/ [French] Jean-Luc Godard
/ Yao Shiquan
1.2.3. Three close-up shots of the Golden Lion Award, the highest award of the Venice Film Festival, the film begins with this.
Voice-over: The film won the Golden Lion at the Venice Film Festival in 1983 and a special award for its technical achievements in cinematography and sound (4. Opening credits, letters in white, on a black background).
(The piano plays a few notes vividly) The
Seine River - EXTERIOR, NIGHT
5. Traffic on the Boulevard along the river. The brightly lit Bercy Towers gleamed in the night.
An elevated subway train passes over the Austerlitz bridge.
All kinds of vehicles were bustling and roaring.
Title
6. Name Carmen
Carmen (outside): In my heart and yours, a terrible wave was set off (the sound of the waves crashing on the shore and the chirping of seagulls echoed Carmen's words). I haven't read the book, but I also know that the world doesn't belong to the innocent...
THE SEA - EXTERIOR, DAY
7. THE BROAD COAST. The sea gradually covered the sand.
Carmen (V.O.): ...and if possible, we will not change our minds. I'm not afraid, but that's because I've never been able to, and never developed, attachment. Go, I have to go quickly. See you later. This shouldn't be...
SKY - EXTERIOR, NIGHT
8. Clouds obscuring the moon's brilliance.
Film Gate (V.O.): ...a woman named Carmen.
CONCERT HALL - INT, NIGHT
9. Under the lights, several musicians - among them a young woman - play Beethoven's Ninth String Quartet. The eldest of them, a violinist (with a full beard), conducts rehearsals.
Fiddler Armor: The body should swing with it.
credits
10. A LIST OF THIRTEEN MAIN ACTORS.
The sound of footsteps was mingled with the fading and disappearing music.
HOSPITAL GREENHOUSE - INT, DAY
11. A young female nurse looks thoughtfully into the distance.
Patient (voice-over): When feces are valuable, the poor will be born without hips.
Female nurse (turning back): Mr. Hugh.
Patient (voice-over): When feces are valuable, the poor will be born without hips.
Nurse (as he passes by): Yes, it will be written down for you. (Following him) [Cut]
12. A walk in the greenhouse.
The female nurse grabbed Mr. Huge and the two went away together.
Let a Luc Godard in a hospital gown sit in a chair, smoking a cigar and reading a book.
Another patient walked past him, humming a habanera from Carmen.
Ask Luc Godard to stop reading and stand up.
HOSPITAL GARDEN - EXTERIOR,
DAY 13. Spacious courtyard.
Let a Luc Godard come out of the greenhouse.
Patient (screaming off-screen): Are there any French in the hall?
Nurse (voice-over): Jean-Pierre!
The patient (let a Pierre Morkey (Note 1)) came in, followed by a female nurse.
Jean-Pierre Morkey: Are there any French in the hall?
Nurse: Jean-Pierre!
Jean-Pierre Morkey (going forward): Are there any French in the hall?
Nurse (grabs his arm and pulls him away): Yes, yes, come on.
Jean-Pierre Morkey: Are there any French in the hall?
Female nurse: Yes, let's go, let's go. (14. Opening credits: screenwriter, photography, sound) It will be written down for you.
Jean-Pierre Morkey (Voice): Are there any French in the hall?
Nurse (V.O.): Let's go, I'll give you... (vocal cords switch, dialogue replaced by a series of knocks on objects)
Let a Luc Godard's room - interior, night
15. Let a Luc Godard Dahl stood at the window, tapping lightly on the glass, then knocking on the bed rail. As he paced the room, he continued to tap the tea tray, the cup, the wall, the table, and the typewriter's keyboard a few times. He turned back and paced in the opposite direction, slapping himself on the chest and head, then tapping on the tea tray, the bed rail, and the bed. [Cut]
16. Insert the lens of the typewriter. After an angry, crackling series of meaningless dashes, numbers and letters, he typed out the words "frustrated."
In addition to the sound of the typewriter, the banging of furniture can always be heard.
17.
List of technical staff. (The sound stops. The typewriter resumes as the scene ends.)
GODARD'S ROOM - INT. DAY
18. Godard sitting in front of the typewriter.
Intern (Voice): None of this is normal.
Godard (raises his head) Who is it? Oh, please let the infinite world come in.
The intern came to take his pulse. Godard quickly withdrew his right hand and tapped quietly on the typewriter with his left hand.
DOCTOR (VO): How is it today, my friend?
INTERNSHIP (off screen): It couldn't be better.
Godard: I assure you, I am going to fall ill.
19. Reverse shot. The intern and a female nurse flank the doctor.
Doctor: I'm sorry, but if it doesn't get hot again on Friday, I'll kick you out.
Godard: My company has paid for hospitalization.
Female nurse: This is not a hotel.
Intern: Get you out.
Godard: I'm sure I'm going to fall ill.
Doctor: Get you out. (Going out of the screen from the left)
Female nurse: Do I have to write it down?
Doctor (off-screen): Yes.
Title
20. Compose, develop, hold cameraman. (sound of a page being pulled from the typewriter)
GODARD'S ROOM - INT, NIGHT
21. Godard is sitting on the bed with the paper in his hand, facing the typewriter. A small yellow lamp on the bedside table illuminates the room. Footsteps sounded. The young female nurse came to him.
NURSE WOMAN (pats his pillow): The lights should be out, Mr. Jeanno. (She takes the paper from his hand and reads) "The loser has a bad reputation." But, (she goes to the head of the bed) You did a great job today. It should be.
Godard: Do you think so?
Female nurse: Yes, yes. come on! (She lays him down on his shoulders) Don't forget to take the temperature (he throws his shoes on the bed), the heat may go up, no one can tell. (hands the thermometer to him)
Godard: I know if I put my finger on your hip, you'd count to thirty-three. So, dou, rai, mi, fa, sou, la, I have a fever.
Female nurse: Why are you telling me this?
Godard: Today, I have been unable to do what I want. (He sits up) I want to say this, so I'll say it. (Pauses) How, do I have a fever? (The female nurse turns off the light)
Female nurse: Possibly. (Music starts. String Quartet No. 9)
Godard: Yes (he puts on a hood)...Yes (he lies on the bed).
CONCERT HALL - INT, NIGHT
22. Musicians rehearse. At the end of the shot, the sound of a speeding car overlaps the final notes of a Beethoven piece.
HOSPITAL GARDEN - SIDE FRONT - EXTERNAL,
SUN 23. A blue car with a diplomatic corps license plate has just stopped.
A patient walks arm in arm with his female nurse.
As soon as a young girl (Carmen) got out of the car, the patient ran towards her, and the nurse hurried in pursuit.
Patient (to Carmen): Anyway, miss...
Female nurse: Mr. Jean!
Patient: ... who want to expel ignorance and sin from the earth...
Carmen: Where is Mr. Godard's room?
Female nurse (holding the patient): At the door, at the door!
Patient: ...Should it whizz by like a storm, as if doing evil aimlessly? (Carmen walks towards the hospital door. The patient runs around the car again)
Nurse (grabs him): It will be noted for you.
The driver of the blue car honked a few times and opened the door.
Driver (to returning Carmen): I'm sure that's not a good idea.
Carmen: No, that's a good idea.
Music starts. Carmen walks out of the screen, the patient and the female nurse follow closely.
24. The hospital garden, near the gate.
Carmen walks through the garden. The patient, the female nurse, and the blue car follow. Music stop.
Patient: The time has come when your madness will lead you to discover the hidden insides of everything you know (Carmen steps up the doorstep).
Female nurse: It will be written down for you, it will be written down for you.
The patient quieted down, took the nurse's arm and walked away. The car stopped.
Godard's Room - Interior, Day
25. The little yellow light is still on. Godard, in his nightgown, stood by the window. Someone knocked on the door.
Godard: Where am I? (He sits on the bed as he raises one arm and rests his forehead in his hand) Oh, wrong, which one?
Carmen (enters the screen): You don't remember me? ...Carmen. (She kisses his cheek)
Godard: You are... Elizabeth's daughter.
Carmen: Yes. (Silence. Godard takes a puff of cigar. Carmen goes around the bed and walks out of frame. Offscreen) Don't you ask why I'm here?
Godard: Yes, so you can have something to say. (She enters the picture again. The music starts again)
Carmen (pulls a cigarette from the cigarette case): Can we smoke?
26. Godard lit her cigarette with a lighter. Carmen blows the smoke away. (The music stops, replaced by a cacophony of very hospital-like noises: footsteps, trays, doors closing, sirens, and various voices) You have to help me, uncle.
Godard: It's been a long time. That last vacation, which is... very long. (He strokes her neck and lips)
Carmen (pushing his hand away): Yeah.
GODARD (V.O.): The young people are crazy, they forget everything but their memories. They are in a black hole.
Carmen: Now, do you really live here?
Godard (voice-over): No, it's not. Living here is not easy, I get sick almost once a week. (She laughs. But her vocal cords stop as soon as she laughs.)
27. Godard leans against the bed rail with slide rule in hand, as if he were having an important conversation. The noise of the hospital resumed.
Godard: So, I have to help you. (Carmen walks past him) That's unheard of.
Carmen: Yes, but this time for real. (He pulls a book out of Carmen's jacket) It's true.
Godard (reading): "Her amazing beauty that fascinates me (Carmen flips through a book on the bedside table), her tenderness and kindness..." (She takes the book back from him. He watches the calculation Ruler) Great classics are always welcome no matter the time of day.
Carmen (standing at the window): Has the house in Tourville always been yours?
Godard: No doubt...the rent has been paid... (he looks at the slide rule in his hands) 2000.
Carmen: Can I use this house?
Godard: OK, OK... What are you doing? (She moves away as he touches Carmen) The house is empty, well, you know that.
Carmen: I'm going to make a movie with my friends. (Pause. She approaches Godard) So, you said yes (he sits on the bed; Carmen strokes his neck) . . . you said yes, uncle? (He looks at her coldly. Carmen withdraws his hand and strolls around the room) I met a man who is rich, but we have to show him some samples. So, I thought I could shoot there. The story takes place at the seaside. (She puts a hand on her uncle's lap) How about you, you promised?
Godard: The story has a happy ending.
Carmen: I don't know yet.
Godard: You know very well, very clearly.
Carmen: No, stop torturing me! (She hits Godard on the shoulder)
28. Carmen looks out the window. In this shot, her eyes are always wandering outside the window and indoors.
Godard (voice-over): There's always something going on between you and her.
Carmen: With whom?
Godard (voice-over): By the sea, with your mother, like little Elektra (note 2). You don't even remember. I always tell you that you have a gift for misfortune. You say, when all the sinners are gathered in one small place, and, moreover, innocent people live in another small place, what will happen?
Carmen: I don't know. So, it's settled?
Godard (entering the frame): If you wish, I will lend you my new camera (he tries to hold up Carmen's lower collar, and Carmen pushes it away). It plays music and was made by me and the cook here. (The piano plays the first few notes of "Brothers Jacques" and the beginning of "Moonlight")
29. Godard sat on the ground with a Sony micro-component on his shoulders. Or at the same time, or continuously, there were the sound of tableware colliding, the roar of airplanes and the sound of bombs exploding. Carmen came and crouched beside her uncle.
Carmen: Don't you want to make more films, Uncle?
GODARD (winks): Eyes should be closed, not open.
Carmen: You can help us with all your video equipment. Can make a lot of money. Want me to discuss it with my people?
Godard: I don't know, we'll have to wait and see.
Carmen: The house is settled? Who do I go to for the keys?
Godard: The gardener, or his wife. She is in charge of cleaning the house.
Carmen: But the house is empty?
Godard: So what! (Carmen kisses his cheeks)
Carmen: I'll let you know when I have news. (She goes out. String Quartet No. 9 resumes)
MUSIC HALL - INT, DAY
30. Four scores on the music stand. Musicians are playing.
HOSPITAL GARDEN - EXT,
DAY 31. Carmen is standing in front of her friend's car with the trunk open.
Carmen: He agreed.
Driver (voice-over): That's not a good idea. (door closing. Music stops)
Carmen: Yes.
Driver (entering screen): This should have been arranged in advance like a musical score. (Music starts again. He closes his suitcase)
Carmen: Yeah.
Driver: But not now. We are improvising, improvising. (They get in the car) [CUT]
CONCERT HALL - INT, DAY
32. Young violinist Claire is playing a fast-paced segment of the Ninth String Quartet with the musicians.
Fiddler Armor: No. Claire made too many mistakes.
Claire (puts the violin down, the other musicians continue): I know that very well. I admit it frankly. Life is not perfect. And the worst of evil is error (Note 3). (She picks up the violin and prepares to continue playing) [Cut]
The villa near the musicians by the road - EXTERIOR,
DAY 33. A young man (Joseph) rests his elbows on the hood of a red car, holding a White rose flower.
Claire came towards him.
The music stopped, replaced by the sound of vehicles passing by.
Joseph: Hello, Claire.
Claire: My brother isn't there?
Joseph (hands her flowers): He went to buy cigarettes.
Claire: Is this really for me? why?
Joseph: Don't you think it's cold?
Brother (off-screen): So (he enters the frame and speaks to Claire imitating the movement of playing the violin), there is progress? (Claire pushes him away and gets into the car) [Cut]
34. Claire sits in the back seat. [Cut]
Riverside Seine-Exterior, Night
35. On the bank of the river, on the fast lane. Cars with their headlights on, shuttle to and fro.
Claire (voice-over): Tell him to come on Saturday.
BROTHER (VO): No, you said to him yourself...my sister lady asked if you could come for dinner on Saturday.
Joseph (V.O.): I can't get away on Saturday, I have to train.
Claire (voice-over): Why is he still doing this job?
BROTHER (VO): Really, you shouldn't be. Besides, my father found another job for you, as I told you.
Joseph (V.O.): Yes.
BROTHER (VO): Well, I'll send Claire first, then you.
The chirping of seagulls and the sound of waves crashing on the shore replaced the sound of cars galloping.
Boulevard on the Seine - Exterior, night
36. On the banks of the Seine, you can see the Austerlitz Bridge and the Bessita in the distance. An elevated subway train passes over the bridge, accompanied by four notes from Beethoven's music. From time to time came the peculiar sounds of the river.
BANK - INT. DAY
37. Two police officers (one of them Joseph) guard the entrance to the bank. The violin plays the first few bars of Beethoven's Tenth String Quartet.
Policeman: I'm going to have a cup of coffee, call me if there is a situation.
Joseph: What is a situation?
POLICE (waving arms in all directions): Everything, everything!
Concert Hall - Interior, Day
38. The musicians stopped rehearsing.
First Violinist (VO): Be weirder, be more nervous...
Cellist: Are you going to break the chord?
Violinist's Armor (off-screen): No... it's unfolding, so it's going to be far more exciting than the usual way of playing. The second violin and viola are greatly enhanced. Let's start with the D sound again. ONE . .
BANK - INT,
DAY 39. Joseph guards the door of the bank vigilantly.
Fiddler Armor (V.O.): Two.
JOSEPH (to the crowd): Go away, go away, fuck it!
Several customers walked into the bank, and a fat woman came up to Joseph.
FAT WOMAN (to Joseph) Can you sign my autograph?
Joseph: Go away, fuck it.
Fat woman: What, you're not Jean Gabin?
Joseph (increasingly irritable): Go away, go away.
(Meanwhile)
Fat Woman: It's like Jean Gabon in "Spanish Infantry Company."
Joseph (pushing her into the street): Go! (points his rifle in the direction of the fat woman)
Crying voice from the megaphone (off-screen): VCR, VCR, who wants VCR?
Joseph (extremely bored): You all go away...
(Meanwhile)
Screaming (off-screen): The film has everything...
Street in front of the bank - EXTERNAL,
SUN 40. In another fifty meters away from the bank On the sidewalk, "Mr. VCR" stands in front of his megaphone-equipped car, showing off a young girl to woo customers.
Joseph (V.O.): ...you fucking can't go!
Screaming Voice: ...all in all colors...Pal and Secam, VCR, VCR.
Joseph enters the frame and threatens them with guns.
Joseph: Go away, go away, bastard! (He shoots a shot in the sky)
(Meanwhile)
Vendor: Who wants a VCR?
The tenth string quartet starts again. The "promoter" leads the girls into the car. Joseph's crossback rifle walked away.
BANK - INT,
DAY 41. Bank entrance. Joseph carried the rifle over his shoulder. A man and a woman walked into the bank, and the fat woman followed them, knocking Joseph away.
Joseph (calling to colleagues outside). Alan! (to the fat woman) Get out of the way!
Fat woman: Help, help!
(Meanwhile)
Joseph (backs into the hall): Alan! Alan!
The fat woman brandished a pistol and put in an accomplice, who immediately pounced on Joseph. Joseph turned and fled, and the fat woman then forced him. 〔〕
42. Reception hall. Joseph chases the fat woman's accomplice. In the center of the hall, fat women hold guns at terrified customers and staff.
Fat woman: Don't move! (She shoots down Alan who is trying to resist. To the staff in the reception hall) Everyone out, go to the end, quick! (Two customers slip away from the end of the reception hall. Another accomplice walks down the stairs and runs towards the hall) Hurry, hurry, hurry up... (to accomplice) Meet in the lobby.
Music starts.
Partner: OK.
43. The reception hall is visible through a glass door. The two women walked to the door, and Joseph, who was lying at the end of the hall, got up, ran to the door, and drove them away.
Joseph: Get out of the way!
The camera pans to the business hall, and there are people lying on the ground everywhere. A bandit armed with an automatic rifle opened fire on Joseph, who returned fire with his gun. In the rain of bullets, several customers sat quietly. [Che]
Concert Hall - Inside, Day
44. The musicians expressed their opinions on the performance of the previous episode.
Violin Gloves (off-screen): Should be more intense.
Little Tisser Hand B: Oh. (He played a few bars)
Fiddler Armor (off-screen): That's it. Again, because the tempo is a little slower after all...
Cellist: It shouldn't fade out, it shouldn't fade out so fast.
Second violinist: Don't be too early.
First Violinist (unfinished, off-screen): ...Because this phrase is too long, I can't hear it at all, it's too long.
Second violinist: I feel the same way.
Claire (V.O.): Don't ask questions, act. (A child's faint cry is heard)
Second violinist: So, to weaken...
Claire (off-screen): Don't ask questions, act.
BANK - INT,
DAY 45. Lobby. On the ground, the armchairs are littered with dead bodies. A man is sitting on the ground, holding a calculator doing calculations. Joseph walked past him with a rifle and attacked a table. He looked around nervously, looking for someone who would attack him. There was a lot of noise around, mixed with the cries of children.
Claire (voice-over): If you want to reveal them, you have to do a miracle. (46. Claire's bust shot. Music) Only in this way can you (47 with 45) realize the destiny of your life.
Second violinist (voice-over): Oh, Claire! (Music stops)
Joseph is still looking around nervously. When he hits the table, the music starts again. He leaned back against the counter, watched vigilantly (the children weeping in their parents' arms), and opened fire.
48. Foyer. A robber pushed open the glass door! Good luck slipping. Another gangster dodged out of the stairs and fired several shots in Joseph's direction, preparing to take the road and escape. [Cut]
49. Reverse the shot. Joseph is fighting back. He reloaded and fired at the other gangsters in the direction of the stairs.
50. The top of the stairs, the second floor. A man sits peacefully in an armchair reading a newspaper. The fat woman walked past him.
FAT WOMAN (to Carmen off-screen): Carmen!
She fired several shots at Joseph on the stairs off-screen, then hurried away. Joseph came up the stairs, shot her in the direction of her escape, and hid by a table. Behind him, the man was still reading the newspaper. Several shots were fired. Joseph crawled, looking for a more reliable cover.
51. Reverse shot. Music starts. Joseph ran under the stairs to hide. Gunshots rang out.
Carmen appeared on the stairs with a gun in his right hand and a large bag in his left, and opened fire on Joseph. Joseph fought back. She leaned against the wall, put down her bag, and gestured to her accomplice (off screen). An accomplice was called and Joseph shot him, but he still rushed down the stairs and slammed into the shoulder of the man who read the newspaper.
52. Joseph tried to reload, but the gun jammed. He threw the gun at Carmen in great irritability.
53. Carmen dodged and fired two shots at him. Joseph didn't respond.
54. The second floor, the stairs. The man stopped reading the newspaper, and rested on his armchair. Carmen Shooting (music stop). Joseph escaped down the stairs connecting the second floor to the foyer.
Carmen went down the stairs, convinced that Joseph was gone, and went in the opposite direction. She stopped abruptly, staggering under her feet. She steadied herself and put her bag down.
55. Middle second floor. Joseph dodged from another room at the end and bumped into an armchair. He straightened up and rushed towards Carmen.
Carmen aimed his pistol at him and pulled the trigger, but the gun was out of ammunition. The two were startled at the same time.
Carmen threw away the weapon, turned and fled. Joseph chased after him.
56. A landing at the bank. A man in black and a little girl in a red dress fell between two pools of red blood. There were bursts of gunfire. A female Qinggu worker came with a cart, and the music stopped. She started scrubbing the ground with a sponge mop. [Cut]
57. Foyer stairs. Joseph hugged Carmen and rolled down the last few steps. At this moment, the sound of automatic rifles sounded, and they lay motionless on the ground. A moment later, Joseph was the first to break free from this first embrace, and crawled towards a burren that had been dropped near them. Carmen (very softly) pounces on him to stop him. The music starts at a slower pace and lasts only a short time.
58. Carmen took a few steps forward and threw herself on Joseph's back. The music disappears. After the two tore for a while, Joseph pressed Carmen on top. They looked at each other and kissed.
Carmen: Let's get out of here.
They kissed passionately.
59. Same as 56. After the female Qinggu worker wiped a spot of blood, she pushed the cart away, bypassing the corpses everywhere.
Carmen (voice-over): Let's get out of here.
60. Down the stairs, Carmen and Joseph kissed affectionately, unaware of what was happening in the bank at the moment. The bandit leader (the one who drove Carmen to the hospital) came with a bag full of the looted money, crouched on the ground, looked at them, picked up the gun and ran away.
Music starts. Carmen overthrew Joseph to the ground and lay on top of him.
She shook her head a few times. [Cut]
61. Carmen raised her upper body and looked at Joseph with a challenge. Joseph wanted to touch her neck, and she shook her head to break free. Hearing a gunshot in the bank, she looked back. Music stop. [Cut]
62. Joseph also stood up. From time to time there is the sound of cars coming and going on the street.
Joseph (taking off his tie): I'll tie you up so it's more real.
He took off his uniform and tied Carmen with his tie. Music starts.
STREET - EXTERNAL,
SUN 63. The gang leader is sitting in the driver's seat of the blue car, flapping the steering wheel with his right hand.
BANK - INT,
DAY 64. Same as 59 and 56. The female cleaner wiped away the last trace of blood.
STREET - EXTERIOR,
DAY 65. Same as 63. Joseph dragged Carmen to the side of the car, trying to open the other door.
Joseph: The key, the key!
Carmen (voice-over): Give him the key.
Chief: The key is on the dashboard (he opens the door and lets Joseph get in the car). Meet at the scheduled location.
Carmen (off-screen): No change.
Joseph: You go away!
The bandit leader crosses the street. [Cut]
Crossroads - Exterior, Day
66. Corner of the street. An elevated subway rumbled past. Beethoven's tenth string quartet could be faintly heard amid the deafening hustle and bustle of the street.
The blue car approached, circled the small circular plaza at the intersection, and stopped by the sidewalk. The figures of Carmen and Joseph in the car swayed.
67. Carmen's left hand is still tied to Joseph's right hand.
Carmen: Paint me to unlock.
Joseph: No.
Carmen (stroking his thighs): When I fell in love with you (the noise of the street stops and the music returns to its normal loudness), you'll untie it for me.
Joseph (putting his hand on hers): Then it will be me who will be bound.
Seine River - EXTERIOR, NIGHT
68. Same as 35. Traffic rushes in the fast lane. The sound of the waves, the chirping of seagulls, the music intertwined, and then, there was silence. When the shot ends, the music resumes.
SEA - EXTERIOR,
DAY 69. COAST, BEACH. The sea is calm and the sky is blue. Alternately or simultaneously, music and the sound of the sea are heard.
70. Coast. The sky is cloudy. The water became dark and turbulent waves were set off. The sound is the same as the previous shot and continues until the next shot starts.
FUEL STATION - INT ,
DAY 71. Jacques Villeret (note 4) stands in front of a drinks vending machine, beside a glass window. Looking out the window, you can see a row of gasoline pumps.
Music stop. The car Benz sounded.
The blue car is approaching. Carmen and Joseph got out of the car, hands still tied. The two walked towards the door of the coffee shop.
72. A corner of the coffee shop (when the camera starts, all the sounds stop completely. Press it, and the sound of the car coming and going starts again). The shelves are full of various foods. Verlet walked in, finished his drink, threw the cup aside, and stared intently at a shelf, stole a small pile of baby food, and slipped into the toilet at the end.
Carmen and Joseph entered the store.
Carmen: Untie it for me, I want to pee.
Joseph: Great, I think so too.
Carmen: Good, let's go.
They went into the toilet. Traffic stopped.
73. Verlet leaned against the toilet sink, relishing baby food. His figure was reflected in the mirror.
Off screen, Joseph is pushing the door.
Carmen (two out): No.
Joseph (the door is pushed open): Come in.
Carmen (the door is closed): No.
Joseph (the door is pushed open again): Come in.
CARMAN (the door is closed again): No.
Joseph: But... (He finally opens the door and hits Verlet behind the door. He pulls Carmen in and pushes Gong Yong) Go!
74. Carmen lifts her skirt, takes off her panties, and sits on the bucket with Joseph crouching next to her. He looked at Carmen and lowered his head. Carmen looked in the direction of Verlet.
75. Ville was still eating. He turned to face the mirror and swallowed his last mouthful. Music starts.
Concert Hall - Interior, Day
76. Only violinists A and B are seen on the screen.
Fiddler Armor: No, no. (Music stop) is the first phrase of the harmony.
FUEL STATION - EXTERNAL,
SUN 77. The open space outside the Mobiyi gas station.
Carmen and Joseph walked out of the coffee shop. After Joseph untethers Carmen (the sound goes off), she runs to the car (the sound of traffic), then stops, turns (the quartet starts) and waits for him. When he came to her side, she pushed him away again and sat in the driver's seat herself.
CONCERT HALL - INT,
DAY 78. Claire is playing.
The sound of vehicles is gone, and only the music continues. This is the Fourteenth String Quartet.
79. Same as 76. Musicians are playing.
THE SEA - EXTERIOR, DAY
80. The sea, the beach. The sky is overcast and cloudy.
Music stop. There was the sound of waves hitting the shore and the chirping of seagulls.
BEACH ROAD - EXTERNAL,
DAY 81. The blue car pulls to the edge of the beach and stops. horn sound. The noise of the sea disappeared, replaced by music.
82. The back of Carmen and Joseph in the car.
Joseph: Your breasts are beautiful (he buried his head between her tits. Music stopped).
Carmen: Maybe...
THE SEA - EXTERNAL,
SUN 83. Rough waves crash against scattered rocks by the sea. When the shot begins, the music is accompanied by the sound of the waves and the chirping of seagulls. When the shot ends, the music stops.
TOWELL - HIGHWAY - EXTERNAL, DAY
84. The car is parked beside the breakwater. Joseph stared out to sea. Carmen wants to honk the horn. Joseph turned around, put on a face that wasn't interested in her, and sat on the hood. Carmen honked the horn again and Joseph got into the car. [Cut]
Gas Station - Exterior, Day
85. A police car was parked in an open space, and two policemen got out of the car. The quartet is back.
86. The policeman who was driving rolled down the window, looked out, and got out of the car with an automatic rifle. [CHECK] (screen sound)
Tourville - Godard's apartment - interior scene, day
87. Corridor in front of the door. Joseph propped his foot against the wall and untied a shoelace. Carmen opened the door and bumped him.
Joseph: Oh, sorry. (Carmen closes the door and walks down the hallway. He puts his feet on the wall again) Did you get on the phone?
Carmen (walking back): Get out of the way, damn it! (She shoves Joseph, then goes into another room)
Joseph: Excuse me. (He puts his feet on the wall and continues to unlace his shoes)
Carmen (returns to the screen): No, it's my fault.
Joseph: What's the matter? (they hold hands and get close)
Carmen: I'll explain to you later.
Joseph: I can't ask for it. (He tries to unlace his shoe again)
Carmen (feels under him): Minion! I'll go see if there's anything to eat. (She goes out. He follows behind on one foot.)
88. Joseph passes the end room and enters the next room. Carmen walked in, laughing loudly.
Carmen: He's crazy. There's a tape recorder in the fridge.
The camera pans with Carmen to the floor-to-ceiling windows. The blinds outside the window are lowered. Joseph threw his shoes on the floor, approached Carmen, slammed her head twice with the floor-to-ceiling window, and walked out of the picture.
Joseph (V.O.): Excuse me.
The two paced back and forth in the room.
Carmen: It's really empty here.
Joseph (approaches her) Whose house is this?
Carmen: You go away! (pushing him against the wall)
Joseph: No.
Carmen: Then hold me.
Joseph: Okay. (He pulls her over, then pushes away again) [CUT]
FUEL STATION - EXTERIOR,
JANUARY 89. The police walk out of the coffee shop and into the car.
The quartet starts.
BEACH - EXT,
DAY 90. Carmen, wearing a black dress over a red top, walks on the beach.
When the shot ends, the music stops.
APARTMENT - INTERIOR,
DAY 91. Empty room. Carmen opened the window, and when Joseph came to his side, slammed the window hard on him.
Carmen (takes off his coat and sits on the floor): What do you want?
Joseph (sitting next to her): Now? How about you?
Carmen: In life (she dropped one shoe on the floor)...what do I want (throws the other shoe away)...want to show people what a woman does when she's with a man what.
Joseph: With a man? See how she talks to him?
Carmen, no...not so...look what she does to a man.
SEA - EXTERNAL,
DAY 92. The beach is littered with small rocks. The sea is calm and the sun shines. The quartet starts.
Apartment - Interior, Day
93. Bedroom. Carmen turned to face Joseph, who was looking out at the sea from the other window. Joseph walked up to her. The two talked for a few words (but the audience could only hear the music and the crashing of the waves), and Carmen shoved Joseph away and said nothing after that. Joseph put his hand on her shoulder, and Carmen turned away. [CUT]
THE SEA - EXTERIOR,
SUN 94. Sunny Beach.
Carmen (voice-over): I used to (95 and 93) lived here. This is the house of one of my uncles. I was about thirteen or fourteen at the time (she smiled softly). Over there is the living room, here is his room (she puts on her face again. Joseph goes to the window)...his room. (Pause) I'm shooting a movie with some buddies.
Joseph: OK.
Carmen: Yes. A documentary...but I can't tell yet. (The chirping of seagulls is heard)
Joseph: That's why you robbed the bank?
CARMAN (smiles at him): We'll talk about that later. I'll explain it to you when my friends arrive. I'm going to call tomorrow, and then I'll tell you. (He approaches Carmen and strokes her shoulder.) It's a long time coming. Now, you go away. (pushing it off screen)
Joseph (off screen): No, you tell me right away.
Carmen: But I told you to go away...
Joseph (V.O.): No.
Carmen: I'm fascinated by you?
Joseph (off-screen; puts his hand on her shoulder): Yes.
Carmen: Maybe...
BEACH - EXTERIOR,
SUN 96. The tide has just receded and the sand is dark brown.
The sound of the sea is gone, and the music continues.
Carmen (V.O.): ... so did I.
Concert Hall - Interior, Day
97. The musicians (Claire standing) play most of the first movement of String Quartet XV.
Violin Armor: Pushing the bow...one, two...raising...still...drawing the bow...fluttering.
98. Two other musicians are playing.
APARTMENT - INT,
DAY 99. Joseph and Carmen stand in front of floor-to-ceiling windows. He caressed the top of her dress cautiously. Carmen stared into the distance.
The music continues at the start of the shot and is then replaced by the sound of the ocean.
Concert Hall - Interior, Sun
100. Same as 98. The fifteenth string quartet starts again.
Residence - Interior, Day
101. Same as 99. Joseph was topless and lightly touched Carmen's chest. Carmen never undressed.
Music stop.
Carmen: Come on, fool. (Joseph removes the top of her dress completely) Lightly (he kneels in front of her), lightly...
Joseph (completely inaudible):...
Carmen: That's it.
Joseph: Why are there women in the world?
When Joseph indulged in kissing Carmen's abdomen, there was a sound of rolling waves.
THE SEA - EXTERNAL, NIGHT
102. In the vast twilight, the waves crash against the rocks and the music starts again.
CONCERT HALL - INT, NIGHT
103. Claire plays attentively.
The sound of the waves faded away.
Fiddler B (VO): Attention, Claire.
Claire: Destiny, show your strength. We are not our own masters. Fateful Things...
The Sea - EXT, NIGHT
104. THE BEACH.
Claire (V.O.): ...should be...the
apartment - inside, day/night
105. Bedroom. Carmen sat on the bed, Joseph lay on his back. It was dawn, and the room was bathed in the faint morning light.
Claire (V.O.): ...it's meant to be. (Music stops. The sound of the ocean waves resumes)
Joseph (sitting up): I found it.
Carmen: What?
Joseph: Prison...why is it called a cave.
Carmen: Why?
106. Same as 104. The quartet started but was soon replaced by the sound of the sea.
Carmen (VO): Why is everything shaking...
Joel (VO): What are you talking about? I didn't hear it.
Carmen (voice-over): Everything is shaking. The earth...the house...and me.
107. Both Carmen and Joseph are sitting on the bed.
Carmen: Maybe... maybe my hips are shaking too.
Joseph leaned over her and buried his head between her legs. The sound of the waves stopped. Carmen grabbed Joseph by the shoulders and lifted him up. There was a crashing sound of waves, echoing their movements.
Joseph: Your hips are already like a mature woman. (The two repeat what they did just now, and the crashing sound of the waves also sounded again)
108. Joseph stroked Carmen, then lay down on his side.
Music gradually replaced the sound of the sea.
Kessel (V.O.): Everything has to be tested at night (109. The sea inserted into the night)...
Concert Hall - INT, NIGHT
110. Claire sits in front of the music stand, leaning over and writing on the score. Music stop.
Claire (reading as she writes): And the clouds...are the clouds reminiscent of the rapids of life?
APARTMENT - INTERIOR,
DAY 111. WINDOW. The room is still dimly lit. Carmen and Joseph are both in the backlight position. Carmen squatted on the bed, head drooping on his knees. Joseph opened the window (just as the morning dawned), went out to the balcony, and then went back to the bed. Carmen straightened up. Joseph buried his head between her legs.
Joseph; will you write to me when I am in prison?
Carmen: Why are you going to jail, things can be remedied.
Joseph: Are you writing to me? (The sound of the waves ceases. He looks at Carmen. The fifteenth quartet starts again) THE
SEA - EXTERIOR,
SUN 112. The sky is full of dawn, and the red sun rises.
Residence - Interior, Day
113. Same as 111. The music stops when the shot begins, replaced by the roar of the sea.
Yochenfu looked at Carmen and stood up slowly.
The Sea - Exterior, Sun
114. Same as 112. Music starts again.
Residence - Interior, Day
115. Same as 111, 113. Carmen and Joseph knelt on the bed, each putting their palms together, fighting with all their strength.
SKY - EXTERIOR, NIGHT
116. A few clouds cover the brilliance of the moon (same scene 8), the music stops as soon as the shot starts, and the sound of the surging waves starts instead.
APARTMENT - INTERIOR,
DAY 117. KITCHEN. Carmen, wearing only a jumper, leaned against the table. Joseph sat on the chair at the table.
Carmen (inserts hand into his hair): How about you? (He doesn't look at her and lights his cigarette. Carmen strokes his upper body, then pushes him) Hi!
Joseph: Well, I can't think of any boyfriends or girlfriends I have.
Carmen (playfully): Uh...
Joseph: Oh, no, I know a girl, but she's so unusual... (takes a breath) Loneliness forces me to think of myself as my partner.
Carmen (takes the cigarette from his hand): You know, I...I really...really thought you wouldn't untie it for me. (takes a breath) I haven't been so frightened in a long time. (Gives the cigarette back to him. Pause. She strokes his neck)
118. Reverse the shot.
Carmen: Did you go to school?
Joseph: No, not much.
Carmen: Is it because your parents have no money, or because you don't want to go to school?
Joseph: My parents weren't that rich, and I didn't want to go to it.
Carmen: Why?
Joseph: It's not that I don't want to tell you, but it's a long story, and I'm afraid it will continue until tomorrow. Besides, I have to figure it out myself first. Do you understand? (hands her cigarette)
Carmen (smoking): Yes, I understand. (returns the cigarette to him) If you haven't been to school, Jacques will not be easy to pass. But I'll give it a try...and, you're a cop.
Joseph (stroking her thigh): Isn't that what made us meet?
Carmen (puts hand on Joseph's): Exactly.
Joseph (stroking her buttocks and thighs): Your buttocks are really girlish (music on. 119. Close-up of Carmen)...and like a mature woman.
Carmen: I know, Joseph.
Joseph (V.O.): Joseph.
Carmen: I tell you plainly, if I love you, you're done.
Joseph (V.O.): Yes, Carmen.
Carmen: What is this called?
Joseph (V.O.): What?
Carmen: It's the innocent people here...and the sinners there...and...and, I don't know.
Cerf: I don't know either.
120. Carmen leaned against the table and placed Joseph's hand between her legs.
SEA - EXTERNAL,
DAY 121. The waves crash against two rocks on the shore.
The sound of the waves overshadowed the music. Towards the end of this shot, the music stops.
Tourville - Road in front of the apartment - EXTERIOR, DAY
122. Nagato is speaking passionately and generously to someone off-screen, the wind ruffles her long hair. The sound of the waves and the music are intertwined.
A man - the sheriff - walks into the frame and the music stops. There was the chirping of seagulls and the sound of doors opening and closing.
Sheriff: The dream is over, back to reality.
Carmen pushes it out of the screen, footsteps, gunshots.
123. Around the police car. A policeman hugged Joseph by the waist, while another policeman stood by with an automatic rifle. The sheriff snatches the tiny cassette recorder from Joseph's hand. Music starts.
Sheriff: Go, hello, come in!
124. The back door of the police car. Police pushed Joseph into the car, and he struggled to get out. Music stop. Gunshots started. The police finally closed the door.
Joseph (looks out the car window): The light of justice will always shine (125. Insert the sheriff's shot), and the light of the wicked will go out. Maxims 13-6.
Sheriff: Old friends, the police belong to the society, just like the dream belongs to the individual. (to off-screen cops) Go, throw him in the suitcase.
POLICE (VO): You're going too far, boss.
Sheriff: Go, do it... (126. Rear body. A policeman opens the trunk)... do it, boys.
A policeman stuffed Joseph into a suitcase. The music resumes, accompanied by the chirping of seagulls. The sheriff looked at Joseph and closed the trunk.
THE SEA - EXTERIOR,
JANUARY 127. Seaside. The sky is grey and the sea is calm. The music stops halfway through the camera.
Tourville - Road in front of the residence - EXTERIOR, DAY
128. Highway. The sea can be seen in the distance. Bandit leader Jacques ran to the door of the blue car. Music starts again.
Jacques (to Carmen in the car): The wait was long enough. You let go.
THE SEA - EXTERIOR, NIGHT
129. BEACH. The music stops when the shot ends.
Acting Attorney General (V.O.): He was hired to protect citizens' money...
Courtroom - interior scene, day
130. Everything in the courtroom, including the prosecutor, the acting attorney general's chair, and the The docks are all made of white marble. Joseph stood in the dock.
Acting Attorney General: ...but he did not perform his duties. Today, he owes a debt to society.
WOMAN LAWYER (standing up): Society, which means nothing more than big corporations (Note 5), money from big banks, (she strode up and down the courtroom) money from institutions of power. Shit, you'd better say it straight.
Prosecutor: Shut her up, Mr. President.
ATTORNEY (passing behind Joseph): No, I won't be silent. He did it right (holds his shoulders). Between love and money, the younger generation will always choose love.
Prosecutor: Shut her up, Mr. President. Her words will be held accountable.
The female lawyer went back to her seat and pulled out a document.
Attorney Sherry: Good people are favored by God. (Typewriter)
Female Attorney: …Potentially…
(Meanwhile)
Prosecutor: Her words are going to be held.
Female Attorney: ...the courage to be willing to take risks...
(at the same time)
Acting Attorney General: ... upright people...
Female Attorney: From one look...
(At the same time)
Acting Attorney General: ... evil People...
Women Attorneys:...a smile, from gestures...
(At the same time)
Acting Attorney General: Aphorisms 12-32...
Women Attorneys: And, in each of you...
(with Meanwhile)
Prosecutor: Her words will be held accountable.
Female Attorney: Because this violence is a kind of tranquility...
(cracking of cups)
Carmen (off screen): Well, since you want me to explain to you...
(At the same time)
Acting Attorney General: And integrity the rationality of man...
Carmen (voice-over): We're going to kidnap someone.
Tourville - Residence - Interior, Day
131. Kitchen. Carmen was leaning on the sink, a bowl in hand. Joseph sat at the table.
Joseph: Kidnap someone?
Carmen: Yes, an industrialist. Every Friday and Saturday night, he came to the club to gamble. We were torn between him and his daughter.
Joseph: Why not do both?
Carmen: Not enough people. There are only four of us. Besides, it's not up to me to decide.
(Conversation continues, but voice is inaudible)
Prosecutor (off-screen): Her words will be held accountable.
Acting Attorney General (voice-over): The voice of evil contains a deadly trap, but the righteous will be free from melancholy and anxiety. (Typewriter starts)
LAWYERS (off-screen): Joseph Bonaphy is sensitive by nature, but violent...especially this kind of sensitivity...COURT - INT, DAY
132.
Joseph standing in front of the dock with a female lawyer. Some listeners can be seen in the background.
Acting Attorney General: A lunatic should be held accountable for his actions, but the one who listens to advice is a wise man. Maxims 11-17.
JOSEPH : The madman's wrath will erupt instantly, the cautious...
Tourville - DIVINE - INT . DAY
133. KITCHEN. Joseph sat, Carmen leaning on the table.
JOSEPH (continues; off screen): ...then swallow it.
Acting Attorney General (off-screen): Maxims 13-17. (Typewriter stops)
(Meanwhile)
Prosecutor: Maxims 13-17.
Joseph: Is he going to make a movie?
Carmen: No, it was my idea to make a film. I suggest they do like Dillinger (note 6). I...I've seen a comic strip...when he robbed a bank once, he pretended to be...making a movie...so...using video equipment that can be found everywhere...I...I think ...that would seem normal. (takes a sip of water) And, I also think of my uncle. He's a famous director, he doesn't make films anymore, he's ill, but... how exactly, I don't know... But I went to the hospital to see him and convince him that we're going to fund him to make a film. (She laughs) He liked me a lot when I was little...but...I don't know if it's true...I think...at home he...he likes me the most. He always wants me to make films...I don't want to.
THE PRESIDENT (V.O.): Let's go... (typewriter stops)
COURT - INT,
DAY 134. COURT. The female lawyer took Joseph back to the dock.
President: ... to lunch.
Bailiff: Come on, go to lunch... go to lunch.
There was a commotion in the courtroom. All of them stood up at the same time and raced towards the door.
Prosecutor: Don't let this hillbilly go.
President: Why not let it go? ...
CONCERT HALL - INT, NIGHT
135. Musicians are playing. But the audience can't hear the music, only the chirping of seagulls and the dialogue in the voice-over that overlap each other.
THE PRESIDENT (off-screen): …have him put up a large bail.
Acting Attorney General (off-screen): You stay here for now, Mr. President.
Prosecutor (VO): You judges are so annoying. We worked so hard to find the culprits for you, but you...
Court Cafe - INT,
DAY 136. Claire sits at a table with her father (off screen), her brother and Joseph. The female lawyer sat a little further away.
Father (off-screen): This will be arranged.
Claire (to Joseph): Hey, what are you thinking?
Joseph: To want to or not to, that's not really an issue.
Claire: Is this woman really that important to you?
Joseph: It's ridiculous, but there's something forbidden, a force that drives me...the tide is rising.
Claire: The tide also ebbs. I'll help you, would you like to?
Brother: Of course he would.
FATHER (VO): You can stay at my house for a few days.
Claire: Tell him, Dad.
Father (voice-over): I got you a job with the State Railway Company.
Bailiff (Voiceover): Let's go, let's go, let's go, it's court time.
(female lawyer comes towards Joseph)
Claire: Would you like to go?
Female Attorney (to Joseph): I think we'll win. I also forgot, someone asked me to give this to you (handing him a large envelope).
137. Reverse shot. Joseph opened the envelope and pulled out a red rose from inside. He stared at the fiery red flower. [CUT]
BAR - INT, NIGHT
138. This is where Carmen's gang meet. Bertrand was playing video poker, Gregory was playing video games, the fat woman - Christina - was standing behind the counter with Carmen on her elbows.
Carmen: Have a glass of whiskey.
Gregory (leaving video game machine, to Carmen): Your pistol, you forgot to take it.
Bertrand: Thankfully we're thinking of you.
Carmen (puts gun in pocket): Let me be quiet for a while. (to Christina) No news yet?
Christina (voice-over): No, no news. (She brings a drink to Carmen while playing the habanera from "Carmen")
Bakery - Interior, Day
139. This is a modern bakery similar to a fast food restaurant, with its main colors (lamps, tapestries) ) is yellow. Christina approached the counter.
Christina: Please bring me a cup of coffee.
The leader Jacques came in and put the coffee cup in his hand on a table. Godard went into the bakery, came to Jacques and put a book on the table.
Jacques: Oh, it's a pleasure to meet you, M. Godard. (extending his hand to him)
Godard: Seventeen to one, number six (he doesn't shake hands with Jacques, imitating the clapper). Chairman Mao said, be aware. Well, people forget him, but he's a great cook.
Jacques: Right.
Godard: He made all China have food to eat.
Jacques: I have to talk to you about us.
Godard: But Carmen isn't there? (He looks around) Not here (searches in Jacques' coat), not here (looks under the table).
Jacques: She's not coming...she...she's not doing very well at this stage. (Godard compares their scarves)
Godard: Well, well, she's in love.
Jacques: Exactly.
Godard: In love.
Jacques: But I don't know who she fell in love with.
Godard: In love. (He picks up a piece of cake and weighs it with his hands, then touches it again)
Jacques: Would you like some cake?
Godard: Yes.
Jacques: Please... (Godard puts down the cake and picks up the sugar) Get some cake for my friend.
Godard (puts down the sugar, puts cigar ash in Jacques' glass): Alas, these young men, huh, what a bunch of rubbish (pat Jacques on the shoulder), they didn't invent cigarettes (look at his cigar), they didn't invent jeans (Look at Jacques' trousers), no invention.
Jacques: They invented unemployment.
Godard: Not necessarily. They didn't look for unemployment anyway...
Jacques: I had to...
Godard: Got to look, um... Van Gogh looked for a touch of yellow when the sun went down. Gotta look, old friend, look.
Jacques: Yes. I have to talk to you about us. Please come here. (He walks ahead)
Godard (talking to himself): Gotta find it.
Jacques (to Christina) We're upstairs.
140. Jacques sat at a table on the second floor. Godard stood beside him, reading The Eye of Burst Keaton. His female nurse sat him down, put coffee and cake on the table, then walked away and sat by the window. She can be seen in the mirror hanging by the table.
Godard: In any case, I'm very happy to be back in filmmaking in a... in a club. This will be a gift to me (eat a piece of cake)...this will be a gift of a cookie to me.
Jacques: Ah, yes.
Godard: Three years ago, I was leading Marlene Dietrich and Beethoven in Nice. At the time, I was a producer working with...with Robert Dorfman...and then there was no money to pay the workers, so we gambled with...the wages paid to technicians and actors and we lost clean. I got kicked out of the movie world (put soot in his glass). But I want revenge. Because of this, when... when my niece mentioned your plans to me, I accepted.
Jacques: It is. I have to tell you... the film is going to be shot at the Intercontinental Hotel. Now, in Paris, in the InterContinental Hotel, not... not by the sea.
Godard (suddenly): Better! May I ask you a real question?
141. Jacques: Please speak.
Godard: The stories you make up are not true.
Jacques (suddenly frustrated): What do you mean?
Godard: I hope, this documentary is fictional.
Jacques: Yes, yes, exactly.
Godard: This is better. How to solve the problem of money?
Jacques: How much money do you need? (Godard took out a slide rule)
142. Godard (calculated with a slide rule): 1,327,000... centimes (Note 8).
Jacques: OK, I'll write you a check... well, I think it's all settled... Carmen and I will call you. (He stands up)
Godard: Well, the conversation isn't over yet. (Jacques takes his seat again. Godard puts a slide rule in his coat.) Will there be a dressmaker? I tore my coat from... I tore my coat out of the subway.
Jacques: Don't worry... I told you that we are experts, you will see... OK, I should go... (Going out of the screen. Off screen) I'll call you a taxi? (Godard shakes his head) See you next week, we'll call you.
He held out his hand, but Godard looked into the distance. A moment later, Godard also reached out to him, but still did not turn his eyes to him. The female nurse came and sat next to Godard.
Godard: What is the... nature of the... present crisis, (she pulls out her sewing kit) We live in a corrupt economy that is producing... waste. The mission of classical capitalism (she is threading the needle) is to create the best wealth possible. In today's modern society, it is impossible to make it accomplish this task (she sews Godard's coat), because the machine has... terrifying power. Machines only create... wealth that doesn't fit any need, from the atomic bomb to plastic cups. Nobody Needs...
Seine - EXTERIOR, NIGHT
143. Same as 5. Traffic-heavy riverside avenue. Besita flashes in the night sky. Two elevated subway trains meet on the Austerlitz bridge.
GODARD (V.O.): …Atomic bombs, and no plastic cups.
Female nurse: Yes.
When the shot ended, the electric pinball machine sounded.
BAR - INT, NIGHT
144. Same as 138. Carmen was still leaning against the counter. Jacques entered the bar and came to Carmen's side.
Jacques: Where have you been?
Carmen: It's none of your business.
Jacques: As you wish. Now, I'm looking at you (lifting Carmen's jaw, she shakes her head away), and you're looking at me too. I met your uncle. (to off-screen waitress) Christina, have a little chop. I never thought it was a good idea... Besides, we don't even know if we should go to the father or the daughter. (Bertrand and Gregory also come to the counter)
Bertrand: What, you don't know yet?
Carmen: Don't listen to him, he always discourages everyone.
145. Carmen drank the drink from the glass slowly.
Jacques: Hello, Bertrand, did you talk to the lawyer about the check?
Bertrand: We talked. He believes that instead of making fake checks, it is better to make real checks and fake accounts.
Jacques: Alas! It's so complicated for me tonight. I'd better go to sleep. (puts hand on Carmen's shoulder) Are you coming? (String Quartet Fifteenth begins)
Carmen: I don't know.
146. The gentleman "the VCR" was sitting on a bench with his girl, sorting out the tapes. Music stop. Carmen came over.
Carmen: Hello.
Girl: Hello. (They kiss cheeks.)
Carmen: In two days, tell me where you got your dress. (The girl nods in agreement)
Jacques (to Carmen) How are you, are you coming? Come on... (He takes Carmen by the arm and takes him away) [Che]
Berry Street - Exit from the parking lot, EXTERNAL, NIGHT
147. Jacques and Carmen are waiting for their car.
Jacques: Now, listen to me, listen to me.
Carmen: Let me decide for myself.
Their car has arrived. Music starts again. The parking lot employee greeted them and left. Jacques opened the door.
148. Reverse shot. Jacques got into the car. Carmen knocked on the window and he opened the door. As soon as Carmen stepped into the car, he got out of the car immediately after seeing Joseph waiting for her in front of the arcade.
Carmen (to Jacques) See you tomorrow.
She threw herself into Joseph's arms, and the two cuddled away. The car starts, with the Swiss license plate on it... the
music stops. The phone rings.
INTERCONTINENTAL HOTEL - SUITE - INTERIOR,
DAY 149. Large room in a suite of rooms reserved by Jacques and his crew. Spacious room with light ochre coloured carpet. The lamp with the yellow lampshade emits a soft light. Carmen, wearing a yellow bathrobe, walked towards an open window. When she heard the phone ring, she took off the receiver.
Carmen; yes.
Joseph (also comes in in the yellow bathrobe): Everything is ready. (Goes to the balcony)
Carmen; see you later and kiss you.
When Carmen went to the window, Joseph closed it. Carmen tied the belt of her bathrobe and walked to the couch to sit down. Joseph never left.
Joseph (stroking her buttocks): What the hell am I supposed to do?
Carmen (raises his hand): I'll tell you. (She gets up and walks away. Joseph sits on the sofa) We'll tell you. (He picks up an orange on the table)
150. Carmen goes to the fireplace and starts dressing. There were two copies of "Jiefang Bao" on the fireplace, and one page slid out, with the headline "Who Is Making Fears".
Joseph: I am very happy. Others stroke the plan (put oranges on the fireplace) and I stroke you. (so, he goes into action)
Carmen: You have forgotten what I said to you.
Joseph: What?
Carmen: In that American film, she said (grabs his bathrobe): "If I love you, your end will come." (Note 9) (Push it to the window. Joseph takes off the bathrobe ) Do you want to come again?
Joseph: Yes, yes.
Carmen: Did you wash it?
Joseph: Oh, it's clean... how about you?
Carmen: I'm not clean. (smiles)
Joseph (taking off her bathrobe): I really want to put my fingers in you. (He strokes between Carmen's hips. Carmen walks towards the mirror, then turns back.)
151. A close-up of Carmen.
Carmen: But what's the point...we're not the scumbags...(Joseph strokes her neck with his hand) Hey, Joel. (raises his hand)
Joseph: Joseph.
Carmen: What came before the name?
Joseph: Last name.
Carmen: No, before that, before someone called you.
Joseph: I don't understand.
Carmen: I often...I often think, I don't have much to do with you. (Someone knocks on the door) It's for you. (She looks out of frame)
152. A waitress walks in with Joseph's clothes.
Carmen (to the waitress): Please put it there. (Waiter puts clothes on the bed)
Joseph: So, what role do I play?
Carmen: Let's talk about it tonight.
She leaves the screen. The waitress came out of the room. Joseph draped his clothes over his shoulders, looked in the mirror, and then began to wander around the room like a distraction.
Joseph: What have I been doing here all day? what am i doing?
Carmen (voice-over): Now I'm going out. (Joseph sits down irritably) I'm late.
153. Reverse shot. Carmen put on a very pretty cream-white dress and fastened her belt.
Joseph (V.O.): What am I doing? ...you answer!
Carmen: Taste... (puts on panties) Taste my appearance. (picks up his shoes and sits on the chair by the window) Do you think I am beautiful?
Joseph (entering the screen): You know that. (puts down his clothes and walks to the window) You know that very well.
Carmen: Well, you can seriously think about this. (Joseph tries to kiss Carmen, but Carmen covers his mouth with his hand) Alright, see you tonight. (She walks out of frame. Joseph slumps into the chair she just sat on. Off screen) If I don't see you tonight, see you tomorrow.
Joseph: But you just said see you tonight.
CARMAN (back on screen): I have a job. (Walking up to him while wearing gloves) I have a job.
Joseph: And me...and money.
Carmen (kissing him on the face): Keep that in mind too.
Carmen went out. Joseph stood up and turned on the TV.
THE SEA - EXTERIOR,
DAY 154. BEACH. The sound of the waves and the sound of the Mercedes-Benz vehicles blended together.
INTERCONTINENTAL HOTEL - EXTERIOR, NIGHT
155. STREET. The sound of the waves stopped. A car with "Magic Video Recorder" painted on it stopped in front of the hotel. Jacques got out of the car and walked towards the hotel door. "VCR Girl" took his place in the front seat. The car turns around and turns back. [CUT]
INTERCONTINENTAL HOTEL - INT. NIGHT
156. A man (note 10) is on the phone at the end of the hallway, and a woman and a young lady are sitting on the couch beside him.
Ambassador (calling): Goodbye (in Polish). (hangs up)
Madam (to girl): Wandering around like her...
Joseph's figure is reflected in the mirror above the sofa.
Ambassador (to his wife): Done, Eloise, signed. Tomorrow dinner at the Elysee Palace.
Joseph walked past them.
Lady (pushes into the ambassador's arms): I love you, I love you.
Ambassador (to his daughter): Come on, dear.
They left together. [CUT]
INTERCONTINENTAL HOTEL - SUITE - INT. NIGHT
157. The waitress makes the bed in the other room of the suite. The lights on the four walls are shining brightly. The TV was turned on, but there was only a snowflake on the screen.
Joseph (into the room, to the waiter): Alright, done, done! Go and make that bed, that's enough!
Waitress: Yes, sir. (Continues to decorate the bed carefully. Joseph takes off his coat and sits down)
Joseph: All right, all right. (She stands in front of Joseph, expecting a tip) I tell you, all right. (He fumbles in his pocket and changes his mind again) Let's go, let's go... (He gets up and walks out. The waitress sets the bed again, then turns off the lights)
Christina (off picture) ): Help, help!
158. A yellow room. Gregory sat on the sofa and loaded the gun. Bertrand was lighting a wad of banknotes. Joseph walked through the door, and Christina followed.
Christina: Help, help!
Joseph (pushing her into a chair): Hey, be quiet!
Gregory: Hello.
Joseph: Hello.
Kristina (coming over and stroking his cheek): Hello, beautiful warrior. (Joseph sits in the chair she just got up from)
Bertrand (giving Joseph a deep salute): Your lord.
Joseph (silence for a while): Carmen isn't there?
Bertrand (as far as he is concerned): dou, rai, mi, fa, sou, la.
The other two burst out laughing. Joseph pounced on Bertrand angrily.
JOSEPH (to Bertrand) Get off, you little idiot!
Jacques (entering screen): Are you done? (points to anot
View more about First Name: Carmen reviews
