- hace 16 horas
Reparto: Jean-Paul Belmondo, Jean Seberg, Daniel Boulanger, Henri-Jacques Huet, Roger Hanin, Jean-Pierre Melville, Jean-Luc Godard, Jacques Rivette, Jean-Louis Richard, Claude Mansard, Michel Fabre, Van Doude, José Bénazéraf
Dirección: Jean-Luc Godard
Sinopsis: Michel Poiccard (Jean-Paul Belmondo) es un ex-figurante de cine admirador de Bogart. Tras robar un coche en Marsella para ir a París, mata fortuitamente a un motorista de la policía. Sin remordimiento alguno por lo que acaba de hacer, prosigue el viaje. En París, tras robar dinero a una amiga, busca a Patricia (Jean Seberg), una joven burguesa americana, que aspira a ser escritora y vende el New York Herald Tribune por los Campos Elíseos; sueña también con matricularse en la Sorbona y escribir algún día en ese periódico. En Europa cree haber hallado la libertad que no conoció en América. Lo que Michel ignora es que la policía lo está buscando por la muerte del motorista.
Dirección: Jean-Luc Godard
Sinopsis: Michel Poiccard (Jean-Paul Belmondo) es un ex-figurante de cine admirador de Bogart. Tras robar un coche en Marsella para ir a París, mata fortuitamente a un motorista de la policía. Sin remordimiento alguno por lo que acaba de hacer, prosigue el viaje. En París, tras robar dinero a una amiga, busca a Patricia (Jean Seberg), una joven burguesa americana, que aspira a ser escritora y vende el New York Herald Tribune por los Campos Elíseos; sueña también con matricularse en la Sorbona y escribir algún día en ese periódico. En Europa cree haber hallado la libertad que no conoció en América. Lo que Michel ignora es que la policía lo está buscando por la muerte del motorista.
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CortometrajesTranscripción
00:00:09At the end of the getaway
00:00:15After all, I am Jimoyas
00:00:18Ultimately, yes, it has to be done
00:00:21It has to be done
00:00:51It has to be done
00:01:19It has to be done
00:01:30Michelle, take me with you
00:01:33What time is it?
00:01:34Ten minutes to eleven
00:01:35No, bye
00:01:36I'm off, Fernando
00:01:53Good night my love
00:01:59If you think you're going to overtake me
00:02:01With that piece of shit watch
00:02:06Patricia, Patricia
00:02:13Now I'm going to look for pasta
00:02:15I ask Patricia, yes or no?
00:02:17And then
00:02:20Good night my love
00:02:23Milan, Genoa, Rome
00:02:32How beautiful the countryside is!
00:02:41I love France
00:02:50If you don't like the sea
00:02:52If you don't like the mountains
00:02:58If you don't like the city
00:03:01Go fuck yourself
00:03:09Some girls hitchhiking
00:03:14Okay, I'll stop and charge you one peso per kilometer
00:03:18The little one isn't bad.
00:03:20She has nice thighs
00:03:22But the other
00:03:23Actually
00:03:25Look, just two monstrosities
00:03:31I can very
00:03:36Hahaha
00:03:40Pam, pam, pam
00:03:49Pam
00:03:50Pam
00:03:51In other words, I'm fantastic.
00:03:59Women drivers are cowardice personified
00:04:02Why isn't it moving forward?
00:04:06Oh, shit, there's construction.
00:04:17Never stop.
00:04:20As the old Bugatti used to say
00:04:22Cars are made to go fast, not to stop.
00:04:27Shit, the cops
00:04:42A crocodile has passed
00:04:47It was a trap for fools.
00:05:04Don't move or I'll shoot
00:05:31Don't move or I'll shoot
00:05:59Which room is Miss Frankini in?
00:06:01He's not here
00:06:02But he lives here
00:06:03I've already told him he's not here.
00:06:14Aunts never have money
00:06:17A cane
00:06:21How much does a fried egg with ham cost?
00:06:23One eighty
00:06:27Give me one
00:06:28Right now
00:06:32I'm going to buy him the newspaper, I'll be right back.
00:06:56Oh, hi, Michelle
00:06:57Can I come in?
00:06:59Yeah
00:06:59How are you doing, beautiful?
00:07:02Don't you have a jacket?
00:07:03No, I left it in my Alfa Romeo Super Sprint
00:07:06Are you coming to have breakfast at the Royal?
00:07:08No, it's too late.
00:07:09I have to be on TV at nine ten.
00:07:17It broke
00:07:19Look
00:07:29What have you been doing?
00:07:30You're not visible
00:07:32Well, that's it, travel
00:07:35And what's new in the neighborhood?
00:07:36I don't know
00:07:37Aren't you going that way?
00:07:38Not much
00:07:38Sometimes to the disco
00:07:40But there are only idiot guys
00:07:41It's my pet
00:07:42Do you still work in film?
00:07:44No no
00:07:45It's like a circus
00:07:47Enrico, do you remember him?
00:07:48Do you remember him?
00:07:50Or do you remember?
00:07:51But you don't remember
00:07:53I work with him on TV
00:07:54I am script
00:07:57In Rome in December he was bald
00:07:59I worked as an assistant on a film.
00:08:01In Chinechita
00:08:03You?
00:08:04Yes, I
00:08:04You've never played the role of a yigolo
00:08:06By chance
00:08:07Because?
00:08:08Just because
00:08:10Yes, I would love to.
00:08:12Yeah
00:08:15Yeah
00:08:17Call me in a little while
00:08:20And Gaby?
00:08:21Has he returned from Spain?
00:08:24He bought the pergola
00:08:25Oh, really?
00:08:28Great
00:08:28It's foolish to paint everything black
00:08:30No
00:08:31What does it say?
00:08:33Because?
00:08:36But it's not finished.
00:08:37I smoke now, Lukey
00:08:40Couldn't you lend me 5,000 francs until noon?
00:08:43I should have known.
00:08:47You're disgusting, Michelle
00:08:49But I will return them to you at noon.
00:08:51I don't have that much money
00:08:54If you want, I'll give you 500
00:08:56I remember
00:09:23So you're not coming to the Royal for breakfast?
00:09:25No, I'm running late
00:09:27Well
00:09:29Arrivederci
00:09:31Bye, Michelle
00:09:34Does Mr. Tormachov work here?
00:09:36Yes, he works here.
00:09:37But it has come out
00:09:38Is Patricia with you?
00:09:41It may be in front
00:09:42Thank you
00:09:50Would you like to come with me to Rome?
00:09:55Yes, it's nonsense.
00:09:57I love you
00:09:57I wanted to see you again
00:09:59To know if I'd like to see you
00:10:01Where does it come from?
00:10:02From Monte Carlo?
00:10:03No, from Marseille
00:10:05I was there on Saturday and Sunday
00:10:06In Monte Carlo
00:10:07I had to see a guy
00:10:08I called you on Monday
00:10:09From Marseille
00:10:10Sunday and Monday
00:10:11I wasn't in Paris
00:10:12New York, Herald Tribune
00:10:14I'll buy you one
00:10:15Very kind
00:10:23What are you doing here?
00:10:25If you hate Paris
00:10:26I didn't say I hated him
00:10:27I said that I had many enemies.
00:10:29Then it is in danger
00:10:31Yes, I am in danger
00:10:32Don't you want to come with me to Rome, Patricia?
00:10:34So what are we going to do there?
00:10:35We'll see.
00:10:37No, I have a lot to do in Paris, Michelle
00:10:39So what do you do now?
00:10:41Up or down the fields?
00:10:42What are fields?
00:10:43The Elysian Fields
00:10:44Ah
00:10:47I have to go to Jorge Quinto Avenue
00:10:49Okay, I'll leave you now.
00:10:51Come, come with me
00:10:53Only up to that street
00:11:02New York, Herald Tribune
00:11:04I'll give it back to you.
00:11:06It doesn't include the horoscope.
00:11:07What is a horoscope?
00:11:09The horoscope is the future
00:11:10I want to know the future
00:11:11Not you?
00:11:12Me too
00:11:15New York, Herald Tribune
00:11:20What's happening?
00:11:21Nothing, I'm looking at you
00:11:26You're angry
00:11:27Because I left without saying goodbye.
00:11:29No
00:11:29But he was furious
00:11:30Because I was sad
00:11:34The pleasant
00:11:34It's not sleeping
00:11:35But wake up
00:11:36Next to a girl
00:11:37Is he going to stay in Paris?
00:11:41Yeah
00:11:42I have to see an uncle
00:11:43He owes me money.
00:11:44And then I have to see you
00:11:46No
00:11:46There's no need
00:11:47Because?
00:11:50There are girls in Paris
00:11:51Much prettier than me
00:11:52It's curious.
00:11:54After seeing each other
00:11:55I've slept with two girls
00:11:56But it didn't work with any of them.
00:12:00Carbide?
00:12:01What's that?
00:12:01They were both very beautiful
00:12:03But it didn't start.
00:12:04It didn't work
00:12:05It was sad.
00:12:06So, do you want to come to Rome?
00:12:09I'm fed up with France
00:12:10I can't go, Michelle
00:12:11I have to enroll at the Sorbonne
00:12:13Otherwise, my parents
00:12:14They won't send me money
00:12:15I will give it to you
00:12:17But we've only just passed
00:12:18Three nights together
00:12:19No, five
00:12:21Why don't you put on
00:12:22Never held?
00:12:22Hey, don't talk to me like that
00:12:24Sorry
00:12:27What time is it?
00:12:28See you in a little while?
00:12:30No, better not.
00:12:31This afternoon
00:12:31Yeah?
00:12:32Where?
00:12:34Here
00:13:03Lord, forgive me.
00:13:05Do you have nothing against young people?
00:13:07Yeah
00:13:07I prefer old people
00:13:28And the tibof
00:13:29She leaves behind four children.
00:13:30The police have already identified
00:13:32To the killer of National Route 7
00:13:40Is Mr. Tolmachó there?
00:13:42At the flight counter
00:14:01Hi, friend
00:14:03Hello, colleague
00:14:04Are you the one who came at ten?
00:14:06Yes, I came to get my money
00:14:07I have it here
00:14:08Come with me
00:14:23All good?
00:14:24I'm disgusted with the beach
00:14:25I've come to see a girl
00:14:26And you?
00:14:27I'm going to leave here
00:14:28I'm getting rusty
00:14:30Better rusted
00:14:31How scabby
00:14:37That's it
00:14:42Do you have the envelope I gave you?
00:14:52Idiot
00:14:53Why did he cross it?
00:14:54Don't know
00:14:55Two by two
00:14:57But not me
00:14:58I lost everything betting on Sunday
00:14:59I don't have anything
00:15:01And your friend Bob Montañé?
00:15:02Will you give me an advance?
00:15:03The fool's in jail
00:15:05Oh really?
00:15:06Yeah
00:15:06Berruti is also there
00:15:07But I don't have much confidence.
00:15:09I thought I was your colleague
00:15:12Has he returned from the tunnel yet?
00:15:13Yeah
00:15:13I saw him yesterday afternoon
00:15:14Go that way
00:15:23What is your phone number now?
00:15:26Eliseos 9984
00:15:26Can I call from here?
00:15:28Yeah
00:15:34Who is the girl you've come to see?
00:15:36She's from New York
00:15:38Is she pretty?
00:15:39She's cute
00:15:40I like it a lot
00:15:42Listen
00:15:43Eliseos 9984
00:15:47Can I speak to Antonio?
00:15:50Ah, okay.
00:15:51No no
00:15:52I'll call again
00:15:55It's not there
00:15:56Then I'm leaving.
00:15:58Goodbye, colleague
00:15:59Bye friend
00:16:08Inter-American Agency?
00:16:10Yes sir
00:16:12Do you have customers who receive their mail here?
00:16:16Yeah
00:16:17Do you know someone named Michel Poacar?
00:16:20No
00:16:21He also calls himself
00:16:23Laszlo Kovacs
00:16:24Ask that gentleman
00:16:53Ask that gentleman
00:16:56Do you remember when you reported your friend Bob?
00:17:01Yes, so what?
00:17:02Okay, now you'll do the same thing again.
00:17:07Michel Poacar
00:17:08Michel Poacar, 1.79 meters tall, brown hair, former Air France employee
00:17:12The email is sent to the Inter-American Agency
00:17:15Yes, I know him.
00:17:16Have you been here recently?
00:17:20No
00:17:21Miss
00:17:29No one has come to see Mr. Tolmachov lately.
00:17:32Yes, about five minutes ago.
00:17:34A rather tall man
00:17:36Oh, my!
00:17:38Accomplice to murder
00:17:40Do you know what it means?
00:18:09Accomplice to murder
00:18:16Accomplice to murder
00:18:22Accomplice to murder
00:18:24Accomplice
00:18:26Did you know that I didn't murder?
00:18:56I saw a man die
00:18:58Why die?
00:18:59In an accident
00:19:01Will you invite me to dinner, Michelle?
00:19:03Obviously
00:19:06I'm going to call again.
00:19:08Will you wait for me?
00:19:10Are you already going from the restaurant?
00:19:13No
00:19:16I'll be right back
00:19:17The French always say one second to mean five minutes.
00:19:45Because?
00:19:55Because?
00:19:58Because?
00:20:16Excuse me, where are we going?
00:20:17Never mind, to Saint-Michel.
00:20:20Shall we sleep together tonight?
00:20:22Don't know.
00:20:23Why? Are you not okay with me?
00:20:25Yes, very good.
00:20:27I read a story a little while ago at François that wasn't bad.
00:20:30A bus conductor who stole 5 million to seduce a girl.
00:20:35He pretended to be a rich businessman and they went to the coast together.
00:20:39In three days the 5 million was gone, and then the guy, as if nothing had happened, says to the girl...
00:20:45It was stolen money. I'm a scoundrel, but I love you.
00:20:50What I find incredible is that the girl, instead of ignoring him, tells him...
00:20:54I love you too.
00:20:56They return together to Paris and are caught while robbing houses in Paris.
00:21:01She was keeping watch. A thoughtful gesture on her part.
00:21:06Excuse me, do you have a light?
00:21:08Come on, take a franc and buy yourself a box of matches.
00:21:12I'd completely forgotten, Michel. I have to go. I have an appointment.
00:21:16With who?
00:21:17With a journalist on the Champs-Élysées. He has to take me to a press conference.
00:21:21Where is it? Now?
00:21:23Always so many questions. Is it you...? You're very annoying.
00:21:28So, you're not staying with me?
00:21:30We'll see each other tomorrow, for real.
00:21:33Not tomorrow. Tonight, Patricia.
00:21:35I've already told him it's impossible.
00:21:37Why are you so cruel?
00:21:40Where is a taxi?
00:21:41Okay, great. My car's at the opera house.
00:21:43Do you want me to give you a ride?
00:21:45Okay.
00:21:48And the Ford? You don't have it anymore?
00:21:50It's in the workshop.
00:21:53Come on, I'll stay with you.
00:21:55No, plus I have a headache.
00:21:57Let's not sleep together.
00:21:59But I want to sleep next to you.
00:22:01No, that's not it, Michel.
00:22:09Why is he sad?
00:22:10Because I'm sad.
00:22:12It's nonsense.
00:22:16Why are you sad?
00:22:18Is it better to use the formal "usted" or the informal "tú"?
00:22:21It's the same.
00:22:22I can't be without you.
00:22:24Of course you can.
00:22:25Yes, but I don't want to.
00:22:31Look, a Talbot. It's beautiful. Two and a half liters.
00:22:35You're a child.
00:22:36That?
00:22:39I don't know.
00:22:40Patricia, look at me.
00:22:42I forbid you from going to see that guy.
00:22:49What a shame, what a shame, what a shame.
00:22:54I love a girl who has a very pretty nape, very pretty breasts, a very pretty voice, and wrists
00:23:00very pretty, a very pretty face, very pretty knees.
00:23:08But what is a coparde?
00:23:14This is it, stop.
00:23:15Wait, I'm going to park.
00:23:17No, it's not necessary.
00:23:21Come on, get out.
00:23:24I don't want to see you again.
00:23:26Get out.
00:23:31Get out, you disgusting thing.
00:23:52Get out, you disgusting thing.
00:23:53Get out, you disgusting thing.
00:23:54Ah, that's good.
00:23:57Set.
00:24:04This is the book, I promise you.
00:24:06Thank you.
00:24:08Wait...
00:24:08Thank you.
00:24:10Nothing happens to you like it does to the woman in the book.
00:24:12That?
00:24:13Have you done it?
00:24:14Have you seen it?
00:24:14Well, he doesn't work like a child, but the operation is unusual and then he will die.
00:24:19I would be very sad if that happened to you, Patricia.
00:24:23We'll see.
00:24:25What's wrong?
00:24:29If I could dig a hole in the ground so that no one could see me, I would.
00:24:33No.
00:24:34We have to do as the elephants do.
00:24:36When they are sick, on the contrary, they leave.
00:24:43I don't know if I'm unhappy because I'm not free, or if I'm not free because I'm unhappy.
00:24:50Something curious has happened to me.
00:24:52I'll tell you.
00:24:54Perhaps you'll change your mind.
00:24:55She was a girl I had known for two years.
00:24:57Suddenly, three days ago, I thought, I'm going to tell him that we should sleep together.
00:25:01I had never thought about it, so I arranged to meet her.
00:25:03We ate together.
00:25:04I wanted to tell him, well, we're good friends.
00:25:07I think we should sleep together and see what happens.
00:25:09I don't know how, but I completely forgot.
00:25:15I don't know, we stopped and suddenly I remembered and sent her a letter telling her that I
00:25:19I had forgotten to tell him that we should sleep together.
00:25:23Three hours later, I receive a letter from him.
00:25:26I was saying to myself, what an extraordinary coincidence.
00:25:30I had the exact same idea while eating.
00:25:34What's going on with your projects that made you write to me?
00:25:37You're going tomorrow to interview Parvulesco, The Novelist.
00:25:42Marvelous, what time?
00:25:44Yes, come to the office early tomorrow afternoon.
00:25:47And now, I'm going.
00:25:51You're coming with me, of course.
00:25:53Of course.
00:25:55Of course.
00:25:56Of course.
00:25:57Of course.
00:26:18Just kidding.
00:26:47Thank you!
00:26:49Is this the latest edition?
00:26:50Yes, sir, the eighth edition.
00:27:47Thank you!
00:28:08My key is not here.
00:28:10I suppose she left it on the door.
00:28:19Oh well.
00:28:22Good morning.
00:28:23What are you doing here?
00:28:25There were no rooms left at the Claridge.
00:28:29So I've come here.
00:28:31I got your key downstairs.
00:28:32He could have gone somewhere else instead of the Claridge.
00:28:35Yeah.
00:28:36I always go to the Claridge.
00:28:38You're completely crazy.
00:28:42Leave me alone.
00:28:43I can never be alone when I want to be.
00:28:45Besides, it doesn't do you any favors.
00:28:49What does it mean to make faces?
00:28:50Do it like this.
00:28:59I think they suit me very well.
00:29:02You're even crazier than me.
00:29:04What a nuisance!
00:29:07I always like girls who aren't meant for me.
00:29:11Patricia!
00:29:12Did you see that I followed you yesterday afternoon?
00:29:14Answer.
00:29:18Tell me, what's wrong?
00:29:20Leave me alone.
00:29:21I'm thinking.
00:29:23In what?
00:29:26The bad thing is that even I don't know.
00:29:30I know.
00:29:32No, nobody knows.
00:29:35You think about yesterday afternoon.
00:29:36That's clear.
00:29:38Yesterday afternoon I was furious.
00:29:40But now I don't know anymore.
00:29:42I don't care.
00:29:43No, I'm not thinking about anything.
00:29:50I'd like to think of something, but I can't.
00:29:55Well, I'm tired.
00:29:58Very tired.
00:29:59And I go to bed again.
00:30:08Why are you looking at me?
00:30:10Because I'm looking at you.
00:30:12You should have stayed with me.
00:30:14I couldn't.
00:30:16You could perfectly well.
00:30:18All you had to do was tell that man that it was impossible to see him.
00:30:21But I had to see him.
00:30:22He's going to order some items from me.
00:30:24It's very important to me, Michelle.
00:30:26No, the important thing is that you come to Rome with me.
00:30:30Can.
00:30:30Don't know.
00:30:33Have you slept with him?
00:30:35No.
00:30:37For sure yes.
00:30:38No, Michelle.
00:30:40The truth is that he is very kind.
00:30:41He told me that one day we'll sleep together.
00:30:44But not today.
00:30:45What does he know?
00:30:47He doesn't know me.
00:30:48Not with you.
00:30:49Him with me.
00:30:51We went to Montparnasse.
00:30:52We had something to drink.
00:30:54To Montparnasse?
00:30:55I was there too.
00:30:56What time?
00:30:57Don't know.
00:30:58We didn't stay long.
00:31:01Why have you come here, Michelle?
00:31:05I?
00:31:06Because I wanted to sleep with you again.
00:31:09That's not a reason, I think.
00:31:12It obviously is.
00:31:13It means that I love you.
00:31:15And I still don't know if I love you.
00:31:19When will you know?
00:31:22Soon.
00:31:24What does "soon" mean?
00:31:26In a month?
00:31:27One year?
00:31:28Pronto means soon.
00:31:30Women never want to do in eight seconds what they will want to do eight days later.
00:31:36Eight seconds is the same as eight days.
00:31:40Or even, why not?
00:31:41Eight centuries.
00:31:44No, eight days is fine.
00:31:47But?
00:31:48Women always do everything halfway.
00:31:51That leaves me devastated.
00:31:55Why don't you want to sleep with me?
00:31:58Because first I want to know...
00:32:01You have something I like, but I don't know what it is.
00:32:04I wish we were Romeo and Juliet.
00:32:07Oh, please.
00:32:09They're girl ideas.
00:32:11See?
00:32:11Yesterday in the car you said that it was impossible for you to be without me.
00:32:15It's not impossible.
00:32:17Romeo could not be without Juliet.
00:32:19But you can.
00:32:21No.
00:32:22I can't be without you.
00:32:25Oh, please.
00:32:26Those are kids' ideas.
00:32:29Smile at me.
00:32:32Good.
00:32:34I'm going to count to eight.
00:32:36If you haven't smiled at me by the time I get to eight, I'll strangle you.
00:32:41One.
00:32:43Two.
00:32:44Three.
00:32:46Four, five, six.
00:32:48Seven.
00:32:50Seven and a half.
00:32:52Seven and three-quarters.
00:32:55You're such a coward that I bet you're smiling.
00:33:03I don't feel like playing anymore.
00:33:09You're a coward.
00:33:11What a pity.
00:33:11Why are you telling me that?
00:33:13You make me nervous.
00:33:15You too.
00:33:17Yes, but I'm not a coward.
00:33:19How can you tell I'm scared?
00:33:21When a girl says everything is going great but she can't light a cigarette, it means she's afraid of
00:33:27something.
00:33:28I don't know why, but he's scared.
00:33:33Grab a cigarette.
00:33:34No, shit, not Chesterfield.
00:33:37Give me my jacket, I have mine in my pocket.
00:33:39This?
00:33:40Give it to me.
00:33:44Is this your passport?
00:33:46No, it's my brother's.
00:33:47Mine is in the car.
00:33:49But he puts Kovacs' name on it.
00:33:51Oh, really?
00:33:52He is not my real brother.
00:33:54When she was born, my mother had already divorced.
00:33:57Come on, bring it.
00:34:07Do you see it?
00:34:08I am not afraid.
00:34:10I didn't say that.
00:34:11Whatever you say.
00:34:13No.
00:34:15You would have liked to say it.
00:34:17And now you're annoyed.
00:34:19Because you can't anymore.
00:34:21I'm not talking to you anymore.
00:34:24That?
00:34:29Do you ever think about death?
00:34:32I think often.
00:34:36Michelle.
00:34:38That?
00:34:39Tell me something nice.
00:34:41That?
00:34:43I don't know.
00:34:45Well, me neither.
00:34:49I really like the ashtray.
00:34:53It's a BM6.
00:34:55My grandfather had a Rolls.
00:34:57A formidable car.
00:34:59In 15 years he never had to lift the hood.
00:35:05Have you seen my new print?
00:35:08Patricia, come here.
00:35:10No.
00:35:11Come on, come on.
00:35:14It doesn't look good here.
00:35:15Where can I put it?
00:35:20Why do you give me a cake when I look at your legs?
00:35:23You don't look at my legs.
00:35:28It's exactly the same.
00:35:30The French always say things are the same when they are not.
00:35:37I've had a nice idea, Patricia.
00:35:39That?
00:35:41I want to sleep with you again because you're beautiful.
00:35:45No, I'm not.
00:35:48So why are you ugly?
00:35:49It's the same thing.
00:35:57Yes, darling, it's the same thing.
00:36:00You're a liar, Michelle.
00:36:02Lying would be foolish.
00:36:04It's like poker, it's better to tell the truth.
00:36:07The others believe it's a bluff.
00:36:10And then you win.
00:36:13What are you doing?
00:36:18I'll look at you until you stop looking at me.
00:36:22Me too.
00:36:24Me too.
00:36:51I'm going to put it in the bathroom.
00:36:55Can I make a phone call?
00:36:56Yeah.
00:37:02This isn't bad, is it?
00:37:04Yes, it's very good.
00:37:12Do you like it?
00:37:14Not bad.
00:37:18Renouard is a great painter.
00:37:20I said it's not bad.
00:37:25Do you think she's prettier than me, Michelle?
00:37:29You're either scared or amazed.
00:37:33Both things at the same time.
00:37:35You have a strange gleam in your eyes.
00:37:37And?
00:37:38I'd like to sleep with you again because of that glow.
00:37:43Michelle.
00:37:46Michelle.
00:37:47What are you doing in the video?
00:37:51Guess what I'm going to tell you.
00:37:53I have no idea.
00:37:56I'm pregnant, Michelle.
00:37:58That?
00:38:02You heard that right.
00:38:04Come on.
00:38:05Whose?
00:38:05About me?
00:38:06Yes, I think so.
00:38:08Have you been to the doctor?
00:38:10I went yesterday morning.
00:38:12He told me to come back on Thursday afternoon to pick up the test results.
00:38:16You could have been more careful.
00:38:33Hey, put me through to Elysium 9984.
00:38:389984.
00:38:43Is Antonio there?
00:38:46Don't you know if he'll come back?
00:38:49No.
00:38:51I'll call him.
00:38:53Michelle Poacar.
00:39:04Eliseos 2532.
00:39:08I called a man who owes me money.
00:39:14Mr. Tolmachov, please.
00:39:18Hello, colleague.
00:39:25Listen, I can't find Berruti.
00:39:28He wasn't there.
00:39:29I've spent all night wandering around Montparnasse.
00:39:35The police?
00:39:40Thank you.
00:39:41Bye, mate.
00:39:42Bye, mate.
00:39:45Shit!
00:39:46What's happening?
00:39:47I slipped.
00:39:49That reminds me of the story of a man condemned to death.
00:39:51Do you know her?
00:39:52No.
00:39:53A condemned man climbs the gallows, slips on a step, and says,
00:39:58It's not my day.
00:40:05Sometimes you look like a Martian.
00:40:08Yes, I know, because I'm over the moon.
00:40:11What a great idea to have a child.
00:40:13But I'm not entirely sure, Michelle.
00:40:15I just wanted to know what you would say.
00:40:17Why don't you get naked?
00:40:19What would be the point?
00:40:21You Americans are stupid.
00:40:23I don't see why.
00:40:24Yeah.
00:40:25The proof is that you admire Faget and Mauricio Mariano, who are precisely the two of them.
00:40:32Okay, I'm going to make a phone call.
00:40:37Belepín 3526.
00:40:39Patricia, come here.
00:40:43Listen.
00:40:44Mr. Manzar?
00:40:47Will he be there this afternoon?
00:40:49Tell him I'll come see him.
00:40:52I'm calling on behalf of Tony.
00:40:54From Marseille.
00:40:56Laszlo Kovacs.
00:40:58I'll bring him an Americano.
00:41:00Yes sir.
00:41:02An American?
00:41:03Laszlo Kovacs, yes.
00:41:07But not you.
00:41:09An American.
00:41:10My American car.
00:41:16I can't locate the guy who owes me money.
00:41:19What a load of crap.
00:41:21Do you prefer records or radio?
00:41:24Be quiet.
00:41:25I'm thinking.
00:41:40Goes.
00:41:44I know it by heart.
00:41:47How old are you?
00:41:49I'll turn on the radio.
00:41:50Five years.
00:41:51It doesn't seem like it.
00:41:54Why don't you like music?
00:41:57Depends.
00:41:58This one, yes.
00:42:00Come on, Patricia, come to Italy with me.
00:42:03Italy!
00:42:06What good are your Sorbonne classes to you?
00:42:08Oh really?
00:42:10Have you never taken exams?
00:42:13Yeah.
00:42:15Only in elementary school.
00:42:16Then I dropped out of school.
00:42:18What does "colgué" mean?
00:42:19I did something else.
00:42:21That?
00:42:23Selling cars.
00:42:24Here in Paris?
00:42:25No.
00:42:29In New York.
00:42:31Have you slept with a lot of guys?
00:42:34Not with many.
00:42:38How many?
00:42:42And you?
00:42:43I?
00:42:48Not many either.
00:42:51Do you know where I'd like to live?
00:42:52In Mexico.
00:42:54Everyone says it's beautiful.
00:42:56When I was little, my father always told me,
00:43:00We'll go next Saturday.
00:43:02And I always forgot.
00:43:06I don't trust Mexico.
00:43:09I'm sure it's very beautiful.
00:43:11But people are very deceitful.
00:43:14It's like Stockholm.
00:43:16Everyone who comes from there says,
00:43:18Swedish women are formidable.
00:43:19I've been doing it three times a day.
00:43:21Go there.
00:43:22Well, I went.
00:43:24And it's a lie.
00:43:26To begin with, Swedish women are very different from Parisian girls.
00:43:30And besides, in general, they are as ugly as Parisian women.
00:43:33No, Swedish women are very beautiful.
00:43:37No, no, they're just stories.
00:43:40One or two, okay, fine.
00:43:42Like in Paris, like in London, but not all of them.
00:43:46No, the only cities where the girls walking down the street are quite pretty.
00:43:50Not sublime, okay.
00:43:52But like you, charming.
00:43:54Girls you can meet.
00:43:56I don't know, maybe 15 out of 20.
00:43:58Because they all have something.
00:44:01They are neither Rome, nor Paris, nor Rio de Janeiro.
00:44:06Why are they leaving?
00:44:10You tell me something nice too.
00:44:13But I don't know what either.
00:44:20If you were with another man, would you let him touch you?
00:44:27Earlier, you said I was scared, Michelle.
00:44:31It's true, I'm scared.
00:44:32Because I would like you to love me.
00:44:36And then, I don't know why, I would also like you not to love me.
00:44:41So, I'm very independent, you know?
00:44:47And?
00:44:48I love you.
00:44:50And not in the way you think.
00:44:52As?
00:44:53Not in the way you think.
00:44:55You don't know what I think.
00:44:57You don't know what I think.
00:44:59Yeah.
00:45:00No, it's impossible.
00:45:02I'd like to know what's behind your face.
00:45:08I look at her for 10 minutes and I don't know anything, nothing, nothing.
00:45:14I'm not sad, but I'm scared.
00:45:18My sweet and charming Patricia.
00:45:20No.
00:45:21Okay, then, cruel, idiotic, heartless, pathetic, cowardly, despicable.
00:45:27Yes, yes.
00:45:28You don't even know how to put on lipstick.
00:45:30It's terrible.
00:45:32Suddenly I find you hideous.
00:45:34Say whatever you want.
00:45:36I don't care.
00:45:37I'll write it all in my book.
00:45:40Which book?
00:45:41I am writing a novel.
00:45:43You?
00:45:44Because I can't.
00:45:46What are you doing?
00:45:47I'll take your clothes off.
00:45:49Not now, Michelle.
00:45:51You drive me crazy.
00:45:53What's that about?
00:45:55Do you know William Faulkner?
00:45:58No, who is it?
00:46:00Have you slept with him?
00:46:01Of course not, you silly goose.
00:46:04So I'll pass on him.
00:46:06Take it off.
00:46:07He's a writer I like a lot.
00:46:09Have you read about wild palm trees?
00:46:11I've already told you no.
00:46:13Take it off, come on.
00:46:14Listen.
00:46:15The last sentence is very beautiful.
00:46:19Between grief and nothing, I will take grief.
00:46:24Between pain and nothingness, I choose pain.
00:46:28And what would you choose?
00:46:31Show me your toes.
00:46:33They're very important in a woman, don't laugh.
00:46:37What would you choose?
00:46:39Pain is stupid.
00:46:42I choose nothingness.
00:46:43It's not better.
00:46:46But pain is a commitment.
00:46:48All or nothing.
00:46:50Besides, now I know.
00:46:53I know.
00:46:55Why are you closing your eyes?
00:46:57I try to close my eyes very tightly so that everything goes black.
00:47:01But I never can.
00:47:03It is never completely black.
00:47:05Your smile, when seen in profile, is your best feature.
00:47:12It's you.
00:47:13It's me.
00:47:25We looked each other in the eyes and it was no use.
00:47:32Patricia Frankini.
00:47:33Kini.
00:47:34I hate that name.
00:47:36I would like to be called Ingrid.
00:47:40Get on your knees.
00:47:44What's happening?
00:47:48I look at you.
00:47:51The French are stupid too.
00:48:01I want you to stay with me.
00:48:04Yeah.
00:48:18How odd.
00:48:19That?
00:48:20I see my reflection in your eyes.
00:48:22I laugh because it really is a Franco-American approach.
00:48:25We hide like elephants when they're happy.
00:48:28The role of a woman is very exciting.
00:48:30I'm very hot.
00:48:46If you were with another man who caressed you, would you leave or not?
00:48:49You've asked me that before.
00:48:50The broadcast of working in music is about to begin.
00:48:53To you, working in music.
00:49:16That's it.
00:49:29Are you familiar with a book by Dylan Thomas titled Portrait of the Artist as a Puppy?
00:49:37Sunday morning, the long-awaited moment to stay in bed.
00:49:45I get dressed.
00:49:48What time is it?
00:49:49Twelve o'clock.
00:49:51It was ok?
00:49:54Yes, sir.
00:49:56We held classes until the afternoon.
00:49:58No.
00:49:58I need to buy a dress.
00:50:00Do you have the car?
00:50:01My car?
00:50:02Yes, yes.
00:50:06Good morning, Michelle.
00:50:17Elysium 9984.
00:50:25Hello?
00:50:28Good morning, ma'am.
00:50:31Has Antonio been around?
00:50:34Oh, wow.
00:50:37It's horrible.
00:50:40Don't you know where you are?
00:50:43No, leave it.
00:50:47As always, Michelle Poacar.
00:50:49Do you want me to put on a bra, Michelle?
00:50:52As you like it, baby.
00:50:59What do you like more, my eyes, my mouth, or my shoulders?
00:51:05If you had to choose.
00:51:13Your press conference was a lie, wasn't it?
00:51:16No, it's later, right, Norley?
00:51:19I'm not particularly handsome.
00:51:22But I'm a great boxer.
00:51:28Where are you going? To that press conference?
00:51:29Michelle, I have to stop by the office first.
00:51:33I'll go with you.
00:51:35All right.
00:51:42Were you in the war?
00:51:43Yeah.
00:51:44And what were you doing?
00:51:48Eliminate the sentries.
00:51:50What does "liquidate" mean?
00:51:51He knocked them down like that.
00:51:53No, Michelle.
00:51:59I'm tired.
00:52:00I'm going to die.
00:52:02You're crazy?
00:52:04I'm completely crazy.
00:52:07What does "crazy" mean?
00:52:09I.
00:52:30Isn't your car there?
00:52:32No.
00:52:33Yeah.
00:52:34It's in the garage.
00:52:35I'll go find him and we'll leave.
00:53:01Brilliant.
00:53:02A forum.
00:53:13Which floor?
00:53:14To the fifth.
00:53:35I've put in the wrong piston.
00:53:37Okay.
00:53:37Bye bye.
00:53:43No.
00:53:55No.
00:54:09Are you afraid of getting old?
00:54:10I do
00:54:12You're an idiot
00:54:16I've already told you that the worst flaw is cowardice.
00:54:22Will you buy me the dress at Dior?
00:54:24That will never happen.
00:54:25There are much nicer dresses at Prisunic
00:54:28No, you shouldn't buy anything at Dior.
00:54:30You have to make a phone call
00:54:31It's the only place in Paris where you can make a free call.
00:54:34Twelve cabins directly connected to the outside
00:54:37François
00:54:41François
00:54:48François
00:54:48Hey, give me one.
00:54:49It usually takes a moment
00:54:51Come on
00:54:53François
00:54:54Thank you, sir.
00:54:56Give me one, please.
00:54:57I'm coming, I'm coming
00:55:06The murder on National Route 7 remains unsolved.
00:55:19Walk
00:55:19Go ahead
00:55:19No, I can see
00:55:21Good
00:55:21Hey!
00:55:54How long is that going to last?
00:55:55About half an hour, I don't know.
00:55:57I'm going to see that guy and then I'll come back.
00:55:59Or what?
00:56:01Patricia!
00:56:03Patricia!
00:56:19Why did she choose Candida as the title of her novel?
00:56:21Could you look here?
00:56:23Hey, your uncle, get him out of the way.
00:56:24In profile, please.
00:56:24Thank you.
00:56:26I think that my book, in France, due to French puritanism, will have a comical reception.
00:56:33Mr. Parvulesco.
00:56:35Mr. Parvulesco, I would like to ask you.
00:56:38Do you think it's possible to believe in love in our time?
00:56:42You can only believe in love.
00:56:44In our time, precisely.
00:56:46I'm going to make a plan now from this other side.
00:56:48What do you think of Reiner Maria Rilke's statement that modern life will increasingly separate the
00:56:53man of the woman?
00:56:54Mr. Parvulesco.
00:56:55Rilke was a great poet and he was certainly very right.
00:56:59Please measure and come this way.
00:57:01Mr. Parvulesco, move a little.
00:57:04Get him out of the way, idiot.
00:57:05Excuse me, man, we're all working.
00:57:07Mr. Parvulesco.
00:57:08Do you think there is a big difference between French women and American women?
00:57:14There is no relationship between French women and American women.
00:57:19American women dominate men.
00:57:21French women have not yet mastered it.
00:57:23Mr. Parvulesco.
00:57:25Mr. Parvulesco.
00:57:26I don't know if you should...
00:57:27What is your greatest ambition in life?
00:57:29Who is more ethical?
00:57:30The woman who betrays or the man who abandons?
00:57:33That's quite an interesting question.
00:57:35The woman who betrays.
00:57:36Mr. Parvulesco.
00:57:38Do you think women are more sentimental than men?
00:57:40Feelings are a luxury that few women afford themselves.
00:57:44Mr. Parvulesco.
00:57:46Do you think there are differences between eroticism and love?
00:57:54No, not at all.
00:57:55I don't think so.
00:57:57I don't think there are any.
00:57:59Because...
00:57:59Eroticism is a form of love.
00:58:02And love is a form of eroticism.
00:58:04Do you believe in the existence of the soul in the modern world?
00:58:06No, I'm not asking you.
00:58:06I believe in tenderness.
00:58:07I ask what I want.
00:58:08I believe in gentleness.
00:58:12Do you believe that women have their own role in modern society?
00:58:18Yeah.
00:58:18She's charming, especially if she's wearing a striped dress and dark glasses.
00:58:22Mr. Parvulesco.
00:58:23Do you agree with Casanova's statement that there is no woman who cannot be seduced if you try?
00:58:27Does it value properly?
00:58:28Doctor, Orpheus's will says the same thing.
00:58:31In your opinion, how many men can a woman love in her lifetime?
00:58:35I mean physically.
00:58:41Excuse me, please.
00:58:42More than these.
00:58:43This is no way to work.
00:58:44Mr. Parvulesco.
00:58:45Miss, are you half-asleep?
00:58:46There are two important things in the world.
00:58:48For men, women.
00:58:50And for women, money.
00:58:52Mr. Parvulesco.
00:58:52You said it.
00:58:54Are you a person here?
00:58:54When a beautiful woman goes out with a rich man, she is automatically considered a good girl.
00:58:59And a scoundrel.
00:59:00Please.
00:59:01In your opinion, what is better?
00:59:03Which country in the world appeals to you the most?
00:59:05France.
00:59:05Do you like Brans?
00:59:06Like everyone else, nothing at all.
00:59:08And Chopin?
00:59:10Disgusting.
00:59:11What is your greatest ambition in life?
00:59:14Mr. Parvulesco.
00:59:17To become immortal and then die.
01:00:05I am Laszlo Kovacs.
01:00:07Are you Claudius Mansar?
01:00:08Yes, Mr. Kovacs.
01:00:11I called this morning.
01:00:12I was told I would be here.
01:00:14Yes, Mr. Kovacs.
01:00:15I'm here on behalf of Tony.
01:00:17Yes, Mr. Kovacs.
01:00:19I think we've already met in Nice with him.
01:00:21No, Mr. Kovacs.
01:00:23Haven't you called him on the phone?
01:00:25Yes, Mr. Kovacs.
01:00:26He called me saying it would be an Oldsmobile.
01:00:29Yes, but it fell through at the last minute.
01:00:32So?
01:00:34So, here you go.
01:00:48800,000.
01:00:50Okay.
01:00:52The only problem is that I'll give him the money next week.
01:00:56No, he's just a winner.
01:00:59And you, Mr. Kovacs?
01:01:01Look.
01:01:04And?
01:01:07Like I said, I'm not going to pay him now.
01:01:10Bad luck.
01:01:11Isn't it three o'clock yet?
01:01:12It's a quarter past three.
01:01:13Can I make a phone call?
01:01:31Is Antonio there?
01:01:34No, he just left.
01:01:36Shit.
01:01:37But he has asked me to tell him that he will be about to remir the descal at four o'clock.
01:01:40At four o'clock, the barefoot?
01:01:42Okay, fine.
01:01:43And thank you.
01:01:47What about time?
01:01:48I have the pasta on me.
01:01:50Give me an advance of 10,000 francs.
01:01:555,000.
01:01:572,500.
01:02:05Has it stopped?
01:02:10Hey, you!
01:02:12Did you unplug the cable from the decoder?
01:02:19Pay me for the phone!
01:02:20And he gives you the taxi!
01:02:24Come on, hurry up, hurry up!
01:02:26Don't worry about the pedestrians, I'm just asking you to put your foot down.
01:02:29Step on the gas!
01:02:30Come on, it looks like a turtle!
01:02:33The entire front left lettering of the Thunderbird has been ripped off.
01:02:36And me, nothing.
01:02:39Look at the house where I was born.
01:02:42Opposite them they built a hideous building.
01:02:46That put me off houses like that.
01:02:48Now all the beauty of the crossing has been taken care of.
01:02:50Oh, really?
01:02:51Yes, me.
01:02:52I have a sense of beauty.
01:02:54Beauty.
01:02:57Don't go through Châtelet!
01:02:58Hey, my contact will be your fault!
01:03:00Not at all.
01:03:01Come on, friend, go ahead to 403!
01:03:03Do not touch the gear shift!
01:03:05What does it mean to go at a snail's pace behind that car?
01:03:08Look, he's let a motorcycle overtake him!
01:03:11Turn on your turn signal, we're turning left.
01:03:14Wait here, I'll be right back.
01:03:15Yes sir.
01:03:36Do not touch the gear shift!
01:03:45He left five minutes ago.
01:03:47The friend who owes you money?
01:03:51Antonio Berruti, yes.
01:03:52Because of you.
01:03:54Now it's double or nothing.
01:03:56Because?
01:03:58I'll explain it to you later.
01:04:00Grandpa, I don't want to follow your horses.
01:04:01Where are you going now?
01:04:02To the New York Herald.
01:04:04Don't turn your head, look ahead.
01:04:06What is the purpose of writing articles?
01:04:07To have money and to be independent of men.
01:04:11In my opinion, Parisian women wear very short dresses.
01:04:14They look like whores.
01:04:15Don't say that, please.
01:04:16Do you feel like running after them and doing this to them?
01:04:19There's no need to bother.
01:04:21Stop here.
01:04:31We'll be right back.
01:04:32OK.
01:04:33I'm going with you.
01:04:34Come on, hurry up.
01:04:41Where are we going?
01:04:42To the Elysian Fields.
01:04:44All of Paris knows this shortcut, which is per seated.
01:04:47I hate taxi drivers who are afraid of scratching the car body.
01:04:50Here, during the war, the Gestapo built a wall so that the guys couldn't escape.
01:04:55I've been thinking about the girl from François.
01:04:57Which girl from François?
01:04:59Yes, the one who went to the French Riviera with her friend.
01:05:02You said it yourself, they're a bit naughty girls.
01:05:05Yes, a normal girl.
01:05:07It's strange.
01:05:11Will you stay with me?
01:05:12I'm going to the newspaper.
01:05:14No, I have to call.
01:05:16I'm going to say hello to my tailor and I'll come back for you.
01:05:18Okay.
01:05:19Bye, little one.
01:05:24Where is?
01:05:25Here you are, Peter.
01:05:28Peter, I'll introduce you.
01:05:30Mostly!
01:05:39Hello, Patricia.
01:05:40Hello, Aileen.
01:05:41You're late, they're waiting for you.
01:05:42Now you fill them up.
01:05:43Happens.
01:05:46Patricia, how's work?
01:05:48Oh, it's not too bad.
01:05:49I need to write my notes now.
01:05:51This is our new report.
01:05:53Oh, great.
01:05:53A pleasure.
01:05:54Fine.
01:05:55How are you?
01:05:55How are you?
01:05:57How are you?
01:05:58How are you?
01:06:00How are you?
01:06:10Miss Patricia Franchini?
01:06:12It's there.
01:06:13Happens.
01:06:24Oh, he's an incredible, arrogant man.
01:06:28Miss Franchini?
01:06:29Yes.
01:06:30Come on.
01:06:30See you later.
01:06:31We'd better go upstairs.
01:06:33Do you work here?
01:06:34Yeah.
01:06:35Do you know this young man?
01:06:36The killer of police officer Tibón is still at large.
01:06:45No.
01:06:55Be careful, young lady.
01:06:57You don't mess with the Parisian police.
01:07:00Yes, of course, it's Michelle.
01:07:01Michelle Poacar?
01:07:02Yes, I hadn't recognized him, but it's an old photo.
01:07:07This morning she was seen in front of this building in his company.
01:07:11Who has seen me?
01:07:12Was he driving a Ford Thunderbird 3382G75?
01:07:17Yeah.
01:07:19Where is he now?
01:07:20Don't know.
01:07:24Careful.
01:07:25Careful, young lady.
01:07:27Don't know.
01:07:29He is a man I have seen five or six times.
01:07:31I thought he was kind.
01:07:32I don't know where he lives or what he does for a living.
01:07:35Have you known him for a long time?
01:07:38No.
01:07:39I met him in Nice three weeks ago.
01:07:41I was on vacation.
01:07:43He told me he was coming to Paris to see a man who owed him money.
01:07:47Who?
01:07:48Don't know.
01:07:50An Italian name.
01:07:53Does he plan to see Michelle Poacar again?
01:07:56Can.
01:07:57Sometimes he calls me to go out.
01:08:00Like this morning.
01:08:01Don't know.
01:08:02Yes, yes, yes, yes, yes.
01:08:06Do you have a work permit?
01:08:08Yeah.
01:08:09You wouldn't want to have problems with your passport, would you?
01:08:12No, I don't want to.
01:08:13Yes, listen.
01:08:14If you see this, this is my number.
01:08:19Danton 0100.
01:08:21Zero, zero.
01:08:28Come on!
01:09:02Come on!
01:09:22Come on!
01:09:53Come on!
01:10:29Come on!
01:10:52Oh no, no, Bill!
01:10:53I didn't see it!
01:10:56Don't believe me!
01:11:18That's why you said earlier it's double or nothing.
01:11:23Yes, more or less.
01:11:25Let's watch the western movie about Napoleon.
01:11:27Yes, we have to wait until nightfall.
01:11:42Be wary, Jessica, of even the smallest kiss.
01:11:45The years go by very quickly.
01:11:47Avoid, avoid, avoid painful memories.
01:11:53You're wrong, Sheriff.
01:11:55Our history is noble and tragic, like the mask of a tyrant.
01:12:00Any insignificant detail does not make our world pathetic.
01:12:06Come on!
01:12:29Come on!
01:12:31I'm reading it.
01:12:33The cops are looking for me.
01:12:35They're idiots.
01:12:36I am one of the few French people who appreciate them.
01:12:39Patricia, I would like to caress you.
01:12:43Tell me anything.
01:12:46Oh.
01:12:46That?
01:12:48Are you married.
01:12:49Show it to me.
01:12:53Yes, a long time ago.
01:12:56With one who was crazy.
01:12:58He abandoned me.
01:12:58Or maybe I to her.
01:13:00Yes, me.
01:13:01I don't remember.
01:13:01I love you very, very much.
01:13:04What does it feel like, Patricia, when you're in a stolen car?
01:13:07And when did you kill the policeman?
01:13:09I was scared.
01:13:10But how did the police see that I knew you?
01:13:12Someone must have seen us together and reported us.
01:13:17That's wrong.
01:13:18The fact that?
01:13:19In my opinion, reporting is very wrong.
01:13:21No, it's normal.
01:13:23Whistleblowers whistle, robbers rob, murderers murder, lovers love each other.
01:13:33Look, how beautiful Concordia is.
01:13:37Yes, very mysterious with all those lights.
01:13:41It's an idea to continue with this 403.
01:13:44We need to change.
01:13:46The fact that?
01:13:47We need to change our car.
01:14:02Did we steal the Cadillac?
01:14:03Yeah.
01:14:06Cadillac, the golden one.
01:14:08And the keys?
01:14:09You drive and I'll hide.
01:14:11In this parking lot, they always leave the keys in the ignition.
01:14:18What do I say to the man downstairs?
01:14:20Say goodnight to him.
01:14:21If it sounds like English, he won't dare to say anything.
01:14:24The French are a bunch of jerks.
01:14:26What does "caquetas" mean?
01:14:27Be afraid.
01:14:29Are you afraid?
01:14:29It's too late to be afraid now.
01:14:38Good night.
01:14:40Good evening, ma'am.
01:14:58It is essential that I find Antonio.
01:15:01It upsets me that when you're looking for someone, you can never find them here.
01:15:06Hey
01:15:09Michel?
01:15:10Who is it?
01:15:11Hold on, kitty
01:15:12What does "gatita" mean?
01:15:35Have you seen Antonio?
01:15:37I'll tell you if I can kiss the girl
01:15:40That's not up to me.
01:15:43It depends on her
01:15:48I don't make a fortune with their bar there.
01:15:54Carl
01:15:58Hello
01:15:59How are you?
01:16:00Okay, isn't Antonio with you?
01:16:01Gabby told me that you were at the pergola
01:16:03Yes, it's there.
01:16:04Look at him
01:16:08Who is it?
01:16:09Who, Antonio?
01:16:10No, he
01:16:11Patricia Franchini, Carl Zumbara
01:16:13Nice to meet you
01:16:15Show me your socks
01:16:17Do you wear silk socks with a wool jacket?
01:16:20Yes, I like silk
01:16:21Okay, but not with wool
01:16:23Berruti!
01:16:25Hi, friend
01:16:26Hello, colleague
01:16:27I'll leave you now
01:16:27See you later
01:16:29Did you want to see me?
01:16:30I've been told you've called me many times.
01:16:32Yes, I'm screwed
01:16:33Hey?
01:16:34Really fucked up
01:16:35Oh shit!
01:16:37Do you have two minutes?
01:16:39Look, kiss that guy
01:16:40What should I say to him/her?
01:16:40Whatever you want, it doesn't matter.
01:16:42It only took two minutes
01:16:44Where are they going?
01:16:46Antonio will take a picture when she rocks the man
01:16:48To do what?
01:16:49It's probably blackmail.
01:16:52Please tell me what to say
01:16:54Yes sir
01:16:55That's 15 francs in total
01:16:57Very good
01:16:58Wait
01:16:58Here it is
01:17:00Thank you
01:17:00Get me a beer
01:17:11That's it
01:17:12I'll be right back
01:17:13Sir, your beer
01:17:15What's with that smile?
01:17:16I'm as screwed as I am in love
01:17:18Fuck
01:17:23Why don't you sit down, Patricia?
01:17:26I only kept Mr. McGregor
01:17:28He was here with me, Adrián and Moni
01:17:34It's just possible that he said it's fantastic
01:17:36But this gold certainly surprised me
01:17:40One million three hundred
01:17:41I can do it
01:17:42Maybe tomorrow
01:17:43Which bank is the check from?
01:17:45BNB
01:17:45Show it to me
01:17:50What do we do?
01:17:51I don't know
01:17:53Where can I call you?
01:17:55I don't know
01:17:56The hotels are full of idiot tourists.
01:17:59I don't know where I'll be.
01:17:59I have a friend in Montmartre
01:18:01It has a huge apartment
01:18:02No, not in Montmartre.
01:18:03No, not there.
01:18:05Because?
01:18:07We have enemies in Montmartre, beautiful.
01:18:10Go to the Swedish woman's house in Zumbar
01:18:12Do you still live on Campagne Premier Street?
01:18:14Yeah
01:18:15I'm going to his house tomorrow
01:18:16Well, see you later, friends.
01:18:18See you
01:18:34I'm here on behalf of Antonio
01:18:36He told me we can spend the night here
01:18:37Yes, okay
01:18:38Sit down over there
01:18:39I only have five minutes left.
01:18:46Good
01:18:47Smile
01:18:49Smile
01:18:51You could take pictures
01:18:52That makes money
01:18:53No, you have to sleep with everyone
01:18:57I'm thinking about something
01:18:58That?
01:19:00I'm having doubts
01:19:02About what?
01:19:04Don't know
01:19:05I wouldn't hesitate if I knew.
01:19:14And what about your journalist?
01:19:15Did you stand him up?
01:19:16Yeah
01:19:17Why did you greet him?
01:19:19She wanted to be sure that she was no longer in love with him
01:19:22You're making your life too complicated, little one.
01:19:25I'm finished
01:19:26Will you take me to the Champs-Élysées?
01:19:28Yes of course
01:19:34Bye
01:19:44Bye
01:19:45What album are you going to play?
01:19:46Mozart's Clarinet Concerto
01:19:49Does it bother you?
01:19:50No, I love that one.
01:19:52I thought you didn't like music
01:19:54Just that album
01:19:56My father was a clarinetist
01:19:58Oh, really?
01:20:00Yeah
01:20:01My father was a genius with the clarinet
01:20:03Shall we go to sleep?
01:20:05Yeah
01:20:06It's sad to sleep
01:20:08It forces us to separate
01:20:11Us
01:20:12Separate
01:20:14It's called sleeping together
01:20:16But that's not true.
01:20:25Patricia
01:20:30What's happening?
01:20:36Nothing
01:20:41Patricia
01:20:41That?
01:20:42Come here
01:20:43Come here
01:20:52Go buy the François and a bottle of milk
01:20:55Okay
01:21:03What time is it?
01:21:04The five
01:21:07The five
01:21:13Always busy
01:21:21Michelle
01:21:22That?
01:21:23Nothing
01:21:24François?
01:21:26I look at you
01:21:32Lucky day
01:21:33Try your luck
01:21:35Buy a ticket
01:21:36A whisky
01:21:37Don't have
01:21:38Then a coffee
01:21:45Danton 0100
01:21:48With Inspector Vital, please
01:21:57Listen
01:22:00Patricia
01:22:00Franquini
01:22:03Listen
01:22:03The man they're looking for
01:22:05I just saw it
01:22:07It's located on Premier Street, Campaign 11
01:22:12That's it, Premier Campaign Street 11
01:22:14Listen
01:22:18Listen
01:22:19Listen
01:22:30What's going on?
01:22:33What happens
01:23:10Are you thirsty?
01:23:12No.
01:23:14Antonio will arrive in a quarter of an hour.
01:23:15He just called.
01:23:17We're going to Italy, beautiful.
01:23:22I can't go.
01:23:24Of course.
01:23:25I'm taking you with me.
01:23:26Berruti lends me his Sport sinca
01:23:28powered by an engine from Amadeo Gordini, the wizard.
01:23:32Michelle, I've called the police.
01:23:35I told them you were here.
01:23:37You're crazy.
01:23:38Do you think that's okay?
01:23:39Yeah.
01:23:41Everything's fine.
01:23:44No, everything is wrong.
01:23:46I don't feel like going with you anymore.
01:23:49Yes, I knew it.
01:23:52I don't know, Michelle.
01:23:53When we talked, I talked about myself and you talked about yourself.
01:23:56I've realized that I'm stupid.
01:23:58Whereas you should have talked about me and I about you.
01:24:01I don't want to be in love with you.
01:24:07I called the police about that.
01:24:11I stayed with you because I wanted to be sure that I was in love with you.
01:24:16Or that she wasn't in love with you.
01:24:21And since I've been mean to you, that proves I'm not in love with you.
01:24:28Repeat it.
01:24:30And since I've been mean to you, that proves I'm not in love with you.
01:24:39They say that happy love doesn't exist.
01:24:42But it's the opposite.
01:24:43If I loved you.
01:24:44Have you thought about that?
01:24:45It's too complicated.
01:24:47On the contrary.
01:24:48Unhappy love does not exist.
01:24:52I don't want anyone to take care of me.
01:24:53I don't believe in independence.
01:24:55But I am independent.
01:24:57You may love me.
01:24:58You believe in her.
01:25:00But you're not.
01:25:01That's why I reported you.
01:25:04I am superior to you.
01:25:07Now you'll have to leave.
01:25:12You're crazy.
01:25:15It's a regrettable line of reasoning.
01:25:24You're an idiot.
01:25:25It's like girls who sleep around.
01:25:29And they don't want to sleep with the only man who loves them.
01:25:34Under the pretext that they sleep with everyone.
01:25:39Why aren't you saying anything?
01:25:45I've slept with a lot of guys.
01:25:47You can't count on me.
01:25:50But go away, Michelle.
01:25:51What are you waiting for?
01:25:53No, I'm staying.
01:25:54I'm finished.
01:25:56Besides, I feel like going to jail.
01:25:57You're crazy?
01:26:01Yeah.
01:26:04No one will speak to me there.
01:26:07I'll look at the walls.
01:26:09Listen, you were saying...
01:26:10Damn it, Berruti!
01:26:11Berruti!
01:26:13Hi, friend.
01:26:14Wait, I'm going to park.
01:26:19Get lost, dude.
01:26:20The cops will arrive in five minutes.
01:26:21Get lost, dude.
01:26:22The American woman has reported me.
01:26:23Shit!
01:26:24Come on, get in.
01:26:25No, I'm staying.
01:26:26You get out.
01:26:26Don't be an idiot.
01:26:27Get in the car.
01:26:28No, I'm staying.
01:26:32Yes, I'm fed up.
01:26:35I'm tired.
01:26:37I want to sleep.
01:26:37You're crazy, really.
01:26:39Come on, get in.
01:26:40No, I'm not going after the police.
01:26:41I'll save my own skin.
01:26:43What bothers me is that now...
01:26:45I shouldn't think about her.
01:26:46And I can't do it.
01:26:48Do you want my automatic?
01:26:53No.
01:26:53Don't be an idiot.
01:26:55Get out.
01:26:55Uncle.
01:27:00Uncle.
01:27:08Uncle.
01:27:12Uncle.
01:27:16Uncle.
01:27:25It's because I already had someone.
01:27:54Thank you!
01:28:14Thank you!
01:28:54Thank you!
01:28:58Thank you!
01:28:59You're really disgusting.
01:29:13What did he say?
01:29:14He said...
01:29:15Are you really disgusting?
01:29:23What does disgusting mean?
01:29:27No no.
01:29:27No...
01:29:47Thanks for watching the video
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