All language subtitles for The Dreamers 2003 RESTORED 1080p BluRay HEVC x265 5.1 BONE_track4_eng

♪ [Song 'Third Stone From The Sun'
by The Jimi Hendrix Experience] ♪

♪ Strange beautiful grass of green ♪

♪ With your majestic silVer seas ♪

♪ Your mysterious mountains
i wish to see cioser ♪

[Police driVe by]

[Matthew] The first time i ever
saw a moVie at the Cinömathögue Franaise,

I thought: 'Gniy the French.

Only the French
wOuld house a cinema inside a palace'.

The movie was Sam Fuller's
'Shock Corridor'.

Its images were so pOwerful,
it was Iike being hypnotized.

I was 20 years old. it was the Iate 60s,

and I'd come to Paris for
a yesr to study French.

But it was here that I
got my real educstion.

I became a member Of what in those days
was kind of a Freemasonry,

fhe FreemasOnry of cinephiles.

What we'd call 'fiim buffs'.

I was one of the insatiables.

The ones you'd always find
sitfing closest to the screen.

Why did we sit so close?

Maybe it was because
we wanted to receiVe the imsges first,

when they were stiil new, stiii fresh.

Before they cleared
the hurdles of the rows behind us.

Before they had been relayed back
from rOw to row, spectator to spectstor,

until, worn out, second-hand,
the size Of a pOsfage stsmp

it returned to the projectionist's cabin.

Maybe, foo, the screen
really was a screen.

It screened us from the world.

But there was One eVening,
in the spring of 1 96S,

when the world
finally burst through the screen.

[french] Gbeying to an obscure
cOalition of unspeakable interests

the Minister Mairsux

has had Henry Langiois thrown
out of the Cinömathöpue Franaise.

Af Chaillot, you had the opportunity to
Verify what was the face

and just concept
of cinematOgraphic culture.

Under the pretexf Of red tape,
the worst enemies of culture

have won the bastion of Iiberty.

Do not Iet them do this.

-Gne dOes not receiVe freedom!
-Gne takes it!

EVeryone who IoVes cinema ...

-in France ...
-And around the worid ...

- ...are with you.
- Is with Henry Langiois!

[Mafthew] It was Henri Langlois
who created the Cinömathéque,

because ho Iiked to shOw movies

insfead of Ietting them rot in
sOme underground vaulf.

He'd show any moVies, good, bad, old, new,

Silents, Westerns, Thriilers.

And ail the New Wave filmmakers
came here to Iearn their craft.

This is where modern cinema was bOrn.

[Lesud, french] Ifs means of support

tho police!

[cheering]

[Matthew] Langiois had been
sacked by fhe goVernment,

and it seemed Iike every film buff
in Paris had turned out in protest.

It was our Very own cuitural revolufiOn.

[french] PIease ...

[french] Could yOu take this off?

- [french] it's stuck to my Iips.
- What?

[french] I'm asking yOu tO take
my cigarefte off, it's stuck.

[french] Yes, yes ...

[french] Gf course.

[french] SOrry.

- What are you? English?
- No, I'm Americsn.

You can put it out now.

- What's your name?
- Matthew.

You're here a IOt.
But you never ta" to anyone.

We'Ve been wondering
why yOu're always alone.

I don't realiy know anybOdy.

- How come you're chained to the gates?
- I'm nOt chainod fo the gates.

- You're swfully clean.
- What?

For someone who Iikes the cinema so much.

- DO you know Jacpues?
- Jacques?

If shit could shit,
it would smeli just Iike Jacques.

My brofher's gone to ta" to him. When
he gets back, you'II smell Jacpues on him.

It's Iike being around pigs.

- You speak English reslly well.
- What?

- You speak English reslly well.
- My mOther's Engiish.

Here's Theo. When I introduce you, sniff.

Come on.

[french] Truffaut, Oodard,
Chabroi, RiVette,

snd Renoir, Jesn Rouch, Rohmer are here.

Signoret, Jean Marais
and GOd knows who else.

Msrcel Carné tOo.

[french] Why is Carnö here?

[french] What should we do?
We go, we stsy, what?

[french] I don't know.

Theo. This is Matthew.

- You were right, he's American.
- Hi.

I've seen you arOund.

YOu've been
coming to all the Nicholas Ray's.

Yeah, i really Iike his movies.

- What? 'They Live By Night'?
- No.

More iike 'Johnny Ouitsr'
and 'Rebel Without A Cause'.

- You know what Oodard wrofe about him?
- No, what?

'Nicholas Rsy is cinems'.

- [french] What's up with you?
- Me?

[french] Come, stay with me! Quick, puick!

Fascists!

- Bastards!
- Assholes!

And that was how I first met
Theo and Issbelle.

♪ [Score 'Oeneripue Et Car De Police'
by Georges Delerue] ♪

I could hear my heart pounding.

I don't know if it was becsuse
I'd just been chssed by the police

or because i was aiready in IoVe
with my new friends.

As we wa"ed and ta"ed,
and fa"ed, and ta"ed

about politics, about moVies,

and why the French couid never
produce a good rock band ...

- [Theo] I'm stsrving.
- [Isabelle] I forgot the sandwiches.

[Mstfhew] ... I didn't
want that night ever tO end.

[Theo, french] Thanks.

- Didn't you bring anything?
- No, I'm GK. PIease, eat. Don't mind me.

- NO, I'm really not hungry.
- I've broken it now. Tske it.

- You're very kind, buf I don't ...
- Take it when you're Offered it.

Thank you.

- Theo.
- What?

- Don't yOu have something for Mafthew?
- This is fine.

- I gaVe him a third of mine.
- GK.

I really didn't come here
tO eat your sandwiches.

- He doesn't want it.
- Yes, he does.

He's too polite to say
he does, aren't you?

You're both very kind.

- So, where are you from exactly?
- San Diego.

What about you two?
Were you both born in Paris?

I entered this world
on the Champs EIysöes. 1 9ög.

The pavement of the Champs Eiysöes.

And you know
what my very first words were?

- No. What?
- 'New York Herald Tribune'.

[Jean Seberg] New York Herald Tribune!

New York Herald Tribune!

[Jean Seberg] New York Herald Tribune

[Belmondo, french] Are you
coming with me to Rome?

[Matthew] Here. Right here. Here.

[isabelle] NO, there!

- Good night, Matthew.
- Night.

[Matthew sings] I was born ...

in a trunk ...

in the Prince's theatre ...

in Pocatella ...

Idaho.

[singing] I was born in a trunk ...

Desr Mom,

I'Ve got some real news this time.

I'Ve just mef my first French friends.

[Telephone rings]

Hello?

- Matthew?
- WhO is this?

- Don't be so suspicious. If's me.
- Theo?

- Don't tell me I woke you up.
- No, I've been up fOr ages.

You don't sound ss if
yOu'Ve been up for ages.

I always sound Iike this in the morning.

Sorry, I haVe tO call you early
because i'Ve got a class st nine.

- Right.
- You want to have dinner tomOrrow night?

You mesn Iike a real dinner
in a nice resfaurant?

No, not in a restaurant. Here, af home.

Yesh. Sure, that would be great.

Yes? GK. Why dOn't you ...

PIease get off the phone.
If's nine o'clock.

Yes, yes. Why don't yOu meot us
for a drink first? At fhe Respite.

Six O'ciock. YOu knOw where it is?

- BouleVard Saint-Oermain?
- Be there at six.

♪ [Song 'Song for Gur Ancestors'
by Steve Miller Band] ♪

- [french] Third floor!
- Third floor?

You know, there's
room in here for all of us.

[Isabelle, french]
Theo and I are contagious.

Whst?

- We are Very contsgious.
- Contagious?

[Theo, french] You shouldn't catch us!

- [french] It's beautiful.
- You think so?

[french] Good Iuck.

[french] OOod eVening, mother.

[french] Whaf are you doing here?

- We came back for dinner.
- What?

With Matthew.

- Did Isabelle not teli you?
- What Matthew?

This Matthew. He's our new friend.

- Matthew, this is my mother.
- Hi.

- Very pleased to meet you, Matthew.
- Likewise.

- You're American, are you?
- Yeah, I'm from California.

Matthew IiVes in s nasty
student hotel. Rue Malebranche.

So we invited him to dinner.

[french] What's wrong?

What do you want me to say, Issbelle?
I'm cOoking for two

and yOu tell me that
we're going to be five.

- What, Theo didn't tell you?
- No. Neither did you.

What do you have in yOur
big head? Mashed potato?

- You were supposed to tell her!
- But you're stupid or what?

Siut, arsehole, bitch ...

For God's sake, put a sock in it, you two.

I must apOIOgize
for my children's behavior, Mstfhew.

No, i'm the one who should be apOIOgizing.

PIease, don't put yourseif Out
on account of me.

That's sweet Of you.
You're completely biameless.

Let me Iook at yOu.

GK. I wsnt you to make
a good impression on Papa.

[french] Papa, it's me.

We're hsVing dinner at home.

- And fhe Cinömathögue?
- CIOsed until furfher notice.

Papa! Can't you see we hsVe a guesf?

This is Matthew.

- Sir.
- Matthew.

Mafthew's dining with us tOnight.

[Dad] My young Matthew,
inspirstion is Iike a baby.

It does not choose a nice,
seemly hour to enter the wOrld.

It has no consideratiOn fOr the poor pOet.

But when it dOes cOme,

when it deigns to come,
then you knOw if's ...

Young man.

I was speaking to you.
i imagined you were Iistening.

I was ... i'm sorry.

Whst?

Nothing. I was ... I was just ...

You seem to be mesmerized
by this tin Iighter.

I'd Iike fo know why.

- Well?
- George, please. Matthew's our guest.

No, i'm genuinely curious.
I'd Iike fo know why.

I was just .. . i was fidgeting
with isabelle's Iighter.

I wssn't realizing it,
and I noticed and fhought if was rude

so I put it down On the table.

But I put it diagonaliy scross
one of these sguares, do you see?

Look.

That's when I noticed that
the Iighter's Iength is exactly

the same Iength ss the diagonal itself.

SO i puf it Iengthwise.

Aiong the Oufside edge. Look.

- It fits there tOo.
- Yeah.

But it fifs there.

And it fits Iike this and Iike this.

And this wsy, toO.

I bet you if I just split it in haif,

it's gotta fit somewhere.

I mean, it really fits anywhere. Look.

You see?

I was noticing that
the more you Iook at everything,

this tabie, the objects on it,
the refrigerator,

this room, your nose,

the world ...

suddenly, yOu realize that

there's some sort of cosmic harmony

Of shapes and sizes.

I was just wondering why.
I don't know why that is.

I know fhst it is.

YOu have an interesfing friend here.

More interesting, I suspecf,
than you know.

I mesn, when we iook around us,
whaf is it we see?

[french] Chaos, isn't it?

Complete chaOs.

Yet, viewed from abOve.

Viewed, as it were, by God

everything suddenly fits together.

My chiidren belieVe thaf their

demOnstrations and
sit-ins and hsppenings ...

Well, fhey believe that these pOssess
the capacity not oniy to provoke sociefy,

but also to transform it.

What is it you are ssying?

If Lsnglois is dismissed
we shouldn'f do anything?

If immigrants are deported, if students
sre besten up, we shouldn't do anything?

AII I am saying is
that a Iiftle Iucidity would not go amiss.

So everyone's wrong but you?

In France? In italy? Germany? America?

Lisfen fo me.
Before yOu can change the world,

you must realize you are part of it.

YOu cannot stand outside, ioOking in.

You're the one who stands outside.

YOu're the one who refused to sign
a petifion agsinst the Vietnam War.

Poets don't sign petitions,
they sign poems.

- A petition is a poem.
- Yes!

And a pOem is a petition.
Thank you, but I'm not gaga yef.

I dOn't need you
to remind me of my own work.

That's right.

A petition is a poem,
a poem is a petition.

- Yes.
- The most famous Iines you ever wrote.

Now Iook at you.

- [french] I hope I'II neVer be Iike him.
- Theo.

We should say good nighf, darling.
We'Ve gof a Iong day ahead Of us tomorrow.

Oeorge.

[french] Yes, sorry. You were saying?

[french] I was saying we shOuld go tO bed.

[french] And you had something
fo tell the kids, didn't you?

[french] Yes, of course. I'm sorry.

[french] I'Ve Ieft the chepues on the
chimney, as usual, you know where.

But yOu wili only cash them when
you need them. Gkay?

Good night, eVerybody.

[french] Goodnight, dsd. Have s nice trip.

[french] OoOdnight, my desr. ThoO.

- A Very good nighf to yOu, Matthew.
- It was a pieasure meeting yOu, sir.

- Very nice meeting you.
- You too. Thank you so much for dinner.

My pleasure.

Why don't you spend the nighf?

I'm not sure I Iike the
sound of Hotel Malebranche.

[french] OoOd night.

♪ [Song 'I Need a Man fo Love' by
Big Brother and the Holding Company]♪

Why haven't yOu dazzled us with these
philosOphical speculations of yours?

I didn'f know I was being phiiosophical.

- Papa was awfuliy impressed.
- Papa's fuii Of shit.

[Matthew] I think you're Iucky.
i wish my parents were that nice.

Gther people's parents
are aiways nicer than Our own.

And yet our own grandparenfs
are always nicer than other people's.

You know, that's true.
That's sbsolutely true.

I neVer thought abOut
it before, but it's true.

Matthew, you're sweet.

This is double the Iength of ...

I'm for bed.

Are you sfaying?

- Are you okay?
- Yeah, i'm Oksy.

Oood night, Mafthew.

Everybody's got a fsther.

Yes.

But the fact that God doesn't exist
doesn't mean he can take his place.

♪ [Song 'I Need a Man fo Love' by
Big Brother and the Holding Company]♪

Gkay?

- Yeah, it's fine.
- Oood night.

- Oood night.
- See you in the morning.

See you. Thank ...

Thank you.

♪ I need a man to IoVe me ♪

♪ Gh, don't you understand me, babe ♪

♪ i need a msn to Iove ♪

♪ I wsnt me, someone to hOId me when i ♪

♪ I call out for if ♪

♪ Someone to be around me so I ♪

♪ won'f be afraid of it cos it ♪

♪ Can't be now, can't bo now,
can't be now ♪

♪ Can't be now, can't bo now,
Can't be just ioneliness ♪

♪ What the heii is wrong with me ♪

♪ No, no, no, if just can't be ... ♪

GOod morning.

What was that all about?

I was removing the sleep frOm your eyes.

Theo Iets me do his every morning.

- It's a strange thing to want to dO.
- Didn't you enjoy it?

- Wss I suppOsed to?
- Naturslly.

Up.

- Whaf are you wsiting for?
- Isabelle, I'm not dressed.

♪ [Score-Music from 'Queen Christins'] ♪

What are you doing?

- What are you doing?
- I've been memorizing fhis room.

In the future, in my memory,

I shali Iive a great deal in this room.

'Oueen Christina'.

Where Oarbo bids farewell tO the roOm
in which she spent the night wifh Gilbert.

BravO!

We haVe a private wing to ourseives.
The bsthroom's at the end Of the cOrridor.

If you aren't there in one minute,
we're cOming back tO get you.

[Theo, french] COme in.

GOod morning.

Are you going to church?

Gh, sorry. You want to use my toofhbrush?

- No.
- Sure?

I'II use my finger.

- SIeep well?
- Yeah.

I mean, fine.

You know, Matthew, you reaiiy do
have fhe mOst beautiful psir of Iips.

Can I touch them?

- You wanna touch my Iips?
- Yes.

Gkay.

They're so red,

and ripe

and Iuscious.

So sullen.

Brutal.

Let's see whaf you'd
ioOk Iike with iipstick.

I really should be going.

- YOu'd make such a pretty girl.
- ignore her, Mafthew.

She sucks in all the air around her.

I really have to be
getting back to my hotel.

No. Why?
We wore going to inVite yOu tO stay.

- Realiy?
- Sure.

You know our parents haVe ieft?

They're gOing to be in
Trouville fOr s mOnth.

We thought you mighf Iike
to move your things here.

- Realiy?
- Sure.

But you just met me two days ago.
YOu barely even know me.

This way we get to know you.
Do you haVe fo stay in fhe hotel?

- No.
- We'II go and pick up whaf you need.

Come on.

What sbout you?

♪ [ScOre 'New York Heraid Tribune'
by Martial Solsl] ♪

It was my idea.

You're scaring me right now.

Josus.

Josus.

I'm going tO check out
the Cinömathöpue, just in case.

- Gkay.
- Don't take too Iong.

Don't worry. i won't.
I don't haVe much stuff.

With us, you're not going to need much.

Gkay.

Just don'f fOrget your toothbrush.

Gkay ...

[Mafthew] Dear Mom,
I guess yOu're surprised fo be

hearing from me so
soon after my Iast Ietter,

but I've just mOved into an apartment
belOnging to a fsmous French suthor.

His children are the same age as me
and have the same interosts.

I know how pleased you'ii be to hear I'm
getting in with the right kind of people.

Say hello to Father.
I hope he's nof still mad at me ...

Listen to this, Matthow.

'The difference between KeatOn and Chapiin

is the difference
between prose and poetry,

befween the aristOcrat and fhe trsmp,
between eccentricity and mysticism,

between man as a machine
and man as angel'.

Not bad, huh?

That's gOod. Except, for me,
there's no comparison.

Why? Because Chaplin's incomparsble?

No. Because Keaton is incomparable.

Keaton? You think Keaton's
greater than Chaplin?

- Absolutely, I do.
- You're not seriOus.

- Course i am.
- You're crazy.

Come on. You can't deny
that Koston's funnier than Chaplin.

Yes, I can.

You dOn't find KeatOn
funnier than Chspiin?

I don't think anyone's
funnier than Chaplin.

Keaton is. EVen when he's
not doing anything he's funny.

And he IOoks Iike Oodard.
Keston is a real filmmaker.

Chaplin - all he cares about
is his own performance, his own ego.

- Builshit.
- If's not bullshit.

Yes, it is. Somefimes
i think you Americans

understand fuck aii
about yOur Own culture.

No wOnder you never got Jerry Lewis.

Don't even get me sfarted on Jerry Lewis.

Listen, Matthew. When Chaplin wanted
to have s beautiful shot, he knew how.

Befter than Keafon. Better than anybody.

You remember the Iast
shot of 'City Lights'?

He Iooks at the fiower girl,
she IoOks at him.

And don't forget she's been biind, so she
wss seeing him for the Very first time.

And it's ss if, through her eyes,
we also see him fOr the very firsf time.

Charlie Chaplin, CharlOt,
the most famous man in the wOrid,

and if's as if
we've neVer really seen him before.

Iss, if yOu play thaf fucking
record again, I'ii break it in two, Okay?

But you Iike Janis Joplin.

♪ [Song 'Bsll and Chain' by Big Brofher
and the Holding Company & Janis Joplin] ♪

[Theo] Stop it.

I said stop it, isabelle.

Stop!

- Mafthew, tell me - what film?
- What?

Name a film where someone tsp-dancing
drives someone else crszy.

- I know this.
- Forfeit if you can't answer.

- Ouick, quick or you'il pay the forfeit.
- 'Top, Top Hat'. 'Top Hat'!

Fred Astaire is dancing
over Oinger Rogers' room.

♪ [Score 'NG STRINOS' by Irving Berlin] ♪

And she's mad because he wakes her up.

I'm right.

[french] He's good.

[french] You thinking whst I'm thinking?

[french] What?

[french] 'Bande a Part'.

[Theo, french] You're right.

Why are you two Iooking st me iike that?

Weil,

you see, my Iittle Matthew,

there's something Theo and I
have been meaning to do for a Iong time,

but we'Ve been waiting
for the right person to do it with.

- And I think you're finally it.
- To do what?

Try to beat the record of 'Bsnde a Part'.

- What record?
- You've seen 'Bande s Part'?

- Where they race through the LOuvre?
- Vaguely. Remind me.

To bost the world record
Of nine minutes and 4ö secOnds.

- Gh, yeah. Of course.
- We're going to beat their record.

Er, oh.

- What?
- Whst's the matter?

- Nofhing, really.
- Not afraid, are you?

- No. I'm not afraid.
- What, fhen?

It's easy for you twO. I'm sn American,
what yOu French call an alien.

- So?
- So if i get caught, I get deported.

Don't worry, Iittle man.
We're not going fo get caughf.

- You don't know that.
- They woren't csught in 'Bande a Part'.

If we beat the record, we won't be caught.

- It's a moVie!
- Go gef Papa's sfopwatch. Come on.

- It's s great idea, but ...
- Matthew, this is a test.

Are you going to pass it or faii it?

Be csreful.

A IOt depends on how you answer.

Nine minutes and 25 seconds.
We beat the record by 1 7 seconds.

Matthew. My Iittle Matthew.

You were wonderful.

We accept him. Gne of us.

We accept him. Gne of us.

Gne of us. We accept her, we accept her.

Oooble, gobble.

We accept him. Gne of us.

Gne Of us.

♪ [Song 'Oueen Jane Approximafely'
by Bob Dylan] ♪

♪ When your mofher
sends back sll your inVitafions ♪

♪ And your father to
your sister he explains ♪

ThoO.

♪ That you're tired of yourself ♪

♪ And all of your creations ♪

Hey!

♪ WOn't you come see me Oueen Jane ♪

We accept yOu. Gne of us. Gne of
us. Gne of us. Gne of us. Gne of us.

[Telephone ringing]

[french] That's Mother.

[french] I'm too wet to answer.

Isa's smart, but she doesn't know
how to deal with psrents.

- What do you mean?
- I mean, it's not enOugh to ignore fhem.

They shOuld sll be arrested. Put on trial.

Confess fheir crimes.

Sent to the country
for self-criticism and re-education.

- They're already in the country.
- They are at the seaside.

That's different.

Hello?

Hello?

[french] Too bad.

[Matthew] My parenfs never go anywhere.

At Ieast you haVe the house to yourselVes.

Where are you going?

- I gotfa get out of these clofhes.
- It'il be cold in your room.

Come info mine.

Gkay.

♪ [Score 'Let's Face The Music
and Dance' by RoV Fox] ♪

You can wear fhis.

Thanks.

I'm going to get a Coca.

- Want one?
- Gksy.

- [knocking] Matthew?
- Yeah?

COuld you open the door?
My hands are full.

Just s secOnd.

- Why didn't you open the door?
- i was ...

I wss dressing.

[Isabelle hums] Bom, bom, bom, bom, bom.

[Isabelle hums]

♪ [Score from 'The BIOnde Venus'] ♪

Whaf film?

In what film does
a chorus Iine dance Iike this

with a singer in s fur cost?

- I've seen this film?
- We saw it together.

- We did? GiVe me a clue.
- Certainly not.

Come on. Be s sport. The director's name.

No.

- Number Of words in the fitie?
- i said no.

- Isabelle!
- No!

The first Ietfer of the first word.

Ood. You're pathetic.

Isn't he pathetic?
Don't yOu think he's pathetic?

- Mstfhew, i bef you know.
- DOn't yOu dare help him.

Did the Sphinx giVe Gedipus a clue?

- Fuck you.
- [Isabelle hums] Bom, bom, bom..

OiVe up?

Yeah!

- 'BIonde Venus'.
- Shit ...

Marlene Dietrich. 1 g32.

I knew that.

- Forfeit.
- If you insist.

I dare you fo do now,

in front of us, what I haVe
wafched you do in front of her.

Who?

- I don't know what you're ta"ing abOut.
- Gh, yes, you do, my pet.

Forfeit.

[Theo] What a bitch you are.
A bitch and a sadisf.

Are you going to pay the forfeit or nof?

Vory well.

I want yOu tO dO it the way you did it
when you fhought no one was watching.

[Theo groans]

[Theo groans]

Lef's haVe a drink.
i'II moet you downstairs.

- Matthew?
- Yes?

[Mafthew] Yes.

Why wOn't you admit you were thriiled?
COme on, you can tell me.

- What?
- Weren't you just a tiny bit excited?

What is it you're trying to get me to say?

NOthing. i asked you a question.

- I suppose you know who you sOund Iike.
- Who?

- Isabelle.
- Why not? She's my twin sister.

- You two are twins?
- Yes. She'd be me if she were a man.

- Thst's crap. You're not identical.
- Yes, we are. We're Siamese twins.

Joined here.

YOu're a strange one, Theo.

Half an hour ago, I saw yOu IOok at hor
as though you wanted to strangle her.

I did.

- I dOn't understand you.
- Don't you have brothers Or sisters?

- I hsve two older sisters.
- Didn't you eVer want to strangle them?

Course I did, but i neVer masturbated
in front of them, and I never ...

They never forced me
to do anything I never wanfed fo do.

You think isabelle forced me, do you?

[Matthew] Deep down,
i knew things couldn't go on as before.

Now the stskes had been rsised.

But, for s while at Ieast,
there did seem to be s kind of truce

between Theo and Issbelle.

And then, one eVening ...

- [Theo breafhes heavily]
- Theo?

- What film?
- [Isabelle] Whst fiim?

Name the film where a cross marks
fhe spot of a murder or pay the forfeit.

- You foO, Mafthew.
- Me?

What have i done?

Name the film or pay the forfeit.

- Time's up.
- Time's up? YOu didn't give me a chance.

- The film?
- 'Scarface.' Howard Hawks.

1 932.

And the forfeit?

Well ...

As you know, isabelle, I'm not a sadist.

I just want to see eVeryone happy.
No one Ieft out.

So,

I'd iike you

and Matthew

to mske IoVe in frOnt of me.

But not in here.

I don'f fsncy sleeping in
someOne else's reVolfing spunk.

- No offense, Matthew.
- Where?

In the spare room.
In front of the Delacroix.

Maybe one reproduction
wiii inspire anOther.

- I won't do it.
- You won't do it?

- You wOuldn't.
- Matthew isn't my type.

Gkay.

♪ [french Song 'Ls Mer'
by Charles Trenet] ♪

I need to gO fo the bathroOm.

[Theo] Matthew!

Matthew!

Matthew!

[Matthew] Yes?

This is silly. COme out of there.

Gkay. AII right.

- Look . ..
- Too Iate.

You're hurting me. i dOn't ...
I'm not Vioient. I'm againsf violence.

- I'm not gonna resist, ioOk.
- So shut up, okay?

YOu know, Matthew,
you sren't being very gsllant.

Is fhe prospect
of making Iove to me so hateful?

I'Ve seen you. I saw you in bed fogether.

Gur guest has been spying On us.

NOw, fhst wasn't
a friendly thing tO do, Matthew.

Especially when we've been so hospitable.

[Mafthew] I'm nOt resisting!

How sweet of you, Matthew,
to keep my image next to your heart.

I didn't ...

Matthew!

Come On. Wake up.

Come On. Wake up.

Isabelle?

No. I'm Theo.

Where is Isabelle?

[Matthew] You have to help me.

[isabeile groans]

Sorry.

[both moan]

[Isabelle weeps]

[Matthew moans]

That wss the best one.

What abouf yesterday?

In Pspa's study.

You thought thst was better?

PIease, please, please, please.

- What?
- Stay inside.

Matthew.

My IOve.

My first Iove.

My great Iove.

My great Iover.

My Valentino.

- [sings] My funny Valentino .. .
- [they both Iaugh]

You knOw, I thought yOu had msny IoVers.

When i first saw you at the Cinömathöpue,

you and Theo, you IoOked so coOI.

SO sophisticated.

Like a movie star.

I wss.

I was acting, Matthew.

How did you and ...

How did you and Theo ...

come together the way that you sre?

TheO and me?

It was IoVe at first sight.

But he's never been inside you?

He's always inside me.

What would you do ...

Whaf would yOu do
if your psrents fOund out?

- It must never happen.
- Yeah, I know, but ...

what if it did?

It must neVer, never happen.

I understand that,
but Iet's say fhat if did happen.

What would you ...

What would yOu do?

I wouid kill myself.

♪ [Song 'Combination of the TwO'
by Janis Joplin] ♪

- Where are you gOing?
- The kitchen.

- I have to get something fo eat.
- Oood Iuck.

Theo?

Yeah?

- Want some honey?
- No, thank you.

- It's good.
- No.

- It's really good. Try some.
- No.

- Just try a Iittle bit. If's really ...
- No. Thank you.

I want you to know that I'm grsteful.

Grateful?

Remember what yOu told me in the cafö,
about you and Isabelle?

You were right.

You know, for me, you two are ...

you're Iike two haives of the same person.

Now you'Ve made me feel
Iike i'm a part of you.

Both of yOu.

Let's get sOmething straight, okay?

You're a nice bOy and
I Iike you a Iot, but no,

it wasn'f always meant
to be the three of us.

I told you something else, remember?

That Isa and I are Siamese twins.

Yeah.

I wssn't joking.

What's this?

That, my dear brother, is a cheese fondue

accompanied by a compote
of broccoii and prunes.

- And this?
- Thst's ratatouille.

- And yOu expect me to eaf this muck?
- You expected me to cook it.

I prefer to sfarve.

You wiil.
There's nOthing else in the house.

Matthew?

Csn I serve you?

The fondue or the ratafouille?

Which is which?

This is fondue, and this is ratafouille.

No. This is the fondue,
and this is the ratatouille.

The ratatouille.

Ratatouiiie.

[Matthew] Thaf's fine.

Jusf eaf it ss if yOu
are in some exotic country

you've never visited before
and fhis is the national dish.

[TheO] It Iooks Iike
he's Vomiting in reVerse.

It's horrible, isn't it?

I'm sOrry, Isabelle. i know yOu tried.

Thank you, Matthew.
i'm glad sOmebody appreciafes my efforts.

- There is nothing in the house?
- NOthing you'd want to eat.

- And we csshed ali the checks?
- Yes.

- So whst dO we do now?
- i'm going to csll Papa.

♪ [Song 'Maggie M'Oill' by The Doors] ♪

The phone is dead.

♪ Iilegitimate son
of a rock and roll star ♪

♪ iilegitimate son
of a rock and roll star ♪

♪ Mom met dad in the back
of a rOck and rOII car ♪

♪ Yeah ♪

[isabelle] What's ali this?

[Theo] It's Iunch.

So, Isabelle.

A filet mignon?

- No.
- No?

Matthew, would you iike a rump steak?

[french] StOp it. If's disgusfing.

Gh, Iook.

What sbout this banana?

- One banana for three of us?
- Yes.

I'm starving.

Let me see it.

- Why?
- Just Iet me see if.

- What are you doing?
- Just watch.

Ef voilä.

Matthew, you never cease to surprise.

[taiking french]

♪ [spanish Song 'EI Paso Del EbrO'
by Cobla de Barceione] ♪

Hey, Theo!

Hi.

- [french] How are you?
- [french] I'm fine.

- Why didn't you come Iast night?
- Sorry, I couldn't.

What's the matter with you?

- We csnnOt rely on you.
- Sfop bothering me.

No, it's simple, you're
not with us any more, Theo.

Yes, I am, but it's complicated.

Why?

Because it is. Stop bothering me.
I cannot expiain. I'm going.

Arsehole.

TheO, wait for me.

- [french] A Iittle sOuvenir from Nepsl.
- Thanks, fhst's sweet.

- Call me.
- Gkay, with pleasure.

See you soon.

[Matthew] We hardly
Ieft the apartmenf anymore.

We didn't know Or csre
if it was day or night.

It felt as if we wore driffing out to sea,
IeaVing the world far behind us.

- Too strong fOr you?
- That was really goOd.

- Oood?
- Yeah.

- Again?
- No.

Ciapton is OOd, Matthew.

I don't believe in God, but if I did, he
would be a blsck, Ieft-handed guitarist.

This is not Chaplin and Keaton.
This is CIapton and Hendrix.

CIspton reinvented the electric guitar.

- CIapton reinvenfed the guitar.
- BelieVe me.

CIapton piugs in sn elecfric guitsr
and he piays it Iike an acoustic guitar.

Hondrix plugs in an electric guitar,
he plsys with his teeth.

[imitates electric guitar]

[Matthew] There are soldiers in
fhe Vietnam war right now.

Who are they iistening to?

CIapton? No.

They're Iistening to Hendrix.
The guy who tells the truth.

It's fucked up. It's all fucked up.

You're taiking about soldiers in Vietnam?

- Yes.
- What are fhey doing in Vietnam?

They're at war.

- Whst are they doing?
- They're fighting.

[french] They are killing peasants,
Matthew.

They're dying, too.

[french] They are killing kids,
they sre burning fields.

They wsnns be there?
They wanna die and they wanna kill people?

Shouldn't yOu be in Vietnam? Righf now?

- Right now? Shouldn't you be in Viefnsm?
- I don'f believe in violence.

Where are you?
ShOuidn't you be in Vietnam nOw?

I'm Iucky. I'm in a university.

I have friends who aren't in uniVersity,
snd they're expendable.

They're expendable. I am fucking Iucky.

[french] The peopie
over there want the war!

Do you think you can
say to the goVernment,

'I'm against violence,
I don'f agree with war'?

Maybe in France.
In America, yOu have to gO.

If you don't go, you go to jail.

- How can you judge?
- I prefer to go in jail.

Instead of killing people, Matthew.
I prefer to go in jail, yeah.

I read it in Cahiers du cinöms.

A filmmaker is Iike a Peeping Tom.

A voyeur.

It's as if the camera is ...

the keyhole to yOur parents' bedroom.

And yOu spy on them,
and you're disgusting,

and yOu feel guilty,

but you can't IOok away.

It makes films Iike crimes
and directors iike criminais.

If should be illegal.

- There goes my chance to be a fiimmaker.
- Why?

My parents always
Ieft the bedrOom doOr open.

You'II haVe to direct theater, nof cinems.

Maybe.

My parents only fucked once in their Iife.

That's why we're twins.
They didn't want to make it twice.

♪ [Song 'Hey Joe' by Michsel
Pitt and The Twins of Evil] ♪

♪ Hey Joe. ♪

♪ Where are you going with
thaf gun in your hsnd? ♪

♪ Hey Joe. ♪

♪ Where are you going with
thaf gun in your hsnd? ♪

♪ Hey Joe. ♪

♪ Where are you going with
thaf gun in your hsnd? ♪

♪ I'm going down fo shoot my old Isdy ♪

♪ You know I found her messing
arOund with another man ♪

♪ i'm going down fo shoot my old Isdy ♪

♪ YOu know I found her,
i found her messing around town ♪

Don't be alarmod, Mafthew.

It's good news.

It only happens once a monfh.

- I Iove you, Isabelle.
- I IoVe you, too, Matthew.

Yeah, buf I really Iove you.

And i really, really IoVe you, too.
We both do, don't we, Theo?

Yeah.

[Matthew] That's not what I
wanted you to say.

What do yOu want us to ssy?

I wanted you to say you Iove mo.

- We just did, Matthew.
- No, you ssid you ioVe me too.

I don't want you to say that you Iove me
too, I wanf you to say that you Iove me.

We Iove you, we IoVe you, we Iove you.

Thst's not right, either.
You haVe to say it first.

We can't, Matthew.
You already said it first.

Why is that?
Why am i aiways fhe first to say it?

Poor Matthew.

We do Iove you very much.

I don't want tO be IOved Very much.
I wsnt to be Ioved.

You know, when someone wants it

there's no such thing as Iove.
There are only proofs of IOve.

Are yOu ready fo give
us a proof of your ioVe?

- [Matthew] You want prOof Of my Iove?
- Yeah.

Gkay.

Get out of the bath.

[french] ShsVing cresm ...

- Razor ...
- Thanks.

- Whaf are you doing?
- What do you think I'm doing?

- You're not serious?
- Yes, I am.

NOthing to worry about.
it's an operation I've performed before.

- Relax. it grows back.
- You're both fucking crszy.

- Whst's the matter?
- You cali this 'prOof Of Iove'?

Turning me into a freak?
'Gne of us, one of us'.

It's just a game. It's just a game.

A game, Isabelle? Gsme? Think sbout it.

Think abOut it.
Is this something yOu do tO each other?

YOu wanna shaVe my pubic hsir?
Want me to be a Iittle boy for you?

A pre-pubescent Theo at six who you can
play games with and you can touch pee-pee.

- I'Ii show you mine. You show me yours.
- Just calm down. We hear you.

Think abOut it. Think.

You sleep in the same bed together.
Every night.

You bsthe togefher,
you pee in the john together.

You play these Iittle games.

I wish you could step out of yourselves
and just IOok.

Why? Why sre you so cruel?

- Because I IoVe you.
- You haVe a strange way Of showing it.

No, I really Iove you. Both of you.

And I admire you.

And I Iook af you,
and I Iisten to you, and i fhink:

'You're neVer gonna grow'.
YOu won't grow iike this. You won't.

Not ss Iong as you keep clinging
to each other the way that you do.

- Isabelle, hsVe yOu eVer been on a date?
- A date?

- Yeah, a dafe.
- Whst kind of date?

- HaVe you eVer been out with s bOy?
- I've been out with Theo.

Not Theo.

HaVe you ever been out
with s bOy frOm school that yOu Iiked?

I was never taken to a schoOI prom,
if that's what you mean.

I'm afraid we don't have proms in France.

You hsve dates in France, isabelle.

Come on.
HaVe you eVer been out with a bOy?

Why do you keep asking me that?
You know I haVen't.

Wouid you Iike to?

- Is this an inVitafiOn?
- it's an inVitation.

Would you Iike to go out on a
date with me? Just the two of us.

Don'f Iook at Theo.

Isabelle, yOu don't need his permission.

♪ [french Song 'Tous Ies Garcons
ef Les Filles' by Francoise Hardy] ♪

NO. We can't sit at the fronf.
We have to sit af the back.

The front is for peOple
who don't hsVe dafes.

We're on a ... Sorry. Excuse me.

Gn s date, you always sit at the back.

People sit at the back
so they can make out.

[Tom Eweii thru screen]
Ladies and genflemen,

the mofion picture you are abOut to see
is a story of music.

I play the roie of TOm Miller, sn agent,

a smaii-time thestrical agent
who had been a ...

Well, you'II see.

This motion picture wss photographed
in the grandeur of CinemaScope,

and ...

Psrdon me.

SOrry i can't sfay, but
I haVe a train on tap.

AIi the best, Georgie.

[Jayne Mansfield thru screen]
Can't stand fo hear me sing again?

You know it isn'f that.

♪ [sings] You'II neVer know ♪

♪ No, no, I know I wOn't be foOIed ♪

♪ When i'm being true ♪

♪ But if you guess it ♪

♪ I'II confess it ♪

♪ Gh, darling, I would Iike to know ♪

♪ Gr perhaps you'II neVer ♪

♪ No, no, you'II neVer ♪

♪ Gh, nO, you'II neVer ♪

♪ ever know ♪

♪ You'II neVer know ♪

[Mstthew] When I Iooked at the TV screen

I remembered the battle
of the Cinömathöpuo.

Except this time
the demonsfrstors weren'f film buffs.

They weren't eVen
just students any Ionger.

It was hard tO figure
out what wss happening.

If Iooked Iike shops
had clOsed their doors,

factories hsd gone on strike, and it
was beginning to spread all Over Paris.

[french] We're willing fo consider
all Iegitimate demands.

[Isabelle] Theo and i never
watch television. We are purists.

The purest of the pure.

- Let's go.
- Yeah, but ...

Josus.

♪ [Score 'Ferdinand' by AntOine Duhamei] ♪

[kissing and Iaughing]

- What's wrOng?
- They're not mine.

[woman Iaughs]

- NO. Your room.
- No.

I don't know how IOng i've been here, but
in all that time i haVen't seen your room.

- You do have a room, right?
- Yeah, of course i haVe.

You dOn't think I aiways
IiVe in Theo's pigsty?

How come we never go in there?

No. No-one's making Iove on my bed.

- PIease.
- No.

It's your room. It's part of you.
I wanns see it. Jusf tonight.

[french] No, no, and nO.

♪ [Song 'The Spy' by The Doors] ♪

[Matfhew] I discovered a
side of Isabelle I'd never seen before.

A secret side she hadn't wanted me to see.

I suddenly thought of
my sisters' bedrooms in San Diego.

I thought Of our house and our neighbors'
hOuses, ali alike with their green Iawns,

and their sprinklers, and their station
wagons parked outside the garage door.

♪ Thst yOu're dreaming of ♪

♪ i know the word ♪

♪ Thaf you iong tO hear ♪

♪ I know your deepest secret fear ♪

♪ i'm a spy ♪

♪ In the house of Iove ♪

♪ i know the dream ♪

♪ Thst yOu're dreaming of ♪

What sculpture?

I aiways wanted to make Iove
to the Venus de Milo.

I can't stop you. I'Ve got no arms.

I can't stop you.

♪ [french Song 'Ls Mer'
by Charles Trenet] ♪

Whaf's wrong? What's wrong?

Don't. DOn't.

Don't Iisten to if.

Don't cry.

PIease, Ieave me alone.
LeaVe me alone. PIease.

PIease.

[woman snd Theo iaughs]

- Go away!
- Isabelle.

[french] Theo, open up!

You're gonna hurt yourself. It's okay.

- Who are you?
- Whaf? What are you talking about?

- What are you doing in my room?
- What do you mean ...

Oet out! Oet out!

Theo! Theo!

Theo! Theo! Theo!

♪ [french Song 'Ls Mer'
by Charles Trenet] ♪

Theo!

Theo!

[Theo, french] A reVoiution
isn't a gala dinner.

If cannot be creafed
Iike a book, a drawing or a tapesfry.

If cannot unfold with such elegance,
tranquility and delicscy

or with sweetness, affability, courtesy,

restraint and generOsity.

A reVolution is an uprising,

a violent act

by which One class oVerthrows another.

Chätesu Lafite, 1 göö ...

Chäteau Chasse-Spleen, 1 9ög ...

Grand Vin, 1 g37. Happy birthday, papa.

Again?

- Listen, Matthew.
- Yes?

- You're a big movie buff, righf?
- Yes.

Then why don'f you think of Mao
as a great director,

making a moVie with s cast of millions?

AII those milliOns of Red Ouards
marching together into the future

with the Little Red BoOk in their hands.

Books, not guns.

Culture, not Violence.

Can't you see what s beautiful,
epic movie that would make?

I guess, Theo.

It's essy to say 'books, not guns'.

But it's not true.
If's not boOks, it's book.

A boOk. Just one book.

- Shut up. You sound just Iike my fsther.
- No. Listen tO me.

The Red Guards thaf you admire,

they all carry the same book,

they all sing the same songs,
they all parrot the same slogans.

So, in this big, epic moVie,

everybody is an extra.

That's scary to me.
That giVes me the creeps.

I'm sorry tO say it, but for me
there is a distinct contradiction.

Why?

Because if you reslly belieVed
whst yOu wore ssying, you'd be ouf there.

Where?

- Gut there, on the sfreet.
- I don't know whst you mean.

Yes, yOu do. Something's
gOing on ouf there.

Something that could be really important.

SOmething that feels Iike
things could change. EVen I got that.

But yOu're not out there.
You're inside wifh me,

drinking expensiVe wine,
taiking about film,

ta"ing abouf Maoism. Why?

- That's enOugh.
- Why?

- That's enOugh.
- Ask yourself why.

Because i don't think yOu really
belieVe it. I think you buy fhe Iamp,

and you put up the posters,
but if ain't ...

- I don'f think you . ..
- Look, you speak toO much.

Theo, just Iisten to me. Listen to me.

I think you profer ...

I think you prefer when the ...

when the word 'together'
means nOt 'a million', jusf 'two'.

Boys, boys.

Gr 'three'.

Isa.

- Come and join us.
- No, thank you, my sweet.

It smells Iike a whOrehouse.

Thsnks s Iot.

I've got a surprise for you. In the salon.

I'm getting right in.

- It's beautiful.
- Come on. Oet in.

[Theo Iaughs]

[french] Mother was dOing this
for us when we were small.

Au!

[Theo] More wine?

Thank you.

Ood, your breath is foul.

- I'm sorry.
- You're drunk.

[french] Yes, I'm drunk.
And you're beautiful.

[french] And tomorrow morning,
i'II be sober

[french] but you'II sfill be besutiful.

- Go to sieep, Matthew.
- Yes.

Is it time to sleep?

Idiot.

[french] YOu can hsrdly
keep your eyes open.

[Isabelie] Night-nighf.

[french] Wake up.

[french] What is it?

I want you to Iisten.

- Why?
- Because.

Theo ...

I Iove you. YOu knOw that?

I Iove you too.

You Iove me foo? That's funny.

Are you Iistening?

It's foreVer, right?

- What's forever?
- The two of us.

- Right?
- Yes.

Why did Mstfhew say that?

What did Matthew say?

That we're monsters, freaks.

I just want you fo tell me
that it's fOreVer.

It's foreVer.

- Isa ...
- You don't understand.

We'Ii ts" about it in the morning.
I prOmise.

[Mama] Gh.

- OoOd. We must iesVe now, dsriing.
- AIready?

What wOuld you Iike?
To haVe dinner wifh them?

We must Ieave on tiptoe.

♪ [Song 'Third Stone From The Sun'
by The Jimi Hendrix Experience] ♪

[Oas iesk]

[Police siren, Protesters chanting ]

[french] Isa? What's happening?

- The street came flying into the room!
- What?

The sfreet came intO fhe room.

- [Matthew] What's that smell?
- It's tear gas.

[ Protesters chanting ]

[french chanfing] In the streets!

Oo! Oo on!

[french] in the streets!

Hit fhe streets!

Matthew!

Isabelle!

Isabelle!

[french] This is just fhe start,
the fight goes on!

[french]

Theo, this is wrong. This is wrong.

- This is wonderful, Matfhew.
- This is violence.

It's not Violence. COme with me.

This is fucking fascism
in a fucking bottle.

I'm no fascist! The cops are fascists!

- Yeah, and police hit people.
- Shut up!

YOu can't understand. Leave me be!

Listen tO me for a second.
This is what they do.

This is not what wo do.

We use this. We do this.
We use this. We use this.

Sfop it!

Isa ...

[Theo yeiis]

♪ [french Song 'Non, Je Ne
Regrette Rien' by Edith Pisfj ♪

♪ [Song 'Third Stone FrOm the Sun'
by The Jimi Hendrix Experience] ♪

♪ Strange beautiful grass of green ♪

♪ With your majestic silVer seas ♪

♪ Your mysterious mountains
i wish to see cioser ♪

♪ May I Iand my kinky machine ♪