The Cousins Page #2

Genre: Short
Year:
1911
323 Views


- This is stupid.

- Yes, it's stupid. Now pour.

My word, Philippe.

You're drunk.

Make him stop.

I meant it as praise, my dear.

That looks very much like Franoise.

Room spinning, old pal?

Is it over between you and Franoise?

What's it look like?

Don't take it too hard.

I have a dozen proverbs

to help you through it.

I know your proverbs.

In your drunken state

you'll soon forget them. Listen -

Hello, kids.

Hi, sweetie.

We didn't know each other.

Now we do.

You can help a friend of mine

who's suffering.

You gotta be kidding.

Beat it, you.

I'd better warn you.

I'm a bit conceited,

and you're going to love me,

Ernestine.

I doubt it.

And the name's Martine!

That's delightful!

I can almost hear bells.

Sonnez les martines!

Now...

I believe I mentioned

a friend of mine who's suffering.

A creature as ravishing as you

has left him for another.

But your smile will cure him.

Come.

Oh, Yvonne!

Philippe, my friend, this is Martine.

Don't get worked up over a boy.

Especially not him.

There's more to life than boys.

Music, literature...

dance...

and the fact I need a light.

- May I?

- Thanks.

My name's Charles.

I'm Paul's cousin.

My name's Vonvon.

I'll finish off the banners.

I see he keeps busy.

A real young girl, for once.

Don't break this one.

I hope I'm not bothering you.

- You his cousin?

- Whose?

- Paul's, of course.

- Yes.

Perfect!

I hear you're a champ at bridge.

I've had enough.

You can take my place.

That's it, daddy-o.

I'll take the rest.

Damn it! Here.

You're done for.

Shouldn't have used

the hearts finesse.

What?

He clearly had the king.

I'm the king, my children!

Help me. Do something!

Mademoiselle says she works

and wants to go to class.

- She's crazy.

- I really must go.

- You're right. Come on.

- You hear this little bastard?

Does he think

you belong to him, Martine?

Are you forgetting you love me?

I'll come back later.

You swear?

Good luck, my friend.

Ah, women.

I thought she was for Philippe.

Philippe's like a part of me.

Between us,

I believe Philippe is sulking.

- So?

- So nothing.

But it's understandable.

I enjoy consoling Philippe.

Don't let us interrupt.

- Take my place.

- Thanks.

Fine, I'll go play pinball.

- How are things, sweetheart?

- Fine.

- You don't look like Paul.

- We're cousins, not twins.

You each look right

for what you do.

- Meaning?

- You know Paul.

Do you play canap?

If you like.

Blackwood convention

or Norman four no-trump?

Norman four no-trump, no?

You use asking bids?

Not very well.

Really?

It's just a question of practice.

Go on, cut.

Let's see here.

Pass.

One spade.

- Pass.

- Two hearts.

- Three clubs.

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Claude Chabrol

Claude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker. Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time. Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career. In 1978, he cast Isabelle Huppert as the lead in Violette Nozière. On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1996). Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium...Some of his films become almost private jokes, made to amuse himself." James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard." more…

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Submitted on August 05, 2018

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    "The Cousins" Scripts.com. STANDS4 LLC, 2024. Web. 2 May 2024. <https://www.scripts.com/script/the_cousins_5992>.

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