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CAPTIONING MADE POSSIBLE BY
WARNER BROS.
4
00:00:46,780 --> 00:00:47,781
GOOD MORNING.
5
00:00:47,781 --> 00:00:49,250
GOOD MORNING.
6
00:00:54,788 --> 00:00:56,390
PLEASE.
7
00:01:11,805 --> 00:01:13,407
UM...
8
00:01:15,209 --> 00:01:16,810
LET'S SEE.
9
00:01:16,810 --> 00:01:18,078
HERE.
10
00:01:18,679 --> 00:01:19,913
CEZANNE.
11
00:01:19,913 --> 00:01:20,914
A MASTERPIECE.
12
00:01:20,914 --> 00:01:22,416
YOU LIKE THAT?
13
00:01:22,416 --> 00:01:23,417
NO.
14
00:01:23,417 --> 00:01:24,218
NO?
15
00:01:24,218 --> 00:01:25,219
POINTILLIST.
16
00:01:25,219 --> 00:01:26,520
UH, WHAT? WHAT?
17
00:01:26,520 --> 00:01:27,321
POINTILLIST.
18
00:01:27,321 --> 00:01:28,922
MY VERSION OF IT.
19
00:01:28,922 --> 00:01:29,923
"POINTILLIST."
20
00:01:29,923 --> 00:01:31,091
POINTILLIST.
21
00:01:31,091 --> 00:01:32,526
MMM?
22
00:01:34,328 --> 00:01:35,929
THEY ARE
YOUR PARENTS?
23
00:01:35,929 --> 00:01:37,798
NO.
24
00:01:37,798 --> 00:01:39,267
NO.
25
00:01:39,267 --> 00:01:42,470
WHY, UH, DO YOU
PAINT LIKE THIS?
26
00:01:42,470 --> 00:01:43,304
HUH?
27
00:01:43,304 --> 00:01:45,806
UH, WHY DO YOU
PAINT LIKE THIS?
28
00:01:45,806 --> 00:01:46,640
WELL...
29
00:01:46,640 --> 00:01:48,609
OH, I'M SORRY.
THAT'S NOT MINE.
30
00:01:48,609 --> 00:01:51,612
THAT'S, UH, MY FRIEND
BRAQUE, GEORGE BRAQUE.
31
00:01:51,612 --> 00:01:54,815
IT'S HARD TO TELL
THE DIFFERENCE
SOMETIMES.
32
00:01:54,815 --> 00:01:56,750
IT'S ALL SO LONG AGO.
33
00:01:56,750 --> 00:01:58,152
WHAT IS IT CALLED?
34
00:01:58,152 --> 00:02:01,355
GUITAR, BOW TIE,
AND FRUIT BOWL.
35
00:02:01,355 --> 00:02:03,691
THERE'S
THE BOW TIE...
36
00:02:03,691 --> 00:02:04,558
GOOD.
37
00:02:04,558 --> 00:02:06,694
BUT, UH, WHERE
IS THE FRUIT BOWL?
38
00:02:06,694 --> 00:02:07,695
AH HA-HA.
39
00:02:08,829 --> 00:02:10,097
THERE.
40
00:02:10,097 --> 00:02:11,098
GOOD.
41
00:02:11,098 --> 00:02:12,099
AH.
42
00:02:12,099 --> 00:02:14,502
IT IS ALL,
UH, FANTASY?
43
00:02:14,502 --> 00:02:16,103
ALL FANTASY
FROM UP HERE.
44
00:02:16,103 --> 00:02:17,738
THIS IS ALSO
BY BRAQUE.
45
00:02:17,738 --> 00:02:19,139
MATISSE, HENRI MATISSE.
46
00:02:19,139 --> 00:02:20,574
Officer: MATISSE.
47
00:02:20,574 --> 00:02:21,575
UH-HUH.
48
00:02:21,575 --> 00:02:22,776
THIS...
49
00:02:22,776 --> 00:02:25,379
Officer: WHAT IS THE VALUE
YOU WOULD PUT ON ALL THIS?
50
00:02:25,379 --> 00:02:26,947
IT'S HARD TO SAY.
51
00:02:26,947 --> 00:02:28,782
UNFORTUNATELY,
NOBODY WANTS TO PAY ME
MUCH FOR ANY OF THIS.
52
00:02:28,782 --> 00:02:30,984
WHY DON'T YOU MAKE ME
A REASONABLE OFFER?
53
00:02:30,984 --> 00:02:32,186
OH...
54
00:02:32,186 --> 00:02:34,388
MY WIFE WOULD HAVE
SOMETHING TO SAY TO ME
55
00:02:34,388 --> 00:02:36,089
IF I BROUGHT HOME
A WOMAN LIKE THAT
56
00:02:36,089 --> 00:02:37,725
TO HANG ON OUR WALL.
57
00:02:37,725 --> 00:02:38,726
HA HA HA.
58
00:02:38,726 --> 00:02:39,727
WHAT ABOUT YOU?
59
00:02:39,727 --> 00:02:42,563
NO, I THINK NOT. NO.
60
00:02:46,400 --> 00:02:48,001
Man: GOOD EVENING, SIR.
61
00:02:48,001 --> 00:02:49,002
GOOD EVENING.
62
00:02:49,002 --> 00:02:50,504
HERE WE ARE AGAIN.
63
00:02:50,504 --> 00:02:52,005
DORA.
64
00:02:52,005 --> 00:02:54,007
PIERRE.
65
00:02:54,007 --> 00:02:55,409
MY FRIENDS.
66
00:02:55,409 --> 00:02:57,411
FRIENDS?
WHO ARE THEY, HUH?
67
00:02:57,411 --> 00:02:59,012
THEY ADMIRE YOU
VERY MUCH.
68
00:02:59,012 --> 00:03:00,614
OF COURSE THEY DO.
69
00:03:00,614 --> 00:03:01,615
GOOD.
70
00:03:03,684 --> 00:03:04,685
Picasso: AH.
71
00:03:06,620 --> 00:03:07,621
GOOD. YES.
72
00:03:07,621 --> 00:03:08,622
OH.
73
00:03:08,622 --> 00:03:09,423
BON SOIR.
74
00:03:09,423 --> 00:03:10,624
GREAT PLEASURE.
75
00:03:10,624 --> 00:03:11,625
BON SOIR.
76
00:03:11,625 --> 00:03:12,626
MY DEAR.
77
00:03:12,626 --> 00:03:13,627
BON SOIR.
78
00:03:13,627 --> 00:03:15,162
AHH.
79
00:03:15,162 --> 00:03:16,830
BOSCHES.
80
00:03:16,830 --> 00:03:18,632
I SHOWED THEM EVERYTHING.
MATISSE...
81
00:03:18,632 --> 00:03:19,500
HERE, BOY.
82
00:03:19,500 --> 00:03:21,101
...ROUSSEAU,
BRAQUE, EVERYTHING.
83
00:03:21,101 --> 00:03:22,570
I SHOWED THEM
SOME EARLY DRAFTS
OF GUERNICA.
84
00:03:22,570 --> 00:03:24,238
LAST YEAR THEY RANSACKED
MY HOUSE,
85
00:03:24,238 --> 00:03:27,040
AND THEY WALKED OFF
WITH MY LINEN AND LEFT
MY PAINTINGS BEHIND.
86
00:03:27,040 --> 00:03:28,476
HOW INSULTING.
87
00:03:28,476 --> 00:03:31,011
PREFERRING MY TOWELS
AND MY SHEETS
TO MY PAINTINGS.
88
00:03:31,011 --> 00:03:32,380
KAZBEC! NO!
89
00:03:33,781 --> 00:03:35,816
NO, NO! BAD BOY!
90
00:03:35,816 --> 00:03:37,851
HOW MANY TIMES
DO YOU HAVE TO BE TOLD?
91
00:03:37,851 --> 00:03:40,053
YOU KNOW VERY WELL
WHAT YOUR DOCTOR SAID.
92
00:03:40,053 --> 00:03:41,088
BEGGING? I'M ASHAMED.
93
00:03:41,088 --> 00:03:42,456
WHO ARE YOUR FRIENDS,
PIERRE?
94
00:03:42,456 --> 00:03:44,057
FRANCOISE.
GENEVIEVE.
95
00:03:44,057 --> 00:03:45,659
WHAT DO YOU DO?
96
00:03:45,659 --> 00:03:47,060
I'M A PAINTER.
97
00:03:47,060 --> 00:03:48,662
PAINTER? LIKE ME.
AND YOU?
98
00:03:48,662 --> 00:03:49,497
PAINTER.
99
00:03:49,497 --> 00:03:51,198
Picasso: SHARE
THE SAME STUDIO?
100
00:03:51,198 --> 00:03:52,866
WHO'S YOUR FAVORITE
PAINTER?
101
00:03:52,866 --> 00:03:53,734
VAN GOGH.
102
00:03:53,734 --> 00:03:55,303
VAN GOGH? YEAH,
HE'S ALL RIGHT.
103
00:03:55,303 --> 00:03:56,304
YOURS?
104
00:03:56,304 --> 00:03:57,305
I DON'T KNOW.
105
00:04:00,140 --> 00:04:01,542
WHO ARE YOUR FRIENDS?
106
00:04:01,542 --> 00:04:03,411
FRANCOISE
AND GENEVIEVE.
107
00:04:03,411 --> 00:04:05,346
THEY'RE PAINTERS.
108
00:04:05,346 --> 00:04:06,947
WHAT DO THEY PAINT...
109
00:04:06,947 --> 00:04:08,616
BESIDES
THEIR FINGERNAILS?
110
00:04:09,683 --> 00:04:12,286
HE'S GOING THROUGH
HIS USUAL ROUTINE.
111
00:04:12,286 --> 00:04:13,887
"OH, SO YOU'RE PAINTERS.
112
00:04:13,887 --> 00:04:15,088
"I'M A PAINTER, TOO.
113
00:04:15,088 --> 00:04:18,025
"COME TO MY STUDIO,
I'D LIKE TO SHOW YOU MY WORK.
114
00:04:18,025 --> 00:04:19,427
"I KNOW YOUR FACE
SO WELL.
115
00:04:19,427 --> 00:04:21,194
I PAINTED IT BEFORE
YOU WERE EVEN BORN."
116
00:04:21,194 --> 00:04:23,764
YOU MUST COME
TO MY STUDIO SOMETIME.
I'LL SHOW YOU AROUND.
117
00:04:23,764 --> 00:04:26,700
YOU KNOW,
I'VE PAINTED YOUR FACE
BEFORE YOU WERE BORN.
118
00:04:26,700 --> 00:04:28,702
NO ONE STOPS YOU
ON THE STREET
119
00:04:28,702 --> 00:04:30,304
AND SAYS
YOU'RE A PICASSO?
120
00:04:30,304 --> 00:04:31,905
NO? NEVER?
121
00:05:51,619 --> 00:05:54,622
WE HAVE AN APPOINTMENT
TO SEE MONSIEUR PICASSO.
122
00:05:54,622 --> 00:05:56,924
HE TOLD US TO COME.
123
00:05:59,259 --> 00:06:01,128
TO SEE HIS WORK.
124
00:06:10,070 --> 00:06:13,541
Man: "THAT SPREAD
OVER A SKY DRIPPING
WITH HERRING,
125
00:06:13,541 --> 00:06:16,276
"FISHED OUT OF
A PLOUGHED-OVER OCEAN,
126
00:06:16,276 --> 00:06:18,679
BROILING
UNDER A MYRIAD SUN."
127
00:06:18,679 --> 00:06:20,280
Woman:
"TORSO AND TESTICLE,
128
00:06:20,280 --> 00:06:22,282
"WHERE'S THE PARTY
YOU PROMISED
129
00:06:22,282 --> 00:06:24,685
"WITH FIERY MEN
OF ETERNAL ERECTIONS
130
00:06:24,685 --> 00:06:26,687
"RISING OUT
OF FLAMING BUSHES
131
00:06:26,687 --> 00:06:29,289
"TO HEAT UP
OUR COLD CAVES?
132
00:06:29,289 --> 00:06:30,958
"AT LEAST GET THE SOUP,
133
00:06:30,958 --> 00:06:32,960
SO I CAN WARM MY FEET
IN ITS NOODLES."
134
00:06:32,960 --> 00:06:34,828
Second Man:
"MY AUNT HAD A CAT
THAT SWALLOWED A PARROT
135
00:06:34,828 --> 00:06:38,131
AND CRIED OUT
ALL DAY LONG IN A VOICE
AS DULCET AS YOURS..."
136
00:06:38,131 --> 00:06:39,967
"FOOD, FOOD, FOOD!"
137
00:06:39,967 --> 00:06:41,802
"FOOD! FOOD!"
138
00:06:41,802 --> 00:06:42,603
"FOOD!"
139
00:06:42,603 --> 00:06:43,804
"FOOD! FOOD!"
140
00:06:43,804 --> 00:06:44,905
GOOD. ON.
141
00:06:44,905 --> 00:06:47,240
"LIE DOWN,
MY SWEET TURTLE,
AND"--LIE DOWN.
142
00:06:47,240 --> 00:06:49,977
"AND LET ME WALK
YOUR STARRY PLANET
143
00:06:49,977 --> 00:06:52,646
WITH MY 6-TOED FEET
OF PLIANT RUBBER."
144
00:06:52,646 --> 00:06:54,247
"WE'RE RESPECTABLE,
LICENSED WHORES,
145
00:06:54,247 --> 00:06:56,049
"SO HOLD
YOUR FILTHY TONGUE
146
00:06:56,049 --> 00:06:58,852
AND SUPPLY US WITH
YOUR STURDIER ORGAN."
147
00:06:58,852 --> 00:07:01,188
"AT YOUR SERVICE,
MADAME."
148
00:07:09,362 --> 00:07:12,332
"THEY LEAP OVER A TUB
IN WHICH SEA URCHINS
ARE BOILING
149
00:07:12,332 --> 00:07:15,068
IN AN ORGASM
OF FRENETIC EXCITEMENT."
150
00:07:15,068 --> 00:07:16,036
AH!
151
00:07:16,036 --> 00:07:17,605
"BUBBLING WATER
SCALDS THE LOVERS..."
152
00:07:17,605 --> 00:07:21,208
KIND OF YOU TO SPARE ME
THE TIME.
153
00:07:21,208 --> 00:07:22,810
ARE YOU COLD?
154
00:07:22,810 --> 00:07:24,044
HMM?
155
00:07:24,044 --> 00:07:26,747
THE OTHER NIGHT
THE WATER FROZE
IN THE FISH BOWL,
156
00:07:26,747 --> 00:07:28,616
SO MY GOLDFISH IS DEAD.
157
00:07:28,616 --> 00:07:30,618
IMAGINE, A COLD-BLOODED
CREATURE LIKE A FISH
158
00:07:30,618 --> 00:07:33,621
COULDN'T SURVIVE
THE ARCTIC CLIMATE
OF MY APARTMENT.
159
00:07:33,621 --> 00:07:35,823
COME, LET ME
SHOW YOU AROUND.
160
00:07:36,624 --> 00:07:38,626
MY PRINT ROOM.
161
00:07:38,626 --> 00:07:41,829
THIS IS WHERE I PRINT
MY ENGRAVINGS.
162
00:07:47,635 --> 00:07:50,237
YOU'RE NOW
IN THE LABYRINTH
OF THE MINOTAUR.
163
00:07:51,639 --> 00:07:54,241
AREN'T YOU AFRAID
YOU'LL NEVER GET OUT?
164
00:07:54,241 --> 00:07:55,576
NO?
165
00:07:56,644 --> 00:07:59,046
YOU MUST KNOW THAT
THE MINOTAUR PERISHES
166
00:07:59,046 --> 00:08:02,850
IF HE DOESN'T DEVOUR
AT LEAST 2 YOUNG MAIDENS
A DAY.
167
00:08:05,252 --> 00:08:06,854
THAT'S MY PRESS.
168
00:08:06,854 --> 00:08:08,121
HELP ME.
169
00:08:09,256 --> 00:08:10,257
MMM?
170
00:08:10,257 --> 00:08:12,125
THAT'S GOOD.
171
00:08:15,262 --> 00:08:16,564
SO, YOU'RE PAINTERS?
172
00:08:16,564 --> 00:08:17,965
WHO IS YOUR TEACHER?
173
00:08:17,965 --> 00:08:19,933
GENEVIEVE IS VISITING
FROM MONTPELLIER
174
00:08:19,933 --> 00:08:22,102
WHERE SHE'S A PUPIL
OF MAILLOL.
175
00:08:22,102 --> 00:08:23,270
MAILLOL.
176
00:08:24,271 --> 00:08:26,206
AND WHO IS YOUR TEACHER?
177
00:08:26,206 --> 00:08:27,608
I DON'T HAVE ONE,
178
00:08:27,608 --> 00:08:29,677
BUT I'M VERY MUCH
A PAINTER.
179
00:08:29,677 --> 00:08:31,011
Picasso: REALLY?
180
00:08:32,079 --> 00:08:34,682
MAILLOL IS A VERY GOOD
TEACHER FOR YOU.
181
00:08:34,682 --> 00:08:37,384
WHEN DO YOU GO BACK
TO MONTPELLIER?
182
00:08:37,384 --> 00:08:38,952
THE DAY
AFTER TOMORROW.
183
00:08:38,952 --> 00:08:40,688
OH, SO SOON?
184
00:08:40,688 --> 00:08:42,956
YOU'LL BE LONELY
WHEN SHE'S GONE.
185
00:08:42,956 --> 00:08:44,291
NO.
186
00:08:44,291 --> 00:08:45,793
COME AND SEE ME.
187
00:08:45,793 --> 00:08:48,696
BUT COME BECAUSE
YOU LIKE ME...
188
00:08:48,696 --> 00:08:51,665
NOT AS IF YOU'RE VISITING
THE HOLY SHRINE OF FATIMA,
189
00:08:51,665 --> 00:08:53,767
ALL RIGHT?
190
00:08:57,104 --> 00:08:59,707
LET'S GO. HE'S NOT GOING
TO SHOW US ANY PAINTINGS.
191
00:08:59,707 --> 00:09:00,708
OF COURSE HE WILL.
192
00:09:00,708 --> 00:09:02,710
WHY ELSE
DID HE INVITE US?
193
00:09:02,710 --> 00:09:04,912
DON'T PRETEND
TO BE SO NAIVE.
194
00:09:20,728 --> 00:09:22,996
Francoise:
AFTER GENEVIEVE LEFT
FOR MONTPELLIER,
195
00:09:22,996 --> 00:09:26,499
I DIDN'T RETURN
TO PICASSO'S STUDIO
FOR SEVERAL WEEKS.
196
00:09:26,499 --> 00:09:28,602
I DELIBERATELY
HELD MYSELF BACK,
197
00:09:28,602 --> 00:09:32,806
PERHAPS BECAUSE I SENSED
THAT IF I LET MYSELF
COME TOO CLOSE TO HIM,
198
00:09:32,806 --> 00:09:35,208
MY WHOLE LIFE
WOULD BE TOTALLY CHANGED.
199
00:09:35,208 --> 00:09:38,411
IT WAS WHAT HAPPENED
TO EVERYONE WHOSE LIFE
WAS TOUCHED BY HIS.
200
00:09:38,411 --> 00:09:41,014
NO ONE COULD
EVER REMAIN THE SAME.
201
00:09:41,815 --> 00:09:44,217
THEY COME ONCE A WEEK
TO SEE HIS PAPERS.
202
00:09:44,217 --> 00:09:47,487
ONCE A WEEK I TELL THEM,
LET ALONE HIS PARENTS
AND HIS GRANDPARENTS,
203
00:09:47,487 --> 00:09:50,257
EVEN PICASSO'S
GREAT-GRANDPARENTS
ARE NOT JEWISH.
204
00:09:50,257 --> 00:09:51,659
30 FOR
THE GROCERIES.
205
00:09:51,659 --> 00:09:53,426
THEY'RE THIEVES.
HOW MUCH WAS THE WINE?
206
00:09:53,426 --> 00:09:54,427
20.
207
00:09:54,427 --> 00:09:55,495
MUST BE GERMAN.
208
00:09:55,495 --> 00:09:56,964
JUST CHANGE
THE WINE MERCHANTS.
209
00:09:56,964 --> 00:09:59,432
YOU SAID TO BRING HER
STRAIGHT IN WHENEVER
SHE COMES.
210
00:09:59,432 --> 00:10:01,034
WELL, SHE'S COME.
211
00:10:01,034 --> 00:10:02,035
AH!
212
00:10:04,437 --> 00:10:05,839
GOOD AFTERNOON.
213
00:10:05,839 --> 00:10:08,441
BUT THE POOR GIRL
IS ALL WET.
214
00:10:08,441 --> 00:10:09,843
LOOK AT THIS, SABARTES.
215
00:10:09,843 --> 00:10:11,444
HER HAIR
IS ALL WET.
216
00:10:11,444 --> 00:10:12,846
INES, GET ME A TOWEL.
217
00:10:12,846 --> 00:10:15,115
I MUST DRY IT FOR HER.
218
00:10:15,115 --> 00:10:16,449
SOAKING WET. HUH.
219
00:10:16,449 --> 00:10:18,585
I HAD A FEELING
WHEN I WOKE UP
220
00:10:18,585 --> 00:10:20,587
THAT YOU WOULD
COME TODAY.
221
00:10:20,587 --> 00:10:22,255
IT MAY EVEN
HAVE BEEN A DREAM.
222
00:10:22,255 --> 00:10:24,257
POOR GIRL COMES HERE
DRENCHED TO THE SKIN
223
00:10:24,257 --> 00:10:26,259
AND IN MORTAL DANGER
OF CATCHING PNEUMONIA,
224
00:10:26,259 --> 00:10:28,461
THE LEAST WE CAN DO
IS DRY HER HAIR FOR HER.
225
00:10:28,461 --> 00:10:30,263
COME WITH ME.
I'LL DO IT FOR YOU.
226
00:10:32,465 --> 00:10:33,934
THIS IS INES.
227
00:10:33,934 --> 00:10:34,935
HELLO.
228
00:10:34,935 --> 00:10:35,736
HELLO.
229
00:10:35,736 --> 00:10:38,005
HERE. SIT DOWN.
230
00:10:38,005 --> 00:10:40,607
YOU COULD
EVEN HAVE A BATH.
231
00:10:40,607 --> 00:10:42,009
LOOK. HOT WATER.
232
00:10:42,009 --> 00:10:44,011
NO, DON'T! IT'S TOO HOT.
233
00:10:44,011 --> 00:10:46,013
HOW MANY PLACES
IN PARIS TODAY
234
00:10:46,013 --> 00:10:47,614
WHERE THERE'S HOT WATER?
235
00:10:47,614 --> 00:10:50,617
SO COME HAVE A BATH
ANY TIME.
236
00:10:50,617 --> 00:10:53,486
LET'S SEE HOW GOOD I AM
AT DRYING YOU OFF.
237
00:10:55,488 --> 00:10:56,489
GOOD?
238
00:10:56,489 --> 00:10:58,091
BETTER?
239
00:10:58,091 --> 00:10:59,960
YOU DO IT.
240
00:11:08,235 --> 00:11:09,970
HMM.
241
00:11:22,515 --> 00:11:24,117
WELL?
242
00:11:25,518 --> 00:11:26,920
WELL, WHAT?
243
00:11:26,920 --> 00:11:29,122
YOU'RE NOT ANGRY
WITH ME?
244
00:11:29,122 --> 00:11:30,390
NO.
245
00:11:32,059 --> 00:11:34,728
IF YOU DON'T EVEN
PUSH ME AWAY,
246
00:11:34,728 --> 00:11:38,065
I MIGHT GET THE IDEA
I COULD DO ANYTHING
AT ALL WITH YOU.
247
00:11:38,065 --> 00:11:40,934
IF YOU WERE A PROPERLY
BROUGHT-UP YOUNG LADY,
248
00:11:40,934 --> 00:11:42,335
YOU WOULD FEEL INSULTED.
249
00:11:42,335 --> 00:11:45,538
HERE I AM, AN ARTIST
OF SOME REPUTATION,
250
00:11:45,538 --> 00:11:47,741
AND YOU'RE AN INNOCENT
YOUNG GIRL COME TO VISIT,
251
00:11:47,741 --> 00:11:49,242
AND WHAT DO I DO?
252
00:11:49,242 --> 00:11:51,444
I TAKE ADVANTAGE OF YOU.
I INSULT YOU.
253
00:11:51,444 --> 00:11:53,046
I DON'T FEEL INSULTED.
254
00:11:53,046 --> 00:11:54,147
MMM.
255
00:11:55,548 --> 00:11:57,851
WOULD YOU LET ME
DO IT AGAIN?
256
00:11:59,552 --> 00:12:01,922
IF--IF YOU LIKE.
257
00:12:06,293 --> 00:12:07,861
NO.
258
00:12:07,861 --> 00:12:10,230
NO, UNDER
SUCH CONDITIONS...
259
00:12:10,230 --> 00:12:13,233
WHAT PLEASURE IS THERE
IN SEDUCING ANYONE?
260
00:12:13,233 --> 00:12:15,435
OH, IS THAT
WHAT'S HAPPENING?
261
00:12:15,435 --> 00:12:17,370
YOU'RE SEDUCING ME?
262
00:12:17,370 --> 00:12:19,973
YOU THINK YOU'RE
VERY SOPHISTICATED,
DON'T YOU?
263
00:12:19,973 --> 00:12:21,975
BUT I TELL YOU
YOU DON'T KNOW ANYTHING.
264
00:12:21,975 --> 00:12:23,576
WHAT YOU LOOKING AT?
265
00:12:23,576 --> 00:12:24,577
NOTHING.
266
00:12:24,577 --> 00:12:27,214
YES, WELL...
267
00:12:28,581 --> 00:12:30,583
THIS MODERN CULT
OF FREE SEX
268
00:12:30,583 --> 00:12:32,585
DOESN'T INTEREST ME
AT ALL.
269
00:12:32,585 --> 00:12:35,588
ONE MIGHT AS WELL
GO FOR A HAIRCUT
270
00:12:35,588 --> 00:12:37,590
OR EAT A HAM SANDWICH.
271
00:12:37,590 --> 00:12:40,427
THERE'S NOTHING
SERIOUS IN IT.
272
00:12:41,594 --> 00:12:42,595
SO...
273
00:12:42,595 --> 00:12:43,831
HMM.
274
00:12:43,831 --> 00:12:46,033
SHALL WE DO
SOMETHING SERIOUS?
275
00:12:46,033 --> 00:12:47,200
YES.
276
00:12:48,335 --> 00:12:49,903
OK.
277
00:12:50,904 --> 00:12:52,505
I'LL SHOW YOU
MY ETCHINGS.
278
00:13:19,432 --> 00:13:21,501
* LIBERTE *
279
00:13:21,501 --> 00:13:22,903
* LIBERTE *
280
00:13:22,903 --> 00:13:24,637
* LIBERTE *
281
00:13:24,637 --> 00:13:26,506
* LIBERTE *
282
00:13:26,506 --> 00:13:27,507
* LIBERTE *
283
00:13:27,507 --> 00:13:29,910
Francoise: AFTER
THE LIBERATION OF PARIS,
284
00:13:29,910 --> 00:13:32,312
PICASSO, WHO WAS ALREADY
A WORLD-FAMOUS ARTIST,
285
00:13:32,312 --> 00:13:35,315
ALSO BECAME A HERO
OF THE FRENCH RESISTANCE--
286
00:13:35,315 --> 00:13:37,918
NOT THAT HE HAD
DONE ANYTHING VERY HEROIC.
287
00:13:37,918 --> 00:13:40,320
HE SAID, "IT WASN'T
THAT I BEHAVED WELL,
288
00:13:40,320 --> 00:13:42,522
BUT THAT OTHERS
BEHAVED BADLY."
289
00:13:42,522 --> 00:13:43,924
FROM THE WILD WEST?
290
00:13:43,924 --> 00:13:45,325
NO, I'M FROM NEW YORK.
291
00:13:45,325 --> 00:13:47,928
MY MOTHER GOT THAT
IN TIMES SQUARE.
292
00:13:47,928 --> 00:13:49,529
Francoise: PICASSO'S
SECRETARY SABARTES
293
00:13:49,529 --> 00:13:51,331
CLAIMED THAT
AFTER THE WAR,
294
00:13:51,331 --> 00:13:53,533
TOURISTS ONLY CAME
TO EUROPE
295
00:13:53,533 --> 00:13:55,535
TO SEE THE POPE,
POMPEII,
296
00:13:55,535 --> 00:13:56,937
AND PABLO PICASSO.
297
00:13:56,937 --> 00:13:57,938
Soldier: CAREFUL, PABLO.
298
00:13:57,938 --> 00:13:58,939
Photographer: CHEESE.
299
00:13:58,939 --> 00:14:01,208
Soldier: YEE-HEE!
ALL RIGHT!
300
00:14:14,955 --> 00:14:16,356
Francoise: MEANWHILE,
301
00:14:16,356 --> 00:14:18,525
I WAS HAVING
MY OWN LIBERATION.
302
00:14:18,525 --> 00:14:19,960
FOR THE LAST FEW YEARS
303
00:14:19,960 --> 00:14:21,962
I'D BEEN WANTING
TO GIVE UP MY STUDIES
304
00:14:21,962 --> 00:14:23,363
AND JUST PAINT
FULL TIME,
305
00:14:23,363 --> 00:14:25,832
BUT I HADN'T DARED
MENTION THIS TO MY FATHER.
306
00:14:25,832 --> 00:14:27,234
NOT TILL I MET PICASSO.
307
00:14:27,234 --> 00:14:30,570
MY FATHER HAD WORKED HARD
TO FORM MY CHARACTER,
308
00:14:30,570 --> 00:14:31,972
TO MAKE ME LIKE HIMSELF--
309
00:14:31,972 --> 00:14:33,573
TOUGH AND AFRAID
OF NOTHING.
310
00:14:33,573 --> 00:14:36,376
BUT WHEN I GREW UP,
I BEGAN TO HAVE MY OWN
IDEAS AND DESIRES,
311
00:14:36,376 --> 00:14:38,411
AND IF THEY
WERE OPPOSED TO HIS,
312
00:14:38,411 --> 00:14:41,614
HE'D GO WILD AND BECOME
COMPLETELY IRRATIONAL.
313
00:14:41,614 --> 00:14:44,051
I KNEW THAT THIS WOULD
TAKE ALL MY COURAGE.
314
00:14:44,051 --> 00:14:46,253
WHAT'S THE MATTER
WITH YOU?
315
00:14:47,587 --> 00:14:49,089
LISTEN...
316
00:14:49,089 --> 00:14:51,091
I'VE MADE UP MY MIND.
317
00:14:51,091 --> 00:14:53,493
I'M GOING TO STUDY
PAINTING FULL TIME.
318
00:15:02,602 --> 00:15:04,737
YOU MUST BE MAD.
319
00:15:04,737 --> 00:15:06,906
I AM RESPONSIBLE
FOR MYSELF.
320
00:15:06,906 --> 00:15:11,011
YOU WILL FINISH YOUR DEGREE
IN THE HUMANITIES AND
THEN GO ON TO LAW SCHOOL.
321
00:15:11,011 --> 00:15:12,545
I TRIED ALL THAT,
322
00:15:12,545 --> 00:15:15,015
BUT I FOUND
IT DOESN'T SUIT ME.
323
00:15:15,015 --> 00:15:17,017
I'M NOT GOING ON
TO LAW SCHOOL,
324
00:15:17,017 --> 00:15:18,952
BUT I SHALL TRY
AND BE A PAINTER!
325
00:15:18,952 --> 00:15:21,354
I'LL GIVE YOU
HALF AN HOUR.
326
00:15:21,354 --> 00:15:23,823
GO TO YOUR ROOM
AND THINK IT OVER,
327
00:15:23,823 --> 00:15:26,426
AND IN HALF AN HOUR,
COME BACK AND TELL ME
YOU'VE BEEN A FOOL.
328
00:15:26,426 --> 00:15:28,228
I DON'T NEED TO THINK
ANYTHING OVER.
329
00:15:28,228 --> 00:15:30,363
I'M GIVING YOU
THIS ONE CHANCE.
330
00:15:30,363 --> 00:15:31,164
THAT'S ALL.
331
00:15:31,164 --> 00:15:33,033
IF YOU DON'T TAKE IT,
332
00:15:33,033 --> 00:15:35,302
I'LL MAKE MY OWN DECISION
FOR YOU.
333
00:15:35,302 --> 00:15:38,038
I'LL HAVE YOU COMMITTED...
334
00:15:38,038 --> 00:15:40,373
BECAUSE YOU ARE MAD.
335
00:15:53,653 --> 00:15:55,355
IS GRANDMA HOME?
336
00:16:21,681 --> 00:16:23,150
DON'T YOU DARE TOUCH ME.
337
00:16:23,150 --> 00:16:24,351
DON'T DARE?
338
00:16:24,351 --> 00:16:26,419
I DARE!
339
00:16:26,419 --> 00:16:27,420
I DARE!
340
00:16:27,420 --> 00:16:28,255
AAH! NO!
341
00:16:28,255 --> 00:16:31,291
I'LL TEACH YOU
TO SAY NO TO ME!
342
00:16:31,291 --> 00:16:33,660
NO ONE SAYS NO TO ME!
343
00:16:33,660 --> 00:16:35,695
NO ONE SAYS NO TO ME!
344
00:16:35,695 --> 00:16:37,697
NO ONE IN THIS WORLD!
345
00:16:37,697 --> 00:16:38,698
Woman: FRANCOISE?
346
00:16:38,698 --> 00:16:39,899
FRANCOISE!
347
00:16:39,899 --> 00:16:41,301
FROM NOW ON,
348
00:16:41,301 --> 00:16:44,504
YOU BEG FOR YOUR BREAD
IN THE STREETS.
349
00:16:44,504 --> 00:16:45,305
WHAT...
350
00:16:45,305 --> 00:16:47,107
SHE DID IT
TO HERSELF.
351
00:16:47,107 --> 00:16:48,908
HE'S LYING. HE DID IT.
352
00:16:48,908 --> 00:16:50,910
DON'T BELIEVE HER.
SHE'S CRAZY.
353
00:16:50,910 --> 00:16:52,779
I BELIEVE HER.
354
00:16:52,779 --> 00:16:54,681
IT'S YOU WHO ARE CRAZY.
355
00:16:54,681 --> 00:16:55,848
HERE, CHILD.
356
00:16:55,848 --> 00:16:58,985
AND IN MY HOUSE.
AREN'T YOU ASHAMED?
357
00:16:58,985 --> 00:17:00,520
PLEASE LEAVE.
358
00:17:00,520 --> 00:17:01,921
LEAVE.
359
00:17:01,921 --> 00:17:04,557
LEAVE, LEAVE MY HOUSE.
360
00:17:05,358 --> 00:17:07,327
FRANCOISE
WILL STAY WITH ME.
361
00:17:07,327 --> 00:17:08,928
LET HER STAY WITH YOU.
362
00:17:08,928 --> 00:17:10,930
YOU'RE WELCOME
TO EACH OTHER...
363
00:17:10,930 --> 00:17:12,932
BECAUSE I'VE FINISHED
WITH YOU.
364
00:17:12,932 --> 00:17:14,534
BOTH OF YOU!
365
00:17:15,535 --> 00:17:16,869
FINISHED!
366
00:17:16,869 --> 00:17:17,870
THERE.
367
00:17:19,939 --> 00:17:21,541
OH.
368
00:17:23,210 --> 00:17:25,245
NOW, YOU DIDN'T
PAINT THE WAR
369
00:17:25,245 --> 00:17:27,280
BECAUSE YOU'RE NOT
THAT KIND OF PAINTER,
370
00:17:27,280 --> 00:17:29,816
BUT, UH, IT IS THERE,
JUST THE SAME.
371
00:17:29,816 --> 00:17:31,218
PEOPLE WERE HUNGRY,
372
00:17:31,218 --> 00:17:33,820
SO I PAINTED SAUSAGES
AND LEEKS.
373
00:17:33,820 --> 00:17:35,588
EVEN A CASSEROLE
CAN SCREAM.
374
00:17:47,234 --> 00:17:49,869
DO YOU HAVE
AN APPOINTMENT?
375
00:17:49,869 --> 00:17:51,471
YES.
376
00:17:51,471 --> 00:17:54,574
HE TOLD ME TO COME FOR
A LESSON IN ENGRAVING
THIS AFTERNOON.
377
00:17:54,574 --> 00:17:55,842
LISTEN...
378
00:17:57,377 --> 00:17:59,979
IT WILL BE BETTER
FOR YOU TO GO HOME.
379
00:17:59,979 --> 00:18:01,981
WHY?
380
00:18:01,981 --> 00:18:04,117
I'M DOING YOU
A FAVOR.
381
00:18:04,117 --> 00:18:05,985
THANK YOU...
382
00:18:05,985 --> 00:18:07,987
BUT I DON'T WANT
TO ANGER HIM
383
00:18:07,987 --> 00:18:10,223
BY BEING LATE
FOR MY LESSON.
384
00:18:10,223 --> 00:18:11,658
EXCUSE ME.
385
00:18:11,658 --> 00:18:14,861
SO, WE ARE AGREED
ON THIS AND THIS?
386
00:18:14,861 --> 00:18:16,663
HAVEN'T AGREED
ON ANYTHING YET.
387
00:18:16,663 --> 00:18:18,931
AH, FRANCOISE!
THIS IS MONSIEUR KAHNWEILER.
388
00:18:18,931 --> 00:18:20,333
HE'S MY OLDEST DEALER.
389
00:18:20,333 --> 00:18:21,534
Kahnweiler:
MADEMOISELLE.
390
00:18:21,534 --> 00:18:22,469
HELLO.
391
00:18:22,469 --> 00:18:24,137
THAT IS TO SAY THAT, UH,
392
00:18:24,137 --> 00:18:26,939
HE SHAMELESSLY HAS
EXPLOITED ME LONGER
THAN ANYONE ELSE.
393
00:18:26,939 --> 00:18:29,342
HE GETS WHATEVER
HE WANTS OUT OF ME
394
00:18:29,342 --> 00:18:30,843
BY SHEER PERSISTENCE.
395
00:18:30,843 --> 00:18:33,580
HE SITS THERE
LIKE A BIG STONE
ON HIS GERMAN BUTTOCKS.
396
00:18:33,580 --> 00:18:35,348
I'D DO ANYTHING
TO BE RID OF HIM.
397
00:18:35,348 --> 00:18:37,350
I'LL SEND THE PACKERS
THIS AFTERNOON.
398
00:18:37,350 --> 00:18:38,685
I HAVEN'T SAID YES.
399
00:18:38,685 --> 00:18:40,086
SHALL WE SAY AT 4:00?
400
00:18:40,086 --> 00:18:41,788
LOOK, THIS MAY
INTEREST YOU.
401
00:18:43,122 --> 00:18:44,757
I DID IT IN 1902.
402
00:18:44,757 --> 00:18:47,494
READ WHAT I WROTE
ON THE BOTTOM THERE.
403
00:18:47,494 --> 00:18:51,198
"QUANDO TENGAS
GANAS DE JODER, JODE."
404
00:18:51,198 --> 00:18:52,199
Picasso:
TRANSLATE IT.
405
00:18:52,199 --> 00:18:53,566
Kahnweiler: OH, NO, NO.
406
00:18:53,566 --> 00:18:54,867
GO ON.
407
00:18:54,867 --> 00:18:56,869
WELL, IF
YOU'RE TOO COY...
408
00:18:56,869 --> 00:18:58,571
YOU TRANSLATE IT.
409
00:19:00,373 --> 00:19:01,974
Kahnweiler: GOOD-BYE,
MADEMOISELLE.
410
00:19:01,974 --> 00:19:04,377
"WHEN YOU FEEL
LIKE FUCKING, FUCK."
411
00:19:07,980 --> 00:19:09,982
WHY ARE YOU WEARING
THIS DRESS
412
00:19:09,982 --> 00:19:11,784
FOR AN ENGRAVING
LESSON, HMM?
413
00:19:11,784 --> 00:19:16,589
WELL, ONE HAS TO DRESS UP
A BIT TO VISIT PICASSO.
414
00:19:16,589 --> 00:19:18,591
OH, WELL...
415
00:19:18,591 --> 00:19:20,193
YEAH.
416
00:19:20,993 --> 00:19:22,895
I WANT TO SHOW YOU
SOMETHING.
417
00:19:22,895 --> 00:19:24,297
COME WITH ME.
418
00:19:24,297 --> 00:19:25,998
YOU'RE
A VERY LAZY DOG.
419
00:19:25,998 --> 00:19:27,400
YOU'RE
ALWAYS SLEEPING.
420
00:19:27,400 --> 00:19:29,001
MAYBE HE'S DEAD.
421
00:19:30,403 --> 00:19:32,239
I'LL COME UP BEHIND,
422
00:19:32,239 --> 00:19:34,241
CATCH YOU IF YOU FALL.
423
00:19:34,241 --> 00:19:36,376
DON'T LET ANYONE IN.
424
00:19:48,621 --> 00:19:50,357
WELL...
425
00:19:53,025 --> 00:19:55,228
HERE.
426
00:19:57,630 --> 00:19:59,232
GO ON.
427
00:20:08,007 --> 00:20:09,942
Picasso: NICE VIEW, HUH?
428
00:20:10,943 --> 00:20:13,813
WOULD YOU
LIKE TO STAY HERE?
429
00:20:16,182 --> 00:20:17,650
UP HERE?
430
00:20:17,650 --> 00:20:18,651
YES.
431
00:20:18,651 --> 00:20:19,652
ALONE?
432
00:20:19,652 --> 00:20:20,587
YES.
433
00:20:20,587 --> 00:20:24,056
I'D BRING YOU FOOD
TWICE A DAY AND...
434
00:20:24,056 --> 00:20:26,459
AT NIGHT
WE'D GO OUT TOGETHER
435
00:20:26,459 --> 00:20:29,061
IN DISGUISE
LIKE THE ARABIAN NIGHTS,
436
00:20:29,061 --> 00:20:32,465
AND, UH,
YOU'D BE MY SECRET.
437
00:20:32,465 --> 00:20:34,667
MY SECRET CAPTIVE.
438
00:20:36,869 --> 00:20:40,473
I'D LIKE TO BE ALONE
AND PAINT ALL DAY.
439
00:20:40,473 --> 00:20:43,476
I WOULDN'T MIND LOSING
MY LIBERTY FOR THAT.
440
00:20:43,476 --> 00:20:47,680
BUT THEN
YOU'D HAVE TO LOSE
SOME OF YOURS, TOO.
441
00:20:48,481 --> 00:20:51,684
AND I'M NOT SO SURE
YOU'D LIKE THAT.
442
00:21:28,521 --> 00:21:30,923
I THOUGHT YOU WOULD
BE RATHER ANDROGYNOUS
443
00:21:30,923 --> 00:21:33,393
UNDER ALL THOSE CLOTHES
YOU ALWAYS WEAR.
444
00:21:33,393 --> 00:21:35,261
BUT YOU'RE NOT.
445
00:21:35,261 --> 00:21:37,730
YOU'RE DEFINITELY
NOT A BOY.
446
00:21:38,531 --> 00:21:40,600
THANK GOD WHO MADE YOU.
447
00:21:40,600 --> 00:21:44,737
FOR ONCE HE GOT IT
ABSOLUTELY RIGHT.
448
00:21:46,873 --> 00:21:48,608
YES.
449
00:22:05,091 --> 00:22:07,894
IT'S RIDICULOUS
THE 2 OF US LIVING
IN DIFFERENT PLACES.
450
00:22:07,894 --> 00:22:09,095
TRUE.
451
00:22:09,095 --> 00:22:11,764
YOU SHOULD BE
WITH HIM IN THE
GRANDS-AUGUSTINS.
452
00:22:11,764 --> 00:22:12,599
MM-MMM.
453
00:22:12,599 --> 00:22:14,767
GIVE ME A GOOD REASON
WHY NOT.
454
00:22:14,767 --> 00:22:15,568
SHE'S YOUNG.
455
00:22:15,568 --> 00:22:17,570
YOU'VE GOT TO
GIVE HER TIME.
456
00:22:17,570 --> 00:22:19,171
I DON'T HAVE MUCH TIME.
457
00:22:19,171 --> 00:22:20,573
THAT'S TRUE, TOO.
458
00:22:20,573 --> 00:22:22,375
WHAT DO YOU MEAN
BY THAT?
459
00:22:22,375 --> 00:22:23,576
I...
460
00:22:23,576 --> 00:22:25,378
YOU CAN TELL
YOUR GRANDMOTHER TODAY
461
00:22:25,378 --> 00:22:28,180
THAT YOU'RE MOVING OUT
AND COMING TO LIVE WITH ME,
OR I'LL TELL HER.
462
00:22:28,180 --> 00:22:30,182
PLEASE,
DON'T SAY ANYTHING.
463
00:22:30,182 --> 00:22:31,584
WHY NOT?
464
00:22:31,584 --> 00:22:33,986
WHAT, IS SHE
SOME SORT OF AN OGRE?
465
00:22:33,986 --> 00:22:36,589
ANYWAY, I'M NOT SCARED
OF ANYONE'S GRANDMOTHER.
466
00:22:36,589 --> 00:22:38,391
HE'S HAD 100 LIVES
ALREADY.
467
00:22:38,391 --> 00:22:42,595
AND THE WHOLE WORLD
KNOWS HOW MANY WOMEN
HE'S DESTROYED.
468
00:22:42,595 --> 00:22:46,198
I COULDN'T BEAR IT
FOR YOU, DARLING.
469
00:22:46,198 --> 00:22:48,000
DO YOU REALLY THINK
470
00:22:48,000 --> 00:22:51,604
I'D LET MYSELF
BE DESTROYED BY A MAN,
EVEN IF HE IS PICASSO?
471
00:22:51,604 --> 00:22:54,607
WELL, I--I DON'T
UNDERSTAND YOU.
472
00:22:54,607 --> 00:22:57,610
UH, IT'S GOING
AGAINST NATURE.
473
00:22:57,610 --> 00:23:00,947
YOU ARE SO YOUNG.
474
00:23:00,947 --> 00:23:02,982
AND HE'S OLD.
475
00:23:04,617 --> 00:23:07,153
IT'S AS IF YOU'VE TAKEN
A WRONG TURNING.
476
00:23:07,153 --> 00:23:08,154
NO.
477
00:23:08,154 --> 00:23:09,556
FOR THE FIRST TIME,
478
00:23:09,556 --> 00:23:11,624
I FEEL THAT EVERYTHING
IS RIGHT,
479
00:23:11,624 --> 00:23:13,359
THAT I'M TURNED
IN THE RIGHT DIRECTION.
480
00:23:13,359 --> 00:23:14,861
I'M SURE. I'M SO SURE.
481
00:23:14,861 --> 00:23:17,997
I'VE NEVER BEEN
SO SURE OF ANYTHING
IN MY WHOLE LIFE.
482
00:23:19,866 --> 00:23:21,400
OHH.
483
00:23:21,400 --> 00:23:24,003
THEN IT DOESN'T MATTER
WHAT I SAY.
484
00:23:25,137 --> 00:23:27,006
EXCEPT...
485
00:23:27,006 --> 00:23:28,741
I LOVE YOU.
486
00:23:29,676 --> 00:23:31,878
AND WHATEVER HAPPENS...
487
00:23:31,878 --> 00:23:33,613
I LOVE YOU.
488
00:23:36,148 --> 00:23:37,617
GOOD NIGHT.
489
00:23:38,951 --> 00:23:41,454
DON'T GO AND LIVE
WITH HIM, FRANCOISE.
490
00:23:41,454 --> 00:23:44,090
REMEMBER THESE YEARS
WON'T COME BACK AGAIN.
491
00:23:44,090 --> 00:23:46,025
IF YOU WASTE THEM...
492
00:23:46,025 --> 00:23:47,594
THEY'RE GONE.
493
00:23:50,029 --> 00:23:51,831
IT'S PERVERSE FOR...
494
00:23:51,831 --> 00:23:55,067
A YOUNG GIRL TO LIVE
WITH HER GRANDMOTHER
AS YOU DO.
495
00:23:56,235 --> 00:23:59,438
I SUPPOSE
SHE'S WARNED YOU
AGAINST ME, EH?
496
00:23:59,438 --> 00:24:01,440
WHO NEEDS TO BE WARNED?
497
00:24:01,440 --> 00:24:04,143
YOUR LIFE IS
NOT EXACTLY A SECRET.
498
00:24:04,143 --> 00:24:07,446
WELL, THERE
HAVE BEEN A FEW WOMEN
IN MY LIFE, YES.
499
00:24:07,446 --> 00:24:09,048
WOULD YOU STOP
DOING THAT?
500
00:24:09,048 --> 00:24:10,850
STOP IT. DON'T DO IT.
501
00:24:10,850 --> 00:24:13,452
DON'T--I CAN'T HELP IT
IF MY HAIR'S FALLING OUT.
502
00:24:13,452 --> 00:24:15,187
STOP IT! STOP IT.
503
00:24:21,728 --> 00:24:23,863
IN FACT, THERE HAVE
BEEN SEVERAL WOMEN.
504
00:24:23,863 --> 00:24:25,464
HUNDREDS,
THOUSANDS OF THEM.
505
00:24:25,464 --> 00:24:26,766
I'VE LOST COUNT.
506
00:24:26,766 --> 00:24:29,468
I CAN'T REMEMBER
HOW MANY OF THEM
THERE ARE.
507
00:24:29,468 --> 00:24:31,070
SO MANY.
508
00:24:31,070 --> 00:24:32,939
NOW THERE'S ONLY YOU.
509
00:24:34,874 --> 00:24:37,343
I LOVE YOU MORE AND MORE
EVERY DAY.
510
00:24:37,343 --> 00:24:39,746
YOU MEAN
EVERYTHING TO ME.
511
00:24:39,746 --> 00:24:41,948
"YOU MEAN EVERYTHING
TO ME.
512
00:24:41,948 --> 00:24:43,282
"IF I AM SAD,
513
00:24:43,282 --> 00:24:46,485
"IT IS BECAUSE
I CANNOT BE WITH YOU
AS I WOULD LIKE TO BE.
514
00:24:46,485 --> 00:24:49,488
"I WOULD GIVE ANYTHING
FOR YOU TO BE HAPPY.
515
00:24:49,488 --> 00:24:51,891
"MY OWN TEARS WOULD
MEAN NOTHING TO ME
516
00:24:51,891 --> 00:24:55,094
"IF I COULD STOP YOU
FROM SHEDDING EVEN ONE.
517
00:24:55,094 --> 00:24:56,696
I LOVE YOU."
518
00:24:57,496 --> 00:24:59,699
PAPA LOVES US, MAYA.
519
00:25:00,499 --> 00:25:02,902
THEN WHY DOESN'T
HE LIVE WITH US?
520
00:25:02,902 --> 00:25:05,905
WHY DOES HE ONLY
COME ON SUNDAYS?
521
00:25:05,905 --> 00:25:08,507
WELL, HE'S VERY BUSY
ALL WEEK.
522
00:25:08,507 --> 00:25:10,509
EVERYONE WANTS
HIS PAINTINGS,
523
00:25:10,509 --> 00:25:13,112
SO HE HAS TO WORK
TERRIBLY HARD.
524
00:25:14,513 --> 00:25:16,716
HE'S DOING IT FOR US.
525
00:25:18,117 --> 00:25:20,252
TO EARN MONEY FOR US.
526
00:25:21,988 --> 00:25:25,825
Francoise: PICASSO
HAD MET MARIE-THERESE
WHEN SHE WAS 17 YEARS OLD.
527
00:25:25,825 --> 00:25:28,260
SHE WAS SO SIMPLE THAT
SHE'D NEVER EVEN HEARD OF HIM.
528
00:25:28,260 --> 00:25:31,397
HE HAD TO SHOW HER
HIS PHOTOGRAPH
IN A POPULAR MAGAZINE
529
00:25:31,397 --> 00:25:33,399
TO PROVE TO HER
THAT HE WAS FAMOUS.
530
00:25:33,399 --> 00:25:34,867
HIS PAINTINGS
OF MARIE-THERESE
531
00:25:34,867 --> 00:25:36,769
ARE ALL ABOUT
MAKING LOVE.
532
00:25:36,769 --> 00:25:39,706
THEY ARE FULL OF
SENSUALITY, OF SEXUALITY.
533
00:25:39,706 --> 00:25:41,808
BUT I SUPPOSE
SHE WASN'T VERY INTELLIGENT
534
00:25:41,808 --> 00:25:43,209
AND HE GOT BORED
WITH HER.
535
00:25:43,209 --> 00:25:46,112
AND THAT WAS WHEN
DORA MAAR ENTERED HIS LIFE.
536
00:25:47,346 --> 00:25:50,683
HIS EARLY PORTRAITS OF DORA
WERE AS TENDER AND LYRICAL
537
00:25:50,683 --> 00:25:53,552
AS THOSE OF MARIE-THERESE
WHEN HE FIRST LOVED HER,
538
00:25:53,552 --> 00:25:55,221
THOUGH IN
MUCH STRONGER COLORS,
539
00:25:55,221 --> 00:25:57,857
BLACK HAIR GLISTENING
WITH BLUES AND GREENS
540
00:25:57,857 --> 00:26:00,760
TO EXPRESS DORA'S
MUCH STRONGER CHARACTER.
541
00:26:00,760 --> 00:26:04,130
BUT WITHIN A FEW YEARS, HE HAD
TORTURED DORA OUT OF SHAPE
542
00:26:04,130 --> 00:26:06,232
AND TURNED HER
INTO THE WEEPING WOMAN
543
00:26:06,232 --> 00:26:08,901
WITH BULGING EYES
AND SWOLLEN NOSTRILS
544
00:26:08,901 --> 00:26:11,570
AND LASHES THAT
HAD BECOME TEARDROPS.
545
00:26:18,911 --> 00:26:20,780
SHE LIVED AROUND
THE CORNER FROM HIM,
546
00:26:20,780 --> 00:26:23,916
AND HE SHOWED UP AT HER STUDIO
WHENEVER IT SUITED HIM.
547
00:26:23,916 --> 00:26:27,053
SO SHE SPENT HER DAYS
AND NIGHTS WAITING FOR HIM.
548
00:26:27,053 --> 00:26:29,155
SHE WAS PSYCHOLOGICALLY
HIS PRISONER,
549
00:26:29,155 --> 00:26:31,824
AND ONCE HE ACTUALLY
PAINTED HER BEHIND BARS
550
00:26:31,824 --> 00:26:34,460
WITH A CRUST OF BREAD
AND A JUG OF WATER.
551
00:26:34,460 --> 00:26:36,162
THAT PICTURE
NO LONGER EXISTS.
552
00:26:36,162 --> 00:26:37,864
HE PAINTED OVER IT.
553
00:26:37,864 --> 00:26:39,531
BUT HER MISERY REMAINED.
554
00:26:39,531 --> 00:26:41,200
MORE INSECTS FOR YOU.
555
00:26:41,200 --> 00:26:44,603
THIS IS HOW YOU
WAKE UP ONE MORNING,
LIKE KAFKA.
556
00:26:45,938 --> 00:26:47,740
WHAT HAS HAPPENED
TO YOU?
557
00:26:47,740 --> 00:26:49,141
I WAS ATTACKED.
558
00:26:49,141 --> 00:26:51,277
A MAN ATTACKED ME
AND STOLE MY BICYCLE.
559
00:26:51,277 --> 00:26:52,278
WHEN WAS THIS?
560
00:26:52,278 --> 00:26:53,479
JUST NOW.
561
00:26:53,479 --> 00:26:55,481
HE ATTACKED ME
AND STOLE MY BICYCLE.
562
00:26:55,481 --> 00:26:56,683
WE MUST INFORM
THE POLICE.
563
00:26:56,683 --> 00:26:57,917
I TOLD THEM,
564
00:26:57,917 --> 00:27:00,152
BUT THEY SAID
THE ASSAILANT
IS WITHIN.
565
00:27:00,152 --> 00:27:01,353
HE'S YOU.
566
00:27:01,353 --> 00:27:02,354
YOU'RE MY ASSAILANT.
567
00:27:02,354 --> 00:27:03,355
PULL YOURSELF TOGETHER.
568
00:27:03,355 --> 00:27:04,390
YOU MAY BE
A GREAT PAINTER,
569
00:27:04,390 --> 00:27:05,357
BUT MORALLY
YOU'RE WORTHLESS.
570
00:27:05,357 --> 00:27:06,558
YOU LIVE
AN EVIL LIFE.
571
00:27:06,558 --> 00:27:07,660
YOU HAVE
CONTAMINATED
THE WHOLE WORLD.
572
00:27:07,660 --> 00:27:08,761
THAT'S EXACTLY
WHAT MY CRITICS SAY.
573
00:27:08,761 --> 00:27:10,396
WHO HAVE YOU
BEEN READING?
574
00:27:10,396 --> 00:27:11,630
I'M THINKING OF YOU
AND YOUR SALVATION.
YOU HAVE TO BE SAVED.
575
00:27:11,630 --> 00:27:12,431
WELL, YOU SAVE ME.
576
00:27:12,431 --> 00:27:13,700
NO, DON'T YOU SEE?
577
00:27:13,700 --> 00:27:15,735
I CAN'T.
CORRUPTION IS
EATING ME UP, TOO.
578
00:27:15,735 --> 00:27:17,303
I'M LIKE
A ROTTED TOOTH
IN YOUR MOUTH.
579
00:27:17,303 --> 00:27:18,304
IT'S NOT YOUR FAULT.
580
00:27:18,304 --> 00:27:19,305
IT'S NOT MY FAULT--
581
00:27:19,305 --> 00:27:20,406
IT'S GOD'S FAULT.
NO!
582
00:27:20,406 --> 00:27:22,374
ASK TO BE FORGIVEN.
WE MUST PRAY
TOGETHER.
583
00:27:22,374 --> 00:27:23,409
IF WE DON'T PRAY,
584
00:27:23,409 --> 00:27:24,844
WE ARE DOOMED,
DOOMED TOGETHER.
585
00:27:24,844 --> 00:27:28,180
DON'T YOU
UNDERSTAND? WE ARE
ONE SOUL BEFORE GOD.
586
00:27:28,180 --> 00:27:29,048
PRAY TOGETHER.
587
00:27:29,048 --> 00:27:31,183
ONE SOUL, AND
WE'LL BE REDEEMED.
588
00:27:31,183 --> 00:27:32,184
SLOW, SLOW, SLOW.
589
00:27:32,184 --> 00:27:34,653
SLOW DOWN! SHH!
590
00:27:39,191 --> 00:27:42,328
JUST CALM DOWN.
591
00:27:42,328 --> 00:27:43,730
CALM.
592
00:27:43,730 --> 00:27:45,064
THERE.
593
00:27:46,999 --> 00:27:48,400
WE'LL GO SEE
DR. LACAN.
594
00:27:48,400 --> 00:27:50,269
DON'T MAKE ME
LEAVE YOU!
595
00:27:50,269 --> 00:27:53,405
NO, I'LL TAKE YOU.
OF COURSE I WILL.
596
00:27:53,405 --> 00:27:57,343
I'LL TAKE YOU.
YOU JUST NEED SOME REST,
THAT'S ALL, HMM?
597
00:27:59,779 --> 00:28:01,047
NOT WITHOUT YOU.
598
00:28:01,047 --> 00:28:03,515
NO, NO, NO,
I'M GOING WITH YOU.
599
00:28:03,515 --> 00:28:05,684
I'M GOING WITH YOU.
600
00:28:06,753 --> 00:28:07,820
Picasso:
DORA'S WEAK.
601
00:28:07,820 --> 00:28:09,055
SHE CRACKED
UNDER THE STRAIN.
602
00:28:09,055 --> 00:28:10,723
Francoise:
UNDER THE STRAIN
OF YOU.
603
00:28:10,723 --> 00:28:12,091
YOU SHOULD
BE HELPING HER,
604
00:28:12,091 --> 00:28:13,625
NOT HURTING HER
MORE.
605
00:28:13,625 --> 00:28:14,994
IT'S ONLY HUMAN
NOT TO PECK
606
00:28:14,994 --> 00:28:16,362
A WEAKER PERSON
TO DEATH.
607
00:28:16,362 --> 00:28:18,230
NO. WHAT IS HUMAN
IS TO BE STRONG
AND SURVIVE.
608
00:28:18,230 --> 00:28:20,032
THE REST IS
SENTIMENTAL RUBBISH.
609
00:28:20,032 --> 00:28:22,501
ANYWAY,
THERE'S NOTHING BETWEEN
DORA AND ME ANYMORE.
610
00:28:22,501 --> 00:28:25,037
SHE'LL TELL YOU HERSELF.
611
00:28:25,037 --> 00:28:26,472
COME ON.
IT'S NOT MUCH FURTHER.
612
00:28:26,472 --> 00:28:27,473
I DON'T WANT TO GO.
613
00:28:27,473 --> 00:28:29,341
HUH?
SHE'S EXPECTING US.
614
00:28:30,342 --> 00:28:32,044
I THOUGHT YOU FELT
SO TERRIBLY SORRY FOR HER.
615
00:28:32,044 --> 00:28:34,013
EXACTLY.
THAT'S WHY
I DON'T WANT TO GO.
616
00:28:34,013 --> 00:28:37,917
MY GOD,
WHAT'S THE MATTER
WITH YOU, HUH?
617
00:28:37,917 --> 00:28:38,918
HUH,
I'M DOING THIS FOR YOU,
618
00:28:38,918 --> 00:28:39,919
DON'T YOU UNDERSTAND?
619
00:28:39,919 --> 00:28:41,353
I'M A MAN
OF DEEP FEELINGS.
620
00:28:41,353 --> 00:28:43,722
YOU HAVE NO FEELINGS.
YOU KNOW NOTHING
ABOUT LOVE.
621
00:28:43,722 --> 00:28:44,957
YOU'RE AS COLD
AS A FISH.
622
00:28:44,957 --> 00:28:47,393
I'LL THROW YOU IN
THE SEA AND WARM YOU UP.
623
00:28:49,962 --> 00:28:50,997
WHAT'S THE MATTER
WITH YOU?
624
00:28:50,997 --> 00:28:52,832
AN EXAGGERATED
SENSE OF HUMOR.
625
00:28:52,832 --> 00:28:54,500
"I DON'T WANT TO GO."
626
00:28:54,500 --> 00:28:56,002
MMM.
627
00:28:57,669 --> 00:28:58,938
COME.
"I DON'T WANT TO GO."
628
00:28:58,938 --> 00:29:00,372
"I DON'T WANT TO GO."
"I DON'T WANT TO GO."
629
00:29:07,513 --> 00:29:08,781
THE TENSION
BETWEEN NEGATIVE
630
00:29:08,781 --> 00:29:11,583
AND POSITIVE
SHAPES IS...
631
00:29:11,583 --> 00:29:13,685
VERY STRONG.
632
00:29:13,685 --> 00:29:15,754
SHE'S INTELLIGENT,
ISN'T SHE?
633
00:29:15,754 --> 00:29:17,623
I REALLY LIKE
INTELLIGENT WOMEN.
634
00:29:17,623 --> 00:29:18,724
SOMETIMES.
635
00:29:18,724 --> 00:29:20,492
OF COURSE,
I LIKE STUPID ONES, TOO.
636
00:29:24,296 --> 00:29:25,998
I TAKE IT YOU'VE
COME FOR SOMETHING OTHER
637
00:29:25,998 --> 00:29:27,566
THAN TO STUDY
MY PAINTINGS.
638
00:29:27,566 --> 00:29:28,935
THAT'S RIGHT.
THE POINT IS,
639
00:29:28,935 --> 00:29:30,102
I'M TRYING TO MAKE FRANCOISE
COME AND LIVE WITH ME,
640
00:29:30,102 --> 00:29:31,270
BUT SHE SAYS SHE WON'T
BECAUSE OF YOU.
641
00:29:31,270 --> 00:29:32,271
SHH!
642
00:29:35,975 --> 00:29:37,776
WHAT DO I HAVE
TO DO WITH IT?
643
00:29:38,577 --> 00:29:39,778
EXACTLY.
644
00:29:40,847 --> 00:29:41,881
YOU HEARD IT
YOURSELF.
645
00:29:41,881 --> 00:29:43,149
SHE HAS NOTHING
TO DO WITH IT.
646
00:29:43,149 --> 00:29:45,351
BECAUSE THERE IS NOTHING
BETWEEN HER AND ME.
647
00:29:45,351 --> 00:29:46,919
TELL HER.
648
00:29:47,854 --> 00:29:50,789
NO, ABSOLUTELY
NOTHING.
649
00:29:52,724 --> 00:29:53,993
THEN THAT'S SETTLED.
650
00:29:53,993 --> 00:29:56,562
EVERYONE KNOWS
WHERE THEY STAND.
651
00:29:56,562 --> 00:29:57,930
OH, YES.
652
00:29:57,930 --> 00:30:00,933
EVERYONE
ALWAYS KNOWS WHERE
THEY STAND WITH YOU.
653
00:30:00,933 --> 00:30:04,136
SHE'S NOT GOING TO LAST
15 MINUTES WITH YOU.
654
00:30:04,136 --> 00:30:06,839
PERHAPS SHE THINKS
YOU'LL IMMORTALIZE HER.
655
00:30:06,839 --> 00:30:08,340
DON'T RAISE HER HOPES.
656
00:30:08,340 --> 00:30:10,709
PICASSOS MAY TURN OUT
TO BE NO MORE IMMORTAL
657
00:30:10,709 --> 00:30:15,114
THAN THE SKELETON
OF SOME EXTINCT
BIRD OF PREY.
658
00:30:15,114 --> 00:30:16,348
HMM.
659
00:30:17,783 --> 00:30:19,385
COME AND HAVE DINNER
WITH US.
660
00:30:19,385 --> 00:30:21,320
YOU SHOULD
BE GLAD THAT I'M
IN A GOOD MOOD AGAIN
661
00:30:21,320 --> 00:30:22,288
AND IN LOVE.
662
00:30:22,288 --> 00:30:24,323
YOU'VE NEVER LOVED
ANYONE IN YOUR LIFE.
663
00:30:24,323 --> 00:30:25,691
PSST!
664
00:30:25,691 --> 00:30:27,326
YOU EVEN HATE YOURSELF.
665
00:30:27,326 --> 00:30:29,295
DORA IS QUITE
A PSYCHOLOGIST,
YOU KNOW.
666
00:30:29,295 --> 00:30:30,629
COME ON, I'LL
TAKE YOU TO LIPP
667
00:30:30,629 --> 00:30:33,232
AND FEED YOU SAUERKRAUT.
668
00:30:49,481 --> 00:30:52,184
SO, WHERE ARE YOU
GOING THIS SUMMER?
669
00:30:52,184 --> 00:30:54,186
IF YOU'RE NOT GOING
TO MENERBES,
WE MIGHT.
670
00:30:54,186 --> 00:30:55,387
YOU'LL LIKE
MENERBES.
671
00:30:55,387 --> 00:30:56,488
IT'S ON A CLIFF.
672
00:30:56,488 --> 00:30:59,058
IT BELONGED TO
ONE OF NAPOLEON'S
GENERALS.
673
00:30:59,058 --> 00:31:00,592
IT BELONGS TO ME.
674
00:31:00,592 --> 00:31:01,660
THAT'S RIGHT.
675
00:31:01,660 --> 00:31:03,195
I GAVE IT TO DORA.
676
00:31:03,195 --> 00:31:04,730
THE OWNER WANTED
A PAINTING OF MINE,
677
00:31:04,730 --> 00:31:06,332
SO WE MADE
AN EXCHANGE.
678
00:31:06,332 --> 00:31:07,833
HIS HOUSE
FOR MY PAINTING.
679
00:31:07,833 --> 00:31:10,369
THE OWNER'S WIFE WAS
KILLED IN A CAR CRASH.
680
00:31:10,369 --> 00:31:12,571
THAT'S WHY HE COULDN'T
BEAR THE PLACE ANYMORE.
681
00:31:12,571 --> 00:31:14,773
I THINK IT'S HAUNTED
BY THAT POOR DEAD WOMAN.
682
00:31:14,773 --> 00:31:17,143
DON'T SAY
THESE THINGS.
683
00:31:18,177 --> 00:31:19,578
ANYWAY, IF YOU'RE
NOT GOING THERE
THIS SUMMER,
684
00:31:19,578 --> 00:31:22,014
WE MIGHT.
FRANCOISE AND I.
685
00:31:22,014 --> 00:31:23,849
BUT IF IT'S
DORA'S HOUSE, THEN I--
686
00:31:23,849 --> 00:31:25,817
IT'S A PRESENT.
I GAVE IT TO HER.
687
00:31:25,817 --> 00:31:27,353
TELL HER, DORA.
688
00:31:27,353 --> 00:31:29,488
YES, IT'S MY HOUSE
WHICH HE GAVE TO ME,
689
00:31:29,488 --> 00:31:30,556
AS HIS PRESENT TO ME.
690
00:31:30,556 --> 00:31:33,192
IT'S FULL OF SCORPIONS
AS YOU'LL FIND OUT.
691
00:31:33,192 --> 00:31:34,693
SHAKE OUT YOUR SHOES
IN THE MORNING
692
00:31:34,693 --> 00:31:35,894
BEFORE PUTTING THEM ON.
693
00:31:36,963 --> 00:31:38,064
LITTLE SCORPIONS...
694
00:31:38,064 --> 00:31:40,132
ZZZZ.
CH CH CH.
695
00:32:01,988 --> 00:32:03,755
LOOK AT THAT, LOOK!
696
00:32:03,755 --> 00:32:05,958
I LOVE WILD CATS.
697
00:32:05,958 --> 00:32:09,261
THEY'RE ALWAYS PREGNANT
BECAUSE THEY THINK
OF NOTHING BUT LOVE.
698
00:32:11,430 --> 00:32:14,533
ALL THESE CATS
EVER GET TO EAT IS LIZARDS.
699
00:32:14,533 --> 00:32:17,269
THEN THE LIZARDS
EAT THEM FROM INSIDE.
700
00:32:17,269 --> 00:32:20,306
THAT'S WHY
THEY ARE SO THIN.
701
00:32:25,577 --> 00:32:26,578
FRANCOISE!
702
00:32:26,578 --> 00:32:29,248
FRANCOISE, LOOK!
703
00:32:29,248 --> 00:32:30,316
WATCH!
704
00:32:35,988 --> 00:32:37,723
LOOK, LOOK, LOOK!
705
00:33:06,352 --> 00:33:07,486
AAH!
706
00:33:46,658 --> 00:33:49,195
Francoise: THAT WAS
THE SORT OF SCENE HE LOVED:
707
00:33:49,195 --> 00:33:52,198
ONLY MEN WITH SCARCELY
A WOMAN IN SIGHT.
708
00:33:52,198 --> 00:33:54,400
IT WAS THE ONLY BASTILLE DAY
I HAD EVER SEEN
709
00:33:54,400 --> 00:33:56,102
WHERE THERE WAS
NO DANCING AT ALL.
710
00:33:56,102 --> 00:33:58,304
"THANK GOD FOR THAT,"
PICASSO SAID.
711
00:33:58,304 --> 00:33:59,971
HE HATED DANCING.
712
00:33:59,971 --> 00:34:01,940
TO SLEEP WITH AS MANY WOMEN
AS POSSIBLE,
713
00:34:01,940 --> 00:34:03,109
THAT WAS FINE.
714
00:34:03,109 --> 00:34:05,043
BUT TO DANCE WITH THEM...
715
00:34:05,043 --> 00:34:06,645
THAT WAS IMMORAL.
716
00:34:11,783 --> 00:34:12,784
HUH?
717
00:34:12,784 --> 00:34:13,785
THANK YOU.
718
00:34:24,096 --> 00:34:25,397
FROM GRANDMA?
719
00:34:27,366 --> 00:34:28,734
WHAT DOES SHE WANT?
720
00:34:29,735 --> 00:34:30,736
HUH?
721
00:34:39,378 --> 00:34:41,313
FROM MARIE-THERESE,
I SUPPOSE?
722
00:34:41,313 --> 00:34:43,048
YEAH,
SHE'S SO SWEET,
723
00:34:43,048 --> 00:34:44,716
WRITING TO ME
EVERY DAY.
724
00:34:45,751 --> 00:34:49,221
"THERE'S ONLY ONE YOU,
MY WONDERFUL,
TERRIBLE LOVER.
725
00:34:49,221 --> 00:34:52,924
"NO ONE ELSE
IN THE ENTIRE WORLD,
NOT EVEN MAYA.
726
00:34:52,924 --> 00:34:56,662
I LIVE FOR YOU
WITH EVERY BREATH."
727
00:34:56,662 --> 00:34:58,164
YOU WOULD NEVER WRITE
TO ME LIKE THAT.
728
00:34:59,064 --> 00:35:00,399
NO, I WOULDN'T.
729
00:35:00,399 --> 00:35:02,134
MARIE-THERESE
REALLY LOVES ME.
730
00:35:02,134 --> 00:35:04,403
SHE'S A REAL WOMAN.
731
00:35:05,737 --> 00:35:06,738
LOOK ABOVE YOU.
732
00:36:07,165 --> 00:36:10,068
HEY!
WHAT ARE YOU DOING?
733
00:36:10,068 --> 00:36:11,670
I'M HITCHHIKING
TO MARSEILLES,
734
00:36:11,670 --> 00:36:13,672
AND FROM THERE
I'M GOING TO ALGERIA.
735
00:36:13,672 --> 00:36:15,207
HA! ALGERIA.
736
00:36:15,207 --> 00:36:16,308
ANOTHER MADWOMAN.
737
00:36:16,308 --> 00:36:18,076
GET IN THE CAR!
738
00:36:18,076 --> 00:36:19,345
NO, I'VE
MADE UP MY MIND.
739
00:36:19,345 --> 00:36:20,346
GET IN THE CAR!
740
00:36:20,346 --> 00:36:23,549
HEY, GET IN THE CAR!
COME ON!
741
00:36:23,549 --> 00:36:24,550
STOP!
742
00:36:25,951 --> 00:36:26,952
STOP!
743
00:36:26,952 --> 00:36:28,220
FRANCOISE!
744
00:36:28,220 --> 00:36:29,288
FRANCOISE!
745
00:36:29,288 --> 00:36:30,856
I'M NOT GOING BACK
TO THAT HOUSE.
746
00:36:30,856 --> 00:36:31,857
COME HERE!
747
00:36:31,857 --> 00:36:33,091
COME BACK!
748
00:36:33,091 --> 00:36:34,226
FRANCOISE!
749
00:36:34,226 --> 00:36:36,295
I AM NOT GOING BACK
TO THAT HOUSE.
750
00:36:36,295 --> 00:36:38,430
WH-WHAT'S WRONG?
751
00:36:38,430 --> 00:36:39,431
YOU CAN'T DO THIS TO--
752
00:36:39,431 --> 00:36:40,432
YOU CAN'T,
MADEMOISELLE.
753
00:36:40,432 --> 00:36:41,800
MONSIEUR NEEDS YOU.
754
00:36:41,800 --> 00:36:42,834
L-LET ME GO!
755
00:36:42,834 --> 00:36:43,835
GET INTO THE CAR!
756
00:36:43,835 --> 00:36:44,836
LET ME GO!
757
00:36:44,836 --> 00:36:45,837
GET INTO THE CAR!
758
00:36:45,837 --> 00:36:46,838
LET ME GO!
759
00:37:14,600 --> 00:37:17,303
I WISH I COULD
WRAP YOU UP IN
ONE OF THOSE TENTS
760
00:37:17,303 --> 00:37:20,038
THAT MUSLIM WOMEN
WEAR.
761
00:37:20,038 --> 00:37:23,609
IN SPAIN WE BELIEVE
THAT THE EYE IS LIKE
A SEXUAL ORGAN
762
00:37:23,609 --> 00:37:27,012
AND LOOKING AT
A WOMAN CAN BE RAPE.
763
00:37:27,012 --> 00:37:29,848
RAPE WITH THE EYE.
764
00:37:33,552 --> 00:37:36,221
I WANT YOU TO SWEAR
765
00:37:36,221 --> 00:37:38,156
THAT YOU WILL
LOVE ME FOREVER.
766
00:37:38,156 --> 00:37:40,559
SWEAR BEFORE GOD.
767
00:37:40,559 --> 00:37:42,160
BUT YOU DON'T
BELIEVE IN GOD.
768
00:37:42,160 --> 00:37:43,629
SHH! NOT IN HERE.
769
00:37:50,302 --> 00:37:52,237
KNEEL.
770
00:37:52,237 --> 00:37:54,072
COME ON, KNEEL.
771
00:37:54,072 --> 00:37:55,507
KNEEL DOWN.
772
00:37:57,709 --> 00:37:58,644
NOW, SAY IT,
773
00:37:58,644 --> 00:38:03,148
"I, FRANCOISE,
SWEAR TO LOVE PICASSO
774
00:38:03,148 --> 00:38:05,216
"AND ONLY PICASSO
775
00:38:05,216 --> 00:38:07,185
"FOREVER AND EVER.
776
00:38:07,185 --> 00:38:08,920
AMEN."
777
00:38:08,920 --> 00:38:13,392
"I, FRANCOISE, SWEAR
TO LOVE PICASSO
778
00:38:13,392 --> 00:38:15,260
"AND ONLY PICASSO
779
00:38:15,260 --> 00:38:17,896
"FOREVER AND EVER.
780
00:38:17,896 --> 00:38:18,697
AMEN."
781
00:38:18,697 --> 00:38:19,831
GOOD,
NOW YOU'VE SWORN IT.
782
00:38:19,831 --> 00:38:20,999
YOU CAN NEVER RUN AWAY
FROM ME AGAIN.
783
00:38:20,999 --> 00:38:22,133
NOW, YOU SWEAR,
YOU SWEAR.
784
00:38:22,133 --> 00:38:24,235
WHY DID YOU RUN AWAY?
785
00:38:24,235 --> 00:38:25,671
AREN'T YOU HAPPY WITH ME?
786
00:38:25,671 --> 00:38:27,072
YOU CAN'T
PRETEND TO BE
787
00:38:27,072 --> 00:38:29,608
THE EASIEST PERSON
IN THE WORLD
TO GET ALONG WITH.
788
00:38:30,442 --> 00:38:32,277
I'M A PERFECTLY
STRAIGHTFORWARD CHARACTER
789
00:38:32,277 --> 00:38:33,712
WITH ALL MY CARDS
ON THE TABLE.
790
00:38:33,712 --> 00:38:35,080
BUT THERE ARE
SO MANY CARDS,
791
00:38:35,080 --> 00:38:37,082
AND SOME OF THEM
ARE UNDER THE TABLE,
TOO.
792
00:38:37,082 --> 00:38:39,618
AND THEN SUDDENLY
THEY POP UP LIKE
MARIE-THERESE,
793
00:38:39,618 --> 00:38:42,220
AND NOW
WHO KNOWS WHO ELSE
IS GOING TO APPEAR.
794
00:38:42,220 --> 00:38:43,855
YOU THINK TOO MUCH
UP HERE.
795
00:38:43,855 --> 00:38:45,056
YOU SHOULDN'T
THINK UP THERE,
796
00:38:45,056 --> 00:38:47,926
YOU SHOULD FEEL
DOWN THERE.
797
00:38:47,926 --> 00:38:48,727
YOU SHOULD HAVE A CHILD.
798
00:38:48,727 --> 00:38:49,728
YOU SHOULD HAVE MY CHILD,
799
00:38:49,728 --> 00:38:51,162
THEN YOU'D LEARN
HOW TO FEEL.
800
00:38:51,162 --> 00:38:53,098
YOU'D BE A REAL WOMAN.
801
00:38:53,098 --> 00:38:55,100
YOU'D BE MY WOMAN.
802
00:39:17,689 --> 00:39:20,325
THE EXHIBITION'S
ON THE FOURTH.
803
00:39:20,325 --> 00:39:22,193
I HAVE TO HAVE
MY ANSWER TODAY.
804
00:39:22,193 --> 00:39:23,395
I MUST TELL
MY PRINTER.
805
00:39:23,395 --> 00:39:24,663
WHO KNOWS WHAT THIS DAY
WILL BRING
806
00:39:24,663 --> 00:39:27,332
BEFORE THE SUN
WILL SET ON IT?
807
00:39:27,332 --> 00:39:28,834
I'VE BEEN HERE
EVERY DAY
THIS WEEK,
808
00:39:28,834 --> 00:39:30,936
AND EVERY DAY
I HEAR
THE SAME THING.
809
00:39:30,936 --> 00:39:32,571
WELL, PERHAPS TOMORROW
WILL BE DIFFERENT.
810
00:39:32,571 --> 00:39:34,473
WHERE THERE IS LIFE,
THERE'S ALWAYS HOPE,
MY FRIEND.
811
00:39:34,473 --> 00:39:35,474
HOPE IS GREEN
AND ETERNAL.
812
00:39:35,474 --> 00:39:36,508
LOOK, LOOK, LOOK,
813
00:39:36,508 --> 00:39:37,643
I'M NEITHER
GREEN NOR ETERNAL.
814
00:39:37,643 --> 00:39:38,877
I-I DON'T KNOW ABOUT
EVERYBODY ELSE,
815
00:39:38,877 --> 00:39:40,245
BUT I MUST GET BACK
TO NEW YORK.
816
00:39:40,245 --> 00:39:41,246
I HAVE A BUSINESS
TO RUN.
817
00:39:41,246 --> 00:39:42,380
AND SO HAVE I.
818
00:39:42,380 --> 00:39:44,082
MY BUSINESS
IS CALLED PICASSO.
819
00:39:44,082 --> 00:39:46,485
I HAVE
TO SEE HIM TODAY.
820
00:39:46,485 --> 00:39:47,919
IT'S IMPERATIVE.
821
00:39:47,919 --> 00:39:48,720
IMPERATIVE?
822
00:39:48,720 --> 00:39:50,622
IMPERATIVE,
THAT'S RIGHT.
823
00:39:50,622 --> 00:39:54,159
WHY DON'T YOU TRY
AND GET UP?
824
00:39:56,227 --> 00:39:57,696
NO, NO, DON'T.
825
00:39:57,696 --> 00:39:58,497
TRY!
826
00:39:58,497 --> 00:39:59,698
DON'T TORTURE ME!
GO AWAY.
827
00:40:00,632 --> 00:40:02,067
I CAN'T STAND IT,
I CAN'T STAND IT
ANY LONGER.
828
00:40:02,067 --> 00:40:03,569
OF COURSE NOT,
WITHOUT YOUR COFFEE
AND BRIOCHE.
829
00:40:03,569 --> 00:40:04,703
WHAT WERE YOU
THINKING OF?
830
00:40:04,703 --> 00:40:06,137
THE MAN HAS TO EAT.
YES, HE'S HUMAN.
831
00:40:06,137 --> 00:40:07,338
DON'T PUT IT
ON THE BED.
832
00:40:07,338 --> 00:40:09,508
I'M--I'M GOING AWAY,
I MUST.
833
00:40:09,508 --> 00:40:10,642
THERE'S
NO OTHER WAY OUT.
834
00:40:10,642 --> 00:40:11,643
NO, YOU'LL FEEL
BETTER IN A MINUTE.
835
00:40:11,643 --> 00:40:14,846
I CAN'T STAND IT
ANY LONGER.
836
00:40:14,846 --> 00:40:17,483
YOU KNOW
THIS IS NO LIFE.
837
00:40:17,483 --> 00:40:19,618
WHAT AM I DOING HERE?
838
00:40:19,618 --> 00:40:22,020
YOU KNOW VERY WELL
I'M NOT DOING ANYTHING.
839
00:40:22,020 --> 00:40:24,923
EVERY DAY I WORK WORSE
THAN THE DAY BEFORE.
840
00:40:24,923 --> 00:40:26,925
AND TODAY YOU'LL
DO SOMETHING
YOU LIKE.
841
00:40:26,925 --> 00:40:28,694
JUST GET UP
AND START WORK
AND YOU'LL SEE.
842
00:40:28,694 --> 00:40:30,829
WE'VE LIT THE STOVE.
THE STUDIO'S ALL WARM.
843
00:40:30,829 --> 00:40:34,365
WHAT MAKES YOU THINK
TODAY WILL BE ANY BETTER
THAN YESTERDAY?
844
00:40:34,365 --> 00:40:36,267
BUT YESTERDAY
WAS WONDERFUL.
845
00:40:36,267 --> 00:40:39,370
YOU FINISHED
YOUR WHOLE SERIES
ON THE PONT NEUF.
846
00:40:39,370 --> 00:40:41,473
YEAH,
BUT IS IT ANY GOOD?
847
00:40:42,273 --> 00:40:43,675
GO AND SEE
FOR YOURSELF.
848
00:40:43,675 --> 00:40:45,677
NO. IT WOULD
ONLY DEPRESS ME.
849
00:40:45,677 --> 00:40:47,145
BUT
IT'S WONDERFUL!
850
00:40:47,145 --> 00:40:50,582
KOOTZ SAYS HE HAS
TO SEE YOU TODAY.
IT'S IMPERATIVE.
851
00:40:50,582 --> 00:40:53,585
HA! HE SAID IT WAS
IMPERATIVE YESTERDAY.
852
00:40:53,585 --> 00:40:55,153
HE SAID IT WAS IMPERATIVE
THE DAY BEFORE.
853
00:40:55,153 --> 00:40:56,121
HE'S MAKING
MY LIFE HELL.
854
00:40:56,121 --> 00:40:57,322
HE SAYS HE HAS TO
GET BACK TO AMERICA,
855
00:40:57,322 --> 00:40:58,857
AND KAHNWEILER
IS THERE, TOO.
856
00:40:58,857 --> 00:41:01,426
THEY'RE SITTING
SIDE BY SIDE
IN THE SALON.
857
00:41:01,426 --> 00:41:02,628
BUT THEY LOATHE
EACH OTHER.
858
00:41:06,164 --> 00:41:07,165
WELL, YOU GO
AND TELL THEM.
859
00:41:07,165 --> 00:41:08,299
TELL THEM WHAT?
860
00:41:08,299 --> 00:41:09,434
I DON'T KNOW.
861
00:41:09,434 --> 00:41:11,436
TELL THEM PICASSO
HAS A STOMACHACHE.
862
00:41:11,436 --> 00:41:13,572
WELL, IT'S TRUE,
I HAVE A STOMACHACHE.
863
00:41:13,572 --> 00:41:14,840
EVERY TIME
I INFORM MY DOCTOR,
864
00:41:14,840 --> 00:41:16,708
HE JUST SHOWS ME
HIS GRANDSON'S DRAWINGS.
865
00:41:16,708 --> 00:41:19,578
IF YOU GET UP,
YOU'D FEEL BETTER.
866
00:41:19,578 --> 00:41:21,046
WHY DON'T YOU TRY?
867
00:41:22,948 --> 00:41:25,016
I HATE IT WHEN PEOPLE
TRY TO BULLY ME.
868
00:41:25,016 --> 00:41:27,619
IT'S PARTICULARLY UGLY
IN A WOMAN, FRANCOISE.
869
00:41:31,890 --> 00:41:32,891
HEY!
870
00:41:33,692 --> 00:41:34,693
GOOD MORNING.
871
00:41:34,693 --> 00:41:35,694
GOOD AFTERNOON.
872
00:41:35,694 --> 00:41:36,695
WANT A LIGHT?
873
00:41:36,695 --> 00:41:37,696
POR FAVOR.
874
00:41:37,696 --> 00:41:39,064
DON'T YOU HAVE
ANY MATCHES?
875
00:41:39,064 --> 00:41:40,932
NO.
876
00:41:40,932 --> 00:41:42,133
SORRY TO KEEP
YOU WAITING.
877
00:41:42,133 --> 00:41:43,268
MONSIEUR.
878
00:41:43,268 --> 00:41:45,203
HOW DO YOU DO?
879
00:41:45,203 --> 00:41:46,437
BONJOUR, MAITRE.
880
00:41:46,437 --> 00:41:47,973
SEñOR.
HELLO.
881
00:41:47,973 --> 00:41:49,741
BUON GIORNO.
I'M HONORED.
882
00:41:49,741 --> 00:41:51,209
JEAN-CLAUDE, ARE YOU
HERE AGAIN TODAY?
883
00:41:51,209 --> 00:41:52,210
MADAME.
884
00:41:52,210 --> 00:41:53,612
HELLO.
MONSIEUR.
885
00:41:53,612 --> 00:41:55,213
PABLO.
MONSIEUR.
886
00:41:55,213 --> 00:41:56,715
MADAME, HELLO.
887
00:41:56,715 --> 00:41:57,716
KOOTZ, WHAT
ARE YOU DOING HERE?
888
00:41:57,716 --> 00:41:58,817
NO ONE TOLD ME.
889
00:41:58,817 --> 00:42:00,018
WHY DIDN'T YOU TELL ME
HE WAS HERE?
890
00:42:00,018 --> 00:42:02,754
FRANCOISE, KEEPING
MR. KOOTZ WAITING.
891
00:42:02,754 --> 00:42:04,089
COME WITH ME.
I HAVE SOMETHING
TO SHOW YOU.
892
00:42:04,089 --> 00:42:05,090
GOOD. FINALLY.
893
00:42:05,090 --> 00:42:06,324
I'LL BE BACK.
894
00:42:06,324 --> 00:42:08,894
OF COURSE HE DIDN'T
EVEN SEE ME.
895
00:42:08,894 --> 00:42:11,329
MR. KOOTZ HAS
COME ALL THE WAY
FROM NEW YORK.
896
00:42:11,329 --> 00:42:15,834
OH, THE ONLY REASON
KOOTZ IS IN PARIS
IS TO BUY PICASSOS.
897
00:42:15,834 --> 00:42:18,103
HE GOES NOWHERE ELSE,
SEES NO ONE ELSE.
898
00:42:18,103 --> 00:42:20,171
HE DOESN'T EVEN
GO TO THE LOUVRE.
899
00:42:20,171 --> 00:42:24,342
HE SAYS IT ISN'T
ABSTRACT ENOUGH FOR HIM.
900
00:42:24,342 --> 00:42:25,911
DO YOU, UH,
901
00:42:25,911 --> 00:42:27,646
DO YOU THINK PICASSO
WILL SELL HIM SOMETHING?
902
00:42:27,646 --> 00:42:29,581
WHAT?
WHAT WILL HE SELL HIM?
WHAT HAS HE GOT?
903
00:42:29,581 --> 00:42:31,650
I'M SURE HE'LL
SHOW YOU VERY SOON.
904
00:42:44,930 --> 00:42:46,031
OH!
905
00:42:51,002 --> 00:42:54,439
NOW, IN NEW YORK
I CAN SELL EVERYTHING
THAT YOU GIVE ME
906
00:42:54,439 --> 00:42:55,707
IN 5 MINUTES.
JUST LIKE THAT.
907
00:42:55,707 --> 00:42:56,708
HOW MUCH?
908
00:42:56,708 --> 00:42:58,209
FOR, HA HA.
909
00:42:58,209 --> 00:43:00,345
FOR MORE THAN ANY PAINTER
ALIVE TODAY.
910
00:43:00,345 --> 00:43:01,947
MORE THAN MATISSE?
911
00:43:04,683 --> 00:43:06,284
OH, MORE, MORE.
912
00:43:07,653 --> 00:43:09,621
THIS IS TOO--
THIS IS WONDERFUL.
913
00:43:09,621 --> 00:43:11,723
YOU STILL
HAVE THIS, HUH?
914
00:43:11,723 --> 00:43:12,724
IT'S A BRAQUE.
915
00:43:12,724 --> 00:43:15,627
I'VE HAD IT
FOR 30 YEARS.
916
00:43:17,829 --> 00:43:21,232
WELL, M-MATISSE HAS SENT
A LOT OF NEW WORK,
917
00:43:21,232 --> 00:43:22,567
BUT I KEEP TELLING THEM
IN NEW YORK,
918
00:43:22,567 --> 00:43:24,569
"WAIT TILL YOU SEE
THE NEW PICASSOS,
919
00:43:24,569 --> 00:43:25,937
WAIT TILL YOU SEE
THE NEW PICASSOS."
920
00:43:25,937 --> 00:43:28,373
I'VE GOT THEM
ALL STEAMED UP.
921
00:43:28,373 --> 00:43:30,575
SO, ALL THIS,
ALL THIS IS NEW?
922
00:43:30,575 --> 00:43:31,843
HUH, WELL.
923
00:43:34,479 --> 00:43:39,985
AH, AH. HUH.
924
00:43:39,985 --> 00:43:41,920
HOW MANY WERE YOU
THINKING OF?
925
00:43:43,588 --> 00:43:44,589
UH, 9.
926
00:43:44,589 --> 00:43:47,358
HE WANTS 9 PICTURES.
927
00:43:47,358 --> 00:43:50,461
IF WISHES WERE HORSES,
BEGGARS WOULD RIDE.
928
00:43:50,461 --> 00:43:53,498
SABARTES
LOVES OLD PROVERBS.
929
00:43:53,498 --> 00:43:54,933
HE'S SUCH
AN OLD WOMAN.
930
00:43:56,467 --> 00:43:57,669
9's IMPOSSIBLE.
931
00:43:57,669 --> 00:44:00,305
7? I--I CAN'T GO HOME
WITH LESS THAN 6.
932
00:44:02,607 --> 00:44:03,675
WHAT ABOUT
MY OTHER DEALERS?
933
00:44:03,675 --> 00:44:04,676
WHAT ABOUT
KAHNWEILER?
934
00:44:04,676 --> 00:44:05,844
KAHNWEILER?
935
00:44:05,844 --> 00:44:07,679
KAHNWEILER IS STILL
ON PRE-WAR PRICES,
936
00:44:07,679 --> 00:44:09,014
PRE-WORLD WAR I
PRICES.
937
00:44:09,014 --> 00:44:15,153
I AM HERE TO MAKE
A SERIOUS OFFER.
938
00:44:17,956 --> 00:44:19,290
KAHNWEILER'S
MY OLDEST DEALER.
939
00:44:19,290 --> 00:44:21,592
HE BOUGHT
WHEN NO ONE ELSE
WOULD SPIT AT ME.
940
00:44:21,592 --> 00:44:24,730
YES, BUT GREAT ART
CAN'T BE BOUGHT
WITH SENTIMENT.
941
00:44:24,730 --> 00:44:28,466
YOU NEED SOMETHING
MORE SUBSTANTIAL.
942
00:44:28,466 --> 00:44:29,667
UH-HUH?
943
00:44:29,667 --> 00:44:30,668
I LIKE YOUR NECKTIE.
944
00:44:30,668 --> 00:44:31,669
OH, THANK YOU.
945
00:44:31,669 --> 00:44:33,171
IS IT AMERICAN?
YES.
946
00:44:33,171 --> 00:44:35,573
NEW YORK?
UH, SAKS
FIFTH AVENUE.
947
00:44:35,573 --> 00:44:36,775
OH.
948
00:44:41,479 --> 00:44:43,148
ARE YOU INTERESTED?
949
00:44:43,148 --> 00:44:46,284
AM I INTERESTED?
950
00:44:46,284 --> 00:44:47,352
I WOULD...
951
00:44:47,352 --> 00:44:50,421
I WOULD
HAVE IT SHIPPED
THE MOMENT THAT,
952
00:44:50,421 --> 00:44:53,458
UH, IT WAS FINISHED.
953
00:44:54,692 --> 00:44:56,828
A PAINTING CAN NEVER
BE FINISHED.
954
00:44:56,828 --> 00:44:58,096
WELL, OF--OF COURSE,
THAT'S--THAT'S
WHAT I MEANT.
955
00:44:58,096 --> 00:44:59,164
ART IS ALWAYS
IN PROCESS.
956
00:44:59,164 --> 00:45:01,332
I DID--I DIDN'T
MEAN TO IMPLY...
957
00:45:03,101 --> 00:45:05,904
TO FINISH A PAINTING
MEANS TO DESTROY IT,
TO ROB IT OF ITS SOUL.
958
00:45:05,904 --> 00:45:09,640
TO GIVE IT THE PUNTILLA,
THE COUP DE GRACE.
959
00:45:09,640 --> 00:45:12,944
NO, MY FRIEND,
THE DAY I FINISH A PAINTING,
THAT DAY I'M FINISHED.
960
00:45:12,944 --> 00:45:14,312
I REALLY LIKE
THAT NECKTIE.
961
00:45:14,312 --> 00:45:17,615
THEN IT WOULD
BE MY PLEASURE
TO GIVE IT TO YOU.
962
00:45:17,615 --> 00:45:18,884
HMM?
963
00:45:20,518 --> 00:45:21,686
HERE.
964
00:45:21,686 --> 00:45:22,821
HUH?
965
00:45:22,821 --> 00:45:24,155
OH, THANK YOU.
966
00:45:26,057 --> 00:45:27,058
OH.
967
00:45:27,658 --> 00:45:30,195
MR. KAHNWEILER,
YOU'RE STILL HERE.
968
00:45:30,195 --> 00:45:33,799
I'M SO SORRY.
I CAN'T THINK
WHAT HAPPENED TODAY,
969
00:45:33,799 --> 00:45:35,333
WHY YOU'VE BEEN KEPT
WAITING SO LONG.
970
00:45:35,333 --> 00:45:38,469
WELL, IT AMUSES HIM
TO THINK OF ME
SITTING OUT HERE,
971
00:45:38,469 --> 00:45:41,406
WONDERING WHAT
HE MIGHT BE SELLING
TO OTHER DEALERS.
972
00:45:41,406 --> 00:45:43,775
IT'S BEEN
HIS FAVORITE GAME
WITH ME
973
00:45:43,775 --> 00:45:45,777
FOR
THE PAST 35 YEARS.
974
00:45:45,777 --> 00:45:48,013
Picasso:
OK. SEE YOU
TOMORROW.
975
00:45:48,013 --> 00:45:50,748
Kootz:
WELL, I CAN CHANGE
THE RESERVATION TIME.
976
00:45:50,748 --> 00:45:52,884
KAHNWEILER, WHAT
ARE YOU DOING HERE?
NO ONE TOLD ME YOU--
977
00:45:52,884 --> 00:45:54,685
WHY DIDN'T YOU TELL
ME MR. KAHNWEILER
WAS HERE?
978
00:45:54,685 --> 00:45:56,287
HE'S MY OLD FRIEND.
HOW ARE YOU?
979
00:45:56,287 --> 00:45:58,056
DO YOU LIKE MY TIE?
KOOTZ GAVE IT TO ME.
IT'S FROM NEW YORK.
980
00:45:58,056 --> 00:45:59,357
I THINK IT LOOKS
NICE ON YOU.
981
00:45:59,357 --> 00:46:01,126
SAKS FIFTH AVEN--
IS IT SAKS?
YES. MM-HMM.
982
00:46:01,126 --> 00:46:04,562
HOW ARE--WHY DIDN'T
YOU TELL ME HE WAS
HERE, YOU SILLY--
983
00:46:04,562 --> 00:46:05,831
SO, S--LISTEN--
984
00:46:05,831 --> 00:46:07,098
I'LL SHOW YOU
SOMETHING.
985
00:46:07,098 --> 00:46:08,633
UH, YOU HAVE
A GOOD JOURNEY.
986
00:46:08,633 --> 00:46:09,667
WELL, THANK YOU--
987
00:46:09,667 --> 00:46:10,701
GOOD. YOU HAPPY?
988
00:46:10,701 --> 00:46:12,103
WELL, I HOPE TO BE. I--
989
00:46:12,103 --> 00:46:13,104
GOOD.
990
00:46:13,104 --> 00:46:14,105
BAD.
991
00:46:19,710 --> 00:46:20,912
THINK HE'LL SELL HIM
ANYTHING?
992
00:46:20,912 --> 00:46:22,280
DID HE SELL YOU
ANYTHING?
993
00:46:22,280 --> 00:46:25,183
HE TOLD ME
TO COME BACK TOMORROW.
994
00:46:25,183 --> 00:46:26,852
WHY DID YOU
GIVE HIM
YOUR NECKTIE?
995
00:46:26,852 --> 00:46:28,519
HE SAID HE LIKED IT.
WHAT COULD I DO?
996
00:46:28,519 --> 00:46:30,755
I'VE GOT SUCH A PAIN
RIGHT HERE. I--
HAVE YOU?
997
00:46:30,755 --> 00:46:32,190
...CAN CHANGE
MY RESERVATION,
998
00:46:32,190 --> 00:46:34,425
BECAUSE HE TOLD ME
THEY WERE ALL BOOKED.
999
00:48:26,037 --> 00:48:29,574
DON'T YOU GET TIRED
STANDING ALL THAT TIME?
1000
00:48:29,574 --> 00:48:32,277
YOU'VE BEEN WORKING
FOR NEARLY 9 HOURS.
1001
00:48:32,277 --> 00:48:35,446
WHILE I WORK,
I LEAVE MY BODY
OUTSIDE THE DOOR,
1002
00:48:35,446 --> 00:48:37,415
THE WAY MUSLIMS
TAKE OFF THEIR SHOES
1003
00:48:37,415 --> 00:48:39,350
BEFORE THEY ENTER
THE MOSQUE.
1004
00:48:48,093 --> 00:48:50,861
I LOVE THESE SPOTLIGHTS.
1005
00:48:50,861 --> 00:48:53,531
I EVEN PREFER THEM
TO NATURAL LIGHT.
1006
00:48:56,067 --> 00:48:59,804
THEY SET OFF
EVERY OBJECT.
1007
00:48:59,804 --> 00:49:00,972
THERE.
1008
00:49:00,972 --> 00:49:03,174
YOU'LL FIND THE DEEP
SHADOWS THEY MAKE
1009
00:49:03,174 --> 00:49:04,375
IN MOST
OF MY STILL LIFES,
1010
00:49:04,375 --> 00:49:06,711
BECAUSE THEY WERE
PAINTED AT NIGHT.
1011
00:49:06,711 --> 00:49:10,348
PAINTING IS STRONGER
THAN I AM.
1012
00:49:10,348 --> 00:49:14,752
IT MAKES ME DO
WHAT IT WANTS.
1013
00:49:14,752 --> 00:49:16,221
IT HOLDS THE BRUSH.
1014
00:49:16,221 --> 00:49:18,289
IT DOESN'T SEEM
TO OBEY MY BRAIN,
1015
00:49:18,289 --> 00:49:21,159
BUT SOMETHING ELSE
OVER WHICH I HAVE
NO CONTROL.
1016
00:49:24,529 --> 00:49:26,897
NOW, LOOK AT THIS.
1017
00:49:26,897 --> 00:49:28,833
OBVIOUSLY,
IT'S A WOMAN.
1018
00:49:28,833 --> 00:49:32,370
IT'S YOU IN
YOUR LONG BLACK DRESS.
1019
00:49:32,370 --> 00:49:34,839
BUT YOU SEEM TO BE
TURNING INTO A...
1020
00:49:34,839 --> 00:49:38,576
A BOUQUET OF FLOWERS
OR A LILAC BUSH.
1021
00:49:38,576 --> 00:49:41,746
VERY MYSTERIOUS...
1022
00:49:41,746 --> 00:49:44,115
I THINK I'VE
PAINTED ONE THING,
AND IT'S ANOTHER.
1023
00:49:44,115 --> 00:49:45,516
I'VE BECOME
SO FATALISTIC,
1024
00:49:45,516 --> 00:49:47,418
I THINK, WELL,
IF IT'S BLUE,
IT MUST BE A WOMAN,
1025
00:49:47,418 --> 00:49:50,521
IF IT HAS A BEARD,
IT MUST BE A MAN.
1026
00:49:50,521 --> 00:49:53,658
I MAKE A LOT OF MISTAKES,
AND SO DOES GOD.
1027
00:49:53,658 --> 00:49:58,729
HE MAKES A DACHSHUND
AND THEN AN ELEPHANT
AND A SQUIRREL AND A WHALE.
1028
00:49:58,729 --> 00:50:00,198
LIKE ME.
1029
00:50:00,198 --> 00:50:02,267
HE'S TRIED EVERYTHING,
LIKE ME.
1030
00:50:04,169 --> 00:50:06,371
WE HAVE NO STYLE.
1031
00:50:06,371 --> 00:50:08,806
STYLE ONLY COMES
AFTER YOU'RE DEAD.
1032
00:50:08,806 --> 00:50:12,077
THERE ARE PAINTERS
WHO MAKE THEMSELVES
A LITTLE CAKE MOLD,
1033
00:50:12,077 --> 00:50:14,612
AND THEN
THEY BAKE CAKES.
1034
00:50:14,612 --> 00:50:17,014
ALWAYS THE SAME CAKES.
1035
00:50:17,014 --> 00:50:19,217
YOU CAN TRY ANYTHING
IN PAINTING,
1036
00:50:19,217 --> 00:50:21,319
PROVIDED YOU NEVER
DO IT AGAIN.
1037
00:50:21,319 --> 00:50:22,887
DON'T SELL YOURSELF
ANYTHING.
1038
00:50:22,887 --> 00:50:25,090
DON'T BECOME
YOUR OWN CONNOISSEUR.
1039
00:50:43,374 --> 00:50:44,642
NOW!
1040
00:50:52,617 --> 00:50:54,585
WHAT ARE YOU GOING
TO CALL HIM? PABLO?
1041
00:50:54,585 --> 00:50:56,621
OR PAULO, LIKE
YOUR OTHER SON? HOW
OLD IS PAULO NOW?
1042
00:50:56,621 --> 00:51:00,057
UH, WHY NOT PABLO?
ANOTHER PABLO PICASSO.
1043
00:51:04,061 --> 00:51:05,263
MMM.
1044
00:51:11,702 --> 00:51:15,140
AH. DOESN'T HE LOOK
EXACTLY LIKE ME?
1045
00:51:15,140 --> 00:51:17,074
AN AUTHENTIC PICASSO.
1046
00:51:17,074 --> 00:51:19,810
HE CERTAINLY
HAS THE SAME HAIR.
1047
00:51:19,810 --> 00:51:21,212
WHAT UGLY FLOWERS.
1048
00:51:21,212 --> 00:51:22,480
AREN'T THEY?
1049
00:51:22,480 --> 00:51:25,416
PRIME EXAMPLE
OF MY TASTE
FOR BAD TASTE.
1050
00:51:25,416 --> 00:51:27,084
I HAVE EXCELLENT
TASTE IN WOMEN
AND CHILDREN.
1051
00:51:27,084 --> 00:51:29,720
LET ME SEE HIM.
1052
00:51:29,720 --> 00:51:31,456
HOLD HIS HEAD!
1053
00:51:34,625 --> 00:51:37,495
Francoise: EVERY
THURSDAY AND SUNDAY,
HE WOULD DISAPPEAR.
1054
00:51:37,495 --> 00:51:40,131
THOSE WERE THE DAYS
HE SPENT WITH
HIS OTHER FAMILY,
1055
00:51:40,131 --> 00:51:41,799
MARIE-THERESE
AND MAYA.
1056
00:51:41,799 --> 00:51:44,835
SHE WAS THE ONLY PERSON
ALLOWED TO CUT HIS NAILS,
1057
00:51:44,835 --> 00:51:46,036
A DANGEROUS PROCEDURE,
1058
00:51:46,036 --> 00:51:47,305
BECAUSE IF THE PARINGS
1059
00:51:47,305 --> 00:51:48,606
WERE TO FALL
INTO THE WRONG HANDS,
1060
00:51:48,606 --> 00:51:51,242
THEY COULD BE USED
AGAINST HIM AS BLACK MAGIC.
1061
00:51:51,242 --> 00:51:53,077
THE SAME WITH
HIS HAIR CLIPPINGS.
1062
00:51:53,077 --> 00:51:55,546
ALL OF THESE WERE KEPT
AND DATED CAREFULLY,
1063
00:51:55,546 --> 00:51:58,283
JUST LIKE EVERY SCRAP
HE EVER DREW.
1064
00:52:00,017 --> 00:52:02,187
DO YOU WANT ME TO
CUT YOUR HAIR TODAY?
1065
00:52:02,187 --> 00:52:04,222
IS THERE ANYTHING
LEFT TO CUT?
1066
00:52:09,360 --> 00:52:10,995
YES. LOOK AT THIS.
1067
00:52:10,995 --> 00:52:12,297
HMM, SO SOFT.
BEAUTIFUL.
1068
00:52:12,297 --> 00:52:13,998
NO, IT'S--LOOK,
DO YOU LIKE THIS?
1069
00:52:13,998 --> 00:52:15,132
MM-HMM.
1070
00:52:15,132 --> 00:52:16,301
SHALL I CUT IT?
WANT TO SEE ME BALD?
1071
00:52:16,301 --> 00:52:18,336
GIVE ME
THE SCISSORS.
NO.
1072
00:52:18,336 --> 00:52:20,538
COME ON, GIVE ME
THE SCISSORS.
1073
00:52:24,375 --> 00:52:26,177
RIGHT, HOLD IT THERE.
1074
00:52:31,716 --> 00:52:33,284
GOOD.
1075
00:52:35,853 --> 00:52:37,222
FINISHED?
1076
00:52:38,423 --> 00:52:45,896
THERE, PAPA'S
A BALD OLD MAN NOW, HMM?
1077
00:52:45,896 --> 00:52:48,299
DO YOU LIKE IT? HUH?
1078
00:52:51,402 --> 00:52:53,571
KISS ME ON THE HEAD.
YOU LIKE IT?
1079
00:52:53,571 --> 00:52:54,372
YES.
1080
00:52:54,372 --> 00:52:55,840
YOU LIKE IT?
AND ANOTHER.
1081
00:53:00,110 --> 00:53:01,279
I'VE HAD
SUCH TROUBLE
1082
00:53:01,279 --> 00:53:03,381
WITH THE ELECTRICITY
BILL.
1083
00:53:03,381 --> 00:53:05,416
THEY SAY YOU HAVE
TO PAY IT FIRST,
1084
00:53:05,416 --> 00:53:08,319
AND THEN THEY'LL
INVESTIGATE AND
GIVE YOU A REFUND.
1085
00:53:08,319 --> 00:53:09,720
COME HERE.
1086
00:53:14,725 --> 00:53:18,929
MAYA AND I WILL HAVE
TO GO SHOPPING FOR
A NEW COAT FOR HER.
1087
00:53:18,929 --> 00:53:20,598
SHE'S GROWING
SO FAST.
1088
00:53:23,033 --> 00:53:24,068
SHH.
1089
00:53:24,068 --> 00:53:25,470
MONEY IS SUCH
A WORRY FOR YOU,
1090
00:53:25,470 --> 00:53:28,406
AND MAYA AND I
TRY NOT TO SPEND
TOO MUCH.
1091
00:53:32,543 --> 00:53:35,346
WITHOUT YOU AND MAYA,
MY LIFE WOULD BE...
1092
00:53:35,346 --> 00:53:38,316
A DESERT WASTE.
1093
00:53:38,316 --> 00:53:39,550
AND FROM NOW ON,
1094
00:53:39,550 --> 00:53:42,019
I WANT YOU
TO WRITE ME
TWICE A DAY.
1095
00:53:42,019 --> 00:53:43,554
EVERY DAY,
YOU UNDERSTAND?
1096
00:53:43,554 --> 00:53:44,855
MM-HMM.
1097
00:53:44,855 --> 00:53:47,558
TWICE A DAY,
BECAUSE I'M SICK IF
I DON'T HEAR FROM YOU.
1098
00:53:47,558 --> 00:53:50,828
REALLY SICK.
MISERABLE AND LONELY.
1099
00:53:55,533 --> 00:53:57,302
AFTER OUR SON WAS BORN
1100
00:53:57,302 --> 00:53:59,236
WE SPENT LESS
AND LESS TIME IN PARIS.
1101
00:53:59,236 --> 00:54:01,306
PICASSO DECIDED THAT
CHILDREN NEED SEA AIR,
1102
00:54:01,306 --> 00:54:02,940
AND AS SOON
AS IT WAS SPRING,
1103
00:54:02,940 --> 00:54:05,610
WE WENT TO GOLFE JUAN
AND STAYED RIGHT
THROUGH THE AUTUMN.
1104
00:54:05,610 --> 00:54:07,778
BUT, OF COURSE,
WHEREVER PICASSO WENT,
1105
00:54:07,778 --> 00:54:10,281
HIS ASSORTED FAMILIES
WENT, TOO,
1106
00:54:13,451 --> 00:54:16,454
WHY DON'T YOU
LET ME TEACH YOU
HOW TO SWIM?
1107
00:54:16,454 --> 00:54:18,789
I SWIM VERY WELL
UP TO MY KNEES.
1108
00:54:18,789 --> 00:54:20,925
I CAN MAKE LOVE
UNDERWATER,
REMEMBER?
1109
00:54:20,925 --> 00:54:22,126
ARE YOU COLD?
1110
00:54:22,126 --> 00:54:23,728
YES, I'M FREEZING.
1111
00:54:28,699 --> 00:54:30,668
YOU KNOW WHAT
I THINK WOULD BE NICE?
1112
00:54:30,668 --> 00:54:32,002
WHAT?
1113
00:54:32,002 --> 00:54:34,939
IF YOU WOULD LET
MARIE-THERESE AND MAYA
COME AND VISIT US.
1114
00:54:34,939 --> 00:54:36,507
WHY?
1115
00:54:36,507 --> 00:54:40,411
WHY NOT? GIVE ME
ONE GOOD REASON.
1116
00:54:40,411 --> 00:54:42,313
YOU DON'T UNDERSTAND
THESE THINGS YOURSELF.
1117
00:54:42,313 --> 00:54:44,815
I UNDERSTAND THAT
CLAUDE HAS A HALF-SISTER,
1118
00:54:44,815 --> 00:54:47,151
AND I WOULD LIKE HIM
TO MEET HER.
1119
00:54:47,151 --> 00:54:48,653
FOR A MIDDLE-CLASS GIRL,
1120
00:54:48,653 --> 00:54:50,755
YOU HAVE VERY LITTLE
SENSE OF PROPRIETY.
1121
00:54:50,755 --> 00:54:52,823
YOU WERE VERY BADLY
BROUGHT UP.
1122
00:54:53,891 --> 00:54:55,760
VERY BADLY. GO AWAY.
1123
00:55:01,566 --> 00:55:03,300
CLAUDE WAS SAYING
WHOLE SENTENCES
1124
00:55:03,300 --> 00:55:05,135
BY THE TIME
HE WAS 18 MONTHS.
1125
00:55:05,135 --> 00:55:06,136
Picasso: YEAH.
1126
00:55:06,136 --> 00:55:07,872
WHEN DID HE
START WALKING?
1127
00:55:07,872 --> 00:55:09,239
HE MUST'VE BEEN--
1128
00:55:09,239 --> 00:55:10,775
3 DAYS.
1129
00:55:10,775 --> 00:55:11,842
15 MONTHS.
1130
00:55:11,842 --> 00:55:12,877
OH, I SHOULDN'T.
1131
00:55:12,877 --> 00:55:14,979
MAYA WALKED
BEFORE SHE WAS
A YEAR OLD.
1132
00:55:14,979 --> 00:55:17,648
GIRLS ARE
USUALLY QUICKER
THAN BOYS.
1133
00:55:17,648 --> 00:55:19,684
BUT I
DIDN'T WEAN HER
TILL 14 MONTHS.
1134
00:55:19,684 --> 00:55:22,252
OH, I STARTED CLAUDE
ON SOLID FOOD
AT 4 MONTHS.
1135
00:55:22,252 --> 00:55:23,988
4 MONTHS? IMAGINE.
1136
00:55:23,988 --> 00:55:26,290
HE DID VERY WELL
WITH BANANAS AND CEREAL.
1137
00:55:26,290 --> 00:55:27,792
AND BEEF STEAKS.
1138
00:55:27,792 --> 00:55:29,059
BEEF STEAKS?
1139
00:55:29,059 --> 00:55:30,361
BEFORE HE HAD TEETH?
1140
00:55:30,361 --> 00:55:32,363
HE WAS BORN WITH TEETH.
1141
00:55:32,363 --> 00:55:34,832
STRONG TEETH, LIKE MINE.
1142
00:55:34,832 --> 00:55:38,168
I USED TO MASH
THE YOLK OF AN EGG
FOR HIM IN MILK.
1143
00:55:38,168 --> 00:55:39,504
MM-HMM.
1144
00:55:41,171 --> 00:55:44,074
YOU HAVEN'T
FINISHED YOUR TEA.
IT WILL GET COLD.
1145
00:55:44,074 --> 00:55:45,410
OH.
1146
00:55:45,410 --> 00:55:46,944
THANK YOU.
1147
00:55:58,956 --> 00:56:01,025
DON'T HOPE
THAT YOU CAN EVER
TAKE MY PLACE.
1148
00:56:01,025 --> 00:56:02,627
OF COURSE NOT.
1149
00:56:02,627 --> 00:56:04,895
OTHERS HAVE TRIED
AND FAILED.
1150
00:56:04,895 --> 00:56:08,866
I SHALL ALWAYS BE
THE FIRST AND MOST
IMPORTANT WITH HIM.
1151
00:56:14,171 --> 00:56:16,006
THAT IS ALL
I WANTED TO SAY.
1152
00:56:17,942 --> 00:56:20,377
Francoise: HE WAS
VERY DISAPPOINTED
WITH THIS MEETING.
1153
00:56:20,377 --> 00:56:22,680
"YOU'RE NOT
A REAL WOMAN,"
HE ACCUSED ME.
1154
00:56:22,680 --> 00:56:25,616
A REAL WOMAN WOULD
HAVE FOUGHT OVER HIM,
PHYSICALLY FOUGHT,
1155
00:56:25,616 --> 00:56:27,718
LIKE DORA MAAR DID
WITH MARIE-THERESE.
1156
00:56:30,054 --> 00:56:32,590
IT HAPPENED WHILE
HE WAS PAINTING GUERNICA,
1157
00:56:32,590 --> 00:56:35,192
THAT GREAT HUMAN CRY
AGAINST AGGRESSION
1158
00:56:35,192 --> 00:56:37,094
AND HATE BETWEEN
MAN AND MAN...
1159
00:56:37,094 --> 00:56:38,863
AND WOMAN AND WOMAN.
1160
00:56:41,065 --> 00:56:43,300
THIS MAN
IS THE FATHER
OF MY CHILD.
1161
00:56:43,300 --> 00:56:45,402
YOU HAVE
NO RIGHT
TO BE HERE.
1162
00:56:45,402 --> 00:56:46,971
IT'S TRUE
I HAVEN'T GOT A CHILD,
1163
00:56:46,971 --> 00:56:50,007
BUT I THINK
HE FINDS ME EQUALLY,
IF NOT MORE AMUSING,
1164
00:56:50,007 --> 00:56:53,611
WITHOUT ONE.
1165
00:56:53,611 --> 00:56:54,612
MAKE UP YOUR MIND.
1166
00:56:54,612 --> 00:56:56,514
WHICH ONE OF US
DO YOU WANT?
1167
00:56:56,514 --> 00:57:00,551
I LIKE YOU BOTH. I HAVE
NO COMPLAINTS AT ALL.
1168
00:57:00,551 --> 00:57:03,153
YOU MUST FIGHT IT OUT
BETWEEN YOURSELVES.
1169
00:57:28,245 --> 00:57:29,446
OH!
1170
00:57:42,459 --> 00:57:43,994
OW! OW!
1171
00:57:54,404 --> 00:57:56,240
AND THIS.
1172
00:57:56,240 --> 00:57:57,675
AND THIS.
1173
00:58:16,661 --> 00:58:20,565
HEY!
1174
00:58:20,565 --> 00:58:22,466
GARBAGEMAN!
1175
00:58:22,466 --> 00:58:24,101
DON'T LOOK AT HER.
1176
00:58:24,101 --> 00:58:25,102
WHO'S THAT?
1177
00:58:25,102 --> 00:58:26,270
COMPLETELY CRAZY.
1178
00:58:26,270 --> 00:58:29,006
WHEN I WAS MARRIED TO YOU,
YOU WERE AN ARTIST.
1179
00:58:29,006 --> 00:58:33,010
WHAT ARE YOU DOING NOW?
COLLECTING GARBAGE. OH!
1180
00:58:33,010 --> 00:58:34,078
WHO IS THAT?
1181
00:58:34,078 --> 00:58:36,146
A GARBAGEMAN.
ARTIST TO GARBAGEMAN.
1182
00:58:36,146 --> 00:58:37,582
OLGA MY WIFE.
1183
00:58:37,582 --> 00:58:38,816
THAT'S OLGA?
1184
00:58:38,816 --> 00:58:42,286
THEY CALL YOU "KING
OF THE RUBBISH DUMP."
1185
00:58:42,286 --> 00:58:44,088
KING OF THE RUBBISH DUMP.
1186
00:58:44,088 --> 00:58:46,557
THAT'S THE ONLY KIND
OF KING YOU ARE.
1187
00:58:46,557 --> 00:58:50,761
WHO IS THIS ONE
HE HAS GOT WITH HIM?
1188
00:58:54,298 --> 00:58:57,401
WHO IS SHE?
1189
00:58:57,401 --> 00:59:00,671
WHERE DID HE FIND HER?
1190
00:59:00,671 --> 00:59:01,672
GO AWAY. GO HOME.
1191
00:59:01,672 --> 00:59:03,774
I'M HIS WIFE.
1192
00:59:06,143 --> 00:59:07,878
HIS WIFE.
1193
00:59:08,913 --> 00:59:12,382
I AM THE ONLY
MADAME PICASSO.
1194
00:59:12,382 --> 00:59:13,651
WHERE'S YOUR SON?
1195
00:59:13,651 --> 00:59:14,919
MY SON?
YEAH.
1196
00:59:14,919 --> 00:59:18,288
HE'S YOUR SON.
EVERY BIT OF HIM.
1197
00:59:18,288 --> 00:59:20,424
HE DOES NO WORK,
1198
00:59:20,424 --> 00:59:22,259
HE SPENDS
ALL OF MY MONEY,
1199
00:59:22,259 --> 00:59:24,261
AND THEN
HE ASKS FOR MORE.
1200
00:59:24,261 --> 00:59:26,931
HE'S GOING
FROM BAD TO WORSE,
LIKE YOU.
1201
00:59:26,931 --> 00:59:30,601
NOTHING BUT DRINK
AND GIRLS,
1202
00:59:30,601 --> 00:59:31,969
EXACTLY LIKE HIS FATHER.
1203
00:59:31,969 --> 00:59:33,671
Picasso:
I DON'T DRINK.
1204
00:59:33,671 --> 00:59:36,173
HAVE YOU HEARD
OF REMBRANDT?
1205
00:59:36,173 --> 00:59:37,274
FRANCOISE?
1206
00:59:38,709 --> 00:59:40,410
HAVE YOU...
1207
00:59:40,410 --> 00:59:43,180
HEARD OF REMBRANDT?
1208
00:59:43,180 --> 00:59:47,351
IF YOU WERE LIKE HIM,
YOU WOULD BE A REAL PAINTER.
1209
00:59:47,351 --> 00:59:49,153
HAVE YOU HEARD
OF BEETHOVEN?
1210
00:59:49,153 --> 00:59:51,155
HE IS A GREAT GENIUS.
1211
00:59:51,155 --> 00:59:54,591
YOU, YOU ARE NOTHING.
NOBODY. GARBAGE.
1212
00:59:54,591 --> 00:59:58,128
OH! THAT GOES VERY WELL
WITH YOUR TROUSERS.
1213
00:59:58,128 --> 01:00:00,197
I EAT CAVIAR...
1214
01:00:03,600 --> 01:00:06,403
Francoise: PICASSO
HAD MET OLGA IN 1917.
1215
01:00:06,403 --> 01:00:08,873
SHE WAS WITH
DIAGHILEV'S
BALLET RUSSE.
1216
01:00:08,873 --> 01:00:10,741
DIAGHILEV CHOSE
HIS DANCERS
1217
01:00:10,741 --> 01:00:12,342
EITHER BECAUSE
THEY WERE GOOD DANCERS,
1218
01:00:12,342 --> 01:00:14,478
OR BECAUSE THEY HAD
GOOD SOCIAL CONNECTIONS
1219
01:00:14,478 --> 01:00:16,747
AND COULD BE
USEFUL TO HIM.
1220
01:00:16,747 --> 01:00:20,217
OLGA FELL INTO
THE LATTER CATEGORY.
1221
01:00:20,217 --> 01:00:21,585
WHO'S THE DANCER?
1222
01:00:21,585 --> 01:00:23,587
THAT IS
OLGA KOKLOVA.
1223
01:00:23,587 --> 01:00:24,989
SHE CAN'T DANCE,
1224
01:00:24,989 --> 01:00:27,758
BUT HER FATHER
IS A GENERAL IN
THE RUSSIAN ARMY.
1225
01:00:27,758 --> 01:00:29,860
YOU BETTER
BE CAREFUL.
1226
01:00:29,860 --> 01:00:32,196
OF HER OR THE GENERAL?
1227
01:00:32,196 --> 01:00:34,231
YOU START
SOMETHING WITH
A RUSSIAN WOMAN,
1228
01:00:34,231 --> 01:00:35,232
THAT'S IT.
1229
01:00:35,232 --> 01:00:37,001
YOU MARRY HER.
1230
01:00:50,781 --> 01:00:53,550
NO, SHE REALLY
CAN'T DANCE.
1231
01:00:53,550 --> 01:00:55,319
BUT MY PEACOCKS
ARE GOOD.
1232
01:01:05,062 --> 01:01:08,232
Francoise: OLGA
AND PICASSO WERE
MARRIED IN 1918.
1233
01:01:08,232 --> 01:01:11,668
THEIR SON PAULO
WAS BORN IN 1921,
1234
01:01:11,668 --> 01:01:13,537
THE SAME YEAR
AS I WAS.
1235
01:01:16,941 --> 01:01:19,409
PAULO CAME IN SECOND
AT THE MONTE CARLO
RALLY.
1236
01:01:19,409 --> 01:01:21,078
HA!
IMAGINE?
1237
01:01:21,078 --> 01:01:23,380
WITH ALL THOSE
PROFESSIONALS.
1238
01:01:23,380 --> 01:01:24,681
iVIVA PAULO!
1239
01:01:24,681 --> 01:01:27,117
THAT'S ALL
HE'S GOOD FOR, RIDING
THAT STUPID MOTORCYCLE
1240
01:01:27,117 --> 01:01:28,552
I WAS STUPID ENOUGH
TO BUY HIM.
1241
01:01:28,552 --> 01:01:29,987
PLAYING BOULES WITH YOU.
1242
01:01:29,987 --> 01:01:30,821
AW...
1243
01:01:30,821 --> 01:01:32,222
YOU'RE A BAD INFLUENCE
ON HIM--
1244
01:01:32,222 --> 01:01:34,691
WELL, EVERYONE PAULO MEETS
IS A BAD INFLUENCE ON HIM.
1245
01:01:34,691 --> 01:01:37,061
HE'S A GOOD SON.
HE'S VERY PROUD
OF YOU.
1246
01:01:37,061 --> 01:01:38,128
ISN'T THAT SO,
MADEMOISELLE?
1247
01:01:38,128 --> 01:01:40,464
STOP CALLING HER
MADEMOISELLE.
1248
01:01:40,464 --> 01:01:42,099
HERE SHE IS
WITH A CHILD.
1249
01:01:42,099 --> 01:01:44,802
WELL, 2 CHILDREN,
INCLUDING THAT LUMP
UP THERE.
1250
01:01:47,304 --> 01:01:49,740
WHOO!
1251
01:01:49,740 --> 01:01:51,308
WHOO-WHOO-WHOO-WHOO!
1252
01:01:57,114 --> 01:01:579053
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