produced by Mariron Films,
France , TV Three, and Oss Films, Switzerland in 1982. Released by AMLF , France. May 18, 1983 premiere in color 85 minutes.
Director: Robert Bresson (according to Lev ·Tolstoy's novel "Pseudo Coupon" adaptation)
Photography: Emmanuel Mashuel
Starring: Christian Partai (played by Yon Tag ), Caroline Lange (played by Ellie) ), Wansang Ristrucci (playing Lucien), Marc Ernst Volno (playing Nobel), Didier Boss (playing photo equipment store owner), Beatrice Taban (played as the wife of the shop owner), Von Den Elsson (played as a small woman), Michel Brigue (played as the father of a small woman)
Best Art at the 1983 Cannes International Film Festival Creation award.
Translation: Ren Youliang
[Editor's Note] The script "Money" has been translated into Chinese (China Film Publishing House published a separate edition in 1988). This publication is not a simple reissue, but a different purpose. The original translation was based on Bresson’s filming desk. The now published script was annotated by the editor based on the completed film, pointing out the deleted or changed parts of the completed film. Generally speaking, there are not many changes (marked in imitation Song font in the text with a "▲" in front), and a lot of deleted parts (marked in italics in the text). As for some minor changes, To avoid unnecessary confusion, the editor did not indicate one by one. We can see that the filming table of this film has been quite refined, and the finished film has reduced and condensed this refined table. It can be said to be cut to the point where it can no longer be cut, and it can be said to be so condensed that it can no longer be condensed. This kind of comparative reading may help us to study how Bresson condensed the plot of the story so as to better understand his motto: "If one violin is enough, don't use the second one."
Fu Marshal Xu Street. Nobel's father's bedroom.
1. Close-up. Drawers of a Louis XIV desk. A man's hand pulled it open, gently took a small box from the inside to the side of the open drawer, grabbed a few coins from it, and put it in his jacket pocket (without closing the drawer).
Nobel father (outside the picture): "You take money again!"
2. Middle shot. Nobel's father sat at the desk, took out a wallet from the pocket inside his shirt, took out a small banknote, and took out a few coins from his trouser pocket, and handed them to Nobel.
Nobel (outside the picture): "This is the beginning of the month."
3. Middle shot. Nobel stood in front of the desk and took the money, but didn't immediately put it in his pocket.
Nobel: "I still borrowed some from someone at school, and you can give me some more so I can repay them!"
Nobel's father (outside the picture): "No, no!"
Nobel: "Our classmate's parent The money given to the child is much more than what you give."
4. Middle shot (same as 2). Nobel's father (close the drawer hard): "You let me be quiet for a while, let's go!" (sound of closing the drawer)
5. Nobel turned and went out.
6. Vision (the camera is placed in the front hall, the sound of the door).
Nobel closes the door (convergence) and walks into the living room (pull). He scratched his head and walked slowly. Nobel stopped (medium shot).
Nobel (lowly and quickly): "Fuck! Bastard! Bastard!"
7. Vision. Nobel's mother came to the living room and walked to the suite. The door of the suite was opened in two opposite directions. Nobel's mother walked to the door, put her hand on the doorknob, and stopped (medium shot).
Mother: "What's the matter, Nobel?"
8. Middle shot (same as 6). Nobel: "Dad refuses to give money. But I have to pay Gong Trang the money. I guaranteed him, and it doesn't count if I can't speak!"
9. Middle shot (same as 7). Mother (turning through her wallet): "I have no money either" (She walks out of the picture. Door sounds).
10. Medium shot. Nobel ran to the telephone (calling from a table in the front hall): "Is that you? Ma Xia Le, help me, I'll go to you right away."
A boulevard in Passy District.
A building where Ma Xia Le's family lives. Cars, pedestrians.
11. Vision. Nobel rode a motorcycle to the front of the building, put the car against the wall, and entered the building.
Ma Xia Le's bedroom. cloakroom.
12. Medium shot. Nobel took off his watch as soon as he entered the house and handed it to Marshall. Ma Xiale glanced at his watch and put it on the table.
Ma Xia Le (returns the watch to Nobel): "Look at this first." (He took out a five-hundred franc note between the two notebooks and handed it to Nobel).
Ma Xia Le: "What do you think?"
Nobel: "What is it like?"
Ma Xia Le: "It's fake!"
Nobel: "It really can't be seen."
13. Middle shot. Nobel looked at the counterfeit currency.
Ma Xia Le (outside the painting): "Take it, and give it to you."
Nobel: "What shall I do with it?"
14. Middle shot. Ma Xia Le: "This is easy, don't worry, let's go together."
Nobel (outside the picture): "Are you sure?..."
Ma Xia Le (goes to the closet and opens the door): "Wait a minute "
Ma Xia Le jumped on a chair, pulled out a photo album from behind the pile of underwear on the top floor of the cabinet (panning the camera, and pulled it into a panoramic view) Ma Xia Le jumped off the chair and handed the photo album to Nobel.
15. Nobel (medium shot) looks at the photos page by page.
16. Close-up, a photo album read by Nobel.
17. Ma Xia Le (middle shot): "Nude photos are interesting enough?"
18. Nobel (middle shot) turned the last page, Ma Xia Le took the photo album and walked to the closet.
Ma Xia Le: "Let's go!"
Nobel: "Where are you going?"
19. Middle shot. Ma Xia Le (into the painting) put the album back on the top floor of the wardrobe.
Ma Xia Le: "You just follow me."
20. Medium shot. Nobel picked up his watch from the table, put it on, and walked to the door. Ma Xia Le catches up with him (into the painting). The two went out together.
The building where Ma Xia Le lives
21. Vision. Ma Xia Le and Nobel got on the motorcycle and drove away. The footsteps of cars and pedestrians.
A spacious street, a photographic equipment store, which deals with developing, enlarging photos, selling cameras, lenses and accessories.
22. Vision. Take photos of Nobel and Marshall through the window (the camera is placed in the store to shoot). They leaned the motorcycle on a tree and stopped in front of the shop window (medium shot). Ma Xia Le pointed to a small white metal frame and showed Nobel (they bend over to take a closer look), and the two walked into the store.
Photographic equipment store. interior.
23. Vision. Nobel and Ma Xia Le walked to the counter, and the lady boss (back) stood there. The noise in the street weakened.
Ma Xiale (lady boss): "We want to buy a small mirror frame that is beautiful and not too expensive." The
lady boss left the counter, removed two mirror frames from a shelf, and placed them in front of them (distant view).
Ma Xia Le: "Can you show the one in the
window ?" The proprietress walked to the window (painted out).
24. Medium shot. Shop window. The proprietress (in the painting) picked up the small white metal frame and left the window (out the painting). Weak noise in the street.
25. Medium shot. The proprietress (in the painting) puts the frame on the counter in front of Nobel and Ma Xia Le. Ma Xia Le picked it up, examined it, glanced at the price, and put it on the counter. Nobel also looked at it for a while. There were waves of hustle and bustle on the street.
Ma Xia Le: "Do you like it?"
Nobel: "Like it."
Ma Xia Le: "Then buy it."
Ma Xia Le handed the frame to the proprietress.
26. Medium shot. The proprietress tears off the label. There were noises of cars coming and going from the street.
27. Close-up. Frame and label.
28. Ma Xia Le (Zhong Jing): "Are there any discounts for students?"
29. Medium shot (same as 26). Mrs. Boss: "Can you really be kidding me, but the price is so cheap?"
30. Zhongjing (same as 28). Nobel took the five-hundred francs fake ticket from his pocket and handed it to the proprietress. She heard the sound of opening the door and turned and walked towards the dark room.
31. Medium shot. The lady boss looked at the paper money over and over under the light.
32. Medium shot (same as 30). Ma Xia Le: "Are you afraid it's fake? Look like you, is its color dark?"
33. Medium shot (same as 32). The proprietress (stubbornly continues to check the banknotes): "I think there is a problem."
34. Medium shot (same as 33). Martial took the banknotes and looked at it pretendingly (the three of them were drawn).
Ma Xia Le: "No problem. (To Nobel) This is what your father gave you."
Nobel: "No..."
Ma Xia Le (returning the banknotes to the boss): "Why not? (To the boss ) If you think the money is fake, then forget it. We will buy it elsewhere."
35. Boss (Middle Shot): “Do you really have no change?”
36. Middle Shot. Ma Xiale quickly patted a few pockets of his clothes, and Nobel slowly touched his pockets.
Ma Xia Le: "I'm sorry, no."
Nobel: "I don't have change either."
37. (Same as 35). The proprietress accepted the fake ticket and asked Nobel for the change.
38. Medium shot (same as 36). Ma Xia Le: "Can you pack it?"
39. Medium shot. The proprietress quickly wrapped the frame in a small bag and handed it to Ma Xia Le. Pull, follow the three people until the door, the lady boss opened the door for them.
Ma Xia Le: "Thank you, madam."
Nobel and Ma Xia Le walked out of the store. The sound of footsteps, the noise of carriages and horses in the street.
The lady boss closed the door (out of the picture) and walked back to the counter. The camera is placed in front of the door. Through the glass window, we saw Marshall and Nobel walking away. They split the money that the proprietress was looking for, jumped on the motorcycle, and drove away.
Street. The night is dim.
40. Vision. The street lights are on.
Interior view of the store. night.
41. Close-up. counter. Banknotes, loose change. The boss looked at the fake five hundred francs ticket over and over.
Boss (outside the picture): "Fool! Idiot!" The
boss (sitting) handed the counterfeit coins to the proprietress (she stood in front of him). Pull into the middle shot, shoot the boss wife to take the counterfeit money.
Lady boss: "They look quite honest."
42. Middle shot. Boss: "How many times have I told you that there are thousands of fake tickets like this in the Paris market. Yesterday, in your presence, didn't I just reject one?"
43. . The proprietress (returning the fake ticket to her husband, leaving, and drawing out): "But you also received two of them yourself a few days ago."
44. Medium shot. The boss took the paper money from his wife, took out two five hundred francs bills from the drawer, and put the three aside. Boss: "I will reprocess them."
45. Medium shot. The lady boss (in the picture) locked the closet and glanced at the boss.
The small courtyard behind the camera shop. Fuel oil tank. daytime.
46. Medium shot. close up. The rubber tube of the fuel oil tank is pulled back to the ground. (Mirror panning, pulling back again) Deliveryman Yon appears. Ion covered the oil tank, rolled up the rubber tube, and walked to the door (drawing).
The street in front of shops and yards. Location.
47. Medium shot. Yon (into the painting) came to the street with a rubber tube, and his small oil tanker was parked on the sidewalk. He closed the valve and calculated the amount of oil. I picked up the invoice book from my seat and issued an invoice (following every action). Then he took the invoice and walked to the door of the store (painted out).
Interior view of the store.
48. Vision. The camera is placed in the store to take pictures of the store door and street scenes (cars, pedestrians). Ion entered the store and walked towards the counter. The camera turns to his (medium shot) back, and Lucien, the shop assistant, greets him.
Lucien: "Hello!"
Yon: "Hello!"
Lucien took the invoice from him and put it on the counter.
Yon stood in front of the counter. Lucien leaves the counter (camera panning) and meets the boss who comes by. The boss glanced at the invoice, opened the drawer, and took out three five hundred francs banknotes and a few small notes. He put the money in front of Yon.
Boss: "
Yes."
Yon : "Thank you." 49. Middle shot. Yon wrote the words "paid in full" on the invoice and drew the charge.
Close-up invoice.
50. Medium shot (same as 49). Ion put the money in his wallet and left. Footsteps.
shop. Location.
51. Vision. Ion opened the door and went away (out of the painting). The boss who accompanied him to the door closed the door. There was noisy carriages and horses in the street.
52. Ion got in the car, started, and drove away. The sound of the motor, the sound of starting, the sound of moving away.
53. Shooting the boss through the window, he watched Ion go away and disappear into the shop.
The boulevard in front of the restaurant.
54. Vision. The small oil tanker parked in front of a tavern. The sound of cars and people on the street.
Interior view of the restaurant.
55. In the middle shot, Ion drank the rest of the wine in the cup after eating, and then put the napkin on the table. There was a faint noise from the street.
The restaurant owner and a waiter came over.
Boss: "That bill is indeed a fake."
Ion took another five hundred franc note from his wallet.
Yon: "What about this one?"
56. Middle shot. The boss and the waiter stood by, and the waiter was holding a tray with bills on it. The boss took the second piece of money that Yon handed him, took a closer look, and did not return the first one to Yon.
Boss: "It's also fake."
57. Zhongjing (same as 55). Yon (takes out the third five-hundred-franc banknote): "What about this one?"
58. Medium shot (same as 56). The boss took the money and shook his head again.
59. Medium shot (same as 57). Yon: "Then you return the money to me, and I will find the gentleman who paid me to change it."
60. (Same as 58). Boss: "I can't pay you back."
61. (Same as 59). Yon: "Do you have any right not to pay it back?"
62. (Same as 60). Boss: "You are a liar who distributes fake money everywhere!"
63. Medium shot. Yon jumped up, grabbed the boss by the collar, and shook him...
Yon: "Do you dare to say it again."
Boss: "You are...a..."
Yon pushed him hard (the boss left Screen).
64. Medium shot. A table covered with tablecloths and knives and forks...The boss (in the picture) ran backwards on the table. He tried his best to maintain his balance and tried to stand still. As a result, all the knives, forks and plates on the table were knocked to the ground...
Photographic equipment store The street in front of the door.
65. Vision. pedestrian. car. A small police car driven by the police stopped in front of the store. Yon’s small tanker also arrived at the same time. The police officer in casual clothes and Ion got off the car and entered the shop.
The small police car pulled back and stopped by the sidewalk. The driver turned off the motor.
Interior view of a photographic equipment store.
66. Medium shot. The police officer, Yon and the boss stood face to face.
Boss: "Do you ask me if I know this person?... I ask my buddy to go." The
boss walked to the dark room (shake).
67. Medium shot. The boss walked to the door of the dark room and knocked lightly. The door opened a gap, the boss went in sideways, and the door closed again.
68. Medium shot. The boss and Lucien whispered in the dark.
Boss: "Lucien, if you do as I say, I will buy you the suit you want."
Lucien (looking at the boss): "Okay." The
boss opened the door and pushed Lucien out. , He still stayed in the dark room.
69. Vision. Lucien walked out of the dark room and came to the police officer and Yon (medium shot).
Yon (to Lucien): "Do you know me? I have come to give you fuel more than once."
Lucien (looking at Yon, shaking his head repeatedly).
70. Medium shot. Yon took out a depository bank from his pocket and handed the supplementary page of the invoice to Lucien.
Yon: "That invoice... I gave it to you..."
71. Close-up. The side page of the invoice.
72. Medium shot. Lucien took the side page of the invoice from him, and he made an action that he could not recall, and Ion took the side page of the invoice back.
73. Medium shot. Behind Yon, the boss walked slowly over. The police officer took Ion towards the door. He opened the door (external scene) to let Ion go out first, and then he closed the door. The two walked towards the police car (out of the picture).
Police officer: "I'm sorry, gentlemen, I'm interrupted. (to Yon) Let's go."
Yon (to police officer): "They are all crazy."
The street in front of the store.
74. Vision. The police officer and Yon (in the painting) walked to the police car. There are cars coming and going nearby.
Officer (in the car): "This matter will be clear." The
officer got into the car, closed the door, and Yon stood on the sidewalk. The police car drove away (out of the picture), and Yon went to the small tanker (out of the picture).
75. Vision. The small tanker was parked on the sidewalk. Yon (in the picture) sits in front of the steering wheel, starts the motor, and the car disappears in the traffic.
The courtyard of a low-rent housing building.
76. Vision. The small tanker drove into the yard.
Stairs in low-rent housing buildings.
77. Vision (cameras are placed on the first and second floors). People heard the sound of the motor and the driving of the small oil tanker, and these sounds quickly disappeared. Then there was the sound of closing the car door, followed by the sound of Yon's approaching footsteps; he walked up the stairs quickly, and disappeared at the turn of the second floor.
78. Vision. Yon stood in front of his house. As he took out the key, he knocked gently on the door a few times. When he inserted the key into the keyhole, the door opened by itself. -A two or three-year-old girl appeared at the door, Yon went in and closed the door.
Yon’s house, bedroom, kitchenette.
79. Medium shot. Ion covered his face with his hands, and sat down on a chair dejectedly. The youngest daughter Yiweit was sitting on his knees with her little feet kicking around. She wanted him to take his hands away from his face. She pulled his hair and screamed happily. Then she jumped to the ground and ran to the kitchen (shaking and pulling to the middle shot) to take off a toy hanging on the door, but she couldn't reach it.
80. Medium shot. Eon’s wife Aliz came over, took off the toy, and handed it to Yi Weite. The little girl played by herself.
Alize: "Think about it again, maybe you made a mistake yourself."
81. Middle shot. Ion sat on the chair and lowered his hand from his face. Yon
: "Me? How is it possible?"
Alize (outside the picture): "I have to think of a way." Yon
: "A way, what way?"
82. Middle shot. Alize walked into the kitchen. The kitchen door remained open.
Aliz: "Look for someone to inquire about it."
Yi Weite 's cheers came from time to time.
A high-end residence in a wealthy area.
83. Close-up. A list of residents of this building is pasted on the janitor's glass window. The lawyer of the court, Mr. X, lives on three floors.
The sound of cars coming and going was faintly heard from the street.
Lawyer's office on the third floor.
84. Location. corridor. A door opened, and the lawyer stepped forward to invite Ion and Alice in, then walked ahead and opened the door to the stairs. They walked forward slowly.
Lawyer: "The money is forged. There is no doubt about it. After we pay the hotel owner, I will probably make him withdraw the prosecution. As for the photo equipment store owner and his buddies, the important thing is to eliminate your boss’s dealings with you. All doubts."
Stairs.
85. Vision. People heard the door opening and closing on the third floor, and the footsteps of Yon and Alice hurriedly downstairs (enter the painting, follow up to the first floor). Like a stone falling to the ground in their hearts, Ion put his arms around Alice's neck, went through the doorway and disappeared into the street.
Court. Small trial hall.
There were only a handful of listeners in attendance. Lawyers in long robes came and went in and out, and on the second row of benches sat the owner of the photographic equipment store and his wife.
86. Medium shot. The court clerk (camera panning) walked to Lucien, who was standing in front of the witness stand, put down his raised arm, and continued to move forward (drawing).
Lucien: "I have never seen this Mr. Yon in the store."
87. President (medium shot): "Have you seen him outside the store?"
88. Medium shot (same as 86). Lucien: "I haven't seen it inside or outside the store." The
president's voice: "Do you have anything to add?"
Lucien: "Nothing."
Lucien left the witness stand (panoramic view) and returned. Sit down next to his boss and his wife (medium shot).
89. Medium shot. Yon’s defense lawyer left his seat and walked to the president (the sound of his footsteps).
Lawyer: "Mr. President, the reason why I accept and insist on handling this case for my client is because I am convinced that the defendant is innocent. I feel extremely angry." A
handful of people in the waiting room are walking (footsteps echoing in the hall).
90. Vision. Alize led Yiweit to the waiting room. She was looking for the door of the trial room. At first, she didn't find it. Finally, she found it. She pushed the door open (medium shot, and then pulled to the panoramic view).
Trial hall.
91. Medium shot. Aliz and Yiweit (drawn into a panoramic view) came in and sat beside Yion.
92. Medium shot. The president came in through a small door and sat down on the trial bench.
President: "The court pronounced: Plaintiff Yon X. The accusation evidence is insufficient and the court will be fined for litigation costs. This court hopes that he will be cautious in the future and not lightly falsely accuse good people. The defendant stated that he will no longer be pursued for his false accusation, Yon X. X should be grateful for this."
93. Medium shot. Yon, Alice, and Yvette sat in the last row of seats in the gallery.
The audience got up and walked out of the hearing room.
94. Waiting room. Vision. The door of the trial hall opened, and the crowd walked through the waiting room towards the gate. Yin Weng, Alice, and Yi Weite came out first (into the painting, out of the painting) caught in the crowd, and a few meters behind them, the owner of the photographic equipment store, the proprietress and Lucien followed (into the painting, out of the painting, crowd of people). Footsteps).
The door of the court.
95. Medium shot. The owner of the camera shop, the proprietress and Lucien slowed down, and the crowd left quickly (the sound of three people's footsteps).
Boss: "What's the matter with you? Anyway, I can't take back what I said and slap myself in the mouth." The
proprietress: "But how did I let the two children cheat? I really can't believe it."
Lucian tightly Take two steps and leave them (out of the painting).
Boss: "Lucian did a beautiful
job. " 96. Middle shot. Lucien walking in front.
The boss (entering the painting) caught up and stuffed a banknote into Lucien's pocket. Lucien said he did not want to; the lady boss followed (entered the painting), and the three of them went away (the sound of three people's footsteps).
Boss: "You're welcome, take it."
Photographic equipment store.
97. Vision. Looking out the glass door of the shop, the three returned from the courthouse, and Lucien (painted out) walked towards the dark room (low noise from the street. Three footsteps).
98. Medium shot. Lucien (in the painting) walked into the dark room, took off his coat, and hung it on a hook. At this moment, the boss passed by the door of the dark room. Lucien said to him; "If I found out that I gave perjury, what would happen? Punish you?"
99. Medium shot. Boss: "Nothing great, don't worry."
100. Medium shot (same as 98). Lucien smiled and closed the door of the dark room.
Lucien: "That's it."
The yard of the oil depot.
101. Vision. Yon parked his small tanker beside other tankers, and then jumped out of it.
The foreman directs the operation (camera pushes, and then pulls it into a panoramic view). The foreman glanced into the cab and took out the sweater and glasses that Yon had left in the car. He gave these things to Yon (panoramic view, Yon painted), and then the foreman left.
Foreman: "I'm sorry, I'll follow the rules."
Yon walked to the fence gate (panoramic view, painting).
Fences and streets.
102. Vision. Alice waited for Yon in front of the fence, Yon walked to her side (Yon entered the painting).
Alize: "If you tell them clearly, I'm sure they will understand and sympathize with you." Ion: "I won't beg them for mercy
anyway." The
two walked away along the street.
Photographic equipment store. interior.
103. Medium shot (the camera is in the store).
A customer approached the shop window and took out a Chase lens and lens box from it. He walked to the counter (the customer draws. There is a faint noise from the street, the footsteps of customers).
Customer: "I saw this shot when I passed by your store yesterday..."
104. Medium shot. The customer (in the painting) puts the lens and the small box on the counter (photographs the customer's back and Lucien's front).
Customer: "...Its price is different from today."
Lucien: "Will it be like this?"
Customer: "I must be like this."
Lucien: "I regret that the boss is not there, otherwise he will tell you the reason for the price increase. "
105. close-up. Lucien takes the price tag. Close-up of the label (the noise in the street).
106. Medium shot. Customer (front), Lucien (back).
Customer: "It's okay, I bought it."
107. Zhongjing (same as 104). Lucien puts the lens in a box, then puts it in a paper pocket, collects money, finds change, hands the paper bag to the customer, and takes the customer to the door of the store (Lucien and the customer's footsteps).
108. Medium shot. The store entrance. After the customer left, Lucien walked back to the (painting) counter (Lucien's footsteps).
109. Medium shot. Lucien walked back to the counter (entered the picture), put some of the money into his pocket, and noted on the ledger that a shot had been sold, but the amount he had written was lower than the amount paid by the customer. Lucien was negligent for a while, clipped the two tags (real and fake) together in the ledger, and then returned to (painted out) the dark room (Lucien's footsteps and noise from the street).
110. Medium shot (the camera is placed in a dark room). The door was ajar. Lucien (into the painting) went into the dark room, closed the door, and was busy developing the film. He heard the store door open, pushed open the dark room door, and saw the boss and the proprietress returning (Lucien's footsteps, the sound of the store door opening, and the noise of the street).
111. Vision. Through the half-opened door of the dark room, we saw the boss and the proprietress returning (the noise on the street became less).
112. Medium shot. Lucien closed the door and was busy in the dark room. Someone knocked gently on the door. He went to open the door.
113. Medium shot. The boss holds the ledger and two labels in his hands.
Boss: "I don't think you will deny it. This is not the first time you have done this kind of thing."
114. Lucien (Middle Shot): "You are right, not the first time. But I want to A tacit understanding can be reached between dishonest people."
Boss: "I will not tell you... Lucien, to be honest, I feel very uncomfortable for you to leave the store."
Lucien: "I'll do it right away ." Let's go, sir, I am also sad to leave you." The
boss walked out of the dark room, Lucien closed the door and continued to work.
Photographic equipment store. Location.
115. Vision. Through the glass window, we saw the boss and his wife sending Lucien to the door (footsteps). After shaking hands and saying goodbye, Lucien walked away carrying a handbag and a windbreaker (painting). After the boss closed the door, and the proprietress disappeared deep in the store (the noise of cars and pedestrians).
The street in front of the store.
116. Vision. With his handbag and windbreaker, Lucien found Jean and Jacques who was waiting for him on the sidewalk (medium shot, footsteps of cars, pedestrians, and three people).
Another street.
117. Vision. The three people (into the painting) took a few steps and stopped in front of the green traffic lights (cars and pedestrians were in a constant stream).
Jacques: "Didn't you say that your boss is good enough for friends?"
Lucien: "If I can get rich, I will be more friends enough for him."
Jean: "Originally you had his keys, but you never stole them once. His stuff."
Lucien (takes out two keys from his pockets and shakes them in front of them): "Look, what is this?"
Then, he took out another piece of soap with a handful of complicated structures printed on it. Small key traces.
Lucien: "Look at this thing again?"
Jacques: "The safe key?"
Lucien: "Yes!" He
immediately became excited. At this time the signal light turned red, the car stopped, they crossed the road and went away.
The street in front of a middle school.
118. Vision. The proprietress of a photographic equipment shop went shopping on the street and saw Nobel, Ma Xia Le and a group of boys across the street coming out of the school. They got on their motorcycles (cars go by on the road).
119. Vision. Nobel and Mar Xia Le are sitting on a motorcycle.
120. Medium shot (same as 118). The lady boss watched the two children ran over on motorcycles.
121. Close shot. Nobel and Ma Xiale drove past in front of the proprietress on a motorcycle. Ma Xiale ran ahead and made a face to the proprietress, but the proprietress did not recognize him, but she recognized Nobel. They disappeared into the traffic on the far side of the road.
122. Medium shot (same as 120). The proprietress who recognized Nobel walked towards the school entrance (painting, cars and pedestrians).
School gate, campus.
123. Vision. The proprietress walked into the school gate and met (the middle shot, front) the school's teaching priest (back), and the two stopped.
The wife of the boss: "Is the principal here?"
124. The priest (medium shot): "The principal is not here, but I can represent him or tell him that I am a servant of God..." The
two walked towards the principal’s office (the boss Into the painting).
Mrs. Boss: "It's about a male student in your school. I don't know his name..." (the two walk forward, back, and draw).
125. Medium shot. They came to the front of the principal's office, and the priest let the proprietress inside.
Lady boss: "You must know this kid."
A classroom.
126. Vision. A group of middle school students sat on a few benches. Sitting in the middle is Nobel (back), and the priest is standing on the podium.
Priest: "Let's temporarily stop the catechism class and return to the fake banknotes."
127. Medium shot. The priest looked in Nobel's direction.
Priest: "If one of you did it, of course I don't want to believe that there will be such a thing, so don't hide it anymore. I ask him to come over and express regret."
128. Medium shot. Nobel looked around and found that his classmates were all looking at him.
The priest (voice-over): "Nobel, what do you think about this?"
He stood up suddenly, shrugged, and walked towards the door of the classroom (his footsteps). He opened the door and walked out.
129. Vision. Nobel leaves the classroom (door opens and closes) and walks quickly to the corner of the yard (camera shakes).
Marshal Foch Street.
130. Vision. Nobel hurried back home (cars and pedestrians kept coming and going).
Nobel's house. His mother's bedroom.
131. Vision. Nobel and his mother are in the bedroom.
Mother: "The key issue is that you can't speak a word to your father. The principal will tell him soon. Don't admit anything, and you can't let it go under any circumstances. Do you understand?"
132. Nobel ( Medium shot): "I understand, mom."
133. Long shot . Nobel's mother put on a coat, picked up a handbag and gloves, and took Nobel out of the bedroom.
The front hall of Nobel's house.
134. Vision. Nobel came to the front hall of the suite when his mother stepped the threshold and walked out of the house. He closed the door (the sound of the door opening and closing).
Photographic equipment store. Location.
135. Vision. Nobel's mother walked into the store and disappeared behind the glass window (the noise in the street).
Interior view of the store.
136. Vision. Nobel's mother and proprietress.
Mother: "About my son, let's make it so." The
proprietress: "I assure you that you will never say your son's name." (The sound of carriages and horses on the street is almost inaudible)
Mother: " Now let me compensate you for the loss caused by this ridiculous thing." The
proprietress: "No, no."
137. Middle shot. Nobel's mother stuffed a few banknotes in the hands of the proprietress, and then walked towards the store door (camera shakes). The lady boss took two steps to open the door for Nobel's mother. When she went out, the lady boss closed the door and went back to the counter to count the money.
Nobel's mother (outside the picture): "That won't work, you must pay."
The footsteps of the two and the noise from the street.
Nobel's suite. lobby. Landing.
138. Vision. The door of the suite opened and Nobel's father appeared on the landing. Nobel followed his father a few steps. Father walked to the elevator (out of the painting).
139. Medium shot. Nobel's father (in the painting) has stepped into the elevator with one leg, and turned back to speak to his son.
Father Nuo: "You have to stay at home honestly."
140. Medium shot. Nobel stood on the landing.
141. Medium shot (same as 139). Nobel's father disappeared in the descending elevator.
Nobel's father: "This is too ridiculous."
Middle school. The school gate. campus.
142. Vision. Nobel's father appeared on the corner of the campus corridor and walked towards the principal's office. He knocked on the door (middle shot) and walked in (Father Nuo's footsteps).
Principal's office.
143. Medium shot. Teach the priest to stand in the office, the principal first stands behind him, and then walks to his desk (drawing).
Priest: "I did not slander your son, sir, nor do I allow you to speak to a priest in this tone."
144. Middle shot. Nobel's father.
Nobel's father: "I care about what priest or priest you are!"
145. Priest (medium shot): "We understand your blasphemous thoughts."
Nobel's father: "What did you say?"
146. Middle Scenery (same as 144). Priest: "Sir, you are a nihilist. Your extreme arrogance convinces you that you can escape from religion, and you also abet the children to disrespect God."
147. Zhongjing (same as 145). Nobel's father: "Come on, huh, don't sell dog skin plasters! Who doesn't know that you are also an unbeliever!"
148. Middle shot. The headmaster stood up from behind his desk and walked towards the two quarreling men (painted).
Principal: "Gentlemen! Gentlemen!"
The outdoor seating of the cafe.
149. Panorama. Yon crossed the square, came to the open-air seat in front of the cafe, and sat down (cars coming and going).
150. Medium shot. Ion sat down and ordered a drink.
panoramic. A man walked out of the bar (shake), came to sit next to Yon (medium shot, cars coming and going).
Man: "I can't lend you money, but there is a business you can do. After the job is done..." The
two stood up and walked into the (drawing) cafe. The waiter brought a drink and retreated.
Cafe back room.
151. Vision. A prostitute leaned on a couch, reading a pictorial attentively.
We heard the door of the cafe being pushed open, and the sound of footsteps getting closer. The prostitute got a horseshoe on the ass, she was shocked suddenly, stood up and left, just in time to bump into the two of Yon. She slipped through the half open door.
152. Vision. The prostitute closed the door to the back of the cafe, entered the bar, sat down on a high chair, and then read her pictorial (the sound of closing doors and the hustle and bustle of the street).
153. Medium shot. In the back of the cafe, the man and Yon lie on a map of Paris. The man made a cross with a colored pen at the corner of two streets.
Man (after drawing the cross): "At the corner of the intersection of these two streets, after we got off the car, you parked the car 100 meters away."
154. Close-up. Map of Paris, the cross drawn by the man on the map.
155. Medium shot (same as 153). Yon and the man.
Man: "You turn the car upside down and wait for us there." The
man folded the map and gave it to Yon. Yon put the map in his jacket pocket.
Yon: "That's it?"
Man: "That's it." The
cafe has an open-air seat.
156. Medium shot. At the small table where the waiter brought the drinks, Yon came back (in the painting) and sat down (in the middle shot), picked up the glass and drank it, then got up and left (out of the painting, there were cars and pedestrians on the street constantly) .
The building of Yon's house. early morning. kitchen. bedroom.
157. Vision. With only one light turned on, Ion appeared at the kitchen door wearing a shirt. He took a coffee pot into the bedroom and put it on the table (panning the camera), poured a bowl, and took a big sip. He sent the coffee pot back to the kitchen (painted out, Ion's footsteps).
158. Medium shot. Alice is lying on the bed next to the table (in the finished film it was changed to "Standing at the Kitchen Door"-Editor's Note).
Alize: "I don't have the right to ask questions about you, but I have the right to worry about you." Ion said nothing
.
159. Vision. Yon went back to the bedroom (in the painting), finished the coffee left in the bowl, took the coat from the back of the chair, and put it on (medium shot).
160. Medium shot. Yon got dressed, walked to the side of Yvette's bed (pull the camera, shake the heel), and quickly kissed his daughter (medium shot) and Alice, and then walked to the door (drawing, Yon's footsteps) Voice).
161. Vision. Low-rent housing aisle. The door opened, and Yon came out and closed the door. (Panning camera and following) He walked downstairs quickly and disappeared at the corner of the stairs. People can continue to hear his footsteps downstairs.
At the corner of two small streets, one of them is uphill.
162. Vision. A man walked and read the newspaper, stopped on the sidewalk, and after the two cars passed by, walked around a Boruo car across the road (the sound of the newspaper reader's footsteps).
163. Medium shot. Through the windshield of the Boruo car, we saw Yon sitting behind the steering wheel, his eyes closely following the newspaper reader.
164. Vision (same as 162). The newspaper reader continued to walk forward, into the uphill side street, and disappeared behind a long train of cars parked on the side of the road 20 meters away. We can see a boulevard in the distance and a bank on the side of the road.
Boulevard. Bank.
165. Vision. The newspaper reader (entering the painting) walked and read, and entered the boulevard (camera shot). He raised his eyes and was surprised to see a man (an excellent shooter) holding a pistol hiding behind a car, another man holding a pistol hiding behind a big tree, and...the sidewalk was empty, the police car four Bu, traffic has been cut off. He stopped immediately, stunned in front of the bank. At this moment, there was a gunshot from the bank, and the newspaper reader was dumbfounded, then turned and left. He hesitated at first where to go, then ran to the crowd of onlookers (panning the camera and shooting). People watching the excitement were stopped by the police (gunshots, silence, and the footsteps of newspaper readers).
166. Vision. The newspaper reader ran (into the painting) and joined the crowd of onlookers (silence, the footsteps of the newspaper reader).
Uphill side street.
167. Vision. Interesting onlookers huddled around the Bo Ruo car, crowding in groups towards the scene of the accident.
Three police cars drove up, and onlookers hurriedly cleared a path (painting out, police cars, crowd noise).
Boulevard. Bank. Location.
168. Vision. The police car was parked on the road opposite the bank (death silence). There are more and more onlookers.
169. Medium shot. A good shooter hides behind the car, takes aim, and pulls the trigger with his fingers (deadly).
170. Medium shot. The sharpshooter hiding behind the tree aimed and slammed the trigger (deadly).
171. Vision. The glass door of the bank slowly opened halfway, and a gangster pushed a woman out with a pistol.
A gunshot sounded. The gangster and the woman hurriedly retreated into the bank, and the gangster always hid behind the woman (death after the gunshot).
172. Medium shot. The excellent shooter changed a concealed position (deadly).
173. Medium shot. The second sharpshooter hid behind another tree.
Uphill side street.
174. Medium shot. Yon sat motionless behind the steering wheel of the Borro sedan. A black and white police car approached at full speed. There were intermittent gunshots from the bank, and then bursts of shots rang out, terrifying the onlookers, and they ran away quickly (gunshots and the sound of onlookers running).
175. Vision. People watching the excitement ran away, some were frightened, and some smiled with joy (footsteps).
176. Medium shot (same as 174). Yon starts the motor (slow motor sound).
177. Close-up. Yon's hand turns the starter key.
178. Medium shot. Yon waited quietly, the motor of the car that had started spinning slowly. Several police sirens came from the boulevard (motor sounds, distant police sirens, noisy human voices).
Boulevard. Bank. Location.
179. Medium shot. A policeman blew his siren several times. The state of martial law was lifted and traffic returned to normal. Police officers near and far made hand gestures (sirens and louder and louder cars).
180. Vision. The onlookers dispersed, some walked far away, and some walked onto the sidewalk. Pedestrians walked on the sidewalk nonchalantly, and a corpse was lying on the side of the road, covered with a sheet (car, pedestrian).
181. Panorama. Not far away, in the middle of the road, another corpse was lying under the wheels of a car (we can recognize that this is the man who joined Yon in the cafe); a pool of blood (cars, pedestrians).
Small street.
182. Medium shot. Yon waited motionless in the Borough car. The car had started and his hand was on the transmission lever (pedestrian and motor sound).
A black-and-white police car and a group of pedestrians approached. The car stopped when it passed the Bo Ruo sedan and then reversed backwards (a black-and-white police car).
183. Vision. The black and white police car reversed to Yon and stopped (the police car reversed).
184. Close-up. Ion's foot depressed the clutch pedal to the end and then released it. The other foot slammed the accelerator pedal (mechanical sound, motor sound).
185. Close-up, Yon's hand released the brake (mechanical sound, motor sound).
186. Medium shot. The police car parked next to the Boruo car, the Boruo car started and ran away (out of the picture); the police car rushed up and chased after it (camera panned, out of the picture, and the car started).
road.
187. Vision. The Bo Ruo car overtook in the traffic, and drove in a zigzag curve between the cars (out of the picture), and the police car (in the picture) clenched tightly (out of the picture, the sound of cars flying).
Another road.
188. Vision. There is a constant stream of cars. Bo Ruo crashed into a tree. The police car arrived, braked and stopped.
Yon’s residence. night.
189. Medium shot. The indoor lighting is dim. Alize hugged Yiweit and fell asleep on the big bed. The daughter was snuggled in her mother's arms. Alize opened her eyes full of tears, sat up, put the sleeping Yiweit in the middle of the bed, and got out of the bed by herself. There is a photo of a traffic accident in the half-spread "Evening de France" on the bed (close-up). The headline and article next to the photo report the accident.
We saw Alice's figure and heard her footsteps. She walked from one end of the bedroom to the other, putting on her skirt, coat, laces, and walking towards the door. When the door opened, Alice's figure flashed past, and a beam of light shot into the bedroom from the landing. Then the door closed, and the room was dim again.
Police station. Location. night.
190. Vision. Alize walked into the police station. The two policemen were talking at the door, and the third policeman greeted Alize. (There are only a handful of cars and pedestrians).
191. Medium shot. In the police station, the light is half bright and half dark. Alize was sitting on a bench, her body covered in darkness.
Alize: "If he is injured, he should be in the hospital..."
No one answered.
Alize: "Can't you tell me a little bit of news?"
192. Vision. Two policemen were sitting behind the window. One of them stood up and walked into the next room (the sound of police footsteps).
193. Medium shot (same as 191). Alize waited anxiously. Two policemen walked over in front of her, her eyes followed them mechanically, and then she stared at the window of the policeman who was going to find out the situation.
194. Medium shot. The policeman returned to his desk.
Police: He is in the detention center now. But you can neither see him nor contact him before the trial.
195. Medium shot. Alice got up and went away (camera panning, Alice's footsteps).
Court building. Criminal court. judgment.
(The original screenplay shots 196, 197, 198, 199, 200, 201, and 202 are all solemn rituals of the court trial. Director Bresson omitted them all during filming.——Translator; ▲Finishing the film These shots are not omitted.-Editor's Note)
Arrive at the Central Prison.
204. Panorama. A very spacious yard. Surrounded by groups of small buildings. When the big iron door opened, a car came in, and six prisoners jumped out of the car (medium shot), and the escorts got out of the car.
205. Close-up. TV monitors and loudspeakers: This is the Central Prison, and you have to serve your sentences here. Walk forward in a line, holding his own things in his left hand and the verdict in his right hand.
206. Medium shot. In this team, the second person is Yon. They walked to a small building (zoomed in, panned), and disappeared into the building one by one (panoramic view).
207. Vision. The car slowly turned half a circle, and the escort jumped onto the slow-moving car. After the car went out, the big iron door was closed tightly again.
Small restaurant. interior.
208. Panorama. The camera is placed in the restaurant. Through a large glass window, we can see the road, pedestrians and the endless stream of cars. In the close view, several tables have been set up with cutlery. Lucien and his two accomplices, Jean and Jacques, appeared. They crossed the road and went straight to the window. Lucien pointed to a dining table in the close-up shot and told his accomplices: The owner and wife of the photographic equipment shop ate lunch at that table every day. We can't hear what he said, but we can understand his gestures. He pointed to a corner of the sidewalk and told Jacques to stand there and let the wind go. From there he could watch the boss and his wife eating; when they came out of the meal, he could also report to Lucien. -The waiter (in the painting) saw Lucien and his group when he was putting tableware on a table. They walked away. The waiter (panning the camera) brought the tableware (distant view) and placed it on another table far from the glass window.
Photographic equipment store. Location.
209. Vision. The boss and the proprietress walked out of the store, locked the door, and disappeared into the crowd (sounds of cars and pedestrians; footsteps of the boss and his wife).
Small restaurant. interior.
210. Medium shot. The boss and his wife were sitting on the small table in front of the window. After lunch, they got up and left the restaurant (distant view, the faint sounds of cars and pedestrians from the street, the clash of tableware and the footsteps of waiters).
Small restaurant. Location
211. middle ground. Standing on the sidewalk in front of the small restaurant, Jacques saw a young woman getting off the bus across the street. He stared at the woman intently, walked a few steps in her direction, then stopped quickly, and watched the beautiful woman go away eagerly. Jacques turned and looked inside the restaurant window. The small dining table was empty. He hurriedly looked towards the center of the street and caught a glimpse of the owner and his wife walking far away (cars, pedestrians, and Jacques's footsteps).
212. Vision. The boss and his wife are moving among cars and people.
213. Medium shot. Jacques ran in their direction (painted, cars, pedestrians, and Jacques's footsteps).
214. Vision. The boss and his wife walked away, and Jacques (in the painting) rubbed their bodies, caught up with and passed them, and then disappeared among the pedestrians in the distance (cars, pedestrians, and Jacques running).
Photographic equipment store. Location.
215. Vision. Several passers-by stopped in front of the photo equipment store. They seemed to vaguely hear the electric ringing in the store. Some pedestrians turned their heads to look at the store, while others slowed down. The owner and his wife came back (in the painting) and walked quickly into the store without noticing the sound of the electric bell (the sound of the owner's footsteps).
Photographic equipment store. interior.
216. Vision. The two entered the store, walked a few steps, listening carefully (the sound of the street is getting smaller and the ringing is endless).
Boss: "What's the matter?" The
wife of the boss: "I don't know." The
two continued to walk in (the picture came out, the bell was getting louder and louder).
217. Vision. The two came to (enter the painting) the stairs leading to the second floor. The ringtone is getting bigger and bigger. They stayed for a while, and rushed upstairs (painting out, louder and louder electric bells, the hurried footsteps of the boss and his wife).
218. Vision. On the second floor, they passed through the first bedroom (in the painting) and pushed open the door of the other bedroom, which was half open. The two were dumbfounded in front of the wide open safe, staring at each other (rapid electric bells, rapid footsteps of the two).
219. Close-up. The open safe is empty (deafening bells).
Metro station. stair.
220. Vision. Carrying a heavy travel bag, Lucien asked Jacques to run down a long flight of stairs. The three disappeared at the corner of the stairs and the platform. The sound of starting. At first there was silence; then there was the footsteps of Lucien's group, the sound of a subway train entering the station; the door opened, the footsteps of passengers; then there was the sound of closing the door).
221. Vision. Platform and a string of tunnels. The subway train rumbled into the tunnel, drove away, and disappeared into the distance. The platform was empty, with only two women walking towards the exit (a fading rumbling sound, the sound of two women's footsteps in the silence).
Central prison. Yon's cell.
222. Close-up. Letter to Alize. Eon sat on the bed with his legs bent and wrote on his knees: "Everything here has to be bought with money, my dear Aliz, even with a smile, a pleasant word. As for food, if you can eat it hungrily, even The food is not bad. Anyway, I can get a little labor payment to eat in the cafeteria..."
223. Middle shot. Ion put down the pen and turned to the prisoner in the same cell (there are three people in the cell).
224. Medium shot. A prisoner in the same cell was standing in front of the washbasin. He picked up a towel and walked to the other prisoner lying on the bed.
The first prisoner: "No one dares to say something ill of you, everyone knows your ability. You are the leader, a famous person!"
225. Middle shot. The leader leaned forward and sat up.
Chief: "I am rich, my friend. As long as I am willing to give you one-tenth of the money, no, one-hundredth, I can make you crawl on the ground. (Turns his face to Yon) It's the same with you, little luck!"
226. Middle shot (same as 223). Ion turned to look at the leader.
227. Medium shot. The chief sat on the edge of the bed.
Chief (to the prisoner in the same prison): "Bring me my sneakers. There, under the laundry pool."
228. Medium shot. The prisoner in the same prison fetched sneakers from under the sink (camera panning) and handed them to the leader (painted). He put on his shoes and laced them.
229. Medium shot. The prisoner in the same prison passes by Yon's bed and returns to his bed (the camera pans, then stops on Yon). Yon was about to continue writing, suddenly raised his eyes to look in the direction of the TV monitor.
230. Close-up. The TV monitor above the cell door turned on and the loudspeaker rang.
Loudspeaker: Go to the reception room on 2050!
231. Medium shot. Yon jumped out of bed. He put on his shirt, put the unfinished letter in his pocket, and stood in front of the cell. After a second, the door opened automatically, and he walked out (sound of automatic door opening).
The wide corridors of the Central Prison.
232. Panorama. After Ion got out of the cell, the cell door closed automatically behind him (the door closed). He walked into a wide corridor. Except for the two or three guards outside the iron gate, there was no one in the corridor.
Yon passed through the iron fence gate (which also opened and closed automatically), turned to the left, and disappeared into an aisle perpendicular to the wide corridor (the sound of the fence gate opening and closing, the louder and louder conversation in the reception room).
Reception room.
233. Medium shot. Alize and Ion sat face to face. A piece of glass with a small hole in the middle separates them (noisy people in the reception room). Yon
: "Is that all you want to tell me?"
Alize was silent. Yon
: "You are talking!"
234. The front and middle shot of Alize (Yon's back is in the corner of the screen)
Alize: "Don't get angry, Yon. Do you remember? We never quarreled, never no red face. "
Yi Weng:"! more than a month, I've been waiting for you, I did not want to, could not sleep, you looking forward to it, "
Ai Lizi still said nothing.
235. Medium shot (same as 233). Take a picture of Ion on the front and Alice on the back.
Yon: "Or you can talk, or you can leave!"
236. Middle shot (same as 234). Alize stared at Yon. She remained silent.
237. Medium shot (same as 235). Yon: "When I go back, I will work hard to completely change the lives of the three of us."
238. Zhongjing (same as 236). The speechless Alize stood up, hesitated, turned around, and walked slowly.
239. Medium shot (same as 237). Yon: "Where are you going!... Come back and stay a while."
240. Medium shot. Alize walked away.
A windy yard.
241. Several small courtyards (15 meters long and 7 meters wide). Low brick wall. There are more than ten prisoners in each yard. There is a narrow corridor above the yard, and a TV monitor is placed in the corridor, and two guards are patrolling it. Yon was in the yard, sitting on the ground against the wall, and the three prisoners slipped from one end of the wall to the other in groups. Yon put his elbows on his knees, holding his head in his hands. The bell rang. He stood up (camera panning) and lined up in front of the small iron gate silently. After a while, the iron door opened automatically, and Ion and the prisoners disappeared inside one by one.
(▲In the finished film, the scenes 242-251 in the script were moved after the scene 288.-Editor's Note)
The post building of the Central Prison.
242. Vision. The yellow mail truck drove up quickly, stopped in front of the small building, and unloaded the parcel.
Letter sorting office.
243. Vision. In a big house, there are many tables.
After the parcel was opened, the letter was opened, and the inspector circulated it and put it back in the original envelope.
The post building of the Central Prison.
244. Close-up. -The letter addressed to Yon was checked and reloaded into the envelope (zooming in, panning) and finally thrown into a nearly full basket, with many letters being thrown into it. (▲In the finished film, lens 244 was moved behind lens 294.-Editor's note)
Yon’s cell.
245. Medium shot. At the foot of Yon's bed, the letter fell beside the torn envelope.
246. Medium shot. The leader sat on the bed with his legs stretched out. The prisoner in the same cell was sitting on the edge of the bed beside him. The prisoner in the same prison stood up (camera panning), tiptoedly walked to Yon's bed, picked up the letter, and sat back on the leader's bed. He took the letter so that the leader could read it with him.
247. Close-up. The leader of Alize’s letter to Eon (in a low voice): "... her throat hurts. At night, she... her throat hurts. At night, she couldn't breathe. The doctor was invited and decided to cut the trachea, and immediately had an operation. , It’s too late to be sent to the hospital. But it’s still too late. Our little Yi Weite died at 4 pm on the 10th of this month due to diphtheria. This is what I wanted to tell you that day, but I can’t do it, I I can’t speak. I can’t write anymore, dear Yon, tears have blurred my vision..." (▲In the finished film, this letter reached Yon’s hand, and he threw it into it after reading it. At the head of the bed, he lay down on the bed. The prisoner in the same cell picked it up and looked at it.-Editor's Note)
248. Middle shot. The prisoner in the same cell stood up, and tiptoedly put the letter back to its original place (the camera panned, and then patted Yion). Ion lay on the bed, put his head under the pillow, and hugged the pillow with his hands. He lifted his tear-stained face, glanced at the prisoner in the same cell and the letter, and put his head in the pillow again, trembling.
249. Medium shot. The prisoner in the same prison walked to the window, and then returned to sit on the leader's bed (the camera panned, the leader was in the picture, the footsteps of the prisoner in the same prison).
Prisoner in the same prison: "The life and death of a person is determined by heaven!" The
leader: "Everyone knows that there is no heaven at all, there is only an atmosphere."
The prisoner in the same prison: "If you can know what is going on in the next life, probably all Don't be afraid of death." The
leader (putting his arm into the straw mat and taking out a small bottle of brandy from it): "People are afraid of death because he loves life."
250. Close-up. Brandy taken out of the straw mat. The leader's hand pulled off the cork (the rustling sound of a straw mat).
251. Medium shot. The leader poured some wine for the prisoners in the same prison, and also poured some for himself. The two clink glasses (clinking glasses).
Bank. interior.
252. Close-up. The teller's window. A check came in through the window on the right of the teller. The teller took it with his hand, placed it on the window directly opposite, and took out a few stacks of banknotes in the grid on the left (noisy, footsteps, conversation, and counting of banknotes).
253. Medium shot. The bank teller was counting the banknotes, and Lucien looked at the money intently, and then the teller handed the counted money to Lucien one by one (counting money, noise, footsteps, and talking).
Cashier: "One thousand, two thousand, three thousand, four thousand, five thousand, six thousand, seven thousand, seven thousand five hundred, eight thousand..."
254. Lucien (front), cashier (back). Lucien took the money (noisy, footsteps, conversation).
(The 255-260 scene explains the origin of this check. Bresson decided to remove all of it when editing it.-Translator)
Bank. Location.
261. Medium shot. pedestrian. car. Lucien left the bank and walked onto the sidewalk (painted out, Lucien's footsteps).
262. Vision. When he passed the bank teller machine, a person was withdrawing money. When the person put the money in his pocket, Lucien glanced at the teller machine, and then continued to move forward (painted, cars, pedestrians, and Lucien's footsteps Voice).
263. Vision. Let and Jacques wait for Lucien not far away, and the three will meet together (into the painting).
Lucien: "It's not worth taking such a big risk for such a small amount of money (He opened his pocket and showed them the stacks of bills). Come on, I have a good idea... I have to make a lot of money. OK."
Lucien took them away (camera panning, three people's footsteps).
Still this bank. Location. night.
264. Vision. night. There are few pedestrians and few cars. A small car drove up and stopped in front of the closed bank. The driver jumped down and walked to the ATM while taking out the money clip, and then took out the withdrawal card from the money clip (camera panning, drawing).
265. Medium shot. ATM.
This person (in the picture) inserted the withdrawal card into the machine, and the door opened automatically. He pressed the keyboard number and the banknotes popped out one by one. He put the money in the wallet he held in his left hand, and took the withdrawal card with his right hand that should automatically pop out of the card slot. However, the card does not come out. He was so anxious that he stepped on his feet, cursed, and hit the keyboard desperately, but the card still couldn't come out, so he had to leave (the sound of several cars passing by, the footsteps of the withdrawal).
266. Medium shot. Lucien, Jean, and Jacques hide in the dark shadows of a newsstand; Lucien walks to the ATM alone (painting, pedestrians, a few cars passing by, and Lucien's footsteps).
267. Medium shot. ATM.
Lucien walked to the machine (into the painting), opened the half-open door, and reached into his trouser pocket with his right hand to find something... (Lucien's footsteps).
268. Close-up. With his right hand, he took out three small slender pliers from his trouser pocket. He inserted them one by one into the card slot, trying to clamp a small piece of iron inside. He wanted to put the small piece of iron in advance. Put it in the aisle for returning the card, and the withdrawal card just now can't get out (the sounds of pedestrians and cars)
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