Now...

Wagner.

Silence!

Oh, Mother...

where are you?

I am a poor soldier...

alone...

all alone...

with no friends...

with no comrades.

Where are they?

They're all dead.

All dead.

I'm sad.

I weep.

I cry out, "Help me!"

Mother...

But no one hears.

I'm all alone.

One day, the war is over...

and spring returns.

The birds sing...

the sun shines...

music is heard once more...

and we find love...

...love.

Bastard!

What's going on?

Philippe, don't play the shining knight

here. It's dangerous.

- Kick him out!

- He's a guest.

Not again!

What's gotten into you?

Let's leave.

Think we should?

- Slut!

- Stop it!

Philippe, you're causing a scene,

and I abhor that.

I'm free, and I do as I wish.

- You disgust me!

- And you're a pain in the ass.

So are you!

So are all of you! You hear?

Why are you all gaping

at me like that?

I hate you!

I hope you all die like dogs!

Go to hell, all of you!

I find that quite mad!

Lots of problems

and not much character.

He's not equipped to handle it.

What's so funny?

Nothing.

I was thinking

about what you said about Philippe.

And?

Because I don't know

if I'm the type either -

What?

I don't know

if I'm equal to my ambitions.

You see?

I'm talking like I'm giving a lecture.

Not at all.

What do you think of me?

Think I'm a good student?

I've never had a class with you.

Good thing, too,

or I'd never have had a chance.

No, Florence. I know what I am.

A mama's boy,

pampered and cosseted.

It leaves its mark.

- So what?

How can you say that?

As long as you're not marked

by drink, like Clovis.

But Clovis faces life

with a strength I haven't got.

Not that I feel weak, but -

Oh, Florence!

Am I just a silly fool?

Look at me.

Is my face, my expression,

that of a fool?

When I speak, do I say silly things,

in a silly way?

I do, don't I?

Admit it.

You have the most beautiful voice

in the world.

I love it.

You're not putting me on?

But Paul's voice

is much more beautiful.

I said the most beautiful voice

in the world.

Speak, Florence,

so I may say the same to you.

No, you speak.

Say anything at all.

I don't know what to say.

And it's always like this.

Say whatever comes to mind.

Recite your photocopied

lectures to me.

You know

what I'm dying to tell you?

But I'd sooner cut out

my tongue than say it.

No, I dare not even tell you.

Come on, Charles.

No, because by doing so,

I would certainly

exceed even my own stupidity.

I want to know.

My dear Charles,

that's what every woman wants.

Go on, recite it for me.

Never.

Are you really that silly?

On this point, a real idiot.

I can already hear Paul saying,

"So we're poets now,

writing verse in secret?"

Paul's not here.

Recite your poem for me.

I'll think it for you,

but I won't say a word.

Was it beautiful?

Very beautiful, Charles.

That was my complete works.

A little provincial in inspiration,

but there you go.

In love or not,

I'm from Saint-Jean-du-Gard.

Have you been in love often?

Yes, two or three times.

What about you?

Lots of times.

Have you been in love with Rameau?

What an idea! Why Rameau?

He's just a pal.

I don't believe in pals.

I love you, Florence.

That Rameau

gives me the creeps.

You love me?

It's so sudden.

I know...

but that's how I am.

The worst thing is,

it happens quickly

and stays with me a long time.

My mother knows me well.

It made her very wary.

She didn't want me to come to Paris.

It took all Paul's cunning

to persuade her.

She used to say,

"The first girl you meet will sink

her clutches into you, my poor boy."

She's jealous and mistrusts all women.

She said I had no defenses.

She used to spy on me.

She'd be jealous of you too.

She was jealous in advance

before I even left.

Shall we go for a drive?

Wait here.

I'll get the keys.

- You know how to drive?

- Mother taught me.

It's the cousin.

Well, come in!

Paul, it's your cousin.

You boor!

Just a second.

Can I have your car keys?

You're all silly young things.

I want a woman!

And I'll have one!

This guy's gone round the bend.

And I'll get what I want!

You, woman, come here!

Come on!

Come here!

Go to hell, you old troll!

You lied to me.

You promised me girls.

I want girls.

Get me one, by God!

You know how it is, Arcangelo.

If a girl doesn't want to...

He's out of his mind!

You want women, I want money.

Broken glass is lucky!

You and your money!

You're all jerks!

I'll get you all one day!

Paul, give me the car keys.

What?

The car keys.

That's a very good idea.

Listen to me, you cretins!

We're going for a little drive.

We'll have a blast!

On your feet!

Stop it, you barbarian.

Arcangelo!

Arcangelo, you're finished!

Listen to me, you cretins!

We're going for a drive.

To the woods!

- Wait!

The Italians got a Nash.

We'll pinch his keys.

I love picking pockets.

I'm not surprised.

Move it!

I have to freshen up a bit.

- It's dark out.

- Shut up, granny!

Flo, you'll ride with me.

Come on, Charles,

in the nice big Nash.

Stop sulking.

Left behind, my sweet?

Come on.

It'll cheer you up.

I'll drive

like the devil's own chauffeur.

I'll get her up to 70, 80,

even 120, if I'm feeling good.

Look, I'm sticking my head out!

Where are we going?

The highway, meathead...

via the woods.

- Where's first?

- Up yours.

Your language!

- Can you drive?

- My ass!

What moron left all the lights on?

He's out cold.

We have no choice.

Watch this.

What are you going to do?

Scare him to death.

Wake up!

Gestapo!

What's the matter?

Having nightmares?

I was sleeping.

Admit it - I had you scared.

Where'd you go?

All over the place,

with the girls.

They caused a scene in a nightclub.

Really?

Did you go to La Goule?

That's right.

Jeez, I downed quite a few.

I'm off. Is the metro running?

You missed the first,

but you might get the second.

Fine. Good-bye.

Good-bye, Marc.

See you, Marc.

See you later.

You scared me.

What's wrong with him?

He's acting strange.

I don't understand.

What don't you understand?

It seems you really scared him.

Marc's Jewish, so it shook him up.

Very clever.

Poor guy must have been terrified.

Think so?

No, it just sobered him up.

It'll take more than that

to wake that guy up.

Just look at him.

The idiot could have hurt someone.

Good thing we have no bullets.

Oh yeah?

Come look.

What do you call that?

I will-a kill-a you all!

Lady, take-a off-a your dress,

or you will-a make-a Arcangelo

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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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