Genius (2017) s02e08 Episode Script

Chapter Eight

1 PICASSO: Previously, on Genius You are a genius, Maya.
Come here.
MAN: You have children, women you love.
Some things are more important than art.
PICASSO: Not to me.
MARIE-THÉRÈSE: Pablo? DOLORES: You must be Marie-Thérèse.
MARIE-THÉRÈSE: The mother of his child, the woman he is going to marry.
DOLORES: Perhaps you should pay a visit to his wife and inform her of this expectation.
LEO: Pablo Picasso, meet Henri Matisse.
PICASSO: 40 years on, and the great Henri Matisse is still trying to outdo me.
APOLLINAIRE: As artists, we must demand nothing less than the perpetual, immoral subversion of the existing order.
FERNANDE: I hope she makes you happy.
EVA: You will get married, and you will have a family but not with me.
COCTEAU: I'm about to leave for The Front.
I was hoping you would paint my portrait? PABLO: The woman I love is dying.
You think I want to paint your goddamn portrait? PABLITO: Maybe I should be a soldier.
DONA MARIA: Well, then you will be general, and if you're a priest, you will be pope.
MAX: I had a vision.
Jesus appeared to me.
EMILE: I want you to stay away from Picasso.
GRANDMA: Stop! PICASSO: I have missed you, terribly.
I only want you, Françoise.
Let's make a baby.
FRANÇOISE: You were the one who wanted children, Pablo, but I didn't agree to give up my work, so I could cater to all your needs.
(theme music plays).
(knock) COCTEAU: Monsieur Picasso, uh Jean Cocteau.
I once asked you to paint my portrait, but it was a terrible time for you.
Uh, listen, I know how fond you are of painting harlequins, so I thought well, um (chuckles).
PABLO: Cocteau has asked me to design a ballet.
Sets, costumes, all of it.
ROSENBERG: Do you know much about the ballet? PABLO: No, but that is exactly why I'm drawn to it.
A chance to work in a new medium, Rosi and I won't be doing it alone.
Cocteau will be writing the scenario.
He's brilliant.
Satie is composing.
Diaghilev's company will be dancing ROSENBERG: You don't enjoy sharing the footlights, Pablo.
PABLO: I worked with Braque for years, didn't I? ROSENBERG: His eyesight has returned.
Make peace with him.
Make some art with him.
PABLO: Braque wants nothing to do with me, and even if he did, I'm bored with Cubism.
It's too easy for me.
There's no satisfaction in it any more.
ROSENBERG: So instead you want to sew tutus and paint backdrops? PABLO: It's much more than that, Rosi.
Imagine instead of depicting multiple perspectives on a flat surface, I can make a painting that actually moves, breathes, keeps turning into another painting.
ROSENBERG: Clever, but for a painting to sell, it only needs one discerning buyer.
For a ballet to be a success, it must be admired by the masses.
They may not understand what you're trying to do.
PABLO: They never do, not at first.
ROSENBERG: This war is going to be over soon, Pablo.
The people are going to start buying again.
And if you spent the next few months creating some inventory, we could make real money.
PABLO: "Inventory?" I do not work in a factory ROSENBERG: Of course not.
It's a figure of speech PABLO: And I do not need money.
I need a new challenge.
And one, two, three, four, five, six, seven, eight and one PABLO: I'm still struggling with shape and movement, but once I spend more time with the music, experimenting with materials, watching rehearsals.
COCTEAU: Um, it goes like this.
DIAGHILEV: Ah, it looks like a man wearing a building.
COCTEAU: Exactly.
Picasso wants to tear down the walls between, uh, set and costume, between onstage and backstage.
And one, two, three, four, five, six, seven, eight.
DIAGHILEV: Between reason and insanity? Well, it will certainly shake the establishment Ah, Olga Khokhlova.
Your eye's as good as your reputation would suggest, Monsieur Picasso.
PABLO: She's so elegant.
DIAGHILEV: Yes, I have high hopes for her.
Well, I look forward to seeing what you dream up next.
One, two threee four, five, six, seven and eight.
One, two, three COCTEAU: Pablo, don't waste your time.
PABLO: Why not? COCTEAU: Russian aristocracy.
She must be looking for a duke or a viscount, not a controversial Spanish painter, hmm? And one, two, three, four, five, six, seven, eight PABLO: You have much better lines than the lead dancer.
OLGA: Do not let her hear you say that.
PABLO: Why not? It's the truth.
OLGA: Stagehands who critique dancers may find themselves painting scenery at the burlesque in Naples.
PABLO: I like the burlesque.
OLGA: Well, I am sure you must return to work on this abstract fiasco.
PABLO: You don't like the designs? OLGA: No, not at all.
Now, if you'll excuse me.
COCTEAU: Oh, Mademoiselle Khokhlova, I see you've met our designer, the great Pablo Picasso.
OLGA: It seems Monsieur Picasso was too modest to mention that.
COCTEAU: Ah, I can assure you there is nothing modest about Pablo Picasso.
Pablo, come with me.
I need you to help me persuade Satie that a typewriter and a pistol must be added to the percussion section.
PABLO: Satie will have to wait.
I promised to escort Mademoiselle Khokhlova back to her hotel.
OLGA: I had to be measured for my costume today.
Apparently you intend to dress me in cardboard.
(clears throat).
PABLO: Have you not had enough of pink tutus? OLGA: I prefer classical art to little boxes.
PABLO: Ah, so you do know cubism.
OLGA: Yes, and I know the cancan as well, but I dance in the ballet.
PABLO: I want to paint you.
OLGA: I suppose Parisian women find that offer irresistible.
(laughs) PABLO: Usually.
OLGA: Thank you for the escort, and good night.
PABLO: You are not going to make this easy for me, are you? OLGA: No, Monsieur Picasso, I'm not.
I thought you had forgotten me entirely.
PICASSO: Oh, nonsense.
I would never miss one of our lunches.
Please, yes.
OLGA: Yes, I suppose I should be grateful.
You do give me your undivided attention, once a week, for an hour.
PICASSO: Ugh, Olga, please, let's just enjoy Huh? OLGA: I saw you in that horrid Life Magazine with her.
PICASSO: I'm sorry.
I'm sorry, uh I can't help it if the press insists on publishing all these stories in the OLGA: First that stupid girl, then that insane photographer, and now you leave me to rot in a dingy hotel.
PICASSO: It's the best hotel in Paris.
OLGA: While you cavort for all the world to see with your latest mistress and her two urchins.
PICASSO: You mean my children.
OLGA: What about our son? When was the last time you saw him? PICASSO: I see Paulo when I can.
He's a grown man who doesn't want to be around OLGA: Yes, with a wife and a child of his own.
We are your family too, Pablo.
PICASSO: Of course you are, of course.
Olga, please, don't cry okay? Please, please, don't cry.
Don't cry, please.
You are still my wife.
The only Madame Picasso, nothing, nothing will ever change that.
OLGA: But we'll never go back to the way things were, will we? Whore! FRANÇOISE: Claude, come.
Let's go home.
OLGA: Stay away from him! Do you hear me? He's my husband, not yours! FRANÇOISE: Pablo.
Olga followed me again, screaming at me.
It terrified the children.
PICASSO: I'm-I'm-I'm sorry.
You know that she is not well.
FRANÇOISE: I don't understand why you let these women hang on.
PICASSO: Well, they are part of my life.
I can't just cut them out.
FRANÇOISE: So instead you run back and forth between them give each one of them just enough so she feels she's the most important.
PICASSO: I try to keep them separate, make things easy.
You know? To avoid confusion.
Do you understand? FRANÇOISE: There is nothing easy about this, Pablo.
And Olga, for one, seems to be very confused about it, and I can't take it anymore not with two little ones.
PICASSO: We'll go away from the city.
We'll go to the beach, away from Olga.
OLGA: How many of the other dancers in the company have sat for you? PABLO: You want the truth? OLGA: Certainly.
PABLO: No one actually sits for me anymore.
OLGA: Because you only do abstractions.
PABLO: Because I work from memory.
The moment I saw the curve of your neck, the color of your cheek, your face was etched in my mind.
OLGA: Hmm, then why am I frozen here with a stiff back? PABLO: Would you have agreed to spend time with me otherwise? OLGA: It seems you can do more than little cubes after all.
Um, I'm afraid you've mistaken my compliment for an invitation.
PABLO: If you want me to go, say so.
OLGA: Oh no, Monsieur, I cannot let you in.
PABLO: Why not? OLGA: We are not married.
You are not his wife! FRANÇOISE: You followed us here? OLGA: This was our beach.
PICASSO: Oh, no.
OLGA: Did you think I wouldn't find out, as if I have no friends here? I am the only Madame Picasso! (cries).
PICASSO: Hey, Olga! (grunts).
PICASSO: Olga, what are you doing here? OLGA: I have more right than she does! PICASSO: Come on, come, come.
Hey, hey! Françoise, where are you going, where are you going? FRANÇOISE: Claude, Claude, Claude! PICASSO: Please, Olga, please go.
Go, please, please.
Yeah? Go.
(inaudible chatter) (laughter).
DIAGHILEV: They are soldiers.
They wanted cleavage and bare legs, and we are giving them men in boxes.
(muffled jeers and laughter) APOLLINAIRE: My brothers! Respect for our art is respect for our country.
My brothers, please.
OLGA: I have never been so humiliated.
Did you hear them? PABLO: Art is meant to provoke.
It means we made them feel something.
OLGA: Yes, loathing.
PABLO: When I painted "Les Demoiselles" 10 years ago, everyone hated it.
Now everyone copies my style.
OLGA: My body isn't a canvas.
It won't last 10 years.
And now I have let you turn me into a puppet to display your art.
APOLLINAIRE: I understand why she is embarrassed, but one day she will realize that she was part of a new movement.
MAX: Yes, what did you, uh, call it, Guillaume? APOLLINAIRE: Surrealism.
MAX: Surrealism.
Ha! What a wonderful word.
PABLO: Thank you for quieting the crowd.
APOLLINAIRE: The least I could do.
MAX: Don't worry about Olga.
We will cheer her up.
We are organizing a party.
PABLO: Diaghilev is hosting a dinner for the company, with the Marchesa.
Olga feels it's important we attend.
MAX: Well, of course.
Of course.
Hey, you mustn't disappoint the Marchesa.
APOLLINAIRE: Dinner next week, then.
We can't wait to meet the woman who has stolen your heart.
PABLO: Olga's eager to meet you too, but the company leaves for Madrid on Monday.
MAX: Well, the three of us then.
At the Lapin Agile, like old times.
Huh? PABLO: I'm going with her.
MAX: Well, she certainly has you under her spell.
PABLO: She's like no woman I have ever met.
She's refined and elegant.
She's saved herself for marriage.
Can you imagine? APOLLINAIRE: So then you're going to, uh? PABLO: If she'll have me, yes.
I want her to be the mother of my children.
PICASSO: Damn, Paulo.
What were you thinking? Huh? PAULO: There was whiskey, Papa.
Someone brought a few women to the room, and the next thing I knew, the police were at the door.
PICASSO: You are 28 years old, for God's sake.
How could you be drunk in public with a wife and son at home? PAULO: You of all people are going to lecture me about being a faithful husband? PICASSO: I should have let you rot in jail.
PAULO: You know what, Papa? I'll make it easy for you.
Just forget about me Maman, too.
Oh wait, you already have.
FRANÇOISE: He needs you.
PICASSO: What more can I do? I already pay for his life.
FRANÇOISE: Your money may take care of him, but he doesn't feel cared for.
I want Claude and Paloma to know the rest of their family.
PICASSO: Yeah, of course.
Let's have a big party, invite them all Olga too, everybody.
FRANÇOISE: No, Olga, no, but, uh Marie-Thérèse and Maya should come.
PICASSO: You can't be serious.
Maya doesn't know anything about you or the children.
FRANÇOISE: Would you rather she learned the truth from some magazine? MARIE-THÉRÈSE: Sit up straight, Maya.
MAYA: Sorry, Maman.
PAULO: It's nonsense.
FRANÇOISE: Maya, would you like to hold your sister? MARIE-THÉRÈSE: Half-sister and I am not PICASSO: What a wonderful idea! My two beauties, together.
FRANÇOISE: Paloma, this is Maya.
MAYA: She's so tiny! FRANÇOISE: She's not nearly as big as Pablito, right Emilienne? EMILIENNE: No, and Pablito is three weeks younger.
MAYA: So Pablito is my nephew? FRANÇOISE: Yes, he's uh He's your brother Paulo's son.
MAYA: And Claude is my brother, too? MARIE-THÉRÈSE: Half-brother.
PAULO: Yes, from your father's new family.
The one that took your place after you took mine.
MARIE-THÉRÈSE: Give the baby back now, Maya.
PICASSO: This is my favorite paso doble.
Ven aqui, ven aqui.
FRANÇOISE: Your Maya is lovely.
You've done a superb job raising her.
MARIE-THÉRÈSE: And your babies are lovely.
But you'll never replace me, Françoise.
FRANÇOISE: I'm not trying to, Marie-Thérèse.
This is for the children.
PICASSO: I loved having you here.
What's wrong? I thought you enjoyed yourself.
You played with the babies, we danced.
MAYA: I had fun, Papa.
It's just I always thought you left us for your work, not because you lived with another family.
MATISSE: Why must you make things so difficult, Pablo huh? These are supposed to be our easy years.
PICASSO: Tell that to Françoise.
My life was orderly, exactly as I wanted it.
She has turned it into chaos.
MATISSE: You should enjoy your children and grandchildren.
Embrace the chaos.
PICASSO: How am I supposed to work with all these distractions? MATISSE: You might not do a retrospective, huh? PICASSO: Eh, the curators have been circling like vultures, as if I'm already dead, but there's so much more still to do, Henri.
MATISSE: This, uh This American fellow, Jackson Pollock.
He has set the art world on fire.
PICASSO: Paint splattered on canvas.
Abstraction for the sake of abstraction.
MATISSE: I can't say I understand it either, but nobody understood my colors at first, or Cubism, or collage.
Maybe this Pollock sees something we don't, or can't.
PICASSO: Well, we are still the revolution.
He's just following it.
MATISSE: Yes, but that is what Monet and Degas probably thought about us, no? Nothing can take away from what we have achieved, Pablo.
Nothing, but we should be, uh, embracing the new guard, not competing with them.
PICASSO: That may work for you but not for me.
I am not dead yet.
FRANÇOISE: Not now, Pablo.
The children are coming for lunch.
Make yourself useful.
The chicken is almost done.
PICASSO: Chicken? I want to make love and and you send me for chicken? FRANÇOISE: The world does not always operate on your schedule.
Just tell me the truth, Françoise.
You keep coming up with reasons to have people around so you don't have to spend time alone with me.
You have lost interest in me, because I'm old.
FRANÇOISE: I'm trying to make things better for everyone.
PICASSO: But how, how is it better? Do you think Paulo wants to watch me playing cowboys with Claude when he remembers I sent him off to boarding school? Do you think Maya wants to watch me cuddling Paloma.
FRANÇOISE: Maya loves Paloma PICASSO: I'm going to Paris.
FRANÇOISE: You can't go to Paris.
PICASSO: Oh, yes, I can.
It's too difficult to work with all these distractions.
FRANÇOISE: What am I supposed to tell everyone? Emilienne says Paulo is drinking less.
He's desperate to please you.
He's trying to find a job.
PICASSO: Hire him to help you catalogue my work, for my retrospective.
FRANÇOISE: I thought you'd decided not to PICASSO: Yeah.
You know, Matisse has convinced me that, uh, it would be a good idea to remind the critics that my work is still the most important in the world.
FRANÇOISE: Nobody needs to be reminded how brilliant you are, Pablo, believe me.
Now, please, at least stay for lunch PICASSO: No.
You, you made this mess, you deal with it! There.
KING ALFONSO: Diaghilev is bringing his Russian ballet to Madrid, but they are not performing Parade.
QUEEN VICTORIA: It caused quite a scandal in Paris.
KING ALFONSO: Perhaps, but Pablo Picasso is a son of Spain.
His own people deserve to see his work.
(rings) Summon the Minister of the Arts.
BUTLER: Yes, your majesty.
KING ALFONSO: It's a ballet, Victoria.
How offensive can it be? (applause) DIAGHILEV: Every director dreams of a command performance for a king.
PABLO: If he hates it, I will be a called fool and a fraud in my own country.
COCTEAU: Well, let's hope the king likes horses.
(silence) (audience applause) (laughing).
AUDIENCE: Pi-ca-sso! Pi-ca-sso! Pi-ca-sso DONA MARIA: Engaged! Oh, how wonderful! Oh, and such a beauty.
OLGA: Thank you, Madame Picasso.
DONA MARIA: Madame Picasso? Nonsense, I am Mama.
PABLO: You should rest your ankle.
Olga irritated an old injury.
DONA MARIA: Oh well, you won't have to worry about that now.
Of course carrying babies can put on a strain on your ankles.
To think that this time next year, I could be a grandmother.
OLGA: By this time next year, I hope to be the principal dancer in the company.
DONA MARIA: Does Olga even want children? PABLO: Of course, but she's not ready to give up dancing.
DONA MARIA: And why should you have to wait? PABLO: Because I love her.
DONA MARIA: Well, when you marry, there are sacrifices, yes.
But you should not be the one to make them.
You deserve a wife that will always put you first.
Will Olga do that? (singing in Latin).
(speaking Latin).
MAX: To Monsieur and Madame Picasso.
MAX: My, uh, profound condolences to the women of Paris who will no doubt shed many a tear now that their club has lost its most prominent member.
PABLO: Well, it has been a long day.
MAX: Oh, and a strange one.
What could be more shocking than our Pablo settling down with one woman, hmm? I mean, however beautiful she may be? (chuckling).
OLGA: Max made it sound as if you have made love to every woman in Paris.
PABLO: Max was drunk, trying to get a laugh.
Don't pay him any mind.
OLGA: I want to know.
How many have there been? How many others, dozens, more? I saved myself for you.
PABLO: Yes, and I have waited my whole life for you.
I chose you.
I gave you my name.
You are the only Madame Picasso.
GENEVIEVE: Is Monsieur Picasso at home? MARCEL: Who shall I say is calling? GENEVIEVE: Genevieve Laporte.
PICASSO: I don't remember her.
MARCEL: Apparently she once interviewed you for her school paper, and you invited her to come see you the next time she was in Paris.
PICASSO: Mmm, so she's a student? MARCEL: Not anymore.
PAULO: She's captivating.
Do you know when he painted it? FRANÇOISE: He didn't.
I did, years ago.
PAULO: I had no idea you were so talented.
FRANÇOISE: Kahnweiler's been asking me for new work to show, and I just don't have the time anymore.
PAULO: Who is she? FRANÇOISE: My grandmother.
She's not been well, actually.
I should go see her.
PAULO: Why don't you? I'd be happy to finish here on my own.
FRANÇOISE: Paulo, I appreciate that, but PAULO: It's the least I can do.
You didn't owe any of us kindness, but here we are.
FRANÇOISE: I'm afraid my meddling drove your father away.
PAULO: It has nothing to do with you.
He just does what he wants, always.
So do what you want.
Go see your grandmother.
FRANÇOISE: What if he comes home and I'm not here? I've not seen him in weeks.
I'm a bit worried about him, actually.
PAULO: He loves you, Françoise.
I know he does, but do you think he's in Paris worrying about you? (phone ringing) GENEVIEVE: Should you answer that? PICASSO: Whatever it is, it can wait.
GENEVIEVE: And how long do you plan to keep me waiting? PICASSO: I beg your pardon? GENEVIEVE: Oh, God.
I thought when you told me to come back, I thought you meant when I was old enough to I'm so sorry and so naive.
PICASSO: Apparently I am the one who is naive.
You're so young and so beautiful.
It didn't occur to me that you were interested in an old man.
GENEVIEVE: You don't seem old to me.
(phone ringing) PABLO: Rosi, say hello to Coco Chanel.
Coco, this is Paul Rosenberg, my dealer.
ROSENBERG: A pleasure, Mademoiselle.
My wife is a great admirer of your designs.
COCO CHANEL: Well, Monsieur Rosenberg, it seems your wife is not cheap, is she? (chuckling).
Which reminds me, Pablo Ever since Margot saw Olga's portrait, she will not relent.
She is insisting I commission you to paint her as well.
MARGOT ROSENBERG: Yes, in the classical style, just as you painted Olga.
PABLO: Rosi, you know very well I don't take commissions.
ROSENBERG: I'll give you 35,000.
PABLO: I don't need the money.
COCO CHANEL: Are you quite certain? Your wife has just asked me to design a gown for her.
ROSENBERG: 40,000, then huh? PABLO: I won't do it.
ROSENBERG: 50,000, but that is as high as I will go, hmm? (gasps).
ROSENBERG: Sold for 50,000 francs! (whooping).
MAID: I'm afraid Monsieur Picasso isn't at home.
May I give him a message? MAX: Uh, yes, yes, please, uh, tell him, uh, that Max Jacob came to engage him in a bout of debauchery.
Could you just give him this, please? (clears throat).
OLGA: Monsieur Jacob.
We have not seen you in quite some time.
MAX: The truth is that I am persona non grata in the-the finer parts of Paris.
OLGA: Well, you are welcome here.
MAX: Thank you, but I am afraid that, uh, I have a previous engagement.
PABLO: You opened my mail? OLGA: Who is Fernande? PABLO: Somebody I used to know.
OLGA: She writes as if you had a life with her.
PABLO: It was long time ago, Olga.
OLGA: She's asking for money.
Do you give her money? - No.
- Our money? -No! OLGA: How long were you together? PABLO: Nine or ten years.
OLGA: And it never occurred to you to mention her? PABLO: Because I don't concern myself with her anymore! OLGA: Then why would Max bring you this? PABLO: He is a bleeding heart trying to help an old friend.
OLGA: Well, you are a married man.
With a reputation to protect.
It's time to choose between your "old friends" and your new wife.
MAX: Pablo! Oh, come in.
PABLO: For Fernande.
MAX: Oh, I, thank you, I This will help, for she is in a chasm of despair, I'm afraid.
PABLO: Olga says you came to our house, drunk.
You say you found God, became a Catholic, but you behave as if you have no morals at all.
MAX: Oh, Pablo.
I, I am weak.
I admit it, but at least I have not abandoned my friends.
PABLO: I haven't abandoned anyone.
MAX: Oh, when was the last time you came to see me, hmm? Have you even once invited me to your fancy new apartment? And when was the last time that you talked to Apollinaire? Did you even know that he was sick? PABLO: No, no, I'll look in on him.
MAX: Oh, well, maybe you shouldn't.
I wouldn't want you to scuff your expensive shoes on the dirty cobblestones of Montmartre.
PABLO: I'm not going to apologize for my success, Max.
Or for the fact that I don't live like this anymore.
MAX: No, no, no, no, you spend your days with the Marchesa and your snob of a wife, pretending that you are an aristocrat.
Oh, Olga has cleaned you up so well, I hardly recognize you.
PABLO: You're 40 years old, for God's sake.
It's time to grow up.
Until you do, maybe it's best we don't see each other.
PICASSO: Was anyone badly hurt? MARCEL: My wife has a broken wrist, the children only a few bruises, thank God.
They'll be all right.
PICASSO: And the car is totally destroyed? MARCEL: I'm sorry, Pablo, I know how much you loved it.
PICASSO: Let me get this right.
You took your family out for a drive in my car, without asking me? MARCEL: I thought you wouldn't mind.
You said you didn't need to go anywhere today.
Well, I, I suppose if I no longer have a car, I no longer need a driver.
MARCEL: You're firing me? PICASSO: I have trusted you, Marcel.
You're the last person that I thought would deceive me.
How am I supposed to rely on you now, huh? MARCEL: Pablo, it was a mistake.
I should have asked permission.
I'm sorry, I, I'll pay for the damages PICASSO: Even if you could afford it, you can't repair my trust.
Can you? MARCEL: Pablo, I, I've worked for you for 25 years.
I think of you as family.
PICASSO: I have too much family as it is.
You should go and tend to your own.
MARCEL: You did trust me to drive you from one mistress to the other.
I kept all your secrets.
I didn't have to do that.
PICASSO: Are you threatening me, Marcel? MARCEL: You push everyone away, Pablo, and in the end you're going to die alone.
MAX: He survived the war, and now he is going to be killed by the flu.
PABLO: Thank you for sending for me.
MAX: I, uh I'll give you time alone, yeah? APOLLINAIRE: Pablo.
PABLO: I'm sorry I didn't come sooner.
APOLLINAIRE: Well, you're here now, and God hasn't managed to shut me up just yet, so (chuckle).
PABLO: Nobody could shut you up, Guillaume.
APOLLINAIRE: Look at you.
I'm so proud of you.
PABLO: I wouldn't be me, not without you.
APOLLINAIRE: Tell me what you're working on, now.
PABLO: Portraits, traditional ones.
Can you believe that? APOLLINAIRE: Do you remember our mission, Pablo? When we first drank absinthe together, all those years ago? PABLO: "The perpetual subversion of the moral order.
" APOLLINAIRE: You must never forget that, Pablo.
No matter how many portraits you sell, your art serves a greater purpose.
You must never become conventional.
You must never surrender to bourgeois existence.
No matter how easy it is.
You must always do what is difficult.
FRANÇOISE: It was a beautiful service.
Grandmother would have loved it.
MADELEINE: Could you come back to the house? FRANÇOISE: I have got a long way back to Vallauris.
EMILE: Where is, uh, Picasso? FRANÇOISE: He's very busy working on his retrospective.
EMILE: And that's more important than your grandmother's funeral? MADELEINE: Emile, please don't.
EMILE: I'm so sorry, Françoise.
For so much.
Perhaps it wasn't right, but I treated you as though you were a boy.
I taught you to be tough, to fight.
FRANÇOISE: And I'm grateful for that.
EMILE: Just, please tell me that you're happy.
I know I was harsh, but I raised you to stand up to difficult men, not to put up with them.
COCTEAU: Stand up and cheer, ladies and gentlemen.
Diaghilev is reviving Parade! (laughs).
COCTEAU: All of Paris will be talking.
In Dieghilev, he has found the most brilliant principal dancer.
OLGA: Well, I hope she isn't injured or seduced into marriage before she has a chance to become a truly great artist.
COCTEAU: I'm sure she'll be much happier once the baby comes.
PABLO: He is perfect, his eyes.
His, his mouth.
He is everything that I have ever wanted, querida.
If he is a soldier, he will be a general, and if he's a priest, then he will be pope.
Isn't that right, Paulo? PAULO: You want me to be your driver? PICASSO: I bought a new Mercedes.
Beautiful lines, a powerful engine PAULO: I'm sure it's a wonderful car, Papa, but PICASSO: But-But-But what? You need a job, I need a new driver.
We can spend some real time together.
We can start by going to Arles for the weekend, to the bullfights, like when your were little.
PAULO: Those were wonderful times.
PICASSO: Yeah, so it's settled then! Heh? PAULO: Okay.
PICASSO: Genevieve! Let me introduce you to my son, Paulo.
Oh, you're gonna love her.
She has even better lines than the Mercedes, and she's coming with us.
There she is.
Genevieve, my son Paulo.
Paulo, Genvieve.
MAID: This just came for you, sir.
PABLO: Thank you.
MAX: Dear Pablo, I was angry with you after the harsh words we exchanged.
But as they have come back to me in my mind again and again, I realized you were right.
It is time for me to grow up and make good on my vow to God.
I have decided to take up residence in the monastery at Saint-Benoit, and I hope that I will finally find peace and fulfillment in the embrace of the holy brothers.
And as you bask in the embrace of your new family, I hope, selfishly, that you will not become too comfortable, that you will refuse, as you always have, to compromise your prodigious talent and that you will never be satisfied with anything less than the full expression of your genius.
Yours faithfully, Max.
(gently shushing).
(gently shushing).
PABLO: Do you know who these wild men are, son? They're your papa's brothers; the kind of friends that I hope you find in your life someday.
OLGA: Pablo, what are you doing? You must not touch the baby before you washed your hands! PICASSO: Françoise, Françoise! Hi.
Paulo and I went to the bullfights in Arles.
Take this, take this, son.
FRANÇOISE: If I had known you were so close, I would have come and joined you.
PICASSO: I wanted to spend some time alone with Paulo.
What? You are the one who wanted me to just give him more attention.
FRANÇOISE: What have you been doing all this time? PICASSO: Working.
FRANÇOISE: Is there someone new? PICASSO: Who would want an old man like me? FRANÇOISE: Pablo, if anything, you've always been honest with me.
PICASSO: Now you're accusing me of lying? FRANÇOISE: I should leave you.
PICASSO: What are you talking about? FRANÇOISE: You'd have your freedom.
I could paint again.
PICASSO: Don't be ridiculous.
Nobody leaves Picasso! (speaking in Spanish).
FRANÇOISE: Yes, sweetheart.
I'm coming.
(music plays thorugh credits)
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