Original subtitles

This film was restored and digitalized in 4K

by STUDIOCANAL from 2021 to 2023 at HIVENTY

with support from the CNC.

In order to optimize the 4K restoration,

the original 35 mm negative and scenes from the interpositive

were used along with the reference print reworked in 2002

by Mr. Raoul Coutard, the film's director of photography.

The previous digital versions

had flaws in the nuances of low and high-key lighting.

Furthermore, the colors deviated from the director's specifications.

Thanks to documented information,

the original contrasts, details and saturation were restored.

The project was supervised by the Studiocanal team,

Sophie Boyer and Jean-Pierre Boiget.

CONTEMPT

It's based on the novel by Alberto Moravia.

Brigitte Bardot and Michel Piccoli are in it.

Jack Palance and Giorgia Moll, foo.

And Fritz Lang.

Raoul Coutard did the photography.

Georges Delerue wrote the score.

The sound was recorded by William Sivel.

Editing was by Agnés Guillemot.

Philippe Dussart and Carlo Lastricali were unit managers.

It's a film by Jean-Luc Godard.

It was shot in CinemaScope and printed in colour

by GTC in Joinville.

It was produced by Georges de Beauregard and Carlo Ponti

for Rome-Paris Films, Concordia Films,

and Compagnia Cinematografica Champion.

"The cinema, " said André Bazin, "substitutes for our gaze

"a world more in harmony with our desires."”

Contempt /s the story of that world.

I don't know.

Maybe I'll go to my mother's.

I don't know about afterwards, though...

You can come and pick me up, if you like.

At 4 o'clock.

At Cinecitta.

I have to see that American.

Maybe I will.

See my feet in the mirror?

Think they're pretty?

Yes. Very pretty.

And my ankles. Do you like them?

And my knees, too?

I really do like your knees.

And my thighs?

Them too.

See my behind in the mirror?

Do you think I have a nice bum?

Very nice.

Shall I get on my knees?

There's no need to.

What about my breasts. You like them?

Yes. Tremendously.

Gently, Paul. Not so rough.

Sorry.

Which do you prefer?

My breasts?

Or my nipples?

I don't know. They're all the same to me.

What about my shoulders? Do you like them?

I don't think they're round enough.

And my arms?

And my face?

That too.

All of it?

My mouth, my eyes, my nose, my ears?

Yes, everything.

Then you love me totally.

I love you totally, tenderly, tragically.

Me too, Paul.

- Hello. How are you? - Fine, thanks.

Say, what's going on here? The place is empty!

Jerry's fired nearly everybody.

Italian cinema is in trouble.

- Where is he? - Over there.

Where?

It's the end of cinema.

I don't think cinema will ever die.

It's doing good business in New York.

So-so.

Your film with Fritz Lang?

- It's not working out. - Why did you take him on?

Producers are all the same. They never know what they want.

In '33, Goebbels asked Lang to head the German film industry.

That very night, Lang left Germany.

That's Minerva, isn't it?

She's Ulysses' protector.

And that's Neptune, his mortal enemy.

Mr Prokosch likes the gods.

He knows exactly how they feel.

Look. Homer.

It is not the gods who have created man,

but rather man who has created the gods.

It's a mermaid.

It's art. But will the public understand it?

- Who's that? - That's Penelope.

Mr Prokosch has a theory about The Odyssey.

He thinks that Ulysses' wife was unfaithful.

"Oh, my brothers, who braved 100,000 perils

"to reach the west.

"Choose not to deny experience of the unpeopled world.

"Think of the seed of your creation.

"You were not born to live as brutes,

"but to follow virtue and knowledge."

Know it?

- Of course. It's very famous. Dante. - That's right.

"Night then saw all the stars.

"We were filled with gladness, which soon turned to tears.

"Until the sea closed in upon us."

I'm Paul Javal. Mr Prokosch told you...

I am perfectly aware.

It looks marvellous. I really like CinemaScope.

It wasn't made for people.

It's only good for snakes and funerals.

What's the matter, Miss Vanini? Is it about the script?

Oh, he's says it's not the same on screen as on paper.

My wife's supposed to meet me. I'll just go and see if she's here.

The Nazis used to say "revolver"

instead of "chequebook".

"But man, when he must,

"remains fearless, alone with God.

"Simplicity keeps him safe.

"He needs neither weapons nor cunning,

"as long as God's absence comes to his aid."

Very good.

That's Hölderlin, isn't it?

The Poet's Vocation.

The final line is obscure. Hölderlin originally wrote...

"So long as God is not absent."

And then...

"So long as God is close to us."

Yes. The way the last lines are written,

when you've read the other two...

...is no longer about God's presence.

It is God's absence that reassures man.

Strange...

but true.

How do you say "strange" in Italian?

I'd like you to meet Mr Prokosch.

Camille, my wife.

I'd like you to meet my wife, Camille.

A pleasure to meet you, madam.

He did that western with Dietrich that we saw on Friday night.

It was terrific!

- I prefer M. - Your M?

We just saw it on TV. I really liked it.

Thank you. That's kind of you.

I love the scene

where Mel Ferrer leans on the scales.

Thank you. When I finish The Odyssey...

Me?

- You'll be hearing from me. Madam... - Very well.

We'll go if you want.

Sit down, madam.

All right, I'll meet you there.

No, it's all right. I'll get a taxi.

Let him go on ahead. We can both get the taxi.

- If you'd care to make up your minds... - Look, you go on.

Come on, go.

What's the address?

What did he say?

I know about as much English as you do.

We've waited half an hour for you. What kept you?

I had an accident, that's all...

I was in the taxi and just on the corner...

"the corner” of the street...

And, then, bang! The two cars, you now...

The entire fender was torn off.

The two drivers started trading insults, so |I...

So, I... I found another taxi. That's why...

That's why what?

What? Why I got here late.

I had to walk for God knows how long...

From Castel Sant'Angelo to Piazza Venezia, to find a taxi.

I don't give a damn, anyway.

I'm not interested in what you have to say

It still took me 20 minutes, all the same.

- You don't believe me. - Let's talk about it later.

I'm going for a walk.

All right.

Why don't you say something?

Friday we shoot in Capri. Come with us.

Answer her.

Why won't you say anything?

What were you doing before I arrived?

Nothing special.

Why? Did he come on to you?

- Why ask me that? - Because...

I'm going to go and wash my hands.

- Where can I wash my hands? - Upstairs, on the right.

What's the matter? You look down.

Nothing.

Have you been crying?

He's quite tough, your boss.

He is.

Have you known him long?

What did he do before he got into movies?

I'd rather not talk about that.

I was just asking.

Seems a shame to be so cute yet so sad.

Can't you find anything wittier to say?

Witty...

A joke.

Like what?

I know. The one about Ramakrishna and his disciple.

Ramakrishna is a Hindu sage.

He has this disciple

who doesn't believe in his master's teachings.

He decides to study on his own.

So he goes away.

After 15 years, he comes back and he goes, "I've found it!"

Found what?

He says to the sage, "I'll show you."

He takes him to the riverbank.

The disciple walks back and forth across the water.

And he says, "You see? I can cross without getting wet.

"Now I know!"

So Ramakrishna replies,

"You fool! I did that ten years ago with a rupee and a rowboat!"

Are you less sad now?

That's good.

- Paul... - What?

Is that how you wash your hands?

But you saw me...

I was just telling her the joke...

I believe you, whatever.

Now you're being stupid.

- Where can I pee? - Up there.

Tell them we're leaving.

It's my husband who decides.

Just like in the United Artists days.

He's crazy!

See that? He kicked her!

You've changed your tune.

On Monday afternoon, you thought he was wonderful.

Well, now I think he's a jerk.

I have a right to change my mind.

What's been happening, this past hour?

Nothing.

If you're happy, so am I.

Rio Bravo is playing in town.

So is Nicholas Ray's Bigger Than Life.

I'm not interested.

- I wrote it. - I know.

I phoned your mother's at lunchtime. There was no answer.

We ate here. I didn't feel like going out.

I prefer it here.

It's better than a hotel.

See? I was right.

What are they paying for the script?

10,000 dollars. Six million lire.

We can finish paying for the flat. Isn't that great?

Yes, it is.

When will you call your friend about the curtains?

I've just about had it!

Once he's back from Spain.

Roberto said he'd be back on Friday.

Red velvet. It's that or nothing.

OK.

Will you set the table while I take a bath

I wanted to take a bath, too.

You go first, then. I'll just get on with some work.

No, I'll go later. Once the food's cooking.

Fagiolini again?

If you don't like it, tough.

- I can set the table if you like. - I was just doing it.

I bought something today.

You'll tell me what you think.

What is it?

What is it?

Don't look yet.

Do you fancy going to Capri?

What?

I asked if you fancy going to Capri.

I'm not saying no, but I'm not saying yes either.

It'd be a holiday for us.

Besides, he didn't invite me.

What?

It was you he invited.

Not me.

Where've we put the mirror?

That's not true. We were both invited.

Look.

Does it suit me?

No, I prefer you as a blonde.

And I prefer you without a hat and cigar.

It's so I can look like Dean Martin

in Some Came Running.

- What a laugh! - What is?

You may want to look like Dean Martin,

but maybe you look more like Martin the Donkey.

Who's that?

Have you never read The Adventures of Martin the Donkey?

One day he goes to Baghdad to buy a flying carpet.

He finds this really pretty one,

so he sits on it, but it doesn't fly.

The merchant says, "That's not surprising".

Are you listening?

"That's not surprising."

"If you want it to fly, then stop being a donkey."

So Martin says, "OK, I'll stop being a donkey".

But he just can't help being one, so the carpet doesn't fly.

What's that got to do with me?

Exactly what I was saying.

Well, I don't get it.

That's enough. Are you finished?

Yes. No need to change the water. I didn't use soap.

You're acting weird today. What's wrong?

Nothing at all.

I knew you'd say that.

Something's up. Is it to do with that girl?

It's nothing, I tell you.

Just that you were being a donkey.

You don't get the same sound all over.

Why don't you want us to go to Capri?

Because you're a donkey.

You frighten me, Paul.

It's not the first time, either.

Why didn't you answer me instead of just standing there?

Why did I marry a 28-year-old typist?

It's true...

I'm sorry.

So am I.

Go to Capri if you want. I don't feel like it.

Besides, I don't like that Jeremy Prokosch. I told you.

Why? Has he done something to you?

Not a thing.

Why the thoughtful air?

Maybe it's because I'm thinking of something.

Does that surprise you?

No. Why?

I have an idea.

Come with me. I don't want to go alone.

You've been acting funny ever since we met that guy.

No, I'm not funny.

I wonder why you say that.

Just because...

We were just fine this morning.

And now we're fighting over nothing.

What's going on, darling?

I just want to have fun. Nothing's going on, Paul.

I'm afraid I'll be bored there.

I'm not going.

I'm not going.

Have you seen the house being built across the way?

A real eyesore.

Look, if you love me, Paul, be quiet.

A husband has the right to know why his wife's sulking.

I bet it is to do with that girl.

Drop dead!

No, Camille isn't here.

I thought you'd gone out for lunch and gone shopping.

Oh, look, she's just walked in. Your mother.

I'll call you tomorrow. Bye, Mother.

Are you completely out of your mind?

Why did you tell my mother I was out?

I don't know why.

Well, I do.

To find out if she really did have lunch with me

and if I wasn't lying earlier.

That'll be it.

Try that again and I'll divorce you.

Get up!

What are you doing?

I'm sleeping on the couch.

When, tonight?

Every night, starting tonight.

Don't be angry.

I just can't sleep with the window open.

Then we'll close the window.

No. You always say you can't breathe. No, we'll sleep separately.

Thousands of couples do it.

And they still get along just fine.

But what have I done? Tell me.

I'm sorry I said you were out. Is that it? Forgive me.

Move out of my way.

Is that why you're in a bad mood?

Yes, but I'm not anymore.

I'll be just fine here.

I'd really like to know what I've done.

You're so mean all of a sudden!

Me?

I'm the same as always.

You're the one who's changed, Paul.

Ever since you've been involved with movies.

You used to write crime novels.

We didn't have much money,

but things were fine, just the same.

What's this? - Give me that.

"Partito Comunista ltaliano”.

You never said you'd joined.

That was two months ago in Paris.

- Give me that. - Let go! You'll bruise me.

Don't talk to me like that!

Don't you talk to me like that either!

I'm working for you.

This place is for you, not just for me!

Please, Paul, I don't want to argue.

I don't want to go to Capri either.

Why not? Don't be stupid. Go.

Paul, come here.

What is it?

No. I can't be bothered with that job anymore.

When Prokosch calls, tell him I don't want to talk to him.

Come here.

Why don't you want to do the script anymore?

I was only going to do it out of love for you.

But what's the point? You don't love me anymore.

Well, that is news.

"Out of three beauties, I had to judge

"which had the prettiest bum.

"They asked me to be the judge.

"I was witness to the dazzling beauty of their bodies.

"The first one had a back which curved gently,

"with round dimples.

"The second parted her legs, as her snow-white skin

"grew cherry red, rather than crimson.

"The third one was as still as a calm sea.

"Her delicate skin rippled gently,

"shivering involuntarily."

We'll just mortgage the flat when we run out of money.

Has something made you think that I've stopped loving you?

Yes.

What?

Everything.

But what, for instance?

First, tell me if it's true.

No, you tell me first.

What makes me think you've stopped loving me?

The way you've begun to talk to me.

You weren't like that this morning.

Or yesterday.

It's the way you look at me, too.

"The problem, in my opinion,

"is in our conception of the world.

"A positive view or a negative one.

"Greek tragedy was negative

"in that it made man a victim of fate,

"as embodied by the gods,

"who abandoned him to a hopeless destiny."

Why'd you say it was the open window?

There's something else.

I think there is.

"Man can rebel against things that are bad, false.

"We must rebel when we're trapped by circumstances, conventions.

"But I don't think that murder is a solution.

"Crimes of passion serve no purpose.

"I love a woman, she cheats on me, I kill her.

"What, then, is left for me?

"I have lost the one I love, for she is dead."

"If I kill her lover, she'll hate me, so I'll lose her love all the same.

"Killing is never a solution."

Look, Camille...

I'm telling you, I give you my word,

I can't sleep with the window open.

I need peace and quiet and darkness...

I swear it's true.

Besides, you toss and turn. You're always waking me up.

I want to sleep alone from now on.

Don't you want to make love?

Will you just listen to this twat?

Is that smile mocking or affectionate?

It's affectionate.

Answer me, then!

If it were true, I'd tell you.

A woman can always find an excuse not to make love.

You really are a twat.

Vulgar language really doesn't suit you.

Oh, it doesn't?

How about this?

Arsehole.

Bugger.

Shit.

For Christ's sake.

Shithole.

Fuck.

Bugger off.

So...still think it doesn't suit me?

Why don't you want to make love anymore?

All right, then.

Let's do it, but fast.

I'd been thinking Camille could leave me.

I thought of it as a possible disaster.

Now, the disaster had become reality.

We used fo live in a cloud of unawareness,

in delicious complicity.

Things happened with sudden, wild, enchanted recklessness.

I'd end up in Paul's arms, hardly aware of what had happened.

This recklessness was now absent in Camille, and thus in me.

Could I now, prey to my excited senses, observe her coldly,

as she could, undoubtedly, observe me?

I made that remark deliberately,

with a secret feeling of revenge.

She seemed aware that a lie could settle things.

For a while, at least.

She was clearly tempted to lie.

But on second thoughts, she decided not fo.

Paul hurt me so much.

It was my turn now, by referring fo what /'d seen,

without really being specific.

At heart, I was wrong.

She wasn't unfaithful, or she only seemed fo be.

The truth remained fo be proven, despite appearances.

I've noticed that the more we doubt,

the more we cling fo a false lucidity,

in the hope of rationalising what feelings have made murky.

I'd often thought that Camille could leave me.

I thought of it as a possible disaster.

Now the disaster had happened.

We used fo live in a cloud of unawareness,

in delicious complicity.

Don't be like that.

Don't be like what?

You know very well.

It's all your fault!

You seem to be searching my expression to decide...

...what's the appropriate attitude to take with me.

"The private plane awaited in the blue sky.

"Rex remembered something about Paula...

"Her harmonious features...

"Her harmonious features, now indecisive, seemed contorted now.

"Rex knew this trait of hers,

"for it seemed that whenever Paula...

"Whenever Paula had to make a decision...

"...that went against her nature..."

What's got into you, Paul?

I love you just as I did before.

What would you do if I stopped loving you?

I've already told you.

I don't remember what you said.

I wouldn't do the script and we'd sell the flat.

But I love you.

This is all so idiotic.

When Prokosch calls, tell him you'll go to Capri.

What about you?

I love you. Don't make me say it again.

I want to keep the flat.

If you don't want to do the script, don't do it.

If you give it up because you think I've stopped loving you,

then you'd be wrong.

Kiss me.

We were just talking about you.

About your movie.

Yes, The Odyssey.

About this guy who travels.

You know in Capri...

will we be able to go swimming?

I don't know.

Here's Paul. I'll put him on.

We eating out?

I don't feel like going down for groceries.

Fine, then.

We're supposed to meet Prokosch and Lang at the cinema.

They want to see a singer in the stage show.

We can eat after.

It'll be quite late, by the time we've watched a film.

It might give me some ideas.

Why not come up with your own ideas, rather than steal them?

Why are you being like that? What's got into you?

Let's get going!

- I knew it. - What?

Ever since I said yes to Prokosch, you've been off with me.

That's right. I've been off with you.

What was the phone call about?

- Our going to Capri. - What did you say?

That it was up to you.

Are you nuts?

You know perfectly well that it's up to you and not me!

Then come to Capri.

Why not? Is there something going on between you and Prokosch?

You're pathetic.

I have to talk to you.

I thought we were going to the cinema...

Listen, I have to talk to you.

All right, I'm listening.

I have...

to talk to you.

Earlier, before the phone rang...

I said I didn't want to take this job

if I couldn't be sure of your love.

And...

you said you loved me

and that I should take it.

I feel sure that you lied.

Why? I don't know.

Out of pity, self-interest...

What do you mean, self-interest?

Wanting to hold onto this flat.

How can you know what I think?

In fact, I couldn't care less about that.

Sell the flat. See if I care.

Earlier you said it was better than a hotel.

Not at all.

I said that to make you happy.

That's beside the point.

I want to know why you lied.

- But who said I lied? Oh, be quiet. - You did.

I can tell you've stopped loving me.

What's the use of knowing the truth?

See? So, you admit I'm right.

I don't admit a thing. Leave me alone.

It's true. I don't love you anymore.

There's nothing to explain. I don't love you.

Why not?

Up to yesterday, you still loved me.

Yes. Very much.

But now it's over.

There must be a reason.

Yes. There must be.

Then what is it?

I don't know.

All I know is that I don't love you anymore.

Since we were at Prokosch's?

When you saw me pat Francesca Vanini's behind?

Yes. Let's say that it was that.

It's over now. Let's not talk about it anymore.

Something's happened today.

It's made you change your mind about me,

and, therefore, your love for me.

You're crazy, but you're smart.

So it's true, then.

I didn't say that.

I said that you were bright.

Was it something I said or did today that you took the wrong way?

Maybe.

Don't talk to me that way! I won't allow it!

Contempt.

That's what I feel for you.

That's why the love's gone. I just feel contempt for you.

And when you touch me, I just feel disgust.

You really are going too far now.

Forget what I said, Paul. Pretend I never said anything.

- You OK? - Yes.

They say Ulysses came home to Penelope, but...

...but maybe Ulysses had been fed up with Penelope.

So he went off to the Trojan war,

and since he didn't feel like going home,

he kept travelling as long as he could.

Do you think it was an idea of his or...?

- Why do you despise me? - Get off of me!

Are you coming to Capri with us, Mr Lang?

"Each morning, to earn a crust,

"I go to the market where lies are sold,

"and, hopeful, I join the queue with the other sellers."

- What's that? - Hollywood.

From a ballad by poor BB...

- Bertolt Brecht? - Yes.

Homer's world is a real world.

And the poet belonged to a civilisation

that grew in harmony, not in opposition,

with nature.

And the beauty of The Odyssey

lies precisely in this belief

in reality as it is.

Thus in reality as it appears objectively.

Exactly,

and in a form that cannot be broken down,

and is what it is.

Take it or leave it.

I'm staying quiet because I have nothing to say.

I don't know if I'll go to Capri. Where would we stay?

Wherever he likes.

Producers are something I can easily do without.

Don't come if you don't want to. I'm not forcing you.

It's not you that's forcing me.

It's life.

What are you doing?

What are you doing?

Looking.

Don't stay here all by yourself. Join us.

What were you talking about?

The Odyssey.

I agree with Prokosch's theory.

Which theory's that?

That Ulysses loves his wife, but she doesn't love him.

You really think that?

I'm sure you don't.

Please, you're in frame.

Places, everyone!

Will they be undressing?

Of course they will.

Aren't movies wonderful?

You see women in dresses,

and in movies, you get to see their arse.

Not at all. Go on, Camille.

Go on.

I don't mind, go on.

I'll walk back with Mr Lang to discuss The Odyssey.

- The girls are in the water. - Thank you.

It won't take long. First a scene in which we see

the Council of the Gods discussing man's fate.

A producer can be a friend fo a director.

But Prokosch isn't a real producer. He's a dictator.

I think it's stupid fo change the character of Ulysses.

He's not a modern-day neurotic,

but a simple, clever, and robust man.

I find the idea interesting.

It takes Ulysses ten years to return home

because he doesn't want to, which is logical.

It's logical,

and the illogical borrows from the logical.

Your Corneille said it in his preface to Suréna.

Ulysses doesn't rush home to Ithaca

because he was unhappy with Penelope.

Even before he'd left.

Had he been happy, he'd never have left.

He used the Trojan war to get away from his wife.

He killed off all her suitors, didn't he?

That can be justified

by the fact that Ulysses had told Penelope

to give in and accept the gifts.

He didn't see the suitors as a serious threat.

He didn't throw them out, to avoid a scandal.

Knowing Penelope to be faithful,

he told her to be nice to the suitors.

I think that's when Penelope...

who at heart is a simple woman,

begins to hold him in contempt.

She stopped loving Ulysses because of his conduct...

and she told him so.

Then Ulysses realised, too late, that he'd lost Penelope's love

on account of being overly cautious.

The only way to win her back

was to murder the suitors.

Death does not bring resolution.

I found this on the boat.

Children mustn't play with firearms.

I was just outside.

Nothing for me.

I'm a playwright.

I'm not a screenwriter.

Even if it's a fine script... I'm being frank,

I'd do it only for the money!

That's why I'm in a bad mood.

We all have an ideal. Mine's writing plays,

but I don't know why I can't.

In today's world, we have to accept what others want.

Why does money matter so much in what we do,

in what we are, in what we become?

Even in our relationships with those we love.

Like Mr Prokosch has already told you, you're wrong.

You aspire to a world like Homer's.

You want it to exist, but unfortunately it doesn't.

Why not? It does!

You may be right,

but when it comes to making movies, dreams aren't enough.

When do we eat?

In an hour.

Right, then, I'm going for a walk.

Mr Prokosch would like to speak to you.

Is that an order or a request?

A request.

One must suffer.

That's for sure.

It's me, Paul.

I've been watching you as if I were seeing you for the first time.

Mind if I stay?

Stay if you like.

Why didn't you speak up earlier?

I don't get you! You always said you loved that script.

Now you tell the producer it's for the money,

that your ideal's the theatre.

He's no fool. Next time, he'll think twice before asking you.

How can you not understand something so simple?

I bet you'll do it anyway.

You'll see.

I know you.

I know you.

If I do, it'll be for you. To pay for the flat.

I'll let you decide whether I do the script or not.

If you say no, we'll leave.

Very clever!

Not at all. Why?

If you regret it later, you can blame it on me.

Not at all! I'm asking you to decide.

You really want me to tell you what to do?

Yes.

Then do the script!

You've signed the contract and you're boring me.

I saw him kiss you earlier.

I know you did.

Why don't you love me anymore?

That's life.

Why do you hold me in such contempt?

I'll never tell you, even if I were dying.

Tell me or I'll hurt you.

Why do that on top of everything else?

I have to know why you despise me.

This is crazy! How can you expect me to accept it?

We need the money to pay for the flat.

I quit my typing job.

I can't accept that after what happened.

So, of course, you despise me.

You see us kiss but you're ready to change your mind anyway.

I turned the job down for you. So you'd change your mind about me.

Don't touch me. I don't love you anymore.

There's no way I'll ever love you again.

Even if I turn it down, you'll despise me?

- Yes, I will. - Why?

Tell me why! There must be a reason.

You're the reason.

What do you mean, me?

I don't know. You're not a man.

Anyhow, it's too late.

I've changed my mind about you.

I know why you despise me.

When I took the taxi the other day,

you thought I let you go with him on purpose.

Same thing on the boat earlier. Don't be stupid!

I have faults, but that's not one.

I'll never forgive you.

I loved you so much.

Now it's impossible.

I hate you because you're incapable of moving me.

I can! You're on the verge of tears.

We're leaving! We'll pack up and go.

I'm staying. Go if you like.

Come on, Camille!

Then I'm staying, too.

But Prokosch will throw us out.

- Don't start! - I will!

Dear Paul,

I found your revolver and took the bullets out.

If you won't leave, I will.

Since Prokosch has to return fo Rome,

I'm going with him.

Then I'll probably move info a hotel alone.

Take care. Farewell.

Camille.

Typist.

Me?

Typist.

What...

do you think...

me?

Get into your Alfa...Romeo. We'll see about that later.

TAKE CARE...

FAREWELL...

Goodbye, then.

Mr. Lang, I've come to say goodbye.

Goodbye. What will you do?

- Go back to Rome, finish my play. - Good.

And you?

I'll finish the film. Always finish what you start.

Which shot are you doing?

Ulysses' gaze when he first sees his homeland again.

Ithaca.

- Goodbye, Mr Lang. - I hope we'll meet again.

- We're ready, Mr Lang. - Thank you.

Quiet on the set!