"Rules of the Game" movie script
Text / [France] Jean Renoir
Translated by Cui Junyan
After the opening credits, two other subtitles are shown, the first of which contains some additions to the 1959 copy (indicated in parentheses).
one
This film is for entertainment only (the story takes place before the war in 1939), it does not expect to study the customs of the world, and the characters in the film are purely fictitious.
two
Sensitive heart, loyal heart,
You always blame frivolous love.
Don't be too demanding.
Why charge a change of heart?
If love has wings,
Isn't it just to fly lightly?
Isn't it just to fly lightly?
Isn't it just to fly lightly?
Fumarchet: "The Marriage of Figaro" in four acts and ten scenes
Subtitles fade out.
Bourget Airport
Scene 1 Framed into a radio engineer sitting in a recording truck [slightly tilted, half-length shot], then [pan down, pull lens, slightly bent] to follow a strand of wire being pulled from a winding winch, with a man in front of him. A female announcer [panning camera from left to right] squeezes past the roaring crowd [medium close-up].
Female Announcer: City Radio is broadcasting now. It's exactly 22 o'clock... 10 o'clock in the evening... We have just arrived on the tarmac of Bourget airport and we are going to squeeze through... welcome crowd... sorry! ...the great aviator Andre Giulio... This... Andre Giulio just completed a feat: he flew across the Atlantic in twenty-three hours... an unprecedented feat, my dear Listen to... Hey! ...be careful with the wires! ...an unparalleled feat, dear listener, rivaled only by Charles Lindbergh of twelve years ago. . . .
Crowd from the crowd: Come on! ... oh, oh! Here he is...
Female announcer: [Continues to walk forward, part of the voice is overwhelmed by the crowd's shouts)... But, here, thousands of people are moving...
Scene 2 [Upside down, panorama] An airplane lands in a semi-dark place. motor sound.
Scene 3 [Slightly leaning down, medium close-up] The female broadcaster and a few people around her huddled in the crowd.
Female Announcer: Andre Giulio has finally arrived safely. The landing of the plane was brilliant. The crowd is flocking to the tarmac, trying to rush past the mobile security team... I also tried to rush through...
Her voice is drowned out by the excited shouts of the crowd [close-up, half-length] as they run towards the plane. Pan the camera until it frames the front of the aircraft.
The shouts of the mobile security guards: Don't come here! Idlers are not allowed in...don't come near, ma'am! ...
The crowd roared and crowded, rushing past the block.
Scene 4 (upside down) The camera is aimed at Julius sitting in the cabin (close-up of the chest).
Crowd from the crowd: What a marvel, Julio!
Another shout out: It's amazing...awesome! very impressive!
[Slightly leans down, pulls the camera] Julio got off the plane. Several people helped him out of the cabin, and the photographer rushed to capture the scene. Giulio was embraced, he walked to the left, and an official greeted him and shook his hand [remote half-length shot].
Official: The Minister cannot come in person, but he sent me as a representative to pay tribute to you and convey his warm congratulations!
Giulio: ...not me, you know, thanks to the plane!
Official: No, no, you can't say that. It really depends on your efforts! Very good!
Julius: (discovers Octave) Octave! Hello! My old Octave!
Octave: Andre! ...
The two embraced, and the photographer grabbed the shot.
Scene 5 A close-up shot of the half body of two people embracing. They stand sideways in the crowd [overhead shot]. Octave stood on the right.
Octave: Ah! I am so happy! But it wasn't because of your flight... that I didn't take it seriously! ... because I saw you! It's time to see you, isn't it?
Both laughed.
Julius: Tell me, is she here?
Octave: No!
Female Announcer: We finally squeezed into Andre Giulio's side...
She is standing between them (frontal). The two of them ignored her.
Julius: Why, she didn't come?
Octave: No!
Female announcer: ...presumably, he wouldn't refuse to say a few words in front of the city radio's microphone.
Julius: She didn't come?
Octave: She can't come!
Announcer: Andre Giulio, please...
Julius: (looking over the announcer's head) You know, it's all because of her that I'm doing this flight!
Female announcer: Mr. Andre Julio?
Octave: I knew it!
The female announcer pushes the two of them away, her side facing away from the camera.
Female Announcer: Excuse me, Mr. André Julio! Please don't be rude and tell us a few words. Mr. Julio, give you the microphone and say a few words.
Octave: She can't come!
Julius: (facing the female announcer) I, I don't know what to say! I said, what do you want me to say?
Female Announcer: You just flew across the Atlantic. You spent the whole day alone in the plane. You must have something to say to us. Find a few words to say. Say anything! It's up to you!
Scene 6 The noise of the crowd is incessant, and the camera is framed in front of Julio (close-up of the chest, slightly down). He spoke into the microphone.
Julius: I am so unfortunate. I have never been so disappointed in my life. My adventure this time is for a woman. But she didn't even come to the airport to pick me up. She is still at home! If she's listening to me, I'll tell her in front of everyone: she's a perfidious woman!
Rush Snee's Private Residence Christina's Room Second Floor
The back of the King 7 radio with the tubes inside. The radio is broadcasting live from the airport. You could hear Octave's voice.
Octave: [Voiceover] Andre! Andrei! ……Hey! ...Andre!
[Shakes down, leans down] Christina's bedroom. Her mid shot. The maid, Lisette, was squatting at her feet, making her evening clothes.
Female Announcer: [Voiceover] This great aviator has just completed a...(voice a little cramped)...a feat, but don't forget, he's too physically exhausted, he's too tired... …
Christina: Lisette, give me the bag!
Lisette went inside to get her handbag and walked back, the radio was still on.
Female announcer: [Voiceover]... So, he doesn't even care about talking in front of the microphone right now. However, we have a Goodlung engineer by our side...
Christina walks towards the camera [close-up of chest] and turns off the radio irritably.
Bourget Airport
Scene 8 The engineer [half-length shot, facing the microphone] stands between the female announcer and a bystander [overhead shot].
Engineer: All right, ma'am. Andre Giulio's plane was a product of the Goodlon company, mass-produced, and used a Renault 200-horsepower engine. The co-pilot's seat has been replaced with a spare fuel tank.
Female Announcer: Thank you, sir!
Scene 9 [Medium Shot] Julio stands between Octave and the aircraft mechanic, holding their arms [bends down]. The three of them walked towards the camera together, half-length close-up.
Octave: ...you're an Invi, but you just acted like a child. If Christina shuts you out, you have to recognize it! You deserve it!
Julius: I don't have the guts to see her again!
Octave: Forget it, go to bed! Let's talk tomorrow!
The two walked out of the screen from the right.
Christina's bedroom
Scene 10 framed into Christina's dresser. She entered the picture from the right, and while questioning, she sat down sideways with her big side facing away from the camera.
Christina: Lisette, how long have you been married?
Lisette: It's been almost two years, ma'am!
Lisette came into the picture from the left in response. Framed in seated Christina (close-up, half-length); three vanity mirrors reflect her cheeks. Lisette is standing to her left [half-length shot].
Christina: Yo! real! ...time flies so fast...are you happy?
Lisette: Hi! You know, my husband doesn't get in the way...he does his errands in La Golinier, I do mine in Paris...
Christina: Hmm!
Lisette: I'm so happy with you, ma'am!
Christina: Do you have a lover?
Lisette: Yo! Madam, where did you go!
Christina: What did you say?! You are! For example, that Octave. (flips through her handbag) Get me another can of lipstick, you know, for the evening.
Lisette: I don't know where it is, ma'am!
Christina: You know where to put it...
Lisette turned her heels and turned away.
Scene 11 [Slightly looking down] Indoor semi-panoramic view. In the room on the left sits Christina. Lisette came towards the camera and went to the cabinet to look for lipstick. The medium shot is pushed into a half-length close-up.
Lisette: I don't like that color, it's so red it doesn't feel natural to put on!
She walks over [into medium shot] and hands the lipstick to Christina.
Christina: Haha! There is nothing natural in our time!
Scene 12 The two of them are facing the vanity mirror. Christina sitting [close-up of chest]. Lisette standing [closer half-length shot, leaning slightly].
Christina: What did your lover tell you?
Lisette: It's all trivial.
Christina: Are they kissing you?
Lisette: Kiss me when I'm happy.
Christina: Are they messing with you?
Lisette: That depends.
Scene 13 Framed into Christina, she stands up (half-length shot) to get her coat on the bed (pan left to right, follow shot).
Christina: Then what?
Lisette: And then? Then again, it's not that set. They take every inch they want. (Lisette puts her coat on for her)
Christina: Hello! Hello! Pass that to me!
Lisette fetches Christina's scarf, and the camera follows, panning from right to left to the door, forming a medium shot.
Lisette: (following Christina) No way, all men do.
Scene 14 Close-up of Christina, who looks right at Lisette [off-screen], then turns around again.
Christina: But what about friendship, where do you put friendship?
Scene 15 A close-up of Lisette as she looks at Christina off-screen.
Lisette: Friendship with men? ……Hi! That's just a dream talk in broad daylight!
Scene 16 Lisette enters the frame from the right.
Christina: Hi!
She went to the door.
Lisette: (following) Madam, good night then!
Christina: (back view) Good night, Lisette!
Rashisna's living room, second floor
Scene 17 Pan from left to right, following Christina, to the middle shot, she walks out of the house and crosses the second floor pavement (semi-panoramic) to her husband's study. She runs into a maid who is tending to a puppy.
Christina: (to the maid) Miz, if someone is looking for me, come to the master's study and call me.
Maid: (bends the puppy) All right, ma'am.
Continue panning to the inner wall.
Christina: (meeting the housekeeper Cornelius) Where is the master?
Ko Naiyi: In the study, ma'am!
He let his wife in.
Scene 18 Action transition. Christina walks into Robert's study (closer mid shot), panning from left to right, following and framing Robert sitting in front of the radio (back mid shot).
Female announcer's voice: ... Bourget airport is restored. Navigation light is off. The crowd dispersed in an orderly manner. The grand welcome ceremony is over. The few minutes we have just experienced will go down in history…
The Marquis turned around, found his wife, turned off the radio, and came over [shake, follow].
ROBERT: (kissing her hand) It's getting late, honey!
Christina: As usual! This is a new thing again, right?
The two turned to look at the automatic toy on the table, it was a black girl.
Robert: Just got it today. This is a romantic little brunette. The mechanical part is not broken at all.
He wound the toy to move it around.
Scene 19 [Extreme Close-up] Shot of an automatic toy. Christina's coat is shown on the left of the screen, and Robert's hand is shown on the right. The toy makes a sound.
Scene 20 The camera is turned back on Christina [slightly bent, half-length close-up].
Christina: I like this stuff, it's more interesting than the radio.
Scene 21 Same scene as above, Robert is playing with an automatic doll.
ROBERT: So... did you hear about Andre Giuli?
Christina: I hear you!
[Shake, follow up] Robert put the automatic toy on the table and walked towards the background [half-length shot].
Robert: (speaking as he walks) Oh! I can imagine the ins and outs of this. The thing was before he flew. He was going to risk his life. But how can you refuse... refuse to give him a little expression of admiration! He is begging you so hard! ...he, he took it as love. (sighs) How naive men are! ...
Scene 22 Christina turns around [half-length shot] and Robert walks towards her. She took his hands.
Christina: Ah! I am so happy! Thank you!
Robert: Let's go!
The two walked towards the door [following the shot, into a mid-range view].
Christina: When a person tells a lie, it's like wearing a heavy garment.
Robert: What a lie, you are too exaggerated!
The two walked out of the screen.
Hall · Upstairs
Scene 23 In the living room, two people come out of the study [medium shot], and the back view is the front of Christina's bedroom [semi-panoramic, slightly down]. Christina is standing on the left, wearing a white coat, and Robert is wearing a black uniform. A valet beside him was helping him with his clothes.
ROBERT: (to Christina) Do you think I lie too?
Christina: No, I totally trust you!
Robert: Really? ... (a moment of silence). Dear, please forgive me, you go first and I will come.
He walks into his study and the camera follows Christina as she walks down the stairs [swinging from right to left].
Robert's study
Scene 24 Close-up of Robert's bust. He is standing in front of the mirror, talking on the phone while playing the gramophone [bends down]. back.
ROBERT: I'm looking for Madame Maras... hello, Genevieve... I must see you.
Genevieve's residence
Scene 25. Close-up of Genevieve's back half-length, sitting in evening clothes, holding a microphone in one hand and a cigarette holder in the other. During the call, she stands up [shakes heel], turns around, and faces the camera.
Genevieve: Come on, oh! can't you come? You're going out with Christina... well, it's a deal, see you in the morning. Oh! No, no, no, not ten! Well, just eleven o'clock, we have to be sensible.
She put down the microphone, thought for a moment, and returned to the adjacent room to entertain the guests. The camera followed, panning from left to right, panning, and then pushing the camera (open set) to frame the guests sitting at the table (medium close-up).
Announcer: [Voiceover] Now, listeners, please continue to listen to our accordion concert. (The accordion waltzes)
Holy One Oban: This poor Lashnes should have killed himself by poisoning!
Homosexuals: rely on himself. Who told him to have a radio? !
Saint I. Eupen: This is the progress of civilization!
Gay: You call this civilization progress? This is simply a public embarrassment.
Saint-Eupen: Exactly! Poor Christina, I feel sorry for her because she is a foreigner.
Gay: Besides, you're interested in her!
Saint-Euben: Ah, where! However, she left her small circle in Austria, which was an artistic circle, and she had to know that her father was a famous conductor in Vienna... She suddenly fell into this place in Paris, and the people around didn't speak German, which is really not true. easy...
Gay: She shouldn't be married. Look at me, am I married?
Saint-Euburn: Hey! Good for you!
In the background, Genevieve [medium shot] is drinking tea and smoking a cigarette.
Gay: What are you thinking, Genevieve?
In order to answer, Genevieve came over [half-length shot]. Homosexuals and Holy One Eupen also come into the picture; front.
Genevieve: I'm thinking of a quote from Jean-Philippe (Note 2), which I take almost as a motto.
Gay: what did your chanfel say?
Genevieve: He said that love in the world is nothing more than the exchange of dreams and the touch of flesh and blood between two people...
All three laughed.
out.
Genevieve's living room
Scene 26 turns into a semi-panoramic view of the living room. Geneviève is standing [closer mid shot], in pajamas, watering the flowers; Roble, with his back to the camera, stands deep in the frame, looking out the window. He is on the right side of the screen.
Genevieve: If I understand correctly, you mean to leave me alone.
[Pull] The camera followed Robert who was answering. He came towards her; the whole room unfolded before us. The Trocadéro Square can be seen through the glass windows.
Robert: Honey, last night I made up my mind that I will be worthy of my wife in the future.
Genevieve: Oh! I can see it! Lived a small family life, knitted sweaters, made a fire to cook, and raised children.
Robert: Look what you said! I murmured inwardly, feeling that now I can no longer have fun.
Genevieve: Wow! ...and it's all because you listened to that Andre Giulio broadcast! ...
Scene 27 Close-up of Robert's half-length, with his elbows resting on a cabinet, next to a Buddha head.
ROBERT: (sarcastically) You are so discerning!
SCENE 28. Medium shot of Genevieve, standing in front of a screen next to another small Buddha; a mass in her hands. [Slightly pans the camera] Genevieve comes over and leans on the shoulder of the Buddha statue.
Genevieve: Even if we break up with each other. Does this make a difference in your relationship with Christina?
Scene 29 The camera is reversed to point at the embarrassed Robert, who shifts and rests his elbows on the Buddha statue.
Robert: Honey, then everything changes... everything!
Scene 30 The lens is turned on Genevieve. Half-length close-up.
Genevieve: (annoyed) It won't change at all! ...Christina is still "too tender". A Parisian woman would surely understand. But she won't! ... Even if she learns the truth, she will not be angry because of our relationship, she is angry that you have kept it from her since you got married.
Scene 31 Close-up of Robert's chest, listening to Geneviève in embarrassment.
Geneviève: [Voiceover]...She will never forgive you.
Robert: Oh! ... of course I understand! ...
Scene 32 A close-up of Genevieve, she was very excited.
Genevieve: Robert, believe me, I love you. I don't know if it's love or just out of habit, but if you leave me, I'm so unfortunate, I don't want to be unfortunate.
Scene 33 A close-up view of Robert. He was both unexpected and distressed.
Robert: Darling, forgive me!
Scene 34 Pulling the camera diagonally, in the long shot, Robert walks towards Geneviève.
Robert: I don't want to make you sad,... but please put yourself in my shoes!
Genevieve: What a blessing to meet such an indecisive man as you!
Robert: Hi! Yes! (laughs) I look a lot like my father in that. He is so pitiful and has a rough life... Let's go eat!
He kisses her hand. She walked out of the screen on the right while answering.
Genevieve: Wow! Happy to agree! I don't know if we're too emotional, but I'm starving today!
Robert faces the camera, smoking a cigarette, arranging the orchids in the flowerpot.
fade out.
A car on the road
Scene 35 A close-up of the face of Andre Giulio, who holds the steering wheel and drives the car without saying a word. The camera pans to Octave as he walks. Both of them looked very sad.
Scene 36 Panorama, the 11-horsepower Citroen small bridge car crashed into the slope next to the woods. Crash.
Scene 37 Upside down, grass, sky.
Julius: [Voiceover] Octave!
Octave: [Voiceover] Ouch! No need, no need, old friend, if you want, you can go ahead, I can walk home.
Octave enters the frame from the left, followed by Giulio [medium shot].
Julio: ... Octave, don't leave me alone!
Octave: Those things of yours are so annoying. When I came back from the United States, it was another argument and another explanation... You confused me! You see, this time, the car hit the slope again. Forget it, old friend, I've had enough, I'll go by myself...
Julius: Are you hurt?
Octave: I have to ask myself if I got hit. Old friend, just now my head was spinning like a feather. After such a toss, it is impossible to tell the difference between east, west, north and south. If you want to kill yourself for Christina's sake, kill yourself, it's your own business... don't get me involved.
Julius: You should understand me.
Octave: I understand, you're crazy!
Scene 38 A close-up shot of Julio's chest, shot from his back, with his big side facing the camera; a close-up shot of Octave's half-length body, with his big side facing away from the camera, he looks taller than Julio.
Julius: (loudly) Yes! ...I'm crazy! ...
Octave: Well, if you're insane, go and fix it, don't bother me!
Julio: Alas! You'd be very happy if you locked me up. In fact, you love her too, and you envy me.
Scene 39 The camera is turned on Octave, who faces the camera with his side facing the camera, and Julio with his side facing away from the camera, making him appear taller than Octave.
Octave: Not bad, but I love her in my own way. So I hope you respect her and don't take it for fun. There is one thing you should also understand. It is I who regard this girl as my sister. I spent my entire youth with her. His father, Stiller Sr., was not only the greatest bandleader in the world, but the best man. I once wanted to study music, so I went to Salzburg, Austria, to find him. He treated me like a son, but I could not express my gratitude to him. Now, I can, you know, I can, because he's dead and he can't take care of his daughter anymore. I can take care of her, I must take good care of her. She also needs someone to take care of her. Because, after all, she left home and lived in a foreign land, and the people around her spoke foreign languages.
Scene 40 A close-up of Julio, looking up slightly, with a far-reaching sky in the background.
Julio: Well, since you want Christina to be happy, let her go with me, because I...I love her. Oh! Anyway, it's a shame to see her with that idiot Rush Snee, to see her hunting with him, living in his castle, playing with his robotic bird; this dude doesn't love him and still cheat her!
Scene 41 [Slightly up] Close-up of Octave.
Octave: Well,...even if this Lashnes is a dandy, but at least he's down to earth...and you're floating in the air. When you get off the plane, you do stupid things... You see, the shit you do on the radio is proof.
Scene 42 Medium shot, the front of the two. Julio was wearing a plaid shirt with his hands in his pockets; Octave was wearing a raincoat and a rumpled hat. [Looking up a bit] Julio was on a high place, and Octave looked up at him.
Julius: (surprised) What's going on on the radio?
Octave: That's what you're up to on the radio... at Bourget airport... You've just come back from America (he gesticulates with his hands). You broke a bunch of records, flew back from the US, and I don't know how many. You were greeted with a grand welcome, ministers, and a whole bunch of people. The streets are talking about you. But you are restless and become a national hero; instead of standing in front of the microphone and speaking to the audience, you talk about Christina... People don't know her... just like that... in public Christina. Later, she refused to see you, and you made a fuss.
Scene 43 Close-up of two people's chests. Julio faces the camera on the side, and Octave faces the camera on the side.
Julius: But this time I'm flying across the Atlantic...for her...all for her, you know? ...she was the one who encouraged me. So when I found out she didn't come to the airport...
Scene 44 The shot of the two facing each other: Giulio's big side back, Octave's big side.
Octave: You forgot, she's a woman of the upper class, . . . this society has its rules, it has certain rules.
Scene 45 A close-up view of the frontal chest of the two of them.
Julio: Humph! Shut up and stop teaching people! I don't need a lesson, I need to meet Christina... you know, Octave, I love her. (The two face each other) If I don't see her...I'm going to die.
Octave: (in a serious tone) You'll see her.
Julius: Really?
Octave: Of course, of course, you'll see her... that's my arrangement.
fade out.
Residence Hall and Staircase in Rushnes
Scene 46 Fading: Aerial, semi-panoramic view of the hall and stairs on the second floor, framed deep into the door of Robert's study. Octave went up the last few flights of stairs. Ko Naiyi is on duty. Lisette enters the frame, followed by a footman with a tray in hand.
Lisette: What, how are you? ...Mr. Octave, um! ...
Octave stopped at the head of the stairs.
Scene 47 Shot from the side, Octave and Lisette stand in front of Christina's door.
Lisette: (continues) Don't say hello?
Octave: Hello, Lisette! (kiss her) You are as bright as a rose today.
They walk towards Christina's bedroom, half-length shot.
Lisette: Yes, but you look bad! What's wrong? The guarantee is still for your pilot. He annoyed us to death. The wife can't sleep well either.
Octave: Listen, Lisette. Do you believe me? OK, I'll try my best to get this right.
Lisette: (shocked) Really?
Robert walked out of the study in his pajamas. He was wearing a scarf and holding a toy songbird, ready to make it sing. He came towards Octave and Lisette.
Robert: (approaches) Yo, here you are, here you come! How's it going?
The footman handed the tray to Lisette, who entered the room on the left, and Octave came back to talk to Robert.
Octave: Me? So-so, just busy.
Robert: What... are you bored?
Octave: Yeah, I'm bored. Talk to you later.
Robert: You've come to talk to my wife; well, let me say good morning to her first.
They said as they walked to the door.
Octave: Please. What is this thing? A nightingale?
Robert: Well, an oriole.
Octave: My old friend, your Orioles are worm-eaten!
Robert: Possibly, but it also sings every twenty minutes.
Octave went ahead.
Scene 48 Middle shot, Octave's back, standing in front of the open door of the small living room. As he speaks, the camera follows, panning from right to left to the open door of Christina's room [slightly bent].
Octave: Can you really sing? ...
ROBERT: It's terrifying how much you doubt everything!
Christina: (standing in the doorway) Octave! where have you been? I just don't recognize you.
Octave took off his hat.
Octave: Hello, Christina. (kiss her)
Christina: Have you been in Paris?
They enter the room, and Robert then enters the frame with his back to the camera.
Robert: Can you?
Christina: Of course!
ROBERT: (kissing her hand) Good morning darling!
Christina: Good morning!
Robert: Did you sleep well?
Christina: Good.
Robert: Hey, Lisette!
The camera pans from left to right, then pans forward to focus on Lisette pulling the curtains open across the room.
Lisette: Sir, what's the matter?
Christina's room
SCENE 49 Close-up of the bust of Christina (in pajamas) and Robert (holding an Orioles).
ROBERT: (to Lisette off-screen) I got a letter from Hussein...
Christina: (interrupting) Shu Yima Yiluo?
The two laughed.
Robert: ... your husband. (to Christina) He felt that the forest would have no poetry without her.
Christina: Ouch! ho! ...
Robert: . . . the job of guarding the hunting grounds is so tedious. Also, Lisette... no, he asked you to come to him.
Scene 50 Lisette bust close-up [overhead], she is standing in the small living room, facing the Robles.
Lisette: Me? ...don't wait for your wife? Monsieur the Marquis,...then I'd rather get a divorce.
Scene 51 Robert sideways medium shot [overhead shot], he is playing with the toy yellow luan.
Robert: Alas! Lisette, listen, don't be so wicked!
Rocking from left to right with Robert, he approached Octave, who was sitting on the bench, and Christina sat down beside him.
Octave: Hey, why haven't you finished talking yet?
Robert: Oh! Done. You have something confidential to tell my wife.
Octave: Not bad at all.
Robert: Well, excuse me then.
Octave: It's long overdue.
Swinging his heels from right to left, Robert stepped out from the side.
Robert: (turning back)...Also, you must come to Lagolinier!
Octave: Absolutely!
Robert: (pointing to Orioles) Listen, it's twenty minutes.
The robot bird feeds, and Robert goes out.
SCENE 52 The camera frames Christina from the side, shaking her teacup, with Octave facing the camera, leaning against a chair [medium shot, leaning slightly].
Christina: A cup of tea?
Octave: (angrily) No!
Lisette: (walks into frame) Come on...
Scene 53 Close-up of Lisette's half-length body, large side facing the camera, and Octave's half-length close-up, with her back to the camera.
Lisette: …Coffee, with bread, butter, and jam, okay?
Octave: I'm not hungry.
The camera pulls to the right following his answer, framing the back of Christina sitting on the bed (upward shot).
Lisette: Oh! Something must have gone wrong. The first time I saw Mr. Octave lose his appetite.
Christina: (to Octave) Won't you sit down?
Octave: Oh, no!
She pulled him to sit down.
Scene 54 Camera reversal: Christina and Octave are sitting on the bed, facing the camera [slightly bent, half-length shot].
Christina: Well… tell your secret.
Octave: (stubbornly) I want to tell you about Andrei.
Christina: (almost jumps up) What! It's... not necessary!
Octave: You know what, he thought about killing himself?
Christina: He just said...won't do it.
Octave: (adding oil and vinegar) Please don't say that...I saw it with my own eyes!
Christina: (surprised) What?
Octave: Well, what...how...it happened when I was driving! He wanted to hit the tree with the person and the car.
Christina: Is it my fault?
Octave: Of course, it's your fault!
Christina: I don't understand.
Octave: You don't understand? My little Christina, listen, look at the way you put your arms around the neck! ...like a twelve-year-old. You see, that's fine for my old buddy. In my eyes you are still a little girl from Salzburg. But to others, I see, it makes people feel embarrassed.
Cristina: So, here, in Paris, you can't be close to a man, or...
Octave: No!
Christina: Can't?
Octave: No!
Yanlistina: Alas! So, it's all my fault?
Octave: It's not all your fault...just something.
Christina: Ah! Then I have to apologize to your friend.
Octave: Oh! ...don't have to apologize to him, it's too much; but you can, for example, invite him to Lagolinier as a guest.
Christina: Ouch! Octave, you really don't know how to be ashamed!
Scene 55 Medium shot, slightly down.
Octave: Alright, alright, I'm leaving. (He stands up, faces the camera, walks out of frame, then is framed in again) See you later, see you later, bye!
When he got to the door [half-length shot], she caught up.
Christina: Hello! where are you going
Octave: Find him.
Christina: You left me? You're not going to Lagolinier?
Octave: You can't use one suit for two.
Christina and Octave both laughed. The two embrace.
Christina: Octave, as you please...
The two fell on the bed smiling.
Christina: (pressing on top of him) You're a big fool, dear old fool!
Scene 56 In the right corner of the screen, a side view of two people on the bed, close-up shot. She put her arms around Octave and pressed against him.
Octave: Will you invite him?
Christina: Please!
Octave: Good!
Christina: I'll definitely ask him. I don't want to drive the contemporary hero, the idol everyone worships, to the end of the road. I don't want to be that kind of woman. If he died in the plane, the guys would blame me too. People will see me as a witch, a public enemy, an obstacle to progress. It will also say that there are foreigners intervening. Besides, I...I also hate martyrdom.
Octave: And what about your husband? How did you tell him about this?
Scene 57 Leaning slightly, Octave is lying on the bed, [half-length shot] Christina is sitting on the left.
Christina: Old friend, the rest is up to you. I did my share and I didn't care about the rest.
Pull, then pan the camera from right to left, and lift, Octave stands up.
Octave: Christina...you are, Du bist ein Engel (note 3)...
Christina: Angel? Ouch!
Octave: Yes, you are an angel. A dangerous angel, but always an angel.
He happily took off his raincoat, which fell to the ground. He walked towards the door on the right.
Octave: Lisette?
LISSET: (into the frame) What's the matter, Mr. Octave?
Octave: My little Lisette.
SCENE 58 Slightly open door: Closer half-length shot of Octave (on the side) and Lisette, who is entering the room.
Octave: You get me two poached eggs, a chunk of ham and a glass of white wine; I'm starving!
Lisette: You'll be fatter.
Octave: Don't worry, Lisette, I'll let it go.
Robert's study
SCENE 59 Robert is on the phone [front, middle]; Octave enters through the rear door leading to the hall [slightly leaning].
ROBERT: (calling) Yes, okay. Ok. One word is for sure. You do it. I am waiting at Lagolinier. Well, you have your own car...that would be so convenient. See you tomorrow.
Robert turned around. Octave walked towards him [frame the two men facing each other].
Robert: Alas! ...my situation is so bad...
Octave: For Genevieve!
Robert: (surprised) Ah! ……you know too?
Rocking from right to left, following Robert as he walked to the bench and sat down [front]. Octave walks out of the frame and returns to sit on the other end of the sofa [slightly leaning down, shot twice from the side].
Octave: Same as everyone else. Are you bored?
Robert: Well, no, no, no!
Octave: You still want to break up after all, don't you? Well, my old friend, it's easy, leave it to me.
Robert: You, you! ...if you could get me out of this, that would be great!
Octave: It's very easy. She is eager to get married. We'll help her get married.
Robert: Marry who? ……you?
Octave: Ouch! I, I, I... you know, getting married and having a wife is not my thing. However, if I have to sacrifice myself, I can. It's not for you, it's for Christina.
Robert: Hi! I know.
Scene 60 Slightly tilted, camera reversed: Robert's back, Octave's side facing the camera (medium shot). Octave was on two legs.
Octave: In exchange, you have to help me too.
Robert: Want money?
Octave: No.
He stood up. The camera pans from right to left, following the shot, framing his half-length body, and he stands with his hands in his pockets.
Octave: You know what, you're a really nice guy.
Scene 61: The camera is reversed and aimed at Robert (medium long-range, slightly down) who has been sitting, with a pot of lilies behind him.
Robert: It's like my mother.
Scene 62 The camera is reversed, aimed at Octave.
Octave: There is such a thing, I would like to ask Andre Giulio...
Scene 63 The camera is reversed, facing Robert.
ROBERT: To Lagolinier?
Octave: Exactly!
Robert: You are asking too much!
He stood up, the camera framed into his medium and long shot, and then the camera pulled in a semicircle around the table and followed Robert as he approached Octave, and the two walked back and forth together.
Octave: Excessive?
Robert: You know, I know about Christina and your friends. I'm not stupid either.
Octave: Hi! Nothing happened.
The two walked out of the screen.
Scene 64 The action changes. [Upside down] The back of the two of them [semi-panoramic], the camera pans slightly from right to left, and follows. Robert went back to the table where the gramophone was placed.
Robert: Oh! That's fortunate!
Octave: Then invite him.
Robert: Hey! I'm taking a risk because I love her and I love Christina. It would be so painful for me to lose her.
Octave: I said, old friend, I really want to stay out of the way.
Robert: Hmm!
Octave: I really want to... go into a hole.
ROBERT: What's in it for you?
Octave: Of course it's good, I can watch nothing, think nothing, for better or for worse. Because you also understand that in this world, there is one thing that is really daunting, that is, the public is right, and the mother is right.
Scene 65 The two of them are standing behind the table [close-up view of the front chest, leaning slightly].
Robert: Of course, everyone has their own reasoning. As for me, I agree that everyone can speak it freely. You know, I'm against walls, high walls to separate people. So, I still have to invite Andre.
Octave: Look, is this all right?
Robert: Good? I believe in Christina. If she's going to love Juliet, I can't keep them apart. So, let them talk to each other whenever they meet.
Octave: Hey, old friend, can you introduce Genevieve... to Andre?
Robert: Fool, this is too casual! ...Ok, I'm going to change clothes. Go ahead and eat!
Pan from right to left and follow until Robert walks out of frame.
Octave: Oh, I'm eating!
He went to turn on the gramophone again.
hall
Scene 66 Panoramic view of the hall: Robert came out of the house, surrounded by several servants. Bend slightly. He was fiddling with his newly found singing toy bird with the screws. Corneille: Monsieur Marquis, are you going to Lagolinier? ...
Robert: I don't know, friend, go ask my secretary.
Nanny for puppy: Does madam want to bring the dog?
Robert: I don't know, Miz, just ask Mrs. My screws, the screws are gone!
The screw fell under the chair against the wall. He hurried to the ground to look for it.
Robert: Lift the cabinet out of the way! Go below. Gao Naiyi, you know, this is a small screw on a yellow warbler, and I just like to play with this bird.
Lisette walked over with a tray.
Gao Naiyi: Yes, sir, I can see it!
large living room
SCENE 67 Lisette walks into the living room with a tray and smiling [closer medium shot]. The camera pans from left to right to Octave standing in front of the gramophone.
Octave: My little Lisette, put it on the table. (She puts down the tray) I have another amazing news for you. You know, my aviator, that's what you call him, and I'm taking him to... Lagolinier.
Lisette: (laughs) Wow, you're so clever!
Octave turned on the gramophone, then gathered around the table, chasing her around the room. Pan the camera back and forth, and follow the two to the door.
Octave: What the hell! trick! ...you call this a ghost idea, a ghost idea! trick!
He chased after her, she was laughing. A song wafting from the gramophone: "Back from fishing, back from fishing in Lower Mautun, I have..."
Robert walked in.
Robert: Yo! Sorry!
He walked over to the gramophone. The camera pans from left to right, then pushes into a half-length shot.
ROBERT: (to Octave) You know, you're not a fool, you're a poet, a dangerous poet!
He turned around and walked back, walking out of the frame on the left. The camera stops on the gramophone.
fade out.
Villa front · exterior view
Scene 68 [Panorama, Panning Shot] Two cars bypassed the small pool surrounded by green trees and arrived in front of the villa. motor sound.
Scene 69 Medium shot, the car pulls into the entrance. The camera then pans along a semicircle, framing the villa on the right.
Scene 70 Action change: The first car stops in front of the steps [the camera moves diagonally], and Xu Mashe [back view, medium and long view] and the old gatekeeper are waiting. Robert got out of the car, went around the car, and climbed the steps. Xu Mashe followed behind [panning camera to follow]. Distant bells [panning shot, closer half-length shot].
Xu Mashe: (bows) Lord Marquis!
Christina: Gee! Gee! spray! (women's laughter)
Xu Mashe: (turning towards the car) Hello, Marquise!
Robert: Hello!
Xu Mashe: Mr. Marquis, I want to tell you something, although this is the duty time, but please forgive me. Just for my wife.
Robert: Yes, yes, I know, friend, you told me all about it in your letter!
[Panning camera] Christina walks out of the picture.
Xu Mashe: Mr. Marquis, you all know? My wife stays in Paris all the time, and I always stay here. It's not like living, Jane Li looks like a bachelor. What is the Marquis going to do?
Robert: I have no plans, my friend! What do you want me to do? If your wife is willing to stay with you and leave the job of serving your wife, then she's the one who decides, not me!
Xu Mashe: Yes, Lord Marquis!
[shakes] Christina stops towards the steps.
Christina: Oh! How happy I am to be here!
Robert: Me too!
Gatekeeper: hello, lord marquis, marquise, hello!
Robert: Hello!
Gatekeeper: My lord, the marquis, I have made a fire for the heating, and all the fireplaces have been refurbished.
Robert: Well, then, you go to Corneille!
Christina: How about Kirrot?
Gatekeeper: Thank you, the Marquise, for taking care of me, Chierut is fine.
Christina: That's great!
Ko Naiyi: (gets out of the second car first) Has the coal been delivered?
Gatekeeper: Here it is, Mr. Corneille.
Ko Naiyi: Did you pull the wood back too?
Door Snatcher: Yes, Mr. Corneille.
Ko Naiyi: Very good, man.
Lisette followed behind her master.
Xu Marshe: Hello, Lisette!
Lisette: Hello, Edward! (a burst of laughter)
Masha: Not bad, right?
Lisette: Of course not! (reluctantly laughs)
Xu Mashe: Ah! You are here! [The lens starts to dissolve]
Lisette: Yes, here I come.
Scene 71 shows Robert sitting on a folding chair in the garden (frontal, half-length shot). Pull the camera diagonally [slightly down] to frame Xu Marshe on the right, he is carrying a shotgun and a hunting dog. Gunshots in the distance.
Robert: What's the matter with the Internet?
Xu Marshe: Mr. Marquis, it was the sound of gunshots from Mr. Leo's house. They are hitting rabbits.
Robert: Okay, but what are you waiting for, why don't you fight?
HUMACHEL: Lord Marquis, we have hired two peasants, one from Ebinero and one from Dixie. (Robert caresses the puppy) The guards of the manor also hunted for a week, about two hundred and fifty.
Robert: That's all?
Xu Ma She: Hi! Of course, in the moon land, there are fewer catches than usual. Right now, in order to plant trees, fences have to be installed. Otherwise, the rabbits are all eaten.
Robert: No, I don't want a fence.
Xu Mashe: Yes, Lord Marquis!
ROBERT: I don't want to put up a fence or let the rabbits come; you can do it, my friend.
Xu Mashe: Yes, Lord Marquis! Should I go on inspection?
Robert: Of course, Xu Marsh!
Panning the camera, a large road appears (left, overhead), and two park guards with guns are waiting there. They approach Xu Ma She [Medium Shot, Front]. Robert is walking out of the picture.
Xu Marshe: Let's go, let's turn over from Fushiroel.
Scene 72 The fleeing rabbit. Musset, the puppy, was in hot pursuit. The camera pans up, showing Xu Ma She and two garden guards (panoramic view), as well as a hunting dog.
Garden Keeper 1: Hey, hey...Musette...Come here! ...[shakes, reframes these people] They walk towards the camera, to the farther half-length shot. Then, pull the lens.
Garden Keeper B: What did the master say?
Xu Mashe: He said he didn't want to install a fence or let the rabbits come. What do you think about this?
Shake down, framed in Xu Ma She standing in front of the trap [closer mid shot].
Scene 73 Two other gardeners and a dog facing the camera (closer half-length shot). There is also a garden guard in the middle scene.
Guardian A: Alas! You bastard, it must have been the cat from Minoan Mills!
Garden Keeper B: This guy broke our trap!
Scene 74 Medium shot of three people. Xu Mashe opened the trap with his foot.
Garden Keeper: Mi, Mi, Mi! ...
Xu Ma She shot at the fleeing cat.
Xu Ma She: Well, now it's gone.
Garden Keeper A: Yes, but there is also that poaching Marceau, and he has to let him know how good we are!
Garden Keeper B: This Marceau, he doesn't take us seriously.
Xu Mashe: Maybe, now he doesn't take us seriously, but he can't be like this.
The screen changes slightly. People come out from the right.
Xu Marshe: Hey, hey, hey... Musset!
Scene 75 [Overhead shot] A close-up view of the dog, which is biting a turtle caught by a clip. Shake it up, and frame it into the crowd.
Xu Mashe: [Bending down] Well, well... What did you find, little cub?
Garden Keeper: It's a dead rabbit. (they walk forward, the camera pulls back)
Xu Ma She: Humph! It was a row of clips from the beast of Marceau. Don't touch it yet, don't disturb Marceau...
Guardian A: Hmm! He won't come to take prey now.
Garden Keeper B: Come here early tomorrow morning.
Garden Keeper 1: Unless he eats and drinks a lot tonight. Because, as long as he has enough food and drink, he will not be able to get up early the next day.
Garden Keeper B: Humph! This pig, he is very comfortable! What can we do?
Xu Mashe: We have to keep an eye on him anyway. [Exiting the screen from the right] Hey, hey, Musset! (distant gunshots)
Scene 76 On the roadside field, Marceau (bust shot) put away his bicycle and hid his belongings. He put on his old hat and walked out on the right.
In the most 77 medium shot, he enters the manor. Pan, then pull back to follow. Marceau went to the mid-range perspective. Pan down, follow him crouching down, and pan again.
Marceau: Hey! There is one!
He bent over to tie the rabbit. When he gets up, the camera pans slightly; then it pans again to reveal the three park guards concealed on the right (a distant half-length shot).
Xu Ma She: (pulls away the branches and leaves of the bushes) Marceau! ...Hello, Marceau.
Scene 78 A closer half-length shot of Marceau.
Marceau: Hello, Xu Marceau! How about it? Do you want me the rabbit?
Scene 79 A close-up shot of Xu Mashe's body (the badge he wears is very conspicuous), the camera follows, pulls, then pans, and pushes towards Marceau.
Garden Keeper: (to Marceau) Give it to me. (He takes the rabbit from Marceau)
Xu Ma She: Go, go forward!
Scene 80 Rabbit running away [overhead shot]. Shake up diagonally to follow the rabbit. gunshots. Shaking from left to right, framing Robert, he turned around when he heard the cry of the gardener. Slowly panning the camera, there are four people walking from a distance (Rober's half-length shot).
Xu Mashe: Let's go, let's go, it's still so dawdling. go!
Robert: What's going on? How is this going?
Xu Mashe: Lord Marquis, he is Marceau!
ROBERT: What's the matter with Marceau? What does Marceau do?
Xu Marshe: Humph, Marceau is a poacher!
Robert: Umm... come here!
Scene 81 Panorama, a few people came over. Then, the shot becomes a medium shot of these people.
Xu Mashe: We caught him on the spot.
Robert: What is he doing wrong?
Xu Mashe: He arbitrarily placed the clip on the edge of the grove.
Everyone walks out of the screen from the right.
SCENE 82 Robert [medium shot, wide side facing camera] watches them approach.
ROBERT: Are you catching rabbits? ... This is a rare talent, let him go.
He walks out of the frame from the left.
Scene 83 Shaking slowly, the gardener approached Robert. Medium shot of a group of people.
Xu Mashe: Mr. Marquis is planning to joke?
Marceau: I knew that the Marquis would understand me. People understand people, not like this... this big idiot.
He pointed to the annoyed Xu Masha.
Xu Ma She: Big idiot? I have to teach you a lesson and teach you to be polite! (shouting)
Marceau: But what have I done? Just for a bunny... just for a bunny...
Xu Ma She: (Speaking at the same time) We have the right to shoot a bastard like you!
Marceau: (As if trying to get the rabbit back)...What a big deal, what a big deal, what a big deal!
Scene 84 The bust shot, framed by Xu Marceau, framed in the front of Marceau and the sides of the two gardeners on the right and Robert.
Robert: Your name is Marceau?
Marceau: Yes, Monsieur the Marquess.
Robert: Are you poaching?
Marceau: I'm actually a chair repairer, but our business is in crisis like every industry. The Marquis will understand me. I had to make a living.
Xu Mashe: [Voiceover] Is this called making a living? Marquis, during the war, some fellows were not as good at such things as he was, and I even shot them.
ROBERT: (impatiently) It's done, it's done! ... Marceau, your brain is quite to my liking.
Marceau: (flattered) How nice of a lord the Marquis!
Scene 85 A close-up view of Xu Mashe's chest.
Xu Mashe: Lord Marquis, this is a bad breed!
Scene 86 Marceau (large side facing away from camera) and Robert's chest close-up. (large side facing the camera)
Robert: (to Xu Marsh) Shut up! ... (then turning to Marceau) I said, don't look around for work... Would you be happy to hunt rabbits for me?
Scene 87 The camera is aimed at Marceau. (The gardener stands behind him)
Marceau: Oh! ...The Marquis wants to hire me! ...hey, great! ...I would like to. Anyway, no, I..., I didn't mean to do bad things by poaching... I was to feed my old mother! ...
Scene 88 Close-up of Xu Mashe's chest.
Xu Mashe: Lord Marquis, he has no old mother!
Scene 89 The camera is again on Marceau alone, and he turns around angrily. Robert appears on the right.
Marceau: I...I don't have an old mother? ...I...I don't have an old mother? ...
Scene 90 Close-up of the chest of Marceau (large side facing away from camera) and Robert (large side facing camera).
Robert: Xu Marshe, you should go on the inspection. Let me be quiet for a while!
Scene 91 In the middle, the park guards leave.
Xu Mashe: Yes, Mr. Marquis.
Robert: (very happy) Hey! ...You say, Marceau..., you really put the clip here too? ...can you point me to one?
Marceau: [Mid shot] Of course, Mr. Marquis... Since I am serving you, I should show you! ...please come this way! ... (two people come out of the screen from the left)
Scene 92 Two people enter the picture from the right. Half-length shot, distant gunshots. The camera pans down the bushes, and the two of them are kneeling on the ground watching.
Marceau: There, look, look, Monsieur the Marquess. You see, no, there, this clip doesn't go down well.
Robert: Why?
Marceau: Because this road is often traveled. I should have seen it.
Robert: Hmm! However, anyone can be deceived.
Marceau: Oh! No... oh! No...it's a letdown. If Xu Mashe could see it, he would definitely embarrass me.
Robert: Hmm! Don't worry, I'll keep it a secret for you.
Marceau: Thank you, Monsieur Marquess.
Pull, and reframe into the distant medium shot of the two. They come out of the frame to the right.
Scene 93 The two people enter the frame from the left, [half-length close-up] shooting the treetops upwards, they are standing in front of the poplar tree (front), and then there is a side-talking shot.
Robert: So, would you like to work with me?
Marceau: Yes, but I would prefer to work in your villa.
Robert: Why? You don't like the woods, nature here...
Marceau: It's better to be in the villa with Xu Marceau! Here, you thought it was at home, but it became his domain...and when I got to the mansion, he had to let me be in peace...and, I dreamed of being a servant.
Robert: What a ridiculous idea! why is that?
Marceau: For a uniform! I've dreamed of wearing a uniform!
Robert laughed. The two walked out from the right. fade out.
Scene 94 Panorama, looking down from the balcony, the camera framed a car "Draerge", which drove straight over and stopped near the steps. The rain was falling non-stop. Corneille stood at the door, greeting a servant with an umbrella.
Gao Naiyi: Hey! ……Hey! ……take baggage!
Servant: Come!
Shaking, panning, and following Corneille, he held an umbrella and walked to the door to welcome the guests... At this moment, Genevieve was getting out of the car.
Genevieve: Alas! Tsk...tsk...this damn weather! Has it been raining like this?
Shake, pan the camera in reverse from left to right, and follow Gao Naiyi, who is carrying Geneviève to the door of the building with an umbrella, the middle shot of the two of them.
Ko Naiyi: It's only half an hour, ma'am. At noon, the weather was fine.
Genevieve: How long will it take?
Ko Naiyi: No! I don't know, ma'am. But the last time I came with the master, it lasted for half a month!
Genevieve: Ah! That's a bummer!
Villa lobby, interior view
Scene 95 The action changes scene, Genevieve walks to the door and becomes a medium shot. She turned her back to the camera and walked in front. Saint-Il-Open follows (half sideways with his back to the camera) as Corneille opens the door and faces the car. The camera pans slightly, Corneille walks in, at this time you can see the hall from the door, Geneviève is standing on the right, M. de La Bruyère is standing on the left, the general in the middle is kissing Geneviève hands (medium shot) with Charlotte and Jacqui in the distance.
Genevieve: Hello, my general! (calling each other loudly) Hey, the weather! It rains every time I go to the country.
General: This is good for health. Can clear the mind.
Genevieve: Hello, Monsieur La Bruyère!
Scene 96 The same angle, close-up. Genevieve turned around and stood between La Bruyère and the general, half-length shot.
Genevieve: Ho!
General: My dear, I may kiss you, (to Geneviève, who is chattering around) You are like a jerk.
La Bruyère: Oh, Philippe is here too.
uproar. The camera changes slightly, and the general is helping Genevieve take off his coat.
Genevieve: Where have you taken Madame?
La Bruyère: She's in the kitchen talking to Cristina about housework.
Genevieve: Oh! Very interesting. Are you from Turkuan?
La Bruyere: Yes!
Genevieve: It often rains in your factory too?
La Bruyere: Same as elsewhere. We walked for eight hours... through Paris... the road was slippery.
Genevieve: That's a record...oh, hello, my little Jacqui.
She walks out of the screen from the right.
Scene 97 Genevieve and Jacqui come together.
Genevieve: Look! You are so grown up!
Jackie: Is it?
Genevieve: Good homework, right? Do you study Chinese?
Genevieve's side is facing the camera, and Jacqui's side is facing away from the camera.
Jacqui: No, Genevieve, I study pre-Columbian art.
Genevieve: (in affirmative tone) Oh! That must be fascinating!
Panning from left to right, Fat Lady Charlotte is coming out of the next house.
Genevieve: (turning around) Hello, my little Charlotte, have you been doing well?
Charlotte: Hello, my dear! Yo, you are so skinny!
Genevieve: Ugh! no!
Charlotte: Be careful, or you won't be likable!
Genevieve: Don't talk nonsense, Charlotte!
Charlotte: What's the matter here? (she points to the dark circles) I don't have them here.
Gay: (suddenly) Charlotte, are you having fun?
Charlotte: I play, I play!
Gay: are you coming? Genevieve?
Genevieve: I find it annoying to play bridge.
Charlotte: (goes to the right side of the screen) You said bridge is boring? Then play thirty-two, my little beauty!
Gay: (follows her, turns around again) I said, Genevieve, give me the address of your hairdresser.
Genevieve turned around and walked out on the left.
Scene 98 Shot from above, a semi-panoramic view of the lower level of the stairs. On the top stand Robert and Saint-Eauben, and from the bottom, the general and Geneviève are seen entering the frame from the right [closer mid shot].
Robert: Hello! Haven't been good lately?
Saint-Euburn: Not bad, my dear, thank you!
General: (to Geneviève at the bottom of the stairs) You didn't catch a cold on the way, my dear? great!
Robert went down the stairs, Genevieve stood downstairs. Push, move the camera down, and aim them both individually.
Genevieve: Did you really invite André Julie?
Robert: Is this getting in your way?
Genevieve: Well, on the contrary!
Two down from the right. The camera starts to pan to the left, in the opposite direction of the character.
Villa kitchen.
King 99 Kitchen half panorama. Overhead shot, framed in the depths of the picture, the chef who helped the cook, he was wearing a uniform and carrying a basket of green onions. Pan to Cristina and Madame de la Bruyère, then pan across the table to a half-length shot of Cristina, who is standing in the middle of the room.
Christina: George isn't there?
Servant: Hmm! No, Marquise. He was fishing with a cart in Orleans.
Cristina: You explain to him the eating habits of Madame de la Bruyère. She eats everything except salt.
Madame de la Bruyère: Hi! Not so. Put more salt, but you have to put sea salt, and then put it after the vegetables are cooked. It's not troublesome, children can know how to do it...Add salt when the vegetables are cooked!
Christina: Is there any sea salt?
Servant: No, ma'am, but it can be done.
Christina turned to face a uniformed servant.
Cristina: Adolph, Madame Laplante...
Adolph: Ah! By the way, Marquise, I almost forgot, she doesn't drink tea, she drinks coffee!
Christina: Cut a lemon for the general and soak it in hot water.
Adolph: Yes, ma'am!
Madame de la Bruyère: Oh! I think, this is easy to fall off Shuyan!
They descend from the left. Adolph stepped into the middle of the frame, faced the camera, raised his eyes and looked up.
Shouting from outside: Paul!
Servant: Come on!
Scene 100 Overhead shot, a closer half-length shot, a maid standing in front of a cupboard turns and looks at Adolph, who is off-screen on the right.
Maid: What's in store for Andre Giulio? (laughter)
Adolf enters the frame from the right and "shushs" the maid. The maid took a serious look again and removed the tray from the table. The camera pans from right to left, following the maid (close-up). The camera stops when Cristina and Madame de la Bruyère are walking down the stairs leading from the kitchen to the hall [medium shot, upside down, two silhouetted]. Christina is on the left.
Madame de la Bruyère: Do you think the diphtheria shot will work?
Christina: Me? have no idea.
Madame de la Bruyère: The clinic in our factory is very effective.
Christina: Really?
hall
Scene 101 A bird's-eye view, looking out from the hall, the panorama seen through the open door on the steps: Julius wears a raincoat and is accompanied by Corneille up the steps, Corneille holding an umbrella. The two walk to the door [medium shot]. Julio turned to look at the car. Lens slightly changed.
Julius: What are you looking for? Looking for luggage?
Scene 102 Overhead shot. Madame de la Bruyère and Christine (on the right) emerge from the kitchen towards the hall, facing the camera to a closer mid shot. Christina looked at the steps outside the door, then turned around.
Madame de la Bruyère: . You can see how hard this is... Who is this gentleman?
Christina: Andre Giulio.
Madame de la Bruyère: Aviator?
Christina: Yes.
Madame de la Bruyère: Yo! What a coincidence! I asked him for an autograph to bring to my oldest son.
The camera pans across the semicircle along the cylinder, reflecting the large backs of Cristina and Madame de La Bruyère (half-length shot), who are looking at the new guests. Pattering rain.
Octave: (enters the screen) Hello, Christina!
Christina: (runs towards Octave) Hello, Octave!
Scene 103 Shot reversed, Octave's big side back, Christina's big side facing the camera, medium shot.
Christina: Oh!
Panning to frame a close-up of Cristina's bust (with Octave standing in front of her), then to her and Julio's profile (bust shot); La Bruyere from the back He stuck his head out of the door.
Christina: Hello, Andre.
Julio: Hello, Christina!
Christina: It's a pleasure to have you come.
Julius: Thanks for your kindness.
Scene 104 [overhead shot], Rober is approaching from the other side of the background, Christina, Julio and Octave turn to look at him [closer mid shot].
Robert: Ah! Dear Andre! what! It is a great honor for you to visit. You and everyone are old acquaintances.
He took his wife's hands. A few friends left the scene in a circle. The screen changes slightly. Genevieve comes from the background, followed by Charlotte and the gay.
La Bruyere: My dear Juliot! You don't know my wife yet. She wants to ask you to sign it and give it to my son.
Madame de la Bruyère: I look forward to seeing you one day in our Turkuan.
Saint-Euburn: Mr. Julius, really, I haven't seen you since we broke up. You are amazing!
General: Dear Julio, I am delighted to see you. It's an honor to hold your hand.
Giulio: (Crimply) My general...
General: Too, too, too... It's such an honor. You are a man, a real man. There are fewer and fewer such people.
New guest, a South American: (big side facing away from the camera) Hello everyone!
Genevieve: You didn't die in the plane, I have to kiss you! It's a pleasure to see you here!
Jackie: Andre, let me kiss you!
Charlotte: What! ……And me? ...and me?
SCENE 105 Cristina is facing the camera from the side, with a close-up of her chest, standing between Jacqui and Genevieve.
Christina: And what about me? ...as if I had the right.
A screeching sound. Panning from left to right shows a close-up of Cristina as she approaches Julio and kisses him.
Gay: (walking over) Do you think he can play cards?
Charlotte: Of course!
Gay: Ask him?
Panning from left to right shows Beltran, another guest standing behind him, pulled over by the South American.
South American: Believe it or not, if we keep playing, people will win our money to drink.
Push the camera on the general and St. I. Eupen (close-up of the chest). The general is on the left.
Saint-Euburn: (muttering) A family can do this...
General: What do you mean by that?
Saint-Euburn: Why, didn't you see Julio and Christina?
General: But what's your business? . . . We came here to hunt, to find the king of the forest, . . . not to write memoirs!
Scene 106 Close-up of the chest of Charlotte and a gay man, with their sides facing the camera, skewed to the left.
Gay: (Mumbling) Did they do that?
Charlotte: Yes!
Gay: Sorry... such a wonderful lad!
Scene 107 Close-up of Christina's chest with Giulio's left looking down. She took a few steps back and approached Julio, half-length up close. she said to the people around her.
Christina: My dear friends, I should be ho
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