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'The winter of 1938 | 0:01:32 | 0:01:33 | |
'was one year before the beginning | 0:01:33 | 0:01:36 | |
'of the Second World War, | 0:01:36 | 0:01:38 | |
'and Paris was still an island of light | 0:01:38 | 0:01:41 | |
'in the darkness of Europe, | 0:01:41 | 0:01:43 | |
'and everywhere, men saw the new European citizen - | 0:01:43 | 0:01:47 | |
'the refugee, | 0:01:47 | 0:01:49 | |
'and on the streets, | 0:01:49 | 0:01:51 | |
'political refugees rubbed shoulders | 0:01:51 | 0:01:53 | |
'with the refugees from life, | 0:01:53 | 0:01:57 | |
'and no one cared if these men and women lived or died. | 0:01:57 | 0:02:02 | |
'So history prepared the end of an era | 0:02:02 | 0:02:05 | |
'and the beginning of our times.' | 0:02:05 | 0:02:08 | |
A SNAP OF THE FINGERS | 0:02:12 | 0:02:14 | |
'Your friends escaped. How?' | 0:02:28 | 0:02:29 | |
'I don't know.' | 0:02:29 | 0:02:31 | |
Sybil will know. | 0:02:31 | 0:02:33 | |
She had nothing to do with it. | 0:02:33 | 0:02:35 | |
Sybil will know. | 0:02:35 | 0:02:36 | |
I scarcely know her. | 0:02:36 | 0:02:38 | |
Sybil will know. What happened on the road? | 0:02:38 | 0:02:40 | |
I don't know. | 0:02:40 | 0:02:42 | |
You don't know. Sybil will know. | 0:02:42 | 0:02:44 | |
She knows nothing. | 0:02:44 | 0:02:45 | |
There is nothing to know. | 0:02:45 | 0:02:47 | |
She will know. All right. | 0:02:47 | 0:02:49 | |
WHIP CRACKS | 0:02:49 | 0:02:50 | |
I don't know. | 0:02:50 | 0:02:52 | |
Cigarette, Miss Sybil? | 0:02:52 | 0:02:53 | |
Yes. | 0:02:53 | 0:02:55 | |
Los Aires cigarettes. They're gold-tipped. | 0:02:55 | 0:02:57 | |
SHE SCREAMS | 0:02:57 | 0:02:59 | |
Look what happens | 0:02:59 | 0:03:00 | |
when you cause unnecessary trouble. | 0:03:00 | 0:03:03 | |
Ja, she's dead. | 0:03:12 | 0:03:15 | |
You're quite right. She did not know. | 0:03:15 | 0:03:18 | |
It's a pity. My apologies. | 0:03:18 | 0:03:20 | |
Your bill, sir. | 0:03:36 | 0:03:38 | |
Is raid. | 0:04:03 | 0:04:05 | |
The police pick up this fellow Polianski | 0:04:05 | 0:04:07 | |
in some bistro. | 0:04:07 | 0:04:09 | |
He told them where he lived. | 0:04:09 | 0:04:11 | |
Did they catch anyone else? | 0:04:11 | 0:04:12 | |
Madame Fabier was able to get them all down the cellar. | 0:04:12 | 0:04:16 | |
Ah, good evening. | 0:04:19 | 0:04:20 | |
Dr Ravic. | 0:04:20 | 0:04:21 | |
Good evening. | 0:04:21 | 0:04:22 | |
Let us play game of billiards. | 0:04:24 | 0:04:26 | |
Police will probably be busy upstairs for some time. | 0:04:26 | 0:04:29 | |
All right. | 0:04:29 | 0:04:30 | |
Name? | 0:04:30 | 0:04:31 | |
Meuller. | 0:04:31 | 0:04:32 | |
You keep out of this. | 0:04:32 | 0:04:34 | |
Name? | 0:04:34 | 0:04:35 | |
Polianski. | 0:04:35 | 0:04:36 | |
Vladislav Polianski? | 0:04:36 | 0:04:37 | |
Didn't you know this man had no papers? | 0:04:37 | 0:04:40 | |
I wasn't on the desk when he registered. | 0:04:40 | 0:04:42 | |
If you let another person register without papers... | 0:04:42 | 0:04:45 | |
Never mind that. | 0:04:45 | 0:04:46 | |
This isn't your first offence. | 0:04:46 | 0:04:48 | |
I'm sorry, but this time you'll get six months before we deport you. | 0:04:48 | 0:04:52 | |
Next time it'll be worse. It's the law. | 0:04:52 | 0:04:54 | |
I saw Haake. | 0:04:54 | 0:04:56 | |
Here? | 0:04:56 | 0:04:58 | |
Are you sure? | 0:04:58 | 0:04:59 | |
Yes. | 0:04:59 | 0:05:01 | |
Did he see you? | 0:05:01 | 0:05:03 | |
No. | 0:05:03 | 0:05:04 | |
Do you think he would recognise you | 0:05:04 | 0:05:06 | |
if he did see you? | 0:05:06 | 0:05:08 | |
He thinks I'm dead. | 0:05:08 | 0:05:09 | |
Lucky for your friends at home. | 0:05:09 | 0:05:11 | |
He recognised Klaus. | 0:05:11 | 0:05:14 | |
Klaus has no friends left. | 0:05:14 | 0:05:16 | |
Ghosts. | 0:05:16 | 0:05:17 | |
I thought I would be over this by now. | 0:05:17 | 0:05:20 | |
One never is. | 0:05:20 | 0:05:22 | |
I am still waiting for three Franco Spaniards. | 0:05:22 | 0:05:25 | |
That's my dream. | 0:05:25 | 0:05:27 | |
Everybody in this room has his dream. | 0:05:29 | 0:05:32 | |
Rappoport over there, | 0:05:33 | 0:05:35 | |
he dreams they're pulling out | 0:05:35 | 0:05:37 | |
his fingernails again. | 0:05:37 | 0:05:38 | |
Crane dreams they're chasing him down | 0:05:38 | 0:05:41 | |
under den Linden. | 0:05:41 | 0:05:43 | |
He runs and runs, but they always catch him. | 0:05:43 | 0:05:47 | |
Schultz... His friends call him the bird of death. | 0:05:47 | 0:05:52 | |
He dreams of the next disaster. | 0:05:53 | 0:05:56 | |
He left Berlin two weeks before Hitler came to power. | 0:05:56 | 0:05:59 | |
He left Vienna three days before the Nazis came in. | 0:05:59 | 0:06:03 | |
My dream is Sybil's face | 0:06:05 | 0:06:06 | |
after they had finished with her. | 0:06:06 | 0:06:08 | |
She couldn't tell them anything | 0:06:08 | 0:06:10 | |
because she knew nothing. | 0:06:10 | 0:06:11 | |
She was not in my confidence. | 0:06:11 | 0:06:13 | |
She meant no more to me than a beautiful painting. | 0:06:13 | 0:06:17 | |
They expected her to crack, but she didn't. | 0:06:17 | 0:06:19 | |
She let them kill her before my eyes. | 0:06:19 | 0:06:22 | |
Haake killed her. | 0:06:22 | 0:06:23 | |
She had courage, but no strength. | 0:06:23 | 0:06:25 | |
She lasted a very little while. | 0:06:25 | 0:06:29 | |
You will have your revenge, Ravic. | 0:06:29 | 0:06:31 | |
These crimes cannot go unpunished. | 0:06:31 | 0:06:33 | |
Revenge? No, not revenge. | 0:06:33 | 0:06:35 | |
Revenge is a personal thing. | 0:06:35 | 0:06:37 | |
This is something bigger. | 0:06:37 | 0:06:38 | |
Sybil's face is now the symbol | 0:06:38 | 0:06:41 | |
of thousands of beaten faces. | 0:06:41 | 0:06:43 | |
Haake must never leave France. | 0:06:43 | 0:06:45 | |
Each time he returns to Berlin, | 0:06:45 | 0:06:47 | |
innocent people die. | 0:06:47 | 0:06:49 | |
By the hundreds they die. | 0:06:49 | 0:06:52 | |
Oh, let me go. | 0:07:20 | 0:07:22 | |
Let me go. | 0:07:26 | 0:07:28 | |
Go where? | 0:07:30 | 0:07:31 | |
Leave me alone. | 0:07:31 | 0:07:33 | |
You're not well. | 0:07:33 | 0:07:35 | |
Let me get you a cab and send you home. | 0:07:35 | 0:07:39 | |
What? | 0:07:44 | 0:07:44 | |
Did you hear me? | 0:07:44 | 0:07:46 | |
I said I'll put you in a cab to your apartment, your hotel. | 0:07:46 | 0:07:50 | |
Hotel? | 0:07:50 | 0:07:51 | |
Wherever you live. | 0:07:51 | 0:07:52 | |
No, not my hotel. | 0:07:52 | 0:07:53 | |
Then where? | 0:07:53 | 0:07:54 | |
Look, if you're thinking of taking a swim, don't. | 0:07:56 | 0:07:59 | |
It's the wrong time of the year. | 0:07:59 | 0:08:01 | |
The water is too cold. | 0:08:01 | 0:08:03 | |
I hadn't thought of it. | 0:08:05 | 0:08:06 | |
Oh, well, then. | 0:08:06 | 0:08:08 | |
I won't be responsible for putting ideas in your head. | 0:08:08 | 0:08:11 | |
I know a little place around the corner. | 0:08:11 | 0:08:14 | |
You need a drink to warm you up. | 0:08:14 | 0:08:16 | |
Come on. | 0:08:17 | 0:08:18 | |
The bridge will always be here. | 0:08:18 | 0:08:20 | |
What do you want to drink? | 0:08:23 | 0:08:25 | |
Anything. | 0:08:25 | 0:08:26 | |
Two calvados and a package of Chesterfields. | 0:08:26 | 0:08:28 | |
Only French. | 0:08:28 | 0:08:29 | |
Then give me a package of Laurents green. | 0:08:29 | 0:08:32 | |
Only blue. | 0:08:32 | 0:08:33 | |
All right, blue. | 0:08:39 | 0:08:41 | |
I may still have one green left. | 0:08:41 | 0:08:43 | |
HE SINGS IN FRENCH | 0:08:50 | 0:08:52 | |
Green. Found one after all. | 0:08:52 | 0:08:54 | |
Were you in the Navy? | 0:08:54 | 0:08:56 | |
No. Circus. | 0:08:56 | 0:08:57 | |
Better still. | 0:08:57 | 0:08:58 | |
Here. Drink this. | 0:08:58 | 0:08:59 | |
Drink it all at once. | 0:08:59 | 0:09:01 | |
For a moment, it will give you the illusion | 0:09:01 | 0:09:03 | |
that you are living in a hot, dry country. | 0:09:03 | 0:09:06 | |
Which way are you going? | 0:09:08 | 0:09:11 | |
I don't know. | 0:09:11 | 0:09:12 | |
Where do you live? | 0:09:12 | 0:09:14 | |
I can't go there, not there. | 0:09:14 | 0:09:16 | |
Don't you know anyone to whom you can go? | 0:09:16 | 0:09:20 | |
You could call them up from here. | 0:09:20 | 0:09:23 | |
No. No, there is nobody. | 0:09:23 | 0:09:25 | |
But you must go somewhere. | 0:09:25 | 0:09:27 | |
Haven't you any money for a room? | 0:09:27 | 0:09:29 | |
Yes. Yes, I have. | 0:09:29 | 0:09:30 | |
Well, then go to a hotel. | 0:09:30 | 0:09:33 | |
Look, you've got to go somewhere. | 0:09:33 | 0:09:35 | |
You can't stay in the streets in this rain. | 0:09:35 | 0:09:39 | |
Yes, you're right. | 0:09:39 | 0:09:40 | |
You're quite right. | 0:09:40 | 0:09:42 | |
Don't trouble about me any more. | 0:09:42 | 0:09:44 | |
I'll find a place. | 0:09:44 | 0:09:46 | |
Thank you for everything. | 0:09:47 | 0:09:48 | |
All right. | 0:10:06 | 0:10:07 | |
Come with me. | 0:10:07 | 0:10:09 | |
We'll find something for you. | 0:10:09 | 0:10:11 | |
Thank you. | 0:10:11 | 0:10:12 | |
This room was empty yesterday. | 0:10:30 | 0:10:32 | |
Madame Fabier must have locked it | 0:10:32 | 0:10:34 | |
for fear the bedbugs would get away. | 0:10:34 | 0:10:37 | |
Sit down a moment. | 0:10:41 | 0:10:42 | |
I'll try from the balcony side. | 0:10:42 | 0:10:45 | |
It's no use. The window is locked, too. | 0:10:58 | 0:11:02 | |
May I sit here for a moment? | 0:11:04 | 0:11:07 | |
You can sleep here. | 0:11:07 | 0:11:09 | |
That's the easiest thing. | 0:11:09 | 0:11:10 | |
You should have left me on the street. | 0:11:12 | 0:11:14 | |
Oh, you won't disturb me. | 0:11:14 | 0:11:16 | |
It's not the first time | 0:11:16 | 0:11:18 | |
someone has stayed here all night | 0:11:18 | 0:11:19 | |
because they had nowhere else to go. | 0:11:19 | 0:11:22 | |
This is a hotel for refugees, | 0:11:22 | 0:11:24 | |
people with prices on their heads, | 0:11:24 | 0:11:27 | |
people who hang themselves the next morning | 0:11:27 | 0:11:30 | |
or leave for Peru. | 0:11:30 | 0:11:31 | |
You can take the bed. | 0:11:31 | 0:11:33 | |
I'll sleep on the sofa. | 0:11:33 | 0:11:35 | |
I'm used to it. | 0:11:35 | 0:11:37 | |
No. I'll just stay where I am. | 0:11:37 | 0:11:40 | |
If I may only sit here, that's all. | 0:11:40 | 0:11:44 | |
Just as you like. | 0:11:44 | 0:11:46 | |
Better take off your coat. | 0:11:47 | 0:11:49 | |
It's quite wet. Your hat, too. | 0:11:49 | 0:11:52 | |
Now your shoes. | 0:12:02 | 0:12:04 | |
Take off your stockings. | 0:12:09 | 0:12:10 | |
I'll get you a pair of woollen ones. | 0:12:10 | 0:12:13 | |
In critical times, have an eye for comfort. | 0:12:15 | 0:12:19 | |
That's an old soldier's maxim. | 0:12:19 | 0:12:21 | |
PHONE RINGS | 0:12:21 | 0:12:23 | |
Hello? Oh, oh, yes, Veber. | 0:12:23 | 0:12:25 | |
I'll be there at once. | 0:12:25 | 0:12:27 | |
I've got to go out. | 0:12:27 | 0:12:30 | |
It's all right. You can stay here. | 0:12:31 | 0:12:34 | |
Can't I go with you? | 0:12:34 | 0:12:36 | |
No. No, impossible. | 0:12:36 | 0:12:37 | |
Stay here and take whatever you need. | 0:12:37 | 0:12:40 | |
Oh, here. | 0:12:40 | 0:12:41 | |
You'll find pyjamas in the bottom drawer. | 0:12:41 | 0:12:44 | |
Thank you. | 0:12:44 | 0:12:46 | |
Please, may I keep the light on? | 0:12:46 | 0:12:48 | |
I wasn't going to turn it off. | 0:12:51 | 0:12:54 | |
I know that feeling. | 0:12:54 | 0:12:55 | |
Oh, Luciene. | 0:13:14 | 0:13:16 | |
Where is my Luciene? | 0:13:16 | 0:13:18 | |
How is she? | 0:13:37 | 0:13:39 | |
Pulse - 100. | 0:13:39 | 0:13:41 | |
Pressure - 110 over 80. | 0:13:41 | 0:13:44 | |
Pulse is weak and thready - 140. | 0:14:01 | 0:14:04 | |
Pressure - 70 over 40. | 0:14:04 | 0:14:06 | |
I can't get her pressure. | 0:14:10 | 0:14:13 | |
Is she gone? | 0:14:15 | 0:14:17 | |
Yes. | 0:14:17 | 0:14:18 | |
You did all you could, Ravic. | 0:14:19 | 0:14:22 | |
We can't win against quacks. | 0:14:22 | 0:14:24 | |
Love, your magic spell is everywhere. | 0:14:28 | 0:14:31 | |
The bracelet on her ankle read, | 0:14:31 | 0:14:33 | |
"Always Luciene". | 0:14:33 | 0:14:36 | |
Where is Luciene now? | 0:14:36 | 0:14:38 | |
21 years old, Veber. | 0:14:40 | 0:14:42 | |
21 years old. | 0:14:42 | 0:14:44 | |
The dignity of man, the beauty of woman, | 0:14:44 | 0:14:47 | |
the innocence and subtlety of love, | 0:14:47 | 0:14:50 | |
a quack in a dirty cellar... | 0:14:50 | 0:14:53 | |
then this. | 0:14:53 | 0:14:54 | |
By now, you should be tough. | 0:14:54 | 0:14:56 | |
One is never tough, | 0:14:56 | 0:14:58 | |
but one can get used to a lot of things... | 0:14:58 | 0:15:02 | |
but to some things, never. | 0:15:02 | 0:15:04 | |
Good night, Colonel. | 0:15:07 | 0:15:08 | |
Hello. Hello. | 0:15:28 | 0:15:30 | |
Hello, Boris. | 0:15:30 | 0:15:32 | |
Ugh! Busy again with scientific murder, eh? | 0:15:32 | 0:15:35 | |
It's idiotic, a doctor of your ability | 0:15:35 | 0:15:38 | |
not allowed to work everywhere but must hide as ghost surgeon. | 0:15:38 | 0:15:42 | |
I'm not alone. The Nazis saw to that. | 0:15:42 | 0:15:44 | |
Colonel! | 0:15:44 | 0:15:46 | |
A racing car. | 0:15:46 | 0:15:48 | |
You don't laugh? | 0:15:53 | 0:15:54 | |
But, Colonel, was a good joke, | 0:15:54 | 0:15:57 | |
or wasn't it? | 0:15:57 | 0:15:59 | |
Very good, | 0:15:59 | 0:16:00 | |
but racing car was, perhaps, even better. | 0:16:00 | 0:16:03 | |
Here. Come on. | 0:16:03 | 0:16:04 | |
Mind your manners, Boris. | 0:16:09 | 0:16:10 | |
You know him. He might complain to your boss. | 0:16:10 | 0:16:13 | |
Captain Alitze? | 0:16:13 | 0:16:14 | |
He was lieutenant in the Czar's guard. | 0:16:14 | 0:16:17 | |
I was lieutenant colonel. | 0:16:17 | 0:16:19 | |
He still remembers that, my boy. | 0:16:19 | 0:16:21 | |
You'd better remember it, too, | 0:16:21 | 0:16:23 | |
you pickpocket of death... | 0:16:23 | 0:16:25 | |
without passport. | 0:16:25 | 0:16:26 | |
When will you be through? | 0:16:26 | 0:16:27 | |
After we have drink on the house. | 0:16:27 | 0:16:30 | |
KEY TURNS IN LOCK | 0:16:36 | 0:16:38 | |
It's all right. | 0:16:42 | 0:16:44 | |
It's me - | 0:16:44 | 0:16:45 | |
the man who brought you here. | 0:16:45 | 0:16:47 | |
I think we can turn the light off now. | 0:16:48 | 0:16:52 | |
I thought you would be gone. | 0:16:52 | 0:16:55 | |
I'll go. | 0:16:55 | 0:16:57 | |
Never mind. | 0:16:57 | 0:16:58 | |
Wait. | 0:16:58 | 0:16:59 | |
We'll have some breakfast. | 0:16:59 | 0:17:00 | |
Here. | 0:17:05 | 0:17:06 | |
Drink your coffee. | 0:17:06 | 0:17:08 | |
You got a headache? | 0:17:12 | 0:17:14 | |
No. | 0:17:14 | 0:17:15 | |
I have. | 0:17:15 | 0:17:16 | |
It will be gone in an hour. | 0:17:16 | 0:17:19 | |
Have a brioche. | 0:17:19 | 0:17:21 | |
I can't eat. | 0:17:21 | 0:17:22 | |
Well, drink your coffee and have a cigarette. | 0:17:22 | 0:17:25 | |
That's a soldier's breakfast. | 0:17:25 | 0:17:26 | |
I think... | 0:17:27 | 0:17:28 | |
What do you think? | 0:17:30 | 0:17:32 | |
I think I should be going. | 0:17:32 | 0:17:35 | |
Back to your hotel? | 0:17:35 | 0:17:36 | |
Perhaps you should. | 0:17:37 | 0:17:39 | |
You've got to face it, whatever it is, sometime. | 0:17:39 | 0:17:42 | |
Things will look different to him in daylight. | 0:17:42 | 0:17:44 | |
What's the matter? | 0:17:49 | 0:17:51 | |
Hmm? Did I say something wrong? | 0:17:51 | 0:17:53 | |
He's dead. | 0:17:55 | 0:17:57 | |
He...he died last night. Then I ran away. | 0:18:00 | 0:18:06 | |
That makes it perfect. | 0:18:07 | 0:18:09 | |
Did you kill him? | 0:18:09 | 0:18:11 | |
That makes it less perfect. | 0:18:17 | 0:18:20 | |
You better tell me the details. | 0:18:20 | 0:18:23 | |
H-he died... | 0:18:23 | 0:18:26 | |
suddenly. | 0:18:26 | 0:18:28 | |
Are you sure you didn't kill him? | 0:18:28 | 0:18:32 | |
I didn't shoot him or stab him, | 0:18:32 | 0:18:35 | |
if that's what you mean. | 0:18:35 | 0:18:36 | |
He died naturally. He was sick. | 0:18:36 | 0:18:38 | |
Did you have a doctor? | 0:18:38 | 0:18:40 | |
I called one. | 0:18:40 | 0:18:41 | |
He wouldn't let the doctor touch him. | 0:18:41 | 0:18:44 | |
Why not? | 0:18:44 | 0:18:45 | |
Because of me. | 0:18:46 | 0:18:48 | |
Did you notify the management of the hotel he was dead? | 0:18:50 | 0:18:54 | |
No. | 0:18:54 | 0:18:55 | |
Perfect again. | 0:18:55 | 0:18:56 | |
Why didn't you give me a choice? | 0:18:56 | 0:18:59 | |
If I'd known, I would've left you on the bridge. | 0:18:59 | 0:19:03 | |
Sorry. I'll go. | 0:19:03 | 0:19:04 | |
No. The police will want to know | 0:19:04 | 0:19:06 | |
where you spent the night. | 0:19:06 | 0:19:07 | |
I won't tell them. | 0:19:07 | 0:19:09 | |
If you went there alone, | 0:19:09 | 0:19:10 | |
they would be at my door 10 minutes later. | 0:19:10 | 0:19:13 | |
Wait. I'll get dressed and go with you. | 0:19:13 | 0:19:16 | |
You don't have to help me any more. | 0:19:16 | 0:19:18 | |
I'm helping myself. | 0:19:18 | 0:19:19 | |
It's not my year to see the police. | 0:19:19 | 0:19:21 | |
Was he your husband? | 0:19:23 | 0:19:25 | |
No. | 0:19:26 | 0:19:28 | |
So you're back. | 0:19:37 | 0:19:39 | |
You think you can disappear | 0:19:39 | 0:19:40 | |
and leave me to answer questions to the police. | 0:19:40 | 0:19:43 | |
You disgrace my hotel with that thing you left upstairs. | 0:19:43 | 0:19:46 | |
I haven't settled this whole mess for you. | 0:19:46 | 0:19:48 | |
You're about to go to prison... | 0:19:48 | 0:19:50 | |
Do you come from China? | 0:19:50 | 0:19:51 | |
What do you mean? | 0:19:51 | 0:19:53 | |
Nothing. I just wanted to interrupt you. | 0:19:53 | 0:19:55 | |
You would have gone on talking for another hour. | 0:19:55 | 0:19:58 | |
Sit down over there. | 0:20:04 | 0:20:06 | |
Do you know the name of the doctor who was here? | 0:20:07 | 0:20:11 | |
Bonet. Marcel Bonet - Passy-2743. | 0:20:11 | 0:20:12 | |
Phone Dr Bonet to come right over | 0:20:12 | 0:20:15 | |
and sign the death certificate. | 0:20:15 | 0:20:17 | |
Get out. | 0:20:17 | 0:20:18 | |
Why do you stand around stealing my time? | 0:20:18 | 0:20:20 | |
Close the door behind you | 0:20:20 | 0:20:22 | |
unless you want people from the street to come in, too. | 0:20:22 | 0:20:26 | |
Well. | 0:20:34 | 0:20:35 | |
There doesn't seem to be any sign of violence. | 0:20:37 | 0:20:40 | |
Why did you run away last night? | 0:20:49 | 0:20:52 | |
When I came back, he was dead. | 0:20:53 | 0:20:56 | |
Back from where? | 0:20:56 | 0:20:57 | |
We quarrelled. | 0:20:57 | 0:20:59 | |
What about? | 0:20:59 | 0:21:00 | |
The doctor. | 0:21:00 | 0:21:03 | |
Again? Look, the police will want to make a list | 0:21:03 | 0:21:06 | |
of what belonged to each of you. | 0:21:06 | 0:21:08 | |
Did he have any relatives? | 0:21:08 | 0:21:10 | |
Not in France. | 0:21:10 | 0:21:12 | |
Take everything that's important to you, and quickly. | 0:21:12 | 0:21:15 | |
There is no time left for sentimentality. | 0:21:15 | 0:21:17 | |
Where is his luggage? | 0:21:17 | 0:21:19 | |
It was over there by the wall last night. | 0:21:19 | 0:21:22 | |
I see. The proprietor. | 0:21:22 | 0:21:24 | |
Mother, you are much too inquisitive for your age. | 0:21:24 | 0:21:28 | |
Get me the proprietor, please. | 0:21:28 | 0:21:30 | |
He said I only sent for the doctor | 0:21:33 | 0:21:35 | |
because I wanted him to get well. | 0:21:35 | 0:21:38 | |
Oh. I'll see that you get the first prize for incoherence. | 0:21:38 | 0:21:42 | |
He said I only wanted him to get well so I could leave him. | 0:21:42 | 0:21:46 | |
Did you? | 0:21:46 | 0:21:48 | |
Yes. | 0:21:50 | 0:21:51 | |
Well...you have definitely left him now. | 0:21:51 | 0:21:55 | |
No, I haven't. | 0:21:55 | 0:21:57 | |
I haven't. Not this way. | 0:21:57 | 0:22:00 | |
Why did you want to leave him? | 0:22:00 | 0:22:03 | |
He loved me. | 0:22:03 | 0:22:04 | |
But I didn't love him. | 0:22:07 | 0:22:10 | |
FOOTSTEPS APPROACH | 0:22:10 | 0:22:13 | |
Where are the suitcases? | 0:22:17 | 0:22:19 | |
First the bill. | 0:22:19 | 0:22:21 | |
First the suitcases. | 0:22:21 | 0:22:22 | |
No one has refused to pay the bill...yet. | 0:22:22 | 0:22:25 | |
Next time knock before you enter. | 0:22:25 | 0:22:28 | |
Did he keep any money in his suitcases? | 0:22:31 | 0:22:34 | |
I-I don't know. | 0:22:34 | 0:22:35 | |
Marino always had money in his wallet. | 0:22:35 | 0:22:38 | |
Where is it? | 0:22:38 | 0:22:40 | |
He kept it under his pillow. | 0:22:40 | 0:22:42 | |
American money. | 0:22:53 | 0:22:55 | |
$100. | 0:22:55 | 0:22:57 | |
I left the wallet where I found it. | 0:22:57 | 0:22:59 | |
Take it. | 0:22:59 | 0:23:01 | |
You can live on this for a while, | 0:23:01 | 0:23:03 | |
otherwise it will rot at police headquarters. | 0:23:03 | 0:23:05 | |
KNOCK ON DOOR Thank you. | 0:23:07 | 0:23:09 | |
Come in. | 0:23:09 | 0:23:10 | |
Are these all? | 0:23:14 | 0:23:16 | |
Naturally these are all. | 0:23:16 | 0:23:18 | |
Is the bill right? | 0:23:18 | 0:23:19 | |
Well, pay it anyway. | 0:23:19 | 0:23:21 | |
Uh, 297. | 0:23:21 | 0:23:23 | |
1... | 0:23:26 | 0:23:27 | |
1... | 0:23:27 | 0:23:28 | |
300 francs. | 0:23:29 | 0:23:31 | |
300 francs. | 0:23:31 | 0:23:32 | |
We get 3 francs change. | 0:23:32 | 0:23:34 | |
The concierge? | 0:23:34 | 0:23:36 | |
That we'll settle ourselves. | 0:23:36 | 0:23:37 | |
Thank you. | 0:23:41 | 0:23:42 | |
Now the suitcases. | 0:23:44 | 0:23:46 | |
You may find something you'd want. | 0:23:46 | 0:23:48 | |
Well, the rest is for the police. | 0:23:48 | 0:23:51 | |
When one is dead, one becomes very important. | 0:23:51 | 0:23:55 | |
Would you like to go downstairs | 0:23:55 | 0:23:57 | |
and wait for the police? | 0:23:57 | 0:23:58 | |
No, I'll stay here. | 0:23:58 | 0:24:00 | |
There is nothing to do here. | 0:24:00 | 0:24:02 | |
I know, but... | 0:24:02 | 0:24:04 | |
he won't be here much longer. | 0:24:04 | 0:24:06 | |
I often... | 0:24:06 | 0:24:08 | |
He wasn't very happy with me. | 0:24:10 | 0:24:12 | |
I was often away. | 0:24:12 | 0:24:15 | |
Now I'll stay. | 0:24:15 | 0:24:17 | |
He won't know. | 0:24:17 | 0:24:18 | |
It's not that. | 0:24:18 | 0:24:20 | |
All right. Well, I'll watch the proceedings | 0:24:20 | 0:24:22 | |
from the bistro across the street. Here. | 0:24:22 | 0:24:25 | |
Come to the window when the police leave. | 0:24:25 | 0:24:27 | |
I'll come to the window | 0:24:27 | 0:24:29 | |
in my room above. | 0:24:29 | 0:24:30 | |
Did it go well? | 0:25:09 | 0:25:10 | |
There was no trouble. | 0:25:10 | 0:25:12 | |
What are you going to do now? | 0:25:12 | 0:25:14 | |
I don't know. | 0:25:14 | 0:25:16 | |
I suppose you don't want | 0:25:17 | 0:25:19 | |
to stay on in this hotel. | 0:25:19 | 0:25:20 | |
No. | 0:25:20 | 0:25:21 | |
Try the Hotel de Milan. | 0:25:21 | 0:25:23 | |
It's clean, decent. | 0:25:23 | 0:25:24 | |
Couldn't I go to the hotel where... | 0:25:24 | 0:25:28 | |
to your hotel? | 0:25:28 | 0:25:29 | |
The International? | 0:25:30 | 0:25:31 | |
Yes, I... | 0:25:31 | 0:25:33 | |
I know it somehow now. | 0:25:33 | 0:25:35 | |
It's better than what I haven't seen. | 0:25:35 | 0:25:36 | |
Well, the International is not the right hotel for you. | 0:25:38 | 0:25:42 | |
You're right. I'll go to the other. | 0:25:44 | 0:25:46 | |
Is this all right? | 0:26:03 | 0:26:04 | |
Yes, very good. | 0:26:04 | 0:26:06 | |
At least it seems to be clean. | 0:26:06 | 0:26:08 | |
Yes. | 0:26:08 | 0:26:09 | |
I think you'll be all right here. | 0:26:20 | 0:26:22 | |
Yes, thanks. | 0:26:22 | 0:26:24 | |
Many thanks. | 0:26:24 | 0:26:25 | |
You should go to bed. | 0:26:25 | 0:26:26 | |
You think you'll be able to sleep? | 0:26:26 | 0:26:28 | |
I'll try. | 0:26:28 | 0:26:30 | |
Well, I'll go now. | 0:26:30 | 0:26:32 | |
I'll look you up one of these days. | 0:26:32 | 0:26:35 | |
What's your name? | 0:26:43 | 0:26:45 | |
Madou, Joan Madou. | 0:26:45 | 0:26:47 | |
Joan Madou. I'll remember it. | 0:26:47 | 0:26:50 | |
Well, perhaps I better write it down. | 0:26:50 | 0:26:53 | |
Here, you write it yourself. | 0:26:53 | 0:26:57 | |
It's simpler. | 0:26:57 | 0:26:59 | |
Now go to bed. | 0:27:01 | 0:27:03 | |
All you need is a little time, | 0:27:03 | 0:27:06 | |
a certain amount of time that you have to get through. | 0:27:06 | 0:27:10 | |
You understand? | 0:27:10 | 0:27:11 | |
Yes. | 0:27:11 | 0:27:12 | |
Thank you. Thank you for everything. | 0:27:12 | 0:27:14 | |
I really don't know what I would have done without you. | 0:27:14 | 0:27:17 | |
I really don't know. | 0:27:17 | 0:27:19 | |
LAUGHTER AND SINGING | 0:27:43 | 0:27:45 | |
Spain, the fascist section, | 0:27:52 | 0:27:54 | |
celebrating a German or Italian victory | 0:27:54 | 0:27:57 | |
over their own people. | 0:27:57 | 0:27:58 | |
This was left for Dr Ravic. | 0:28:08 | 0:28:10 | |
There. | 0:28:10 | 0:28:11 | |
I'm not expecting a package. Who brought it? | 0:28:11 | 0:28:13 | |
A woman...a lady. | 0:28:13 | 0:28:14 | |
Which? Woman or lady? | 0:28:14 | 0:28:16 | |
Just in-between. | 0:28:16 | 0:28:17 | |
There's no name. Did she say it was for me? | 0:28:17 | 0:28:21 | |
She said it was for the doctor who lives here. | 0:28:21 | 0:28:24 | |
She was here with you the other morning. | 0:28:24 | 0:28:26 | |
The first virtue of hotel employees is discretion. | 0:28:26 | 0:28:29 | |
Indiscretion is only for gentlemen. | 0:28:29 | 0:28:31 | |
KNOCK ON DOOR | 0:28:33 | 0:28:35 | |
Lieutenant Nvarre on behalf of Colonel Gomez. | 0:28:37 | 0:28:39 | |
The Colonel requests you to drink some wine with him. | 0:28:39 | 0:28:43 | |
We're about to play chess. | 0:28:43 | 0:28:45 | |
You did a service for Colonel Gomez some time ago... | 0:28:45 | 0:28:48 | |
This must not be postponed. | 0:28:48 | 0:28:50 | |
Oh, no. It's for the championship. | 0:28:50 | 0:28:52 | |
What service did you render this tin soldier? | 0:28:56 | 0:28:59 | |
I prescribed a laxative for him. | 0:28:59 | 0:29:01 | |
A fascist in the same situation | 0:29:01 | 0:29:04 | |
would have prescribed for a democrat a poison. | 0:29:04 | 0:29:07 | |
What's this? From the Russian? | 0:29:07 | 0:29:09 | |
No. Oh, I told you about her. | 0:29:09 | 0:29:12 | |
So she's the one? | 0:29:12 | 0:29:13 | |
Yes. | 0:29:13 | 0:29:14 | |
KNOCK ON DOOR | 0:29:14 | 0:29:15 | |
Busy day. Come in. | 0:29:15 | 0:29:17 | |
I'm Captain Gonzalez. | 0:29:17 | 0:29:18 | |
We're leaving tonight to join the glorious army | 0:29:18 | 0:29:21 | |
of Generalissimo Franco. | 0:29:21 | 0:29:22 | |
The Colonel would like to drink with you to Spain and Spain's army. | 0:29:22 | 0:29:25 | |
Captain, I'm not a... a Spaniard. | 0:29:25 | 0:29:29 | |
We know that. You are an Austrian. | 0:29:29 | 0:29:31 | |
That makes you German. | 0:29:31 | 0:29:32 | |
Germany and Spain are friends. | 0:29:32 | 0:29:33 | |
Please give our regrets to Colonel Gomez, | 0:29:33 | 0:29:36 | |
but the results of our game | 0:29:36 | 0:29:38 | |
must be cabled tonight to New York and Calcutta. | 0:29:38 | 0:29:40 | |
We expected you to decline. | 0:29:40 | 0:29:42 | |
We only invited you because you are with the doctor. | 0:29:42 | 0:29:45 | |
We've had enough of this. | 0:29:45 | 0:29:47 | |
The simplest thing is to go back to your friends. | 0:29:47 | 0:29:51 | |
Thank you. | 0:29:52 | 0:29:53 | |
Thank you for promoting me | 0:29:53 | 0:29:55 | |
to rank of full colonel. | 0:29:55 | 0:29:57 | |
Well, I knew, of course, you were only lieutenant colonel. | 0:29:57 | 0:29:59 | |
It seems unbearable that you shouldn't have the same rank | 0:29:59 | 0:30:02 | |
as this Gomez. | 0:30:02 | 0:30:04 | |
Have you... Have you seen her again? | 0:30:04 | 0:30:08 | |
No. | 0:30:08 | 0:30:09 | |
This, of course, is a cry for help. | 0:30:09 | 0:30:12 | |
I suppose so. | 0:30:12 | 0:30:16 | |
Go see her, Ravic. | 0:30:16 | 0:30:17 | |
Why? | 0:30:17 | 0:30:18 | |
Because the Colonel says so. | 0:30:18 | 0:30:21 | |
All right, all right, I'll go see her tomorrow. | 0:30:21 | 0:30:26 | |
Salut. | 0:30:26 | 0:30:27 | |
KNOCK ON DOOR | 0:30:28 | 0:30:29 | |
Colonel Gomez. | 0:30:29 | 0:30:30 | |
This will be a discussion | 0:30:30 | 0:30:32 | |
between two colonels - a short one. | 0:30:32 | 0:30:35 | |
Make no statement. It will only cause conflict. | 0:30:36 | 0:30:39 | |
Now get out. | 0:30:39 | 0:30:41 | |
You should have got out long ago, you know. To Spain to fight. | 0:30:41 | 0:30:45 | |
Germans and Italians have fought for you there instead. Adieu. | 0:30:45 | 0:30:49 | |
I am unable to challenge you. | 0:30:49 | 0:30:51 | |
I'm leaving Paris tonight. | 0:30:51 | 0:30:52 | |
The fee for your consultation. | 0:30:52 | 0:30:55 | |
One moment. One moment, please. | 0:30:56 | 0:30:59 | |
That is to sober you up! Now get out! | 0:31:05 | 0:31:08 | |
Remember in the future not to throw money, you medieval idiots! | 0:31:08 | 0:31:12 | |
Get out! Get out! Get out! | 0:31:12 | 0:31:13 | |
You...if only you were not illegal. | 0:31:15 | 0:31:20 | |
I could have committed magnificent damage. | 0:31:20 | 0:31:23 | |
God bless your eyes. | 0:31:23 | 0:31:25 | |
And yours. | 0:31:25 | 0:31:26 | |
The lady's in her room. | 0:31:29 | 0:31:31 | |
What's the number? | 0:31:31 | 0:31:33 | |
27. | 0:31:33 | 0:31:34 | |
I don't remember her name. | 0:31:34 | 0:31:36 | |
Madou. | 0:31:36 | 0:31:37 | |
Oh, yes, yes, Joan Madou. | 0:31:37 | 0:31:39 | |
I don't think it's her real name. | 0:31:39 | 0:31:41 | |
Why don't you think so? | 0:31:41 | 0:31:43 | |
She registered as an actress. | 0:31:43 | 0:31:45 | |
Hmm. I knew an actor who called himself Gustav Schmidt. | 0:31:45 | 0:31:48 | |
His real name was Alexander Maria, Count of Zambona. | 0:31:48 | 0:31:51 | |
Nowadays, so many things happen. | 0:31:51 | 0:31:53 | |
So much does not actually happen. | 0:31:53 | 0:31:56 | |
Thanks, but for me, it's enough. | 0:31:56 | 0:31:57 | |
For me, too. 27, you said. | 0:31:57 | 0:31:59 | |
Yes, sir. | 0:31:59 | 0:32:00 | |
JOAN: Come in. | 0:32:02 | 0:32:04 | |
I hope I'm not disturbing you. | 0:32:05 | 0:32:08 | |
No. Please come in. | 0:32:08 | 0:32:10 | |
Won't you sit down? | 0:32:10 | 0:32:13 | |
Was this here when you moved in? | 0:32:14 | 0:32:16 | |
I had it put there. | 0:32:16 | 0:32:18 | |
I hate a bed... | 0:32:18 | 0:32:20 | |
in the daytime. | 0:32:20 | 0:32:22 | |
Were you going out? | 0:32:25 | 0:32:27 | |
Later. | 0:32:28 | 0:32:30 | |
Nowhere in particular. | 0:32:30 | 0:32:32 | |
I don't know anyone except the proprietor, | 0:32:32 | 0:32:36 | |
the waiter, the chambermaid, and you. | 0:32:36 | 0:32:38 | |
It's time you got out of here. Come. | 0:32:40 | 0:32:43 | |
We'll have something to eat. | 0:32:43 | 0:32:45 | |
It's good to sit this way. | 0:32:47 | 0:32:49 | |
You came to me out of pity, | 0:32:49 | 0:32:51 | |
but it means a great deal to me. | 0:32:51 | 0:32:54 | |
Have you thought about what you're going to do? | 0:32:54 | 0:32:56 | |
No, not yet. | 0:32:56 | 0:32:57 | |
Well, the porter told me you were an actress | 0:32:57 | 0:33:01 | |
when I asked for your name. | 0:33:01 | 0:33:04 | |
You had forgotten it. | 0:33:05 | 0:33:07 | |
Yes. | 0:33:07 | 0:33:08 | |
No, uh, I'd left the slip of paper in my hotel. | 0:33:08 | 0:33:13 | |
You remember it now? | 0:33:13 | 0:33:14 | |
Yes. Joan, Joan Madou. | 0:33:14 | 0:33:16 | |
I'm not a good actress. I've only played small parts... | 0:33:19 | 0:33:23 | |
in Italy. | 0:33:23 | 0:33:24 | |
Are you Italian? | 0:33:24 | 0:33:26 | |
My mother's Italian. | 0:33:26 | 0:33:27 | |
My father was Rumanian. | 0:33:27 | 0:33:29 | |
My mother is still in Italy, I think. | 0:33:29 | 0:33:32 | |
Have you done anything else besides small parts? | 0:33:32 | 0:33:35 | |
Some singing. | 0:33:35 | 0:33:36 | |
You speak any Russian? | 0:33:36 | 0:33:39 | |
No. I sing Russian - gypsy songs. | 0:33:39 | 0:33:42 | |
It will be easier. I know someone who may help you. | 0:33:42 | 0:33:45 | |
Who? | 0:33:45 | 0:33:47 | |
Someone very important. | 0:33:47 | 0:33:48 | |
Colonel Boris Morozov. | 0:33:48 | 0:33:50 | |
He's a doorman at the Sheherazade. | 0:33:50 | 0:33:53 | |
Some doormen can do a lot. | 0:33:53 | 0:33:56 | |
Katya. | 0:34:06 | 0:34:07 | |
Come out of that rain and kiss me, you tartar. | 0:34:08 | 0:34:11 | |
Doctor, I'm surprised to see you here. | 0:34:17 | 0:34:20 | |
I'm most impressed. | 0:34:20 | 0:34:21 | |
This is my first night back in Paris. | 0:34:21 | 0:34:24 | |
Thank the stars I'm with you again. | 0:34:24 | 0:34:26 | |
Katya, you have a Russian soul. | 0:34:26 | 0:34:28 | |
Why did you have to be born in that Boston? | 0:34:28 | 0:34:30 | |
Nature went mad that day, Boris. | 0:34:30 | 0:34:33 | |
You have not been around since you sent me this Joan Madou. | 0:34:34 | 0:34:38 | |
Why? What's the matter with her? | 0:34:38 | 0:34:40 | |
She's alone and hates it. | 0:34:40 | 0:34:42 | |
I'm alone and intend to stay that way. | 0:34:42 | 0:34:45 | |
FAINT PIANO PLAYING | 0:34:50 | 0:34:53 | |
# Mmm | 0:35:11 | 0:35:21 | |
# Aa-hh | 0:35:21 | 0:35:28 | |
# Ah-a-a-ah | 0:35:28 | 0:35:35 | |
# O-ooh | 0:35:35 | 0:35:37 | |
# Mmm | 0:35:37 | 0:35:46 | |
SHE SINGS IN RUSSIAN | 0:35:46 | 0:35:52 | |
# Aa-ahh | 0:36:58 | 0:37:04 | |
# Mmm-mmm. # | 0:37:04 | 0:37:14 | |
APPLAUSE | 0:37:18 | 0:37:20 | |
What's the matter, Ravic? | 0:37:33 | 0:37:35 | |
Do you know that woman? | 0:37:37 | 0:37:39 | |
No. | 0:37:39 | 0:37:41 | |
Good evening. | 0:38:03 | 0:38:04 | |
You're alone. | 0:38:04 | 0:38:06 | |
Yes. | 0:38:06 | 0:38:07 | |
Oh, please. | 0:38:07 | 0:38:08 | |
Do sit down. | 0:38:08 | 0:38:09 | |
Bring another glass, please. | 0:38:09 | 0:38:13 | |
This is vodka. | 0:38:15 | 0:38:16 | |
I don't know if you drink it. | 0:38:16 | 0:38:19 | |
We drank it at the Bella Royal. | 0:38:19 | 0:38:21 | |
That's right. | 0:38:21 | 0:38:22 | |
Salut. | 0:38:30 | 0:38:31 | |
I haven't heard that for a long time. | 0:38:31 | 0:38:34 | |
Salut. | 0:38:34 | 0:38:35 | |
Well, shall we go on with this? | 0:38:43 | 0:38:45 | |
What was it we drank? | 0:38:45 | 0:38:48 | |
When? | 0:38:48 | 0:38:49 | |
The first night. It was the warmest thing I've ever had. | 0:38:49 | 0:38:52 | |
Where did we drink it? | 0:38:52 | 0:38:54 | |
In that little bistro near the Arch. | 0:38:54 | 0:38:55 | |
The waiter had a woman tattooed on his arm. | 0:38:55 | 0:38:58 | |
Now I know. | 0:38:58 | 0:38:59 | |
It must have been calvados, apple brandy from Normandy. | 0:38:59 | 0:39:02 | |
Waiter, have you calvados? | 0:39:02 | 0:39:04 | |
No, sorry. No one ever asks for it. | 0:39:04 | 0:39:08 | |
You see. This place is too elegant. | 0:39:08 | 0:39:11 | |
The simplest thing would be to go to that other place again. | 0:39:11 | 0:39:16 | |
I'm through for the evening. | 0:39:16 | 0:39:19 | |
Fine. | 0:39:19 | 0:39:20 | |
Waiter...check, please. | 0:39:23 | 0:39:25 | |
Thank you. | 0:39:26 | 0:39:27 | |
Flowers? | 0:39:30 | 0:39:31 | |
Cab, monsieur? | 0:39:32 | 0:39:33 | |
If you please, Colonel. | 0:39:33 | 0:39:35 | |
Mother, roses. | 0:39:38 | 0:39:40 | |
Tonight I love you. | 0:39:44 | 0:39:47 | |
Thank you, Colonel. | 0:39:47 | 0:39:48 | |
What's the joke? | 0:39:49 | 0:39:51 | |
The joke, my boy, | 0:39:51 | 0:39:52 | |
is that man is great in his intentions | 0:39:52 | 0:39:55 | |
but weak in carrying them out. | 0:39:55 | 0:39:57 | |
Therein lies our misery and our charm. | 0:39:57 | 0:39:59 | |
God bless your eyes. | 0:39:59 | 0:40:02 | |
Good night. | 0:40:02 | 0:40:03 | |
Drive on. | 0:40:03 | 0:40:04 | |
That's it. | 0:40:05 | 0:40:06 | |
That's where you sat the last time. | 0:40:06 | 0:40:09 | |
You still remember? | 0:40:09 | 0:40:11 | |
Perfectly. I never forget anything. | 0:40:11 | 0:40:13 | |
Do you remember what we drank? | 0:40:13 | 0:40:15 | |
Calvados. | 0:40:15 | 0:40:16 | |
Right. We'd like to repeat it now. | 0:40:16 | 0:40:18 | |
We'll see if it has the same taste. | 0:40:18 | 0:40:21 | |
Double. | 0:40:22 | 0:40:24 | |
You ordered double calvados then. | 0:40:24 | 0:40:25 | |
You know, you're gradually giving me an uneasy feeling. | 0:40:25 | 0:40:29 | |
Do you remember how we were dressed? | 0:40:29 | 0:40:32 | |
In raincoats. The lady wore a Basque beret. | 0:40:32 | 0:40:34 | |
Pity you have to be here. You belong in Vaudeville. | 0:40:34 | 0:40:37 | |
I used to be. Circus. | 0:40:37 | 0:40:39 | |
I told you before. | 0:40:39 | 0:40:40 | |
This gentleman has a bad memory. | 0:40:43 | 0:40:46 | |
He's an expert at forgetting just as you're an expert at not forgetting. | 0:40:46 | 0:40:50 | |
Perhaps not, after all. | 0:40:50 | 0:40:52 | |
Salut. | 0:40:56 | 0:40:57 | |
Salut. | 0:40:57 | 0:40:58 | |
Does it taste as good? | 0:41:01 | 0:41:02 | |
Better. | 0:41:04 | 0:41:06 | |
Want another? | 0:41:09 | 0:41:11 | |
Would you like to leave? | 0:41:12 | 0:41:14 | |
Waiter. | 0:41:19 | 0:41:21 | |
These are what you had the last time. | 0:41:23 | 0:41:26 | |
Are they? | 0:41:26 | 0:41:27 | |
Yes, he's right. Laurents green. | 0:41:27 | 0:41:29 | |
You see, the lady has a better memory | 0:41:29 | 0:41:31 | |
than you have, sir. | 0:41:31 | 0:41:33 | |
That's yet to be proven. | 0:41:33 | 0:41:35 | |
Thank you. | 0:41:38 | 0:41:39 | |
Good night. | 0:41:39 | 0:41:40 | |
Good night. | 0:41:40 | 0:41:41 | |
I'll take you to your hotel. | 0:41:44 | 0:41:46 | |
HORN HONKS | 0:41:46 | 0:41:48 | |
Taxi! | 0:41:48 | 0:41:50 | |
I'm afraid the gentleman was right. | 0:42:17 | 0:42:20 | |
About memory, I mean. | 0:42:20 | 0:42:22 | |
Here. | 0:42:23 | 0:42:24 | |
Thank you. | 0:42:24 | 0:42:25 | |
Hello, Dr Gunther. | 0:42:32 | 0:42:34 | |
Alvarez, Jaime Alvarez. | 0:42:35 | 0:42:38 | |
Don't you remember? | 0:42:38 | 0:42:39 | |
Remember now? | 0:42:44 | 0:42:46 | |
On a kitchen table. | 0:42:49 | 0:42:50 | |
A temporary field hospital. | 0:42:50 | 0:42:52 | |
At Aranjuez. | 0:42:53 | 0:42:55 | |
Little white cottage in an almond grove. | 0:42:55 | 0:42:56 | |
Yes, yes, I remember. | 0:42:56 | 0:42:58 | |
Oh, Alvarez, this is Miss Madou. | 0:42:59 | 0:43:02 | |
How's the leg now? | 0:43:04 | 0:43:06 | |
I can bend it completely. | 0:43:06 | 0:43:08 | |
It was good enough to take me over the Pyrenees. | 0:43:08 | 0:43:11 | |
That's all right. | 0:43:11 | 0:43:13 | |
It's all over now. | 0:43:13 | 0:43:14 | |
Those of us who can are getting out. | 0:43:14 | 0:43:16 | |
You're lucky to be here. | 0:43:16 | 0:43:18 | |
Where are you staying? | 0:43:18 | 0:43:19 | |
Here. Beds, doctor, real beds. | 0:43:19 | 0:43:21 | |
It's a nice hotel. | 0:43:21 | 0:43:23 | |
I just got in this morning. | 0:43:23 | 0:43:25 | |
JAIME: How are things here? | 0:43:27 | 0:43:28 | |
Fine. Frontiers are guarded by mere words. | 0:43:28 | 0:43:30 | |
The enemy will never break through. | 0:43:30 | 0:43:33 | |
Same all over again. | 0:43:33 | 0:43:34 | |
Maybe. | 0:43:34 | 0:43:35 | |
Would you like a drink? | 0:43:36 | 0:43:38 | |
Not now. There are things I have to do, | 0:43:38 | 0:43:41 | |
but we'll meet again. | 0:43:41 | 0:43:43 | |
You hardly said a word since we left that hotel. | 0:43:51 | 0:43:54 | |
Is it because of that man? | 0:43:54 | 0:43:56 | |
He called you Gunther. | 0:43:58 | 0:44:00 | |
Yes, I know. | 0:44:00 | 0:44:01 | |
Why did he do that? Is your name Gunther? | 0:44:01 | 0:44:04 | |
My name is Ravic. | 0:44:04 | 0:44:05 | |
But he knew you. | 0:44:05 | 0:44:06 | |
Joan, names are unimportant. | 0:44:06 | 0:44:08 | |
Never bother yourself about names. | 0:44:08 | 0:44:11 | |
What's the matter? | 0:44:13 | 0:44:15 | |
Nothing. | 0:44:15 | 0:44:16 | |
I'm happy. I told you I'm in love. | 0:44:16 | 0:44:19 | |
Have you been happy often? | 0:44:20 | 0:44:22 | |
Have you? | 0:44:22 | 0:44:24 | |
Not often. | 0:44:24 | 0:44:26 | |
When was the last time? | 0:44:26 | 0:44:28 | |
Why do you ask me? | 0:44:28 | 0:44:30 | |
Just to ask something. | 0:44:30 | 0:44:33 | |
Two years ago. | 0:44:34 | 0:44:36 | |
It didn't last long. | 0:44:38 | 0:44:39 | |
Why not? | 0:44:39 | 0:44:40 | |
He made terrible scenes. | 0:44:40 | 0:44:42 | |
He didn't understand I no longer loved him. | 0:44:42 | 0:44:45 | |
One never understands that. | 0:44:45 | 0:44:48 | |
You'd understand, | 0:44:48 | 0:44:49 | |
but, then, I will always love you. | 0:44:49 | 0:44:52 | |
You're different. | 0:44:52 | 0:44:53 | |
Everything with us is different. | 0:44:53 | 0:44:55 | |
He wanted to kill me. | 0:44:55 | 0:44:56 | |
They always talk about it, but they never do. | 0:44:56 | 0:45:00 | |
You wouldn't want to kill me. | 0:45:01 | 0:45:04 | |
The conversation is becoming more human. | 0:45:04 | 0:45:08 | |
For a moment, I was very frightened. | 0:45:08 | 0:45:10 | |
Because I love you? | 0:45:10 | 0:45:12 | |
We won't start that again. | 0:45:12 | 0:45:14 | |
We won't start what again? | 0:45:14 | 0:45:16 | |
Has anyone you loved told you | 0:45:17 | 0:45:19 | |
that he no longer loved you? | 0:45:19 | 0:45:21 | |
Yes. | 0:45:21 | 0:45:22 | |
What did you do? | 0:45:22 | 0:45:24 | |
Everything. | 0:45:24 | 0:45:26 | |
But it didn't help. | 0:45:26 | 0:45:27 | |
I was terribly unhappy. | 0:45:27 | 0:45:29 | |
For long? | 0:45:29 | 0:45:30 | |
A week. About a week. | 0:45:30 | 0:45:32 | |
That's not very long. | 0:45:32 | 0:45:34 | |
It's an eternity if you're really unhappy. | 0:45:34 | 0:45:36 | |
I was so filled with unhappiness that nothing else existed. | 0:45:36 | 0:45:39 | |
When nothing else exists, | 0:45:39 | 0:45:41 | |
there is nothing left | 0:45:41 | 0:45:43 | |
with which to compare it. | 0:45:43 | 0:45:44 | |
All one can do is to start to live again. | 0:45:44 | 0:45:48 | |
What are you thinking of? | 0:45:51 | 0:45:53 | |
Of how dangerous you are, Joan. | 0:45:53 | 0:45:56 | |
I'm not dangerous. | 0:45:56 | 0:45:57 | |
The fact that you think that is part of it. | 0:45:57 | 0:46:01 | |
You must be tired. | 0:46:06 | 0:46:07 | |
No. | 0:46:07 | 0:46:08 | |
We've walked for miles. | 0:46:08 | 0:46:10 | |
Answer me. What did you do in Spain? | 0:46:10 | 0:46:12 | |
Cut off legs. | 0:46:12 | 0:46:14 | |
That's no answer. | 0:46:14 | 0:46:15 | |
What kind of answer you want? | 0:46:15 | 0:46:17 | |
A true one. | 0:46:17 | 0:46:19 | |
I gave you one. | 0:46:19 | 0:46:20 | |
Something in you is closed, Ravic, | 0:46:20 | 0:46:22 | |
and you won't let anyone in. | 0:46:22 | 0:46:24 | |
You're imagining things. I need a drink. | 0:46:24 | 0:46:26 | |
Coffee. | 0:46:31 | 0:46:32 | |
Coffee and brandy. | 0:46:32 | 0:46:34 | |
You drink too much. | 0:46:34 | 0:46:35 | |
Possibly. | 0:46:35 | 0:46:37 | |
Ravic, I'm in love. | 0:46:39 | 0:46:40 | |
I throw myself into it without a thought. | 0:46:40 | 0:46:43 | |
I love you, and I'm happy. | 0:46:43 | 0:46:44 | |
I'm never afraid of saying what I feel, | 0:46:44 | 0:46:47 | |
but you put up a barrier. | 0:46:47 | 0:46:50 | |
Something in you resists. | 0:46:50 | 0:46:51 | |
Extra! | 0:46:51 | 0:46:52 | |
Extra! | 0:46:52 | 0:46:54 | |
What is it? | 0:46:56 | 0:46:58 | |
Ravic. | 0:47:02 | 0:47:04 | |
Ravic, what is it? You must tell me. | 0:47:22 | 0:47:25 | |
I'm sorry, Joan. I'll get you a cab. | 0:47:25 | 0:47:27 | |
I have something to do. Taxi! | 0:47:27 | 0:47:29 | |
Will I see you later tonight? | 0:47:29 | 0:47:31 | |
No. Perhaps not for a few days. | 0:47:31 | 0:47:33 | |
Why, Ravic? You must tell me why. | 0:47:33 | 0:47:36 | |
I can't talk about it. | 0:47:36 | 0:47:38 | |
All right. | 0:47:38 | 0:47:39 | |
Please, don't be angry with me. | 0:47:39 | 0:47:43 | |
How could I ever be angry with you? | 0:47:44 | 0:47:47 | |
Hotel de Milan. | 0:47:54 | 0:47:55 | |
Haake? | 0:48:09 | 0:48:11 | |
Yes. I lost him | 0:48:11 | 0:48:12 | |
on the corner of Avenue Georges V and Champs Elysees. | 0:48:12 | 0:48:15 | |
So the chances of meeting him | 0:48:15 | 0:48:18 | |
are now everywhere the same. | 0:48:18 | 0:48:20 | |
I intend to look everywhere. | 0:48:20 | 0:48:22 | |
Hey, Ravic, come here. If you are destined to meet this man, you'll meet him. | 0:48:22 | 0:48:29 | |
Keep your eyes open everywhere. | 0:48:29 | 0:48:31 | |
Be prepared for anything, | 0:48:31 | 0:48:33 | |
but, otherwise, go on living as if you're mistaken, | 0:48:33 | 0:48:35 | |
or you'll drive yourself crazy. | 0:48:35 | 0:48:37 | |
Thank you, Boris. | 0:48:37 | 0:48:38 | |
No, no. Don't take the gun. | 0:48:38 | 0:48:41 | |
You'll get only trouble. | 0:48:41 | 0:48:43 | |
Don't run any risks. | 0:48:43 | 0:48:44 | |
Don't be hero for nothing. | 0:48:44 | 0:48:46 | |
You must go, oui? | 0:48:46 | 0:48:49 | |
Yes. | 0:48:49 | 0:48:51 | |
Don't shoot unless you are sure you can escape, right? | 0:48:52 | 0:48:56 | |
This is not child's play. | 0:48:56 | 0:48:58 | |
Don't worry. | 0:48:58 | 0:49:00 | |
Oh, Boris, please put out the light. | 0:49:00 | 0:49:02 | |
Good morning, Mr Ravic. | 0:49:39 | 0:49:40 | |
Miss Madou didn't go to work tonight. | 0:49:45 | 0:49:47 | |
She's been in all evening. | 0:49:47 | 0:49:49 | |
She's paying extra for burning her lights all night. | 0:49:49 | 0:49:52 | |
Can't sleep in a dark room, she says. | 0:49:52 | 0:49:55 | |
Thank you. | 0:49:55 | 0:49:56 | |
You came back because of me. | 0:50:30 | 0:50:32 | |
Yes, because of you. Only because of you. | 0:50:32 | 0:50:34 | |
I don't ask anything more, only that you love me. | 0:50:34 | 0:50:37 | |
Without love, a man is dead. | 0:50:37 | 0:50:39 | |
I love you. | 0:50:39 | 0:50:41 | |
A dead man on a furlough. | 0:50:41 | 0:50:43 | |
Don't leave me again. | 0:50:44 | 0:50:46 | |
Love me, love me, love me. | 0:50:46 | 0:50:49 | |
Ravic, we've got to get out of this. | 0:50:52 | 0:50:55 | |
We must get away from this hotel, the nightclub, the dark. | 0:50:55 | 0:50:59 | |
Yes, we'll go where the sun is. | 0:50:59 | 0:51:02 | |
We'll wash the rain away. Wash the past, too. | 0:51:02 | 0:51:05 | |
To Cannes or Antibes. Have you ever been there? | 0:51:05 | 0:51:08 | |
No. | 0:51:08 | 0:51:09 | |
Then we'll go. | 0:51:09 | 0:51:10 | |
Have we any money? | 0:51:10 | 0:51:12 | |
Some. | 0:51:12 | 0:51:13 | |
In two or three weeks, we'll have enough. | 0:51:13 | 0:51:15 | |
I have to open a stomach of someone of importance. | 0:51:15 | 0:51:17 | |
He'll provide the rest of the money. | 0:51:17 | 0:51:19 | |
We live, Ravic. We live. | 0:51:19 | 0:51:21 | |
We live. | 0:51:21 | 0:51:23 | |
Only time dies. | 0:51:23 | 0:51:25 | |
I haven't a thing to wear. | 0:51:25 | 0:51:27 | |
I saw you come out of the water. | 0:51:54 | 0:51:57 | |
How could you? | 0:51:57 | 0:51:58 | |
Then I covered my eyes. | 0:51:58 | 0:51:59 | |
It was like Venus rising from the sea. | 0:51:59 | 0:52:02 | |
I didn't want to be struck blind. | 0:52:02 | 0:52:04 | |
Now I am blind. | 0:52:04 | 0:52:06 | |
Now I have my sight back. | 0:52:06 | 0:52:08 | |
How was the water? | 0:52:08 | 0:52:10 | |
Cold without you. | 0:52:10 | 0:52:11 | |
But good? | 0:52:11 | 0:52:12 | |
Yes, yes, good. | 0:52:12 | 0:52:15 | |
How long can we stay? | 0:52:20 | 0:52:22 | |
We'll find out tonight at the casino. | 0:52:22 | 0:52:25 | |
Have you been winning? | 0:52:25 | 0:52:27 | |
Not enough. | 0:52:27 | 0:52:28 | |
Ravic, I wish I could have this life always. | 0:52:28 | 0:52:31 | |
You find that superficial, don't you? | 0:52:31 | 0:52:33 | |
No. | 0:52:33 | 0:52:34 | |
It is superficial, | 0:52:34 | 0:52:36 | |
but we've had so little of that in our wretched lives. | 0:52:36 | 0:52:39 | |
Soon we'll return to Paris and that nightclub | 0:52:39 | 0:52:42 | |
where nothing ever changes | 0:52:42 | 0:52:43 | |
and to life in a dirty hotel. | 0:52:43 | 0:52:46 | |
It was dark before. It'll be dark again. | 0:52:46 | 0:52:48 | |
Here come Cinzy and Nugent. | 0:52:51 | 0:52:53 | |
Oh, they'll go away again. | 0:52:53 | 0:52:55 | |
We promised to go sailing with them. | 0:52:55 | 0:52:57 | |
Oh, then go with them. They're your friends. | 0:52:57 | 0:52:59 | |
Mine? They're yours. You've known them longer. | 0:52:59 | 0:53:02 | |
10 minutes longer. | 0:53:02 | 0:53:03 | |
Longer, anyway. | 0:53:03 | 0:53:04 | |
All right. | 0:53:04 | 0:53:05 | |
Ah, never mind. | 0:53:05 | 0:53:06 | |
Go if you want to. Tell them I have to work. | 0:53:06 | 0:53:09 | |
You told them that yesterday. | 0:53:09 | 0:53:11 | |
Why is it all women love these idiotic conversations? | 0:53:11 | 0:53:14 | |
You want to go for a ride? | 0:53:14 | 0:53:16 | |
I have no boat. Life is short. | 0:53:16 | 0:53:18 | |
We're only here a few days. | 0:53:18 | 0:53:20 | |
Why should I persuade you to do what you'll do anyway? | 0:53:20 | 0:53:23 | |
All right. You've persuaded me. | 0:53:23 | 0:53:25 | |
Good. I'll stay on this rock. | 0:53:25 | 0:53:27 | |
I'm beginning to feel like part of it. | 0:53:27 | 0:53:30 | |
You're not a rock. | 0:53:30 | 0:53:31 | |
You're a block of concrete. | 0:53:31 | 0:53:33 | |
Alex! | 0:53:35 | 0:53:36 | |
CROUPIER: Faites vos jeux, messieurs. Marquez vos jeux. | 0:53:37 | 0:53:41 | |
Vos jeux sont faits? Vos jeux sont marques? | 0:53:43 | 0:53:47 | |
Rien ne va plus. | 0:53:49 | 0:53:51 | |
Monsieur is lucky. | 0:53:57 | 0:53:59 | |
Where is the beautiful lady tonight? | 0:53:59 | 0:54:02 | |
Tonight the beautiful lady is behaving like a beautiful lady. | 0:54:02 | 0:54:05 | |
You feel lucky? | 0:54:07 | 0:54:09 | |
Do you? | 0:54:09 | 0:54:10 | |
Not a chance. | 0:54:10 | 0:54:11 | |
Vos jeux sont faits? | 0:54:11 | 0:54:13 | |
Beautiful lady is here. | 0:54:15 | 0:54:19 | |
Vos jeux sont faits? | 0:54:23 | 0:54:26 | |
Le 23, rouge. | 0:54:30 | 0:54:33 | |
CROUPIER: Faites vos jeux, messieurs. | 0:54:53 | 0:54:56 | |
Will you please put that on number 6 for me? | 0:54:57 | 0:54:59 | |
Thank you. | 0:54:59 | 0:55:00 | |
Ah, you are idiots. | 0:55:09 | 0:55:12 | |
Choose your side, John. | 0:55:12 | 0:55:13 | |
Marquez vos jeux. | 0:55:13 | 0:55:15 | |
Goodbye. | 0:55:21 | 0:55:22 | |
Were you going to drive off without me? | 0:55:32 | 0:55:34 | |
You were going to leave me with those idiots. | 0:55:34 | 0:55:37 | |
Where are you going? | 0:55:37 | 0:55:38 | |
Just for a drive. | 0:55:38 | 0:55:39 | |
I'll go with you. | 0:55:39 | 0:55:41 | |
What about your idiots? | 0:55:41 | 0:55:42 | |
I told them you were waiting for me. | 0:55:42 | 0:55:44 | |
Good. Get in. Better put this around you. | 0:55:44 | 0:55:47 | |
Must be the air. | 0:55:58 | 0:55:59 | |
Don't be angry with me, Ravic. | 0:56:03 | 0:56:05 | |
This is the first time I've been on the riviera. | 0:56:05 | 0:56:09 | |
The first time. The first time. | 0:56:09 | 0:56:12 | |
Oh, forget what happened today. | 0:56:12 | 0:56:13 | |
Don't think about it. | 0:56:13 | 0:56:15 | |
You're a wonderful driver, Ravic, you know that? | 0:56:15 | 0:56:17 | |
Those idiots were saying the same thing. | 0:56:17 | 0:56:19 | |
You've no past. Nobody knows anything about you. | 0:56:19 | 0:56:22 | |
I know a hundred times more about the life of those idiots | 0:56:22 | 0:56:26 | |
than I do about yours. | 0:56:26 | 0:56:27 | |
Too fast? | 0:56:32 | 0:56:33 | |
Oh, drive fast. | 0:56:33 | 0:56:35 | |
I love you, Ravic. | 0:56:35 | 0:56:37 | |
Let's never go back to Paris. | 0:56:37 | 0:56:39 | |
Let's steal a trunk full of jewels | 0:56:39 | 0:56:42 | |
or rob a bank, take this car, and never come back. | 0:56:42 | 0:56:45 | |
Careful. If you want calvados, | 0:56:45 | 0:56:47 | |
you better let me drive. | 0:56:47 | 0:56:50 | |
It's fine. | 0:56:50 | 0:56:52 | |
Come, we'll get you a calvados here. | 0:56:55 | 0:56:57 | |
Two calvados. | 0:56:59 | 0:57:01 | |
How much have you had already? | 0:57:04 | 0:57:06 | |
GOAT BLEATS | 0:57:09 | 0:57:10 | |
How much have you had to drink? | 0:57:10 | 0:57:13 | |
Too much. | 0:57:13 | 0:57:14 | |
Too much because of you, | 0:57:15 | 0:57:17 | |
because I was away from you. | 0:57:17 | 0:57:19 | |
Then why didn't you come to me? | 0:57:19 | 0:57:21 | |
I did. | 0:57:21 | 0:57:22 | |
Yes, when you saw me leave. | 0:57:22 | 0:57:24 | |
Did you win? | 0:57:24 | 0:57:27 | |
Yes. | 0:57:27 | 0:57:28 | |
Then let's go the most expensive restaurant | 0:57:28 | 0:57:31 | |
and have caviar and champagne. Hmm? | 0:57:31 | 0:57:33 | |
Let's be like our parents were before these wars-- | 0:57:33 | 0:57:36 | |
carefree and sentimental and without fear. | 0:57:36 | 0:57:38 | |
Full of bad taste and tears, and the moon, oleanders, | 0:57:38 | 0:57:43 | |
and violins, and the ocean and love. | 0:57:43 | 0:57:46 | |
I want to believe that I'm married to you, | 0:57:46 | 0:57:48 | |
that we have children and a garden and a house. | 0:57:48 | 0:57:52 | |
I've given up a great career for your sake. | 0:57:52 | 0:57:55 | |
We still love each other after 20 years, | 0:57:55 | 0:57:59 | |
and you still think me beautiful, | 0:57:59 | 0:58:02 | |
and I can't sleep when you're not at home for one night. | 0:58:02 | 0:58:08 | |
That's all part of it... | 0:58:08 | 0:58:10 | |
part of that bad taste. | 0:58:10 | 0:58:12 | |
There is no use in our planning, Joan. | 0:58:14 | 0:58:17 | |
I know. | 0:58:19 | 0:58:20 | |
No. No, you don't know. | 0:58:20 | 0:58:22 | |
It's not what you think. | 0:58:22 | 0:58:24 | |
It's something I should have told you before. | 0:58:24 | 0:58:26 | |
I can't marry you. | 0:58:26 | 0:58:28 | |
I'm a refugee without a passport, | 0:58:28 | 0:58:30 | |
and I can't get one. | 0:58:30 | 0:58:32 | |
I have no proof of my identity. | 0:58:32 | 0:58:34 | |
I live illegally here. | 0:58:34 | 0:58:36 | |
On paper I don't exist. | 0:58:36 | 0:58:37 | |
If they should catch me, I'd be deported. | 0:58:37 | 0:58:39 | |
Deported? | 0:58:39 | 0:58:40 | |
Deported from France? | 0:58:40 | 0:58:41 | |
No, but Ravic, Ravic, Ravic... | 0:58:41 | 0:58:43 | |
I'd be back. I know the borders. | 0:58:43 | 0:58:46 | |
It wouldn't be the first time. | 0:58:46 | 0:58:48 | |
Nor the last. | 0:58:48 | 0:58:49 | |
It isn't that bad. | 0:58:49 | 0:58:51 | |
They haven't caught me in over a year. | 0:58:51 | 0:58:53 | |
There's nothing for us, Ravic. Nothing. | 0:58:53 | 0:58:55 | |
Ohh... | 0:59:00 | 0:59:02 | |
tears solve nothing. | 0:59:02 | 0:59:04 | |
Look, our calvados is here. Come. | 0:59:04 | 0:59:08 | |
If I could close my eyes and... | 0:59:08 | 0:59:11 | |
open them and find all danger gone... | 0:59:11 | 0:59:15 | |
and us alone in the past. | 0:59:15 | 0:59:18 | |
All I can give you... | 0:59:18 | 0:59:20 | |
is my love in this bitter present. | 0:59:20 | 0:59:23 | |
To the present. | 0:59:39 | 0:59:41 | |
Salut. | 0:59:41 | 0:59:42 | |
Salut. | 0:59:42 | 0:59:44 | |
It's a comfort to have you back in Paris. | 0:59:54 | 0:59:57 | |
It's good to be back and alive and happy | 0:59:57 | 1:00:00 | |
and working... and well fed. | 1:00:00 | 1:00:02 | |
Well, so long. I'll come by this evening. | 1:00:02 | 1:00:05 | |
Aah! | 1:00:19 | 1:00:21 | |
CRASH! | 1:00:21 | 1:00:23 | |
I saw the cable snap. | 1:00:30 | 1:00:31 | |
He was riding the steel beam | 1:00:31 | 1:00:33 | |
and never had a chance. | 1:00:33 | 1:00:35 | |
Don't lift him. Leave him be. | 1:00:35 | 1:00:37 | |
Are you a doctor? | 1:00:37 | 1:00:38 | |
Yes. | 1:00:38 | 1:00:39 | |
All right. | 1:00:39 | 1:00:40 | |
Unconscious, isn't he? | 1:00:45 | 1:00:47 | |
Dead. | 1:00:47 | 1:00:48 | |
But we'd just been eating lunch together. | 1:00:48 | 1:00:50 | |
Somebody call an ambulance. | 1:00:50 | 1:00:51 | |
The cable hit the woman. She's bleeding. You. | 1:00:51 | 1:00:54 | |
Where is she? | 1:00:54 | 1:00:55 | |
Over here, sir. | 1:00:55 | 1:00:56 | |
Bring her over here. | 1:01:01 | 1:01:03 | |
Careful. | 1:01:05 | 1:01:07 | |
Now don't worry. You'll be all right. | 1:01:18 | 1:01:21 | |
Has anyone called for an ambulance? | 1:01:21 | 1:01:23 | |
Here come the police. They'll get one. | 1:01:23 | 1:01:25 | |
I've got to go. | 1:01:25 | 1:01:27 | |
Back, please. | 1:01:27 | 1:01:28 | |
The woman's half-dead and you're leaving? | 1:01:28 | 1:01:31 | |
Who put this bandage on? | 1:01:31 | 1:01:32 | |
He did. He's a doctor. | 1:01:32 | 1:01:34 | |
I tied the artery. Better get her to a hospital. | 1:01:34 | 1:01:37 | |
Phone for the ambulance. | 1:01:37 | 1:01:39 | |
One moment, Doctor. | 1:01:45 | 1:01:48 | |
May I have your name? | 1:01:48 | 1:01:50 | |
Police. | 1:01:50 | 1:01:51 | |
Woicek. | 1:01:51 | 1:01:52 | |
You're a German. | 1:01:52 | 1:01:53 | |
No, a Czech. | 1:01:53 | 1:01:55 | |
I think you're a German. | 1:01:55 | 1:01:57 | |
Have you a licence to practise here? | 1:01:57 | 1:02:00 | |
I don't practise here. I'm a tourist. | 1:02:00 | 1:02:02 | |
A Czech tourist. | 1:02:02 | 1:02:04 | |
May I? | 1:02:04 | 1:02:05 | |
Certainly. | 1:02:05 | 1:02:06 | |
Hold it. | 1:02:06 | 1:02:07 | |
Have you a passport with you? | 1:02:07 | 1:02:09 | |
The gentleman's helped the woman. | 1:02:09 | 1:02:11 | |
Have you a passport with you or your identity card? | 1:02:11 | 1:02:13 | |
No, not with me. | 1:02:13 | 1:02:14 | |
Where is it? | 1:02:14 | 1:02:15 | |
At the consulate. It has to be extended. | 1:02:15 | 1:02:17 | |
Which consulate? | 1:02:17 | 1:02:19 | |
The Czech consulate. | 1:02:19 | 1:02:20 | |
All right. I'll call them and ask them. | 1:02:20 | 1:02:23 | |
You won't mind staying here | 1:02:23 | 1:02:25 | |
until this is cleared up, Dr Woicek? | 1:02:25 | 1:02:28 | |
You see that he does. | 1:02:29 | 1:02:31 | |
I'm sorry, Doctor. | 1:02:33 | 1:02:35 | |
Never mind. | 1:02:35 | 1:02:36 | |
Vernon's father was hanged by the Germans | 1:02:36 | 1:02:39 | |
in the last war. | 1:02:39 | 1:02:40 | |
That's why he's crazy on the subject. | 1:02:40 | 1:02:41 | |
I'm awfully sorry. If it was up to me... | 1:02:41 | 1:02:44 | |
I understand. | 1:02:44 | 1:02:45 | |
Uh, may I use that telephone | 1:02:45 | 1:02:47 | |
before your friend returns? | 1:02:47 | 1:02:49 | |
Why, certainly. | 1:02:49 | 1:02:51 | |
TELEPHONE RINGS | 1:02:52 | 1:02:53 | |
Hey. | 1:02:53 | 1:02:54 | |
RING! | 1:02:54 | 1:02:57 | |
Ohh. Oh. | 1:02:57 | 1:02:59 | |
Allo? | 1:03:02 | 1:03:03 | |
All right. | 1:03:07 | 1:03:08 | |
All right, Monsieur Woicek. | 1:03:08 | 1:03:09 | |
Of course I will remember. | 1:03:16 | 1:03:18 | |
So long, Woicek. | 1:03:19 | 1:03:21 | |
The world should be executed for murder. | 1:03:23 | 1:03:26 | |
KNOCK ON DOOR | 1:03:34 | 1:03:36 | |
Ravic. | 1:03:36 | 1:03:38 | |
Ravic? | 1:03:41 | 1:03:43 | |
Arrested. They have arrested him. | 1:03:45 | 1:03:47 | |
When? Where? No! | 1:03:47 | 1:03:49 | |
Joan. | 1:03:49 | 1:03:50 | |
Where did they take him? We can bribe them. | 1:03:53 | 1:03:57 | |
You must not go to him. They'll deport him! | 1:03:57 | 1:03:59 | |
He said no one must go to him. | 1:03:59 | 1:04:01 | |
All police have is man they've found in the street. | 1:04:01 | 1:04:04 | |
Face with no papers, no identity. | 1:04:04 | 1:04:07 | |
I'll get him off. | 1:04:07 | 1:04:08 | |
They have to believe whatever that face tells them. | 1:04:08 | 1:04:11 | |
Since there is no proof he's been in France before | 1:04:11 | 1:04:15 | |
that means deportation after two weeks in jail. | 1:04:15 | 1:04:17 | |
I must see him. Where did they take him? | 1:04:17 | 1:04:20 | |
If you go to Ravic, you'll open a door into his past. | 1:04:20 | 1:04:24 | |
I knew they'd catch him! | 1:04:24 | 1:04:26 | |
When the authorities find out he has been deported before, | 1:04:26 | 1:04:28 | |
not once, but many times. | 1:04:28 | 1:04:30 | |
That means six months in jail before deportation. | 1:04:30 | 1:04:34 | |
And they'll catch him again when he comes back, | 1:04:34 | 1:04:37 | |
and I won't be able to live for fear... | 1:04:37 | 1:04:41 | |
I wish I could say something comforting, | 1:04:41 | 1:04:44 | |
cheerful, pleasant, | 1:04:44 | 1:04:46 | |
but history has no special accommodations for lovers. | 1:04:46 | 1:04:49 | |
I'll do as he asks. I won't go near him. | 1:04:52 | 1:04:55 | |
I'll stay here and then go wherever he goes. | 1:04:55 | 1:04:58 | |
Is possible to share all the happiness of someone else, | 1:04:58 | 1:05:02 | |
but only so much of the despair. | 1:05:02 | 1:05:06 | |
Pity is a pleasure for comfortable people only. | 1:05:06 | 1:05:09 | |
He will not last long in cold border towns - | 1:05:09 | 1:05:12 | |
filthy cellars without money, | 1:05:12 | 1:05:14 | |
not enough food. | 1:05:14 | 1:05:15 | |
Not one place where you can sleep safe. | 1:05:15 | 1:05:18 | |
And each day, | 1:05:18 | 1:05:19 | |
the struggle for mere survival becomes worse... | 1:05:19 | 1:05:22 | |
Tell me the rest. | 1:05:22 | 1:05:24 | |
Tell me he'll be pushed from prison to prison... | 1:05:24 | 1:05:28 | |
shovelled back and forth over the borders like dirt! | 1:05:28 | 1:05:32 | |
Tell me he'll be shot one day running like an animal, | 1:05:32 | 1:05:35 | |
always running and no place to go. | 1:05:35 | 1:05:37 | |
Tell me that we're talking about a dead man! | 1:05:37 | 1:05:41 | |
A refugee without passport | 1:05:46 | 1:05:49 | |
has lost his membership in the human race. | 1:05:49 | 1:05:52 | |
Those who remain alive must go on living. | 1:05:52 | 1:05:55 | |
I can't live like this. | 1:06:01 | 1:06:02 | |
I can't go back to one room and four walls alone... | 1:06:02 | 1:06:08 | |
or the darkness of night and nothing. | 1:06:08 | 1:06:11 | |
I can't go back to that, alone without hope. | 1:06:11 | 1:06:14 | |
Hope? Hope is luxury we cannot afford this year. | 1:06:15 | 1:06:20 | |
Why didn't he call me? | 1:06:22 | 1:06:24 | |
He should have called me. | 1:06:24 | 1:06:25 | |
He had only a minute. | 1:06:25 | 1:06:27 | |
And he called you? | 1:06:27 | 1:06:29 | |
Minute is too short to say goodbye to somebody you love. | 1:06:29 | 1:06:33 | |
What did he say for me? | 1:06:35 | 1:06:37 | |
Goodbye. | 1:06:37 | 1:06:39 | |
He said goodbye. | 1:06:39 | 1:06:41 | |
Didn't he ask me to wait? | 1:06:41 | 1:06:44 | |
He said goodbye. | 1:06:44 | 1:06:46 | |
What are those? | 1:07:00 | 1:07:02 | |
You and Ravic at Antibes. | 1:07:07 | 1:07:10 | |
Hmm. | 1:07:10 | 1:07:11 | |
Destroy them. | 1:07:11 | 1:07:14 | |
Good morning, Miss Madou. | 1:07:58 | 1:08:00 | |
Morning, Albert. | 1:08:00 | 1:08:01 | |
Take some hot coffee. You're soaked. | 1:08:09 | 1:08:12 | |
It's much too early for the mail. | 1:08:17 | 1:08:21 | |
Yes, I know. | 1:08:21 | 1:08:23 | |
I promised I'd let you know if a letter comes. | 1:08:23 | 1:08:26 | |
But it never comes, does it? | 1:08:26 | 1:08:28 | |
You've been doing this for months. | 1:08:28 | 1:08:30 | |
You ought to go back to work | 1:08:30 | 1:08:33 | |
instead of walking the city all night. | 1:08:33 | 1:08:35 | |
It's not right. | 1:08:35 | 1:08:36 | |
Unwise, Albert. | 1:08:36 | 1:08:38 | |
Very unwise. | 1:08:38 | 1:08:40 | |
I don't just walk the city. Not always. | 1:08:40 | 1:08:43 | |
Sometimes you go to the railroad stations, is that it? | 1:08:43 | 1:08:47 | |
Yes, the stations. | 1:08:47 | 1:08:49 | |
Don't men molest you? | 1:08:49 | 1:08:52 | |
They don't like women who aren't gay. | 1:08:52 | 1:08:55 | |
Miss Madou, why don't you put out your light | 1:08:55 | 1:08:58 | |
when you leave your room? | 1:08:58 | 1:08:59 | |
It burns all night. The bill runs up frightfully, | 1:08:59 | 1:09:02 | |
and your money won't last for ever. | 1:09:02 | 1:09:05 | |
You're right, Albert. | 1:09:05 | 1:09:06 | |
Thank you for the coffee. | 1:09:06 | 1:09:08 | |
Oh, Miss Madou, | 1:09:08 | 1:09:09 | |
a man came to see you. | 1:09:09 | 1:09:11 | |
A man? | 1:09:11 | 1:09:13 | |
What man? Who? | 1:09:13 | 1:09:14 | |
I don't know. I never saw him before. | 1:09:14 | 1:09:17 | |
What did he say? What did he want? | 1:09:17 | 1:09:19 | |
He said he had to see you. | 1:09:19 | 1:09:22 | |
Where did he go? | 1:09:22 | 1:09:23 | |
He said he was a friend of Mr Ravic's, | 1:09:23 | 1:09:26 | |
so I had him wait in your room. | 1:09:26 | 1:09:28 | |
I would've found you sooner, Joan... | 1:09:36 | 1:09:39 | |
if I'd known where to look. | 1:09:39 | 1:09:43 | |
I'm going back to Antibes. | 1:09:43 | 1:09:45 | |
Will you come? | 1:09:45 | 1:09:47 | |
Ah, Monsieur Ravic. | 1:10:22 | 1:10:23 | |
I haven't seen you in some time. | 1:10:23 | 1:10:26 | |
Aha! Woicek! | 1:10:26 | 1:10:28 | |
When did you get back? | 1:10:30 | 1:10:31 | |
This afternoon. | 1:10:31 | 1:10:32 | |
You stayed away more than three months. | 1:10:32 | 1:10:34 | |
It's getting harder. | 1:10:34 | 1:10:36 | |
They watch the borders more closely. | 1:10:36 | 1:10:38 | |
I was caught five times. | 1:10:38 | 1:10:39 | |
Why did I not hear from you? | 1:10:39 | 1:10:42 | |
Letters never help. | 1:10:42 | 1:10:43 | |
Sit down. Sit down! | 1:10:43 | 1:10:46 | |
You'll have dinner? | 1:10:46 | 1:10:47 | |
No, thank you. | 1:10:47 | 1:10:48 | |
Drink then. Hey. | 1:10:48 | 1:10:49 | |
Ah, Monsieur Ravic, | 1:10:49 | 1:10:51 | |
you haven't been here for a long time. | 1:10:51 | 1:10:53 | |
What will it be? | 1:10:53 | 1:10:54 | |
Another bottle, another glass. | 1:10:54 | 1:10:55 | |
At your service, Colonel, Monsieur Ravic. | 1:10:55 | 1:10:58 | |
I thought your name was Woicek. | 1:10:58 | 1:11:00 | |
It was. Sometimes Norman, occasionally Gunther, | 1:11:00 | 1:11:04 | |
but I don't want to give up Ravic. | 1:11:04 | 1:11:06 | |
I like it as a name. | 1:11:06 | 1:11:08 | |
You're back at the International, eh? | 1:11:08 | 1:11:10 | |
Yes, yes. Back in my old room. | 1:11:10 | 1:11:12 | |
Never seen this place so busy. | 1:11:12 | 1:11:15 | |
Oh, people have gone crazy. | 1:11:15 | 1:11:17 | |
We could stay open 24 hours a day. | 1:11:17 | 1:11:20 | |
And mostly German tourists. | 1:11:20 | 1:11:22 | |
They speak French very well, | 1:11:22 | 1:11:23 | |
not at all the way the Germans spoke it several years ago. | 1:11:23 | 1:11:27 | |
They spend a lot of money, don't they? | 1:11:27 | 1:11:29 | |
They treat everybody who'll drink with them. | 1:11:29 | 1:11:31 | |
Strange...all those German tourists | 1:11:31 | 1:11:33 | |
with plenty of money and speaking good French. | 1:11:33 | 1:11:36 | |
WOMAN SINGS: # Ahh aah-aah-ahh | 1:11:36 | 1:11:41 | |
# Ahh ah-ah-ah-ah-ah | 1:11:41 | 1:11:47 | |
# Ahh ah-ah-ah-ah | 1:11:47 | 1:11:52 | |
# Ahh | 1:11:52 | 1:11:54 | |
# Ahh ah-ah-ah-ah... # | 1:11:54 | 1:12:00 | |
SHE SINGS IN RUSSIAN | 1:12:00 | 1:12:04 | |
Nice voice. | 1:12:08 | 1:12:09 | |
Ravic, you are talking to your father... | 1:12:09 | 1:12:14 | |
connoisseur of the human heart. | 1:12:14 | 1:12:15 | |
Do not make detours. | 1:12:15 | 1:12:17 | |
Ask me quickly. Let's get this behind us. | 1:12:17 | 1:12:19 | |
All right. Where is she? | 1:12:19 | 1:12:21 | |
She is not here. | 1:12:21 | 1:12:22 | |
I've not heard about her for several weeks. | 1:12:22 | 1:12:24 | |
And before that? | 1:12:24 | 1:12:26 | |
Before that she inquired for you for some time | 1:12:26 | 1:12:29 | |
and then... not any more. | 1:12:29 | 1:12:31 | |
When did she leave her job here? | 1:12:31 | 1:12:34 | |
Not for some weeks after you left. | 1:12:34 | 1:12:37 | |
You know what she's doing now? | 1:12:37 | 1:12:39 | |
The last I heard of her, | 1:12:39 | 1:12:41 | |
she was in the south. | 1:12:41 | 1:12:42 | |
Heard from whom? | 1:12:42 | 1:12:44 | |
From the checkroom girl. | 1:12:44 | 1:12:47 | |
You want to see her, right? | 1:12:47 | 1:12:49 | |
Yes. | 1:12:49 | 1:12:50 | |
So, if ever I open the door for her, | 1:12:50 | 1:12:53 | |
I will let you know. | 1:12:53 | 1:12:55 | |
Well, is she still here? | 1:13:13 | 1:13:15 | |
Yes. | 1:13:15 | 1:13:16 | |
Alone? | 1:13:16 | 1:13:17 | |
A reigning queen could not get in here alone. | 1:13:17 | 1:13:20 | |
Take care of this, will you? | 1:13:20 | 1:13:22 | |
What is it, darling? | 1:13:45 | 1:13:46 | |
Nothing. | 1:13:49 | 1:13:50 | |
Nothing. I'll be right back. | 1:13:50 | 1:13:52 | |
Ravic. | 1:14:03 | 1:14:04 | |
Hello, Joan. | 1:14:04 | 1:14:05 | |
You're back. | 1:14:08 | 1:14:10 | |
How long have you been back? | 1:14:10 | 1:14:12 | |
Two weeks. | 1:14:12 | 1:14:15 | |
Two weeks, and you didn't even... | 1:14:15 | 1:14:17 | |
No one knew where to find you. | 1:14:18 | 1:14:21 | |
Why did you never write? | 1:14:21 | 1:14:23 | |
I couldn't. | 1:14:23 | 1:14:23 | |
That's a lie. | 1:14:23 | 1:14:25 | |
I didn't know whether I could... | 1:14:25 | 1:14:27 | |
I didn't know whether I could return. | 1:14:33 | 1:14:35 | |
You're lying. That's no reason. | 1:14:35 | 1:14:37 | |
You haven't tried to find me in two weeks. | 1:14:37 | 1:14:39 | |
Joan, you didn't get that tan in Paris. | 1:14:39 | 1:14:41 | |
I just came back from Antibes. | 1:14:41 | 1:14:45 | |
So I see. | 1:14:45 | 1:14:46 | |
Ravic, what are you doing here? | 1:14:48 | 1:14:50 | |
You must go... | 1:14:50 | 1:14:51 | |
You must go away. | 1:14:53 | 1:14:55 | |
They'll arrest you again. | 1:14:55 | 1:14:56 | |
Next time it will be six months in prison. | 1:14:56 | 1:14:59 | |
As a matter of fact, | 1:14:59 | 1:15:00 | |
I hadn't thought of looking for you in Antibes. | 1:15:00 | 1:15:04 | |
Whatever you're thinking isn't true... | 1:15:05 | 1:15:08 | |
not true at all. | 1:15:08 | 1:15:10 | |
Go back to your table, Joan. | 1:15:10 | 1:15:12 | |
Your friends must be getting restless. | 1:15:12 | 1:15:15 | |
It's your fault. | 1:15:17 | 1:15:18 | |
Yours, yours alone. | 1:15:18 | 1:15:20 | |
RATTLING | 1:15:34 | 1:15:36 | |
All right, turn on the light. | 1:15:41 | 1:15:44 | |
Joan, please, we're not playing hide-and-seek. | 1:15:46 | 1:15:49 | |
Did you know I would come? | 1:15:49 | 1:15:51 | |
No. | 1:15:51 | 1:15:51 | |
Your door was open. | 1:15:51 | 1:15:53 | |
It often is. | 1:15:53 | 1:15:54 | |
I thought you wouldn't be here yet. | 1:15:54 | 1:15:57 | |
I thought you would be out drinking somewhere. | 1:15:57 | 1:15:59 | |
I was playing chess instead. | 1:15:59 | 1:16:02 | |
What? | 1:16:02 | 1:16:04 | |
Chess - with Morozov downstairs. | 1:16:04 | 1:16:06 | |
Chess? But... | 1:16:06 | 1:16:08 | |
You can play chess when... | 1:16:08 | 1:16:09 | |
As a matter of fact, I won a game. | 1:16:09 | 1:16:12 | |
You are the coldest, most unfeeling... | 1:16:12 | 1:16:15 | |
Ssee? We've even built up an etiquette for unhappiness. | 1:16:15 | 1:16:18 | |
If you'd found me blind drunk, | 1:16:18 | 1:16:20 | |
everything would've been in good taste. | 1:16:20 | 1:16:22 | |
The fact that I played chess and went to sleep | 1:16:22 | 1:16:25 | |
is proof that I'm cold and unfeeling. | 1:16:25 | 1:16:28 | |
That's good. I couldn't stand that thing anyway. | 1:16:29 | 1:16:31 | |
Don't get splinters in your feet. | 1:16:31 | 1:16:34 | |
Ravic, I'm sorry, but... | 1:16:38 | 1:16:41 | |
when I saw you tonight, I couldn't think. | 1:16:41 | 1:16:43 | |
When you left, I thought you'd left for good. | 1:16:43 | 1:16:46 | |
You can't leave me alone. | 1:16:46 | 1:16:48 | |
Are you alone? | 1:16:48 | 1:16:49 | |
You're responsible for me. | 1:16:52 | 1:16:54 | |
All right, all right. | 1:16:54 | 1:16:55 | |
I'm responsible for the occupation of Czechoslovakia, too. | 1:16:55 | 1:16:57 | |
Now stop it. It's getting light. | 1:16:57 | 1:16:59 | |
It's time for you to go. | 1:16:59 | 1:17:02 | |
You don't love me any more. | 1:17:03 | 1:17:05 | |
What idiots have you been with the last three months? | 1:17:05 | 1:17:09 | |
What else could I have done? | 1:17:09 | 1:17:11 | |
Stare at the walls... | 1:17:11 | 1:17:12 | |
No, no, no. No confessions, please. | 1:17:12 | 1:17:14 | |
I don't want any confessions. | 1:17:14 | 1:17:17 | |
What I want to know is why you're here. | 1:17:17 | 1:17:21 | |
I am here. | 1:17:22 | 1:17:24 | |
Isn't that enough? | 1:17:24 | 1:17:25 | |
Yes. Yes, you're right. | 1:17:28 | 1:17:30 | |
It's enough. | 1:17:30 | 1:17:31 | |
You say that, | 1:17:35 | 1:17:36 | |
but first you have to take away all the joy. | 1:17:36 | 1:17:40 | |
What are you going to do - throw me out? | 1:17:42 | 1:17:44 | |
I should have done this long before. | 1:17:59 | 1:18:02 | |
Yes. | 1:18:02 | 1:18:03 | |
Why don't you ask me, Ravic... | 1:18:06 | 1:18:08 | |
..about what happened in between? | 1:18:10 | 1:18:12 | |
Don't you want to know where I live, how I live? | 1:18:17 | 1:18:20 | |
Joan, look outside. | 1:18:20 | 1:18:21 | |
Ask the air whether it rained yesterday. | 1:18:21 | 1:18:24 | |
Whether there was a war in China or Spain. | 1:18:24 | 1:18:28 | |
Whether thousands are dying or being born at this moment. | 1:18:28 | 1:18:32 | |
The world exists, we exist. | 1:18:32 | 1:18:35 | |
Why rake up dead leaves? | 1:18:35 | 1:18:37 | |
Did you miss me? | 1:18:44 | 1:18:47 | |
Yes. | 1:18:47 | 1:18:48 | |
Much? | 1:18:48 | 1:18:50 | |
Yes. | 1:18:50 | 1:18:52 | |
I haven't heard that for a long time. | 1:18:52 | 1:18:55 | |
I'll drop you off at the hospital. | 1:18:55 | 1:18:58 | |
Flowers? | 1:19:06 | 1:19:08 | |
FAINT SINGING | 1:19:08 | 1:19:10 | |
Why are they closed? | 1:19:10 | 1:19:11 | |
They're having a party. | 1:19:11 | 1:19:12 | |
It's the Captain's birthday. No customers allowed. | 1:19:12 | 1:19:14 | |
# Li li li li, li li li li | 1:19:15 | 1:19:20 | |
# Li li li li, li li li li li... # | 1:19:20 | 1:19:23 | |
SINGING IN RUSSIAN | 1:19:23 | 1:19:28 | |
# Li li li li, li li li li | 1:19:50 | 1:19:55 | |
# Li li li li, li li li li li. # | 1:19:55 | 1:19:58 | |
Not so fast, my friends. | 1:19:58 | 1:19:59 | |
Give me a slower song, more romantic. | 1:19:59 | 1:20:02 | |
I've a long journey ahead. | 1:20:02 | 1:20:04 | |
LAUGHTER | 1:20:04 | 1:20:06 | |
SHE SINGS SLOW RUSSIAN SONG | 1:20:06 | 1:20:14 | |
Have you heard from her? | 1:20:26 | 1:20:29 | |
Mmm, not for three days. | 1:20:29 | 1:20:31 | |
Hey! | 1:20:34 | 1:20:35 | |
Sad songs are for customers! | 1:20:35 | 1:20:38 | |
Let us have some gaiety, eh? | 1:20:38 | 1:20:40 | |
# Li li li li, li li li li li li | 1:20:40 | 1:20:44 | |
# Li li li li, li li li | 1:20:44 | 1:20:50 | |
# Li li li li, li li li li... # | 1:20:50 | 1:20:53 | |
I think we have had enough of this party, don't you? | 1:20:53 | 1:20:56 | |
Want to take walk? | 1:20:56 | 1:20:57 | |
No. Don't be so sentimental. | 1:20:57 | 1:20:59 | |
Might as well get used to it. | 1:20:59 | 1:21:01 | |
DOORBELL BUZZES | 1:21:03 | 1:21:05 | |
BUZZ | 1:21:09 | 1:21:11 | |
Ravic, come in. | 1:21:17 | 1:21:18 | |
It's good to have you here. | 1:21:20 | 1:21:22 | |
I've been waiting for you. | 1:21:25 | 1:21:27 | |
You didn't call me for days, so I had to call you. | 1:21:27 | 1:21:30 | |
Come. | 1:21:30 | 1:21:32 | |
How do you like it? | 1:21:32 | 1:21:34 | |
It's nice. | 1:21:35 | 1:21:37 | |
Large and...nice. | 1:21:37 | 1:21:39 | |
You know how it works? | 1:21:40 | 1:21:41 | |
No. | 1:21:41 | 1:21:42 | |
Oh, it's wonderful. | 1:21:42 | 1:21:43 | |
It plays for hours, and I can lie here and listen and dream. | 1:21:43 | 1:21:47 | |
Come see the rest. | 1:21:47 | 1:21:49 | |
Life is quite different in an apartment, | 1:21:50 | 1:21:52 | |
different than in those dreary hotel rooms. | 1:21:52 | 1:21:55 | |
Yes. You're right. | 1:21:55 | 1:21:57 | |
Well, it's nice to have had a look at...all this. | 1:21:58 | 1:22:04 | |
Ravic, you're not going? | 1:22:06 | 1:22:08 | |
Yes, Joan, for good. | 1:22:09 | 1:22:12 | |
But... What are you saying? Why? | 1:22:12 | 1:22:15 | |
This whole place should tell you why. | 1:22:15 | 1:22:19 | |
Who's been talking to you - Morozov? | 1:22:21 | 1:22:23 | |
No one had to tell me anything. | 1:22:23 | 1:22:25 | |
I know, because I have this apartment, | 1:22:25 | 1:22:27 | |
because I don't work at the Sheherazade any longer, | 1:22:27 | 1:22:30 | |
Morozov starts to imagine things, and you fall right in with him! | 1:22:30 | 1:22:33 | |
Now stop your nonsense! | 1:22:33 | 1:22:36 | |
Are you going to beat me, too? | 1:22:40 | 1:22:42 | |
I just want you to stop that babbling. | 1:22:42 | 1:22:45 | |
You think I'm calm because I came in here calmly? | 1:22:45 | 1:22:48 | |
What do you think I've been doing for three days? | 1:22:48 | 1:22:51 | |
I've been waiting for you. | 1:22:51 | 1:22:53 | |
I didn't have your telephone number. I didn't think I had to know it. | 1:22:53 | 1:22:55 | |
I didn't have your address. | 1:22:55 | 1:22:57 | |
I didn't think I had to know that, either. | 1:22:57 | 1:23:00 | |
For three and a half months, I didn't see you. | 1:23:00 | 1:23:03 | |
I don't think I missed you as much then | 1:23:03 | 1:23:05 | |
as when you kept away from me for one day. | 1:23:05 | 1:23:09 | |
My thoughts were constantly on you. | 1:23:09 | 1:23:11 | |
In my room, at the hospital, everywhere. | 1:23:11 | 1:23:14 | |
I sat with Morozov and pictured you walking in. | 1:23:14 | 1:23:17 | |
You didn't come. | 1:23:17 | 1:23:18 | |
I stared at the phone until I could have smashed it! | 1:23:18 | 1:23:20 | |
But you didn't call. | 1:23:20 | 1:23:22 | |
Then everything became clear. | 1:23:22 | 1:23:24 | |
I knew you wouldn't come. | 1:23:24 | 1:23:26 | |
You had made sure of me, | 1:23:26 | 1:23:28 | |
then you could afford to take your time. | 1:23:28 | 1:23:31 | |
There was someone else. | 1:23:31 | 1:23:34 | |
Not only someone else, but... | 1:23:34 | 1:23:37 | |
another life as well. | 1:23:37 | 1:23:40 | |
This life... | 1:23:40 | 1:23:42 | |
which you want me to share. | 1:23:42 | 1:23:45 | |
So you'll break it off and go, as simple as that. | 1:23:48 | 1:23:52 | |
You didn't want to know anything, | 1:23:52 | 1:23:54 | |
and now you come and reproach me. | 1:23:54 | 1:23:56 | |
What rights have you? | 1:23:56 | 1:23:58 | |
None. I thought you had come back. | 1:23:58 | 1:24:01 | |
Well, didn't I? | 1:24:03 | 1:24:05 | |
You came to me... but you did not come back. | 1:24:05 | 1:24:09 | |
Ravic, listen to me. | 1:24:09 | 1:24:11 | |
PHONOGRAPH PLAYS HAPPY TUNE | 1:24:11 | 1:24:14 | |
While you were in Switzerland, I waited. | 1:24:16 | 1:24:19 | |
I waited, and there was nothing. | 1:24:19 | 1:24:22 | |
Then...one day, someone came... | 1:24:25 | 1:24:28 | |
who wanted me... | 1:24:28 | 1:24:31 | |
nothing but me, | 1:24:31 | 1:24:32 | |
wholly and for ever. | 1:24:32 | 1:24:35 | |
It was like a landslide | 1:24:35 | 1:24:37 | |
which one laughs at in the beginning. | 1:24:37 | 1:24:40 | |
Then, suddenly, | 1:24:40 | 1:24:41 | |
there is nothing left to hold onto, | 1:24:41 | 1:24:44 | |
and one can't resist any longer. | 1:24:44 | 1:24:47 | |
Don't you understand? | 1:24:47 | 1:24:50 | |
Oh, yes. | 1:24:50 | 1:24:52 | |
I knew. | 1:24:53 | 1:24:54 | |
I knew it. | 1:24:54 | 1:24:56 | |
It's quite easy to understand. | 1:24:56 | 1:24:59 | |
Beside you, he's nothing. | 1:24:59 | 1:25:02 | |
I knew that the minute I saw you. | 1:25:02 | 1:25:06 | |
I know I must break with him, | 1:25:06 | 1:25:09 | |
but I need time. | 1:25:09 | 1:25:11 | |
I-I can't do it right away. | 1:25:11 | 1:25:14 | |
You see how generous he has been? | 1:25:14 | 1:25:16 | |
I didn't know if you would ever come back. | 1:25:17 | 1:25:20 | |
We were to be married. | 1:25:23 | 1:25:26 | |
Oh, Ravic, help me! | 1:25:26 | 1:25:28 | |
How can I help you, | 1:25:28 | 1:25:30 | |
by leaving you alone? | 1:25:30 | 1:25:31 | |
No! I can't lose you! | 1:25:31 | 1:25:33 | |
Then what do you want me to do? | 1:25:33 | 1:25:36 | |
Give me time. | 1:25:40 | 1:25:42 | |
Wait for me. | 1:25:42 | 1:25:44 | |
Wait for you? | 1:25:44 | 1:25:47 | |
Yes. Wait for me. | 1:25:47 | 1:25:48 | |
I'm a refugee. | 1:25:48 | 1:25:51 | |
It's my profession to wait, | 1:25:51 | 1:25:53 | |
to keep alive and... wait. | 1:25:53 | 1:25:56 | |
You'll come again, Ravic? | 1:26:00 | 1:26:02 | |
Don't think about it. | 1:26:02 | 1:26:03 | |
Take your time. | 1:26:03 | 1:26:05 | |
You'll find out for yourself. | 1:26:05 | 1:26:08 | |
IN FRENCH | 1:26:15 | 1:26:18 | |
Pardon. | 1:26:55 | 1:26:57 | |
Good evening, sir. | 1:27:31 | 1:27:32 | |
Bring me hors d'oeuvres | 1:27:32 | 1:27:34 | |
and a bottle of your driest wine. | 1:27:34 | 1:27:36 | |
Yes, sir. | 1:27:36 | 1:27:37 | |
Leave the menu. | 1:27:37 | 1:27:40 | |
Good evening, sir. | 1:27:40 | 1:27:41 | |
Ja. Telephone this number, and ask for a Mr Himmelstuss. | 1:27:41 | 1:27:45 | |
Give him this message, | 1:27:45 | 1:27:47 | |
and bring me a package of Osiris zigarette. | 1:27:47 | 1:27:50 | |
Gold tip. | 1:27:50 | 1:27:51 | |
Mr Himmelstuss, please. | 1:28:02 | 1:28:04 | |
Mr Himmelstuss? This is the chausseur at Fouquet's. | 1:28:06 | 1:28:09 | |
I have a message for you from Mr Haake. | 1:28:09 | 1:28:11 | |
Sorry. We have no Chesterfields. | 1:28:11 | 1:28:14 | |
Uh, Laurents - green. | 1:28:14 | 1:28:15 | |
Package of Osiris cigarette, gold tip. | 1:28:17 | 1:28:21 | |
Brandy, please. | 1:29:16 | 1:29:17 | |
Yes, sir. | 1:29:17 | 1:29:18 | |
Ravic? | 1:29:24 | 1:29:25 | |
Don't you recognise me any more? | 1:29:28 | 1:29:30 | |
How do you happen to be here? | 1:29:30 | 1:29:31 | |
Aren't you going to ask me to sit down? | 1:29:31 | 1:29:34 | |
No. I'm waiting for someone. You must leave me alone. | 1:29:34 | 1:29:37 | |
Not until I've seen what she looks like. | 1:29:37 | 1:29:40 | |
Who? | 1:29:42 | 1:29:44 | |
The woman you're waiting for. | 1:29:44 | 1:29:46 | |
Don't do that! | 1:29:49 | 1:29:50 | |
Now I will wait. | 1:29:52 | 1:29:54 | |
Then sit somewhere else, please. | 1:29:54 | 1:29:56 | |
Why are you doing this? You promised to wait for me. | 1:29:59 | 1:30:02 | |
You, yourself, said it would take time, | 1:30:02 | 1:30:05 | |
and it has only been two weeks. | 1:30:05 | 1:30:07 | |
I was looking for you. I must see you alone. | 1:30:07 | 1:30:11 | |
No. | 1:30:11 | 1:30:12 | |
It's important. I must talk to you! | 1:30:12 | 1:30:13 | |
Don't be a child! | 1:30:13 | 1:30:15 | |
I'm going to leave him. | 1:30:17 | 1:30:19 | |
Yes, yes. You told me. | 1:30:19 | 1:30:21 | |
But I'm afraid. He threatens me. | 1:30:21 | 1:30:23 | |
What was that? | 1:30:23 | 1:30:25 | |
He threatens me. | 1:30:25 | 1:30:26 | |
Who? | 1:30:26 | 1:30:27 | |
Oh, I see. | 1:30:27 | 1:30:29 | |
He can be vicious, Ravic. | 1:30:29 | 1:30:31 | |
You're not even listening... | 1:30:31 | 1:30:32 | |
Wait! Just a moment. | 1:30:34 | 1:30:36 | |
No. One second. | 1:30:36 | 1:30:37 | |
No. | 1:30:37 | 1:30:38 | |
Sorry to be late. | 1:30:41 | 1:30:42 | |
It doesn't matter. I'm going home. | 1:30:42 | 1:30:45 | |
Permit me, please. | 1:31:07 | 1:31:09 | |
Permit me, please. There is no other table. | 1:31:09 | 1:31:12 | |
Do sit down. | 1:31:12 | 1:31:13 | |
BOY SHOUTS IN FRENCH | 1:31:22 | 1:31:24 | |
Paris-soir. | 1:31:26 | 1:31:28 | |
HE SHOUTS IN FRENCH | 1:31:28 | 1:31:32 | |
Schon nacht, nicht? | 1:31:36 | 1:31:38 | |
Sehr schon. | 1:31:40 | 1:31:42 | |
I saw you while I was still inside. | 1:31:43 | 1:31:45 | |
I spotted you at once. | 1:31:45 | 1:31:48 | |
Old scar. | 1:31:48 | 1:31:50 | |
Just a mark from a German student course, | 1:31:50 | 1:31:52 | |
so you are German, or you have studied in Germany. | 1:31:52 | 1:31:56 | |
Oh. | 1:31:56 | 1:31:57 | |
Correct? | 1:31:58 | 1:31:59 | |
Correct. | 1:31:59 | 1:32:00 | |
Oh, it is my business to know these things. | 1:32:00 | 1:32:03 | |
Cognac! | 1:32:03 | 1:32:04 | |
Yes, sir. | 1:32:04 | 1:32:06 | |
There is one good thing they have here is cognac. | 1:32:06 | 1:32:09 | |
Otherwise, all is decadence. | 1:32:09 | 1:32:10 | |
These people, who... only wish an easy life. | 1:32:10 | 1:32:14 | |
Do you live here? | 1:32:14 | 1:32:16 | |
Yes. | 1:32:16 | 1:32:18 | |
Long time? | 1:32:18 | 1:32:19 | |
Quite a while. | 1:32:19 | 1:32:21 | |
Oh. | 1:32:21 | 1:32:23 | |
Permit me. | 1:32:23 | 1:32:24 | |
Von Haake. HE CLICKS HIS HEELS | 1:32:24 | 1:32:27 | |
Horne. | 1:32:27 | 1:32:28 | |
Von Horne? CLICKS HEELS | 1:32:28 | 1:32:30 | |
Yes. | 1:32:30 | 1:32:31 | |
You must know Paris...well. | 1:32:33 | 1:32:37 | |
Fairly well. | 1:32:37 | 1:32:38 | |
I do not mean the, uh... | 1:32:38 | 1:32:42 | |
museums. | 1:32:42 | 1:32:44 | |
I know what you mean. | 1:32:44 | 1:32:46 | |
May I offer you a drink? | 1:32:46 | 1:32:48 | |
No, thank you. | 1:32:48 | 1:32:50 | |
So. | 1:32:50 | 1:32:51 | |
Chic - these people here know all about that. | 1:32:59 | 1:33:04 | |
But these are nothing compared to this woman | 1:33:04 | 1:33:07 | |
you were talking to now. | 1:33:07 | 1:33:08 | |
You saw her? | 1:33:08 | 1:33:10 | |
Ja! Good acquaintance? | 1:33:10 | 1:33:12 | |
Yes...just that. | 1:33:12 | 1:33:16 | |
It is difficult here to meet a woman like her. | 1:33:16 | 1:33:19 | |
It can be arranged. | 1:33:19 | 1:33:21 | |
So! This woman is French? | 1:33:21 | 1:33:26 | |
Italian...with a few other races mixed in. | 1:33:26 | 1:33:30 | |
Not bad. | 1:33:30 | 1:33:33 | |
Naturally, at home we cannot have that. | 1:33:33 | 1:33:35 | |
But here... | 1:33:35 | 1:33:36 | |
Here, you are a tourist. | 1:33:36 | 1:33:39 | |
You understand. | 1:33:46 | 1:33:47 | |
Thank you, Herr Haake. | 1:33:49 | 1:33:51 | |
Do you have, uh... much contact mit, uh, | 1:33:52 | 1:33:57 | |
refugees? | 1:33:57 | 1:34:00 | |
Some. | 1:34:00 | 1:34:01 | |
We appreciate, you know, certain, uh...informations? | 1:34:01 | 1:34:05 | |
We even pay for this. | 1:34:05 | 1:34:07 | |
Herr von Haake, you're not suggesting that... | 1:34:07 | 1:34:09 | |
Naturally, between men like you and me | 1:34:09 | 1:34:12 | |
that is out of the question. | 1:34:12 | 1:34:14 | |
With us, it is a matter of honour - das Vaterland! | 1:34:14 | 1:34:16 | |
Das Vaterland. | 1:34:17 | 1:34:19 | |
Waiter. | 1:34:22 | 1:34:23 | |
Yes, sir? | 1:34:23 | 1:34:24 | |
No, no, no. Allow me. | 1:34:24 | 1:34:25 | |
In Paris, you're my guest. | 1:34:25 | 1:34:28 | |
10 francs. | 1:34:28 | 1:34:29 | |
You must go? | 1:34:29 | 1:34:30 | |
Well... | 1:34:30 | 1:34:31 | |
I thought I would... | 1:34:31 | 1:34:34 | |
stroll about a bit tonight. | 1:34:34 | 1:34:36 | |
So? | 1:34:36 | 1:34:38 | |
You know... | 1:34:38 | 1:34:39 | |
there are things here for tourists | 1:34:39 | 1:34:41 | |
to see and learn. | 1:34:41 | 1:34:43 | |
Tonight? Ach, what a pity. | 1:34:43 | 1:34:45 | |
I must go to Berlin tonight. | 1:34:45 | 1:34:48 | |
I was just waiting here for two friends. | 1:34:48 | 1:34:50 | |
Our baggage is already at the station, | 1:34:50 | 1:34:52 | |
but I'll be back in a few days. | 1:34:52 | 1:34:54 | |
I could call you up then. Where do you live? | 1:34:54 | 1:34:57 | |
At the Prince de Galles, just across the street. | 1:34:57 | 1:35:00 | |
Prince de Galles... | 1:35:00 | 1:35:02 | |
Are these your friends? | 1:35:08 | 1:35:11 | |
Ja. | 1:35:12 | 1:35:13 | |
Just on time. | 1:35:13 | 1:35:15 | |
Auf wiedersehen, Herr von Horne. | 1:35:15 | 1:35:17 | |
I am delighted to have met you. | 1:35:17 | 1:35:19 | |
You will hear from me between the 28th and the 5th, | 1:35:19 | 1:35:22 | |
and discretion, of course. | 1:35:22 | 1:35:23 | |
Of course. | 1:35:23 | 1:35:24 | |
Between the 28th and the 5th. Don't forget. | 1:35:24 | 1:35:27 | |
I never forget anything - | 1:35:27 | 1:35:28 | |
either an appointment... or a face. | 1:35:28 | 1:35:31 | |
That's my profession. | 1:35:31 | 1:35:33 | |
PHONE RINGS | 1:36:07 | 1:36:11 | |
Ravic... come right away. | 1:36:11 | 1:36:14 | |
Yes. No. Come right away, please. | 1:36:14 | 1:36:17 | |
I-I'm frightened. | 1:36:17 | 1:36:18 | |
Help me, Ravic, please come! | 1:36:18 | 1:36:20 | |
Yes. | 1:36:20 | 1:36:22 | |
Joan? | 1:36:32 | 1:36:33 | |
Joan? | 1:36:37 | 1:36:39 | |
Oh, you're here. | 1:36:43 | 1:36:44 | |
What happened? | 1:36:44 | 1:36:45 | |
Nothing. | 1:36:45 | 1:36:46 | |
I'm glad you still have enough concern for me | 1:36:46 | 1:36:49 | |
to come when I call you. | 1:36:49 | 1:36:52 | |
So you lied to get me up here. | 1:36:56 | 1:36:58 | |
Yes. I had to see you. | 1:36:58 | 1:37:01 | |
And if I have to lie to see you, | 1:37:01 | 1:37:04 | |
I'll continue to lie. | 1:37:04 | 1:37:05 | |
You acted very strangely at Fouquet's. | 1:37:07 | 1:37:09 | |
It was like telling me everything was over between us. | 1:37:09 | 1:37:12 | |
It is. | 1:37:12 | 1:37:14 | |
You needn't do that. | 1:37:18 | 1:37:19 | |
I'm not going, not this time, | 1:37:19 | 1:37:21 | |
not until I make you understand that the book is closed. | 1:37:21 | 1:37:25 | |
It is not closed! | 1:37:25 | 1:37:26 | |
I can't bring myself to marry Alex. | 1:37:26 | 1:37:29 | |
I love you. | 1:37:29 | 1:37:30 | |
And I'll always love you. And you love me. | 1:37:32 | 1:37:36 | |
Yes...but I have broken away from you. | 1:37:36 | 1:37:40 | |
Are we automatons that we can turn love on and off? | 1:37:40 | 1:37:45 | |
We were finished when I returned from Switzerland. | 1:37:45 | 1:37:47 | |
I knew it then. I should have broken off then. | 1:37:47 | 1:37:50 | |
I should have broken off | 1:37:50 | 1:37:52 | |
the first time you brought me here, | 1:37:52 | 1:37:54 | |
but I wasn't sure. | 1:37:54 | 1:37:56 | |
No one can prophesy, | 1:37:56 | 1:37:57 | |
and sometimes one doesn't want to know everything. | 1:37:57 | 1:38:01 | |
I can't imagine our never being together. | 1:38:20 | 1:38:24 | |
For a time, yes, but not for ever. | 1:38:24 | 1:38:29 | |
You know you will leave me again... | 1:38:29 | 1:38:32 | |
tomorrow, the day after tomorrow, sometime. | 1:38:32 | 1:38:35 | |
Yes. | 1:38:40 | 1:38:42 | |
And if you returned, | 1:38:42 | 1:38:44 | |
you know you would always go again. | 1:38:44 | 1:38:46 | |
Yes. | 1:38:46 | 1:38:48 | |
Yes, yes, yes! SHE SOBS | 1:38:50 | 1:38:53 | |
Oh, what is it! | 1:38:54 | 1:38:56 | |
What is it? Why is it that way with us? | 1:38:57 | 1:39:01 | |
It's not only us. | 1:39:01 | 1:39:02 | |
Everyone searches for security and love. | 1:39:02 | 1:39:05 | |
You found them both but in two different men. | 1:39:05 | 1:39:09 | |
You want the one, | 1:39:09 | 1:39:11 | |
and you don't want to let the other go. | 1:39:11 | 1:39:12 | |
Yes, I would, Ravic, I would, | 1:39:12 | 1:39:13 | |
only...only I'm afraid. | 1:39:13 | 1:39:16 | |
I'm afraid of letting my love for you | 1:39:16 | 1:39:18 | |
do to me what it did... what it did before... | 1:39:18 | 1:39:20 | |
when you were taken away from me... | 1:39:20 | 1:39:23 | |
when you were deported. | 1:39:23 | 1:39:25 | |
I can't...I can't be hurt like that again! | 1:39:27 | 1:39:31 | |
Can't we... can't we at least... | 1:39:37 | 1:39:40 | |
Transform our love to friendship? | 1:39:41 | 1:39:43 | |
It might be possible with some people, but... | 1:39:43 | 1:39:47 | |
a love like ours has no substitute. | 1:39:47 | 1:39:50 | |
Pain is part of it. | 1:39:50 | 1:39:52 | |
I can't. | 1:39:53 | 1:39:55 | |
I can't. I can't. | 1:39:55 | 1:39:57 | |
I know. | 1:39:57 | 1:39:59 | |
That's why this is the end. | 1:40:02 | 1:40:05 | |
Ravic! | 1:40:16 | 1:40:18 | |
RING | 1:40:25 | 1:40:33 | |
Hello? | 1:40:34 | 1:40:36 | |
Yes...yes. Thank you. | 1:40:37 | 1:40:40 | |
I'm expecting him. | 1:40:40 | 1:40:42 | |
Eh...heh-hey. | 1:40:57 | 1:40:59 | |
You certainly did not rent one of the cheap suites. | 1:41:00 | 1:41:03 | |
Have you ever sat in a plush hole | 1:41:03 | 1:41:06 | |
the entire day and waited? | 1:41:06 | 1:41:07 | |
Longer, my boy, longer. | 1:41:07 | 1:41:09 | |
And remember, this is the first day only. | 1:41:09 | 1:41:11 | |
You may wait seven. | 1:41:11 | 1:41:13 | |
You may wait 7,000. Look. | 1:41:13 | 1:41:15 | |
France closed the German frontier today. | 1:41:15 | 1:41:19 | |
There's still a chance. | 1:41:21 | 1:41:22 | |
I'll wait the week out. | 1:41:22 | 1:41:24 | |
Did you have much trouble | 1:41:24 | 1:41:26 | |
getting in here without passport? | 1:41:26 | 1:41:28 | |
No. Night porters don't ask questions in exclusive hotels. | 1:41:28 | 1:41:31 | |
What about the day fellows? | 1:41:31 | 1:41:33 | |
That's a chance I'll have to take. | 1:41:33 | 1:41:36 | |
If I had only thought of asking Haake's Paris hotel! | 1:41:36 | 1:41:39 | |
I know. I know. | 1:41:39 | 1:41:40 | |
You are sitting here thinking you have done everything wrong. | 1:41:40 | 1:41:43 | |
Forget it. | 1:41:43 | 1:41:44 | |
Did you rent the car? Oh, yes. | 1:41:44 | 1:41:46 | |
It's turbo with leather seats. | 1:41:46 | 1:41:48 | |
It's parked opposite the Lancaster. | 1:41:48 | 1:41:50 | |
Remember, you have no licence to drive. | 1:41:50 | 1:41:52 | |
That has never bothered me before. | 1:41:52 | 1:41:55 | |
I came here...straight from the International. | 1:41:55 | 1:41:59 | |
I left Joan in my room... | 1:41:59 | 1:42:01 | |
crying! | 1:42:01 | 1:42:03 | |
PHONE RINGS | 1:42:03 | 1:42:04 | |
Hello. | 1:42:04 | 1:42:06 | |
'One moment, please.' | 1:42:06 | 1:42:08 | |
You know where to take him? | 1:42:08 | 1:42:09 | |
Yes. | 1:42:09 | 1:42:10 | |
Yes? | 1:42:10 | 1:42:12 | |
Yes, this is Herr von Horne. | 1:42:12 | 1:42:14 | |
The wine you ordered, was it Liebfrauen '29? | 1:42:14 | 1:42:17 | |
Yes...open. | 1:42:19 | 1:42:21 | |
Room service. | 1:42:21 | 1:42:22 | |
Oh! | 1:42:22 | 1:42:23 | |
I hope you do not attract attention. | 1:42:26 | 1:42:27 | |
No man in Paris eats in his room | 1:42:27 | 1:42:30 | |
unless he is sick. | 1:42:30 | 1:42:31 | |
I wish I could come with you. | 1:42:34 | 1:42:36 | |
I'm glad you don't have to. | 1:42:36 | 1:42:38 | |
God bless your eyes. | 1:42:38 | 1:42:40 | |
KNOCK ON DOOR | 1:43:10 | 1:43:12 | |
Well, they have invaded Poland. | 1:43:18 | 1:43:20 | |
Yes, it's started. | 1:43:26 | 1:43:27 | |
The whole city is deathly quiet. | 1:43:27 | 1:43:30 | |
Whole country is hoping...against hope. | 1:43:30 | 1:43:34 | |
And here I am, playing this silly game of Indians. | 1:43:34 | 1:43:39 | |
If only Haake hasn't left Paris by now. | 1:43:39 | 1:43:42 | |
With the frontiers closed, | 1:43:42 | 1:43:43 | |
he may not even have come at all. | 1:43:43 | 1:43:47 | |
For four days now... | 1:43:47 | 1:43:49 | |
Oh, let's talk about something else. | 1:43:49 | 1:43:52 | |
Yes. | 1:43:52 | 1:43:54 | |
What do you really intend to do about Joan? | 1:43:54 | 1:43:57 | |
Have you seen her again? | 1:43:58 | 1:44:00 | |
Every day she comes to see me at International, | 1:44:00 | 1:44:02 | |
every night at Sheherazade. | 1:44:02 | 1:44:05 | |
She wants to make things right. | 1:44:05 | 1:44:07 | |
She is desperate. | 1:44:07 | 1:44:10 | |
Let's talk about something else. | 1:44:10 | 1:44:12 | |
We'll be blacked out. | 1:44:31 | 1:44:33 | |
It's just been announced over the radio | 1:44:33 | 1:44:35 | |
as a precaution against air raids. | 1:44:35 | 1:44:36 | |
On the radio, everything is precaution. | 1:44:36 | 1:44:38 | |
They say there'll be no war. | 1:44:38 | 1:44:40 | |
They say they're about to negotiate. | 1:44:40 | 1:44:41 | |
I want to see the colonel. | 1:44:41 | 1:44:43 | |
I'll look for him. | 1:44:43 | 1:44:45 | |
Hey. | 1:44:47 | 1:44:48 | |
I cannot talk to her here. | 1:44:48 | 1:44:50 | |
Tell her I see her outside. | 1:44:50 | 1:44:52 | |
You can talk here. Nobody will be here tonight. | 1:44:52 | 1:44:55 | |
Please... | 1:45:00 | 1:45:02 | |
There will be blackout any minute. | 1:45:02 | 1:45:04 | |
You should not be out alone. | 1:45:04 | 1:45:06 | |
Where is he? | 1:45:06 | 1:45:07 | |
I do not know. | 1:45:07 | 1:45:09 | |
If they declare war, they'll put Ravic | 1:45:09 | 1:45:12 | |
into a concentration camp. | 1:45:12 | 1:45:12 | |
You are the only one | 1:45:12 | 1:45:14 | |
who can give me a chance to see him. | 1:45:14 | 1:45:17 | |
Please, before it is too late. | 1:45:17 | 1:45:19 | |
All right, Joan, if I see him. | 1:45:19 | 1:45:22 | |
I have your word. | 1:45:22 | 1:45:25 | |
Mm-hmm. | 1:45:25 | 1:45:27 | |
COIN DROPS | 1:45:43 | 1:45:45 | |
Monsieur von Horne doesn't answer. | 1:45:47 | 1:45:50 | |
He must be in. | 1:45:50 | 1:45:51 | |
Keep ringing, please. | 1:45:51 | 1:45:53 | |
PIANO PLAYS | 1:45:58 | 1:46:00 | |
Where are you going? | 1:46:06 | 1:46:07 | |
To get my car. | 1:46:07 | 1:46:09 | |
You won't leave me? | 1:46:09 | 1:46:10 | |
No, no, no. You wait here. | 1:46:10 | 1:46:12 | |
Ho ho ho ho! We closed up this place. Ha ha ha! | 1:46:12 | 1:46:15 | |
Wait here. | 1:46:15 | 1:46:17 | |
Tell me about this place where we are going. | 1:46:29 | 1:46:32 | |
Well, select wines... | 1:46:32 | 1:46:34 | |
exquisite service... | 1:46:34 | 1:46:36 | |
unbelievably pleasant company. | 1:46:36 | 1:46:38 | |
Sounds wonderful, wonderful. | 1:46:38 | 1:46:42 | |
But not cheap. | 1:46:42 | 1:46:43 | |
We Germans, you know, limited foreign exchange. | 1:46:43 | 1:46:46 | |
Herr von Haake, | 1:46:46 | 1:46:48 | |
need I remind you that in Paris you're my guest? | 1:46:48 | 1:46:51 | |
You're a true nice man. | 1:46:51 | 1:46:54 | |
It is 5.30. | 1:46:59 | 1:47:01 | |
Remember, good friend, | 1:47:01 | 1:47:02 | |
I must be in the Gare du Nord by 9.00. | 1:47:02 | 1:47:06 | |
I will not see Paris again | 1:47:06 | 1:47:08 | |
until I, through this Arch of Triumph, | 1:47:08 | 1:47:11 | |
march! | 1:47:11 | 1:47:12 | |
We have nearly four hours. | 1:47:15 | 1:47:17 | |
You'll make it easily. | 1:47:17 | 1:47:19 | |
Where are we? | 1:47:50 | 1:47:51 | |
The Bois de Boulogne. | 1:47:51 | 1:47:53 | |
How long are we driving? | 1:47:53 | 1:47:55 | |
Oh, 10 minutes. | 1:47:55 | 1:47:56 | |
It has been longer. | 1:47:56 | 1:47:59 | |
Before I was asleep, I looked at the time. | 1:47:59 | 1:48:01 | |
We are driving more than half an hour. | 1:48:01 | 1:48:03 | |
Really? I didn't think it was so long. | 1:48:03 | 1:48:05 | |
We'll be there soon. | 1:48:05 | 1:48:06 | |
Where? | 1:48:06 | 1:48:07 | |
The place I told you about. | 1:48:07 | 1:48:09 | |
Drive back. | 1:48:09 | 1:48:11 | |
Now? | 1:48:11 | 1:48:13 | |
Ja. | 1:48:13 | 1:48:15 | |
Why? | 1:48:16 | 1:48:17 | |
Drive back. | 1:48:17 | 1:48:19 | |
All right. | 1:48:19 | 1:48:21 | |
Will we go back? | 1:48:27 | 1:48:29 | |
Yes. | 1:48:29 | 1:48:30 | |
SKIDDING | 1:49:02 | 1:49:03 | |
RADIO: '10 Downing Street. | 1:50:13 | 1:50:15 | |
'This morning, | 1:50:15 | 1:50:16 | |
'the British Ambassador in Berlin | 1:50:16 | 1:50:19 | |
'handed the German government the final note | 1:50:19 | 1:50:23 | |
'stating that unless we heard from them by 11.00 | 1:50:23 | 1:50:29 | |
'that they were prepared at once | 1:50:29 | 1:50:31 | |
'to withdraw their troops from Poland, | 1:50:31 | 1:50:34 | |
'a state of war would exist between us. | 1:50:34 | 1:50:38 | |
'I have to tell you now | 1:50:39 | 1:50:41 | |
'that no such undertaking has been received | 1:50:41 | 1:50:44 | |
'and that, consequently, | 1:50:44 | 1:50:47 | |
'this country is at war with Germany.' | 1:50:47 | 1:50:51 | |
You heard? | 1:50:55 | 1:50:57 | |
Well? | 1:50:57 | 1:50:58 | |
I killed him in the Bois | 1:50:58 | 1:51:00 | |
and buried him in St Germain. | 1:51:00 | 1:51:03 | |
Where is the car? | 1:51:03 | 1:51:04 | |
Rue Poncelet. | 1:51:06 | 1:51:08 | |
Everything is in order. | 1:51:08 | 1:51:09 | |
Nothing else to do? | 1:51:09 | 1:51:11 | |
Nothing. | 1:51:11 | 1:51:13 | |
I've got a horrific headache. | 1:51:13 | 1:51:16 | |
I want to sleep. I'll come down later. | 1:51:16 | 1:51:18 | |
You did not forget anything? | 1:51:18 | 1:51:20 | |
No, I don't think so. | 1:51:20 | 1:51:22 | |
Uh, I've given up my room | 1:51:22 | 1:51:24 | |
at the Prince de Galles. | 1:51:24 | 1:51:26 | |
Madame Fabier gave me my old place here. | 1:51:26 | 1:51:29 | |
Well, I can't go over the whole thing now. | 1:51:29 | 1:51:32 | |
First I must sleep. | 1:51:32 | 1:51:33 | |
Did he ever find out who you were? | 1:51:33 | 1:51:36 | |
He didn't know who... | 1:51:36 | 1:51:38 | |
or why. | 1:51:38 | 1:51:40 | |
PHONE RINGS | 1:51:43 | 1:51:46 | |
RING | 1:51:49 | 1:51:52 | |
'Ravic? | 1:51:57 | 1:51:58 | |
'Hello? | 1:51:58 | 1:51:59 | |
'Ravic? | 1:51:59 | 1:52:01 | |
'Answer me. | 1:52:01 | 1:52:03 | |
'The Colonel told me you were there. | 1:52:03 | 1:52:07 | |
'I'm back at the Milan | 1:52:07 | 1:52:09 | |
'where you first brought me. | 1:52:09 | 1:52:12 | |
'I have... I've left him, Ravic... | 1:52:12 | 1:52:15 | |
'and he's hurt me badly. | 1:52:15 | 1:52:18 | |
'Come. | 1:52:18 | 1:52:20 | |
'Come quickly. | 1:52:20 | 1:52:23 | |
'Quickly.' | 1:52:23 | 1:52:24 | |
KNOCK ON DOOR | 1:52:24 | 1:52:26 | |
Dr Ravic. | 1:52:28 | 1:52:30 | |
Dr Ravic, wake up. You must wake up. | 1:52:30 | 1:52:33 | |
What do you want? | 1:52:33 | 1:52:34 | |
You must come immediately. It's Joan. | 1:52:34 | 1:52:36 | |
What? | 1:52:36 | 1:52:37 | |
It was an accident. | 1:52:37 | 1:52:39 | |
You can't put the light on. There's a blackout. | 1:52:39 | 1:52:42 | |
I have to put the light on. | 1:52:42 | 1:52:44 | |
Have you a taxi downstairs? | 1:52:44 | 1:52:46 | |
I have my car. | 1:52:46 | 1:52:47 | |
I shot her. | 1:52:47 | 1:52:49 | |
What? | 1:52:49 | 1:52:51 | |
I pleaded with her not to leave me. | 1:52:51 | 1:52:53 | |
I only meant to threaten her. | 1:52:53 | 1:52:55 | |
What about the police? | 1:52:58 | 1:52:59 | |
No one heard me. | 1:52:59 | 1:53:01 | |
Get my case to the car. | 1:53:01 | 1:53:03 | |
How did you get on the bed? | 1:53:41 | 1:53:43 | |
Alex. | 1:53:43 | 1:53:45 | |
I couldn't walk. | 1:53:45 | 1:53:47 | |
Just after I telephoned you, I couldn't. | 1:53:47 | 1:53:50 | |
I couldn't move my leg or my arm. | 1:53:50 | 1:53:53 | |
What is it, Ravic? | 1:53:53 | 1:53:54 | |
Are you in pain? | 1:53:56 | 1:53:57 | |
Yes. | 1:53:57 | 1:53:58 | |
I'll give you something in a minute. | 1:53:58 | 1:54:01 | |
Uh, call up Passy-27-41. Order an ambulance. | 1:54:03 | 1:54:08 | |
Yes. | 1:54:08 | 1:54:09 | |
Hello? | 1:54:11 | 1:54:12 | |
Passy-27-41. | 1:54:12 | 1:54:14 | |
What is it, Ravic? | 1:54:15 | 1:54:17 | |
Nothing bad. | 1:54:17 | 1:54:19 | |
Send an ambulance immediately. | 1:54:19 | 1:54:21 | |
Hotel de Milan. | 1:54:21 | 1:54:23 | |
Rue Cardinet. | 1:54:23 | 1:54:24 | |
Room eight. | 1:54:24 | 1:54:26 | |
I don't want to be operated on. | 1:54:30 | 1:54:33 | |
Maybe we won't have to. | 1:54:33 | 1:54:35 | |
Is it serious? | 1:54:37 | 1:54:39 | |
No. | 1:54:39 | 1:54:40 | |
Nothing serious. | 1:54:40 | 1:54:41 | |
They said the ambulance is coming. | 1:54:41 | 1:54:43 | |
Call up Auteuil-13-57. | 1:54:43 | 1:54:45 | |
It's a hospital. I'll talk to them. | 1:54:45 | 1:54:48 | |
13-57. | 1:54:49 | 1:54:51 | |
Hello? | 1:54:51 | 1:54:51 | |
Auteuil-13-57. | 1:54:53 | 1:54:55 | |
Ravic. | 1:54:55 | 1:54:56 | |
I don't want... | 1:54:57 | 1:54:59 | |
I don't want to have pain. | 1:54:59 | 1:55:01 | |
You won't. | 1:55:01 | 1:55:02 | |
I can't...I can't endure. I can't. | 1:55:02 | 1:55:05 | |
Doctor. It's the hospital. | 1:55:05 | 1:55:08 | |
I'll be right there. | 1:55:08 | 1:55:09 | |
Hold it for a second. | 1:55:09 | 1:55:11 | |
Hold on. | 1:55:25 | 1:55:27 | |
Hello. | 1:55:31 | 1:55:32 | |
Hello, Jenny. | 1:55:32 | 1:55:34 | |
Yes. | 1:55:34 | 1:55:35 | |
Yes, a room. | 1:55:35 | 1:55:36 | |
And call up Veber. | 1:55:36 | 1:55:38 | |
Mm-hmm. Yes. | 1:55:38 | 1:55:40 | |
Yes, have everything ready. | 1:55:40 | 1:55:42 | |
All right. | 1:55:43 | 1:55:45 | |
I've ordered an ambulance. | 1:55:45 | 1:55:47 | |
Yes. In 10 minutes. | 1:55:48 | 1:55:50 | |
ALEX: Oh, darling, I... | 1:55:51 | 1:55:53 | |
don't know what happened. | 1:55:53 | 1:55:55 | |
I don't know what happened. | 1:55:55 | 1:56:01 | |
I don't know what happened. | 1:56:07 | 1:56:09 | |
Get up. | 1:56:09 | 1:56:10 | |
I didn't mean to do it. | 1:56:12 | 1:56:15 | |
Believe me. I didn't mean to do it. | 1:56:15 | 1:56:18 | |
Go down there and wait for the ambulance. Go on. | 1:56:18 | 1:56:21 | |
You'll help me? | 1:56:30 | 1:56:32 | |
Yes. | 1:56:32 | 1:56:33 | |
You're here. | 1:56:35 | 1:56:36 | |
I'm... | 1:56:38 | 1:56:41 | |
always at peace when I'm with you. | 1:56:41 | 1:56:48 | |
If you like, I'll call Bodet. | 1:57:17 | 1:57:19 | |
He could be here in 15 minutes. | 1:57:19 | 1:57:22 | |
You can assist him, and he can do it. | 1:57:22 | 1:57:26 | |
No. | 1:57:26 | 1:57:28 | |
No, it's too late. | 1:57:28 | 1:57:29 | |
I couldn't anyway. | 1:57:29 | 1:57:31 | |
Looking on would be worse. | 1:57:31 | 1:57:33 | |
Ravic. | 1:58:17 | 1:58:19 | |
Are you here? | 1:58:19 | 1:58:21 | |
Yes. | 1:58:28 | 1:58:30 | |
Did you operate? | 1:58:30 | 1:58:32 | |
No. | 1:58:34 | 1:58:35 | |
It wasn't necessary. | 1:58:36 | 1:58:38 | |
Will you stay with me? | 1:58:45 | 1:58:47 | |
Yes. | 1:58:47 | 1:58:48 | |
Headache. | 1:58:50 | 1:58:52 | |
Oh, it feels like lead. | 1:58:52 | 1:58:55 | |
You'll be better soon. | 1:58:55 | 1:58:57 | |
Oh, it didn't ache so much before. | 1:58:57 | 1:59:00 | |
Oh, I don't want to suffer. | 1:59:00 | 1:59:04 | |
Ravic, promise I won't suffer. | 1:59:04 | 1:59:07 | |
My grandmother, I saw her. | 1:59:08 | 1:59:11 | |
I don't want that. | 1:59:13 | 1:59:14 | |
Promise. | 1:59:14 | 1:59:16 | |
I promise. | 1:59:16 | 1:59:17 | |
What's wrong with my arm? | 1:59:21 | 1:59:23 | |
It will come back again. | 1:59:24 | 1:59:26 | |
And my leg? | 1:59:26 | 1:59:27 | |
It's the same. | 1:59:27 | 1:59:29 | |
Oh, I just intended to begin... | 1:59:33 | 1:59:37 | |
to live differently. | 1:59:37 | 1:59:40 | |
What would have happened without you? | 1:59:45 | 1:59:48 | |
Doctor. | 1:59:55 | 1:59:56 | |
How is she? | 1:59:56 | 1:59:57 | |
I'm going in and find out. | 1:59:57 | 1:59:59 | |
The one time when I'm most needed, | 2:00:06 | 2:00:09 | |
all that I know, all that I've learned is nothing. | 2:00:09 | 2:00:12 | |
Poor France. | 2:00:19 | 2:00:21 | |
Yes. Poor France. | 2:00:21 | 2:00:24 | |
And I'm afraid it's more than France, Veber. | 2:00:24 | 2:00:28 | |
For me, it's France. | 2:00:28 | 2:00:30 | |
Of course. | 2:00:30 | 2:00:31 | |
Oh... | 2:00:31 | 2:00:33 | |
Ravic. | 2:00:40 | 2:00:41 | |
I'm here, Joan. | 2:00:41 | 2:00:43 | |
What's the matter with my legs? | 2:00:46 | 2:00:49 | |
I can't move either one of them any more. | 2:00:49 | 2:00:52 | |
You will be able to walk as always | 2:00:52 | 2:00:56 | |
as soon as you get up again. | 2:00:56 | 2:00:58 | |
You don't have to lie. | 2:01:01 | 2:01:03 | |
You mustn't let me live... | 2:01:05 | 2:01:07 | |
..when I'm nothing but pain. | 2:01:08 | 2:01:11 | |
You must give me something strong, | 2:01:11 | 2:01:14 | |
strong enough for ever. | 2:01:14 | 2:01:17 | |
You must do it. | 2:01:18 | 2:01:20 | |
Even if I don't want you to. | 2:01:20 | 2:01:23 | |
Promise. | 2:01:25 | 2:01:26 | |
Don't. | 2:01:26 | 2:01:27 | |
It's all right for you to do it. | 2:01:29 | 2:01:33 | |
Without you... | 2:01:33 | 2:01:35 | |
I wouldn't be alive anyway. | 2:01:35 | 2:01:38 | |
You gave me this year. | 2:01:40 | 2:01:43 | |
Why didn't I stay... | 2:01:46 | 2:01:48 | |
with you? | 2:01:48 | 2:01:50 | |
It was my fault, Joan. | 2:01:50 | 2:01:53 | |
No. | 2:01:54 | 2:01:57 | |
It wa... | 2:01:57 | 2:01:58 | |
It wasn't. | 2:01:58 | 2:02:00 | |
I..I don't know, but, um... | 2:02:00 | 2:02:02 | |
my head. | 2:02:02 | 2:02:04 | |
The light. | 2:02:04 | 2:02:06 | |
My eyes. | 2:02:06 | 2:02:08 | |
Oh... | 2:02:09 | 2:02:10 | |
I have... | 2:02:23 | 2:02:24 | |
SHE BREATHES HEAVILY | 2:02:24 | 2:02:26 | |
..so much to tell you. | 2:02:30 | 2:02:33 | |
Later. | 2:02:33 | 2:02:36 | |
There's no more time to explain. | 2:02:37 | 2:02:41 | |
But I know most of it. | 2:02:41 | 2:02:43 | |
You know? | 2:02:46 | 2:02:47 | |
I think so. | 2:02:47 | 2:02:49 | |
You know that I always... | 2:02:49 | 2:02:52 | |
Yes, Joan. | 2:02:52 | 2:02:54 | |
Strange. | 2:02:56 | 2:02:57 | |
It's strange to die... | 2:02:59 | 2:03:02 | |
..when you love. | 2:03:04 | 2:03:05 | |
You are my life. | 2:03:07 | 2:03:09 | |
My arm... | 2:03:09 | 2:03:11 | |
My arm can never embrace. | 2:03:13 | 2:03:15 | |
You are in my arms and I in yours. | 2:03:15 | 2:03:18 | |
Ti amo. | 2:03:19 | 2:03:21 | |
Ti amo. | 2:03:24 | 2:03:26 | |
I understand you. | 2:03:27 | 2:03:29 | |
Ti amo. | 2:03:31 | 2:03:33 | |
Anche tu... | 2:03:33 | 2:03:36 | |
mi ami? | 2:03:36 | 2:03:37 | |
Love is no word for it. | 2:03:37 | 2:03:40 | |
It isn't enough. It's a small part only. | 2:03:40 | 2:03:43 | |
It is so much more. | 2:03:43 | 2:03:44 | |
Sono stata... | 2:03:47 | 2:03:50 | |
..sempre con ti? | 2:03:51 | 2:03:53 | |
Yes. | 2:03:53 | 2:03:54 | |
Yes, you were always with me | 2:03:54 | 2:03:57 | |
no matter whether I loved you | 2:03:57 | 2:03:59 | |
or hated you or seemed indifferent. | 2:03:59 | 2:04:02 | |
That never changed anything. | 2:04:02 | 2:04:04 | |
Bacimi. | 2:04:04 | 2:04:06 | |
You were always with me. | 2:04:14 | 2:04:16 | |
Sono... | 2:04:19 | 2:04:21 | |
strata... | 2:04:21 | 2:04:23 | |
SHE WHISPERS ITALIAN | 2:04:25 | 2:04:29 | |
I was more lost without you. | 2:04:31 | 2:04:35 | |
You were all brightness... | 2:04:35 | 2:04:38 | |
and sweet... | 2:04:38 | 2:04:40 | |
and bitter. | 2:04:40 | 2:04:42 | |
Doctor. | 2:04:52 | 2:04:53 | |
Dr Ravic. | 2:04:54 | 2:04:56 | |
The patient in number 12 is dead. | 2:04:57 | 2:05:00 | |
You may notify the police. | 2:05:00 | 2:05:02 | |
Very well. | 2:05:02 | 2:05:03 | |
Do you live here? | 2:05:09 | 2:05:11 | |
Yes. | 2:05:11 | 2:05:12 | |
Take your place in line, please. | 2:05:12 | 2:05:14 | |
Hello, Boris. You, too? | 2:05:14 | 2:05:16 | |
This war, they want to see everybody's papers. | 2:05:16 | 2:05:19 | |
I was a slave. Idiot that I am, | 2:05:19 | 2:05:21 | |
I could've warned you. | 2:05:21 | 2:05:23 | |
I'm through running. | 2:05:23 | 2:05:25 | |
Next. | 2:05:25 | 2:05:26 | |
You know where they will put you? | 2:05:26 | 2:05:29 | |
I've been there before. | 2:05:29 | 2:05:31 | |
There is rumour | 2:05:31 | 2:05:33 | |
they are going to set up concentration camp | 2:05:33 | 2:05:35 | |
at Longchamps. | 2:05:35 | 2:05:36 | |
Maybe they'll set us free again soon. | 2:05:36 | 2:05:39 | |
We can be used. | 2:05:39 | 2:05:40 | |
This is the end of our waiting, Boris. | 2:05:40 | 2:05:43 | |
Oh, no, not so fast. | 2:05:43 | 2:05:45 | |
Perhaps not. | 2:05:45 | 2:05:46 | |
But you will see the day. | 2:05:46 | 2:05:49 | |
Next. | 2:05:49 | 2:05:50 | |
Boris. | 2:05:52 | 2:05:53 | |
Hmm? | 2:05:53 | 2:05:55 | |
Joan is dead. Shot by a man. | 2:05:55 | 2:05:58 | |
She's in Veber's hospital. | 2:05:58 | 2:06:00 | |
Will you see that she's... | 2:06:00 | 2:06:02 | |
buried. | 2:06:02 | 2:06:03 | |
No, don't ask questions. | 2:06:03 | 2:06:05 | |
Just say yes and be done with it. | 2:06:05 | 2:06:08 | |
Yes. | 2:06:08 | 2:06:09 | |
Next. | 2:06:09 | 2:06:10 | |
And take any of my things that you can use, | 2:06:10 | 2:06:13 | |
move into my room. | 2:06:13 | 2:06:15 | |
You always wanted my shower anyway. | 2:06:15 | 2:06:17 | |
All right. After the war, I will meet you at Fouquet's. | 2:06:17 | 2:06:20 | |
Which side? | 2:06:20 | 2:06:21 | |
Champs Elysees or George V? | 2:06:21 | 2:06:23 | |
Oh... | 2:06:23 | 2:06:24 | |
George V. | 2:06:24 | 2:06:25 | |
Good. | 2:06:25 | 2:06:26 | |
No, come here, idiot. | 2:06:27 | 2:06:31 | |
Don't we even dare say goodbye decently? | 2:06:31 | 2:06:34 | |
God bless your eyes. | 2:06:38 | 2:06:40 | |
Subtitles by the National Captioning Institute | 2:06:54 | 2:06:57 | |
E-mail us at [email protected] | 2:06:57 | 2:06:59 | |
Coming soon to BBC Two, it's... | 2:07:01 | 2:07:03 | |
Wow, that looks complicated. | 2:07:03 | 2:07:05 | |
Whoa! How did they...?! | 2:07:05 | 2:07:08 |