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THE OUTSIDERS

FOR THE LAST TIME (?) ON SCREEN MICHEL LEGRAND'S MUSIC

- NearIy there? - Yes, it's straight on.

What did they say at the factory?

No vacancies since yesterday. They say business is bad.

What's up? Are you afraid?

People haven't got X-ray eyes, you know.

If you're scared to start with...

These Paris roads are alI peppered with sewer lids.

That's her.

My story begins here.

Two weeks after meeting Odile, Franz took Arthur

to see the house.

- She's a sweetie. - I told you so.

She didn't recognize you.

Don't telI her we've been here.

Why not? It's a free country.

- Where is this joint? - Over there.

It's a pretty forlorn place.

So that's where she lives?

No, I think Odile lives in the gardener's house.

That's where the woman lives.

Maybe Odile lives there, too...

I'm not sure.

We can ask her later.

Looking at the house through a screen of branches,

they saw a cold glitter of light, distant as a star.

Arthur wanted to speak, but was lost for words.

She said he locks the door?

Yes, and she's not alIowed in the room.

Look!

There's someone with the old dear.

Who's that?

The man Odile said. From Monte, or Moscow, or somewhere.

- Kissed Odile yet? - Not yet... Why?

I can get her whenever I like.

Who are you kidding?

After the English class, I'll show you.

Under those trees.

- Don't bother. - I'm not kidding.

On 1 3th July, 1 891 ,

Billy the Kid was shot in the back by Sheriff Pat Garrett.

I'll drive.

Hurry up, or she'lI be at cIass before us.

If this deal goes wrong, I'll sort you out.

As the sun of Austerlitz rose over the Bastille,

Arthur asked Franz if he had stroked Odile's knees.

Franz said yes, and she had silken skin.

The story till now, for people who've come in late:

Three weeks ago... a hoard of money... an English class...

a house by the river... a starry-eyed girl...

Your card.

I Ieft mine at home.

I recognize you.

What did I say, Monsieur Romeuleux?

Let's go to work.

Martine, how do we go to work?

Happily.

You know that our Director favours modern methods.

But one must not forget...

As the great poet Eliot said...

Odile, what did Eliot say?

Everything that is new...

is thereby automatically traditional.

Today it's not important to learn: "A room with a bath".

But it is important to spell

Thomas Hardy's name correctly.

Or Shakespeare's.

Now I'll read from "Romeo and Juliet".

You will translate it into English.

It'll be a good test.

Won't it, Franz?

- What do we call such a test? - Composition.

Why not take your coat off?

My jacket's at the cleaners. I've no money.

Go, get thee hence, for I will not away

what's here? A cup closed in my true love's hand?

Poison, I see, hath been his timeless end

O churl! drunk all, and left no friendly drop to help me after?

I will kiss thy lips:

Haply some poison yet doth hang on them

To make me die with a restorative

And let me die

The ground is bloody

Search about the churchyard;

whoe'er you find attach.

Pitiful sight!

Here lies the County slain;

And Juliet bleeding, warm, and newly dead,

Who here hath lain this two days buried

Go, tell the prince

we see the ground whereon these woes do lie,

But the true ground we cannot without circumstance descry

A thousand times the worse...

A thousand times the worse, to want thy light!

Love goes toward love,

as schoolboys from their books:

But love from love,

Toward school with heavy looks

TOU BI OR NOT TOU BI UPON YOUR BREAST, IT IS ZE QUESTION

In fair Verona, where we lay our scene,

A pair of star-cross'd lovers take their life

The fearful passage of their death-marked love,

Is now the two hours' traffic of our stage

YOU LOOK OLD-FASHIONED WITH THAT HAIR STYLE

True, I talk of dreams;

Which are the children of an idle 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 side to the dew-dropping South

For my mind misgives

Some consequence, yet hanging in the stars,

Shall bitterly begin his fearful date

with this night's revels

and expire the term of a despised life, closed in my breast,

By some vile forfeit of untimely death.

O Fortune, Fortune!

all men... call thee fickle.

I'll coIlect the papers at once.

Ten minutes break while I correct them.

What's "un gros fiIm d'un million de doIlars"?

This is OdiIe.

How are you doing?

A cigarette?

Are you realIy interested in English?

I'd clear off for good if I were you.

What do you mean?

I'm just talking. I'm fed up.

Nothing ever gets you anywhere.

Don't be downhearted.

My name's Arthur.

Is something wrong?

Something special, Arthur?

Why special? Aren't ordinary troubles enough?

- You've got troubIes? - Haven't you?

Madame Victoria wants me to learn something useful.

She wanted me to take up nursing.

I didn't want to.

I was in hospital once;

it was disgusting.

I haven't the patience or goodness for that.

- So you're learning EngIish. - Yes, I love it.

You know what I'd have done?

I'd have taken up nursing...

then found a rich old bloke to nurse

and help him to get worse

or else been nice to him and inherited his money.

That's a terrible thing to say.

- Did I make you mad? - Yes, but never mind.

Coming back to class?

No, you go. We'll meet after.

I must go home, or Madame Victoria will be cross.

Suppose there was an extra lesson:

wouldn't you stay?

There never is.

She's not to know.

Yes... all right...

Fine... great...

Obey the old bag - never mind me.

Not coming to class?

You talk as though I've Iet you down.

Hurry up, Odile. You'll be late for class.

What can we do at this hour?

It's too early for eating or dancing.

Drive you home?

No, I'll use my bike.

Come along.

Why do you want to go with me?

I don't know...

We could sit in the car... listen to the radio...

I'm not allowed to do things like that.

Done any kissing?

Do you know how to?

Yes... with the tongue.

AIl right, let's go.

Say you've got a headache. Tell Franz to do the same.

Is he coming with us?

See you in the car in ten minutes.

How do you know I'll be there?

In nine minutes, fifty-six seconds.

In parenthesis, one could discuss their individual feelings

but they're clear enough

so let the pictures speak for themselves.

Anyway, screw it all!

- Do you know what "screw" means? - No, what?

Then don't say it.

Is this your car?

One day I'll race a Ferrari at Indianapolis.

Then you'll see.

Are you sure the money is in the house?

I don't know.

What's up? Changed your mind all of a sudden?

- Changed your mind? - About what?

Weren't we supposed to steal the money?

You must be crazy to say such a thing.

I didn't dream it up.

You mentioned it first, we didn't.

No. I told Franz just by way of conversation.

So it's a lie?

No, the money's there, but you can't do it. It's crazy.

What are you thinking about?

You're Iike a girI in a book I read; I'll lend it to you.

You'll like it; it'll help you keep faith with me.

Don't you believe a word of it.

Cold?

No, I'm trembling with excitement.

They beheld an apparently deserted island.

To right and left,

dark and beetling cliffs rose like ramparts.

Vegetation spread over a desolate vista

whose inky blackness recalled the sea of darkness.

Are we outside Paris yet?

I don't know. I've never known.

It's the IsIe of Ravens.

Aren't we sitting in the car?

We're going to find somewhere to talk.

I'm going back by bus. I've got a training session.

I'll see if she's at home, then I'll come back.

I'll stay because... Odile's going.

But I said I'd come back.

That wouldn't be your first lie.

I'll just tell her I'm going shopping.

- Who lives there? - In the villa, you mean?

There's Monsieur Stolz. He's there sometimes, but I've never seen him.

Then Madame and me and the gardener, that's all.

- Is Stolz often there? - I don't know.

- Does he fancy you? - What? He's very proper.

So you have seen him.

- Whose money is it? - Not hers.

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

Maybe he hides it to avoid paying taxes.

You've got it all wrong...

If he's a tax-dodger, he deserves to be robbed.

Will you wait for me? I won't be long.

We'll wait behind the factory.

She's completely nuts.

Aunt Victoria!

I'm here.

You'll never win at IndianapoIis.

Never!

I'm going to South America with the money - and Odile.

- Is Monsieur Stolz's chauffeur here? - No, nobody.

He's infuriating. He's always late.

One of these days the master will let rip.

What master? Monsieur StoIz?

- Are you stilI seeing that boy? - What boy? Franz?

He doesn't come to class now.

He says EngIand's finished,

China will win, so he's Iearning Chinese.

You might be cutting classes to go to the cinema.

I don't like the cinema... or the theatre.

Or dancing at Mimi Pinson's.

I don't like that.

- Wandering about the streets, then. - I don't like that.

What do you like?

I don't know... I like nature.

- Where are you going? - To an AIbanian Embassy reception.

I'm taking 1 ,000 francs to go shopping.

Have you been into Monsieur Stolz's room?

Me? I never go in there.

Strange... there's something out of place.

Maybe Monsieur Stolz moved something.

Did he say he wanted his overcoat cleaned?

That must be it. He forgot to mention it.

I'll have to ask him.

Have a nice time. I'm going.

A tragedy of love betrayed!

Miriam, 21 , stabs her artist lover

in his Avenue de Choisy studio.

"I want to be alone", Francis told her.

Orléans. A third man holds the secret of the killings.

Jacqueline, found dead with her baby, gave him a mysterious package.

He drove a black Chevrolet.

"She treated me as a servant",

the missing gentlewoman's woodcutter husband said.

"Murder", say police, but Roger insists "It's a lark!".

Slipshod, fruitless searches...

"I can't bear to look at you", said the fiendish girl

to her lover in the car taking the murderers to jail.

He tried to kiss her, but she can't forgive...

He prepared breakfast for his wife and daughters

before killing them and then himself.

Why don't you eat it? Don't you want it?

Our correspondent reports the massacres in East Africa.

The Hutus are sawing the legs off the giant Tutsis

to cut them down to size.

20,000 mutilated bodies choke the rivers of Rwanda.

The seven foot high king is forced to flee.

Peking supports the kingdom of giants...

We're here.

How much money?

A huge pile she said. Bundles of notes.

Could be two hundred million.

I wonder why she told me?

She's a bit soft.

Why did you call Franz?

It's siIly, but I've forgotten if you're Alfred or Arthur.

It's getting cold. I'm going.

We'll go to a café and make a plan.

Plan? What for?

An idea flitted over Odile, like a dark cloud.

That Arthur would always look at her like that,

as though looking through her.

As though they were separated by an almost vast indifference.

- What'll you have? - A Coca-CoIa.

"What'll you have?" "A Coca-Cola"... Doesn't rhyme.

A peppermint soda for me.

A "snap" and a "Coke".

A peppermint soda for me.

You seem to be pretty gloomy.

You've said it.

- It's there; I've seen it. - What?

The money.

It wasn't true when I said I'd seen it before.

Now I have and I'm afraid. There's too much.

Well, this is it.

Why did you tell him? It's lousy of you.

Lend me twenty francs.

He guessed... I didn't tell.

That's not your first lie, either.

Did Arthur tell you he kilIed his granny?

- Is that true? - No. Second Iie.

- Why say it? - To scare you.

There's a hole in your stocking.

There isn't.

What gives?

We were talking about the weather.

Which is his room?

- Whose? - Monsieur Stolz's.

Is it on the first floor?

- Isn't it locked? - No.

I'm not allowed there.

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

No need to be scared. You've counted it.

Be ambitious.

- No. - Then you shouIdn't have toId us.

Don't forget, you're an accomplice now.

Don't cry.

We love each other, so everything will be all right.

Franz will help us.

Better to be rich and happy than poor and miserable.

- Tonight? - No!

Monsieur Stolz is coming back tonight.

Tomorrow. He's going to a reception then.

Tomorrow or the day after. Yes, the day after.

Yes or no?

The day after tomorrow.

I won't be a moment.

Funny he doesn't lock the room.

Sometimes things are best hidden in the open.

I read of that trick in an American book.

A letter the police were searching for was on the table.

Not only beauty, but happiness,

depends on the care of your eyes.

- Hurry up. I'm waiting. - Go away.

Coming with us?

- Are you well in with Renault? - No, why?

You could trade in your gormlessness for a Renault 8.

What are we going to do?

I don't know... or, rather, I do know.

Get the whatsit from my coat pocket.

In the pocket.

Pay attention.

Hold the bulb in your hand.

Nothing's happening.

The liquid shouId flow to the other side.

Let's have a minute's silence, if you've no other ideas.

Sometimes you're just too stupid.

A minute's silence can be very long.

A real minute can last an eternity.

One, two, three.

That's enough for me. I'm going to put on a record.

Does Franz always hang around you?

Like in the films,

he'd make a good shieId if you're shot at.

That's an awful thing to say.

- Shall we dance? - Yes, what?

No, I do it like this.

Empires crumble, my friend, republics founder and fools survive.

Great stuff, Monsieur Ségaleau!

Parenthetically, now's the time to describe their feelings.

Arthur watches his feet

but thinks of Odile's mouth and her romantic kisses.

Odile wonders if the boys notice her breasts moving as she dances.

Franz thinks of everything and nothing,

uncertain if reality is becoming dream, or dream reality.

Arthur spun a coin

to see if he'd make Odile - he called heads.

Odile said it was, though it fell tails.

Franz inherited the car and wandered sad and lonely.

Meanwhile, Arthur was telling Odile

he once met someone who walked like this.

What's your surname, Arthur?

Rimbaud, like my father.

Was he the little old man who spied on us?

That's my uncle; my father is dead.

- How much is the Mauser? - Two francs.

What if you had a living person in the sights?

If I had, he'd be a dead man now.

Let's go.

Be nice to me. I love you.

Give it to me.

- Already? - It's love at first sight.

Arthur said such love talk was stupid.

Odile didn't intend to say that, but it was true.

Then they walked to Place Clichy,

surely one of the most beautiful in Paris.

Which reminded them

of their adventurous future.

After which they descended to the centre of the earth.

Do you have lots of girIs?

Why ask that?

Franz says you're with a different girI every day.

What do you see in me?

Or you in me?

I don't know...

Does that really interest you?

What exactIy does it mean to you?

Giving... one's breasts... one's thighs...

People always look sad and unhappy in the Métro.

Why is that man looking like that?

It depends on what you think; the way he looks depends on your story.

Say he's taking a teddy-bear to his sick child: he's nice.

Say he's carrying bombs to blow up the country: he's vicious.

It reminds me of a song.

How did it go?

I saw so many go away

They asked for nothing more than warmth

They were content to have so little

Their stock of anger was so small

I hear their footfalls, hear their voices

They talk about such trite things

Like the things printed in the papers

Like they say at home

what's done to you, men and women?

You're like gentle, worn out stones

Like carcasses of hunted animals

My heart breaks to see you

Life goes on as usual

The earth shakes from time to time

Misery reflects misery

It is an abyss

I know you want to believe in blue skies

Sometimes I believe, too

Sometimes I believe, I admit

Till I can't believe my ears

Yes, I am one of your sort

Yes, I am so like you

we're as alike as grains of sand

As blood - always spilled

As fingers - always hurt

Yes, I am one of you

What's your surname?

- Monod. Do you like it? - For what it's worth.

- What worth? - Woolworth.

- When shall I see you again? - Tomorrow evening.

No, it's too dangerous.

You love me, so see you tomorrow.

Franz, had he been there, might have understood her look.

For Odile was thinking of events, not men.

She did not appreciate the mystery of the scene till later.

At first glance everything seemed ordinary.

- Who's that girl? - Get lost!

Don't talk to me like that.

- Where did you meet her? - In an English class.

Where does she live?

She lives somewhere near Joinville.

Tell him we need the money, too.

Why don't you go off to the loony bin?

I'm not kidding. I was at Dien Bien Phu.

I'll tell you.

To escape, Arthur agreed to do the job with them tomorrow evening.

He also agreed not to tell Franz or Odile.

I see the situation clearly.

What I don't see...

is the rôle I'm going to play.

I was looking for you.

- We've got to do it tonight. - Not tomorrow?

Go and get Odile.

Why tonight? It's risky, isn't it?

You shouldn't gab to my uncle.

- Me? What gab? - I don't know. Get moving.

It's tonight, and to hell with it.

Can we chance it?

Come on. You aren't fit to die yet.

- Why are you so afraid of me? - Because you look wicked.

I don't.

Are you on your own?

Arthur's waiting, and wants to know how much money there is.

- I don't know. - Haven't you counted it?

I'm afraid. There's so much.

Too much to count quickly.

- What sort of notes? - 1 0,000 franc notes.

- It's tonight. - Tonight's impossible.

Not after the coat business.

I didn't put the coat back; Madame suspects something.

- That's nothing. - That's what you say.

How will you do it?

You'll keep watch. It'll be over in a couple of minutes, it's chiId's play.

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

- You'll see. - It's easy to say.

What happens when Stolz finds the money gone?

Can't you imagine? You don't have to stay there.

Did you tell her we met at class?

She'll guess it's me.

No, I'll think up some story.

I'll say I saw prowlers.

You do have imagination!

So I have... I'll leave with you and Arthur.

We must separate. You can either meet up with Arthur or with me.

Where are you going?

South America?

No, North. To Jack London country.

He wrote terrific books.

There's one about an Indian who was a great liar.

So much so, the viIlagers got fed up.

They told him to go until he stopped lying; they sent him off in a canoe.

Two years later he returned.

They asked about his trip.

"I saw huge machines rolling along", he said...

"and others flying...

"and great, huge houses".

"So you're still lying", they said.

They put him in a canoe and toId him never to return.

Odile turned.

The wind ruffled her hair.

Franz was confused by the aura of the woman beside him.

Too late he saw the message in her eyes.

- Your mouth is very big. - I know.

Where will you go?

Well, I'll go to South America if you'll come too.

I don't know. I'll see.

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

You won't hold out when Stolz questions you.

I will.

- He'll give you "the seesaw". - What's that?

You're hung over a bar, head down, skirts up.

You'll give us away after two days of that.

I'd never give either of you away.

Never.

Arthur's waiting.

I'll get my bag.

Franz bought Odile the book she reminded him of.

The Seine was like a Corot.

Odile asked what the big building was. It was the Louvre.

"Whoever painted it white", she said, "should be decorated".

Now listen.

Anglarès told a moving, stupid, sombre story.

Monsieur de Louït booked a room in a hotel.

Room 35.

Going out a few minutes later, he said:

"I've got a bad memory, so when I come in,

"I'll say my name and you tell me the room number".

He came back. "de Louït", "Number 35", "Thanks".

A minute later a bedraggled,

bloody figure staggered in

and went to the desk.

"de Louït". "But Monsieur de Louït has just gone up".

"I know; I fell out of the window. what's my room number?".

Arthur said they must wait till nightfall

thus respecting the tradition of bad "B" pictures.

Odile wondered how they could kill the time.

An American had done the Louvre in nine minutes, forty-five seconds.

They decided to do better.

They knocked two seconds off the old record.

At a steady twenty-eight knots the car headed for Joinville.

Franz whistled lyrically; Odile looked tenderly at Arthur.

Nothing, they felt, could prevent events taking their course.

Under crystal skies, Arthur, Odile and Franz

crossed bridges suspended over glassy rivers.

The moats gelid. The water dead. A taste of ashes was in the air.

- What about the bicycle? - Say you fell off and hitch-hiked.

Well?

AIl right. I'll go the usual way, you go by the river.

Which door do we go in?

The garage. Do you always need telling twice?

- And after? - Stay a day or two to see.

Old Stolz may call the police.

They're not so very old.

Then you clear out.

Don't you like me now?

- Where do I go? - We'Il find somewhere.

It'll be alI over in an hour. We'll be far away.

- Take off your stockings. - Why?

Don't argue. And scowling wiIl give you wrinkles.

Suppose Madame...

Tell her to come to the kitchen, there's a smell of gas.

- She'Il be so frightened. - We have no choice.

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

Promise?

I felt so sorry when she said "And after?".

Why? You're doing her a service.

Saving her a lifetime of drudgery.

Did you see how white her thighs are?

Funny there are no poIice cars around here.

They're around. They're using idiot-detecting devices.

- You said you weren't lovers. - I told you she's a liar.

- Where is she? - I don't know. The bitch!

- There you are. - Don't make a sound.

- Is she here? - Yes, in the bathroom.

- Is the window open? - Why?

I want to know.

Yes. They say night air is good for the skin.

- And the dog? - I told him not to bark, it's fine.

Why are you holding your stomach?

I kicked him because he was scared.

First floor, end of the corridor.

I must teIl you something.

Tell me after.

The door won't open.

- Is it locked? - It can't be. It's never locked.

I'll give it a try.

Maybe they lock it at night.

No, I'm sure. He must suspect. I was going to tell you...

It's locked, obviously.

The window.

Get a ladder.

There's one in the garage.

I'll get the keys from a nail in the kitchen.

- Why not break the window? - You try it.

BIoody fool!

Stop it. We're not savages.

Hands off OdiIe from now on.

AIl right, Odile?

Angry?

There was no need to hit me.

I was as surprised as you to find it locked.

Why do you think it was locked?

Maybe it always was.

Shut up! It's because of the coat. I told you.

It's a proper mess.

Find that key by tomorrow.

No, Arthur, please. It's too dangerous.

You find it.

Tomorrow, same time. It had better be open.

what would Franz have given?

His gold watch, his American books, his hands,

to know how to comfort Odile.

A glance at her showed that her whole world had crumbled.

- It's crazy. We'll be seen. - We're TV.

TV gets you in anywhere.

Got the key, Odile?

- It's not five o'cIock. - We're in a hurry.

It's no use, anyhow; you left ladder marks yesterday.

They've replaced all the locks.

Even on the windows in StoIz's room.

- Has she said anything? - No, she doesn't suspect me yet.

Go away.

Who are they? Send them away, Odile.

I don't know what to do.

Please don't hurt her.

Give me the key to Stolz's room.

I assure you, there's nothing of value in his room.

We'll see for ourselves.

The key.

You don't frighten me. It's not loaded.

Tie her up.

- What with? - Your hair ribbon.

I'm not mucking about, you know. Kneel down.

Tie her hands, Odile.

- Do you know them? - I've never seen them before.

- Any cotton wool? - I don't know.

Not in my mouth. I won't scream. Please. I promise to keep quiet.

Shut your trap, Madame!

Forgive me, Madame Victoria.

I trusted you, and you do this.

Open that cupboard.

Open your mouth.

Old Stolz won't find her in there right away.

Say she's gone out, then clear off when you can.

Give me the key.

You're out of your mind.

- Why don't you love me? - This is hardly the time.

I so want to hold you.

What?

The money's gone.

- Where's the rest of it? - How should I know?

We must search.

- This was in the garage. - This money was in the bathroom.

Look in the housewife's safe: the fridge.

Where's the rest?

I've no idea.

This was in the fridge.

- Was the pile this big? - No, bigger.

That big.

Yes, that big.

- We've got enough. Let's go. - We'Il make Madame tell.

Don't hurt her... she'll tell us, anyway. Just threaten her.

Tell us, or we'll burn the house down.

She's fainted.

She's not breathing... she's dead!

You've killed her!

We'd better get going.

I wouldn't stay if I were you, Odile.

Arthur suddenly decided he ought to go back.

"To see if she's really dead", he said, in an offhand way.

He arranged to meet Franz and Odile at a café.

Suddenly, Franz saw Arthur's uncle's car.

Like a hero of legend, he felt a dark presentiment.

Despite Odile's pleas,

he turned the car, which obediently retraced its route.

Little runt!

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

In the dark mist falling around him,

he saw the bird of Indian legend

which has no feet, so can never rest.

It sleeps on the high winds,

and only when it falls dead are its huge, transparent wings seen.

Its tiny body may be cupped in the hand.

- Do you want to get killed? - Yes, I do.

- What's up? - I'm disgusted with life.

Things aren't as bad as all that.

But I feeI bad.

Odile... I do, too.

Why don't you close the hood?

It doesn't work any more.

Will Monsieur Stolz tell the police?

No, it's money robbed from the government.

- Is that right? - Yes, it is.

Isn't it strange how people don't form a whole?

Yes...

they never blend together.

They stay separate. Each goes his own way.

Mistrustful... tragic...

Even when they're together in houses, in the streets...

Don't you feel like talking?

When I said I wanted to hoId you...

- Didn't you hear me? - Yes, I heard.

But you're still sad?

I'm not as sad as all that.

What is it, then?

I'm just sick and tired.

- What will you do now? - What will you?

I'm hesitating between North... and South.

You decide.

South.

Three days later, Odile and Franz saw the sea.

It was like a theatre...

whose stage is the horizon; beyond, nothing but the sky.

In this great, undulating harmony,

they saw no restrictions and no contradictions.

- Are there lions in Brazil? - Yes, and croc...odiles.

- Thinking of me? - Of course.

- How? - The way you think of me.

When boys think of girIs, they think of their eyes, legs, breasts.

That's just the way girls think of boys.

- So we're in love. - We'Il soon see.

Hold the bulb in your hand.

The liquid shouId flow to the other side if you love me.

There my story ends, like in a pulp novel.

At that proud moment of life where nothing degrades or disappoints.

My next film will relate,

in CinemaScope and Technicolor,

fresh adventures of Odile and Franz in the tropics.

Processed by Eclair Video