Genius (2017) s02e02 Episode Script

Picasso-Chapter Two

1 PABLO: I want to do something original.
Unique! PALLARÉS: You could paint your perfect painting, Pablo.
PICASSO: These paintings, they were the best work I've ever done.
I've had my work destroyed before.
ROSENBERG: And the Nazis have labeled every bit of it as degenerate.
SALVADOR: It is extraordinary, Pablo.
PABLITO: It's a gift, Uncle.
To thank you for everything you've done for me.
I made to vow to God that if he let Conchita live I would give up painting.
God knew I could never keep my promise.
So, he punished me.
He took her.
PICASSO: The roses are exquisite, Hervé.
HERVE: Thank you, Monsieur.
PICASSO: There are thorns.
Be careful.
DORA: Never.
MARIE-THERESE: Who is this woman, Pablo? DORA: I am Dora Maar.
And you must be Marie-Thérèse.
PICASSO: I will never be bored by you.
CARLES: My name is Carles Casagemas.
What is yours? PABLO: Picasso.
CARLES: Picasso and I, we are the future.
EMILE: I don't understand you, Francoise.
FRANCOISE: I want to be a painter.
EMILE: You will become a lawyer.
Do I make myself clear? SERT: Franco and his fanatics are winning the war.
Franco has Hitler and the Nazis on his side, Pablo.
We need you on ours.
DORA: I know you didn't want to make a painting for the Spanish Pavilion, but now you must.
PICASSO: I am going to need a very big canvas.
ROSENBERG: I'm getting my family to safety.
Guernica made the Nazis very angry.
You have children.
Women you love.
Some things are more important than art.
PICASSO: Not to me.
(EXPLOSION) (EXPLOSION) (EXPLOSION) MADELEINE: Francoise? FRANCOISE: Momma? MADELEINE: The Germans have crossed the border.
We must hurry.
Your father is waiting for us at the harbor in Saint-Malo.
FRANCOISE: Papa! EMILE: Francoise.
Thank God.
FRANCOISE: Where are they all going? EMILE: The Germans have closed the harbor.
MADELEINE: So we could've been in England days ago? But no, you insisted Francoise take this stupid exam, and now we're prisoners? EMILE: We are not prisoners.
We are French citizens.
With Nazi monsters.
(PHONE RINGING) MARCEL: That was Hervé, calling from Tremblay.
German troops have commandeered the house.
PICASSO: Bastards.
They think they can just take whatever they want.
MARCEL: They do have guns and tanks.
And it could have been much worse.
Maya and Marie-Thérèse could have been there.
PICASSO: Get the car.
MARCEL: Pablo, it's 300 miles.
PICASSO: Then we better get on the road.
MARCEL: And what are you going to do when we get there? Ask the Nazis politely to give you back your house.
PICASSO: I don't care about the house.
MARCEL: Then what? PICASSO: We are gonna steal my art.
(GUNSHOTS) (SPEAKING IN GERMAN) PICASSO: Put as much as you can in the car.
The rest in Hervé's truck.
Hurry! You should've seen it, my love.
We were a band of gypsies, picking the Nazis clean.
DORA: What if you'd been caught? PICASSO: Oh, impossible.
No, my African masks protect me against all evil spirits.
DORA: This isn't a joke, Pablo.
They might have killed you.
PICASSO: But they didn't.
Did they? DORA: So you saved your paintings? Now, we should go.
PICASSO: Go? Where? DORA: To America.
It's too dangerous here.
So, when the fascists were far away in Spain, y-you wanted to fight them.
You wanted me to paint Guernica.
And now that they are on our doorstep, y-y-you just want to run away? Take it.
Go on.
Play that game you played the night we first met.
Spread your fingers apart and drive the blade between them.
DORA: Pablo, please PICASSO: Even when you missed and drew blood, you didn't flinch.
DORA: I was drunk.
PICASSO: You were fearless.
You do what you want.
But I am going back to Paris.
PABLO: Come with me, Carles.
Show Manach some of your work.
Nonell says he has a soft spot for Spaniards.
Well, you be the picador.
Soften up the bull.
And when you've weakened him, I'll come in for the kill.
I will get it.
You're onto something, and clearly I am not.
(KNOCKING) PALLARÉS: Oh, uh, I'm looking for Pablo.
CARLES: You must be Pallarés.
I see you've found our tailor.
PABLO: Manuel, I'm so glad you're finally here.
PALLARÉS: Where were you? You were supposed to meet me at the station? PABLO: Ah, I lost track of the time.
PALLARÉS: I can see why.
CARLES: Pallarés, say hello to Odette.
Antoinette? ANTOINETTE: Lovely to meet you.
CARLES: And Germaine.
GERMAINE: We'll make coffee.
PABLO: Friends of Nonell's.
PABLO: They were here when we arrived.
CARLES: We didn't think it was polite to ask them to leave.
PALLARÉS: No, of course not.
CARLES: Since Pablo prefers Odette, I'll have to satisfy the other two.
But I suppose I could find it in my heart to lend you Antoinette.
PALLARÉS: Is he serious? PABLO: Welcome to Paris.
What do you think? MANACH: Spanish painters are as common as mud in Paris these days.
PABLO: Very well, then.
I will find someone who likes the common touch.
MANACH: I'll take three on consignment.
See what I can do.
No promises.
BERTHE: I'll give you 100 francs.
For all three of them.
MANACH: Hmm, I don't know, Berte.
Young Spaniards are all the rage these days.
BERTHE: If you had another buyer, you would not have come to me.
Now tell me, what is he like? This, Picasso.
MANACH: Small.
And exclusive to me, in case you're wondering.
It wasn't easy.
But I managed to sell all three.
PABLO: Quite an achievement.
Considering Spaniards are as common as mud.
MANACH: After my expenses and commission, you've earned yourself 50 francs.
Or, I could give you 150 francs every month.
In return, I own everything you produce.
PABLO: Everything? MANACH: You keep the stipend whether I sell the work or not.
The risk is entirely mine.
This is the way the art business is conducted in Paris, Picasso.
Ask around, it's more than fair.
PABLO: Can you pay in advance? CARLES: To Picasso! GROUP: To Picasso! Picasso.
PALLARÉS: Let's dance.
CARLES: I am in love with Germaine.
PABLO: You're drunk.
But I'm also quite serious.
I can't paint, I can't sleep.
I want to marry her.
PABLO: Carles, we are not in Spain anymore.
You don't have to marry a woman or pay her to get her to CARLES: I haven't, gotten her to, I know, I know, I've-I've boasted, but the studio's always so crowded.
W-We're never alone.
PABLO: There's no one at the studio now.
GERMAINE: I can't wait anymore.
CARLES: I can't.
CARLES: I GERMAINE: I'll help you, okay.
CARLES: I, I, I, I, I mean, I, I, I can't.
GERMAINE: Carles CARLES: I'm sorry ARTHUR: It's so alive.
I can almost smell the smoke, and the perfume.
BERTHE: Didn't I tell you, Arthur? He is one of the most exciting young artists working in Paris today.
ARTHUR: How much? BERTHE: 250.
MANACH: Arthur Huc is one of the most influential collectors in Paris, and he thought your painting could have been a Degas or Lautrec.
You're getting noticed.
For copying the styles of other painters.
MANACH: It's what sells and I need more.
Don't be so gloomy, Pablo.
You're going to be famous.
PABLO: What about Casagemas? Have you seen his watercolor of Germaine? CARLES: It's-It's, uh - PABLO: Show him, Carles.
- CARLES: Mm-hmm.
MANACH: I'm sure it's charming, but I need more paintings from you, Pablo.
Work up some more dancehall scenes.
ROZSDA: I see you're an admirer of Matisse.
FRANCOISE: You think it's derivative.
Maybe my father was right.
ROZSDA: About what? FRANCOISE: He wants me to be a lawyer.
What's the point of that if there's no law in the world anymore? ROZSDA: Well, I can teach you what I know.
The first thing is, there is no shame in being derivative when you're starting out.
Your friend Matisse is the best.
For color.
But if you want to learn how to draw line, you must study Picasso.
PICASSO: Sabartés, I thought you were going to find me some bronze for my sculptures.
SABARTÉS: It seems the Nazis have confiscated it all to make their shiny bullets.
PICASSO: So, I suppose you couldn't find me any cadmium red either.
'Cause they need it to paint swastikas.
SABARTÉS: No one forced you to stay in Paris.
PICASSO: I would go back to Spain if that fascist pig wasn't in charge.
To see Pallarés in Horta.
That was the last time in my life I felt truly free.
Is Herr Picasso at home? PICASSO: You be careful with that.
Is Herr Rosenberg staying here? PICASSO: No.
Herr Goldstein, perhaps? PICASSO: I told you last time.
And the time before.
Here there is only Picasso.
So then, you did this? PICASSO: No.
You did.
You know what, Picasso, we have been very gracious to you.
But we could take away everything in this room.
And everyone.
PICASSO: I am told your General Muller is an admirer of mine.
Go ahead.
Take me.
You see what happens when he finds out you arrested the most famous artist in the world.
Perhaps it is you who will disappear.
Until next time, Herr Picasso.
GERMAINE: It's lovely.
CARLES: It's not as lovely as you.
GERMAINE: You're so silly.
CARLES: Why? Because I'm in love with you.
Then I happily declare I am the silliest man in all of Paris! GERMAINE: Carles, don't! CARLES: I'm going to buy you that necklace.
GERMAINE: With what? You haven't got a single centime to your name.
CARLES: I'll sell my paintings.
The clothes off my back.
GERMAINE: I have to go.
CARLES: Germaine, Germaine, wait, wait.
I thought we were spending the day together.
GERMAINE: I'm meeting someone.
CARLES: Who? - GERMAINE: Carles, you're very sweet - CARLES: Who? GERMAINE: But I don't answer to you.
PABLO: I'm worried about you.
When was the last time you picked up a brush? CARLES: I can't paint.
Not until I know Germaine is mine.
Lend me some money, Pablo.
PABLO: For what? CARLES: There is a necklace that she admired.
PABLO: Carles.
CARLES: Please, Pablo, please.
PABLO: Carles.
CARLES: Pablo, please.
PABLO: Buy some paints instead.
CARLES: Thank you.
I will pay you back.
I will.
MANACH: Trust me, Madam.
Picasso here is the most exciting young painter in Paris.
A portrait by him will make you the envy of your friends.
Can he paint me in the style of Renoir? MANACH: Picasso can paint in any style you want.
Renoir, Lautrec, Degas Very well then.
As long as he makes me look pretty.
PABLO: I am sorry, Madam.
But I'm not nearly talented enough to do that.
MANACH: Pablo! Pablo! Pablo! Empty your pockets.
PABLO: What? MANACH: How much do you have left of your stipend after feeding and housing all those bloodsucking friends of yours? PABLO: I didn't come to Paris to paint dancehall scenes.
And fat cows in the style of Renoir.
MANACH: You need to eat.
And to eat, you need to paint a few cows.
PALLARÉS: Hey, save some for the rest of us.
Ah! Behold, the incomparable Casagemas.
PABLO: Carles CARLES: I bought you something.
ANTOINETTE: I heard a rumor about you, Carles.
That you put your brush down and now you cannot pick it up again.
CARLES: Well, go ahead.
Open it.
GERMAINE: I can't accept this, Carles.
CARLES: Why not? GERMAINE: Because I'm not in love with you.
CARLES: I can change your mind.
GERMAINE: No, you can't.
PABLO: Carles.
CARLES: Yes PABLO: Carles, relax.
Have a drink.
CARLES: It's the necklace you admired.
Please just let me put it on you.
GERMAINE: No, Carles.
No, no.
CARLES: Please.
Why? Why not? GERMAINE: Because you cannot satisfy me.
(LAUGHTER) I'm sorry, Carles.
I'm sorry.
PABLO: Carles, wait.
Carles wait! (SINGING IN FRENCH OVER RADIO) CARLES: Do you know where I can find something a little stronger? I heard a rumor about you, Carles, put your brush down, and now you cannot pick it up again.
GERMAINE: I'm not in love with you.
Because you cannot satisfy me.
DORA: Do I actually disgust you that much? CARLES: You should have forgotten about me, Pablo.
PABLO: You need a warm bath and a strong pot of coffee.
That's all.
CARLES: You think that's going to fix me? PABLO: Carles.
- CARLES: I can't pay you what I owe.
- PABLO: Forget it.
CARLES: I can't paint.
I-I can't satisfy the woman I love.
What am I going to do, Pablo? What am I going to do? PALLARÉS: He'll be fine once he sobers up.
PABLO: He can't stay here.
He won't survive it.
PALLARÉS: So? Cable his parents.
They will put him on a train.
PABLO: Look at him, Manuel.
He can't travel by himself.
PALLARÉS: You can't leave now.
Not when you're having so much success.
PABLO: Painting portraits of society ladies.
Imitating other artists.
PALLARÉS: So? Do something different.
PABLO: It's not that simple! PALLARÉS: It is! Remember Horta? You weren't just copying some fancy French painters.
PABLO: Because I'd never seen any.
PALLARÉS: Exactly.
So you were painting what you saw.
And what you felt.
So go back to doing that.
Something original.
PABLO: I don't know, I don't know if I can.
PALLARÉS: So are you leaving now to help Casagemas? Or are you leaving because you are afraid that you can't paint your perfect painting? PABLO: I need to finish packing.
PALLARÉS: At least you'll finish something.
Tell us about Paris, Pablito.
It must have been so exciting.
PABLO: A feast for the eyes, auntie.
You were a great success, I suppose? Hm? PABLO: I sold quite a few paintings.
Oh, how wonderful.
Look who has come, Salvador.
All the way from Paris.
PABLO: Happy New Year, Uncle.
This is my friend, Carles Casagemas.
He's also a painter.
CARLES: It's an honor, señor.
PABLO: After the-the noise and glare of Paris, we thought a few weeks by the sea could do us some good.
SALVADOR: If you're going to stay in my house, you're going to need a haircut.
And a shave.
PABLO: Of course, Uncle.
Uh, but, after paying for the journey, we're a little short of funds.
SALVADOR: Buy yourself a respectable suit as well.
CARLES: Charming fellow, your uncle.
PABLO: To hell with him.
And the barber.
I like our hair the way it is.
CARLES: So, what are we going to do with all that money? PABLO: I have an idea.
I need you to take special care of my friend.
He's just had his heart broken.
Whoever she is, I'll make you forget her.
CARLES: Don't, don't don't waste your time.
PABLO: Well? CARLES: Well, you were right, my friend.
Much more enjoyable than a haircut.
Show your ration card! Only one loaf, today! MARIE-THERESE: So what would you like for dinner tonight? Maybe some cheese with some soup.
What is it, darling? Come on.
Come on, cherie.
(ROPE STRETCHING) (SPEAKING IN GERMAN) PICASSO: Well, that should be enough coal to last until the end of the week.
I'm sorry I couldn't come sooner but with the curfew and MARIE-THERESE: It's all right.
MARIE-THERESE: We've just missed you.
Haven't we, Maya? PICASSO: And for you, princesa, a special treat.
She, she saw two dead resistance fighters today.
Hanging from ropes.
You have a pair of scissors? MARIE-THERESE: Uh, yes.
PICASSO: Yeah, ah! You did it! Look.
Isn't she? Oh, you should meet her friends.
Huh! Take it.
Eat your apple.
MARIE-THERESE: Stay the night.
PICASSO: No, I can't.
MARIE-THERESE: Because you are going to see her.
PICASSO: Because I must work.
MARIE-THERESE: The Nazis won't even let you show your art.
PICASSO: I know but, uh, they cannot stop me from making it.
Good night.
Well hello, little paloma.
Have you come to visit me? (EXPLOSION).
PICASSO: There is fighting in the street.
I was nearly killed by a stray bullet.
Topics such as this no longer matter.
MARIE-THERESE: You promised me.
PICASSO: But you know very well I have tried everything.
MARIE-THERESE: Oh, you could petition the courts again.
You are an important man.
PICASSO: I'm also an old man.
What would be the point of marrying you now? MARIE-THERESE: Maya is eight years old.
She wants to know why her papa doesn't eat with us SABARTÉS: Sorry, mademoiselle, but he is not, mademoiselle, you cannot DORA: Why is she here? MARIE-THERESE: Get out.
SABARTÉS: Mademoiselles, please.
DORA: Why is she here, Pablo? PICASSO: Dora, uh, you know very well that Marie-Therese is the only woman I love.
DORA: Pablo MARIE-THERESE: You heard Pablo.
You may leave now.
I will you take home.
MARIE-THERESE: I knew you'd choose me.
PICASSO: You can go, too.
MARIE-THERESE: But PICASSO: Yeah, I need to be alone, now.
SABARTÉS: So, you are finished with Dora.
PICASSO: Of course not.
SABARTÉS: And Marie-Therese? PICASSO: I love Marie-Therese.
She's, kind and soft and she does everything I want her to.
And I love Dora because she's, brilliant Talented.
SABARTÉS: And yet you treat them so cruelly.
PICASSO: I can't remember the last time either of them made me want to pick up a brush.
Or the last time I made a picture worth looking at.
I need something new.
CROWD: Ole! Ole! (GRUNTS).
PABLO: Oh, he's all right.
He's not hurt.
My father had a friend who used to say, it was every Spanish man's paradise.
Bullfight in the morning.
Bar in the afternoon.
Whorehouse at night.
CARLES: Wise man, your father's friends.
CROWD: Ole! PABLO: After he took me here the first time, I painted.
All in reds and golds.
It was a terrible picture.
But my mother, she thought it was a masterpiece.
CARLES: But you haven't painted anything since we arrived in Málaga.
PABLO: I'd rather make trouble with you.
'Cause you're trying to help me forget about Germaine, or because you're avoiding work? CROWD: Ole! Ole! Ole! CARLES: Well, it's time for you to pick up a brush.
And for me to go.
PABLO: Carles CARLES: You've worked a miracle, Pablo.
I feel better than I have in months.
PABLO: You cannot go back to Paris.
CARLES: No, no, don't worry.
I-I'm going back to Barcelona.
To stay with my parents.
CARLES: You came.
GERMAINE: You look well.
CARLES: Oh, you look beautiful.
GERMAINE: I am sorry I embarrassed you.
CARLES: Oh GERMAINE: And I really wanted to come and meet you CARLES: No, it-it doesn't matter anymore GERMAINE: You must know I am with someone else now.
So we cannot be more than friends.
I hope you can understand that.
CARLES: I'm happy for you.
GERMAINE: Really? CARLES: We should get the circus together.
Have dinner, celebrate my triumphant return to Paris.
GERMAINE: Wonderful.
SALVADOR: Picasso.
Is that what you're calling yourself now? Because you're ashamed of your father's name? My name? PABLO: Of course not, Uncle.
SALVADOR: And you expect me to give you money to make these obscene journals? PABLO: It's not obscene.
And it's not a gift.
It-It's an investment.
You used to make beautiful paintings.
And now you what? A caricaturist? Don't squander your talent, Pablo.
GEMEVIEVE: Alain Cuny is the most talented actor alive and he just invited me to dinner.
FRANCOISE: How did you manage that? GENEVIEVE: I waited for him backstage after his matinee.
He thought it was very charming.
And he offered to take me to the Catalan.
The Catalan, Francoise! FRANCOISE: Eh, he probably just wants to take you to bed.
GENEVIEVE: I certainly hope so.
FRANCOISE: He must be 40.
He's probably married.
GENEVIEVE: So? He's famous and handsome.
But I can't go alone.
You must come with me.
There's too much to do here if we're going to be ready.
GENEVIEVE: Oh! The Catalan buys oysters on the black market.
When was the last time you had oysters? And champagne? She's his mistress? CUNY: One of them.
GENEVIEVE: How many does he have? CUNY: How many women has he painted? CARLES: To art! To art! CARLES: And to love! Two endeavors at which I have failed miserably.
GROUP: Oh, Carles.
Don't say that.
CARLES: Here, Germaine.
Would you read this for me, please? GERMAINE: The chief of police and your mother, why would you (SCREAMS).
CARLES: One for you PALLARÉS: What the hell are you doing? CARLES: And one for me.
PALLARÉS: Carles, no! (SCREAMS).
PALLARÉS: It was horrible.
The blood.
The brains, everywhere.
PABLO: It is my fault.
PALLARÉS: What are you talking about? PABLO: I never should have believed him.
I shouldn't have let him leave, or I should've gone with him.
PALLARÉS: How are you supposed to know? PABLO: God.
God punished me again.
Because I wasn't painting.
PALLARÉS: Jesus Christ.
Do you really believe that God is killing people because the great Picasso didn't paint another one of his masterpieces today? DORA: Where are you going? GENEVIEVE: He's coming over.
PICASSO: Do you like cherries? CUNY: That's very kind, Monsieur Picasso.
Won't you join us? PICASSO: Oh, I-I'm afraid I can't.
But I would very much like to meet your dinner companions.
CUNY: Ah, well.
Francoise is-is the intellectual.
And Genevieve is the great beauty.
Doesn't she resemble a Caravaggio? PICASSO: Tell me about the intellectual one here.
GENEVIEVE: Francoise is a virtuous woman, I'm afraid.
CUNY: Ah, but not for religious reasons.
Her objections to lovemaking are based entirely on Platonic ideals.
PICASSO: And how do they pass the time, your Caravaggio and your Platonic philosopher? FRANCOISE: We're artists, actually.
Uh, you certainly don't look like any artists I have ever met.
FRANCOISE: Well, for your information, Monsieur, we're having a joint exhibition of drawings and paintings at a very well-respected gallery.
Rue Boissy d'Anglas.
PICASSO: Well, I am, I'm also an artist.
GENEVIEVE: Oh, are you really? PICASSO: You must come and visit me some time.
To see some of my work.
DORA: You are going to paint her, aren't you?
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