All language subtitles for The.Princess.Of.France.2014.DVDRip.x264-RedBlade

Thank you all listeners
for following us tonight.

The first symphony,

"Fruit of a burning time,"
that Schumann wrote,

was composed
in the winter of 1841

in just four days,

between January 23rd and 26th.

Orchestrated by the composer
in less than a month,

it was finished on February 20th

and performed
for the first time,

on March 31st of that same year

under the direction
of Felix Mendelssohn.

The orchestration
is composed of,

two flutes,

two oboes,

two clarinets,

two bassoons,

four horns,

two trumpets,

three trombones,

timpani, triangle

and harp.

We listen now to the first movement,

andante un poco maestoso,
allegro molto vivace.

Duration,
10 minutes, 28 seconds.

Specially dedicated to Lorena.

Lorena!

I'm coming!

LIST OF CHARACTERS

VICTOR, a player

PAULA, the girlfriend

NATALIA, the ex-girlfriend

ANA, the mistress

LORENA, the friend

CARLA, the unknown

GUILLERMO, the unfaithful friend

JIMENA, the cheated girlfriend

ANNOUNCER

MUSICIANS

THE PRINCESS OF FRANCE

It's started already.

We're in the fourth act.

Sit down there.

Rehearsal's almost over.

- Do you know the plot?
- No.

The four made a pact not to get
carried away by their lovers,

to not love them anymore,

but now they'll start
to betray each other, one by one,

without saying a word.

- Let's go.
- Okay.

The blackness of his hair
shames black itself.

And the monstrosity of his face

shames monsters themselves.

And beautiful like the day.

- If only...
- If only...

If only...

If only...

I would have liked to have forgotten him.
But he is like a fever.

And the desire...

I want to hear him again.

Again?

I wish the other three
were in love as well.

Misery loves company.

Poor solace is just an excuse.

His love is not charitable
if he sees we share in his anguish.

What an embarrassment!

Come, Olivia, you blush,
as his your case is such.

You chide at him, offending twice as much.

Don't you love a younger fellow?

I have been closely shrouded in this bush,

and mark'd you both
and for you both did blush.

I heard your guilty rhymes,
observed your fashion,

saw sighs reek from you,
noted well your passion.

"Ay me!" says one.

"O Jove!" the other cries.

What will Antonio say when
that he shall hear faith so infringed?

Now step I forth to whip hypocrisy.

What grace hast thou,
thus to reprove these worms for loving,

that art most in love?

But are you not ashamed? Nay, are you not.

O, what a scene of foolery have I seen,

of sighs, of groans,
of sorrow and of teen!

Tell me, Gentle Bassanio.
Where lies thy grief?

Where lies thy pain, Good Olivia?

And yours, Silvius?

Are we betray'd thus to thy over-view?

We are the cheaters
while other are spying.

Not you to me, but I betray'd by you,

I am betray'd, by keeping company with men
like men of inconstancy.

When shall you see me
write a thing in rhyme?

Or groan for love?
Or spend a minute's time in pruning me?

When shall you hear
that I will praise a hand,

a foot, a face, an eye.

Let's go outside.

Soft! Whither away so fast?

A true man or a thief that gallops so?

I post from love.

- Are you okay?
- Yes, fine.

- Need anything?
- No, no.

The guy next to me wasn't feeling well
and I got worried.

- What happened to him?
- I don't know.

He had to go out.

- He's in the bathroom?
- No, still inside.

Want to go back in?

I'll wait for him here.

Guillermo. And you?

Lorena.

Follow me.

But he may come.

Stay here.

- Okay.
- Thank you.

Come on. Come on!

Not that. The quills.

The knife.

Here's the list. Follow the numbers.

I can't read it.

Next, the bows. For Victor.

Thanks.

Natalia saw everything from backstage.

”Don't tell anyone,” I mean to tell her.

But you know Natalia.

She doesn't even look at me.

And soon after, the same thing with you.

Paula.

Paula.

And nothing. Not a move, not a word.

And then, he comes through the door
in his shorts.

He asks for a ring.

To give him a ring.

I check the list, but it's too dark.
I can't see anything.

Try checking on the table
but I still see nothing.

Victor!

I try to see my hands,
nothing, completely blind.

Sol notice he's nervous.

To calm him down,
I decide to give him my own ring.

And there, you wake up.

Every time I am about
to give him the ring, I wake up.

- Always the same?
- Yes. And with your boyfriend.

I wanted to tell you,
it makes me feel bad.

It's nothing. Just a bit obsessed.

Maybe.

Aren't you sad he's leaving?

Yeah, but there's not much I can do.

How can you be so at ease?

If I were you, I'd go with him.

Did you tell Jimena?

That her boyfriend kept on kissing me?

What are you two up to?

I was thinking of Victor.

Maybe, if Paula stays here, I'll tell him
I could go to Mexico with him.

- You, to Mexico?
- Yes.

Now that his father passed away,
don't you think he had enough?

- He may want to be alone.
- And do as Paula does?

Now step I forth to whip hypocrisy.

That night, as in previous ones,

Lorena didn't say a word to anyone.

Not to me, nor to Victor.

And as it was already planned,
a week later,

Victor traveled to Mexico for a year.

I remained in Buenos Aires,
waiting for him.

During that year,

Lorena went through more
heartbreaks than breakthroughs.

The year went by.

I kept my promise to continue
only with Victor in spite of the distance.

But a month before his arrival,

someone appeared that
complicated everything.

Victor returned
and called everyone to get together again.

He wanted us back in the play

that had brought us
together in the first place.

With Victor in town,

I decided to hide myself for some days
of quiet thinking.

Where are you?

No, I can't talk now.

No, no. Don't come now.

Yes, I want to see you too
but I'm with Jimena.

She'll tell everybody.
Do you want Paula to know?

Come, but I won't pay
much attention to you.

I don't know. Make something up.

I don't know, something like that.

But don't be all happy,
or she'll find out.

I thought you'd arrive next week.

I came early.

- Have you seen Natalia lately?
- No.

I moved up my ticket for her.

To surprise her
but she didn't want to meet me.

You don't know this, but we've been
writing to each other since I left.

Lately, I've been talking
more with her than with Paula.

Natalia told me that Paula
is seeing someone else.

As she told me this,
I drifted more and more towards her.

And what about Paula?

I don't know. Just before my arrival,

she told me she had to go
on a trip somewhere.

- Suspicious.
- Tell me about it.

Any idea who she could be seeing?

No.

Natalia was to help me with that.

Nothing seems to be working out for you.

Maybe not. But I thought it would be best
not to wait any longer,

move up my trip, surprise Natalia,
and resolve everything with Paula.

Sounds good, not to give up
the possibility of change.

Being here will clear up
everything somehow.

I'll continue my life
abroad with one of them.

Or with none?

And all this happened today?

I've been wandering around for hours.

You look pretty.

You'll call her later on to meet her.

What a pity.

I need to distract myself.
How are you doing, girls?

"How are we doing?"

Yeah, I don't know. Tell me something.

We have to catch up. What are you up to?

I'm doing fine.

I came to see Ana
and I'm making a small catalogue.

And what else?

What else, what?

Your life or Ana's.

Just tell me something.

I'm doing two plays. One with Ana.

I'm still with Guillermo, always so-so.

I'm thinking about moving out soon,
not with him.

I swim for my back, and I'm doing better.

I'm talking to mother again,
and my father's still dead.

Same here. Mine's dead, too.

Yes, I remember.
Are you feeling any better?

So-so.

Sometimes I get really upset.
It was too much.

But now it's getting better.

I sold his house, paid his debts,
I'm in charge of his theater.

I still have two or three things
to do there. It's okay.

And what about you?

It's been a year since we last talked.

Yeah, sort of.

I don't know. Many things happened.

- I see, you're pregnant.
- Yes.

- Whose is it? Ricardo's?
- No.

- Pablo?
- No.

- Guillermo?
- No.

You don't know him.

- But what's his name?
- I don't remember.

And what will the child's name be?

Victor, in your honor.

False. I don't know yet.

Who's Natalia dating?

Stop thinking about her.

So tell me something about you.

Go home and we'll talk there.

Look what she gave me.

Every time I see something of his,
I think of Ana and I get it for her.

She's building me a Bouguereauteque.

There's no motivation for the gifts,
but this time, it could not be.

I'm helping her with
the replacement job here.

- Well, not everything is possible.
- Exactly, not everything is possible.

- Back to college?
- I'm writing my thesis now.

- And how is it going?
- Not sure yet.

Do you like what you do?

It's good to finish what I started.

- Speak to him.
- Thank you.

Jimena got it.

You came back the same jerk as before.

- Does it have a title?
- No, not yet.

It's still on Bouguereau.

Thankfully.

In fact, she was showing me
one of his paintings.

- Here?
- We were looking at it when you called.

Are there postcards of those here?

No.

- Maybe, in the store.
- I'll take a look.

Okay.

The originals are here.

So it would be my unmotivated gift.
Be back in a minute.

You think you're funny, huh?

- Did you like my Natalia trick?
- Not much.

You've just changed my name for hers.

She won't notice.

We sent her to
the closed store of a closed museum.

She'd better realize what
her boyfriend is doing with my girlfriend.

Leave Guillermo out of this.

Are you getting back together with Paula?

- Come here. Kiss me.
- No. Stop it.

Come here.

Soft, not so rough.
She'll be back at anytime now.

Let's leave, then.

We sent her away already
and now you want to ditch her?

She'll tell everyone.

If you keep on talking,
you'll tell everybody.

Natalia invited me to a closed museum
and kissed me there,

after weeks of secretly
planning everything by email.

What's your problem all of a sudden?

Did you find the maintenance guy?

It's closed. Have the key?

Not to the store.

- Are you okay?
- Yes.

Kept talking to him.

- And the people from restoration?
- Not a soul.

Keep talking to him about Bouguereau.

Tell me about this guy,
so I'll forget Natalia.

Frenchman, 19th century.

Forgotten today, but key figure back then.

Painted in the 20th century, too.

Enemy of the Impressionists.
Master of many.

Female portraits,
large scale and solidity.

Models in his studio,
with such perfect results that

they exceeded all realism of the time,
becoming something stranger. Enough?

No, why? Please, continue.

- But look into my eyes.
- Why?

Yes, so I'll focus better.

Besides being a perfectionist,
he was a huge business man.

He did large scale paintings
with epic and expensive motifs

so as to purposely put them out of market,

donating them to churches and such,
gaining so much prestige

that he could push up
the prices of his other works

especially the many smaller ones,
with simpler techniques.

Those paintings that created
in every bourgeois

the need to obtain some of this prestige,

even if it'd be from a painting of
a baby girl or a barefoot countrywoman.

A whole strategy that was very successful.

Here it says that some of his paintings
ended up decorating brothels

in the United States.

Yes, the Americans loved him very much.

What amazes me is that while others
were decomposing the universe

in a variety of stains,

this guy insisted on painting
secularized little virgins

with raped-like expressions.

Okay, it's not working.
You are thinking about something else.

No. Why? Carry on.

Here, The Birth of Venus.

Many must have
touched themselves while looking at this.

It was fashionable at the time.

He did paintings that
were accepted in the salons

while Monet, Renoir
and the others were rejected.

- You like him?
- Not necessarily.

Degas said he was
a smug jerk or something.

They began calling "bouguereaute"
a certain eunuch horny decadence.

Today you were left a bit bouguereauté.

Pretty much bouguereauté.

- Do you like it?
- I don't know.

It reminds you of Natalia?

- You think so?
- True.

- You shouldn't have said that.
- But it looks like her.

Let's see another one.

Surprised Nymph by Manet.

This is the same as the last one.

Does it remind you of Natalia, too?

This one is uglier,
but it has Natalia's gestures.

- Neither reminds you of Paula?
- No.

You don't like it much
because her legs are crossed.

The other gave herself to you
and this one rejects you.

I couldn't meet Natalia today.

She slipped me a note under the door.

She'll explain to you later.

She'll turn out to be
your perfect Bouguereau.

Maybe she just likes writing to you.

So much so as to make me come over here?

You came by yourself, manipulated by her.

Okay, I learned the lesson.

Go over there. I'll take a picture.

- You think so?
- Yeah.

Seriously?

Come on. Next to the painting.

Will you call her to join the play?

One thing has nothing
to do with the other.

Has everybody answered you back?

- Almost everybody.
- Who didn't?

Natalia, actually.

Done.

Are you sure you want us
all together again?

It's a matter of recording
a pilot of the play.

If it is accepted, we'll sign a contract

to do six or seven
Shakespeare plays for the radio.

- Is there money in that?
- Yes.

- It's Guillermo. He's outside. Join me?
- Yes.

And I'll go home.

Talking about work suits you.

Focus on the play
and forget about the rest.

Just like you forgot about me,
Paula and many more.

Sure.

All the focus on the play
and sacrifice all the women?

It wouldn't resemble you
but it's worth a try.

I've changed a lot since we last met.

You won't chase us anymore?

I have no time for that.
I am very busy now.

Do you remember your lines?

"Advance your standards,
and upon them, lords."

"Pell-mell, down with them!
But be first advised."

"Shall we resolve to woo
these girls of France?"

"And win them too!"

Guillermo.

- What's up?
- How are you doing?

- Fine.
- When did you arrive?

- This morning.
- Good.

- We'll start soon, won't we?
- Tomorrow or the day after.

- I'll email you.
- Great.

- Where are you going?
- This way, aren't we?

- No, that way?
- Okay.

I'll write to you.

- How are you?
- It's great you came.

- I thought you knew.
- I didn't expect you.

- I sent you a message.
- I just saw it.

Victor.

Seeing you so suddenly
and hearing you talking about Paula

made me understand
how little is left of me in you

without her in the middle.

I think it's better to do
as you said a while ago,

focus on the play
and allow yourself to forget

this less than perfect moment.

Leave the keys on the table.
Do not come back.

And see you at the recording.

Ana

Prologue, take 3.

Can this cockpit hold
the vasty fields of Navarre?

Since a crooked figure may
attest in little place a million

And let us, ciphers to this great accompt

On your imaginary forces work

Suppose within the girdle of these voices

Are now confined seven mighty lovers

Piece out our imperfections
with your thoughts

Convert me into a princess

And make the six remaining ladies
into six proud men

For 'tis your thoughts that
now must deck our kings

Carry them here and there
jumping o'er times

Turning the accomplishment
of many years into an hour-glass

For the which supply, admit me

Who prologue-like your humble
patience pray

Gently to hear, kindly to judge

Our play

- Let's try again.
- The same?

Yes, but with another tune.

Let's see.

Just like before,
once it's set up, you start.

Wait.

I'll put more reverb.

Can this cockpit hold
the vasty fields of Navarre?

Since a crooked figure may
attest in little place a million

And let us, ciphers to this great accompt

On your imaginary forces work

Suppose within the girdle of these voices

Are now confined seven mighty lovers

Piece out our imperfections
with your thoughts

Convert me into a princess

And tum the six remaining ladies
into six proud men

For 'tis your thoughts that
now must deck our kings

Carry them here and there
jumping o'er times

Turning the accomplishment
of many years...

- Was it him?
- Yes, but he played dumb.

He may not remember.

I thought the same
but he never looked at me.

No, that's something else.

Isn't it strange not to have
looked at least once?

He's not doing very well these days.

Is he depressed?

He doesn't want much contact with anyone,
much less with women.

Have I scared him?

I don't think so. It's more general.

- What are you looking for?
- The razor.

There.

How long will he stay here?

I don't know.

If we sleep in the same bed,
we'll have to talk at some point.

Does it worry you?

If he's sensitive about it,
you should ask him.

What's Guillermo doing tonight?

He's sleeping over here.

You thought he was seeing someone else.

He said he wanted to talk.

And that worries you?

No, it actually relieves me a bit.

When did you meet Victor?

Some time ago but I still remember it.

When I replaced Natalia in the play,
he was leaving, too.

That night we were gazing
at each other the whole time.

Me, on one side and he, on the other side.

I was dancing with some friends,
but he kept his distance.

A song by the Beach Boys started playing.

I think it was Surfin' USA.

He smiled a little
and began to dance next to me.

It was clear that at some point
we were going to kiss and all,

but there was no hurry.

Suddenly, a bunch of chicks
began to circle him.

No idea if his girlfriend was one of them

but he was uncomfortable around them.

They finally took him away
and I never saw him again

that night or any other.

They made me feel pretty bad.

But the song was still on
and so I told myself,

"Fine, one more dance and I'll head home."

- Is this my room?
- Yes, we'll share it.

- Here are the sheets.
- Thanks.

- And this?
- It was in the studio.

That's mine. Thank you.

Nice drawings.

- Did you like them?
- Yes.

- It's us.
- Let me see.

Yes.

I hope I didn't bother you.

I didn't even notice you were there.

You always do naked pictures?

They're just sketches.
Keep them if you like.

No, they're yours.

Carla told me you've met before.

Yes, but not really.

I thought you wouldn't remember.

We were drunk but I still remember.

You'll have to share the bed

unless one of you prefers to sleep
on the floor.

- Fine by me.
- For me, too.

Just in case anyone gets shy.

Or frightened.

Frightened?

I told Carla about your promise.

- What promise?
- No more women.

No, it is not so.

But I have too much work
and too little time.

I hope I didn't freak you out.

It's okay.

Great. You two stay here, then.

Which side do you prefer?

The right.

Good.

Tomorrow I can find
another place to sleep.

It's okay for me.

Your boyfriend doesn't need to know.

He can get rather jealous.

And he's heard about Victor's history.

My history has been sort of damaged lately
so you can tell him whatever you want.

What about your girlfriend?

- Paula?
- Yes, your girlfriend.

She's traveling.

Haven't seen her yet?

No, she'll be back the day after tomorrow.

And you're okay waiting
for her to come back?

Yes.

You seem changed.

You noticed?

Nothing happened that night, did it?

I don't know. I don't remember much.

Neither do I.

Tonight we know at least.

So it seems.

Let's leave everything
for another time, then.

Are you working all night?

I'd rather get up early.
What "everything"?

Everything that might happen
the next time we meet

when we'll be neither the ones we were,
nor the ones we are now.

If we've met a second time,
there's sure to be a third one.

And maybe then, you'll be less busy
and I'll have no boyfriend.

Who knows?

Yes, who knows? We'll see.

We'll see how we are then.

I'm the same as before.

Before I didn't know you,
but now you don't seem so bad.

But, in a while, who knows?

You think it's better to let
whatever's going to happen happen?

No, not at all.

"Whatever" can be not much.

There is already something.

Yes, a mess.

Whose is this?

Guillermo's, I think.

I have the very same one.

Why don't we leave this for later
and you sleep on the floor?

Either way.

Sleeping together might damage our future.

It'd be a shame.

I can sleep with Jimena
and you with Guillermo.

I'll sleep on the floor.

Done, then.

Will I be able to be in the play?

I don't know.
I haven't spoken to Natalia yet.

No one knows exactly how to contact her.

Everybody was happy when I replaced her.

Yes, I know.

Even Natalia said that
I did it better than she did.

Did she see you in the play?

Yes, but after that night,
we never saw her again.

Was the play taped this year?

Yes, I should have a DVD somewhere.

Has anyone seen Paula lately?

No.

Do you want the DVD?

Victor.

From Paula to Guillermo with love

What are you thinking about?

Victor.

You know he's back, don't you?

No.

- Is he?
- Yes.

Why were you thinking about him?

He crossed my mind when I saw you.

PRIVATE LESSONS

He got some money in Mexico
to do something with the play.

I see.

He hasn't called me yet.

He told Carla.

He must have thought
you didn't want to do it again.

Well, you ran away.

But he could have asked me.

- People change, don't they?
- Yes, maybe.

Do you have his phone number?

He doesn't use one.

Do you know where he's staying?

Now at Jimena and Carla's.

You've all gotten together already?

I met him on my own.

If you meet him again,
tell him to write to me.

Okay.

There aren't many people around here.

Because they're on vacation now.

But there's a school here,
and another one there.

And Guillermo's number?

Yes, but he won't pick up.

How's that?

He's in the club.

- Same club as always?
- Yes.

- Still going there?
- Yes.

- He hasn't changed much.
- No.

He's with Victor?

No, no idea.

How do I get to the club?

If I were you, I wouldn't go.

Natalia!

Hello. How are you?

- Are you with Victor?
- No.

He's gone?

He hasn't lived here in awhile.

No, I know but he came back.

I see.

He left his backpack here.

No, that's mine.

- The black one?
- Yes.

But it looks like the one I once gave him.

I see.

And you are here by yourself?

Yes.

Do you have his phone number?

I have his old one
but I don't think he's using it.

The one he used a year ago?

- Yes.
- No, he's not using it.

Or he's not picking up for you.

Are you looking forward to
walking out on him again?

I don't get why you're
so aggressive with me.

It's been a while
since we last saw each other.

Why don't you ask me
how I'm doing or something?

You didn't ask me either.

Fine.

How are you?

Fantastic. And you?

Pretty bad, actually.

I see.

And why don't you care?

I just don't.

But I'm being honest.

So am I.

Any idea where I could I find him?

Ask Paula.

No, I can't. Paula's mad at me.

Naturally.

Come on. It's really important.

I want to be back in the play.

You know something. Give me his number.

What are you doing here?

- Victor used to come here.
- When?

Back then he was either with me or here.

That was over a year ago.

People change.
He surely has a new girl now.

I'm doing pretty much the same thing.

That's why it may be better
not to give you his number.

Don't get in between us.
Let me talk to him.

You're thinking of a Victor
that no longer exists.

Don't touch me.

You don't touch me.

What are you thinking about?

Victor.

You know he's back, don't you?

- No. Is he?
- Yes.

Why were you thinking about him?

He crossed my mind when I saw you.

He got some money in Mexico
to do something with the play.

PRIVATE LESSONS

He hasn't called me yet.

I think he called Carla.

He must have thought
you didn't want to do it again.

You ran away.

But he could have asked me.

People change, don't they?

Yes, maybe.

- Do you have his number?
- Yes.

Why do you want it?

I'll ask him if I can be
in the play again.

- Maybe Carla won't mind.
- I don't know.

It wouldn't hurt to try.

Right now Carla is having a hard time.

Same here.

May I have his number, please?

Write it down.

No.

- Just tell me.
- You sure?

Yes. I'll memorize it.

- No, use mine.
- You sure?

I'll be brief.

Ana told me about
the new job for the play.

- Yes.
- I thought of something.

- What do you want?
- She says there's money.

Yes.

These months have been
pretty tough for me.

The private lessons aren't going so well.

I see. I already spoke to Carla.

You saw her already?

Yes. She showed me a DVD.

- Did you like it?
- Yes.

I thought we could tell her
to do some other part

so we could both be in it.

What do you want me to tell you?

That there's no problem with it.

That I still think about you.

Still sore?

No, still fine.

I'm pretty bad.

What do you want me to tell you?

Can I have Carla's number?

Why?

To call her, and explain to her
that it's nothing personal against her,

but a favor between us.

Can I have her number?

- I won't give it to you.
- Why?

Because.

If I explain it to her, she'll understand.

I've already talked to her.
I want her to do it.

But let me speak to her.

She's been doing it for a year.
I can't kick her out.

Will you perform?

No, Guillermo is doing it.

I won't kick him out
only because I'm back.

And what are you doing?

Everything else.

What's all that about her
spending a year doing it?

I have the same reasons.

It's not the same.

It's not the same, I need it much more.

In your opinion.

In my opinion, it's vital...

- Fine.
- Lend me your phone.

Stop it. Call her from yours.

I have no phone. I told you I'm broke.

What's that face?

- It's over.
- What's over?

- This is over.
- Let me see.

What are you thinking about?

Victor.

- You know he's back, don't you?
- No.

Is he?

Yes.

Why were you thinking about him?

He crossed my mind when I saw you.

He got some money in Mexico
to do something with the play.

PRIVATE LESSONS

He hasn't called me yet.

I think he told Carla.

He must have thought
you didn't want to do it again.

You ran away, didn't you?

But he could have asked me.

People change, don't they?

Yes, maybe.

Do you have his number?

How are you, Victor?

Fine.

And you?

Yes.

She's here with me.

Okay. Here she is.

Kiss. Bye.

It's for you.

Hello.

Yes.

How did you know?

Telepathy.

Yes, in the street.

No, nothing in particular.

Yes, I could.

Great. Meet you there.

Kiss.

- I was just thinking of you.
- Why?

I have an offer for you.

There might be a job
for a few months for everybody.

The radio gig?

You heard about it?

Yes, excellent.

Just what I needed.

But you're playing another part
because Carla's doing yours.

I know. It's all right.

I need to ask you two favors.

Tell me.

May I stay at your place tomorrow night?

Yes, of course.

I'm homeless till Paula gets back,
and there's no room at Jimena's.

Thank you.

And the other favor?

Meet Paula and give this to her.

From Paula to Guillermo with love

Here, check it out.

LOVE'S LABOUR'S LOST

You'll see me there.

And Guillermo, too, playing the Princess.

Have you ever seen him?

Just a couple of rehearsals,
never an entire show.

If you like it, I'll join in.

I'd love to do it.

Yes, it would be great.

I'm sure it'd be great if you all do it.

Aren't you tempted to
do it again yourself?

What? To act?

You did it for so long.

I'd rather have Guillermo do it.

How beautiful Paula was here.

It's Natalia.

- Moreno?
- Yes, she's asking for you.

It's Ana's number,
but it's signed by Natalia.

She says that if I'm with you,
you should call her at this number.

Hello, Natalia?

Victor here. How are you?

Fine.

I have an offer for you.

There might be a job
for a few months for everyone.

You already know?

You're playing another part,
because Carla's doing yours.

I need to ask you two favors.

Can I stay at your place tomorrow night?
I have to record something with Guillermo.

Excellent.

And then, something else,
I need you to give something to Paula.

No, I'm not telling you what.
It's a surprise.

Not for you, silly. For Paula.

Is Paula coming back to town?

Yes, I'm coming. What are you doing?

- No. What are you doing?
- My bag.

I prepared it so as not to be suspected.

- What a fool.
- Yes, I know.

But today I'll meet him
and tell him everything.

- It's about time.
- I left it till the last day.

But today I'll tell him everything.

I love you.

Hi.

- How are you?
- Fine, and you?

Fine.

Recording.

And till that instant
shut my woeful self up

in a mourning house,
raining the tears of lamentation

for the remembrance of my father's death.

If this thou do deny, let our hands part,

neither entitled in the other's heart.

Good.

Again.

And till that instant
shut my woeful self up

in a mourning house,
raining the tears of lamentation

for the remembrance of my father's death.

If this thou do deny, let our hands part,

neither entitled in the other's heart.

- Again.
- Same way?

Yes, again.

And till that instant
shut my woeful self up

in a mourning house,
raining the tears of lamentation

for the remembrance of my father's death.

If this thou do deny, let our hands part,

neither entitled in the other's heart.

Again.

And till that instant
shut my woeful self up

in a mourning house,
raining the tears of lamentation

for the remembrance of my father's death.

If this thou do deny, let our hands part,

neither entitled in the other's heart.

Enough.

I'd try it a few times more.

I should have left an hour ago.

You could continue some other day.

I think it's better to finish it today.

One more. Last one.

Recording.

And till that instant
shut my woeful self up

in a mourning house,
raining the tears of lamentation

for the remembrance of my father's death.

If this thou do deny, let our hands part,

neither entitled in the other's heart.

I'll get the door for you.

- Bye.
- Bye.

Okay. Let's do another one.

Wind and foliage.

Pause.

A stronger one.

Stronger.

Fine.

The letters.

We need to tear some paper.

- May I use those?
- Sure.

They are Natalia's. Is that okay?

Yes, it's okay.

Enraged letter.

Paper ball.

A faster ball.

Again.

- Similar to that one?
- Like this.

Good.

Now you record me.

Thunder.

We have received
your letters full of love.

What's this?

We have received
your letters full of love.

Yeah, cut it out.

Let me listen.

It's our text.

Yes, now cut it out.

I can't believe it.
Did you tape everything?

Sit down.

And, in our maiden council,
rated them at... Fuck!

Nice.

A time, methinks, too short
to make a world-without-end bargain in.

No, no, my lord,
your grace is perjured much,

full of dear guiltiness,
and therefore this.

If for my love, as there is no such cause,

you will do aught,
this shall you do for me,

your oath I will not trust,
but go with speed

to some forlorn and naked hermitage,

remote from all the pleasures
of the world.

There stay until the twelve
celestial signs

have brought about the annual reckoning.

If this austere insociable life

change not your offer made
in heat of blood,

if frosts and fasts, hard lodging
and thin weeds

nip not the gaudy blossoms of your love,

but that it bear this trial and last love.

Then, at the expiration of the year,

come challenge me, challenge me
by these deserts.

And, by this virgin palm
now kissing thine,

I will be thine, and till that
instant shut my woeful self up

in a mourning house,
raining the tears of lamentation

for the remembrance of my father's death.

If this thou do deny, let our hands part,

neither entitled in the other's heart.

I love you.

Yesterday I was going to end things
with Victor, but I didn't.

Guillermo got mad,
and left me alone with him,

giving me a second chance to do it.

But I don't know.

I realized that when I'm with him,

it's not that I am not brave enough

but that I don't want to.

Because as soon as I saw Guillermo again,

I could tell him easily not to meet again.

- So? Off to Mexico?
- Yes, I'm leaving.

- And all of a sudden?
- It took me a year to decide.

- Yes, that's true.
- A lot of time.

- Jimena's down there?
- No idea.

- Can we hold the text?
- I think so.

But you know it.

Yes, some I do.

Victor says we should go down.

- We're all set?
- Yes.

- Did you bring me the keys?
- What keys?

- Mine.
- No. Victor must have them.

- Here's what you left.
- What?

- Did you use my flyers?
- What flyers?

- For my private lessons.
- Victor said that we could use them.

- You tore them all.
- We only used a couple.

Victor,

seeing you so suddenly talking about Paula

made me understand
how little is left of me in you

without her in the middle.

I think it's better to do as
you said a while ago,

focus on the play
and allow yourself to forget

this less than perfect moment.

Leave the keys on the table.
Do not come back.

And see you in the recording.

Ana.

Silvio, thy love is far from charity.

You may look pale,
but I should blush, I know.

To be o'erheard and taken napping so.

Come, Olivia, you blush,
as his your case is such.

You chide at him, offending twice as much.

You do not love a younger fellow.

I have been closely shrouded in this bush

and mark'd you both
and for you both did blush,

I heard your guilty rhymes,
observed your fashion,

saw sighs reek from you,
noted well your passion.

"Ay me!" says one.
"O Jove!" the other cries.

What will Antonio say when
that he shall hear faith so infringed?

Now step I forth to whip hypocrisy.

Good heart, what grace hast thou,
thus to reprove these worms for loving,

for loving, that art most in love?

But are you not ashamed?

Are you not all three of you,
to be thus much o'ershot?

What a scene of foolery have I seen,

of sighs, of groans,
of sorrow and of teen!

Tell me, gentle Bassanio,
where lies thy grief?

Where lies thy pain, Olivia?

And yours Silvius?

All about the breast, a caudle, ho!

Are we betray'd thus to thy over-view?

Not you to me, but I betray'd by you,

I am betray'd, by keeping company
with men like men of inconstancy.

When shall you see me write
a thing in rhyme?

Or groan for love?
Or spend a minute's time in pruning me?

When shall you hear that I
will praise a hand,

a foot, a face, an eye,

a gait, a state, a brow, a breast,
a waist, a leg, a limb?

Soft! Whither away so fast?

A true man or a thief that gallops so?

I post from love, good lover, let me go.

God bless the king!

What present hast thou there?

Some certain treason.

What makes treason here?

Nay, it makes nothing, sir.

The treason and you go in
peace away together.

I beseech your grace,
let this letter be read,

our parson misdoubts it,
'twas treason, he said.

Antonio, read it over.
Where hadst thou it?

- Of Costard.
- Of Dun Adramadio.

Have you written all this?

What is in you?

Why dost thou tear it?

A toy, a toy, you need not fear it.

It did move him to passion,

and therefore let's hear it.

It is Antonio's writing,
and here is his name.

You whoreson loggerhead!

You were born to do me shame.

Guilty, my lord, guilty! I confess.

What?

That you three fools lack'd me
fool to make up the mess,

he, she, and you, and I,
are pick-purses in love,

and we deserve to die.

Now the number is even.

True, true, we are four.

Will these turtles be gone?

Hence, sirs, away!

Walk aside the true folk,
and let the traitors stay.

Sweet lords, sweet lovers,

O, let us embrace!

As true we are as flesh and blood can be,

young blood doth not obey an old decree.

We cannot cross the cause
why we were born.

What, did these rent lines show
some love of thine?

Did they, quoth you?

Who sees the heavenly love,
that, like a rude and savage man of Inde,

bows not his vassal head
and strucken blind

kisses the base ground
with obedient breast?

What peremptory eagle-sighted eye
dares look upon the heaven of her brow,

that is not blinded by her majesty?

What zeal, what fury hath inspired
thee now?

I never knew man hold vile stuff so dear.

Are we not all in love?

Nothing so sure, and thereby all forsworn.

Then leave this chat, and,
Antonio, now prove our loving lawful,

and our faith not torn.

Ay, marry, there,
some flattery for this evil.

Some tricks, some quillets,
how to cheat the devil.

- Some salve for perjury.
- 'Tis more than need.

Shut up.

Have at you, then,
affection's men at arms.

Consider what you first did swear unto,

to fast, to study, and to see no woman,

flat treason 'gainst
the kingly state of youth.

Say, can you fast?

Your stomachs are too young,

and abstinence

engenders maladies.

And where that you have vow'd
to study, lords,

for when would you, or you, or you

in leaden contemplation have
found out such fiery numbers

as the prompting eyes
of beauty's tutors have enriched you with?

Other slow arts entirely keep the brain.

From women's eyes this doctrine I derive,

from whence doth spring
the true Promethean fire.

They are the ground, the books,
the academes

that show, contain
and nourish all the world,

else none at all in ought
proves excellent.

Then fools you were
these women to forswear.

For wisdom's sake,
a word that all men love.

Or for love's sake,
a word that loves all men.

Or for men's sake,
the authors of these women.

Or women's sake, by whom we men are men.

Let us once lose our oaths
to find ourselves,

or else we lose ourselves
to keep our oaths.

Saint Cupid, then!
And, soldiers, to the field!

Advance your standards,
and upon them, lords.

Pell-mell, down with them!
But be first advised.

Shall we resolve to woo
these girls of France?

And win them, too.

- Good?
- Yes, it was okay.

I heard about you and Guillermo.

- Bye, Ana.
- Bye.

- Goodbye, girls.
- Bye.

Victor!

Victor!

- My keys!
- What?

My keys! You have them.

The keys.

No, Paula must have them.

Got my keys?

Thanks.

What followed was not nice.

Paula did not come to Mexico, and
didn't want to continue with the pilot.

Despite that, I managed to assemble
the best project possible,

and two months later
I learned that it was approved.

But every time I listened to it,
when I heard her say,

”Shall we resolve to woo
these girls of France?"

couldn't help but think how
that day it should have ended.

I'd have preferred it
to have gone differently.

Something more like this.

I love you.

It is not the fashion to see
the lady the epilogue,

but it is no more unhandsome
than to see the lord the prologue.

If it be true that good wine
needs no bush,

'tis true that a good play
needs no epilogue.

Yet to good wine they do use good bushes,

and good plays prove the better
by the help of good epilogues.

What a case am I in, then,
that am neither a good epilogue

nor cannot insinuate with you
in the behalf of a good play.

I am not furnished like a beggar,
therefore to beg will not become me,

my way is to conjure you,
and I'll begin with the women.

I charge you, 0 women,
for the love you bear to men,

to like as much of this play
as please you,

and I charge you, 0 men,
for the love you bear to women,

as I perceive by your simpering,
none of you hates them,

that between you and the women
the play may please.

H' I were a woman, I would kiss
as many of you as had beards

that pleased me, complexions that! liked,

and breaths that I defied not.

And, I am sure, as many as have
good beards, or good faces,

or sweet breaths,

will, for my kind offer,
when I make curtsy,

bid me farewell.