The Cousins Page #4

Genre: Short
Year:
1911
397 Views


very, very angry!

Paul...

you wouldn't have Florence's

phone number, would you?

What?

I forgot to ask

for her phone number.

You don't have it?

- I don't even know if she has one.

Why should she?

She's never home.

Sorry, but it's time to turn in.

Try and get a few hours' sleep.

Come on, pal.

WeII, good morning.

- My dear friend.

- My condolences.

That's the best thing for it.

Always at your service.

Sir, I am most terribly embarrassed.

No, don't tell me I mustn't be.

I behaved quite deplorably.

I was drunk as a lord,

and I beg your forgiveness.

Oh, please.

You were a bit tipsy perhaps,

but you were the life of the party.

This is all my doing,

I know too well.

How can I ever apologize?

- No need.

All these beautiful things, broken.

Before I go, may I trouble you

for my friend Delbecque's address?

Delbecque? Clovis?

Yes, I'd like to thank him

for the pleasant time I had.

You know...

Clovis moves around a lot.

I don't have his latest address.

It doesn't matter.

I'll find him.

We frequent a certain bar...

I beg your pardon once more.

I mean it. Good-bye.

- Anytime.

Excuse me.

Goodness me!

You made a racket last night!

The fifth floor wasn't happy.

- I don't blame them.

Please forgive us.

Your lovely city is to blame.

Good-bye, madam.

A proper gentleman.

A foreigner?

Yes, Italian.

But not as proper as you think.

Good Lord, look at this!

Were you fighting?

This is Babylon, madam.

Good Lord!

And your Italian gentleman

had a hand in it.

Look at all this work.

Where do I start?

People have been complaining.

They were all cordially invited.

Good Lord!

And the telephone's off the hook.

The telephone was off the hook?

How are you? Sleep well?

- The phone was off the hook?

- That's the least of it!

Don't look so glum.

Someone might

have been trying to call.

Then they'll call back.

Were you involved in this orgy,

Mr. Charles?

Yes, he dipped his toe in.

Feeling all right?

Some Alka-Seltzer... or brandy?

I'm just fine.

Be a good chap

and put on some water for coffee.

- I'm not a good chap.

- That's it - stand up for yourself!

That's enough from you!

Aren't you ashamed,

setting cousins against each other?

Well, I'm hungry.

Don't just stand by the phone.

Put on some water.

Listen, Paul:
Get off my back.

Oh, the young gentleman's

in a nasty mood!

Yes, the young gentleman's

not in a very good mood.

Florence?

Yes, it's me - Charles.

I was really worried.

I didn't know -

Anyway, thanks for calling.

It proves you have a phone.

Listen, could we

get together some time?

Whenever you like.

I have a class this afternoon.

No, I have to go.

Yes, but I have to show my face

now and then, or -

Great. Let's do that.

We'll walk back

from the university together.

Fine.

What time is your class?

What time?

Three o'clock.

I'll be done about 5:00.

Is that okay?

All right. Good-bye.

Thanks for calling.

The amazing thing about you is

you never need any sleep.

Who were you calling?

- Charles.

The kid...?

I'm meeting him at 3:00.

Incredible.

It's wonderful.

I'm meeting Florence at 5:00.

He's not here, Flo.

He went to class.

- What?

At the university.

But we arranged to meet at 3:00.

You misunderstood.

?e said 5:
00.

But come in and have a drink.

The thing is,

I haven't got much time.

You've got two hours.

Listen, what's all

this business with Charles?

What game are you playing?

I'm just playing.

At least you're honest.

And what are you getting out of it?

A sort of dreaminess.

With Charles? Impossible.

I adore Charles.

No, I really do.

He's my cousin. But still -

- Still what?

I can't explain. You know him.

Yes. And?

Don't you get it?

I thought

you were smarter than that.

I can imagine you two

discussing art history.

But once in the sack -

You're the one

who doesn't understand.

With him

I don't have to think about that.

- About what?

- The sack.

You see?

Then what's in it for you?

There's more to life than sex.

My foot!

Paul...

I'm trying to love him.

Very well.

Let's try to be serious

for a moment.

How old are you?

Twenty.

All right.

Let's think this through.

You want to love him.

Let's say you manage that.

Charles worships you.

What will happen?

You'll move in together...

at your place -

so I'm not in your hair.

Fine.

?e'll work like mad,

because that's what he's like.

You'll do the housework

for two weeks.

Or, if you find someone

to do it for you,

you'll spend two weeks

in bed, reading.

And he'll choose

your books for you!

Saturday night

you'll go to the movies.

Sunday afternoon, I'll come by

and invite you out for a drink.

But he'll decline.

He'll have work to do,

and you'll want to stay with him.

I know you!

You won't be able

to resist playing the martyr,

and I won't be able

to stop laughing.

It's true - every word.

And I forgot his dear little mother!

What will Mother say?

He won't dare write her.

He's incapable of lying.

As kids, I used to pinch his marbles,

and he'd lecture me.

He's a good boy.

A great guy.

But really, Florence...

let's think clearly here.

Physically, he's okay.

Better than okay.

Tougher than he looks.

And he's far from stupid.

I'll even tip my hat

to his intellectual capacities.

But really...

you're not made for each other.

That's what you refuse to see.

I'm telling you this

for your own good.

You'll both be miserable as sin!

Leave me alone.

And you'll cheat on him.

Sh*t.

Well, look who's here.

- My stomach's empty.

- Have a drink.

Thanks.

You're a real brother.

What are you doing here?

She came by for Charles,

but he's at school.

What does she want with him?

- She's trying to love him.

- Unbelievable!

Is that true?

- I was just explaining.

Come on! Can you really see

the two of you together?

Three days of playing housewife

and you'd be bored stiff.

Not you too.

- I told her all that.

- Then I hope you understand.

It's you two who don't.

- Here we go again.

- You're being an idiot!

This drives me nuts!

You poor little fool!

You've slept with everyone.

Now you fall for a virgin

and start thinking you're one too!

Even from a moral point of view,

it offends me.

Be true to yourself.

You're taking this boy for a ride,

passing yourself off

as something you're not.

So sleep with him

or leave him alone!

- You're bastards.

- Us?

You hear that, Paul?

We love you.

You're our Florence.

Our own little Florence.

We want to help you.

Don't we?

Absolutely.

It's true, Florence. Really.

If you want to sleep

with Charles, go ahead.

But don't lead him on.

You needn't promise to marry him.

I want it to be serious.

Exactly.

That's the frightening thing.

Really... look at yourself.

Do you look like the type

that can make him happy?

Just stroke your skin.

I know a thing or two about skin.

- Leave me alone.

- I'm an expert.

I've never been wrong.

You have the skin of a temptress.

See, you trembled!

You're all skin, my pussycat.

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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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