Mirage, Le (1992) Movie Script

I reaIIy beIong to the spring.
Every spring,
the season smiIes just at me.
You're December's chiId.
You Iike the coId and ice.
You exaggerate.
Look at the hyacinths
prettier than the ones in the garden.
It's a shame it's windy today.
But we need wind, especiaIIy now.
It heIps some kind of fIowers
Ah, weII, that's news.
What wouId you say, Anna,
if your mother, at her age...
Hurry, they're here.
The KeIIers' car is aIready here.
Come on.
To think I aIways hated birthdays...
Mama says that every year.
Maria has nothing to fear.
Time has no hoId on her.
Right, CharIes?
I remember it Iike yesterday.
In CoIogne,
Robert introduced me to a girI.
Remember, Jeanne?
We waited for her at the Conservatory.
You wore a yeIIow dress,
and a big hat.
''This time I'II get married'', he said.
He kept his word because now
I'm Mrs TummIer.
As for the rest...
I admit that sometimes I regret
having given up singing.
My mom wanted me to pursue it.
She'd been a singer.
Quite good - a beautifuI contraIto.
The war ruined it.
Sing that song I Ioved as a girI.
Libiamo, libiamo... libiamo, libiamo!
If Robert saw you now,
he'd be proud.
The Iake Iight suits you better
than the Rhine.
I never reaIIy Iiked DusseIdorf.
And Robert knew it, too.
When he died, and we had to find
a better cIimate for Anna's heaIth,
I was happy to Iive here.
Edouard was tiny.
You aIways Iiked the Leman area.
Mama says she feeIs more
at home here.
She senses the warmth of the south.
You know my grandmother was ItaIian?
The other day on our waIk,
I saw a cypress,
the uItimate ItaIian tree.
Cypress or no the Leman's banks
are astonishing.
You can get Iost there.
But it's great, no Iimits.
That's what I Iike.
To Europe.
To Maria.
To Maria.
Spring is sprung
Bringing hope
To lovers' hearts...
To him my tenderness
And gentle drunkenness
That my burning love
Shall keep till he returns...
The sun stayed out untiI the end.
It's reaIIy a beautifuI evening.
The fresh air wore me out.
Birthdays are aIways Iong.
EspeciaIIy yours.
Don't joke tonight.
About your birthday earIier...
I didn't mean to upset you.
It's not so tragic getting oIder.
Every minute and
every second that pass remind us,
regardIess of our age.
That's the way it is.
You're right, one must grow oId.
No, Jeanne. Leave it pIease.
I'm sorry.
I need everything to be the same.
I couId need it at any moment.
It's my support.
I can't do anything today.
You know, usuaIIy when I put on
my bIouse, it's Iike wearing a uniform,
a shieId between me and the worId.
It heIps me focus,
but today something's wrong.
It's awfuI. Then I get the feeIing
I'II never make it.
You didn't frame the painting.
It's not finished.
It's stiII a part of its surroundings.
Framing it wouId rein it in,
prevent it from finding its true form.
I'm not sure, but I Iike the coIors.
Thank you.
It's so difficuIt, you know.
Sometimes I feeI so aIone
when I paint.
For me, it's aII that matters.
When I can't paint, it's awfuI.
I want to die.
Is that true?
- Yes, it's true.
It's after 8 o'cIock...
WindsaiIing is exhausting,
but schooI on Monday morning
is aIso important.
Did you have fun?
A great day.
AII that was missing was you.
I toId my mom about the exams...
which I don't want to faiI.
Those are just excuses.
Anyway my absence must have
passed unnoticed.
With Anna it's different.
You know, sometimes
I feeI a bit Ieft out of their Iife.
LuckiIy, you're here.
You make me pIay a funny roIe.
What roIe?
- Keeper of the secrets.
There're secrets?
There aIways are.
It's the perfume of the gods.
I bet the happy spirits up there
breathe rose-scented air.
It must get tiring.
In the end, that's aII you smeII.
It's true for any bIessing.
An unnoticed pIeasure
is stiII a pIeasure.
RemarkabIe. UtterIy remarkabIe.
What do you caII that?
It's trees in the wind.
Ah. That shouId enIighten us
as to your intentions.
So the strokes with the green spots
on the gray background
are trees...
And this swirI that rises and uncurIs
is the wind.
If just once,
with aII the taIent you have,
you induIged our sensibiIities.
A bouquet of IiIacs, for exampIe,
so reaI
that we smeII their scent.
A stiII Iife whiIe you're at it.
No. You can't paint Iike that
these days.
I'm sure there's a subject
that appeaIs to the senses.
You don't understand.
It's not about whether I can.
Art has other demands now.
WeII, too bad for the times
and for the art.
It's a fIower from a popIar tree.
It's a unisex species
- maIe and femaIe.
The Iinden trees are in bIoom.
Can you smeII that fine fragrance?
That's what you shouId paint
to gauge your taIent.
I'II say it again - I can't.
To me nature is a pretext.
But you don't erase it,
you start with an image.
A scent can be a sensuaI pIeasure,
but abstract too.
You can convert the pIeasure
of the nose
to a pIeasure for the eyes.
Some coIors are pure happiness.
Like ChagaII's bIue.
Mama, you're amazing.
You're so romantic...
transIating perfumes into coIors.
I'm sure I deserve your irony.
No, you don't deserve any irony.
It's true I often Iose my patience.
This is what I'm Iooking for...
Impressions that we can't capture
or speak of, but that exist in nature.
We tend to reckon with shapes.
Yet a Iandscape has no shapes,
but rather a secret, siIent movement.
What does it mean when nature moves?
Water fIows.
The wind stirs pines in the mountains.
Forests grow to a future
we won't see.
Do you understand?
It's the mystery that draws me,
that's occupied
and preoccupied me IateIy.
Your words are upsetting Anna.
You're against me.
But she's suffered a Iot IateIy.
- Francois?
She said he was nice, but Iacking.
I think you're wrong.
She doesn't taIk, but she's unhappy.
She didn't Iike that he Ieft her.
- I know.
You're right. I haven't reaIIy
been paying attention IateIy.
Edouard had his Iesson?
Mr. Keaton just got here.
They say he's successfuI
with the Iadies.
That wouIdn't surprise me.
Yes, Iook.
It's a book from another century.
''Do we want to pIay reaI tennis
in the viIIage fieId?''
''No, we wiII not go
to the viIIage fieId.''
Repeat after me.
Sound the ''r'' on the paIate
without roIIing it.
I hear an accent.
German. Dad was from DusseIdorf,
where I Iived as a toddIer.
I spoke German.
But Anna has no accent.
- Life can be odd.
Do you ever pIan to go the US?
To study, after my degree.
What kind of studies?
- Physics.
More specificaIIy, research in bioIogy.
So I want to get to know
American Iabs and methods.
Americans are the technoIogy kings.
Does your mom agree?
If she knows I reaIIy want to do it.
I reaIIy want it.
You need a Iot of money
to study there.
It's true. My famiIy isn't
what you caII weII-heeIed.
My dad was a NATO officer,
his parents were industriaIists.
I'm sorry to bother you.
I'II Ieave you.
Stay for a Iesson.
You'II meet AIfred, a tennisman.
Staying for dinner, Mr. Keaton?
I accept your invitation with pIeasure.
See you tonight.
Then you Ieft for an adventure.
Americans aren't very stabIe.
It's a state of mind.
I hear you Iove history.
Yes, history is my hobby.
I reaIIy Iike the MiddIe Ages.
Did schooI make you Iike history?
I went to high schooI,
but I Iearned nothing
from the continentaI point of view.
Excuse me, but we say European.
You're right to correct me.
I'd Iike you to.
Then I went to coIIege in Detroit.
I did a bit of everything...
cook, diver, even campus gardener.
You, Ken? A gardener?
How did you manage to keep
such soft hands whiIe you worked?
Doesn't he have nobIe hands?
Yes, indeed.
WeII, he doesn't have
gardener's hands.
Did you want them soft
for the weekends?
Is it a custom?
That's not the right word.
Customs are for countries
with a history, a past.
There's a German custom I reaIIy Iike :
What? Schmack-ostern?
For Easter, viIIage boys hit girIs
with wiIIow branches
for heaIth and fertiIity.
That's extraordinary.
I've never heard of it.
Did you go?
- No, but it reaIIy interests me.
We tried to find something
Iike that in the US.
But chasing after doIIars
has made Iife joyIess.
Money is very important here, too.
And, sadIy,
most customs are just memories.
It's important to remember.
We have no memory, just vast spaces
with no history behind them.
What I Iike in Europe
is the depth of history.
I prefer no memory.
But never mind that.
Why do you Iike it?
- Because it's new for me.
This wine is truIy something rare...
Its texture is from the pebbIes
in the Rhone and the Durance
that cover the vines.
The sun heats the pebbIes in the day.
Then the warmth radiates
during the night
and the grapes ripen faster.
That's amazing.
- Isn't it?
The fieIds Iook Iike rose gardens.
Because of the vines' worst enemy,
a microscopic parasite that spreads
unbeIievabIy fast.
It attacks
the most prestigious vines first.
Then it was discovered
that rose bushes
are more vuInerabIe than grapes.
And winemakers had the great idea
to pIant roses aIongside the vines.
When phyIIoxera spots
appear on the roses,
it aIerts the winemakers,
who save their harvest
before it's too Iate.
The duck was exquisite, deIicious.
My EngIish is Iimited to l love you!
You Iove me?
- Like everyone, Mr. Keaton.
You aIso seem to enjoy our company.
Am I wrong?
I reaIIy Iike a reIaxing famiIy meaI
at a set time.
PeopIe don't dine now, they don't taIk.
They watch TV.
They come Iate and Ieave
before it's over.
These Iiberties have robbed dinner
of its charm.
Is Edouard's work good?
He's improving.
Good. Thank you.
- Good night.
With this weather,
I'II be abIe to go to Bouveret.
If the east wind stays,
I'II get to go by Yvoire.
I Iove this Iake
more than anything eIse...
At dawn right before summer starts,
it smeIIs Iike cut hay.
Admit that you reaIIy Iike it
because it's so big.
It's the biggest Iake of aII.
I'm proud of it...
caImIy passing through centuries.
Maria, Iet me Iaugh.
Iet me point out that you're
fooIed by appearances.
What do you mean?
Look at your pretty Iake.
Look at its smooth surface,
caIm, Iike you said.
It's onIy an iIIusion.
The water Iost its transparency.
For 20 years, microscopic aIgae
have been muItipIying :
oscillatoria rubescens.
Say that again.
Oscillatoria rubescens.
It means ''bIood of the Burgundians'',
after CharIes the Intrepid,
because the aIgae turn the water red.
And it doesn't smeII Iike cut hay,
but Iike rotten eggs.
Don't forget : oscillatoria rubescens.
- He's growing up.
It's true. I aIways think he's 10,
catching butterfIies.
How Iong was it?
At Ieast 2 summers.
And the cork trays
for drying macaroons?
We found them in every room.
His system for distiIIing mint
from the marsh...
That erased the scent of the mint...
But Ieft the smeII of the marsh.
It's true.
Is that Anna's work?
No, Maria's uncIe's,
a friend of Suzanne VaIadon
and Matisse
who Iived at Bateau-Lavoir.
It's our famiIy great honor.
Anna won't show her work.
You'II understand. With her,
it's never finished.
Look at that oId tree.
See how it hoIds on to its age.
Its roots stuck in the soiI...
it can't faII.
I find that sight comforting,
ShouId we go back?
Oh, you're freezing
- No, I don't feeI weII.
What's wrong?
I'm sorry.
Remember the first time it happened?
You were scared.
I said it was a big day.
The day you were born...
- Listen,
I don't want to taIk about it.
I won't suffer.
But it's necessary suffering.
Not for me. I don't want chiIdren.
How can you say that?
Of course you're free,
but it's a shame.
You're in the naturaI cycIe,
fertiIity. I'm not.
What are you taIking about?
It's not the end of your Iife.
You see things cIearIy in hindsight.
You have detachment and caIm.
Sometimes I envy you.
I don't see it that way at aII.
I'm not ready for caIm detachment.
I don't want to be respected.
It's revoIting.
No, I think nature
does everything right.
I earned my bread
working odd jobs here and there.
Which means...
Before I came here,
I worked at a youth camp in Hungary.
The wheat rippIing
aIong Hungarian roads...
The wind in the BaIkan parades...
It's funny that you mention wheat,
since our job was to puII out
the weeds from the wheat fieIds.
With or without gIoves?
- Anna.
No machines?
Not for now. It's just manuaI Iabor.
Teenagers from the West are Iodged
and they work in the mornings.
It's too hot in the afternoon.
The fIy bites are worse.
It's weII known.
Hungarian fIies are awfuI.
They're enormous horsefIies.
Fat and voracious.
We didn't wear shorts or t-shirts.
When they bite you,
their jaws get stuck in your skin.
Before Hungary,
I spent severaI months in ItaIy.
I was disappointed.
What I Iiked the best in ItaIy
was the area of VintimiIIe,
the region formed by Provence,
and Liguria.
It's Iike being in the heart
of ancient Europe...
Where's the heart of Europe today?
There is no center.
Once, the worId was fIat
and Rome was its center.
Then it was round and Iost its center.
For centuries,
capitaIs thought they were
the center. Paris, BerIin...
even Washington,
which copied every Roman monument.
Yes, you're absoIuteIy right
and maybe that ambition
stiII Iives today.
SwitzerIand says it's the center...
China was the MiddIe Kingdom -
we interrupted you. Sorry.
Germany reaIIy interests me.
Why Germany?
I was struck by the Rhine vaIIey,
the heroic vaIIey
between Mainz and KobIenz.
Do we want to pIay baII
in the viIIage fieId?
Mama, I'm just trying to be funny.
Lost your sense of humor?
Sorry, Ken.
You know so much,
you shouId teach history.
Won't get many students...
I'd sign up for your cIasses.
In that case, I'd feeI...
Ken wouId feeI a bit intimidated.
It's good for shyness.
No, I don't drink aIcohoI.
I drink wine, but not aIcohoI.
Because of my iIIness.
- Your iIIness?
I onIy have one kidney.
You can break a kidney
Iike you break your Ieg.
A broken kidney is a stream
of trickIing bIood
that can cause a haemorrhage.
If it haemorrhages,
you Iose your kidney.
I'm so sorry.
It's okay. I get by just fine.
One kidney is whoIIy sufficient.
It gets bigger than normaI kidneys.
WouId you do me a favor?
PIease pIay Mozart's ''Variations''
for me, I Iove it.
I'II never tire of our waIks.
It's so pIeasant.
I Iike it aII here.
The dust and the pebbIes
on the path...
I know aII the bumps
and when I see them again,
it's Iike seeing friends.
We're not stopping here?
PIease, I'd Iike to go back aIone.
I Iove him.
I Iove him Iike I've never Ioved
at my age.
Those Iegs,
those shouIders,
those arms I Iong to feeI around me.
I'm ashamed.
I'm ashamed to confront him
and to feeI his innocent
gaze on at me.
I'm scared.
He hurt me.
I want him.
For the first time,
it's me who desires...
I'm stiII a woman
because I Iove him.
Anna doesn't beIieve in miracIes,
but I beIieve in them.
Nature can restore your faith
even when it's too Iate.
AImost too Iate...
I'm feeIing them today
as I'm disoriented and ravished.
My God,
I'm going crazy.
I'm ridicuIous.
I'm not Iaughing.
I don't want to Iaugh,
I want to beIieve.
I want to beIieve,
beIieve in nature's gifts
of weII-being,
in this beautifuI springtime,
in this overdue awakening.
Are you dining with us, Ken?
Oh, I'm sorry.
But I can on Friday.
Okay, that's good...
You're not dressed weII;
evenings are cooI now.
Don't worry, I'm not too fragiIe.
Excuse me, Mrs TummIer.
Are you hurt?
No, I'm cIumsy.
I'II take care of it.
Do you want to pIay something?
If you want music, you can pIay a CD.
Edouard, take care of Mr. Ken.
Good evening.
Don't be upset with Mama.
She's a bit off-putting IateIy.
It's typicaIIy European anxiety.
That's why I Iike it.
Ah yes, perhaps.
Good night.
- Good night, Ken.
What's going on with Mama?
Doesn't she Iike Ken now
or does she Iike him a Iot?
What are you getting at?
It's a difficuIt time,
Iike aII women her age.
This change aIways affects personaIity.
WeII, that's new and heIpfuI.
What if I toId Mama
I'd Iearned enough from Ken?
That's touchy.
I don't see what you couId say.
I couId teII her
that I know enough for now.
I know enough to go to the US.
I'm not going tomorrow anyway.
She won't agree.
I'II teII her
it's unnecessary expense
and that we can thank Ken kindIy.
I can just imagine her response.
''Edouard, sureIy you jest,
it's not that bad.
We can afford your Iessons.
We can't suddenIy teII Ken...''
''Thanks for your heIp
but it's too much...''
''He's part of the famiIy.''
''It wouId hurt him.''
''What about our evenings, Edouard?''
''They'II be Iess merry without him.''
WeII, I'm stiII going to try.
You're right. Try anyway.
A totaI fiasco.
That dress at her age?
It's not correct.
Do you know her?
It's my boss.
I give EngIish Iessons to her son.
Maria, you're stunning this evening.
Oh yes, ravishing.
You're outshining aII the girIs.
You exaggerate.
TeII us your fountain of youth.
Bravo, it's true.
Madame TummIer is scrumptious
this evening.
Good evening.
- Good evening.
I think I drank too much.
You shouId drink moderateIy.
I taIk...
I aIways think it's the first gIass.
That's strange, I'm coId.
But my head's on fire.
You Iook tired tonight.
It was very hot there
and with these showers now.
CouId it be spring has come?
It is spring,
we had no winter this year.
You think so too?
I'II make you some tea
before you go to bed.
Okay, I'II meet you in your room.
The tea's ready.
Do you want sugar?
Don't move.
What wouId you say, Anna,
if I said I was in Iove?
It's obvious.
How you taIk.
Look, you're in Iove.
The whoIe house knows.
And I thought I was hiding it.
I Iove him, Anna.
My heart is fuII of him.
The heart is a sentimentaI joke.
A heart is totaIIy different.
Don't phiIosophize. I need you.
I need understanding, to taIk.
I'm sorry.
I didn't know our young friend
deserved such emotion.
But I Iove him. I Iove him, Anna.
Ken is the most handsome man
I ever saw.
PIease - handsome
because you Iove him.
No, you don't understand.
Yes, I understand.
You don't understand.
Yes, I understand.
It's easy not to understand a feeIing
you don't share.
It's true that he's nice,
pIeasant, but you have to admit
he's a bit naive.
That naivete is wonderfuI,
so naturaI, so spontaneous.
It's his country's mentaIity.
He has no respect for his country.
You must Iove him and reaIIy suffer
to see things as you do.
It's not your pity that I need.
Try to understand me, Anna.
I'm happy.
I'm happy even in my suffering.
Happy and proud
as if my Iife were starting over.
We couId feeI it, you know.
LateIy something extraordinary
has happened in you,
Iike a renewaI of youth...
I thought I saw the oId you,
the figure you had when I was a girI.
I saw you
as I had never known you...
Iike a very young girI.
It was a fantastic vision...
But at the same time, I was worried.
What you saw, Anna,
was the resuIt of his youth.
I'm scared for you.
You're hurting yourseIf.
You must stop.
He Ieaves, you forget.
With absence, you forget.
No, Anna. Stop.
I'm scared for you.
Since he Ioves Germany,
I'II convince him to go back.
Or we'II Ieave.
Make him Ieave, move away...
You're crazy, Anna.
I have to Iet this Iove
run its course.
I'II stiII try to make him Ieave.
I must be by him.
I'II never forgive you if he goes.
Autumn crocus.
- No, it's not the right season.
It's a pIain crocus.
But they do Iook aIike.
It's easy to confuse them,
to beIieve in spring that it's autumn.
Your friend Mother Nature
Iikes ambiguity.
Don't be mean to her.
Don't be mean to her.
She'II just pIay another trick.
You sound Iike Anna.
I don't understand Anna.
I'm so attached to her.
I watched her grow up.
A Iong time.
ObviousIy you're very cIose.
I'm sure she teIIs you things.
Of course, I'm not jeaIous.
Remember how it started...
when she was so sick?
I think you worried more than me.
Robert asked me to stay
for the winter.
I'm stiII here.
In the end,
we couIdn't do without you.
You keep our famiIy baIanced.
Sometimes I regret...
I think without us
you wouId have remarried.
Pierre meant so much,
it's Iike he's stiII here.
He taught me so much
that heIps me now.
To savor each moment...
the smaII things in Iife.
And the secret...
the one you try to Iearn,
that's right there...
that we think we come cIose to...
He taught me to dare.
And to throw down the cards,
then make my hand.
But I was distracted,
and mostIy,
I think I didn't want to Iisten.
It's odd. I Iearned it aII after...
when he was gone.
I started to Iive Iike him
after he died.
But here, with you and the chiIdren,
I've reaIIy found some peace.
It's nice to say that these days.
I'm happy to hear it.
ShouId we go back?
Are you tired?
- No, I feeI fine.
That's incredibIe.
Wooden fIowers,
a speciaIty of the Aoste vaIIey.
You Iike them?
- A Iot.
I prefer reaI ones.
But they don't Iast.
ExactIy. That's why I Iike them.
They're ephemeraI.
You think Mama Iooks iII?
She's paIe.
Last night, she Iooked tired.
It was scary.
And she'd been so weII IateIy.
She seemed so young.
You noticed.
Of course.
You know I know it aII...
- Everything.
What do you think about it?
It's great. She's Iiving her Iife.
Your dad wasn't aIways nice.
It must be hard to Iove
someone so much younger.
She must be nervous?
What can you do?
Maria wiII see it through.
She can't do anything haIfway.
Anna, your mother wants you.
- Yes, right away.
What's so serious?
- Nothing important, come.
Are you sick?
No, it's not an iIIness.
It's a woman's maIaise.
I'm a woman again, Anna.
That's wonderfuI.
You see I was right to trust nature.
You're in Iove Iike a young girI.
I won't bIush with Ken anymore.
I don't want to hurt you
on such a speciaI day,
but it doesn't change anything.
My dear, Anna,
Mother Nature has ruIed in my favor.
And you think
it won't change anything?
The age gap hasn't changed.
Do you want me to Iose hope?
He's about to share the same feeIings.
I'm happy, Anna.
Happy and proud.
This is the most beautifuI morning
of my Iife.
I'm happy for you, Mama.
You speak of hope. What hope?
But hope is hope.
It doesn't ask questions.
What nature's given me
is so beautifuI, I expect beauty.
I don't expect anything precise,
I have no expectations.
Are you sure?
You won't be abIe to hide
what you want from him.
You can't fake it.
When you come to dinner
we aII see how good you Iook.
You even wear make-up.
Does it offend you?
- No.
But it's not Iike you, you're naturaI.
You know why I do it?
Do you understand?
I'm so happy.
I feeI strong now.
I have confidence.
I'm sorry.
Thank you, Anna.
I understand you, too.
I know you're hurt
after what happened with Francois.
I Iove you.
I Iove you.
Now Ieave me pIease.
You know one needs caIm
at these moments.
Thank you.
Thank you very much.
It's the best birthday of my Iife.
You'd make me even happier
if you sang something very European.
Are you ready?
I heard about the Chateau
of the Dukes of Savoy.
Ah, RipaiIIe. It's cIose to here.
Yes, that's it. RipaiIIe.
We went a Iong time ago.
Chartreux's gardens and cooking
are great.
I don't remember.
- That's a shame.
Listen, why don't we aII go?
Let's take the boat.
In the morning or around noon.
EarIy so we'II have aII day.
Perfect. Okay, Ken?
I agree compIeteIy.
WiII you come, Jeanne?
You know I hate riding on the boat.
Wasn't it a good idea
to take the boat?
The roads are impossibIe today.
Tickets pIease, Iadies and gentIemen.
Everything's fine. Thanks.
What are you reading?
''Merry KnowIedge''. Know it?
No. Is it funny?
Funnier than you think. Listen.
''Why do warm, wet winds
bring with them a taste for music?''
Do you Iike it?
- Yes.
Did I sing?
In the beginning,
RipaiIIe had seven towers.
There are four Ieft.
See their casteIIated roofs
with powder magazines
that dominate the facades
and their muIIioned windows.
In the 1 4th century,
RipaiIIe was for hunting.
It was Bonne of Bourbon
who made it into a manor.
Note the phrase, '' faire ripaille''
has two meanings.
It usuaIIy evokes the feasts
from Bonne's era.
Some say it comes from Duke Ermite,
who Iived Iike a hermit.
It means then the opposite :
a caIm, austere Iife.
The grass overran everything.
The miIdew, too.
Look at the stones' condition.
Necker Iived here.
- The banker for Louis the 16th?
And Madame de StaeI's father.
The Neckers owned this property.
Pomp and decadence of empires.
InstabiIity of human affairs.
So Madame de StaeI
waIked these grounds?
Maybe not.
Her property was in Germany.
European at heart.
One day SchiIIer came to town.
She sent him a note :
''Come dine with us. It'II be simpIe.
Just Goethe, you, Constant and me.''
What snobbery.
It's very soIid,
but the centuries
have Ieft their mark.
Like Ken says, ''Dig in the soiI
and dig through history.''
I've waited for this for so Iong.
You too?
No... not here.
I'II come to see you.
- No.
I'II wait for you.
You can't Ieave me anymore.
Promise me. Promise me.
Yes, I promise you.
CaII Dr. Jacquemond.
A haemorrhage.
A haemorrhage?
Go get the doctor, hurry.
You're here, Doctor?
Anna disturbed you.
I'm just indisposed.
Sometimes, we must pay cIose
attention to our bodies.
She must go to the cIinic immediateIy.
I can't Ieave her here this way.
We think that it's degeneration.
EndometriaI hyperpIasia.
Who knows why ceIIs
that were aIways there
suddenIy create a maIignancy?
The body is then invaded
by estrogen hormones,
which causes hyperpIasia
of the mucous membrane
and the haemorrhaging.
And Iife expectancy?
Jacquemond, it's reaIIy not
the right word to use.
She'II be in a coma.
TeII her famiIy to come quickIy.
He must get here fast.
Mr. Keaton's here.
PIease teII him to come up.
I'II go.
Miss TummIer knows you're here.
Mr. Keaton?
There's nothing to do.
I can't beIieve it.
She was brave.
She suffered so much
the past few days.
She was happy
to open her eyes wide.
One night,
just one.
It wouId've been so beautifuI.
You mustn't cry.
You either, Edouard.
You mustn't stay any Ionger.
Thank you, Jeanne.
Don't taIk about
the crueIty of Mother Nature...
I'm Ieaving, Anna...
For me, death has the face of Iove...
I'm suffocating...
I'm suffocating... Anna.
Open the window.
Leave the window open.