CONTEMPT
This film is based on a novel by Alberto Moravia.
Starring Brigitte Bardot and Michel Piccoli.
And Jack Palance and Giorgia Moll.
And Fritz Lang.
Raoul Coutard did the photography.
Georges Delerue wrote the music.
The sound was recorded by William Sivel.
The film was edited by Agnes Guillemot.
Production managers were Philippe Dussart and Carlo Lastricatti.
This is a film by Jean-Luc Godard.
It was filmed in Scope and processed by GTC at Joinville.
It was produced by Georges de Beauregard and Carlo Ponti -
- for Rome-Paris Films, Concordia, C.C. Champion, Rome.
"Film," Bazain said, "substitutes a world that conforms to our desires."
"Contempt" is the story of that world.
I don't know. I think I'll visit Mother.
But afterwards, I don't know.
Come and fetch me, if you like, at 4 o'clock at the Cinecitta.
I have to talk to that American.
Yes, maybe.
- Can you see my feet in the mirror? - Yes.
- Do you think they're pretty? - Yes. Very pretty.
- And my ankles, do you like them? - Yes.
Do you like my knees, too?
Yes. I'm very fond of your knees.
And my thighs?
Them, too.
Can you see my behind in the mirror?
Yes.
Do you think my buttocks are pretty?
Yes, very pretty.
Do you want me to kneel down?
No, it's O.K.
And my breasts, do you like them?
Yes. Enormously.
- Softly, Paul. Not so rough. - Sorry, Camille.
What do you like best, my breasts or my nipples?
I don't know. Both equally.
- And my shoulders. You like them? - Yes.
- I don't think they're round enough. - I do.
And my arms, do you like them?
Yes.
And my face?
That, too.
Everything? My mouth, my eyes, my nose, my ears?
Everything.
- So you love me totally? - Yes.
I love you totally, tenderly, tragically.
Me too, Paul.
Hello. How are you? What's up? Where's everybody?
Jerry has sent almost everyone home. Italian film is in a bad way.
- Where is he? - Over there.
Where?
Jerry?
Yesterday there were kings here.
Princesses, lovers...
All human emotions.
Yesterday, he sold everything.
Now, they're going to build a 10-cent Prisunic store.
They'll build a Prisunic.
- It's the end of the film industry. - The film industry will last forever.
You wrote "Toto against Hercules".
- It's going very well in New York. - Not badly.
- Do you know "The Odyssey"? - That you're doing with Fritz Lang?
- It's going very badly. - Why did you hire him?
The film needs a German director. It was a German who discovered Troy.
So what am I supposed to do?
He needs new scenes. Not with more sex, but with more...?
Producers never know.
To know what one doesn't know is superior spirit.
Not to know and to think one does know is a mistake.
To know that it's a mistake keeps one from making it.
I don't think Lang will accept it.
In '33, Goebbels asked Lang to lead the German film industry, and he fled.
We are not in '33. And Mr. Prokosch knows you will do the job.
Why?
He'll tell you in the projection room. It's this way.
So, why?
- Because you need the money. - How does he know?
Someone told him you have a very beautiful wife.
Each film should have a point of view.
Here, it's the eternal problem of the old Greeks.
It's the fight against the gods. The fight of Ulysses.
- That's Minerva, isn't it? - Yes, she's Ulysses' protectoress.
She's Ulysses' protectoress.
It's Neptune. Ulysses' mortal enemy.
That's Neptune. His mortal enemy.
- Zweite. - Second reel.
"The Odyssey" 700, first.
Mr. Prokosch likes gods.
He understands them very well.
There's Homer.
It's not the gods who created man, but man who created the gods.
It's a mermaid.
It's art, but will the public understand it?
- Who is she? - It's Penelope.
Mr. Prokosch has a theory about "The Odyssey".
He thinks Ulysses' wife was unfaithful.
My brothers who have confronted a thousand dangers -
- and reached the borders of the West, -
- do not hesitate to follow the sun and explore the uninabited world."
"Oh, my brothers who have confronted thousands of dangers -
- and reached the borders of the West, -
- do not hesitate to follow the sun and explore the uninabited world."
"Learn whence you came; you were not made to be, -
- but to discover knowledge and morality."
Thank you.
- Do you know it? - Yes, it's famous. It's by Dante.
"Already, the night looked upon the stars."
"And ourjoy quickly turned to tears."
"Until the sea had closed over us."
"The Odyssey", 701, third.
I'm Paul Javal, Mr. Prokosch probably told you.
I know.
It's great. I love Cinemascope.
It's not made for people. It's made for snakes and coffins.
What's going on? Are they arguing about the script?
He says it's not the same thing when it's written and when it's filmed?
Jerry!
I have to meet my wife.
...the Hitlerians said "revolver" instead of "checkbook".
Will you accept the work, yes or no?
I forgot it!
Fearless becomes the man who stands alone before God.
His innocence protects him, so he needs neither weapons nor cunning.
Until God's absence helps him.
"But man, when he must, may stand fearless, alone before God."
"His innocence will protect him."
"He needs neither weapons nor guile, -
- until the absence of God comes to his aid."
- Very good. - It's Holderlin, isn't it, Mr. Lang?
Yes. "The Poet's Vocation".
The last verse is very strange. Holderlin first wrote:
"...while God is not there."
So God is not missing.
Yes, and then he wrote: "...until God is near."
So God is near.
The final version of the line contradicts the other two.
It's no longer the presence of God -
- but the absence of God that comforts man.
It's strange, but true.
- How do you say strange in Italian? - Strano.
After you.
Miss Francesca Vanini!
I'll be back in five minutes.
Paul!
This is Mr. Prokosch. My wife, Camille.
This is my wife, Camille. Fritz Lang.
He made the Dietrich western we saw on Friday.
- It was terrific. - I prefer "M".
We saw it the other day on TV. I liked it very much.
Thank you. You are very kind.
Great shot in "Rancho Notorious" when Mel Ferrer tips the wheel.
Thank you. When I've finished "The Odyssey"...
Mr. Prokosch invites you for a drink at his home. Yes or no?
I don't know.
- He says you know very well. - Me?
- Paul? - I'll have a drink.
- Goodbye. - Madame...
Let's go, if you like.
Have a seat.
Paul, you won't be comfortable back here. Take a taxi.
- Sure, sure. - Mr. Prokosch will come back.
- I'll get a taxi. - We'll both go in the taxi.
- Make up your minds. - Go on.
Go on. I'll join you right away.
- Paul! - Camille!
Camille...
- Ciao! - Ciao.
What's the address?
- What's he saying? - My English isn't better than yours.
We've been here for half an hour. What took you so long?
I had an accident.
I was in the taxi, and on the corner of Via Charelli -
- another car crashed into us. We had a wing torn off.
Then the drivers started shouting at each other.
I had to find another taxi, that's why...
Why what?
Why I'm late.
I had to walk to the Piazza Venezia before I got a taxi.
...for a very long time.
Anyway, I don't give a damn what happened.
I had to walk for over 20 minutes.
- Don't you believe me? - We'll discuss it later.
I'm going to look around.
Francesca...
Mr. Prokosch says to come tomorrow to sign your contract.
What's wrong, Camille?
Friday we're shooting in Capri. Come with us.
Answer when you're spoken to. Why are you so quiet?
- What did you do before I arrived? - Nothing special.
Did he make advances at you?
- Why do you ask that? - For no reason.
I'm going to wash my hands.
- Where's the bathroom? - Upstairs, to the right.
What's the matter?
Nothing.
- Have you been crying? - No.
He's tough, your boss.
Yes.
Have you known him long?
What did he do before making films?
- I don't want to talk about it. - I was just making conversation.
Seems a shame to be so pretty and so sad.
Can't you say something more amusing?
Amusing?
A funny story... But which one?
The story of Ramakrishna and his disciple.
Ramakrishna is an Indian guru.
He had a disciple -
- who stopped believing in his master's teachings.
So the disciple went off by himself.
15 years later he came back and he said: "I've got it."
Got what?
He told Ramakrishna he'd explain, and took him down to the river.
And the disciple walked on the water, back and forth.
"See," he said, "I can cross the river now without getting my feet wet."
"Fool," said Ramakrishna.
"I never get my feet wet, the ferry costs only one rupee."
You don't look so sad now. I'm glad.
Paul...
- Is this how you wash your hands? - Did you see me?
- I told her the Ramakrishna story. - I'm sure you did.
You're being silly.
- Where can I pee? - Up there.
It's a book of Roman paintings. It will help you.
"The Odyssey" is in Greek.
He knows.
About what? About what?
About the money and your wife.
Mr. Prokosh is inviting you to dinner. Yes or no?
I'm tired. I'd rather go home.
Tell them we're leaving.
- Paul. - We're leaving.
If you decide about Capri, call tonight.
Paul will call you.
- Why not you, madame? - My husband makes the decisions.
What interests you about "The Odyssey"?
I don't know yet.
Maybe this can be different from the modern films that I hate.
We must get back to Griffith and Chaplin...
...to the great days of United Artists.
The wise man does not oppress others with his superiority.
He doesn't humiliate them for their impotence.
Did you see that? He kicked her!
That's a quick change. On Monday you thought he was terrific.
And now I think he's ajerk.
I can change my mind if I like.
- What's got into you? - Nothing.
If you're happy, then so am I.
"Rio Bravo" is on at the Regina.
Nicholas Ray's "Bigger than Life" is on, too.
- You've got the key. - I know.
I phoned your mother's, but you werert there.
We had lunch here. I didn't want to go out.
I like it here now. It's better than the hotel.
I told you so.
How much will you get for the script?
10,000 dollars. That's six million lire.
- We'll be able to pay off the flat. - That's great.
When will you call your friend about the curtains?
When he gets back from Spain. Roberto said he'd be back Friday.
- I want red velvet or nothing at all. - Okay.
- Set the table while I have a bath. - I want a bath, too.
Go ahead. I'll work for a bit.
No, I'll have one later, while this cooks.
- String beans again? - Yes. If you don't like it, tough.
- I'll set the table. - I've already started.
I bought myself something this morning. Tell me what you think.
What sort of thing?
- What sort of thing? - Don't look yet.
Do you want to go to Capri?
Camille!
- What? - Do you want to go to Capri?
- Maybe yes, maybe no. - It'll be a nice holiday.
- He didn't invite me, anyway. - What's that?
He invited you, not me.
Where did we put the mirror? Oh, right...
Not at all. He invited both of us.
Look.
- Look. It suits me, doesn't it? - I prefer you blonde.
I prefer you without the hat and cigar.
I'm Dean Martin in "Some Came Running".
What ajoke.
I don't know about Dean, but you sure look like the ass Martin.
- Who's he? - Don't you know about the ass Martin?
He went to Baghdad to buy flying carpets.
He found a very nice one, -
- and he sat on it, but it didn't take off.
"Hardly surprising," said the carpet seller... Are you listening?
Yes.
"The carpet won't take off if you're thinking about an ass."
"All right," said Martin, "I won't think about an ass."
And automatically he did, and the carpet wouldn't take off.
I don't see the connection with me.
- That's exactly what I was saying. - I really don't get it.
Never mind. Have you finished?
Yes, you can use the water. It's clean, I didn't wash.
You've been acting very strangely. What's wrong?
Nothing at all. I knew you'd say that.
Was it that girl?
It's nothing! I simply said you were an ass.
She sounds different in different places.
Why don't you want to go to Capri?
Because you're an ass.
You frighten me, Paul.
This isn't the first time, either.
You could have given me a straight answer.
Why ever did I marry a 28-year-old typist?
You're right. I'm sorry.
So am I.
Go to Capri if you like. I'm not going.
I've told you I don't like that guy Prokosch.
Why? What's he done to you?
Absolutely nothing.
- Why are you so thoughtful? - I'm thinking, believe it or not.
- Surprised? - No, what about?
- An idea. - Come with me. I'm not going alone.
You've been very odd since we met that guy.
No, I'm not odd.
- Why would you say that? - Everything was fine this morning.
Now we're quarreling about nothing. What's up, sweetheart?
I feel like having fun. Nothing's up, Paul.
I'm afraid I'll be bored there. I shart go.
I shart go. I shart go.
I shart go.
Have you seen the house they're building opposite?
It's a disgrace.
Now let it alone, Paul, if you love me.
A husband has the right to know why his wife is sulking.
I'm sure it's that girl.
Go to hell.
Hello. No, Camille isn't here.
I thought you had lunch together in town and went shopping.
She's just come in. It's your mother.
You're crazy! Why did you tell my mother I wasrt here?
- I don't know why. - I know.
You wanted to know if I was lying about this morning.
Yes.
I'll divorce you if you go on like this.
- Get up! - What are you doing?
- I'll sleep on the couch. - Tonight?
No, every night from now on.
Don't get upset. I just can't sleep with the window open.
All right, we'll close it.
You always say you're stifled. It's best this way.
Lots of couples sleep apart and get on fine.
What have I done? Tell me.
I'm sorry I said you werert here. Is that it?
Move over.
- Is that why you're angry? - Yes, but I'm not anymore.
I'll be fine here.
What have I done?
You've turned so nasty.
Me? I'm still the same.
It's you who's changed, Paul.
Ever since you got in with those film people.
You used to write thrillers.
You didn't make much money, but it didn't matter.
What's this?
The Italian Communist Party. You never told me you joined.
I joined in Paris two months ago.
- Give me that. - Let go of me.
- Don't talk like that to me! - Same to you.
I'm earning the money for you, after all.
Please, Paul. I don't want to argue.
I don't want to go to Capri, either.
Why? That's silly. You go.
- Paul, come here. - Why?
The job doesn't interest me anymore.
You can tell Prokosch, I don't want to talk to him.
Paul, come here.
Why don't you want to write the script?
I was only doing it because I love you.
You don't love me anymore, so there's no point.
That's news to me.
"I was the judge in a buttock-contest between three beauties."
"They had chosen me as the judge, -
- and they displayed their wonderful nudity."
"The first turned the snowy, dimpled bloom of her back."
"The second spread her legs and her flesh glowed rosy red."
"The third stood as still as a tranquil sea, -
- with delicate undulations barely rippling her skin."
We'll mortgage the apartment when we're broke.
Did something make you think I don't love you?
Yes.
What?
- What? - Everything.
Such as?
- Just tell me if it's true. - No, you tell me what first.
What makes me think you don't love me anymore?
Your way of talking since this afternoon.
You werert like that this morning.
Or yesterday.
The way you look at me, too.
"The problem, as I see it, -
- comes down to the way we look at the world."
"Whether we have a positive or a negative conception."
"Classical tragedy was negative -
- in that it made man the helpless victim of fate -
- as personified by the gods."
Why do you say it's the window? Is there something else?
I think so.
"Man can rebel against things that are evil or wrong."
"One must rebel when one is trapped by circumstance or convention."
"But I do not believe murder to be a solution."
"The crime of passion is pointless."
"If the woman I love deceives me, I kill her."
"What do I have left? My love is dead."
"If I kill her lover, she hates me and I lose her."
"Killing can never be a solution."
- Listen, Camille. - Listen, I swear.
I can't sleep with the window open.
I need silence, darkness.
I swear.
And you move around too much. From now on I want to sleep alone.
So no more making love?
Just listen to that bloody fool.
Was that smile mocking or tender?
Tender.
Answer me, then.
If it were true, I'd tell you. A woman can always find excuses.
- But you're a stupid sod sometimes. - Bad language doesn't suit you.
Doesrt it?
Just listen.
Asshole... Fuck... Shit...
Goddammit... Bastard...
Bollocks... Bloody hassle.
You still think it doesn't suit me?
Why don't you want to make love anymore?
All right, let's do it, then. But get on with it.
I'd thought Camille might leave me and how terrible it would be.
Now it's happening.
Everything used to happen instinctively, in a shared ecstasy.
Things happened with impetuous, enchanted, mad spontaneity.
Without thinking, I'd find myself in Paul's arms.
Now, that spontaneity, having left her, had left me, too.
Even when excited, could I respond to her-
- with the same frankness as she undoubtedly could?
What I said, I said with a secret feeling of vengeance.
She seemed to realize that a lie might smooth things over.
Just then she obviously meant to lie, but she changed her mind.
Paul had made me suffer.
Now it was my turn to torment him, by hinting at what I'd seen.
I was wrong, she wasrt unfaithful. Or she only appeared to be.
What was the truth of her behavior?
Though assailed by doubts, I still clung to the fond hope -
- that reason could disperse the confusion caused by feelings.
I'd thought that Camille might leave me and how terrible it would be.
Now it's happening.
Everything used to happen instinctively, in a shared ecstasy.
Don't be like that.
- Like what? - You know very well.
It's your fault.
You look as though you were studying my expression...
...for a clue to the attitude you should take.
"The private plane hovered in the blue sky."
"Rex noticed a familiar trait in Paula."
"In her indecision, Paula's smooth features -
- underwent a sort of process of distortion."
"As Rex knew, this happened every time..."
"...Paula had to make a decision..."
"...which was contrary to her nature."
What's got into you, Paul? I love you just as always.
What would you really do if I didn't love you anymore?
- I've already told you. - I don't remember.
No script, and we'd sell the flat.
But I love you. All this is so stupid.
When Prokosch calls, say you're going to Capri.
And you?
I love you, don't make me say it again.
I want to keep the flat.
If you don't want to do the script, don't.
Don't give it up because you think I don't want you.
Kiss me.
We were just talking about you.
And about your film.
Yes, "The Odyssey", about the man on a voyage.
To Capri?
Can you swim there?
I don't know.
Here's Paul.
Hello, Mr. Prokosch.
Yes...
- Arert we eating in? - I don't feel like buying stuff.
All right, we'll go to this cinema with Prokosch and Lang.
They want to look at a singer in a stage show. We'll eat afterwards.
It'll be late if there's a film first.
I want to see the film to get ideas.
You should get your own ideas instead of stealing them from others.
What makes you say that? Camille...
Let's go.
I knew it. Now that I've said yes to Prokosch, bang goes the tenderness.
Yes, bang go the caresses. What did he say on the phone?
- He asked about Capri. - What did you say?
- That it was up to you. - Are you crazy?
You know it's up to you, not me.
- Come to Capri, then. - No.
Is there something between you and Prokosch?
You're a sad case.
- I've got to talk to you. - What about the cinema?
I've got to talk to you, Camille.
All right, I'm listening.
I've got to talk to you.
Just now, before the phone rang, -
- I said I wouldn't take the job because I wasrt sure of you.
And you told me that you love me and that I should accept.
Yes.
I'm sure you were lying. I don't know why.
Out of pity? Self-interest?
- What sort of self-interest? - Keeping this flat you love so much.
How can you know what I'm thinking? I don't care about it.
Sell the flat if you like, I don't give a damn.
But you said you like it.
I just said that to please you.
But that's not the important thing. I want to know why you lied.
- Who says I lied? - I feel you don't love me anymore.
What's the use of knowing what's true?
- So you admit I'm right. - I admit nothing. Stop pestering me.
It's true. I don't love you anymore.
- There's nothing to explain. - Why? Yesterday you still loved me.
Yes, very much.
Now it's over.
There must be a reason.
- Yes, I'm sure there is. - What is it?
I don't know. All I know is I don't love you.
Was it at Prokosch's place? When you saw me patting Francesca's behind?
Yes, let's say it was that. Now we can stop talking about it.
Something's happened since this morning -
- to change your view of me and your love for me.
- You're crazy, but you're clever. - So it's true.
I didn't say that. I said you were clever.
You misunderstood something I said or did, is that it?
Could be.
Don't talk to me like that!
Camille.
Camille...
I despise you, that's why I don't love you anymore.
It's contempt. It disgusts me when you touch me.
Camille!
Hold on. You're exaggerating.
Forget what I said, Paul. Pretend I didn't say it.
- Good evening. - Good evening.
- Are you going to Capri? - Maybe.
Is everything O.K.?
Mr. Prokosch has reread Homer.
He found something he's been looking for.
Something that's as indispensable to movies as it is to real life.
Something indispensable to film and real life.
Poetry.
- Do you remember...? - Sure.
It goes on about Ulysses returning to Penelope.
But maybe he was fed up with her, and that's why he went to the Trojan War.
And he spun out his voyage because he didn't want to come back.
Do you think that's his idea, or...
- Why do you despise me? - Let go!
Are you coming to Capri with us, Mr. Lang?
"Each morning, to earn my bread -
- I go to the market where they sell lies, -
- and full of hope I line up with the vendors."
- What's that? - Hollywood.
Lines from a ballad by poor B.B.
- Bertolt Brecht? - Yes. Thank you.
Homer's world is a real world.
But the poet belonged to a civilization -
- that developed in harmony with nature, not in opposition to it.
And the beauty of "The Odyssey" -
- lies precisely in this belief in reality as it is.
Reality as it appears objectively?
Exactly. And in a form not subject to distortion.
It is what it is, take it or leave it.
I've nothing to say.
I'm not sure about Capri. Where would we stay?
In Mr. Prokosch's villa.
- With your husband. - Mr. Lang, too?
Where he likes.
A producer is something I can live without.
Goodnight.
If you don't want to go, I won't force you.
It's not you who's forcing me, it's life.
- What scene is this? - The Cyclops-episode.
What are you doing?
- What are you doing? - I'm just looking.
Join us.
- What are you talking about? - "The Odyssey".
- I'm defending Prokosch's theory. - What theory?
That Ulysses loves his wife but she doesn't love him.
Do you really think that? I don't think so.
Quiet, please. Get out of shot!
You're in the way.
Places, everyone.
- Alfredo, music. - Music and the girls.
Quickly!
Quickly, girls.
- No, Ulysses! - Get out of shot, Ulysses!
Clapperboard!
705, first!
- Are they going to undress? - Obviously.
An amazing thing, film.
Show women a camera and they show you their behinds.
Come with us, we'll leave them to talk.
No, I'll walk up with my husband later.
Mr. Prokosch says you spend all day with your husband.
Do you mind if your wife comes with us?
No, go ahead, Camille. Go ahead.
Go ahead, Camille.
Go ahead.
I'll walk back with Mr. Lang and we'll discuss "The Odyssey".
Mr. Lang, the girls are in the water.
I should've done an opening scene, -
- in which the gods discuss the fate of men in general -
- and Ulysses in particular.
A producer can be a director's friend.
But Prokosch is not a real producer, he's a dictator.
I think it's stupid to change the character of Ulysses.
He isn't a modern neurotic.
He's a simple, cunning and daring man.
I think the idea is interesting.
Ulysses takes ten years to get back -
- because he doesn't want to. It's logical.
"It's logical that the illogical should contradict logic."
Corneille, preface to "Surena".
Ulysses doesn't hurry home to lthaca -
- because he isn't happy with Penelope.
The trouble started before he left for the Trojan War.
If he'd been happy, he wouldn't have left.
The Trojan War was an excuse to get away.
But he killed the suitors, didn't he?
That can be explained.
At first Ulysses told Penelope to accept their gifts.
He didn't see them as serious rivals -
- and didn't want to cause scandal by throwing them out.
Knowing Penelope to be faithful, he told her to be nice to the suitors.
At that point, being basically a simple woman, -
- I think Penelope began to despise him.
She realized Ulysses had made her stop loving him -
- and she told him so.
Ulysses realized too late he'd lost her love, -
- because of his own excessive carefulness.
The only way to regain it was by killing the suitors.
Death is no conclusion.
Camille.
Camille!
- What a lovely yellow color. - Thank you.
I found this on the boat.
Children shouldn't play with firearms.
- Drink? - I was there, outside...
Nothing.
I've decided not to do your script.
- Why? - Can I be frank?
Obviously.
I'm a playwright, not a scriptwriter.
So no matter what the script's like, I'm only doing it for the money.
That's why I'm in a bad mood.
My ideal is to write plays, but I can't.
In this modern world we have to accept what others want.
Why is money so important in what we do, what we are and what we become?
Even in our relationships with those whom we love?
He's right.
Do Homer's Odyssey or don't do it at all.
Mr. Prokosch has already told you you're wrong.
You dream of a world like Homer's. You want it to exist, but it doesn't.
Why shouldn't it?
Maybe you're right, -
- but for film-making, dreams aren't enough.
When do we eat?
- When do we eat? - In an hour.
- I'm going for a walk.
Mr. Lang...
- Mr. Prokosch wants to talk to you. - Bring my shoes.
- Is that an order or a request? - A request.
One must suffer.
Oh, yes.
Camille!
Camille.
It's me, Paul.
I feel as if I'm looking at you for the first time.
- Can I stay? - If you like.
Why didn't you say anything?
I don't understand you. You told me you liked the script.
Now you say it's only for the money, and you'd rather write plays.
He's no fool. Prokosch will never ask you to do a script again.
I'm surprised you can't see that simple fact.
- I'm sure you'll do it anyway. - No.
Yes, you'll see. I know you.
I know you.
I was doing it for you. To pay for the flat.
All right, you decide what I should do.
If you say no, we'll leave.
- You're really crafty. - No, why?
Because you can blame it on me afterwards.
I wouldn't. I'm asking you.
- Shall I really tell you what to do? - Yes.
Then do it. You signed a contract and you're exhausting me.
- I saw when he kissed you. - I know.
- Why don't you love me now? - That's life.
Why do you despise me?
I'll never tell you. Not even if I were dying.
- Tell me, or I'll hurt you. - Havert you done enough?
I want to know why you despise me. It's stupid.
- Why do you want me to accept? - We need the money for the flat.
- I don't want to go back to typing. - I can't accept that.
Well, obviously you do despise me.
I kissed Prokosch, yet you still dither over doing the script.
I turned down the job so you'd change your mind about me.
Don't touch me. I don't love you anymore.
I can never love you again.
Even if I turn it down, you'll despise me?
- Yes, I will. - Why? There must be a reason.
- You're the reason. - How's that?
I don't know why... You're not a man.
Anyway, it's too late. I've changed my mind about you.
I know why you despise me.
You thought I took that taxi so you'd be with Prokosch in his car.
And on the boat, but that's silly. I wouldn't do a thing like that.
I'll never forgive you.
I loved you so much.
Now it's impossible. I hate you because you leave me cold.
But you're almost crying.
- All right, let's just pack and go. - I'm staying. You go if you like.
Come on, Camille.
- No. - I'll stay too, then.
- Prokosch will probably throw us out. - Don't go on about it.
Dear Paul, I found your gun and removed the bullets.
Since you won't go, I'm leaving.
Prokosch is going to Rome, so I'm getting a lift.
There I expect I'll stay in a hotel, I think.
I kiss you goodbye. Camille.
Hello. Full.
- What are you going to do in Rome? - Oh!
Typist.
Me?
No, typist.
Camille.
What do you think... me?
Get in your Alfa, Romeo. We'll see about that.
I KISS YOU
GOODBYE
There's been a call from Rome. They're dead.
Goodbye, then.
I've come to say goodbye, Mr. Lang.
Goodbye. What will you do?
I'm going back to Rome and finish my play.
And you?
I'll finish the film. Always finish what you've begun.
What's this shot?
Ulysses' first sight of his native land.
Ithaca?
- Goodbye. - See you soon, I hope.
Ulysses, go to the sea.
We're ready, Mr. Lang.
Silence. We're shooting.
- Camera. - Motor.
- Clapperboard. - "The Odyssey", 702, first.
Action.
Traveling.
Silence!
THE END