The Bohemians by David Nathan

Oldtuberadio

Saturday-Night Theatre: The Bohemians Sat 20th Sep 1986, 19:00 on BBC Radio 4 FM By David Nathan, based on Henri Murger's "Scenes de la vie de boheme"  Bohemia is a district of Paris bordered on the north by cold, on the west by hunger, on the south by love and on the east by hope. It is a stage in artistic life, a prologue to the Academy, the hospital or the morgue. Murger's book inspired the two operas of Puccini and Leoncavallo entitled La boheme. Music by David Timson (piano) With Gustave Clarkson (Viola) Michael Hirst (flute) Director: Ian Cotterell  Rudolf: Clive Francis Schaunard: David Timson Durand: John Webb Mouton: Clive Panto Musette: Tina Marian Marcel: Christopher Scoular Bernard: Timothy Bateson Colline: Christopher Good Waiter: Richard Huw Phemie: Polly James Benoit: Kerry Francis Mimi: Miriam Margolyes Maurice: Giles Cole Mariette: Carole Boyd Juliet: Fiona Walker    Do you enjoy the variety on Oldtuberadio? Like, Share and Subscribe to be notified of our new shows #radio #crime #thriller #drama To Support this channel please visit https://www.buymeacoffee.com/oldtuberadio https://ko-fi.com/oldtuberadio98 https://www.patreon.com/oldtuberadio https://locals.com/Oldtuberadio

Transcript

00:00:00Bohemia is a district of Paris, bordered on the north by cold, on the west by hunger, on the south by love, and on the east by hope.

00:00:14It is a stage in artistic life, a prologue to the academy, the hospital, or the morgue.

00:00:21Its inhabitants are as abstinent as anchorites for most of the time, but when they have money, they spend it on loving the youngest and prettiest, and drinking the oldest and best.

00:00:32When the money is gone, their women leave them, and they drink water.

00:00:37It is a charming and a terrible life, but as long as men and women are young and not quite virtuous, this kind of life will exist.

00:00:48Clive Francis, Christopher Good, Christopher Schouler, and David Timpson play the Bohemians, and Polly James, Miriam Margulies, and Tina Marion, their women, in David Nathan's dramatization of Seine de la Vie Bohème by Henri Merger.

00:01:07The Bohemians

00:01:09All right, all right! I'm coming! Who is it?

00:01:18It's me, Monsieur Schouler, the porter. I have a message for you.

00:01:22Oh, yes.

00:01:24It is a letter.

00:01:26Well, shove it under the door and leave me alone!

00:01:28I was ordered to hand it to you personally, Monsieur Schouler.

00:01:31Oh, God!

00:01:32Was she pretty?

00:01:39Pretty?

00:01:40Oh, that's a good one!

00:01:44Pretty!

00:01:45Give it to her, madame.

00:01:47It's from Monsieur Bernard, you'll notice, to quit. Unless you come up with a rent, seventy-five francs and not a penny less, he says, or out you go, three-quarters owing.

00:01:58And no tricks, Monsieur Bernard says. No sneaking out with your furniture. You go and it stays until you settle up.

00:02:07You can tell, Monsieur Bernard, he can keep his potsy room. I have acquired new chambers. I would have paid and moved yesterday, only, uh, they're being redecorated to provide a proper setting for my effects.

00:02:18Well, your effects. Stay here until you've coughed up seventy-five francs. Monsieur Bernard says that not one effect moves till then, particularly the piano, seeing as it's the only effect worth having.

00:02:31I have your money.

00:02:33Well, give it to me, then, and I'll give you a receipt.

00:02:36Your money is here, in my head. A song that will be heard in every cafe in Paris.

00:02:43It's about a young girl picking a daisy to pieces by a blue lake while she thinks of her poor lost lover.

00:02:49It may not be original, but it's very fashionable. Here is the moonlight.

00:02:55A swan glides over the water.

00:03:03A ripple.

00:03:04Oh, gee.

00:03:11The fair and youthful maiden

00:03:15As she flung her mantle by

00:03:19Through a glass with sorrow laden

00:03:23Up unto the starry sky

00:03:27And in the azure water

00:03:31On the silver-wavered lake

00:03:35That's very fine, that.

00:03:37Silver-wavered.

00:03:38Well, anyway, that's as far as I've got.

00:03:40But it won't take long.

00:03:41It will make me a fortune

00:03:42In which Monsieur Bernard's seventy-five francs

00:03:44Will be but as a drop in the...

00:03:46Silver-wavered lake.

00:03:48All right, Monsieur Chouinard

00:03:50You've got four hours

00:03:51And when you've finished

00:03:53Bring it down to the lodge and sing it to me

00:03:56I'll sing you a receipt

00:03:58Laugh-hah-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha-ha.

00:03:59Yeah.

00:04:00Oh.

00:04:02긴 her.

00:04:03Lake, cake, bake, snake, mistake, break, shake, hake, a hake in the lake.

00:04:20She sits and picks a daisy, gently parting leaf from leaf.

00:04:28Oh, daisies don't have leaves, God almighty, they have petals.

00:04:34Gently plucking at the petals, the maiden's mind grows daisy at the memory of...

00:04:43Of... of a what? Nettles? Metals?

00:04:48It's no use.

00:04:52Now, the slippers will have to stay and the house coat.

00:04:58But I'll take the crockery.

00:05:03Oh, God, if I fall downstairs with this lot in my pocket, I would cut to ribbons.

00:05:09Rudolph, I haven't seen you for ages.

00:05:34Things have been difficult. The streets are paled with creditors, but what can you do?

00:05:39On the first day of spring, how could I stay indoors?

00:05:43The police should do something about it.

00:05:44About what?

00:05:45The absolutely scandalous immorality.

00:05:48I was woken up by the sound of bed springs in the next room.

00:05:51I looked out of the window and the girl opposite was taking off her clothes to go to bed with her lover.

00:05:55So what?

00:05:55At ten o'clock in the morning.

00:05:56I called in a friend and he opened the door an inch and behind him a girl laughed.

00:06:02Everyone's making love this morning.

00:06:04We seem to be the only two in the whole wide and throbbing world were not actually at it.

00:06:09But what about Louise?

00:06:10That was a lifelong passion, if ever I saw one.

00:06:13It should have lasted at least six months.

00:06:15Ah, Louise, the body of a Venus, the face of a nymph, the mind of an ant, and the morals of a rabbit.

00:06:23I spoke to her of the poetry of love, compared her to Eloise, Juliet, Talon.

00:06:29She thought I was talking about old girlfriends.

00:06:32I wrote her a poem called When Beauty Rises in the Morn.

00:06:36And she said she did some other time when she wasn't so busy with her hair.

00:06:39And yet I loved her, still love her, but with an undying passion.

00:06:43Well, in that case, what happened?

00:06:45You would not have been the first man to make love with his ears closed.

00:06:48The little idiot turned off with a medical student who told her she had the most perfect body he had ever seen.

00:06:53As he was only acquainted with corpses, it is not surprising.

00:06:57All the same, he hit on the truth by accident.

00:07:00But her body was mouthless and spoke a more eloquent language than ever came from her lips.

00:07:06Are you still writing for the Corsair, Mouton?

00:07:07Just about.

00:07:09But I won't be unless you can help me out.

00:07:11Were you at the play last night?

00:07:12Of course.

00:07:12I was delayed by some urgent business.

00:07:15And when I woke up, it was too late.

00:07:17What I'd like is a summary of the plot.

00:07:19What I would like is five francs.

00:07:21In that case, some criticism as well.

00:07:23Done.

00:07:23And a few epigrams.

00:07:24Oh, very well.

00:07:25I have a lot of space to fill.

00:07:27Some general opinions about the state of the theatre would be useful.

00:07:30They're a bit worn.

00:07:31There's not a waiter in Paris who hasn't heard them at least a dozen times.

00:07:33How many lines will they fill?

00:07:35About 40.

00:07:36My God, Rudolf, you have very strong opinions.

00:07:38Will you lend them to me?

00:07:39I'll sell them to you.

00:07:40Make it ten francs.

00:07:41That's half my fee.

00:07:42But it's all my opinions.

00:07:58Do you really think I look like Moses?

00:08:00It's the stance that can't smooth it.

00:08:03That is a very Moses-like attitude.

00:08:05The robe hides everything.

00:08:07And after I've given you a long white beard, God himself wouldn't know the difference.

00:08:10You know, Marcel, most of the artists I pose for are interested in my breasts.

00:08:15I've been frequently complimented on them.

00:08:17No doubt.

00:08:18But the subject is the crossing of the Red Sea.

00:08:21And there is little scope for breasts.

00:08:22Now, if it was the worshippers of the golden calf, it would be different.

00:08:26I could get quite a few breasts in there.

00:08:28Maybe I'll do that next.

00:08:30But at the moment, it is the Israelites and the Egyptians and a big wave.

00:08:35No, not that kind of wave.

00:08:39Please keep still.

00:08:41I once knew an Egyptian.

00:08:43A pasha, he told me.

00:08:45He thought my breasts were very fine.

00:08:48I found out later that he came from Algiers and sold brass ornaments.

00:08:51But by then it was too late.

00:08:52This painting will endure longer than brass.

00:08:55It will hang in the Institute and you will be famous.

00:08:59If they ever find out it's you under the beard.

00:09:01Or as Pharaoh.

00:09:02Oh, Pharaoh as well.

00:09:03Without a beard.

00:09:05They had very feminine faces.

00:09:07Came from marrying their sisters.

00:09:09You'll be more recognisable as Pharaoh than as Moses.

00:09:11But not the breasts?

00:09:13They were not that feminine.

00:09:15How many people will be in your picture?

00:09:17About 160 in detail.

00:09:20Several thousand more in a kind of blur.

00:09:22On the left are the children of Israel looking back in amazement.

00:09:26The Egyptians are on the right and towering over them is an immense wave.

00:09:30They've just seen it and they're looking pretty amazed too.

00:09:33I knew an Israelite as well.

00:09:35Mr Solomon.

00:09:36You know, the one with the junk shop at the corner of the Rue Hushet.

00:09:40He wanted me to pose for him.

00:09:43Though I don't think he's ever held a brush in his life.

00:09:47I'll have to stop for the time being.

00:09:50I'm moving rooms today.

00:09:51The new place isn't far and we can continue there.

00:09:54But what's wrong with this room?

00:09:55I've been here a month and I'm tired of it.

00:09:57Besides, it's too small and I don't like clutter.

00:09:59The new room's much bigger.

00:10:00Clutter?

00:10:01A mattress on the floor, your easel and some canvas screens.

00:10:04That's not much clutter.

00:10:06Not much.

00:10:07Those screens depict the interior of a Venetian palace.

00:10:11Look.

00:10:12A ballroom.

00:10:13Its chandeliers gleaming.

00:10:14A balcony hanging over water.

00:10:16A great reception hall full of Louis Cattell's chairs and tables and estuictoire.

00:10:21You won't find many rooms aren't here with furniture like that.

00:10:24Careful, man.

00:10:33Watch out.

00:10:34The ballroom's sliding off.

00:10:35Catch it, man.

00:10:37Down.

00:10:38Now there's a tear in the marble.

00:10:41Well, this is the place.

00:10:44Put the things down there, just beside the courtyard.

00:10:46Now, where is your portal?

00:10:49Marcel, this room, is it much bigger?

00:10:51Oh, yes.

00:10:52You see, I'm having a little problem with my landlord.

00:10:54And I wondered if, just for a few days, perhaps.

00:10:57You know, that is, if you wouldn't mind.

00:10:59Stay?

00:11:00With me?

00:11:01Wonderful, yes, certainly, by all means.

00:11:03Oh, good.

00:11:04That's settled, then.

00:11:05But?

00:11:06But what?

00:11:07If you don't want me to stay, I'll have no trouble finding somewhere else.

00:11:10No, it's not that, really, it isn't.

00:11:11What, then?

00:11:12Well, there is only one room.

00:11:15And you are 18.

00:11:17And I am 22.

00:11:18And made of gunpowder that will be detonated by a single glance.

00:11:22Good.

00:11:22Then everything is settled.

00:11:24You want me, and I should like you.

00:11:26So let's shake hands and enjoy ourselves.

00:11:28Bowers, pretty flowers.

00:11:30Buy a pretty flower for the pretty lady.

00:11:33Here.

00:11:33I'll take them all.

00:11:35Oh, oh, thank you, Marcel.

00:11:38A small token of our love, Mousette.

00:11:41Love?

00:11:42Oh, no, it's not love, Marcel.

00:11:45We like each other, that's all.

00:11:46It's not love.

00:11:47But perhaps it's the seed of love.

00:11:50I'll stay with you as long as I...

00:11:52As long as these flowers last.

00:11:56I should have bought immortelle.

00:11:58That wouldn't have done much good.

00:12:00Their other name is Love Lies Bleeding.

00:12:02Oh, the new tenant.

00:12:03The gentleman of the top floor back.

00:12:05Oh, welcome, sir.

00:12:06Your room will be ready by the time the rest of your effects arrive.

00:12:11Monsieur Bernard!

00:12:12Monsieur Bernard!

00:12:14The new top floor back's here.

00:12:16Oh, bless me.

00:12:18Well, there's a letter here for you, sir.

00:12:20A letter.

00:12:20Coming, coming.

00:12:22A letter.

00:12:24A letter, did you say?

00:12:25Oh, you'll excuse me, sir, while I read my communication.

00:12:30Give me the correspondence, Duran.

00:12:31The correspondence.

00:12:32Duran.

00:12:33Important affairs, sir.

00:12:35An epistle, sir.

00:12:36Must be given immediate attention.

00:12:38Of course.

00:12:38There's no hurry at all.

00:12:39It's from that swine, Chenard.

00:12:42Friend landlord, politeness compels me to inform you that I'm under the cruel necessity of

00:12:47abandoning the old custom of paying rent.

00:12:50You what?

00:12:50Times are hard, and the returns on which I counted have failed.

00:12:54Of the considerable sums I had confidently expected, only three francs have materialized,

00:12:58a sum so insignificant that I wouldn't insult you by offering it.

00:13:02Wouldn't you?

00:13:02Better days will come, both for France and for me.

00:13:06How will I?

00:13:07When they do, I shall hurry to inform you of their arrival and to withdraw from your lodgings

00:13:11those precious articles of furniture which I leave under the protection of both you and

00:13:15the law, the latter especially, as it prevents you from selling them for a full year.

00:13:20I commend to your special care my piano, and the large box containing sixty locks of hair.

00:13:25Therefore, dear landlord, I grant you full permission to dispose of the room in which

00:13:29I have lately dwelt.

00:13:30Permission?

00:13:31Full permission?

00:13:32So I can let his room, can I, with full permission?

00:13:35Oh, that's swine, Chenard.

00:13:37P.S.

00:13:38A.

00:13:38Pre-refer any callers to my temporary lodgings, the third tree as you leave the Bois de Boulogne

00:13:43and turn into the Avenue Saint-Cloud, fifth branch.

00:13:46Well, what are you waiting for, you fool, Duran?

00:13:48Run upstairs and see what that swine, Chenard, has left.

00:13:51He's probably stolen most of the effects.

00:13:54And now my room, sir, if you please.

00:13:56My furniture will get ruined if exposed too long to the sunlight.

00:13:59The paint will fade.

00:14:00Your room?

00:14:00Oh, yes, your room, sir.

00:14:02My porter, Duran, told me he had found a gentleman tenant for the highly desirable vacant sixth-floor

00:14:08chamber with every modern comfort.

00:14:10If that swine, Chenard, has stolen anything, send for the police.

00:14:15Very sorry, sir.

00:14:17A little difficulty with a tenant.

00:14:18Well, an ex-tenant, most unusual.

00:14:21This is a very respectable house, sir, madam, I assure you.

00:14:25It all seems to be here, Monsieur Bernard.

00:14:28Not an effect moved as far as I can make out.

00:14:30And maybe a few bits of clothes on that old cracked bowl and plates, sir, for nothing else.

00:14:35Well, bring it all down, Duran, unlock it in the cellar.

00:14:38Then move this gentleman's furniture to the sixth-floor back.

00:14:42You and your lady, sir, will be installed in no time, no time at all.

00:14:47Once your furniture arrives, we'll have it upstairs in a trice, sir.

00:14:51But my furniture is already here, sir.

00:14:52Yeah, eh? Oh, yeah, furniture.

00:14:55What are those screams?

00:14:57You are a humorist, sir.

00:14:59You are speaking jocular-like, eh?

00:15:01Very funny, sir.

00:15:03Funny? Why funny?

00:15:04Oh, you must have more than this, sir.

00:15:07What about my security?

00:15:09Isn't a Venetian palace sufficient security for the rent of an attic?

00:15:12No, sir, it is not.

00:15:13I want real furniture, real chairs, chairs you can sit on,

00:15:17tables you can eat from.

00:15:18I want mahogany.

00:15:20Mahogany is very common. Everybody has it.

00:15:22But surely, sir, you must have some furniture.

00:15:25It takes up too much room.

00:15:26You get a place so full of chairs, there's no room to sit down.

00:15:29A bed? You must have a bed, at least.

00:15:31I mean, what do you...

00:15:32What do you sleep on?

00:15:34A mattress, see? It's rolled up here.

00:15:36And a good conscience.

00:15:38Excuse me, sir.

00:15:39Monsieur Schrenard's chair.

00:15:41If you don't mind, sir, if you'd just open the cellar door.

00:15:44You are, you fool!

00:15:45Did you ask this gentleman what his occupation was?

00:15:48Could you not see that he was a painter?

00:15:50Why, no, sir.

00:15:52Well, he gave me five francs in advance for the rent.

00:15:55I would have suspected a thing like that.

00:15:57But he's got no furniture.

00:15:59I do not believe in furniture.

00:16:00Not believe in furniture?

00:16:03You, sir, you're an atheist.

00:16:06Sir, if you have no furniture, you have no room.

00:16:09Kindly remove your things from my courtyard.

00:16:11I have paid two weeks' rent in advance, and it has been accepted.

00:16:14The law says that the room is mine.

00:16:15And the law says I may refuse a tenant who has no security.

00:16:19But you have the security of two weeks' rent.

00:16:20I will return it to you.

00:16:21I will not take it.

00:16:22You cannot have the room.

00:16:23I will have the room.

00:16:25How much furniture do you need for your security, Monsieur Barnard?

00:16:28Well, sir, it's hard to say.

00:16:30Marcel, if I'm to be Moses and Pharaoh, I cannot stand all day with my arms outstretched.

00:16:35I must have a place to rest, where I can lie down.

00:16:39You will be buying a bed at least, won't you, Marcel?

00:16:42Monsieur Barnard, will a bed be enough?

00:16:44Well, it's very little.

00:16:46An armchair, table perhaps, or some ordinary chairs.

00:16:50A bed.

00:16:51Nothing else.

00:16:52Unless...

00:16:53Unless what?

00:16:54Unless you would care to rent a furnished room instead, sir, a room of superior quality.

00:17:00And on the fifth floor, sir, it'll cost slightly more, of course, being furnished with the very best effects, including a piano.

00:17:06How much more?

00:17:07Well, say four phrases, you know, five francs a week in advance, of course.

00:17:12I really don't see why I should.

00:17:14I shall be cluttered up.

00:17:15I shall keep bumping into things.

00:17:16A bed, Marcel, a bed.

00:17:20I'll take the furnished room, Monsieur Barnard.

00:17:22Splendid.

00:17:23That will be another five francs, sir, to make up the two weeks' rent in advance, as the law permits.

00:17:28Very well.

00:17:29Have you changed for 500?

00:17:31Five...

00:17:31Five hundred.

00:17:34Durand, run to the bank and get the gentleman's note changed.

00:17:37Then hurry back and get his effects upstairs, and take that armchair back as well.

00:17:41Quickly now.

00:17:43495 francs changed.

00:17:45490.

00:17:45You may keep the five francs, Durand, on condition that every morning you come to my room and tell me the day of the week, the month, what the weather is like, and which government is in power.

00:17:53Yes, sir.

00:17:54Yes, sir.

00:17:54With pleasure, sir.

00:17:59Business chair.

00:18:00Please, sir.

00:18:01I don't know about that, but certainly it's not occupied.

00:18:05You wish to order, sir?

00:18:06Yes.

00:18:06Two half-portions of rabbit stew, please.

00:18:08The other gentleman has already ordered, sir.

00:18:11What has that to do with it?

00:18:12They're both for me.

00:18:13Two half-portions of rabbit.

00:18:16And a glass of red.

00:18:18Not two half-glasses.

00:18:20What would be the point?

00:18:21The full glasses are already half-empty.

00:18:24Yes, sir.

00:18:25I see you have grasped one of the economic facts of life, that two halves are better than one.

00:18:30Not better.

00:18:31More.

00:18:32To the hungry, more is better.

00:18:33As you were reading, sir, I took you for a philosopher, but I see you have a great grasp of reality.

00:18:38Even philosophers go hungry.

00:18:40That's one of the reasons they need a philosophy.

00:18:41Ah, but I see you are more than a philosopher.

00:18:44You are a walking encyclopedia.

00:18:46Theology, Greek, Latin, literature, drama, mathematics, you label the pockets of your coat as if it were a library.

00:18:53My coat is my library.

00:18:54My books are my home.

00:18:56Besides, for my major work on the history of the Church of France, the pagan, Judaic, and even Christian influences it has come under from time to time,

00:19:04I need to be able to make quick reference to many esoteric matters.

00:19:08My name, sir, is Colleen.

00:19:10Gustave Colleen.

00:19:11And I, sir, am Alexander Chouinard.

00:19:12An artist, no doubt.

00:19:14A musician.

00:19:15A composer.

00:19:16But I was once a painter.

00:19:18It was my experience of painting the view from the top of Notre Dame that inspired my symphony on the influence of blue in art.

00:19:24I used to see a great deal of sky whilst lying on my back waiting for inspiration.

00:19:28You have written a symphony, then?

00:19:30I am writing a symphony.

00:19:31In the meantime, I teach Piano Forte whenever I can get a pupil.

00:19:35And I teach mathematics, philosophy, rhetoric, history, both natural and unnatural.

00:19:40Unnatural?

00:19:41What men have done, as distinct from what animals do.

00:19:44Ah.

00:19:44Geography, calligraphy, oratory, and virtually anything else you care to mention.

00:19:48Oh, you must know a great deal.

00:19:49I do.

00:19:49Ah, my rabbit stew.

00:19:51Oh, yes, sir.

00:19:52It's not to you, sir, this gentleman.

00:19:54He ordered this, sir, and it's the last.

00:19:56No more rabbit stew.

00:19:57Oh, in that case, you must share this with me.

00:19:59Oh, no, no.

00:20:00I would, I could.

00:20:00Waiter, another plate, please.

00:20:01Yes, sir.

00:20:02Would you deprive me of the pleasure of sharing with a fellow artist?

00:20:06Well, if you put it that way, I'll buy the wine, a bottle, waiter, and some bread.

00:20:10It seems that we are very fortunate.

00:20:13There's a head in this stew that indicates without doubt that it comes from a rabbit.

00:20:17The configuration of the skull is unmistakable.

00:20:20I once studied biology.

00:20:21Ah, science must be a great comfort.

00:20:24It is so certain about things.

00:20:26I hope you'll let me keep the head.

00:20:28I know some people don't like it, but I consider it to be a great delicacy.

00:20:31One man's head is another man's treat, as Robespierre said.

00:20:35Oh, but if you really like it, have it by all means.

00:20:39I thought you said you wanted the head.

00:20:42So I did, and so I have.

00:20:45I think you must be mistaken.

00:20:46Well, I have it here.

00:20:47It's just emerged from the gravy.

00:20:49So you have it.

00:20:51The only explanation I can think of is that we are honoured by partaking of a bicephalus rabbit.

00:20:57By what?

00:20:58By two cephalus headed.

00:20:59It comes from the Greek.

00:21:01Buffon cites some cases, but it's a very rare condition.

00:21:05None at all have been seen in modern times.

00:21:07It is a phenomenon.

00:21:09I don't think I've ever eaten a phenomenon before.

00:21:11It must be celebrated with another bottle.

00:21:14Ah, no, it's all right.

00:21:15I had a pupil today.

00:21:16Wait up!

00:21:17Coming, sir?

00:21:17Oh, come on, Femi.

00:21:19Give us a song.

00:21:20No!

00:21:22Femi!

00:21:24Besides, there's no one to accompany me.

00:21:27Where's the piernish?

00:21:28Get up!

00:21:30Get up!

00:21:30There was a girl who asked for him, and he has not been seen since.

00:21:35What can I do?

00:21:38Gentlemen, gentlemen, ladies and gentlemen, we are fortunate in having with us tonight the

00:21:44celebrated composer and musician, Monsieur Alexander Schaunard.

00:21:48Oh, you're too kind.

00:21:49Mademoiselle, I'm sure that someone of your charm and grace could easily persuade Monsieur

00:21:54Schaunard to accompany you at the piano.

00:21:56Ah, or anywhere else, for that matter.

00:22:02Do you know fleeting love?

00:22:04Fleeting love intimately.

00:22:06Then let us make some music together, Monsieur Schaunard.

00:22:10Ah, or anywhere else, for that matter.

00:22:40The stars pledged my heart, but here are weak, it's past its peak.

00:22:57Soon love can't love, soon, so soon it is past.

00:23:06Oh, who's back again?

00:23:10Holly!

00:23:11Oh, don't.

00:23:12How are you, my dear friend?

00:23:13And how is literature?

00:23:15Oh, sit down and take a glass of wine.

00:23:18I am starving, and literature is indifferent.

00:23:21Journalism, on the other hand, has just rewarded me with ten francs.

00:23:25I sold Mouton some opinions at so much a line.

00:23:28Has a grocer sells cheese, so many ounces, so many francs.

00:23:32My poetry is a different trade altogether, but I expect you disapprove and think I betray

00:23:38my muse and the contrary.

00:23:40I have no time for the artist who thinks he's above common humanity.

00:23:43Tell some of them that the five franc piece is a great power in the land, that boots do

00:23:47not fall reddy black from heaven, and they turn you out of time and call you a tree.

00:23:52But here's Shona, and the delightful Miss Famite.

00:23:55Rudolph, this is Shona, a composer.

00:23:59Shona, this is Rudolph, a poet.

00:24:02I could see you are a literary man.

00:24:04You are very observant.

00:24:05It would be hard to miss the holes in your coat.

00:24:07One, two bottles, sir, with the compliments of the patron, please.

00:24:11Oh, a benefactor, a patron of the arts.

00:24:13Oh, Louvre's not a bad chap, though he usually prefers literary men to musicians or painters.

00:24:18He once met de Balzac and has been very respectful to the written word ever since.

00:24:22But he's no here for music or eye for colour.

00:24:24It's just as well, then, that I didn't take my gloves off.

00:24:28Oh, God, green hands.

00:24:30I've heard of green fingers, but there's two phenomena in the course of one evening.

00:24:34First a bicephalus rabbit and now verdant hands.

00:24:38Show me, my dear.

00:24:39I don't think any of the classical writers ever encountered such a thing.

00:24:43Cedar described the British as being painted blue, not green.

00:24:46And the Native American is termed red Indian.

00:24:49Although I believe this is not a literal description.

00:24:52Of course it is.

00:24:53There are Negroes of various shades of brown, Asiatics of a yellow complexion,

00:24:56and a disease that also turns a...

00:24:58I haven't got a disease.

00:24:59You'd better not put it about, monsieur, that I am diseased.

00:25:02The last one that said that finished up in hospital.

00:25:05With a disease?

00:25:06With a cracked skull.

00:25:07I get these hands through work.

00:25:12I'm a dipper.

00:25:13What?

00:25:14Of course I should have known.

00:25:17The artificial flower industry involves a number of processes,

00:25:21but the basic one, the one on which all the others depend,

00:25:23is the method of making them green.

00:25:25Femi dips the leaves and makes them green.

00:25:28She's a force of nature.

00:25:30She is a flower.

00:25:32I shall write a symphony to these hands.

00:25:34We must drink to Femi's hands.

00:25:36Yeah.

00:25:37Anyone would think I have nothing else the way you lot go on.

00:25:40Oh, are they green too, those other things?

00:25:43White.

00:25:43All right.

00:25:44Oh, what a pity.

00:25:46If they were green, it would be like making love to a man.

00:25:50I shall write a poem to your green hands, Femi,

00:25:53and I shall call you Femi Tenta.

00:25:57No, Printer.

00:25:58No, Splinter.

00:25:59Splinter.

00:25:59Damn, they're all cold and hard, these brothers.

00:26:01Yes, and she is warm and soft.

00:26:04Gentle minor chords, rounded rallentandos,

00:26:08love in lentil.

00:26:11To the green hands, the red lips, the golden voice,

00:26:16and white body of Euphemia Tenta.

00:26:19The green hands of Femi Tenta.

00:26:23Colleen.

00:26:24Do you think he wants to play her, paint her,

00:26:27or all three?

00:26:28All three, I should think.

00:26:30Ha, ha, ha, ha, ha.

00:26:32Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha.

00:26:34The Grisette was the working girl of Paris.

00:26:50She was neither immoral nor virtuous,

00:26:52but knew how to reconcile work with pleasure.

00:26:56She went to church in the morning with her mother

00:26:58and to the ball in the evening with her lover.

00:27:01She was easy to take and impossible to keep.

00:27:05A bird of passage that nested as fancy or sometimes necessity

00:27:08dictated for a day or night in the garrets of the Latin Quarter.

00:27:13She could be detained by a whim or by a serious passion

00:27:16for a few ribbons.

00:27:19She was half bee, half grasshopper,

00:27:21and she sang at her work all day,

00:27:24loved with all her heart,

00:27:26and sometimes threw herself out of a window.

00:27:28Treating love, cheating love,

00:27:37vows it will stay, then flies away.

00:27:45At the start, pledge my heart,

00:27:54but in a week is as it be.

00:28:02Gentlemen, please, gentlemen,

00:28:07dad, lady, it's well past my closing time, I beg you.

00:28:12But the weather, man, look at the weather.

00:28:15It's absolutely pissing down, and I live in Montmartre.

00:28:18And I live, I live, where do I live so now?

00:28:22In your books, Colleen.

00:28:24But other than that, damned if I know.

00:28:27He's a very old friend, Rudolf,

00:28:29but we only met this evening.

00:28:31I have not known the gentleman long myself,

00:28:33but then I am fated to have my most beautiful friendship cut shot.

00:28:37Take my wonderful Louise for it.

00:28:39Oh, gentlemen, please, please.

00:28:41You wouldn't turn Honoré de Balzac out on a night like that.

00:28:47No, no.

00:28:49Monsieur de Balzac would have his carriage at the door.

00:28:52The rain wouldn't touch him.

00:28:54It wouldn't dare.

00:28:55In 20 years, when we are all as famous as de Balzac,

00:28:59would you like it to be known

00:29:00that we all contracted pneumonia through you and died, yeah?

00:29:04There seems to be a logical flaw in that argument, Rudolf,

00:29:07but for the life of me, I can't see what it is.

00:29:11I'm sorry, gentlemen,

00:29:12but my respect for the arts is second only to my respect for my bed.

00:29:18Come on, there is no use arguing with him.

00:29:21Anyway, I live just around the corner,

00:29:23and you must all come home with me.

00:29:24Gee, let's settle.

00:29:27I seem to have three lousy francs only.

00:29:30Colleen, you work it out, and I'll pay you my share tomorrow.

00:29:33Share? What share?

00:29:34Sharing is for book, Leapos and Clark.

00:29:37We give what we have, and I believe I have enough.

00:29:41And I, and I, I think.

00:29:43No, no, I will settle.

00:29:45Dad, I'll get some food and drink to take back to show.

00:29:48Oh, and go back.

00:29:50Six bottles, if you please, and some pate.

00:29:53A party, a party.

00:29:55I said pate.

00:29:56You might say the same thing.

00:29:57A pate party.

00:29:59And Femi will sing for us.

00:30:02I'll sing.

00:30:03Why do I only love poor men?

00:30:06We are rich in everything but money.

00:30:09And whenever I do meet a rich man, I hate him.

00:30:12Believe me, Alexander.

00:30:13Yes, nothing.

00:30:14I would never go with a rich man if it wasn't for the money.

00:30:21Why do I only love poor men?

00:30:26Why don't I fall for the rich?

00:30:31A hole in the shoe makes a thrill through and through.

00:30:36And most of her lovers are pushed for us, too.

00:30:40A hole in the shoe could get lots of dresses.

00:30:45She's never been given a stitch.

00:30:49For the man I advance on to start a romance.

00:30:59To bear a while, the ribbons to hold up their pants.

00:31:10I don't think I've ever been so happy, Musette.

00:31:21But tomorrow you'll leave me, or the next day.

00:31:25Tomorrow is an absurdity of the calendar.

00:31:27Tomorrow there may be an earthquake.

00:31:29Tonight, at least, we're on solid ground.

00:31:32I do not believe in the future.

00:31:35In fact, I'm not at all sure that it exists.

00:31:37Where are you going?

00:31:39To water the flowers, of course.

00:31:46Oh, drunk's and noisy tonight.

00:31:48Shh, shh, shh.

00:31:49Oh, go to sleep, my love.

00:31:52Go to sleep.

00:31:54That's funny.

00:31:55There's a key in the lock.

00:31:57There we are.

00:31:58Good God, there's a man in my bed.

00:32:08You wish to see me about something?

00:32:10Perhaps a portrait commission?

00:32:12Howling, he's brought us into the wrong room in his place.

00:32:15Oh, I knew you, and me too.

00:32:18I, I mean.

00:32:19I'm very sorry.

00:32:21I seem to have made a mistake.

00:32:23This appears not to be my room after all.

00:32:25He's good enough to excuse our friend here.

00:32:28He's as drunk as three fiddlers.

00:32:30That's quite all right.

00:32:32And yet that garment is mine.

00:32:34What?

00:32:34That housecoat with the stars on it, that's mine.

00:32:37And so is the piano.

00:32:39All pianos look alike.

00:32:41Black and white.

00:32:43But they don't all sound alike.

00:32:45There, you see?

00:32:48There can't be two fiddlers of that particular vile, folks.

00:32:51You're two housecoats like that, spangled with stars.

00:32:54Memory of a past life.

00:32:56And that's altogether gone now, Femi.

00:32:59Did you by any chance buy this piano and this housecoat from that thieving porter?

00:33:05These are my slippers.

00:33:07My baboosh.

00:33:08My dear little baboosh.

00:33:10There's the hole in the left sole.

00:33:12Let me see.

00:33:13Yes.

00:33:14There's no doubt there's a hole in the left sole.

00:33:19Come now, sir.

00:33:20Admit it.

00:33:21You bought that hole from the porter, didn't you?

00:33:23How do you explain your presence among my household objects?

00:33:26Wearing his baboosh.

00:33:28It is all true.

00:33:29This is your room, your piano, your housecoat, your baboosh.

00:33:32Yes.

00:33:33It is also my room, too.

00:33:35But, sir, if my friend recognises...

00:33:37And you acknowledge that.

00:33:39It can't be that you share the room.

00:33:41You would know each other.

00:33:43Hmm.

00:33:43If you would all sit down.

00:33:45No, no, no.

00:33:46Not on the bed, please.

00:33:47I have a friend somewhere under the covers.

00:33:49You didn't tell me, Marcel, that you were expecting company.

00:33:52Alexander!

00:33:53Oh, it was not mine, Femi.

00:33:54Not mine.

00:33:55She wasn't here when I left her.

00:33:57Who for that matter was this painted palace?

00:33:59I will explain.

00:34:01Oh, well, perhaps we can liquefy the explanation.

00:34:03Have you glasses?

00:34:05Yes.

00:34:05Oh, look, why am I carrying my bowl and plate in my pocket?

00:34:10Oh, God, now I remember.

00:34:13I should be up a tree in the Bois de Boulogne.

00:34:15A tree!

00:34:16You live in a tree!

00:34:17Oh, it has a very wide branch.

00:34:20When I got here today, when we got here today,

00:34:24the landlord had just had a letter from Monsieur Schoenard

00:34:26to say that the circumcised...

00:34:29Sir, it is the month of April, 1840.

00:34:43There is mud in the streets

00:34:45and His Majesty Louis-Philippe is still King of France.

00:34:48Good God, Monsieur Schoenard, what are you doing here?

00:34:51I slew from my tree,

00:34:53tapped the window with my beak

00:34:55and when it was opened, I and my friends flew in.

00:34:58You always were a joker, Monsieur Schoenard.

00:35:01You are joking, aren't you, sir?

00:35:03You're wrong.

00:35:04Our arrangement was that you should inform me

00:35:06of the state of the weather and the government.

00:35:08No other conversation was requested

00:35:10and none will be permitted.

00:35:11Kindly go to the nearest restaurant

00:35:12and bring us breakfast for six.

00:35:14Yes, sir.

00:35:15At once, sir.

00:35:18As you invited us to supper last night,

00:35:21you will do me the honour of having breakfast here this morning.

00:35:24Oh, my God, what time is it?

00:35:26No, at nine o'clock.

00:35:28At nine, I had a lesson to give an Indian prince

00:35:31who, for some unfathomable reason, wishes to learn Arabic.

00:35:33So you know Arabic as well?

00:35:35No, but he's very rich and I'm one less mad.

00:35:38I should have been at work hours.

00:35:40And I have a play to finish.

00:35:42Then we shall all have dinner tonight.

00:35:43We'll meet here at eight o'clock.

00:35:45Eight o'clock.

00:35:46Goodbye.

00:35:47See you then.

00:35:48Goodbye.

00:35:48Well, I must go too.

00:35:51Why?

00:35:52Well, I've got to find some money from somewhere.

00:35:55There's an old uncle who sometimes pays me

00:35:57if I let him tell me the story of how he retreated from Moscow.

00:36:00And he wants me to write a piece of music about it,

00:36:02but I keep telling him you can't make music out of a defeat.

00:36:05Well, maybe a Russian could, but not a Frenchman.

00:36:08But you will be back at eight.

00:36:10No, I don't think so.

00:36:12Oh?

00:36:13It would not be fair to Faye me.

00:36:15How can I take her to bed in a tree?

00:36:17I've no money.

00:36:18Let her find someone who can look after her properly.

00:36:20He's right, Marcel.

00:36:22All the same, it is sad.

00:36:24You cannot live in a tree, Shona.

00:36:26And certainly not in this weather, can he, Mouset?

00:36:28I don't expect to for long.

00:36:29Last night, Colleen said something about three pupils of his sisters

00:36:33who were studying mathematics and wanted to learn music as well.

00:36:35Three pupils.

00:36:37And if I sell my song, I'll be able to pay the rent I owe

00:36:39and collect my furniture.

00:36:40You mean you will take your bed?

00:36:43Certainly.

00:36:43I have a strong sentimental attachment to my bed.

00:36:46It's full of memories, and there's room for a lot more.

00:36:49Two of those memories are ours.

00:36:51And legally, this lodging is mine, furnished.

00:36:53The rent's paid in advance.

00:36:55Oh, the lodging, yes.

00:36:56But once I pay, the furniture is mine.

00:36:58So what it boils down to is that you have, or will have,

00:37:02furniture and no lodgings,

00:37:04and we will have lodgings but no furniture.

00:37:06That seems to be the situation.

00:37:08Well, then, this is what I propose.

00:37:11It is a big room, and I will supply another bed.

00:37:14We will be screened from each other at moments of delicacy

00:37:17by my Venetian palace.

00:37:20And the rent?

00:37:21No problem.

00:37:22For the moment, I have enough for the rent.

00:37:24When you get money, it'll be your turn.

00:37:26I expect it will.

00:37:27You know, I once dreamt that I was the emperor of Morocco

00:37:30and had married the Bank of France.

00:37:35And so the Bohemian Club was formed

00:37:38and met regularly at the Café Mamou,

00:37:41called by Louvet, the proprietor,

00:37:43after the Greek god of play and pleasure.

00:37:45There was Rudolf, the poet, Marcel, the painter,

00:37:48Shona, the musician, and Colleen, the philosopher.

00:37:52Their conversation was such that the waiter who served them regularly

00:37:55became an idiot in the prime of his life.

00:37:58For much, though not all of the time,

00:38:01the members of the Bohemian Club

00:38:02were accompanied by their women,

00:38:04Shona's Femi, Marcel's Musette, and Rudolf's Mimi.

00:38:09Colleen was never seen with a woman,

00:38:11but it was supposed that one sat at home

00:38:13deformed in mind and body

00:38:15by the task of copying his philosophical works

00:38:17in a neat hand.

00:38:21Mimi was one of those sickly Parisian flowers

00:38:23that are born and grow up in the shade

00:38:25and go mad with joy when at length

00:38:27they see the sun one day.

00:38:29She was very pale,

00:38:31with dead white skin,

00:38:33somewhat faded-looking chestnut hair,

00:38:35and bluish-gray eyes.

00:38:37She was not at all prudish

00:38:39and could stand tobacco, smoke,

00:38:40and literary conversation without getting a headache.

00:38:43Her face wore an angelic expression

00:38:45devoid of all moral sense.

00:38:48A shameless little hussy.

00:38:51Really, she was a lovely creature

00:38:52with a voice like a pair of cymbals.

00:38:54The way she and Rudolf met was very commonplace.

00:38:59She had once spent a night in his room.

00:39:01He slept in a chair,

00:39:02and she left it as pure as the immaculate virgin,

00:39:05which proves only one thing,

00:39:08and that is that Rudolf was a cretin.

00:39:10The next time fate threw them together,

00:39:13it was very different.

00:39:15He was desperately short of money

00:39:16and returned to his lodgings one night

00:39:18to find the key missing from its usual place

00:39:20and the landlord waiting for him.

00:39:22Do you remember what I told you this morning?

00:39:28Have you got the money?

00:39:29I am to receive some tonight,

00:39:30so I will pay you in the morning.

00:39:32How can you get money tonight?

00:39:33It is eleven o'clock and you've come home.

00:39:35Do you expect to find any in your room?

00:39:37There is none here, I can assure you.

00:39:39No, sir, I am very sorry

00:39:41that I have let your room to someone else.

00:39:43Very well, but before I go,

00:39:45I must claim my property.

00:39:46Your property, sir?

00:39:47You have no property.

00:39:48You are mistaken, sir.

00:39:50There is a five-act tragedy in my room

00:39:52worth more than any article of furniture.

00:39:55That bundle of papers, you can have it.

00:39:58I've neither right nor wish to detain words, sir.

00:40:01If the new tenant has not gone to bed,

00:40:03you can get it right now.

00:40:05Well, I must say I don't envy you, young man.

00:40:08I wouldn't like to be out on a night like this

00:40:10without a room.

00:40:11Don't worry yourself, Amaricant,

00:40:13for it's a box of the Odeon Theatre

00:40:15that I am permitted to use

00:40:17through the kindness of a friend.

00:40:21Come in.

00:40:23I'm sorry to disturb you, miss,

00:40:25but this young man left some papers behind.

00:40:27They're in the bureau, I think.

00:40:30He's just collecting them,

00:40:31and then we'll be off.

00:40:32This was your room then, Rudolph?

00:40:34Good heavens.

00:40:36It's little...

00:40:37Mimi!

00:40:37Of course, Mimi.

00:40:39How delightful.

00:40:40It's been...

00:40:41Three months since...

00:40:42As long as that, when we...

00:40:45Unforgettable.

00:40:47I was much younger.

00:40:48Three months?

00:40:49An age.

00:40:49A age.

00:40:50I have to be meaning...

00:40:51Then why didn't you?

00:40:52I didn't know where.

00:40:53Now you do.

00:40:54Listen to the rain.

00:40:57It's a terrible night.

00:40:59Monsieur Benoit?

00:41:00Yes, miss?

00:41:01I told you I might be expecting a friend this evening.

00:41:04So you did.

00:41:04Well, this is the gentleman.

00:41:07Well, he should have said.

00:41:08He didn't know.

00:41:09In that case...

00:41:11Good night.

00:41:12Good night, miss.

00:41:13Sir.

00:41:15Oh, my dear Mimi.

00:41:16Are you hungry?

00:41:19Oh, you are a dear, dear girl.

00:41:21I'll make something to eat.

00:41:22Oh, soon.

00:41:25Oh, you know.

00:41:26Yes, Rudolph?

00:41:27You could never have turned me out in a night like this.

00:41:31Couldn't I?

00:41:32Why not?

00:41:33You have the bump of hospitality.

00:41:35The very next day, Mimi and Rudolph found a room in the same house as Marcel and Musette

00:41:44and Shonan and Femi, and they all lived together very happily for several weeks.

00:41:49The couples were united by the registrar of the district and official of the Ministry

00:41:53of Caprice.

00:41:55Sometimes, though, the unexpected happens.

00:41:59You know, Musette, this is very serious.

00:42:02I don't know how it came about.

00:42:05We must have been very clumsy.

00:42:07We didn't take enough precautions.

00:42:09Is it really serious?

00:42:11It could hardly be more serious, Rudolph.

00:42:14The fact is that this lady and I have just made an alarming discovery.

00:42:20We are in love with one another.

00:42:23We must have been attacked by it while we were asleep.

00:42:25Have you any proof?

00:42:26Don't you think you could be exaggerating?

00:42:28It seems pretty certain.

00:42:29For one thing, we cannot bear one another.

00:42:33And we cannot leave one another.

00:42:43Mimi, I have news.

00:42:45Musette dotes on Marcel and will not leave him.

00:42:48Oh, poor girl.

00:42:49She has such a good appetite, too.

00:42:51And for his part, Marcel is head over heels in love with Musette.

00:42:54Poor wretch, him being so jealous.

00:42:56That is true.

00:42:57We're both pupils of Othello.

00:42:59Never mind that.

00:43:00How's my dress going?

00:43:01Yesterday I wrote enough for two sleeves, and today I've done enough to pay for the bodice.

00:43:06How many pages will be needed for the skirt?

00:43:08That depends.

00:43:09But as you aren't very tall, I reckon that ten pages or fifty lines with eight words to the line should be enough to get a decent length of material.

00:43:15I know I'm small, but it mustn't look as if it's been skimped.

00:43:19Dresses have been worn very full this year, and I would like nice, large folds so that it rustles as I walk.

00:43:24In that case, I'll get in an extra word of line, and you will rustle beautifully.

00:43:36Alexander.

00:43:38Yes, Femi.

00:43:39Alexander, Rudolph is writing a whole new outfit for Mimi.

00:43:44I need some new clothes, too.

00:43:47My gown is in shreds.

00:43:49Here's three soon.

00:43:52Go and buy yourself a needle and thread.

00:44:01We really must do something about the girls.

00:44:05Mimi has a raging desire for boots, and after all, the fine arts and literature have been flourishing lately.

00:44:11We're earning almost as much as street porters.

00:44:13Fortunately, I shall soon be in a position to satisfy these ridiculous demands for finery.

00:44:18I find an Englishman willing to pay me 200 francs for merely playing the piano, 300 if I'm successful.

00:44:24You see, his neighbor is an actress with a parrot that never stops corking.

00:44:28It's driving him insane.

00:44:30She even got the parrot to take English lessons so he could abuse the man in his own language.

00:44:34Then he hit on the piano as a form of warfare.

00:44:39The law allows music from morning till night, and the actress and the parrot sleep until noon.

00:44:45So I play all day from 7 a.m. until dark.

00:44:49Only I'm forbidden to make music.

00:44:51I must play scales only.

00:44:53La-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la-la.

00:44:56Oh, like that, all day, non-stop.

00:44:58He brings food and drink to the piano.

00:45:00No, it isn't exactly art, but it is the means by which art may flourish.

00:45:06And the first thing I'm going to do with the money is to treat myself to that yellow nankeen jacket

00:45:09and the hunting horn in old Solomon's shop.

00:45:20They're up to something.

00:45:22I know, they're up to something.

00:45:23They found three other women.

00:45:25Oh, they're certainly excited about something, but I don't think it's other women.

00:45:28Marcel gives me constant proof of his devotion.

00:45:31So does, Alexander.

00:45:32But at their age, that doesn't mean a thing.

00:45:34Oh, it's a sign.

00:45:35They're up to something.

00:45:37Oh, look at that.

00:45:40Oh, look at that.

00:45:43Oh, wearing gloves.

00:45:45And new trousers.

00:45:47Here, us, fella, have they got back here at the creek of new boots?

00:45:50They've murdered someone.

00:45:51I have died an owl and been reborn a peacock.

00:45:54I am a dazzling sight.

00:45:57In the street, poor people stopped and stared at me as I went by.

00:46:01The children are for ours.

00:46:02I gave them a franc.

00:46:04The women asked for nothing, and I gave them a smile.

00:46:07Life is a thing of beauty.

00:46:09When Shonar gave me money, I quivered from my diseased cravat to my decrepit shoes.

00:46:14We ran to replace them, and now we will ransack the shops for bonnets and rest of them.

00:46:20And as tomorrow is May Day, we will go out into the country and dazzle the rust.

00:46:30You are not to move.

00:46:32Mimi was absolutely firm.

00:46:34We must all four wait here in the street for them.

00:46:36They said they would be out on the dot of eight, and it is not yet nine.

00:46:40They should be out here soon.

00:46:42And here they are.

00:46:48How beautiful they look.

00:46:51And to think they are ours, it is amazing.

00:46:53And you, Colleen, my dear Colleen, can you not share our happiness?

00:46:56I do.

00:46:57I take my pleasure with my eyes and with my mind.

00:47:00They satisfy the one and you the other, dear friends.

00:47:02I am happy.

00:47:03Let us go.

00:47:10Musettes, I have never seen you look more beautiful.

00:47:13That is because I have never been so happy.

00:47:15It seems as if God has put all the happiness of my life into this moment,

00:47:19and that there will be no more left.

00:47:20But it is not true, is it?

00:47:22We found a recipe.

00:47:24Alexander.

00:47:25Alexander.

00:47:26What is it, Faye May?

00:47:26Well, you know how very fond I am of the green grass and things.

00:47:30Yes.

00:47:30And all the little birds and bees and things.

00:47:32Yes.

00:47:32Well, I...

00:47:33Well, what, Faye May?

00:47:34Well, in the country, one never meets anyone.

00:47:38There will be no one there, Alexander.

00:47:40Can't we walk up and down the boulevard all day?

00:47:43Nonsense!

00:47:44To Fontane!

00:47:45To Fontane!

00:47:46I never thought it possible

00:48:12That a delicate girl like Femi

00:48:14Could put away so much sausage

00:48:16I have failed in my duty

00:48:20There are still six francs left over

00:48:22What should we done with them?

00:48:24Let's invest it in government bonds

00:48:26First the money

00:48:32Then the love runs out

00:48:35Affection drowns in the shallowest of seas

00:48:39The layer of damp in a leaking boot

00:48:42When the touch of a hand freezes the skin

00:48:45Instead of warming it

00:48:47It is no longer welcome

00:48:49Hunger is stronger than either lust or love

00:48:53We are only fully human

00:48:56When we are warm and fully fed

00:48:58And not always then

00:49:01I'm not lying

00:49:05I stayed the night with Lucille

00:49:07I swear to you

00:49:08You have been unfaithful

00:49:09You slut

00:49:10I would never do that

00:49:12I stayed the night with Lucille

00:49:14We were talking

00:49:15It got late

00:49:16It was so bad

00:49:18I stayed

00:49:19Why won't you believe me, Alexander?

00:49:22Don't believe you, you little whore

00:49:23Because I stayed the night with Lucille

00:49:26So you're going too, Musette

00:49:30What would you have me do?

00:49:33I've stayed for six months

00:49:34With a man who feeds me on lettuce, leaves and soup

00:49:36I spend half the day starving

00:49:38And the other half dying of cold

00:49:40He dresses me in cotton

00:49:42And his idea of a night out

00:49:43Is a cup of coffee and a glass of water

00:49:45As love costs nothing

00:49:47We are rich in that

00:49:48But everything else is in short supply

00:49:49If silk dresses were not so dear

00:49:52And if I were not so fond of at least one good meal a day

00:49:56I'd stay with my painter

00:49:57At least he doesn't beat me like Chanel beat Femi

00:50:00I don't blame her for leaving

00:50:02Chanel's got a vile temper

00:50:04Even when he's not hungry

00:50:05It's about time you started to think about yourself a bit more as well, Mimi

00:50:10But I love Rudolph

00:50:11Besides, where would I go?

00:50:13Love Rudolph?

00:50:14Come off it, Mimi

00:50:15I know you've been seeing that young vicar, haven't?

00:50:19He's handsome and rich

00:50:21And what's more, you've already spent several nights with him

00:50:24Do you think I don't know how you got that cashmere short?

00:50:27Oh, Rudolph may be stupid enough to believe your mother gave it to you

00:50:30But your mother hasn't seen one like that since she was your age

00:50:33And she probably got it the same way

00:50:35No, he wants me to go and live with him

00:50:37Look at this ring he gave me

00:50:39I don't wear it

00:50:41Don't be a little fool, then

00:50:43Go

00:50:43There's nothing here but bread and kisses

00:50:46And the bread's stale at that

00:50:48But the kisses aren't, Musette

00:50:50All the same

00:50:52You're all right

00:50:53I don't suppose there's anything for it but to leave them

00:50:56Ungrateful, silly creatures

00:51:02I thought of the girl, you know

00:51:04Told her she had no spirit as she stayed

00:51:06But I didn't love her anymore

00:51:08A little vicar can half-hide a much good it'll do him

00:51:12Do you know where Femi is nowadays, Seanard?

00:51:14It's perishing in here

00:51:16It's astonished the great by making a fire

00:51:18Yes, you're right, it is

00:51:19It's freezing

00:51:20If I look at the thermometer it goes down

00:51:23We have nothing to burn

00:51:24Except your canvases

00:51:25Or your symphony on the influence of blue

00:51:27Never

00:51:27But that is Rudolf's five-act tragedy

00:51:29What you said, it was wonderful

00:51:31I was warned then

00:51:32You didn't say it would set Paris a light, Rudolf

00:51:35You also said you were going to rewrite the whole of the second and third acts

00:51:39That would be enough to cook breakfast on

00:51:41If we had any breakfast

00:51:43Mimi thought it was wonderful too

00:51:44Into the fire with it

00:51:46Here, look, here

00:51:47You can have these letters too

00:51:49And her gloves

00:51:52Gloves?

00:51:53One glove?

00:51:54Where's the other?

00:51:54I can't find it

00:51:55It was in the drawer

00:51:56I didn't notice

00:51:57Of course you did

00:51:58There's an old sass of musettes over the back of that chair

00:52:01Into the fire with it

00:52:02And her letters

00:52:03A cold love makes a fine blaze

00:52:07There's a bunch of dead flowers in your room, Marcel

00:52:09Why not burn them?

00:52:12Oh, no, leave Marcel alone, Charnard

00:52:14He's doing his best to be hard-hearted

00:52:16Well, aren't we all?

00:52:18Is there anything to eat?

00:52:20Oh, there's some bread and a few sardines

00:52:23And the coffee's heating nicely

00:52:24Oh, it will still taste like Nat's ping

00:52:26It has the merest nodding acquaintance with a coffee ground

00:52:29Can't we sell something?

00:52:32The only object of value in this neighbourhood is my crossing of the Red Sea

00:52:35And that's going to the exhibition again

00:52:36What are you calling it this year?

00:52:37I've given Pharaoh a Roman helmet

00:52:39And called it the crossing of the Rubicon

00:52:41He makes a fine Caesar

00:52:43Last year he was Napoleon

00:52:44And it was the crossing of the Beresina

00:52:46Look, there's 500 francs worth of colour on that picture

00:52:49To say nothing of a million ingenious

00:52:51I shall send them that picture every year

00:52:53Until it is engraved on their memories

00:52:55And that's the only way it ever will be engraved

00:52:58Oh, hello, Colleen

00:52:59Don't tell me you've joined the Philistines

00:53:01They hope that if they refuse my Red Sea often enough

00:53:04I will throw myself out of the window in despair

00:53:06They don't know me

00:53:08I will send my picture once a week

00:53:11To each of them at his home

00:53:13In the bosom of his family

00:53:14In the very heart of his private life

00:53:16Their food will be burnt

00:53:17Their wine will turn sour

00:53:19And their wives will grow bitter

00:53:20They will all go mad

00:53:22And be taken to the asylum in straitjackets

00:53:24And if that doesn't work

00:53:25Sonar can play his symphony

00:53:27But as the fire was dying

00:53:30And the hunger was burning

00:53:31Deliverance knocked on the door

00:53:34In the shape of Monsieur Solomon, the dealer

00:53:35Who, acting on behalf of an eccentric English collector

00:53:38Who wished to buy some typical modern works

00:53:41Offered 150 francs

00:53:43For the most famous modern work in the whole area

00:53:46The Crossing of the Red Sea

00:53:48Marcel was reluctant to part with the painting

00:53:50On two grounds

00:53:51The first because he thought it was worth more

00:53:54The second because he desperately wanted recognition

00:53:57By the despised Institute

00:53:58On Monsieur Solomon's offer

00:54:01To stand them all to dinner

00:54:02With as much wine as they could drink

00:54:04Both Marcel's doubts were quenched

00:54:06Or at least drowned

00:54:08In the roar of acceptance from the others

00:54:11That was a very fine meal

00:54:23Old Solomon treated us to last night

00:54:25But it's merely 24 hours ago

00:54:27Do you think we could

00:54:29Defy tradition

00:54:31And have two meals in one day?

00:54:34Why not?

00:54:34And the 150 francs has remained virgin

00:54:36Well, we'll send out for food needed here

00:54:39It's cheaper

00:54:39An admirable economy

00:54:41But in that case, we shall need some fire

00:54:43I hear they burn charcoal in the best grates

00:54:46Nowadays, souffles

00:54:47I have a strong desire for souffles

00:54:50You cannot send for souffles to come to you

00:54:52You must go to them

00:54:53They would die on the way here

00:54:55No, we must have something more robust

00:54:57Something that will travel

00:54:58There must be more than 100,000 chops

00:55:01On the gridiron in Paris at this very moment

00:55:03And as many steaks

00:55:04Chops and steaks

00:55:06That sounds like a good start

00:55:07Yes

00:55:08I'll go for charcoal

00:55:09Yes, and I for the work

00:55:10I will order the food

00:55:11And I'll start the fire

00:55:12Oh, crazy

00:55:14There's a little hope to be getting on with

00:55:15Ah, paper

00:55:17Paper, paper

00:55:19There must be paper somewhere

00:55:21That's odd

00:55:24From Rosette

00:55:26Dated exactly a year ago today

00:55:30My dear love

00:55:32Don't worry about me

00:55:33I shall be in shortly

00:55:34I've gone out to warm myself a bit by walking

00:55:37It's freezing indoors

00:55:38And the wood cellar has cut off credit

00:55:40I broke up the last two rungs of the chair

00:55:43But they didn't burn long enough to cook an egg

00:55:45I shall take a look at the shops

00:55:47They say there's some velvet

00:55:49At 10 francs a yard

00:55:50It's incredible

00:55:51I must see it

00:55:52Even if I can't buy any

00:55:53I'll be back for dinner

00:55:55If there is any dinner

00:55:57Love, Rosette

00:55:58But she never did come back

00:56:01What's that you were saying myself?

00:56:03Only that it's a wonder the girls stayed as long as they did

00:56:06We didn't feed them properly

00:56:08And we couldn't keep them warm

00:56:09It doesn't seem right

00:56:10But now we've got a fire and food

00:56:12They should be missing it

00:56:13I don't know about you two

00:56:15But I think I'll drop a note to Rosette

00:56:17Just for old time's sake

00:56:19I don't even know where Femi is

00:56:21Nor I, Mimi

00:56:21Not that I want her back

00:56:23Do you know where Rosette is living?

00:56:25No, but her friend Sidoni will

00:56:26She'll forward it

00:56:27You look sad, Chouinard

00:56:28Is anything the matter?

00:56:30No, nothing at all

00:56:32Except that we lack ladies

00:56:35I miss the ladies

00:56:36I miss them very deeply

00:56:38Damn you, Chouinard

00:56:39Why can't you keep your mouth shut?

00:56:41It was agreed that we should not speak of love

00:56:43It turns the sources

00:56:45Maybe

00:56:48Come in

00:56:49Oh, it's you, Monsieur Bernard

00:56:53Do come in

00:56:54Yeah

00:56:55A chair for Monsieur Bernard

00:56:58Oh, thank you

00:56:58A landlord must be received with honour

00:57:01And wine for the landlord

00:57:03In a clean glass

00:57:05Oh, well, I'm sorry to trouble you

00:57:08Oh, no trouble

00:57:09No trouble at all

00:57:10I was intending to call on you

00:57:12As a matter of fact

00:57:12I have a great deal to talk about

00:57:14Your good health, gentlemen

00:57:15Your health as you are

00:57:17Now, you recently sent me

00:57:19A little piece of paper

00:57:20With a picture of a lady

00:57:21And a pair of scales on it

00:57:23Very badly drawn, I have to say

00:57:24A notice to quit

00:57:26A precautionary measure

00:57:28No ill feelings

00:57:30Quite proper

00:57:30But I wanted to talk to you

00:57:32About this very notice to quit

00:57:33I'd like to substitute it

00:57:35For a lease

00:57:36A lease?

00:57:37Yes, a lease

00:57:38This house suits me

00:57:39The staircase is clean

00:57:40The street is full of life

00:57:41And my friends live here

00:57:43Oh, yeah, but still

00:57:43The last quarter's rent

00:57:45Outstanding, you see

00:57:46Oh, we'll pay that, all right

00:57:47I do see the things have improved

00:57:49For you and your friends

00:57:50Food and wine on the table

00:57:52Erm

00:57:52Oh, thank you

00:57:54Oh, yes

00:57:54And, oh, yeah

00:57:56Money, money on the mantelpiece

00:57:58Oh, yeah

00:57:59I seem to have picked

00:58:00The right moment

00:58:00You can settle this little affair

00:58:03Without inconvenience

00:58:04To your good self, eh

00:58:05You have some property

00:58:07In the country, I believe

00:58:08Monsieur Bernard

00:58:09Oh, well

00:58:10A small house

00:58:11And farm in Burgundy

00:58:12Very small returns

00:58:14Tenants, they pay

00:58:15Practically nothing

00:58:15Now, I depend on the rent

00:58:17From this property, sir

00:58:18Sixty francs, I think it is

00:58:20Another glass

00:58:21For Monsieur Bernard

00:58:22Oh, he's a Burgundian

00:58:24So show him his fellow countryman

00:58:25The Macon

00:58:26That's right

00:58:27Yes, sixty francs it is

00:58:28Oh, very good

00:58:30Yeah, excellent

00:58:31I don't think

00:58:32I've ever tasted better

00:58:34In that case

00:58:35You can't refuse another glass

00:58:36Now, sir

00:58:38If you kindly pass me the money

00:58:40I'll give you a receipt

00:58:43And detain you no longer

00:58:44Certainly

00:58:45Pass the money, Rudolf

00:58:46Certainly

00:58:47Now, wait

00:58:49I have a splendid idea

00:58:51My uncle in Burgundy

00:58:53I'm his favourite nephew

00:58:54Has sent me more than my usual allowance

00:58:57Oh, yeah?

00:58:57Now, my trouble is

00:58:58That I could, if I didn't care

00:59:00Spend the money too fast

00:59:02There are so many temptations

00:59:04Aren't there, Monsieur Beno?

00:59:05Oh, indeed, indeed

00:59:06There are

00:59:07Here's a

00:59:07So, if it's all the same

00:59:08To you

00:59:08I'll pay you a quarter in advance

00:59:10Oh, dear

00:59:10What a good idea

00:59:11I'll give you another receipt

00:59:13Excellent idea

00:59:14Splendid

00:59:15I wonder if you could do something

00:59:17About the chimney

00:59:18It smokes rather badly

00:59:19Why didn't you say so?

00:59:21I'll send someone in to borrow

00:59:22To see you it

00:59:23You don't know

00:59:24How timely this rent comes

00:59:26Repairs

00:59:27Sundries

00:59:28Terrible amount of sundries

00:59:31You know how it is

00:59:33Indeed I do, sir

00:59:35But first we must celebrate

00:59:37You know the old saying

00:59:38When the wine is drawn

00:59:39Must be drawn

00:59:40Exactly

00:59:41Does anything else require attention, sir?

00:59:47I mean, apart from the chimney

00:59:48Perhaps the paintwork needs freshening up

00:59:50What a good idea

00:59:51And the window lash

00:59:53The window lash?

00:59:54The latch

00:59:55Or sash

00:59:57The window slash

00:59:58Oh, yes, the window slash

00:59:59Do we need a new window slash, Rudolph?

01:00:01We certainly do

01:00:02There's already a patch near the latch

01:00:04And the sash crashed the other day

01:00:05With a patch

01:00:06The patch latch

01:00:08And the sash crash need fixing too

01:00:10That'll take some cash

01:00:11A horse slash

01:00:13Quick, Rudolph

01:00:14Bring up the big guns

01:00:15The rum

01:00:15That should do nicely

01:00:17Gentlemen, I've come to the conclusion

01:00:21That life is a river

01:00:23Indeed it is, sir

01:00:25When happiness does not depend on riches

01:00:28Nor one swallow a summer bait

01:00:30Oh, how true

01:00:31Man is a transient creature

01:00:33And the horse

01:00:34The noblest of animals

01:00:35You shouldn't have beaten her, you know

01:00:38At least not so much

01:00:39Beaten?

01:00:39Beaten who?

01:00:41Little famey

01:00:42Pretty little famey

01:00:44What the devil do you know about my fame?

01:00:45I want to know

01:00:48What's this old buffoon got to do with my famey?

01:00:50Hardly your famey any longer

01:00:52Famey, famey

01:00:53I'm a dear old pet

01:00:55I set her up and surrounded her with mahogany

01:01:00Oh, it's so wonderful

01:01:02It's wonderful to have a mistress who's not pitted with a smallpox

01:01:06A little apartment in the Rue Coquenar

01:01:09Cost me lots of money

01:01:10But such a love is beyond price

01:01:13After all I've

01:01:15Twenty thousand francs a year

01:01:17From my property in Burgundy

01:01:18She needs some more money

01:01:20And she shall have it

01:01:22She shall have this

01:01:23Oh, where's it gone?

01:01:26Of course it's gone

01:01:27Do you expect us

01:01:29Moral men of impeccable

01:01:31Morals

01:01:32Absolutely morals

01:01:33To become accomplices of such wickedness?

01:01:36We cannot pay money to an old profligate

01:01:38So that he can plunge deeper and deeper into sin

01:01:40It would not be right

01:01:40It is true that we shall not pay rent

01:01:43But on the other hand

01:01:43We will sleep with clear consciences

01:01:45Besides, Monsieur Benard

01:01:46What would Madame Benard say if he found you out?

01:01:49You old sinner

01:01:50You old

01:01:52Oh, but did you see his face, Maurice?

01:01:58When Sidon, he told him he was as green as a cucumber

01:02:01And twice as damp behind the ears

01:02:03I remember it distinctly

01:02:04It was at that point that he turned as red as a cherry

01:02:07And his mouth was so dry he could only spatter

01:02:10Mariette

01:02:11Madame

01:02:12Quickly, girl, take these things I'm soaked

01:02:14Oh, yes, Madame

01:02:15Madame

01:02:16There's a letter for you

01:02:18A letter?

01:02:19Then give it to me

01:02:20There's no need to whisper, you stupid girl

01:02:22I have no secrets, have I, Maurice?

01:02:24No, you tell me everything

01:02:26Even those things I don't wish to know

01:02:28Marcel

01:02:30My dear girl, I have money in my desk

01:02:33An apoplectic stroke of luck

01:02:34We have a big feed simmering on the stove

01:02:37Some fine wines and a fire burning

01:02:38Just like respectable citizens

01:02:40Come and pass an hour with us

01:02:42We will probably eat for a week

01:02:44So don't be afraid of being late

01:02:45So long since I heard your laughter

01:02:49Rudolph will compose poems to you

01:02:51And we will drink all manner of things

01:02:53To our dead and gone loves

01:02:54With liberty to resuscitate them

01:02:56Between people like us

01:02:58The last kiss is never the last

01:03:00You know, I do believe if it hadn't been so cold last year

01:03:03You would never have left me

01:03:04You jilted me for a bundle of firewood

01:03:08And because you were frightened of getting red hands

01:03:10You were right

01:03:11But now there is a fire

01:03:14Come and warm yourself

01:03:16With as many kisses as you like

01:03:19Maurice

01:03:21I'm going out

01:03:23Out?

01:03:24To dinner with a friend

01:03:25But you can't

01:03:26You promised to come to the minister's

01:03:28Soiree

01:03:28Another time

01:03:29There's a good boy

01:03:30It's an old friend who invites me to dinner

01:03:32And real dinners in that house

01:03:33Are as rare as eclipses

01:03:35What do you promise?

01:03:36I'm going

01:03:36You may leave me if you like

01:03:38But Marcel is the best fellow in the world

01:03:41And the only one I've ever really loved

01:03:43But look what I've given you, Musette

01:03:45If his head had been gold

01:03:46He would have melted it down to give me rings

01:03:49And now that he has a little fire

01:03:51He invites me to come and warm myself

01:03:53I was very happy with him

01:03:55He had the gift of making me feel

01:03:58I'll come back to you

01:04:00Unless you shut me out

01:04:02You couldn't say plainer

01:04:03That you don't love me

01:04:04Oh, come on, Maurice

01:04:05You're far too sensible

01:04:07To begin an argument over that

01:04:08You keep me like a fine horse

01:04:11In your stable

01:04:12And I like it

01:04:12Because I love luxury

01:04:14Noise, glitter and fun

01:04:16Do you always find

01:04:18Such accommodating lovers as I am?

01:04:20One day when I was driving

01:04:21In the Champs-Élysées

01:04:22With my English lord

01:04:23I met Marcel and his friend Rudolf

01:04:25They were both on foot

01:04:27Both in rags

01:04:28And as muddy as two water dogs

01:04:30I'd not seen Marcel for three months

01:04:32I thought my heart was going to jump out of the carriage window

01:04:36We talked for half an hour

01:04:38While the whole of fashionable Paris drove past

01:04:40Then Marcel offered me a bunch of violets

01:04:42He had bought for a sous

01:04:43And I fastened them to my waistband

01:04:45When he said goodbye

01:04:47My English lord wanted me to call him back

01:04:50To invite him to dinner with us

01:04:52I kissed him for that

01:04:54That's my way, Maurice

01:04:56And if it doesn't suit you

01:04:58You should say so at once

01:05:00And I'll take my slippers and nightcap

01:05:01It's sometimes a good thing to be poor then

01:05:04No, not at all

01:05:05If Marcel had been rich

01:05:07I should never have left him

01:05:08Musette had never looked more seductive

01:05:13More beautiful

01:05:14She had an instinctive genius

01:05:16For being a woman

01:05:18She was a coquette

01:05:19Before she was grisened

01:05:21Marcel was the only man she ever loved

01:05:24And she was on her way to him

01:05:26Almost running

01:05:27When suddenly began to snow

01:05:29And being near her friend Sidoni's house

01:05:32She took shelter there

01:05:34And found them at cards

01:05:35When she left Sidoni's

01:05:37She did not go to Marcel after all

01:05:40There was a young man at the card party

01:05:42Who had never had a mistress

01:05:44So she went off with him

01:05:46Don't ask me why she should do that

01:05:49When she was so in love with Marcel

01:05:51But she did

01:05:53Meanwhile the feast had lasted five whole days

01:05:57And on the sixth

01:05:58Damn

01:06:01What's the matter, Colleen?

01:06:03The matter is that there are only 30 sous left

01:06:0530 sous?

01:06:06That's going to play the very devil with our diet

01:06:08I anticipate a severe shortage of truffles

01:06:11Is there any more charcoal?

01:06:12It's getting cold

01:06:13No

01:06:14I'll go

01:06:17Musette

01:06:22My dear, dear Musette

01:06:26You're trembling

01:06:27What's the matter?

01:06:28I'm freezing

01:06:28Oh, we had such a good fire yesterday

01:06:31I see I've come a little too late

01:06:33Yes

01:06:34Why?

01:06:36Why?

01:06:37You were not free then?

01:06:38I?

01:06:39I'm not free

01:06:41I'm always free

01:06:42There are five chairs here

01:06:44And that's an odd number

01:06:45Besides, one of them is a ridiculous shape

01:06:47A treat

01:06:47Only to be burnt

01:06:48Here, here

01:06:49Now, Colleen

01:06:50Chonard, it's time for us to go

01:06:52Where are you going?

01:06:53To, um, to, to buy some tobacco

01:06:56In Havana

01:06:57Now, tell me why you didn't come sooner

01:07:04We had such food

01:07:05Such wine

01:07:06Did take a long time, didn't it?

01:07:09Five days to cross the Pond Earth

01:07:11You must have gone round the Pyrenees

01:07:12Oh, don't question me, Marcel

01:07:15Don't ask me anything

01:07:16Just let me warm myself beside you

01:07:19Look

01:07:20I put on my best dress for you

01:07:22The fire's nice

01:07:24I'll stay until tomorrow, if you like

01:07:28The fire will soon go out

01:07:30It'll be cold in here

01:07:32And there's nothing for dinner

01:07:34So what?

01:07:36It will be all the more like old times

01:07:38But I think it's rather fine

01:07:43It's hideous

01:07:44You look as if you've fallen off the end of the rainbow

01:07:46Bores being pursued by dogs against a blue background

01:07:49Now, what is wrong with that for a shirt?

01:07:51It is in the most perfect, bad taste

01:07:53Do you think it shocks custom?

01:07:55Shocks it?

01:07:55It stuns it

01:07:57Well, it'll have to do

01:07:58Now, please, pass me that rope ladder

01:08:00And that cage containing the pigeon

01:08:02Where on earth are you going with that lot?

01:08:04What's the rope ladder for?

01:08:05And the bird?

01:08:06The rope ladder is to link me to my new mistress

01:08:08The bird is a clock

01:08:10I don't want parables

01:08:11I insist on the truth

01:08:12And for that, you must talk in prose

01:08:14Very well

01:08:15Now, do you know Romeo and Juliet?

01:08:17Of course

01:08:18And you still don't understand?

01:08:20I am in love

01:08:21I know, I saw her the other day

01:08:22Driving in the Champs Elysees

01:08:24Full of jewels and shorts

01:08:25Not with Mimi, with Juliet

01:08:27Did you talk?

01:08:28No, I don't even know

01:08:29I mean Mimi

01:08:30Did you talk with Mimi?

01:08:31Did she stop?

01:08:33Yes, she stopped

01:08:34Who is this Juliet?

01:08:35How is she?

01:08:36She asked after you

01:08:37She wanted to know if you'd altered much

01:08:39And what did you tell her?

01:08:40I told her that you had

01:08:41She thought I meant that you were still grieving

01:08:43What do you mean, still?

01:08:44I never grieve

01:08:45She is very beautiful

01:08:47Yes, she looked very beautiful

01:08:49I mean, Juliet is very beautiful

01:08:50You were asking about her

01:08:52You were asking about Mimi

01:08:53I told her the worst was over

01:08:55She said I was lying

01:08:56That you would not have got her out of your mind so quickly

01:08:59That you were in a fearful state when she left

01:09:01I wasn't

01:09:02I told her

01:09:03I knew you were

01:09:04But that you'd got over it

01:09:05That you had someone else now

01:09:07Though I didn't know about Juliet at the time

01:09:09I must go and meet Juliet

01:09:11She said she was worried in case you came after her

01:09:13Her lover is very jealous and an excellent shot

01:09:16And she asked if you kissed the hands of your new mistress

01:09:19As often as you used to kiss her

01:09:21And?

01:09:21And I told her you did it just as often

01:09:24And that in addition you were engaged on a project of kissing each hair on her head

01:09:28And that you agreed to remain together until the task was fixed

01:09:32Oh, what wonderful lies you tell, Colleen

01:09:35What did she say to all that?

01:09:37She suggested that your mistress must be, if not exactly, bald

01:09:39Juliet has a wonderful head of hair

01:09:41I asked her if she still loved you

01:09:43And she said she had never loved you in her life

01:09:45That was true at least

01:09:46And then she quoted something from one of your poets

01:09:48Oh, which one?

01:09:49Something about there being nothing that can move the memory of one's first love

01:09:53Now tell me about Juliet

01:09:55Why is that pigeon a clock?

01:09:58Because Juliet insists that if she is Juliet, I must do Romeo

01:10:02She has a balcony and I must climb it

01:10:04She will not love me unless I perform the role properly

01:10:08And the bird?

01:10:09And the bird

01:10:09Wilt thou be gone?

01:10:12It is not yet near day

01:10:14It was the nightingale and not the lark

01:10:16But that bird is neither a nightingale nor a lark

01:10:18It's a pigeon

01:10:19It is an actor

01:10:20It is playing a role just as I am

01:10:22Juliet is not the real Juliet either

01:10:25When Romeo arrived at Juliet's house

01:10:29There was indeed a balcony

01:10:30But as her room was on the ground floor

01:10:33And the balcony was no more than 18 inches high

01:10:35The rope ladder was superfluous

01:10:38Though she insisted that Rudolph should use it

01:10:41He hung the cage containing the pigeon in the room

01:10:44And at five o'clock the next morning

01:10:47The lovers were awakened by the birds cooing

01:10:50Well, there it goes

01:10:57Now it's time to go onto the balcony and bid each other despairing farewells

01:11:02Come on, get up

01:11:05That bird is fast

01:11:08It is nowhere near dawn

01:11:11It's November

01:11:13There'll be no daylight for hours

01:11:16All the same

01:11:16I'm going to get up

01:11:18Why?

01:11:19I'm starving

01:11:20Just me too

01:11:22Look, I'll build up the fire while you get something to eat

01:11:25Doesn't seem to be much

01:11:28Onions

01:11:29Scrap of bacon and some butter

01:11:32There's a little bread here

01:11:34But not much

01:11:35I'm so hungry

01:11:36I'm ravenous

01:11:37Hark

01:11:40It is the nightingale

01:11:41No, it is the lark

01:11:43Actually, it is the pigeon

01:11:44No, it is breakfast

01:11:45Oh, he had a very nice voice

01:11:51He'll be very tender

01:11:53There's a tear on your cheek

01:11:55You weep for the herald of the dawn?

01:11:58No, not really

01:11:59It's the onions

01:12:00Christmas, son

01:12:15We're broke again

01:12:15Just look at those windows

01:12:18What, the truffle turkey?

01:12:21Good God, look at that

01:12:22What, the duck?

01:12:23No, that's fine about the shop

01:12:25It's your crossing of the Red Sea, Martell

01:12:27So it is

01:12:29Some ass has added a steamboat

01:12:32I told you that one day it will be seen by thousands

01:12:35Oh, have we no money between us?

01:12:37I have ten sous left from my fee for those verses the Corsair published

01:12:42I have fifteen sous for catching up one of Solomon's old masters

01:12:46Oh, I have a whole franc

01:12:47Not as soon

01:12:48It's enough

01:12:49We'll have bread, wine, cold meat, tobacco, fire and light

01:12:52It won't be a feast

01:12:53But it's better than standing here in the cold looking at one

01:12:56The fire's going out

01:13:03Well, the logs are damp

01:13:05You still haven't burned that bunch of dead flowers, Martell

01:13:09And you still have Mimi's glove

01:13:11It's one thing to break free of the past

01:13:14It's another to consign it all to the flames

01:13:16Who on earth can that be?

01:13:18Sooner, probably

01:13:18His room's colder than this

01:13:20He wouldn't look

01:13:21Good God

01:13:24Mimi

01:13:25Hello, Rudolph

01:13:28Marcel

01:13:29I was very cold

01:13:31Saw the light as I was passing

01:13:33I'm sorry

01:13:35My dear girl, come and sit by the fire

01:13:37It's not much

01:13:38It's very nice

01:13:40The thing is

01:13:42What?

01:13:43I've been turned out of my lodgings

01:13:44I don't know where to go

01:13:47You're no longer with your little Viscount

01:13:50Not for these last two months

01:13:52You were unfaithful to him?

01:13:53No

01:13:54There was a row on account of those verses you wrote about me

01:13:57He caught me reading them and he kicked me out

01:14:00I expect it would have happened anyway

01:14:03I heard you were rigged out very nicely

01:14:05Dresses, jewels, everything

01:14:07He took the lot

01:14:08For all his money he was a rotten skim

01:14:10Flint

01:14:10I did my share of purgatory with him, I can tell you

01:14:14Does he know of your prison?

01:14:16Difficult half

01:14:16I'd rather die than ask him for a suit

01:14:18It makes me sick when I think of it

01:14:22You can't have been living alone since you left him

01:14:25Oh, yes, I have

01:14:26I've been making artificial flowers and a model for painters

01:14:29Marcel, have you a job for me?

01:14:31But only head and hands, nothing else

01:14:33Are you hungry?

01:14:35Yes, very

01:14:36Well, there's not much

01:14:37But here, have a glass of wine

01:14:39You're angry, aren't you, Rudolf, that I came here

01:14:44But where else could I go?

01:14:46No, I'm only upset to see you like this

01:14:48It's all my own fault

01:14:49I'm not complaining

01:14:51What's done's done

01:14:52Oh, Rudolf

01:14:54Can't we still be friends just because we were once lovers?

01:14:58Of course we can

01:14:59You're at home here, Mimi

01:15:01Of course

01:15:01Oh

01:15:02Morning, Mimi

01:15:06Oh, Marcel

01:15:07Do you sleep well?

01:15:09Yes

01:15:10Where's Rudolf?

01:15:12He said something about going out to get some breakfast for me

01:15:16And we talk most of the night

01:15:19Oh, it's very sad

01:15:22He still loves me

01:15:24And you?

01:15:27Do you still love him?

01:15:29I've changed a lot, Marcel

01:15:30I think I do now

01:15:33For the first time

01:15:35If you cannot do without one another, you'll have to stay together

01:15:37Either way, it's hard

01:15:39It's more than hard, Marcel

01:15:41It's impossible

01:15:42Why?

01:15:45When I came here last night

01:15:47It took me over an hour to get up the stairs

01:15:49If I'd found a woman here with him

01:15:52I'd have gone straight down again through the window

01:15:54I haven't any strength anymore

01:15:59Rudolf just stared at my arms and shoulders last night

01:16:03But all the same, I...

01:16:06I was pretty once

01:16:08And he did love me

01:16:10Oh, God, Marcel

01:16:15I'm going to die

01:16:16You mustn't give up hope, Mimi

01:16:18Care and rest

01:16:19He still loves you

01:16:21Yes

01:16:22I think he does

01:16:24He says so anyway

01:16:26But I...

01:16:28I don't want him to lie beside me

01:16:31For I feel as if the worm's already eating away my body

01:16:34He's coming back

01:16:35Wonderful to see you

01:16:36Mimi, my darling Mimi

01:16:39You little baggage

01:16:41It's wonderful to see you again, Mimi

01:16:43Did you get any money, Rudolf?

01:16:45Show now to somebody's winter coat and coffee and some other cooks

01:16:47We have fresh bread and coffee and eggs and butter and cheese

01:16:50And everything to make you well, Mimi

01:16:52I'm no longer a baggage, Alexander

01:16:56You mustn't call me that

01:16:58Rudolf has forgiven me and I'm going to wear wooden shoes

01:17:01And a mob cap from now on

01:17:03Silk's bad for my health

01:17:05You remember, Lallyu?

01:17:06He's a doctor now

01:17:07He's coming to see you soon

01:17:09He'll have you better in no time

01:17:10He's that brilliant, is he?

01:17:21Well, Lallyu, you simply cannot keep her here

01:17:24I'll give you a letter for Lucky Tea

01:17:25If she lasts till the spring, we may perhaps pull her through

01:17:28If she stays here, she'll be dead in the middle

01:17:30She'll refuse to go

01:17:32She wants to stay here

01:17:33Take her in tomorrow

01:17:35Today, if you can

01:17:36Of course I'll go, Rudolf

01:17:40God

01:17:40My doctor's right

01:17:41You cannot nurse me at the hospital

01:17:44They may cure me

01:17:45See, there's a big difference

01:17:48I want to leave now

01:17:49Oh, Mimi

01:17:50You get chicken in the hospital and they have fires

01:17:53That's right

01:17:53I'll be taken care of

01:17:55And you can go out and earn some money

01:17:57And when I'm cured, I'll come back as pretty as I used to be

01:18:01Now that I'm happy, it'll be easy to get cured

01:18:05I'll drink all the nasty things they give me, I promise

01:18:09Look, my colour's coming back already

01:18:12It's because you lot make me laugh all the time

01:18:15It was that bloody Viscount who made me ill

01:18:19Now do what they tell you

01:18:34And eat what they give you

01:18:36Oh, don't worry, Rudolf

01:18:37I'll be good

01:18:39Bring me some flowers

01:18:41Some violets, if you can

01:18:43It doesn't smell very nice, does it?

01:18:45Don't you worry, don't you worry

01:18:47I'll bring you flowers

01:18:48All right?

01:18:49Until Sunday

01:18:50Goodbye, Mimi

01:18:51Goodbye, Mimi

01:18:54Colleen

01:18:54Yes

01:18:55Yes

01:18:56Rudolf!

01:19:00Rudolf, take me home

01:19:01Do you want to stay here?

01:19:04Take me home, Rudolf

01:19:05Please, take me home

01:19:07There, there, child

01:19:09You'll be all right

01:19:10We'll look after you

01:19:11I'll die here, Rudolf

01:19:13Please, take me home

01:19:15Rudolf

01:19:17Please

01:19:18Please

01:19:21Twice more, Rudolf and the others visited Mimi

01:19:26And the day after their last visit

01:19:29Rudolf received a note from a medical student

01:19:32Whom he'd asked to keep an eye on her

01:19:34The note said

01:19:35My dear friend

01:19:37I have very bad news for you

01:19:40Number eight is dead

01:19:43This morning on going through the ward

01:19:46I found her bed vacant

01:19:47And though Rudolf did not cry

01:19:50He did not go home for a week

01:19:53Occasionally he was seen shambling through the back streets

01:19:57Dirty

01:19:58And often drunk

01:20:00Then he cleaned himself up at a friend's and returned home

01:20:04On the way

01:20:07He met the same medical student

01:20:09Rudolf!

01:20:12It's good to see you

01:20:13Am I forgiven?

01:20:15Forgiven?

01:20:15For what?

01:20:16For the pain I caused you

01:20:18For the mistake

01:20:19What the devil are you talking about?

01:20:20What pain?

01:20:21What mistake?

01:20:22I put a note under your door the day after I told you about Mimi

01:20:25Didn't you get it?

01:20:26I haven't been home for a week

01:20:27So you haven't seen her?

01:20:29Who?

01:20:29Seen who?

01:20:30Oh God

01:20:31Mimi

01:20:31I made a mistake

01:20:33I'd been away from the hospital for a couple of days

01:20:35And when I got back

01:20:36Mimi's bed was empty

01:20:38So I asked the sister what had become of the patient

01:20:40She told me she'd died during the night

01:20:42But it was someone else

01:20:43Mimi had been moved to another ward

01:20:45When was this?

01:20:46The day before yesterday

01:20:47I must see her

01:20:48Rudolf?

01:20:55You took your time

01:20:57What's happened?

01:20:58Suppose the letter I wrote you last week was true

01:21:01True?

01:21:03This morning at four o'clock

01:21:04Take me to her

01:21:07I want to see her

01:21:08She's no longer there

01:21:10She's in that van

01:21:13It collects the unclaimed pauper corpses

01:21:16Would you like me to see you home?

01:21:23No, thank you

01:21:23I need to be alone

01:21:27And I was alone

01:21:32For a while

01:21:34I couldn't even bear the company of the others

01:21:37Of Shonard

01:21:39Of Marcel

01:21:40And Colleen

01:21:40You complain of the sadness of Mimi's death?

01:21:46The times were not always happy in Bohemia

01:21:48And I am not pledged to make you laugh

01:21:52Of course I was Rudolf

01:21:55A fancy name which Shon

01:21:57Who was Shonard

01:21:58Thought ridiculous

01:21:59But it was then the fashion for fancy names

01:22:03And my own name

01:22:04André Mougère

01:22:06Would not have been suitable

01:22:08Too plain

01:22:10They wanted someone with a romantic name as hero

01:22:13Or however you wish to describe

01:22:16The kind of role I played in this

01:22:18In this episode

01:22:21Colleen was made up of two people

01:22:24Wallon, a theological student

01:22:26And Trapedou

01:22:27Who was a complete mystery

01:22:28For he never said anything

01:22:30Marcel was Chambre Fleury

01:22:32All survived

01:22:35Though there were many others

01:22:36Who could not endure the harshness of the life

01:22:38And left it for one kind of death or another

01:22:41Sharn inherited his father's toy factory

01:22:45And became a rich bourgeois

01:22:46And I am expecting Chambre Fleury at any moment

01:22:50He remained Musette's friend and occasional lover for many years

01:22:54Her real name was Mariette Roux

01:22:57I don't think she ever loved anyone but Marcel

01:23:00Once she showed him the ivory box

01:23:04Containing the 40,000 francs she had earned

01:23:06If not by the sweat of her brow

01:23:09Then by the grace of her body

01:23:10A few years ago she decided to take a ship to Algiers

01:23:15And she was drowned in a freak storm

01:23:17Along with her gold and her ivory casket

01:23:20Oddly enough the vessel carried a consignment of Charn's toys

01:23:25Dolls, clockwork, rabbits

01:23:27That kind of thing

01:23:29As for Chambre Fleury

01:23:31He became the keeper of the national

01:23:33Museum of ceramics at Sèvres

01:23:36And therefore part of the artistic establishment

01:23:39How are you, Marcel?

01:23:41You know, it was only during Musette's last visit

01:23:44That I found out that you and she had known each other

01:23:46Before she came to me

01:23:47Nothing happened between us

01:23:49I don't think either of us ever knew why

01:23:52But I shall never forget my first sight of her

01:23:55Not quite eighteen

01:23:57And a burst of laughter and a pink bonnet

01:23:59If you're feeling nostalgic

01:24:03We'll go and dine tonight for Twelve Sue

01:24:05At our old restaurant in the Rue de Four

01:24:06Where we used to eat our dinners and feel hungry

01:24:09Oh, Marcel

01:24:10I've no objection to looking back on the past

01:24:13But it must be through the medium of a bottle of good wine

01:24:16And from the depth of a comfortable armchair, my friend

01:24:19It's all very well for people to paint Bohemia in rosy colours

01:24:24But you really must have madness

01:24:28And determination firmly anchored in your mind

01:24:31To go on living a life like that

01:24:33When those you love best disappear

01:24:36One by one

01:24:39For my part, I consider those who lead a calm

01:24:42Orderly life in their own homes to be supremely happy

01:24:45But then what would you have me say?

01:24:49I am corrupted

01:24:53I only care for what is good

01:24:56Or at least comfortable

01:24:59I am

01:25:05I am

01:25:06I am

01:25:07I am

01:25:08I am

01:25:09In The Bohemians, Clive Francis played Rudolph,

01:25:34Christopher Goode, Colleen, Christopher Schooler, Marcel,

01:25:37and David Timpson, Schoenard.

01:25:40Polly James played Femme,

01:25:42Miriam Margulies, Mimi,

01:25:44and Tina Marion, Musette.

01:25:47Durand was played by John Webb,

01:25:49Mouton and Dr. Lallieu by Clive Panto,

01:25:52the waiter and medical student Richard Hugh,

01:25:55Louvette and Benoit by Kerry Francis,

01:25:57Maurice by Giles Cole,

01:25:59Mariette by Carol Boyd,

01:26:01Juliette by Fiona Walker,

01:26:03and Bernard by Timothy Bateson.

01:26:06The music, based on Vasse Grise by Maurice Jobert,

01:26:10from the film Un Carnet du Ball,

01:26:13was arranged and played by David Timpson,

01:26:16with Gustav Clarkson, Viola,

01:26:18and Michael Hurst, flute.

01:26:21The Bohemians was dramatized by David Nathan,

01:26:23from Scène de la Vie Bohème,

01:26:26by Henri Merger,

01:26:27and directed by Ian Cotterell.

01:26:29Viola.

01:26:31The Bohemians

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