Genius (2017) s02e09 Episode Script
Picasso-Chapter Nine
1 PICASSO: Previously on Genius DIAGHILEV: Olga Khokhlova.
COCTEAU: Russian aristocracy.
She must be looking for the Duke or Viscount.
OLGA: I cannot let you in.
We are not married.
MAX: She certainly has you under her spell.
OLGA: You're a married man, with a reputation to protect.
MAX: You spend your days with your snob of a wife pretending you are an aristocrat.
At least I have not abandoned my friends.
OLGA: I am the only Madam Picasso.
(yells).
PICASSO: Hey, Olga! PABLO: Someday I'm going to paint the perfect painting.
PAULO: I had no idea you were so talented.
FRANÃOISE: Kahnweiler's been asking me for new works to show, and I just Don't have the time anymore PICASSO: Go on.
Play the game you played the night we first met.
Even when you missed, you didn't flinch.
MARIE-THÃRÃSE: She is so happy when you are here, Pablo.
PICASSO: Do you think Maya wants to watch me cuddling Paloma? FRANÃOISE: Maya loves Paloma.
GENEVIÃVE: And how long do you plan to keep me waiting? PICASSO: It did not occur to me that you were interested in an old man.
GENEVIÃVE: You don't seem old to me.
DOCTOR: Clear! DORA: I don't understand why you let these women hang on.
FRANÃOISE: I should leave you.
PICASSO: Ridiculous! Nobody leaves Picasso! (theme music plays).
(shudders).
(grunts and groans).
(singing in French).
ÃLUARD: My hand in your hair will sow the stars of sapphire, pearl, ruby that you never be deaf to my desire my oasis and my gourd whence I aspire.
DORA: Your writing is exquisite.
ÃLUARD: It's not me.
It's Baudelaire.
DORA: You're absurdly romantic, Paul.
ÃLUARD: And you, you don't have a romantic bone in your body, do you, hm? To you, it's just photography, politics and sex.
DORA: Sex is just a game.
Lately, it bores the hell out of me.
ÃLUARD: All these great men you've bedded, not one of them has managed to get his claws into you? DORA: God no.
I get tired of them in a matter of weeks.
(laughs).
ÃLUARD: You've never been in love? DORA: Paul I can barely tolerate romantic.
I absolutely despise sentimental.
ÃLUARD: Dora, uh, love is the most creative force in nature.
What you need is an Amour Fou.
DORA: A mad love? No thank you.
ÃLUARD: It's what inspires true artists like us.
DORA: You don't have to explain it to me.
I understand the Surrealist dogma as well as anyone.
A magical love, born of a chance encounter.
'Fate.
' Frankly, I think it's a ridiculous superstition.
ÃLUARD: You are a goddess, Dora.
What you need is a God.
DORA: Do you have someone in mind? (roars and growls).
(laughter).
PICASSO: Oh! Gorillas are chasing us.
Yeah! (laughter).
OLGA: Pablo, stop that! PICASSO: What, what? OLGA: You're embarrassing yourself.
Have you no sense of decorum? PICASSO: Oh.
Andre, Paul! You've come just in time.
Ah, oh, uh, Andre Breton and, uh, Paul Ãluard.
My wife.
Olga Khokhlova.
OLGA: It seems you forgot to mention to your friends that this is a formal occasion.
PICASSO: For God's sake, Olga, who cares how they are dressed? OLGA: If you want to entertain adults, you should learn to act like one.
PICASSO: Let's go to my studio.
It's the only place she can't torture me.
BRETON: "I am not a gentleman.
" That is exactly why you are our hero, Pablo.
(laughs).
BRETON: It's intuitive, automatic.
Emanations from the subconscious.
ÃLUARD: Charged with eroticism, born from the chance juxtaposition of images.
BRETON: This painting is everything I've been writing about.
It's a masterpiece of Surrealism.
ÃLUARD: Andre has just finished a collection of essays, Surrealism and Painting.
We would be honored if you would endorse it.
Maybe come to our next meeting? PICASSO: I don't want to be labeled.
Surrealist, Cubist and Modernist.
What is next? Communist? ÃLUARD: The Communists are going to remake the world.
PICASSO: Besides, my work lately is nothing but anger.
Bitterness.
No one wants to see that, really.
BRETON: That's absurd.
You're the most important painter in France.
PICASSO: I am stuck in a golden cage with a woman who cares more about chandeliers and Persian carpets than anything I will ever paint.
I should have known better than to ever get married.
I need someone new (clears throat) PICASSO: Excuse me, Mademoiselle.
MARIE-THÃRÃSE: Uh, yes? PICASSO: Um, you have an extraordinary face.
MARIE-THÃRÃSE: I beg your pardon? PICASSO: It was fate that you walked by.
MARIE-THÃRÃSE: Oh, what do you mean? PICASSO: I want to paint you.
MARIE-THÃRÃSE: Oh, I, I don't think so, Monsieur.
PICASSO: I am Picasso.
MARIE-THÃRÃSE: I'm sorry, what? PICASSO: You have never heard of me? MARIE-THÃRÃSE: No.
Should I have? PICASSO: Um PICASSO: Recognize him? MARIE-THÃRÃSE: You're famous.
PICASSO: In certain circles.
Now would you let me paint you? MARIE-THÃRÃSE: Why would you want to? My sisters call me an ugly duck.
PICASSO: Oh, that's absurd.
They're jealous.
Let me show you how I see you.
My studio is just two blocks from here.
MARIE-THÃRÃSE: Only for a few minutes, I have to get home.
PICASSO: You, your sisters couldn't be more wrong about you.
You are magnificent.
Like a Roman statue.
That's a very special book.
Go ahead, take a look at it.
120 Days of Sodom by Marquis de Sade.
Have you heard of it? Marquis de Sade destroyed old-fashioned literature the same way I have destroyed the rules of old masters of painting.
"Bestowing heartfelt kisses on my mouth and eyes, he said, 'If I am to teach you what to do in order to give me pleasure, 'tis only fair that at the same time I teach you what to do in order to receive it.
' He then placed his hand upon my" I don't want to make you late.
Why don't you come back and see me again tomorrow? MARIE-THÃRÃSE: I still live with my mother.
She, she might not approve.
PICASSO: You seem like an intelligent girl.
I am sure you can think of something to tell her.
If you want to come, be here at 3:00 in the afternoon.
Precisely.
EMILIE: Where have you been? MARIE-THÃRÃSE: I'm sorry I went shopping and then I, um, I played tennis with Nicoline.
EMILIE: In those clothes? Tell me the truth.
MARIE-THÃRÃSE: I met someone EMILIE: Who? MARIE-THÃRÃSE: An artist.
He wants to do my portrait.
EMILIE: He's probably trying to get you into bed.
For all you know, he's not really an artist at all.
MARIE-THÃRÃSE: Oh, I-I think he's quite successful, actually.
His name is Picasso.
EMILIE: Picasso? By all means, let him paint you.
(knock) PICASSO: You're late.
MARIE-THÃRÃSE: I'm sorry, Monsieur Picasso.
PICASSO: And you must call me Pablo.
MARIE-THÃRÃSE: I promise to always be on time Pablo.
PICASSO: Don't be shy.
You can look at it again.
PICASSO: Read out loud.
MARIE-THÃRÃSE: "She had very handsome eyes, exceedingly fair skin, and one of the most splendid and plumpest" PICASSO: Are you a virgin? MARIE-THÃRÃSE: Yes.
PICASSO: Then I will be your first.
(laughs softly).
Shh, don't laugh.
(gasps).
(moans and giggles).
(panting).
PICASSO: It's Amour Fou This girl, Geneviève.
She's so young and vibrant and It's different this time, Paul.
All my romantic adventures have been ruined by friction and-and suffering; two bodies coiled in barbed wire, you know, chafing against each other, tearing their flesh.
But with this one, it's been all sweetness and honey.
She's a hive without bees.
ÃLUARD: She must be very good in bed to elicit such poetry from the great Picasso.
PICASSO: She makes me feel alive.
ÃLUARD: And Françoise doesn't? PICASSO: She looks at me like I am old.
Anyway, I have a favor to ask you.
ÃLUARD: Of course, anything.
PICASSO: I have to sneak all the way to Paris when I want to see her.
I need a place closer.
St.
Tropez would be perfect.
ÃLUARD: I'll see what I can do.
PICASSO: Yes ÃLUARD: A flat, a house, a castle? (children laughing).
FRANÃOISE: Thanks for helping me watch the children, Kostas.
KOSTAS: Well, maybe they should take naps and we could have some sangria.
FRANÃOISE: Sangria? You've been spending too much time with Pablo's nephews.
KOSTAS: Actually, I don't like the way Javier makes it.
No, we do it better in Greece.
FRANÃOISE: Didn't you have a dissertation to finish? KOSTAS: I could go back to Paris tomorrow.
All day long it's mama this, mama that.
You need a little adult time.
FRANÃOISE: Oh, I wish I could, but when Pablo comes home I have a third child to look after.
KOSTAS: Where is he anyway? FRANÃOISE: We barely ever see him these days.
He's always dashing off to Paris or St.
Tropez.
The children miss him.
KOSTAS: What about you? FRANÃOISE: You're right, Kostas.
The children need their nap.
And you need to get on a train.
(knock) FRANÃOISE: Daniel Uh, it's very nice to see you, I'm sorry, Pablo isn't here.
KAHNWEILER: Well, that's my good fortune then.
It gives me some time to see what you've been working on.
FRANÃOISE: Well, I'm afraid I don't have anything new to show you.
I've been too busy with the children.
KAHNWEILER: That's a shame.
I've been getting a marvelous response to your paintings.
FRANÃOISE: You're just being kind.
KAHNWEILER: No, not at all.
I've sold three pieces this month and do you know Janine Charrat? FRANÃOISE: The choreographer? KAHNWEILER: She's looking for a designer for her new ballet in Paris.
I told her you would be perfect.
FRANÃOISE: I've never designed a set or a costume in my life.
KAHNWEILER: Neither had Pablo when he did Parade.
She loves your work, Françoise.
FRANÃOISE: God that sounds like fun.
PICASSO: It's impossible.
How can you go to Paris for weeks on end? Who's going to take care of the children? FRANÃOISE: Well, they have a father.
PICASSO: You know I cannot look after them night and day.
(scoffs).
I wouldn't get any work done.
(banging) OLGA: Open the door before I break it down! PICASSO: What in God's name do you want? OLGA: You must get dressed.
We're going to be late for dinner with the Beaumonts.
PICASSO: No, you go without me.
I'm working.
OLGA: You're always working.
You are never home and when you are home, you lock yourself in here.
PICASSO: Well, why wouldn't I? All you ever do is complain.
Please, Olga, I'm working.
Please.
MARIE-THÃRÃSE: Don't you ever get tired of painting me? PICASSO: Your face, in this light? How could I ever get tired of that? MARIE-THÃRÃSE: I'm glad you still feel that way.
Now go and get cleaned up.
I have a surprise for you.
PICASSO: Do you? MARIE-THÃRÃSE: I bought us tickets to see Josephine Baker.
PICASSO: Yeah, well it's a, it's a popular play.
We might run into someone who knows Olga and what would I say to them? MARIE-THÃRÃSE: So even after all these years, this little flat will be the only place we can ever be together? Pablo, when are you going to divorce her? You promised me.
PICASSO: You know I would like nothing better than to be free from that woman.
But, but divorce is very complicated.
I love you but for now we need to keep things as they are.
If Olga found out about you, she would make life hell.
GENEVIÃVE: It's heaven Our own secret little Shangri-La.
ÃLUARD: Yes, I thought it was a rather romantic little flat.
I'm delighted you like it.
GENEVIÃVE: We love it.
Thank you so much, Paul.
- PICASSO: I owe you one favor, my friend.
- ÃLUARD: Oh.
Monsieur Picasso, a-a few questions for my readers, please.
PICASSO: Oh, not now.
Who's your pretty friend, a new muse perhaps? ÃLUARD: Get out of here, before I break that thing.
MADAME RAMIE: Ah, Mademoiselle Gilot, how may I help you? FRANÃOISE: I've come to collect Monsieur Picasso's pieces.
MADAME RAMIE: I'm sorry, they have not been fired yet.
But they should be ready by the time he returns from St.
Tropez.
FRANÃOISE: He's in Paris, actually.
MADAME RAMIE: Oh, well.
The papers must be mistaken.
FRANÃOISE: Mistaken about what? MADAME RAMIE: I'm sure it's just silly gossip FRANÃOISE: What kind of gossip? MADAME RAMIE: Well, if you must know they say he has been seen there in the company of a striking young lady.
PICASSO: Ah, what are these? Costumes? FRANÃOISE: Mm.
I've accepted the position with the ballet.
I'm leaving for Paris next week.
PICASSO: But I told you it, it was not possible.
FRANÃOISE: Well, if you can do whatever you want, so can I.
PICASSO: Do what I want? Uh-huh.
What are you talking about? FRANÃOISE: Your new girlfriend in St.
Tropez.
PICASSO: How can you listen to such ridiculous rumors? There is no girlfriend.
FRANÃOISE: Don't lie to me, Pablo.
After everything we've been through, the one thing I've always counted on is that we always tell each other the truth.
PICASSO: Well, I, I am telling the truth.
And if I was with another woman, it would be your own fault.
When was the last time you showed me any affection? FRANÃOISE: That's hard to do when you're never here.
PICASSO: Oh, I see.
You're punishing me.
FRANÃOISE: No.
No, I'm rewarding myself.
PICASSO: Oh.
FRANÃOISE: For all the sacrifices I've made to your art at the expense of my own.
It's my turn, Pablo.
PICASSO: My God, you are made of ice.
How else could a mother just abandon her children? FRANÃOISE: I'm not abandoning my children.
I've spoken to Maya, she's gonna come and watch them.
I'm only going away for two months.
They can visit me on weekends.
(mutters in Spanish).
OLGA: Who is she? You've painted her over and over again.
PICASSO: She's nobody, just, just a model.
OLGA: I won't be made a fool of.
I gave up everything for you.
My career, my country, my body.
I won't have myself and my child humiliated by some harlot.
PICASSO: Humiliated? You live like a Russian princess.
OLGA: Get rid of her.
PICASSO: Marie-Thérèse.
What is it? MARIE-THÃRÃSE: I know it's complicated, but we must get married.
PICASSO: We have discussed this.
You know how difficult that is and especially now, Olga is just MARIE-THÃRÃSE: Pablo I'm pregnant.
(sniffs).
(chuckles).
(sighs).
OLGA: Did you tell her it's over? PICASSO: I want a divorce.
PICASSO: It was a, a wedding gift.
I never liked it, she can have it.
BAILIFF: I'm told there's a second floor? PICASSO: Yeah, but that's my studio.
Everything there belongs to me.
BAILIFF: Monsieur Picasso, "one half of all possessions" includes any artwork that you own.
PICASSO: Um, But I painted them.
DE SARIAC: I'm afraid the law is quite clear.
PICASSO: The divorce is off.
OLGA: So you are getting rid of the girl? PICASSO: No.
OLGA: Then what? PICASSO: I am not going to let you get away with half of my life's work.
OLGA: I see God forbid you should lose any of your precious paintings.
They mean more to you than people do.
PICASSO: Oh, I know you, Olga.
You would only sell them to buy shoes and fur coats.
OLGA: Do what you wish.
But I refuse to be humiliated when the papers discover you are having a baby with your filthy mistress.
Paulo and I are moving to the Hotel California.
At your expense I hope you and your new family are very happy MARIE-THÃRÃSE: Thank you for taking such good care of me and little Maya.
PICASSO: Oh, of course, you're my two girls.
Marie-Thérèse Marie-Thérèse MARIE-THÃRÃSE: The doctor said it's okay.
It's been two months.
We have plenty of time while the baby's asleep.
PICASSO: Yes MARIE-THÃRÃSE: Is, is something wrong? PICASSO: I haven't painted anything since I have been living here.
I need to go back to my studio.
MARIE-THÃRÃSE: I thought you loved the light here.
PICASSO: Yes, yes, I, I, yes, but it's, uh different now.
MARIE-THÃRÃSE: It's not me, is it, Pablo? I, I still inspire you, don't I? PICASSO: No, no, no, no, you, you mean the, you mean the world to me It's just, uh, too many distractions here.
I need to go back to my studio.
I have to.
Hey.
Dear Maya.
Papa will come see you and Mama very soon.
You are an angel, Maya.
How many stories did it take? MAYA: Four, but they're finally asleep.
PICASSO: Well, I don't know what I would do without you.
You're a wonderful big sister.
MAYA: They're wonderful children.
Obviously, Françoise is a very good mother.
PICASSO: Good mother? No, we have barely heard from her.
MAYA: I'm sure she's quite busy with the ballet.
PICASSO: Yeah, but her real responsibilities are here.
She's taking advantage of your kindness.
MAYA: No, don't be silly.
I'm glad to help.
I want her to be able to pursue her work, just like you do, Papa.
PICASSO: But she can work here.
Nobody's stopping her.
She doesn't have to run off to Paris to do it.
MAYA: Instead of complaining about her, you should be her champion.
She's not like Mama.
She's more independent and if you do not treat her better, you are going to lose her.
FRANÃOISE: Kostas, what? KOSTAS: Javier told me you were working here.
Why didn't you tell me you were in town? FRANÃOISE: I've been busy.
KOSTAS: Is it going well? FRANÃOISE: It is, actually, it's, um, it's thrilling to work with so many talented artists KOSTAS: Well, sounds wonderful.
FRANÃOISE: What are? KOSTAS: Oh, I thought we could have some sangria.
FRANÃOISE: And you know where to find sangria in Paris? KOSTAS: No.
(laughs).
KOSTAS: No, I know a place with a Chablis I can afford.
FRANÃOISE: Merci.
KOSTAS: So, let me guess, you left him? FRANÃOISE: No, why would you say that? KOSTAS: Well, it's the only way I could imagine Pablo allowing the mother of his children to run off to Paris without him.
FRANÃOISE: I didn't give him a choice.
KOSTAS: Good for you.
FRANÃOISE: I do miss the children though.
I finish work and I go home to a quiet apartment.
KOSTAS: If you're lonely, you can always call me (laughs).
KOSTAS: Well, we all know Pablo does whatever Pablo wants.
Why can't you do the same? Heraclitus said nothing remains still, change is the essence of the universe.
PICASSO: All day on his knees, before the rag so dirty as it dribbles down.
Love seated in the corner of the kitchen.
To amuse herself, she cuts her nails.
ÃLUARD: It's uh, bold.
Original, just like your paintings.
PICASSO: You are afraid to tell me it's dreadful.
You see, I know I am an amateur, but poetry Is the only way I can express myself lately.
I, I haven't painted in-in months.
I, nothing moves me anymore, not the light, not Marie-Thérèse, nothing.
ÃLUARD: You need something new to inspire you.
PICASSO: Let me guess.
Another Amour Fou? ÃLUARD: No.
Actually, I was thinking another artist.
Do you know Renoir? PICASSO: Of course, but I have always despised his pretty paintings.
ÃLUARD: Ah, not the father, the son.
Now, he's doing some very interesting work.
RENOIR: Cut! Cutting, that's a cut.
Checking the gate, moving on.
RENOIR: Let's print the last two takes, please.
PICASSO: So this is how Charlie Chaplin does it? RENOIR: Well, Chaplin's a genius - PICASSO: Ah.
- RENOIR: I can only hope.
ÃLUARD: Jean, is that, uh? RENOIR: She's Dora Maar, our set photographer.
ÃLUARD: Ah, you should meet her, Pablo, she's fascinating.
Come, I'll introduce you.
RENOIR: Florelle is our lead actress.
Florelle, please meet Pablo Picasso.
FLORELLE: Monsieur Picasso, you're even more handsome than your pictures.
PICASSO: And you are as ravishing as you are in your films.
FLORELLE: Even dressed as a laundress? PICASSO: Especially dressed as a laundress.
Why don't you introduce me to your friends? DORA: That went well.
ÃLUARD: He's easily distracted, like a child.
DORA: I thought you said he was a God? ÃLUARD: Ah, you'd think so too if you got to know him.
DORA: I would have to meet him first.
ÃLUARD: And you will.
Just not today apparently.
DORA: Honestly, I can't understand why you think we are so well-suited.
ÃLUARD: Because my dear Dora, you are the two most extraordinary people I know.
DORA: This is absurd, Paul.
Why don't you simply invite us both to dinner instead of contriving a "chance encounter"? ÃLUARD: You know the rules of Amour Fou.
DORA: If it's arranged by you, it's not exactly "fate" is it? ÃLUARD: Ah, I'm just trying to give fate a little push.
DORA: Well? We've tried it your way.
Now, we are going to try mine.
ÃLUARD: What are you having? PICASSO: Whatever you are.
ÃLUARD: Pernod.
Are you going to show me your latest poems? PICASSO: I've had a new idea.
No punctuation, and um ÃLUARD: What? Reinventing painting wasn't enough? Now you've got to PICASSO: You don't even flinch.
DORA: That is the point.
PICASSO: It's, uh, hypnotizing.
ÃLUARD: Dora! I didn't see you there.
Pablo, Dora Maar, the photographer.
PICASSO: Yes, I've, I've heard your name.
A Surrealist, yes? ÃLUARD: You should see her work.
Intense, provocative PICASSO: Well, if it as daring as she is, it must be.
Where did you learn that game? DORA: Game? This is quite serious.
I could lose a finger.
PICASSO: But one must sacrifice for one's art.
DORA: Very true.
Perhaps you might be willing to make a small sacrifice to my art.
PICASSO: What do you have in mind? DORA: Come to my studio.
You have a most interesting face.
I want to photograph you.
PICASSO: I will agree to that.
But only if you allow me to keep your gloves.
I would like a memento of the day that fate put you in my path.
PICASSO: I have tried my hand at photography but it's, it's not for me.
DORA: Oh, no? PICASSO: No, too unpredictable.
Not like painting where the artist is in control.
Not a slave to the whims of the sun.
DORA: But the sun is similar to paint.
PICASSO: How is that? DORA: At first you feel you must work within its limitations, its quirks.
But with practice, you learn to use those to your advantage.
You feel what it wants from you.
PICASSO: But paint I can touch.
I can move with a brush or my fingertips DORA: Mm-hmm.
But the sun surprises you.
Plays with you.
And film reveals things that aren't uh obvious to the naked eye.
Maybe you would enjoy it a bit more if you gave up some of your control (shutter clicks) PICASSO: Françoise.
FRANÃOISE: I wasn't sure you'd come.
PICASSO: Well, how could I miss your debut? I am your greatest champion.
Bravo! (crowd cheers).
Bravo, bravo.
FRANÃOISE: How did you get back here? KOSTAS: I, uh, slipped the doorman five francs.
Yeah, he should be more careful because any scoundrel could just sneak in here.
Your work is stunning, Françoise.
These are for you.
FRANÃOISE: Thank you.
I'm, I'm so sorry, I have to go, Pablo is waiting for me.
KOSTAS: Well at least I have one kiss to remember.
(laugh).
PICASSO: Oh, bravo.
(sighs).
FRANÃOISE: I'm sorry I kept you waiting.
PICASSO: I waited two months for you to finish the ballet.
I don't mind a few extra minutes.
But it will be wonderful to have you home again.
FRANÃOISE: Yes, I'm excited to see the children.
PICASSO: Now you can concentrate on being a mother again.
FRANÃOISE: Is that the only reason you want me back home? PICASSO: No, no, of course not.
I-I only meant that the children have missed you.
And so have I.
So, you know, it has been a change for all of us not having Mama to look after us.
FRANÃOISE: Well, change is the essence of the universe, Pablo.
PICASSO: Françoise, where are you going? No, keep them open.
Look at me.
What's wrong? DORA: Nothing's wrong.
I, realized Paul was right.
He was right that I have never been in love before.
PICASSO: Dora, I already have a studio.
DORA: Not like this.
This place is perfect for you.
A place to start something new.
To forget about Olga and dinner jackets and stuffy cocktail parties.
What do you think? PICASSO: The light is good.
DORA: Did you know this building is the setting for Balzac's story Le Chef d'Oeuvre Inconnu? The one where the protagonist Frenhofer is striving PICASSO: Trying to paint the perfect painting.
You're right.
It would be perfect.
Dora, you know I cannot live with you.
At least not right now.
DORA: Pablo, I could never live with you.
You would drive me mad.
(chuckles).
(footsteps) PICASSO: You have come to your senses.
FRANÃOISE: Yes, I have.
PICASSO: I knew you would.
No one understands you like I do.
FRANÃOISE: Pablo, I'm leaving you.
PICASSO: Don't tell me.
Now you want to do an opera.
FRANÃOISE: I'm not joking.
I can't live with you anymore.
PICASSO: Is there someone else? FRANÃOISE: Kostas.
PICASSO: My, my nephew's friend? Is that who you choose to replace me? An he's an amateur philosopher? FRANÃOISE: The last thing I need is a replacement for you.
I need to be free, to work and live the way I want.
I need to learn how to be happy.
I have made some arrangements for the children to start school in September in Paris.
We'll be leaving then.
PICASSO: We both know that you will never do that.
Without me, what will your life be? FRANÃOISE: I don't know but it will be my own.
PICASSO: Well, then you will be known as the foolish woman who left Picasso.
Yep.
MADAME RAMIE: She must be out of her mind.
Those poor children being kept from their father.
PICASSO: Yeah, but I am sure she won't go through with it.
JACQUELINE: Here are the pieces you asked for.
MADAME RAMIE: I don't think you've met my cousin Jacqueline.
PICASSO: No.
JACQUELINE: It's an honor, Monsieur Picasso.
MADAME RAMIE: Jacqueline is very handy.
She has been a great help to me.
I'm sure she could help you, too if you do find yourself needing someone to cook or clean.
Or anything else you may want.
FRANÃOISE: Paloma, Paloma.
PALOMA: I need mine, Mom FRANÃOISE: All right, we'll get it, we'll grab it after.
COCTEAU: Russian aristocracy.
She must be looking for the Duke or Viscount.
OLGA: I cannot let you in.
We are not married.
MAX: She certainly has you under her spell.
OLGA: You're a married man, with a reputation to protect.
MAX: You spend your days with your snob of a wife pretending you are an aristocrat.
At least I have not abandoned my friends.
OLGA: I am the only Madam Picasso.
(yells).
PICASSO: Hey, Olga! PABLO: Someday I'm going to paint the perfect painting.
PAULO: I had no idea you were so talented.
FRANÃOISE: Kahnweiler's been asking me for new works to show, and I just Don't have the time anymore PICASSO: Go on.
Play the game you played the night we first met.
Even when you missed, you didn't flinch.
MARIE-THÃRÃSE: She is so happy when you are here, Pablo.
PICASSO: Do you think Maya wants to watch me cuddling Paloma? FRANÃOISE: Maya loves Paloma.
GENEVIÃVE: And how long do you plan to keep me waiting? PICASSO: It did not occur to me that you were interested in an old man.
GENEVIÃVE: You don't seem old to me.
DOCTOR: Clear! DORA: I don't understand why you let these women hang on.
FRANÃOISE: I should leave you.
PICASSO: Ridiculous! Nobody leaves Picasso! (theme music plays).
(shudders).
(grunts and groans).
(singing in French).
ÃLUARD: My hand in your hair will sow the stars of sapphire, pearl, ruby that you never be deaf to my desire my oasis and my gourd whence I aspire.
DORA: Your writing is exquisite.
ÃLUARD: It's not me.
It's Baudelaire.
DORA: You're absurdly romantic, Paul.
ÃLUARD: And you, you don't have a romantic bone in your body, do you, hm? To you, it's just photography, politics and sex.
DORA: Sex is just a game.
Lately, it bores the hell out of me.
ÃLUARD: All these great men you've bedded, not one of them has managed to get his claws into you? DORA: God no.
I get tired of them in a matter of weeks.
(laughs).
ÃLUARD: You've never been in love? DORA: Paul I can barely tolerate romantic.
I absolutely despise sentimental.
ÃLUARD: Dora, uh, love is the most creative force in nature.
What you need is an Amour Fou.
DORA: A mad love? No thank you.
ÃLUARD: It's what inspires true artists like us.
DORA: You don't have to explain it to me.
I understand the Surrealist dogma as well as anyone.
A magical love, born of a chance encounter.
'Fate.
' Frankly, I think it's a ridiculous superstition.
ÃLUARD: You are a goddess, Dora.
What you need is a God.
DORA: Do you have someone in mind? (roars and growls).
(laughter).
PICASSO: Oh! Gorillas are chasing us.
Yeah! (laughter).
OLGA: Pablo, stop that! PICASSO: What, what? OLGA: You're embarrassing yourself.
Have you no sense of decorum? PICASSO: Oh.
Andre, Paul! You've come just in time.
Ah, oh, uh, Andre Breton and, uh, Paul Ãluard.
My wife.
Olga Khokhlova.
OLGA: It seems you forgot to mention to your friends that this is a formal occasion.
PICASSO: For God's sake, Olga, who cares how they are dressed? OLGA: If you want to entertain adults, you should learn to act like one.
PICASSO: Let's go to my studio.
It's the only place she can't torture me.
BRETON: "I am not a gentleman.
" That is exactly why you are our hero, Pablo.
(laughs).
BRETON: It's intuitive, automatic.
Emanations from the subconscious.
ÃLUARD: Charged with eroticism, born from the chance juxtaposition of images.
BRETON: This painting is everything I've been writing about.
It's a masterpiece of Surrealism.
ÃLUARD: Andre has just finished a collection of essays, Surrealism and Painting.
We would be honored if you would endorse it.
Maybe come to our next meeting? PICASSO: I don't want to be labeled.
Surrealist, Cubist and Modernist.
What is next? Communist? ÃLUARD: The Communists are going to remake the world.
PICASSO: Besides, my work lately is nothing but anger.
Bitterness.
No one wants to see that, really.
BRETON: That's absurd.
You're the most important painter in France.
PICASSO: I am stuck in a golden cage with a woman who cares more about chandeliers and Persian carpets than anything I will ever paint.
I should have known better than to ever get married.
I need someone new (clears throat) PICASSO: Excuse me, Mademoiselle.
MARIE-THÃRÃSE: Uh, yes? PICASSO: Um, you have an extraordinary face.
MARIE-THÃRÃSE: I beg your pardon? PICASSO: It was fate that you walked by.
MARIE-THÃRÃSE: Oh, what do you mean? PICASSO: I want to paint you.
MARIE-THÃRÃSE: Oh, I, I don't think so, Monsieur.
PICASSO: I am Picasso.
MARIE-THÃRÃSE: I'm sorry, what? PICASSO: You have never heard of me? MARIE-THÃRÃSE: No.
Should I have? PICASSO: Um PICASSO: Recognize him? MARIE-THÃRÃSE: You're famous.
PICASSO: In certain circles.
Now would you let me paint you? MARIE-THÃRÃSE: Why would you want to? My sisters call me an ugly duck.
PICASSO: Oh, that's absurd.
They're jealous.
Let me show you how I see you.
My studio is just two blocks from here.
MARIE-THÃRÃSE: Only for a few minutes, I have to get home.
PICASSO: You, your sisters couldn't be more wrong about you.
You are magnificent.
Like a Roman statue.
That's a very special book.
Go ahead, take a look at it.
120 Days of Sodom by Marquis de Sade.
Have you heard of it? Marquis de Sade destroyed old-fashioned literature the same way I have destroyed the rules of old masters of painting.
"Bestowing heartfelt kisses on my mouth and eyes, he said, 'If I am to teach you what to do in order to give me pleasure, 'tis only fair that at the same time I teach you what to do in order to receive it.
' He then placed his hand upon my" I don't want to make you late.
Why don't you come back and see me again tomorrow? MARIE-THÃRÃSE: I still live with my mother.
She, she might not approve.
PICASSO: You seem like an intelligent girl.
I am sure you can think of something to tell her.
If you want to come, be here at 3:00 in the afternoon.
Precisely.
EMILIE: Where have you been? MARIE-THÃRÃSE: I'm sorry I went shopping and then I, um, I played tennis with Nicoline.
EMILIE: In those clothes? Tell me the truth.
MARIE-THÃRÃSE: I met someone EMILIE: Who? MARIE-THÃRÃSE: An artist.
He wants to do my portrait.
EMILIE: He's probably trying to get you into bed.
For all you know, he's not really an artist at all.
MARIE-THÃRÃSE: Oh, I-I think he's quite successful, actually.
His name is Picasso.
EMILIE: Picasso? By all means, let him paint you.
(knock) PICASSO: You're late.
MARIE-THÃRÃSE: I'm sorry, Monsieur Picasso.
PICASSO: And you must call me Pablo.
MARIE-THÃRÃSE: I promise to always be on time Pablo.
PICASSO: Don't be shy.
You can look at it again.
PICASSO: Read out loud.
MARIE-THÃRÃSE: "She had very handsome eyes, exceedingly fair skin, and one of the most splendid and plumpest" PICASSO: Are you a virgin? MARIE-THÃRÃSE: Yes.
PICASSO: Then I will be your first.
(laughs softly).
Shh, don't laugh.
(gasps).
(moans and giggles).
(panting).
PICASSO: It's Amour Fou This girl, Geneviève.
She's so young and vibrant and It's different this time, Paul.
All my romantic adventures have been ruined by friction and-and suffering; two bodies coiled in barbed wire, you know, chafing against each other, tearing their flesh.
But with this one, it's been all sweetness and honey.
She's a hive without bees.
ÃLUARD: She must be very good in bed to elicit such poetry from the great Picasso.
PICASSO: She makes me feel alive.
ÃLUARD: And Françoise doesn't? PICASSO: She looks at me like I am old.
Anyway, I have a favor to ask you.
ÃLUARD: Of course, anything.
PICASSO: I have to sneak all the way to Paris when I want to see her.
I need a place closer.
St.
Tropez would be perfect.
ÃLUARD: I'll see what I can do.
PICASSO: Yes ÃLUARD: A flat, a house, a castle? (children laughing).
FRANÃOISE: Thanks for helping me watch the children, Kostas.
KOSTAS: Well, maybe they should take naps and we could have some sangria.
FRANÃOISE: Sangria? You've been spending too much time with Pablo's nephews.
KOSTAS: Actually, I don't like the way Javier makes it.
No, we do it better in Greece.
FRANÃOISE: Didn't you have a dissertation to finish? KOSTAS: I could go back to Paris tomorrow.
All day long it's mama this, mama that.
You need a little adult time.
FRANÃOISE: Oh, I wish I could, but when Pablo comes home I have a third child to look after.
KOSTAS: Where is he anyway? FRANÃOISE: We barely ever see him these days.
He's always dashing off to Paris or St.
Tropez.
The children miss him.
KOSTAS: What about you? FRANÃOISE: You're right, Kostas.
The children need their nap.
And you need to get on a train.
(knock) FRANÃOISE: Daniel Uh, it's very nice to see you, I'm sorry, Pablo isn't here.
KAHNWEILER: Well, that's my good fortune then.
It gives me some time to see what you've been working on.
FRANÃOISE: Well, I'm afraid I don't have anything new to show you.
I've been too busy with the children.
KAHNWEILER: That's a shame.
I've been getting a marvelous response to your paintings.
FRANÃOISE: You're just being kind.
KAHNWEILER: No, not at all.
I've sold three pieces this month and do you know Janine Charrat? FRANÃOISE: The choreographer? KAHNWEILER: She's looking for a designer for her new ballet in Paris.
I told her you would be perfect.
FRANÃOISE: I've never designed a set or a costume in my life.
KAHNWEILER: Neither had Pablo when he did Parade.
She loves your work, Françoise.
FRANÃOISE: God that sounds like fun.
PICASSO: It's impossible.
How can you go to Paris for weeks on end? Who's going to take care of the children? FRANÃOISE: Well, they have a father.
PICASSO: You know I cannot look after them night and day.
(scoffs).
I wouldn't get any work done.
(banging) OLGA: Open the door before I break it down! PICASSO: What in God's name do you want? OLGA: You must get dressed.
We're going to be late for dinner with the Beaumonts.
PICASSO: No, you go without me.
I'm working.
OLGA: You're always working.
You are never home and when you are home, you lock yourself in here.
PICASSO: Well, why wouldn't I? All you ever do is complain.
Please, Olga, I'm working.
Please.
MARIE-THÃRÃSE: Don't you ever get tired of painting me? PICASSO: Your face, in this light? How could I ever get tired of that? MARIE-THÃRÃSE: I'm glad you still feel that way.
Now go and get cleaned up.
I have a surprise for you.
PICASSO: Do you? MARIE-THÃRÃSE: I bought us tickets to see Josephine Baker.
PICASSO: Yeah, well it's a, it's a popular play.
We might run into someone who knows Olga and what would I say to them? MARIE-THÃRÃSE: So even after all these years, this little flat will be the only place we can ever be together? Pablo, when are you going to divorce her? You promised me.
PICASSO: You know I would like nothing better than to be free from that woman.
But, but divorce is very complicated.
I love you but for now we need to keep things as they are.
If Olga found out about you, she would make life hell.
GENEVIÃVE: It's heaven Our own secret little Shangri-La.
ÃLUARD: Yes, I thought it was a rather romantic little flat.
I'm delighted you like it.
GENEVIÃVE: We love it.
Thank you so much, Paul.
- PICASSO: I owe you one favor, my friend.
- ÃLUARD: Oh.
Monsieur Picasso, a-a few questions for my readers, please.
PICASSO: Oh, not now.
Who's your pretty friend, a new muse perhaps? ÃLUARD: Get out of here, before I break that thing.
MADAME RAMIE: Ah, Mademoiselle Gilot, how may I help you? FRANÃOISE: I've come to collect Monsieur Picasso's pieces.
MADAME RAMIE: I'm sorry, they have not been fired yet.
But they should be ready by the time he returns from St.
Tropez.
FRANÃOISE: He's in Paris, actually.
MADAME RAMIE: Oh, well.
The papers must be mistaken.
FRANÃOISE: Mistaken about what? MADAME RAMIE: I'm sure it's just silly gossip FRANÃOISE: What kind of gossip? MADAME RAMIE: Well, if you must know they say he has been seen there in the company of a striking young lady.
PICASSO: Ah, what are these? Costumes? FRANÃOISE: Mm.
I've accepted the position with the ballet.
I'm leaving for Paris next week.
PICASSO: But I told you it, it was not possible.
FRANÃOISE: Well, if you can do whatever you want, so can I.
PICASSO: Do what I want? Uh-huh.
What are you talking about? FRANÃOISE: Your new girlfriend in St.
Tropez.
PICASSO: How can you listen to such ridiculous rumors? There is no girlfriend.
FRANÃOISE: Don't lie to me, Pablo.
After everything we've been through, the one thing I've always counted on is that we always tell each other the truth.
PICASSO: Well, I, I am telling the truth.
And if I was with another woman, it would be your own fault.
When was the last time you showed me any affection? FRANÃOISE: That's hard to do when you're never here.
PICASSO: Oh, I see.
You're punishing me.
FRANÃOISE: No.
No, I'm rewarding myself.
PICASSO: Oh.
FRANÃOISE: For all the sacrifices I've made to your art at the expense of my own.
It's my turn, Pablo.
PICASSO: My God, you are made of ice.
How else could a mother just abandon her children? FRANÃOISE: I'm not abandoning my children.
I've spoken to Maya, she's gonna come and watch them.
I'm only going away for two months.
They can visit me on weekends.
(mutters in Spanish).
OLGA: Who is she? You've painted her over and over again.
PICASSO: She's nobody, just, just a model.
OLGA: I won't be made a fool of.
I gave up everything for you.
My career, my country, my body.
I won't have myself and my child humiliated by some harlot.
PICASSO: Humiliated? You live like a Russian princess.
OLGA: Get rid of her.
PICASSO: Marie-Thérèse.
What is it? MARIE-THÃRÃSE: I know it's complicated, but we must get married.
PICASSO: We have discussed this.
You know how difficult that is and especially now, Olga is just MARIE-THÃRÃSE: Pablo I'm pregnant.
(sniffs).
(chuckles).
(sighs).
OLGA: Did you tell her it's over? PICASSO: I want a divorce.
PICASSO: It was a, a wedding gift.
I never liked it, she can have it.
BAILIFF: I'm told there's a second floor? PICASSO: Yeah, but that's my studio.
Everything there belongs to me.
BAILIFF: Monsieur Picasso, "one half of all possessions" includes any artwork that you own.
PICASSO: Um, But I painted them.
DE SARIAC: I'm afraid the law is quite clear.
PICASSO: The divorce is off.
OLGA: So you are getting rid of the girl? PICASSO: No.
OLGA: Then what? PICASSO: I am not going to let you get away with half of my life's work.
OLGA: I see God forbid you should lose any of your precious paintings.
They mean more to you than people do.
PICASSO: Oh, I know you, Olga.
You would only sell them to buy shoes and fur coats.
OLGA: Do what you wish.
But I refuse to be humiliated when the papers discover you are having a baby with your filthy mistress.
Paulo and I are moving to the Hotel California.
At your expense I hope you and your new family are very happy MARIE-THÃRÃSE: Thank you for taking such good care of me and little Maya.
PICASSO: Oh, of course, you're my two girls.
Marie-Thérèse Marie-Thérèse MARIE-THÃRÃSE: The doctor said it's okay.
It's been two months.
We have plenty of time while the baby's asleep.
PICASSO: Yes MARIE-THÃRÃSE: Is, is something wrong? PICASSO: I haven't painted anything since I have been living here.
I need to go back to my studio.
MARIE-THÃRÃSE: I thought you loved the light here.
PICASSO: Yes, yes, I, I, yes, but it's, uh different now.
MARIE-THÃRÃSE: It's not me, is it, Pablo? I, I still inspire you, don't I? PICASSO: No, no, no, no, you, you mean the, you mean the world to me It's just, uh, too many distractions here.
I need to go back to my studio.
I have to.
Hey.
Dear Maya.
Papa will come see you and Mama very soon.
You are an angel, Maya.
How many stories did it take? MAYA: Four, but they're finally asleep.
PICASSO: Well, I don't know what I would do without you.
You're a wonderful big sister.
MAYA: They're wonderful children.
Obviously, Françoise is a very good mother.
PICASSO: Good mother? No, we have barely heard from her.
MAYA: I'm sure she's quite busy with the ballet.
PICASSO: Yeah, but her real responsibilities are here.
She's taking advantage of your kindness.
MAYA: No, don't be silly.
I'm glad to help.
I want her to be able to pursue her work, just like you do, Papa.
PICASSO: But she can work here.
Nobody's stopping her.
She doesn't have to run off to Paris to do it.
MAYA: Instead of complaining about her, you should be her champion.
She's not like Mama.
She's more independent and if you do not treat her better, you are going to lose her.
FRANÃOISE: Kostas, what? KOSTAS: Javier told me you were working here.
Why didn't you tell me you were in town? FRANÃOISE: I've been busy.
KOSTAS: Is it going well? FRANÃOISE: It is, actually, it's, um, it's thrilling to work with so many talented artists KOSTAS: Well, sounds wonderful.
FRANÃOISE: What are? KOSTAS: Oh, I thought we could have some sangria.
FRANÃOISE: And you know where to find sangria in Paris? KOSTAS: No.
(laughs).
KOSTAS: No, I know a place with a Chablis I can afford.
FRANÃOISE: Merci.
KOSTAS: So, let me guess, you left him? FRANÃOISE: No, why would you say that? KOSTAS: Well, it's the only way I could imagine Pablo allowing the mother of his children to run off to Paris without him.
FRANÃOISE: I didn't give him a choice.
KOSTAS: Good for you.
FRANÃOISE: I do miss the children though.
I finish work and I go home to a quiet apartment.
KOSTAS: If you're lonely, you can always call me (laughs).
KOSTAS: Well, we all know Pablo does whatever Pablo wants.
Why can't you do the same? Heraclitus said nothing remains still, change is the essence of the universe.
PICASSO: All day on his knees, before the rag so dirty as it dribbles down.
Love seated in the corner of the kitchen.
To amuse herself, she cuts her nails.
ÃLUARD: It's uh, bold.
Original, just like your paintings.
PICASSO: You are afraid to tell me it's dreadful.
You see, I know I am an amateur, but poetry Is the only way I can express myself lately.
I, I haven't painted in-in months.
I, nothing moves me anymore, not the light, not Marie-Thérèse, nothing.
ÃLUARD: You need something new to inspire you.
PICASSO: Let me guess.
Another Amour Fou? ÃLUARD: No.
Actually, I was thinking another artist.
Do you know Renoir? PICASSO: Of course, but I have always despised his pretty paintings.
ÃLUARD: Ah, not the father, the son.
Now, he's doing some very interesting work.
RENOIR: Cut! Cutting, that's a cut.
Checking the gate, moving on.
RENOIR: Let's print the last two takes, please.
PICASSO: So this is how Charlie Chaplin does it? RENOIR: Well, Chaplin's a genius - PICASSO: Ah.
- RENOIR: I can only hope.
ÃLUARD: Jean, is that, uh? RENOIR: She's Dora Maar, our set photographer.
ÃLUARD: Ah, you should meet her, Pablo, she's fascinating.
Come, I'll introduce you.
RENOIR: Florelle is our lead actress.
Florelle, please meet Pablo Picasso.
FLORELLE: Monsieur Picasso, you're even more handsome than your pictures.
PICASSO: And you are as ravishing as you are in your films.
FLORELLE: Even dressed as a laundress? PICASSO: Especially dressed as a laundress.
Why don't you introduce me to your friends? DORA: That went well.
ÃLUARD: He's easily distracted, like a child.
DORA: I thought you said he was a God? ÃLUARD: Ah, you'd think so too if you got to know him.
DORA: I would have to meet him first.
ÃLUARD: And you will.
Just not today apparently.
DORA: Honestly, I can't understand why you think we are so well-suited.
ÃLUARD: Because my dear Dora, you are the two most extraordinary people I know.
DORA: This is absurd, Paul.
Why don't you simply invite us both to dinner instead of contriving a "chance encounter"? ÃLUARD: You know the rules of Amour Fou.
DORA: If it's arranged by you, it's not exactly "fate" is it? ÃLUARD: Ah, I'm just trying to give fate a little push.
DORA: Well? We've tried it your way.
Now, we are going to try mine.
ÃLUARD: What are you having? PICASSO: Whatever you are.
ÃLUARD: Pernod.
Are you going to show me your latest poems? PICASSO: I've had a new idea.
No punctuation, and um ÃLUARD: What? Reinventing painting wasn't enough? Now you've got to PICASSO: You don't even flinch.
DORA: That is the point.
PICASSO: It's, uh, hypnotizing.
ÃLUARD: Dora! I didn't see you there.
Pablo, Dora Maar, the photographer.
PICASSO: Yes, I've, I've heard your name.
A Surrealist, yes? ÃLUARD: You should see her work.
Intense, provocative PICASSO: Well, if it as daring as she is, it must be.
Where did you learn that game? DORA: Game? This is quite serious.
I could lose a finger.
PICASSO: But one must sacrifice for one's art.
DORA: Very true.
Perhaps you might be willing to make a small sacrifice to my art.
PICASSO: What do you have in mind? DORA: Come to my studio.
You have a most interesting face.
I want to photograph you.
PICASSO: I will agree to that.
But only if you allow me to keep your gloves.
I would like a memento of the day that fate put you in my path.
PICASSO: I have tried my hand at photography but it's, it's not for me.
DORA: Oh, no? PICASSO: No, too unpredictable.
Not like painting where the artist is in control.
Not a slave to the whims of the sun.
DORA: But the sun is similar to paint.
PICASSO: How is that? DORA: At first you feel you must work within its limitations, its quirks.
But with practice, you learn to use those to your advantage.
You feel what it wants from you.
PICASSO: But paint I can touch.
I can move with a brush or my fingertips DORA: Mm-hmm.
But the sun surprises you.
Plays with you.
And film reveals things that aren't uh obvious to the naked eye.
Maybe you would enjoy it a bit more if you gave up some of your control (shutter clicks) PICASSO: Françoise.
FRANÃOISE: I wasn't sure you'd come.
PICASSO: Well, how could I miss your debut? I am your greatest champion.
Bravo! (crowd cheers).
Bravo, bravo.
FRANÃOISE: How did you get back here? KOSTAS: I, uh, slipped the doorman five francs.
Yeah, he should be more careful because any scoundrel could just sneak in here.
Your work is stunning, Françoise.
These are for you.
FRANÃOISE: Thank you.
I'm, I'm so sorry, I have to go, Pablo is waiting for me.
KOSTAS: Well at least I have one kiss to remember.
(laugh).
PICASSO: Oh, bravo.
(sighs).
FRANÃOISE: I'm sorry I kept you waiting.
PICASSO: I waited two months for you to finish the ballet.
I don't mind a few extra minutes.
But it will be wonderful to have you home again.
FRANÃOISE: Yes, I'm excited to see the children.
PICASSO: Now you can concentrate on being a mother again.
FRANÃOISE: Is that the only reason you want me back home? PICASSO: No, no, of course not.
I-I only meant that the children have missed you.
And so have I.
So, you know, it has been a change for all of us not having Mama to look after us.
FRANÃOISE: Well, change is the essence of the universe, Pablo.
PICASSO: Françoise, where are you going? No, keep them open.
Look at me.
What's wrong? DORA: Nothing's wrong.
I, realized Paul was right.
He was right that I have never been in love before.
PICASSO: Dora, I already have a studio.
DORA: Not like this.
This place is perfect for you.
A place to start something new.
To forget about Olga and dinner jackets and stuffy cocktail parties.
What do you think? PICASSO: The light is good.
DORA: Did you know this building is the setting for Balzac's story Le Chef d'Oeuvre Inconnu? The one where the protagonist Frenhofer is striving PICASSO: Trying to paint the perfect painting.
You're right.
It would be perfect.
Dora, you know I cannot live with you.
At least not right now.
DORA: Pablo, I could never live with you.
You would drive me mad.
(chuckles).
(footsteps) PICASSO: You have come to your senses.
FRANÃOISE: Yes, I have.
PICASSO: I knew you would.
No one understands you like I do.
FRANÃOISE: Pablo, I'm leaving you.
PICASSO: Don't tell me.
Now you want to do an opera.
FRANÃOISE: I'm not joking.
I can't live with you anymore.
PICASSO: Is there someone else? FRANÃOISE: Kostas.
PICASSO: My, my nephew's friend? Is that who you choose to replace me? An he's an amateur philosopher? FRANÃOISE: The last thing I need is a replacement for you.
I need to be free, to work and live the way I want.
I need to learn how to be happy.
I have made some arrangements for the children to start school in September in Paris.
We'll be leaving then.
PICASSO: We both know that you will never do that.
Without me, what will your life be? FRANÃOISE: I don't know but it will be my own.
PICASSO: Well, then you will be known as the foolish woman who left Picasso.
Yep.
MADAME RAMIE: She must be out of her mind.
Those poor children being kept from their father.
PICASSO: Yeah, but I am sure she won't go through with it.
JACQUELINE: Here are the pieces you asked for.
MADAME RAMIE: I don't think you've met my cousin Jacqueline.
PICASSO: No.
JACQUELINE: It's an honor, Monsieur Picasso.
MADAME RAMIE: Jacqueline is very handy.
She has been a great help to me.
I'm sure she could help you, too if you do find yourself needing someone to cook or clean.
Or anything else you may want.
FRANÃOISE: Paloma, Paloma.
PALOMA: I need mine, Mom FRANÃOISE: All right, we'll get it, we'll grab it after.