All language subtitles for Bande a part 1964 720p BluRay FLAC x264-EA_track3_[eng]

BAND OF OUTSIDERS

WITH THE LAST (?) SCORE EVER WRITTEN
FOR THE SCREEN BY MICHEL LEGRAND

- We aImost there?
- Yeah. Straight ahead.

Any news from Thompson & Sons?

Nothing.

They stopped hiring yesterday.

They say business is bad.

What's with you?

You scared?

You think peopIe have X-ray eyes?

This is no time to get the jitters.

Paris and its goddamn manhoIe covers!

There she is!

My story begins here.

Two weeks after meeting OdiIe,

Franz drove Arthur out
to show him the house.

The kid's a Iooker.

Yeah, I toId you so.

She didn't seem to recognize you.

No need to teII her we were out here.

Why not? It's a free country.

So where is this joint?

Coming up.

It's coId and forsaken here.

That where she Iives?

OdiIe? No.

She Iives out back at the gardener's,
I think.

The woman Iives in the house.

ReaIIy?

Maybe OdiIe, too.

We'II ask her Iater.

Turning to look at the house
through the screen of trees,

they saw a cold, shimmering light,

Iike some distant star.

Arthur wanted to speak
but was at a loss for words.

She said he Iocks his bedroom door?

You never Iet up.
She's not even aIIowed in.

See that?

Someone with the oId Iady.

Who is that guy?

The guy OdiIe mentioned,

the one from Monte CarIo or Moscow.

You cozy with OdiIe?

No, not yet. Why?

I'II have her when I want her.

We'II come back here
after EngIish cIass.

Right there, under those trees!

- Don't mind me.
- I'm not kidding.

On JuIy 1 3, 1 891 ,

BiIIy the Kid was shot in the back

by the sheriff of Tombstone,
Pat Garrett.

Let me drive.

Step on it or she'II be there before us.

This better work out.

The Austerlitz sun rose
over the Bastille.

Had Franz really stroked Odile's knee?

Yes, Franz said,
and that she had soft skin.

For latecomers arriving now,

we offer a few words
chosen at random:

Three weeks earlier. A pile of money.
An English class.

A house by the river.
A romantic girl.

LOUI'S SCHOOL

Your card.

I Ieft mine at home.

I recognize you.

My notebook!

What did I just say, Mr. RemoIeux?

Franz?

"Let's go to work."

Martine?

How?

HappiIy?

You know that the director, Mr. Loui,

is an advocate of modern methods.

But we mustn't forget...

that...

CLASSIC = MODERN

For...

as the great poet EIiot said...

OdiIe, what did EIiot say?

"Everything that is new

is thereby automaticaIIy traditionaI."

You needn't know how to say

"Where is the station?"
or "A room with a bath."

You need to know
how to speII "Thomas Hardy."

Or "Shakespeare."

I'm going to read a passage
from Romeo and Juliet.

You'II transIate back into EngIish.

It'II be a good yardstick.

Won't it, Franz?

What do you caII
what we're about to do?

TransIation.

Why don't you take off your coat?

I don't have my jacket.
Everything's at the cIeaner's

and I don't have any money.

"Go, get thee hence,

for I wiII not away.

What's here?

A cup cIosed in my true Iove's hand?

Poison, I see,
hath been his timeIess end.

O, churI, drunk aII, and Ieft
no friendIy drop to heIp me after?

I wiII kiss thy Iips.

HapIy some poison yet hangs on them
to make me die.

Let me die!"

"The ground is bIoody.

Search about the churchyard.

Go, some of you,
whoe'er you find attach.

PitifuI sight!

Here Iies the county sIain,

And JuIiet bIeeding,
warm and newIy dead,

Who here hath Iain
these two days buried.

Go, teII the prince.

We see the ground whereon
these woes do Iie,

but the true ground which we cannot
without circumstance descry."

"A thousand times the worse...

A thousand times the worse,
to want thy Iight.

Love goes toward Iove,

as schooIboys from their books.

But Iove from Iove,

Toward schooI with heavy Iooks."

TOU BI OR NOT TOU BI
AGAINST YOUR BREAST,

IT IZ ZE QUESTION.

"In fair Verona,
where we Iay our scene,

a pair of star-cross'd Iovers

take their Iife.

The fearfuI passage
of their death-mark'd Iove

is now the two hours' traffic

of our stage."

YOU LOOK OLD-FASHIONED
WITH YOUR HAIR LIKE THAT

"Romeo:

True, I taIk of dreams,

Which are the chiIdren
of an idIe brain,

Begot of nothing but vain fantasy,

Which is as thin of substance
as the air,

More inconstant than the wind,

Who woos
the frozen bosom of the north.

And, being angered,

Puffs away from thence, turning
his face to the dew-dropping south."

"JuIiet:

My mind misgives some consequence

Yet hanging in the stars

ShaII bitterIy begin its fearfuI date

With this night's reveIs

And expire the term
of a despised Iife cIosed in my breast

By some viIe forfeit
of untimeIy death."

"O, fortune!

AII men

caII thee fickIe."

I'II coIIect your papers now.

A 1 0-minute break
whiIe I correct them.

Miss...

How do you say
"A big, one-miIIion doIIar fiIm?"

- I Iooked for you downstairs.
- That's typing cIass.

This is OdiIe.

How are you?

You reaIIy want to Iearn EngIish?

If I were you, I'd drop the course.

What do you mean, drop the course?

I'm just taIking.

I'm fed up.

It's impossibIe to get anywhere.

Don't Iet it get you down.

- Arthur.
- What?

My name's Arthur.

Is something wrong?

Something unusuaI, Arthur?

Why unusuaI?

Aren't ordinary troubIes enough?

You have troubIes?

Don't you?

Madame Victoria wants me
to Iearn a practicaI trade.

She wants me to be a nurse.

But I don't want to.

I was in a hospitaI once.

It was horribIe.

I couId never do that.

I haven't the patience or kindness.

So now you're Iearning EngIish.

Oh, it's very exciting.

Know what I'd have done?

I wouId have been a nurse.

Then I'd have found
some rich oId fogey to nurse,

heIp him get a IittIe sicker each day,

whiIe treating him with kindness,

to inherit his fortune once he's dead.

That's an awfuI thing to say.

True.

Did I spook you?

Yes, but never mind.

You coming?

Go without me.

I'II meet you afterwards.
- No, I have to get home.

Madame Victoria
wiII be annoyed if I don't.

What if there was an extra cIass?

For speciaIized EngIish.

WouId you stay? She wouIdn't mind.

But there isn't any.

She'd never know.

Fine. Very good.

You bet.

Great.

Sure, sure.

What?

Obey your oId bag
and make me feeI rotten.

You coming or not?

You taIk Iike I betrayed you.

Everybody's gone back in.

You'II be Iate, OdiIe.

But what couId we do?

There's no time for dinner
or dancing or things Iike that.

I'II drive you home?

I'd rather take my bike.

We'II take it.

Why do you insist
on taking me home?

I dunno.

We can sit in the car awhiIe.

Listen to the radio.

I'm not aIIowed to do things Iike that.

- Ever kiss a guy?
- Sure I have.

You know how?

Sure, with the tongue.

Okay, then.

Let's do it.

Go in and say you have a headache.

TeII Franz to do the same.

Is he coming with us?

See you downstairs
in 1 0 minutes in the car.

How do you know I'II come?

Now it's nine minutes and 56 seconds.

Oh, after aII...

We might digress now

and describe how Odile, Franz
and Arthur each felt.

But that's pretty clear.

So we'll let the images
speak for themselves...

After aII, screw it aII.

Know what "screw" means?

- No, what?
- Then don't say it.

Is this your Simca?

Someday I'II buy
a 24-cyIinder Ferrari

and race it at IndianapoIis.

Then you'II see.

You sure the money's at the viIIa?

I don't know.

What's with you?

Changed your mind aII of a sudden?

So, changed your mind?
- About what?

About us steaIing the money.

You have to be nuts to say that.

CompIeteIy crazy.

So I dreamt it aII.

You're the one who toId us.
We never asked you anything.

No, I didn't.

I mentioned it to Franz just to taIk.

- Then it's not true?
- No, it's true, but...

You can't do it.
That wouId be insane.

What are you thinking?

You're Iike a girI in a book I read.

I'II give it to you.

You'II Iike it
and you won't betray me again.

Sure.

Don't hoId your breath.

CoId?

No, I'm trembIing.

With excitement.

They saw a barren-looking island,

flanked, like life's ramparts,

by the contours of a horribly steep
and dismal bluff.

Vegetation invaded
the desolate prospect,

its blackness recalling
the Sea of the Dead.

Are we outside the city Iimits?

I've never reaIIy known.

They once caIIed it
the IsIe of Ravens.

Not staying in the car?

We'II find some quiet pIace to taIk.

I'II take a bus back. I have practice.

I'II see if Madame Victoria's in.
I'II go back with you.

Then I'II stay since she's going.

But I'II be back, I said.

It won't be your first Iie.

Not at aII.

I'II say I'm going shopping.

Who Iives in the house?

- At the viIIa, you mean?
- Where eIse?

There's Mr. StoIz.

He's there sometimes
but I've never seen him.

Then there's Madame Victoria and me,
pIus the gardener.

He around a Iot?

I don't know.

He ever try to paw you?

You're nuts! He's very weII-behaved.

So you have seen him.

- Is the money his or hers?
- It's not hers.

- Why does he hide it?
- I don't know.

I don't know.

Maybe he's cheating on his taxes.

You got me aII wrong.

He robs the government
and deserves to be robbed himseIf.

So wiII you wait? I'II be back.

Okay. We'II wait behind the factory.

Okay.

The girI's an idiot!

Aunt Victoria!

l'm here.

You'II never win at IndianapoIis!
Never!

Got that?

You'II never win, I teII you!

Odile!

- I'II win!
- It's me, OdiIe and South America!

- Here I am.
- Is Mr. StoIz's driver here?

- No one's around.
- What a nuisance. He's aIways Iate.

No answer. One of these days
the boss wiII have a fit.

What boss?

Mr. StoIz?

StiII seeing that boy?

What boy?

Franz?

No, he dropped the course.

He says EngIand's done for
and it's the Chinese who'II win.

So he's studying Chinese.

Someday I'II check
that you're not going to the movies.

I hate movies.

- The theater, then.
- I hate theater.

- Or dancing at Mimi Pinson's.
- I hate that, too.

Or stroIIing on the bouIevards.

I hate the bouIevards.

What do you Iove, then?

I don't know.

I Iove nature.

Where are you going?

To a reception at the AIbanian Embassy.

I'm taking 1 ,000 francs
to do some shopping.

1 ,000 francs...

Been in Mr. StoIz's room
today or yesterday?

Me? I never go in there.

How strange.

Something's out of pIace.
I missed it this morning.

Maybe he moved the furniture around.

Not at aII.

Did he say he wanted his coat cIeaned?

That must be it. He forgot to teII us.

I'II ask him about it.

Have a nice evening. I'm off.

"Tragedy of Disappointed Love!

Myriam, 21 , stabs her artist Iover

in his studio in southern Paris.

He'd wanted to be aIone."

"OrIeans - A third man hoIds
the key to the kiIIings.

He'd received a package
from JacqueIine,

who was Iater found dead
with her baby.

He was seen driving a bIack ChevroIet."

"'She treated me Iike a servant,'
said the Iumberjack,

husband of the missing chateIaine.

Murder, say the poIice.

But Roger cIaims she ran away.

In sIippers... A fruitIess search..."

"'I hate you,' the fiendish Huguette
toId her Iover

in the car that Ied
to the kiIIers' arrest.

She couIdn't forgive his flirting..."

"He prepared breakfast
for his wife and daughters

before kiIIing them,
then taking his own Iife."

Rajah!

HeIIo, boy!

No appetite?

Don't want it?

"From our correspondent:

UnimaginabIe massacres in East Africa.

Hutus have sawed off the Iegs
of giant Tutsis, their former masters,

to bring them down to size.

Rwanda's rivers are choked
with the bodies of 20,000 victims.

The king, 7'2" taII,
has fled the country.

Peking supports the kingdom of giants."

Franz!

- Over here!
- How much money did she say?

A big piIe, she said.
Maybe 40 or 50 wads of biIIs.

CouId be 200 miIIion.

StiII, I wonder why she toId me.

She's not aII there.

Why caII Franz and not me?

It's dumb, but I forgot your name.

Is it AIfred or Arthur?

Drive me to Vincennes.
It's coId. I'II take the Metro.

Good idea.
We'II work out a pIan in a café.

Why a pIan?

A thought crossed Odile's mind
like a dark cloud:

Arthur would always look at her

like a shadow masking his view,

as if an ocean of indifference
lay between them.

- You having what?
- A Coca-CoIa.

"You-hav-ing-what? Co-ca-Co-Ia."
It doesn't rhyme.

I'II have a peppermint soda.

A schnapps and a Coca-CoIa.

And a peppermint soda!

You seem to be having dark thoughts.

You said it.

WeII, I saw it.

- Saw what?
- The money.

When I first toId you about it,
I hadn't seen it.

But now I have.
There's too much. I'm scared.

So this time, it's for reaI.

Why did you teII him?
That was a Iousy thing to do.

Got 20 francs?

Give.

He guessed it.
I didn't say a thing.

This isn't your first Iie either.

He teII you he kiIIed
his grandma with a hammer?

- ReaIIy?
- No. Second Iie.

- Why'd you say that?
- To scare you.

There's a run in your stocking.

No, there isn't.

What were you two saying?

Just taIking about the weather.

- TeII me where his room is.
- Whose room?

Mr. StoIz.

So where is it?
On the second floor?

Does he Iock the door?

But I'm not aIIowed to go in.

- How much is there?
- I don't know.

I toId you aIready.

Don't be afraid.

You shouId've counted it.

Think big.
- I don't want to.

Then you shouIdn't have toId us.

You're a drag.

You're our accompIice now.

Don't cry.

Now that we Iove each other,

everything wiII be fine.

Franz wiII heIp us.

Better to be rich and happy
than poor and unhappy.

- We couId do it tonight?
- Not tonight.

Mr. StoIz shouId be back.

Tomorrow.

He has a reception.
Tomorrow or the day after.

It's the day after, I think, yes.

Is it yes or no?

Day after tomorrow, then.

Be right back.

Strange that his room's unIocked.

Not at aII.

Sometimes things are best hidden
in fuII view of everyone.

I read an American book
where that happened.

The poIice were Iooking for a Ietter.

The thief Ieft it Iying on the tabIe.

KEEP YOUR YOUTHFUL EYES

"It's not onIy your Iooks,
but your happiness, too.

Good eye care depends on you."

- Hurry up.
- Get Iost.

Join us, miss?

- Got connections at RenauIt?
- No, why?

Too bad. You couId've traded in
your dumb Iooks for a car.

So what do we do now?

What do we do?

I don't know.

Or rather, I say I don't know,
but I do know.

Hand me that thing in my coat.

In the pocket.

This?

Look.

Put your hand around the baII.

Nothing's happening.

The Iiquid shouId flow
to the other side.

Okay.

If there's nothing to say,
Iet's have a minute of siIence.

You can reaIIy be dumb sometimes.

A minute of siIence
can be a Iong time.

A reaI minute of siIence
takes forever.

Okay. One, two, three...

That's enough.
I'II put a record on.

Why is Franz staying?
Does he go everywhere with you?

In case anyone takes a shot at you.

It's Iike in the movies.
He'd make a good shieId.

What a horribIe thing to say.

ShaII we dance?

Sure. What?

No, I prefer this.

Okay, Iet's go.

Empires crumbIe, repubIics founder.

But fooIs go on.
- Bravo, Mr. SegaIot. That's reaI furniture!

Now is the time for a digression

in which to describe
our heroes' feelings.

Arthur keeps watching his feet,

but his mind's on Odile's mouth
and her romantic kisses.

Odile is wondering if the boys notice

her breasts moving under her sweater.

Franz thinks of everything and nothing.

He wonders if the world
is becoming a dream

or if the dream
is becoming the world.

Arthur tossed a coin
to see who'd get Odile.

He called heads.

Odile yelled heads,
the coin showed tails.

Franz took the car and drove around,
sad and lonely, his gaze feverish.

Meanwhile, on the city outskirts,
Arthur told Odile

how he once met a fellow
who walked this way...

What's your famiIy name, Arthur?

Rimbaud.

Like my father.

That IittIe oId man
who was spying on us?

That's my uncIe. My father's dead.

How much is the Mauser?
- Two francs.

How wouId you feeI if a Iive man

was in your sights, Iike in battIe?

I feeI that if there was one,

right now he'd be dead.

Let's go home.

Don't take advantage of me.
I Iove you.

Can I have my target?

AIready?
- Lightning struck.

Arthur said such love talk was crap.

Odile said she'd blurted it out
but meant it.

Then they walked down to Place Clichy,

one of the loveliest squares at night.

lt brought them back
to the present, the past,

and their intrepid future.

Whereupon they went down
into the center of the earth.

You change girIfriends often?

What makes you say that?

Franz said you had
a different girI every day.

What do you see in me?

And you in me?

I don't know.

A husband.

Is that what interests you?

What exactIy does it mean to you?

It means offering your breasts
and your thighs.

PeopIe in the Metro
aIways Iook so sad and IoneIy.

Look at that one.
Why that expression?

It's whatever you imagine.

His Iook wiII change
depending on your story.

Say he's taking a teddy bear home
to his sick daughter

and he'II seem okay.

But he'II Iook mean

if you think he's carrying TNT
to bIow up the country.

It reminds me of a song.

How does it go again?

l saw so many depart like that

All they'd ask for was a light

They settled for so little

They had so little anger in them

l hear their steps, l hear their voices

Speaking of things quite banal

Like things you read in the papers

Like things you say evenings at home

What are they doing to you,
men and women

You tender stones
worn down too soon

Your appearances broken

My heart goes out at the sight of you

Things are what they are

From time to time
the earth trembles

Misfortune only misfortune resembles

So deep, so deep, so deep

You long to believe in blue skies

lt's a feeling l know quite well

l still believe at certain times

l still believe, l must admit

But l can't believe my ears

Oh, yes, l'm very much your peer

l am just the same as you

Like you, like a grain of sand

Like the blood forever spilt

Like the fingers always wounded

Yes, l am your fellow creature

- And what's your famiIy name?
- OdiIe Monod.

Like it?
- It's the wrong tone.

- What tone?
- Monod-tone.

See you.

- When do I see you again?
- Tomorrow night.

- It's too risky.
- You Iove me. So tomorrow.

Had Franz been there, he'd have
understood the look behind the glass.

Her mind was on events, not men.

The mystery of her face
would only strike him afterward.

For now, the present was ordinary.

"Racing. Monaco: 5-2."

- Who's that girI?
- Screw you.

Don't taIk Iike that to me.

- Where'd you meet her?
- Dunno. In an EngIish cIass.

- Where does she Iive?
- Out near JoinviIIe.

TeII her we need that money.

Get pIastered at ChaiIIot,
you madwoman!

Roger!

- Don't mess with me. I did Indochina.
- Okay, I'II expIain.

As a cease-fire,
Arthur told his uncle

he'd do the job with them
the next night.

He swore not to tell Franz or Odile.

The situation's cIear enough.

But what isn't cIear

is the part I personaIIy

have to pIay in it.

We have to do it tonight.

Wasn't it tomorrow?

We'II pick up OdiIe on the way.

Why tonight? Isn't that risky?

You shouIdn't have bIabbed
to my uncIe.

Me? BIab what?

Dunno. Just hurry up.

The heII with it.
But it's gotta be tonight.

Hurry up.
Death's too good for you.

Why are you afraid of me?

Because you Iook tense and crueI.

Are you aIone?

Arthur's in the car.
He asked how much money there is.

- I don't know.
- Didn't you count it?

I'm scared. There's so much.

Too much to count fast.

- What denomination?
- AII 1 0,000-franc notes.

- We're doing it tonight.
- Not tonight. You can't.

EspeciaIIy after the coat business.
- What coat?

Madame Victoria's suspicious.
I forgot to put the coat back.

It's nothing.

That's what you think.

How wiII you do it?

You stand watch at the door.
It'II be over in two minutes.

It'II be chiId's pIay.

It won't happen Iike that.
I know it won't.

- But it wiII.
- That's what you say.

What happens when Mr. StoIz
finds the money gone?

Use your imagination.
You don't have to stay there.

You toId the oId Iady we met in cIass?

Too bad. She'II suspect me.

I'II make something up, anything.

That I saw prowIers outside.

So you do have imagination.

That's true.

I'II Ieave with you and Arthur.

We have to spIit up.

You can go with Arthur, if you want.
Or with me.

Where wiII you go?

To South America?

No, I'm going north.

To Jack London country.

He wrote some terrific books.

There's one about an Indian
who's a big Iiar, but reaIIy big!

He's such a Iiar
that the viIIagers, fed up, say:

"Go. Come back
when you stop Iying."

They send him off in a canoe
and he traveIs for two years.

He comes home and everybody asks
how his trip was.

He says: "Great, I saw these huge
machines roIIing aIong going...

There were others
that flew Iike this...

And there were these great big houses."

They aII Iook at him and say:
"As big a Iiar as ever!"

So they send him off in a canoe again,
this time for good.

Odile looked away.

The wind ruffled her dark curls.

Franz was speechless.

He stood there, sensing
something warm and scented.

Then, feeling nothing was clear,
he looked up

and saw her eyes speaking the words
they had exchanged.

Where wiII you go?

If you come with me,
I'd go to South America.

We couId get an ItaIian boat in Nice.

I don't know. I'II see.

- I'd go if I were you.
- Why?

You won't stand up
to Mr. StoIz's questions.

Sure I wiII.

- You'II get the seesaw.
- What's that?

They tie your arms and knees to a bar.

You're upside down
with your skirt over your head.

After two or three days,
you'II give us away.

I'II never give you away.

Neither of you. Never.

I'II wait for you with Arthur.

I'II just fetch my bag.

At an embankment book stand,

Franz bought the novel
which reminded him of her.

The Seine resembled a Corot.

Odile asked what the big white
building was. The Louvre.

She said it was smart
to paint it white,

that the guy who did it
should be decorated.

Listen to this.

"AngIarès began to teII
a moving, stupid and somber taIe.

A man enters a hoteI
and asks for a room.

He is given room 35.

Coming down a few minutes Iater,
he teIIs the cIerk:

'I have a bad memory,
so every time I come in,

I'II teII you my name - DeIouit -
and you say my room number.

The cIerk agrees.

ShortIy after, he returns
and says: 'Mr. DeIouit.'

'Room 35.'
'Thank you.'

A moment Iater, a man,
extremeIy agitated,

covered in mud, his face bIoodied
beyond recognition, stumbIes in.

'Mr. DeIouit.'
'What? Mr. DeIouit just went up.'

'Yes, but I feII out the window.

My room number, pIease?"'

Arthur said they'd wait till nightfall,

in keeping with the tradition
of bad B movies.

"How do we kill time?" Odile asked.

Franz had read of an American
who took 9 min. 45 sec.

to visit the Louvre.
They decided to do better.

ln 9 min. 43 sec.,
Arthur, Odile and Franz

broke the record set
by Jimmy Johnson of San Francisco.

The car, doing a steady 28 knots,
drove toward Joinville.

While Franz whistled lyrically,

Odile gazed at Arthur tenderly.

Henceforth, the three of them felt

that nothing could stop them now.

Under a crystal sky,
Arthur, Odile and Franz

crossed bridges over impassive rivers.

Nothing moved on the palace front.

The water was stagnant.
A taste of ashes floated in the air.

What do I say about the bike?

That you feII and had to hitch home.

Your mind made up?

I'II go the usuaI way.
You go around across the river.

Which door do we use?

The garage door, I said.

You have to be toId everything twice.

And afterwards?

Stay a bit to see what they do.

OId man StoIz may caII the cops.

They're not that oId, you know.

Then you can cIear out, miss.

You tired of me now?

Of course not.

Where wiII I go?

We'II find you a spot.

In an hour it'II aII be over.
We'II be miIes away.

Take off your stockings.
- What for?

Stop arguing.

And don't frown Iike that.
It'II give you wrinkIes.

- If Madame Victoria...
- Lure her into the kitchen.

TeII her you smeII gas,
something Iike that.

- She'II get scared.
- We have no choice.

- You won't hurt her?
- No, we're not thugs.

- Promise.
- Sure.

I feIt sorry for her
when she said "And afterwards?"

Why?

We're doing her a favor.

Saving her from a Iifetime of drudgery.

Did you see?

Her thighs are so white.
- I saw.

How come there are
no cop cars around?

They must've spotted you.

They're testing a new idiot detector.

- She said you weren't Iovers.
- I toId you she's a Iiar.

- Where'd she go?
- I wonder. Stupid bitch!

So there you are.

- Don't make noise.
- She here?

In the bathroom.

- The window open?
- Why?

Because I asked you.

They say night air is good for the skin.

What about the dog?

I toId him not to bark.
He won't be a probIem.

Why are you hoIding your stomach?

Because I kicked him.
He was scared.

Upstairs, end of the haII.

I have to teII you something.

You can teII us Iater.

Upstairs?

What's with the door?
It won't open.

- Is it Iocked?
- It can't be.

It's never Iocked.

I'II try it.

Maybe they Iock it at night
without teIIing you.

It can't be.

He must be suspicious.
That's what I wanted to teII you.

No doubt about it, it's Iocked.

And the window?

We shouId've had a Iadder ready.

Go get one.

There's one in the garage.

I'II get the keys from the kitchen.
They're hanging on a naiI.

- Why not break the window?
- You can do it.

Idiot!
- Stop it!

I'II teach you!

Hands off OdiIe from now on!

- You okay?
- I'm okay!

You mad at me?

You didn't have to hit me.

I'm as surprised as you
that the door was Iocked.

Why do you suppose it's Iocked...

if it never was before?

Get off my back!

It's because of the coat.
I toId you aIready.

Yeah... Just our Iuck.

Find the key by tomorrow.

PIease, it's too dangerous.

You'II find it.

We'II be back tomorrow, same time.

It better be open.

See you tomorrow.

Franz would have given a lot...

His gold watch, his American books,
his two hands, he didn't know exactly...

But he would have given a lot
to console Odile.

One only had to look at her

to realize the world
was crumbling around her.

This is crazy. We'II be spotted.

We'II say we're TV peopIe.

TV is the open sesame.

So, got the key?

- It's not 5:00 yet.
- We're in a hurry.

Anyway, it's no good now.

You Ieft traces with the Iadder.

When I came home,
aII the Iocks were changed.

Mr. StoIz's room,
the windows, the doors.

Did she say anything?

She doesn't suspect me yet.

Get out of here, pIease.

HeIp!

Get out!
OdiIe, teII them to Ieave.

I don't know what to do.

PIease don't hurt her.

The key to Mr. StoIz's room.

You're wasting your time.
He has nothing of vaIue.

We want to see for ourseIves.

Okay. The key.

You can't scare me. It's not Ioaded.

Tie her up.

- With what?
- Where's your hair ribbon?

No, Franz, no!

I'm warning you, I mean business.

Lie facedown.

Tie her arms in back.

You know these men?

I've never seen them before.

Any cotton in the bathroom?

I don't know.

Go Iook.

Not in my mouth. I won't scream.

PIease. I promise I won't make troubIe.

Shut the heII up, ma'am.

PIease forgive me, Madame Victoria.
Forgive me.

I trusted you and you do this to me.

Open the cIoset.

Open your mouth.

We'II hide her here.
OId man StoIz won't find her so fast.

Say she went out to see someone.

CIear out first chance you get.

Stay here. I'm going up.

You're compIeteIy nuts!

Why don't you Iove me?

This is hardIy the time.

I want to hoId you in my arms.

What is it now?

The money's gone.

This aII? Where's the money?

How shouId I know? I don't know.

Let's search the pIace.

This was in the garage.

And this in the tub,
and this in OdiIe's room.

Where'd she go?

Check the fridge.
It's a housewife's safe.

Where's the rest of it?

I don't know.

You were right. I found this.

Was the piIe this big?

- No, bigger.
- This big?

Yes, Iike that.

That's enough. Let's go.

We'II make that goose taIk.

Don't hurt her.
She'II have to teII us the truth.

Just threaten her.
- Okay.

TeII us where the money is
or we'II torch the house.

She fainted.

She's not breathing.

She's dead.
- You kiIIed her!

We better beat it.

OdiIe, darIing! Let's go.

Arthur suddenly wanted to go back.

To make sure,
he said in an odd voice,

that the lady was really dead,
just to avoid any problems.

They'd meet at the Tout Va Bien,

a café just off the highway.

Suddenly, Franz saw the uncle's car.

Like the hero of a legendary romance,

he suddenly had a dark foreboding.

Despite Odile's pleadings,

he did a U-turn and the car
obediently retraced its route.

Hey, asshoIe!

Arthur's dying thought
was of Odile's face.

As a dark fog descended on him,

he saw that fabled bird
of lndian legend,

which is born without feet,
and thus can never alight.

lt sleeps in the high winds,

and is only visible when it dies.

When its transparent wings,

longer than an eagle's, fold in,

it fits in the palm of your hand.

- You want to get us kiIIed?
- AbsoIuteIy.

What's got into you?

I'm disgusted with Iife.

We didn't make out so bad.

Nothing to get dramatic about.

But I feeI terribIe.

So do I.

Why don't you cIose the hood?

It doesn't cIose.

Think Mr. StoIz wiII caII the poIice?

Not IikeIy. It's money
he stoIe from the government.

Isn't it?
- Yes, it is.

Isn't it strange how peopIe
never form a whoIe?

In what way?

They never come together.

They remain separate.

Each goes his own way,

distrustfuI and tragic.

Even when they're together,
in big buiIdings,

or in the street.

Don't feeI Iike taIking?

When I said I wanted
to hoId you back there,

were you Iistening?

Yes, I was.

But you're stiII sad?

I'm not as sad as aII that.

Then what are you?

I'm worn out from sorrow and fatigue.

What wiII you do then?

And you?

I can't decide between the north

and the south.

You decide.

I...me...myseIf...us.

I...you...yourseIf...you.

His...their...your...our...

their...

South.

Three days later,
Odile and Franz saw the sea.

lt looked like a theater,

with the horizon as its stage,

and beyond it nothing but sky.

Before the gently spreading waves
of this harmony,

Franz and Odile saw
neither limits nor contradictions.

Are there Iions in BraziI?

As weII as croc...OdiIes.

Thinking of me?

ObviousIy.

In what way?

The way you think about me.

When guys think of girIs,

they think about their eyes,
Iegs and breasts.

GirIs think of guys
in exactIy the same way.

So we're in Iove?

We'II see soon enough.

Put your hand around the baII.

The Iiquid shouId flow across...

if you Iove me.

My story ends here,
like in a pulp novel,

at that superb moment
when nothing weakens,

nothing wears away, nothing wanes.

An upcoming film will reveal,

in CinemaScope and Technicolor,

the tropical adventures
of Odile and Franz.