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Mademoiselle

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MADEMOISELLE
It's a fine day.
Yes.
On a maiden, we'd caII it bride's bIossom.
Now those buds wiII never bear appIes.
-In the oId days there was a bigger turnout. -There are too many unbeIievers.
They're at home guarding their crops.
Too many foreigners.
One of them is carrying the HoIy Virgin today.
Some swine's been setting fires. The poIice are useIess.
They can't act untiI they catch him red-handed.
Quick, to the viIIage!
GirIs, continue the procession!
Come on, get going.
Papa!
I was worried about you.
Mademoiselle.
Mademoiselle. Who gave the aIarm?
I don't know.
Two fires in three weeks, and now this fIood.
Must be the same man, a madman.
You turn up when it's over.
We're doing our job.
Once I can understand, but three, four times!
It's your job to stop them.
-Where did the fIood start? -Somebody opened the sIuice gate.
Let's go.
We need your heIp, if you don't mind.
Of course.
Don't worry, this time we'II get him.
Do you have the key to Town HaII?
I'm tired.
I'm going to bed.
I Ieft the banner in the fieId.
I'II go get it.
Let the priest do it. It's his job.
''The stabIe was'' what ''fIooded''?
''DeIiberateIy.''
Yes, of course.
I don't get it.
You aII beat around the bush.
At this rate, we'II Iose aII the farms one after the other.
I can't act on mere supposition.
We'II continue our investigation.
Didn't you find anything by the sIuice?
Not a thing.
-Nothing at aII? -No.
I Iooked everywhere. He knows what he's doing.
Everyone says it's the ItaIian. They're sure of it.
Because they want it to be him. And you know why.
They can smeII him on their wives.
Manou has no motive.
Maniacs Iike that don't need a motive, they just want to destroy.
No, it can't be him. He couIdn't do that.
-Why not? -He has bIue eyes.
Bring me some hot water.
Go on, more!
Good evening.
Good evening.
-You're pretty strong. -I'd better be.
I need to ask your son some questions.
Where were you during the procession?
-Where were you? -Nowhere.
-That's no answer. TeII the truth. -I toId you, nowhere.
Don't be Iike that. Just teII us where you were.
It's not him.
You know that.
That's enough. It's no one's business where he goes.
Leave him aIone and get out!
No need to get excited.
You heard me. Get the heII out of here.
Where were you?
Don't forget, we're foreigners.
They bIame us for everything.
Because they're cowards, and they're scared to death.
Why are you wearing my pants?
Take them off. I toId you not to wear them.
It's a girI's?
The water fIows into the bathtub at the rate of one Iiter per second.
The bathtub empties at the rate of one Iiter...
...per four seconds.
The bathtub hoIds....
Bruno, go stand in the corner.
The bathtub hoIds 200 Iiters.
-Are you deaf? -I haven't done anything.
Don't answer back.
What did I do?
How many times do I have to teII you? You're too oId to wear short pants.
Those fiIthy knees are ridicuIous.
Can't your father buy you trousers?
If the bathtub isn't pIugged, how Iong wiII it take to fiII?
Remember, the water enters the bathtub at the rate of one Iiter per second....
We're finished.
Thank you.
CIose your books. CIass dismissed.
She picks on you. She wants to keep you after schooI.
Leave me aIone.
Don't Iet her fooI you.
Bruno!
Go stand against that tree.
Stay there untiI the end of recess.
Face the tree, hands behind your back.
-Finished? -I've had enough.
Let's go!
Carry me on your shouIders.
-You'd rather spend aII day in bed. -And you, aII night.
At Ieast one bed's enough for me.
Aren't there trees in ItaIy?
''Soon...
''...we wiII pIunge ourseIves...
''...into...
''...coId...
''...into coId...
''...shadows.
''FareweII, bright warmth....''
Who said you couId get up?
Poor thing. What a Iife.
What do you mean?
You know what I mean.
Chastity can be a source of virtue.
Of virtue or of suffering.
-It depends. -On what?
On God's wiII.
You seem to forget that I make your bed.
I prayed for the victims.
-What victims? -Of the fIood and the fires.
You'd have done better to pray for the criminaI and the state of his souI.
Fire!
Wake up!
-This is no pIace for you. -You shouId go home.
But I want to heIp, pIease Iet me.
Go away, this is no pIace for you.
Go away!
Take this!
Quick! Come heIp me.
Proud of yourseIf, aren't you?
-What do you mean? -PIaying the hero.
He Ioves to come and stick his nose in.
To impress the Iadies.
-Anybody know where it started? -Over there, in the barn.
Just ask that fiIthy ItaIian.
This is no time to argue. Look around, see what you can find.
What's happened?
Another fire.
-They find anything? -Nothing.
-I can guess who they aII suspect. -So can I.
Where's Bruno?
Why isn't he back?
Perhaps he's with a girI.
-I'm going to bed. -Stay a whiIe. Have a drink.
-I'm worried. I'd better Iook for him. -Wait a bit.
He'II come back.
You're right.
I think it's best to Ieave.
No, I want to stay.
Soon they'II reaIize they were wrong.
Now that Bruno's found somebody to heIp him, this Mademoiselle.
He needs to settIe somewhere, and so do I.
It's not my fauIt.
They aIways get the best of me.
If they even Iook at me, I can't resist.
That's why the men hate you.
OnIy she couId stop me.
Now she's dead, and you're starting again.
Where were you?
Come here.
Was anything Ieft after the fire?
AImost nothing. A few bits of furniture.
He Iooked handsome, though, in the fire.
In the water, too.
You're not going to get him, you know. The poIice wiII arrest him.
-Do you reaIIy think it's him? -I hope so.
Why?
He scares me.
Look at this! Scram!
Get out of there!
-Wasn't your daughter watching them? -I don't know where she is.
I'II teII you, that ItaIian's screwing her.
That's a dirty Iie.
Lie or not, Iook at this mess. I'm going to the poIice.
He's taking forever.
-Are you scared? -No, I didn't do anything!
-How many? -Four Our Fathers, four HaiI Marys. You?
Two fuII rosaries. He's in a bad mood.
-You'II certainIy catch it. -You don't have to teII me.
-He's convinced it's Manou. -He didn't set the first fire.
I know that.
Say an extra Our Father for chatting in church.
Say your prayers or go home.
Who's next?
-Found anything yet? -The investigation continues.
The investigation.... Did you Iook in the forest?
-Where do you mean? -Where the ItaIian works.
What is it?
-Is it bad? -What happened?
It's nothing.
Cut my hand off, that's aII.
Wearing your father's pants?
He wants to take my pIace.
Where were you Iast night?
-Where'd you go? -To the fire.
But before that, when I came home earIier you weren't there.
Where were you before the fire?
Be carefuI.
Understand?
How's work?
Fine.
Nice job you have, I must say. Better than ours.
You go where you pIease. One week here, one week there.
We don't Iike moving that much.
Pity.
Stop fooIing around!
Scram!
It's not so quiet, out in the country.
-That's no news to you. -That's right.
You know, they're not bad peopIe here.
That is, when things are normaI.
But now, they're worried. Frightened.
-You understand? -We've done nothing.
I'm not accusing you, but as a precaution....
-They say-- -Who are ''they''?
No one in particuIar, but there are rumors.
-WiII Mademoiselle be there? -Yes, and we're Iate.
In Paris, she'd be a nobody. Here, she's a goddess.
-There are no goddesses in Paris. -That's what I mean.
-What are the kids saying? -Nothing.
They must taIk about it at recess.
Not to me.
But between themseIves?
Nothing. Just Iike their parents.
What do they say?
Rubbish, that's aII.
We're going round in circIes.
Six attacks and the same name crops up every time, Manou.
Without any proof.
He aIways has a soIid aIibi.
PIus, he's saved many Iives.
What devotion! Just to put us off the scent.
He risked his Iife.
Are you tired?
No, it's nothing.
The chiIdren are on their own. I must get back.
Let her go, it's not her. I know who it is, it's Mademoiselle.
How do you know?
Because she smokes. I saw her.
Are you waiting for him to burn down the whoIe town?
Be quiet. There's his boy.
Late for schooI, eh?
But if he Ieaves....
He must go. It's the onIy soIution.
But...
...he's the onIy one who risked his Iife.
He was a reaI hero. I saw him.
He outshone the fire.
The fire seemed as if it was made for him.
If he stays, he'II be in danger.
No, we'II be the ones in danger.
If you continue, you'II pay for it.
I must go now.
The chiIdren are waiting for me.
She's Iived on her own too Iong. She gets carried away.
When she taIks Iike that she's aImost beautifuI.
You were Iate. Why?
Answer me.
Have you nothing to say?
I had to bring my father his Iunch.
That's the way you come to schooI, dressed Iike a gypsy?
Those ridicuIous trousers, tied up with a bit of string.
Grass in your pocket.
Go into the yard. Go.
Don't come back untiI you Iook respectabIe.
Get out.
Get out, I said.
Don't come near me. Go around.
I'm Ieaving. I'm Ieaving for good.
I'm gIad that I'II never see you again.
You make me sick.
Dirty whore!
I hate you!
You're on the wrong path.
Why?
That path Ieads to the forest, and that's where the woIf is!
Good evening, Mademoiselle.
Good evening.
My son has been giving you troubIe.
I'm sorry.
Sometimes he's Iate for schooI.
It's because he heIps me.
Ever since his mother died, we've had to move often to find work.
That's why it's so difficuIt for him to Iearn.
I want Bruno to Iearn, to get a dipIoma.
LittIe tramp....
I found him today in the sun.
He's nice.
Look.
Are you frightened?
You shouIdn't be, he's harmIess.
Touch him.
It's actuaIIy the first time we've met.
Met, and spoken.
Yes, I know.
I've seen you sIeeping in the forest.
-Do you often sleep in the forest? -In the forest?
TOBACCO SHOP
Thank you.
-Good morning. -Good morning.
Some coffee. Ground, pIease.
Who's that boy?
He's the son of one of the ItaIians.
-What ItaIians? -The woodcutters.
Every year, they come to work in the forest.
Don't you remember them from Iast year?
No, it must've been before I arrived.
Come here, you sIacker!
Get back to work.
SIacker.
Look, a girI!
Why haven't you come to schooI?
You're the onIy one, you know.
AII the other chiIdren come.
I'm not from here.
Attending schooI is mandatory.
You must come to schooI tomorrow morning.
''To see.''
The verb is s-e-e, but the past tense is s-a-w.
With a ''w''. AII right?
I'II never get it.
Never say never.
-What is it? -Nothing.
He's not here.
I wanted him to Iook at my machine, my sewing machine.
Don't you have a husband? Why can't he take a Iook at your machine?
If I toId your father....
Come back tonight.
By then he'II be back from Vivotte's.
Don't you Iike me as much today?
-When did you see the fire? -We didn't see it, we smeIIed it.
I heard someone whistIing.
CouIdn't it have been the man sIeeping in the barn?
He Iooks marveIous, and he's mine.
Yours and everybody eIse's.
-So? -He's dead.
We can't get him out.
Idiot!
Look out.
This is no pIace for you. You'II catch coId.
We're bringing out the body. Go on home. It won't be a pretty sight.
The Dauphin had three marshaIs:
La Hire, La TremouiIIe and GiIIes de Rais.
Who knows about GiIIes de Rais?
No one?
I'II teII you.
GiIIes de Rais was a wicked man.
Very wicked.
CrueI.
When the war was over, he returned to his fortress in Brittany.
He wouId send his servants into the country to kidnap chiIdren.
They were imprisoned in ceIIs.
When he feIt Iike it, he'd choose one...
...and hang him, aIive, over a furnace...
...and watch him sIowIy burn to death.
Sometimes, by night...
...GiIIes de Rais set fire to peopIe's homes and farms whiIe they were asIeep.
He set entire forests on fire.
From the top of his tower...
...he wouId watch the farms and forests bIaze.
Everyone knew he was guiIty...
...but no one accused him. No one dared.
Bruno, who was queen at that time?
You don't know, of course. You don't know anything.
Come here. Look at your knees, they're fiIthy.
Take off your shoes.
Look at your feet, they're fiIthy.
You're disgusting. Go stand in the corner.
The queen was IsabeIIa of Bavaria, a shameIess strumpet of a queen...
...her Iice-ridden body bedecked with goId and pearIs.
They were aII disgusting: GiIIes De Rais, CharIes VI, and Lady IsabeIIa.
But at the same time, there Iived an innocent girI...
...a warrior and a saint: Joan of Arc.
Destined to be burnt at the stake, but saved for eternity.
-Good evening, Mademoiselle. -Good evening.
Is Benares by the sea?
No, it's on the Ganges River.
-It's arsenic. No doubt about it. -Everybody here has some.
Not this kind.
They have arsenic saIt. It wouId take bags of it to kiII aII those animaIs.
No, this is the anhydride, white arsenic.
A few grains wouId be enough, but normaIIy, nobody has it.
-Manou must've stoIen it. -There's no proof--
They aII say it's him, they're sure. They're out of controI.
Tomorrow at mass, a sermon against vioIence might be heIpfuI.
Who'II Iisten? The IittIe girIs?
He's made fooIs of both of you.
Whose side are you on? His or ours?
Better ask the sergeant.
UnIess you're scared....
You heard what the vet said. Where's the evidence?
It's staring you in the face.
Everybody knows but you.
What are you going to do?
We're wasting our time. Let's go.
They won't arrest him.
They're scared to death.
Let's go to his house.
We can't do anything, we've no right.
No right? What about our animaIs?
Let's go to his house.
What if he's got a gun? No, you're right.
-We'II get our guns. -You'II regret it.
I won't regret anything.
-Where has he been working? -Same pIace in the forest.
Maybe he's stiII there.
His kid is here somewhere. He'II know.
Once we get him, I'II make him taIk.
I found him!
I found Bruno in the shed.
-What are you doing in there? -Where's your father?
-TeII us. -You know where he is.
-What's going on? -It's the kid.
He'II answer.
Come with me.
Wait for me!
Damn rain! I'm soaked.
We've got to keep going. We'II find him.
AII I want is to get my hands on him.
I get him first.
No Iuck, Sergeant. We onIy found his friend.
Antonio! What happened?
Nothing.
-Somebody got there before us. -We'd better get a doctor.
-Take the kid home and stay with him. -Okay.
-No. -It's better for him.
Perhaps you're right.
Go on. I'II wait for the doctor.
-What wiII they do to us? -Nothing.
I'II stay with you untiI your father gets back.
-It's not my father. -How do you know?
I swear it.
You know who it is, then?
No.
Is that your mother?
-What were you doing in the shed? -Nothing.
You need rest. Try to sIeep.
We'II find your father. Nothing wiII happen to him.
No?
I'm Ieaving tomorrow with Bruno.
I've had enough. I'm going home.
-Come Iook. It can't be. -What?
Isn't that Mademoiselle?
Yes, it is.
Look, it's Mademoiselle.
-What happened? -Who did this to you?
Look at you!
It's aII right, we'II take you home.
-That's his doing. -No doubt about it.
Was it him?
Yes.
You heard, it was him!
I knew it!
Good morning. How are you?
-Fine and you? -Fine.
No, we've no news. We've searched everywhere.
We'II stop the inquiry. It's a waste of time.
He'd never Ieave Iike that.
He wouIdn't abandon his son.
There's no sign of him. He's disappeared.
I don't beIieve you.
You're aII Iying.
You know something.
We know one thing, since he's gone, the troubIe's stopped.
-The car's on its way. -Thank you very much.
Let's aII recite the muItipIication tabIe for six.
Nice and sIow. Begin.
Six times one is six.
Six times two is tweIve.
Six times three is eighteen.
Things are quieter now, aren't they?
Idiot.
We'II waIk to the road.
It's onIy two kiIometers.
There's a bus at 7:00.
We'II find work eIsewhere.
We'II be aII right.
I know.
There's nothing eIse to do.
Have a good trip, Mademoiselle!
Good-bye!
Let's go.
Begin!
Six times one is six.
Six times two is tweIve.
Six times three is eighteen.
Six times four is twenty-four.
Six times five is thirty.
THE END
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Murder My Sweet 1944
Murder at the Gallop
Muriels Wedding
Musketeer The
My Babys Daddy
My Beautiful Laundrette
My Big Fat Greek Wedding
My Boss My Hero
My Bosss Daughter 2003
My Girlfriends Boyfriend (Eric Rohmer 1987)
My Life as a Dog 1985
My Life to Live
My Neighbors the Yamadas (Isao Takahata 1999) CD1
My Neighbors the Yamadas (Isao Takahata 1999) CD2
My Son the Fanatic
My Tutor Friend (2003) CD1
My Tutor Friend (2003) CD2
My Wife Is A Gangster 2
My Wife Is Gangster
Mystery Of Rampo