- 2 months ago
Category
🦄
CreativityTranscript
00:00Let's get started.
00:30You played beautifully.
00:50I haven't practiced in ages.
00:53You should resume.
00:55It's the only piece I know.
00:57It's my aunt's favorite one, though I've never played it well enough for her.
01:08I want to thank you for today.
01:13It was my pleasure.
01:16And for my aunt as well.
01:18I shall never say it.
01:20She doesn't often reveal her true thoughts.
01:25What has made her this way?
01:28I don't know.
01:29It was on account of something years ago, before I was born.
01:37Something?
01:38What kind of something?
01:41She never told me.
01:45Do you suppose it's something to which Asperin references in his letters?
01:48I've never read them.
01:51But I did see them once, when she had them out.
01:55Are they letters?
01:57Are they poems?
02:00Does she look at them often?
02:02She used to.
02:04She's very fond of them.
02:06Even though they may be compromising?
02:09Compromising?
02:09Well, they may contain some painful memories.
02:15I don't think that they're painful in that way.
02:17You don't think they may affect her reputation?
02:22Do you think that she did something bad?
02:25Well, things were different then.
02:28The morals of our day may judge her badly.
02:30If they were compromising, why would she keep the papers?
02:38Why would she not just destroy them?
02:41She might, towards the end.
02:44Don't say that.
02:46You must prevent it.
02:48How?
02:50You could get them away from her.
02:51And give them to you.
02:54Well, you might just let me look at them.
02:58They would be of such importance
03:01as a contribution to the history of Jeffrey Asperin.
03:07There was a gentleman once
03:09that wrote to her in very much those words.
03:13He said, what was it?
03:15Let me remember.
03:16Ah!
03:17Yes.
03:19They would be of immeasurable importance.
03:25And what did she reply?
03:28After he'd sent her two or three letters,
03:30she became fearfully angry.
03:34She tore them up.
03:35She put them in the fire.
03:38She said that he was a devil.
03:39Well, I hope you won't see me as a devil.
03:47It depends what you ask me to do for you.
03:53I only ask that you prevent her
03:56from destroying the papers.
03:59How?
03:59It's she who controls me.
04:10I don't think that you have to be too frightened.
04:17She loves them.
04:20She loves them so.
04:21She loves them.
04:23She loves them.
04:26I don't know.
04:35I do it.
04:36I can't help you.
04:41I can't help you.
05:46Tina is a very nice girl.
06:02I hope you did not take her out because you were obliged to, but that you have some feeling for her.
06:12Yes.
06:14Have you come to tell me that you wish to take your rooms for six months more?
06:30I am a simple man of letters.
06:35I live from day to day.
06:37So do you find your rooms too dear?
06:39I have treated myself to three months in Venice.
06:44It has been an immense luxury.
06:46But if you find your rooms too dear, you can have more rooms for the same money.
06:53We can arrange something.
06:55We can combinare, as they say.
06:58Evidently, you suppose me much richer than I am.
07:02You write books.
07:03Don't you sell them?
07:04A little.
07:06Not as much as I'd wish.
07:08Writing books such as mine is the last road to fortune.
07:11Perhaps you don't choose good subjects.
07:13What do you write about?
07:14I write about the books of other people.
07:17I'm a critic.
07:19A biographer.
07:22What do you say about these writers?
07:26I say they sometimes attach themselves to very clever women.
07:31Do you think it's right to rake up the past?
07:36How can we get to the past if we don't dig a little?
07:40The present has such a rough way of treading on it.
07:42I like the past.
07:44I don't like critics.
07:46Neither do I.
07:48But I like their discoveries.
07:49Mostly lies.
07:51The lies are what they sometimes discover.
07:53They lay bare the truth.
07:56The truth belongs to God.
08:02Not to man.
08:03We'd best leave it alone.
08:06Who are we to judge?
08:07Who can say?
08:08But if we stop trying, what becomes of these great works?
08:18People forget them.
08:20We need the tools to measure them by.
08:22To measure them by?
08:24You speak like a tailor.
08:29What do you know about curiosities?
08:37The gym crags that people pay so much for today.
08:45Do you know what kind of price they bring?
08:49Do you want to buy something?
08:50No.
08:50I want to sell.
08:53Do you know what an antiquaire might give me?
08:57For this.
09:15It's a very striking face.
09:18Tell me.
09:19Who is it?
09:20A friend of mine.
09:24A very distinguished man.
09:25He gave it to me.
09:28But you never mind his name.
09:31You would probably never have heard of him.
09:34The young generation know nothing of their elders.
09:38He was all the fashion when I was young.
09:43The face looks familiar.
09:45You expressed doubt about this generation knowing him.
09:50But he strikes me for all the world as a celebrated man.
09:56Perhaps I've seen other likenesses, other portraits.
10:00When he was older, perhaps.
10:04Who is he?
10:08I can't put a name on it.
10:09Only the person who knows who he is would give me the price that I ask.
10:17Then you have a price.
10:19I know the least I would take.
10:22I want to know the most I can get.
10:27I should like to have it for myself.
10:30But with your ideas, I could never afford it.
10:35You would buy the likeness of someone you don't know
10:38by an artist who has no reputation?
10:40The artist may have no reputation.
10:43But that portrait is painted wonderfully well.
10:45Oh.
10:46Well, it's lucky you say that.
10:49The painter was my father.
10:50That makes it all the more precious.
10:53I hope you'll tell me before you offer it to anyone else
10:55and give me notice.
10:57I am a possible buyer.
10:59I want my money first.
11:01I have no doubt of that.
11:02I know your ways.
11:04My ways?
11:05What do you know of my ways?
11:08Do you observe me?
11:10Do you spy on me?
11:12You be careful, my friend.
11:14Because I observe you.
11:16You say you want to see me.
11:18But I spy on you.
11:22I can see you.
11:24Do me speeches to her.
11:26What do you talk about when you go out together?
11:31You speak as if we were in the habit of going out every night.
11:34Certainly, I wish we had.
11:36But if that were the case,
11:37I'd feel greater scruple at betraying her confidence.
11:40Her confidence?
11:41Oh, does she have confidence in you now?
11:45Miss Tina, do you have confidence in me?
11:49Your aunt so very much wants to know.
11:51It's no good.
11:53She's dreadfully excited.
11:54I see you.
11:55I see both of you.
11:57I see you from here.
12:00I dare say you think I'm ill.
12:03Oh, you think I'm losing my mind.
12:06You may like to think so.
12:09That is not the case.
12:11That is not the case.
12:13Not at all.
12:14At this moment,
12:33in the stillness,
12:34after the long contradiction of the day,
12:37Miss Bordereau's secrets were in the air.
12:40The wonder of her survival
12:42more palpable.
12:44The wonder of her survival
13:14I ask for your pardon.
13:16Not to leave you now,
13:17but to have stayed so long.
13:19You must go now.
13:21You must go now.
13:35You must go now.
13:37Let's go.
14:07Thank you, Bernardo, very good.
14:14Very elegant.
14:16Thank you. Thank you, sir.
14:26All living creatures have a spirit double,
14:29a doppelganger, who is invisible but identical to the living individual.
14:34Sometimes they are described as the spiritual opposite,
14:39or negative, of their human counterparts.
15:04Drop it.
15:10Good boy.
15:12Come on.
15:20She's very ill.
15:22She's having great trouble breathing.
15:24I thought that she was dying.
15:26Don't say that.
15:27I didn't know what to do.
15:29I sent the maid to get the doctor.
15:31I couldn't find you anywhere.
15:33I am sorry.
15:34I must go back to her.
15:40May I help you in watching over her?
15:43No.
15:44No.
15:45I think she ought to be spared the sight of you.
15:50Do not forget the sight of you.
16:50She's coming.
17:09She's sleeping.
17:10May I see her?
17:20She kept the papers.
17:30Over there.
17:33In that trunk?
17:36Or are they now?
17:37Or are they now?
18:07That green box, the one you pointed out to me in her room, you said the papers had been
18:26there.
18:28You implied that she had transferred them.
18:31They're not in the trunk.
18:33They have looked.
18:34They have looked for you.
18:37Would you have given them to me if you had found them?
18:42I don't know what I would or wouldn't have done.
18:47I must tell you the truth.
18:49The truth?
18:51Yes.
18:54A confession, if you will.
19:00I sailed under false colors.
19:03I gave you an invented name.
19:07Why?
19:08I had to.
19:09I feel that you're a new person now, with a new name.
19:31It's not a new one.
19:34Just a very good old one.
19:36Thank God.
19:38I like it better.
19:40Do you think me a devil?
19:52As your aunt says.
19:53I think that you want the papers very much.
20:00I do.
20:02And be patient.
20:04All is still possible.
20:10You must do as you wish.
20:12You must do as you wish.
20:42Perhaps he's married already.
21:06That could be the reason why he doesn't look at you.
21:08Give a man a mask.
21:10He'll tell you the truth.
21:12Are you married?
21:18No.
21:20I walk alone.
21:22Doesn't that make you sad?
21:24To live your life without love?
21:27No.
21:29I have my work.
21:31But I wouldn't expect ladies of your youth to understand.
21:34I am the princess to your man.
21:38Mary Antoinette's guest's room.
21:40I'm going to tell you what I'm going to say to him.
21:42So it was just the job that's called for the people of court.
21:45My head has just been cut off.
21:49Morten?
21:51Morten, where are you?
21:52The princess is speaking to you.
21:54Oh, he's still thinking about those dusty papers.
21:57Come.
21:59What is there to find?
22:04The truth.
22:05The truth?
22:07About what?
22:07About myself.
22:10About...
22:11Desire.
22:13Desire.
22:16About God.
22:18About God.
22:18Desire.
22:19Desire.
22:20Desire.
22:21Desire.
22:22Desire.
22:23Desire.
22:24Desire.
22:25Desire.
22:26Desire.
22:27Desire.
22:28Desire.
22:29Desire.
22:30Desire.
22:31Desire.
22:32Desire.
22:33Desire.
22:34Desire.
22:35Desire.
22:36Desire.
22:37Desire.
22:38Desire.
22:39Desire.
22:40Desire.
22:41Desire.
22:42Desire.
22:43Desire.
22:44Desire.
22:45Desire.
22:46Desire.
22:47Desire.
22:48Let's go.
23:18There are things that must stay in the past.
23:48There are things that must stay in the past.
24:18There are things that must stay in the past.
24:47There are things that must stay in the past.
25:17There are things that must stay in the past.
25:47There are things that must stay in the past.
26:17There are things that must stay in the past.
26:47There are things that must stay in the past.
26:55So, what are you going to do now?
26:58Have you thought about it?
27:01I have, but nothing's settled yet.
27:04What I was asking is whether the reasons I took the rooms in the first place still exist.
27:11Have you settled my fate?
27:18Well, there are a great many.
27:20More than I supposed.
27:23When can I see them?
27:24When can I see them?
27:25I don't know that you can.
27:29You don't mean to say you've made a deathbed promise?
27:31Not a promise.
27:32Not a promise.
27:34What is it then?
27:38She wanted to burn them and charged me to do it.
27:43But I took them away and locked them up.
27:48Did you say that you would burn them?
27:50No, I didn't.
27:51On purpose.
27:52To gratify me?
27:53Yes.
27:54Only for that.
27:55I don't know what good that'll do me now if you won't let me see them.
27:59I know.
28:00I know this.
28:01I don't understand.
28:02If you didn't make a promise, what can possibly tie you now?
28:03Because she hated this.
28:04She hated this so much.
28:08She could be so jealous, so covetous.
28:26But there is the portrait.
28:30You can have that.
28:33You're giving it to me?
28:34Yes.
28:38It's worth a lot of money.
28:39Take it.
28:46You're very generous.
28:47So are you.
28:49I don't know why you should think so.
28:51You've made a great difference to me.
28:56As much as I value the portrait, the papers are what I should prefer.
29:04But you would understand if you really knew her.
29:08I can still see her looking at me.
29:12Her eyes were so fine, but they could be terrible.
29:16I saw something of that.
29:18I could still see them staring at me in the dark.
29:22You're very nervous.
29:26Yes.
29:27Yes, I am.
29:30She wanted to say something to me.
29:34Something very particular before she died.
29:37Did you guess what it could have been?
29:39I think that what she wanted to say, that if you're a relation, things would be different.
29:49A relation?
29:51If you weren't a stranger, what is wine would be yours.
29:56You could do with it what you want.
29:58I couldn't prevent you.
29:59Did you?
30:13I will sell the portrait for you.
30:16It's what your aunt would have wanted you to do.
30:18I shan't get what she demanded for it.
30:22But I shall get something good.
30:27I'm so ashamed.
30:29I'm so ashamed.
30:33I would give you everything.
30:36Everything that you want.
30:38And she would forgive me.
30:39Forgive me.
31:10I can't.
31:15I can't.
31:16I can't.
31:30I can't.
31:34I can't.
33:15My destiny rests with you, and you are a woman 17 years of age.
33:37But all this is too late.
33:46Think of me sometimes, when the Alps and the oceans divide us, but they never will unless
33:54you wish it.
33:55He was nearly my height.
34:01He was nearly my height.
34:15Very thin, very fair complexion, dark locks and light eyes.
34:22His voice first attracted my attention, but his countenance fixed it, and his manners attached
34:30to him forever.
34:31I love him more than I ever loved a living thing, and he, I believe, will love me to the
34:45end to the lost.
35:03I rejoice that the child is amiable and pretty.
35:08She frowns and pouts in quite our way, blue eyes, light hair growing darker daily.
35:17My dearest Juliana, to hear from afar of our sweet child's death has shocked me more than any proceeding.
35:31It sits heavy on my heart, and calls back what I wish to forget in many a feverish dream.
35:52In our love broken, myself my own dread foe, I have been wandering companionless with a
35:59joyless eye that finds no object worth its constancy.
36:02Now, more than ever, seems it rich to die, but I'm wary of this eternal pilgrimage.
36:22I had scruples about going back, and yet I had others about not doing so.
36:43Perhaps my absence would be a heavier burden for Tina.
36:50Mr. Morton.
37:18Mr. Morton.
37:20How pretty.
37:21How pretty.
37:27I was told you were . . . well, I was wondering . . .
37:30Forgive me if I continue.
37:31I wouldn't want to impose . . .
37:33Do you intend to stay in Venice?
37:35I could stay . . . it all depends on you . . .
37:38I could stay.
37:40It all depends on you.
37:42Oh, I'm leaving.
37:44You're leaving?
37:46Yes.
37:48I decided to go on a trip of my own.
37:50Well,
37:52I could accompany you.
37:54It would be a great pleasure for me if...
37:56If...
37:58only...
38:00I realized.
38:02You were right.
38:04The papers will
38:06seal our union.
38:08Oh, there's nothing
38:10that you can do to get the papers now.
38:14Why?
38:16I burnt them.
38:18After you left.
38:22How could you do such a thing?
38:26You should have waited for me. You should have talked to me.
38:28It's what she would have wanted me to do.
38:32And what about me?
38:34Did you ever think of me?
38:38I did.
38:44Shall I see you again?
38:46No.
38:48You are inhuman, Miss Tina.
38:50Inhuman?
38:52As my aunt told you,
38:54that's what the poets used to say
38:56a hundred years ago.
38:58Don't try and imitate them.
39:00You'll never do as well.
39:02Look, I simply wanted to...
39:04What we want doesn't matter.
39:06What matters is what we get.
39:08That's what she was trying to tell me before she died.
39:12So that's what I'm to understand.
39:14One doesn't defend one's God.
39:18One's God is in himself a defense.
39:22We must part now.
39:26We must part now.
39:28We must.
39:30We must.
39:32we must part now.
39:34We must.
39:42We must part now.
39:46gli inna
39:48It's not a baby.
40:05It's not a baby.
40:18It's not a baby.
40:48It's not a baby.
41:18It's not a baby.
41:48It's not a baby.
41:50Ere Babylon was dust, the Magus or Aster, my dead child, met his own image walking in the garden.
41:58That apparition, soul of man, he saw.
42:06It's not a baby.
42:16It's not a baby.
42:26It's not a baby.
42:36It's not a baby.
42:38It's not a baby.
42:42It's not a baby.
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