All language subtitles for Possession.1981.4K.SDR.2160p.10bit.BDRip Ita Eng Fre x265-NAHOM_track3_[eng]

You can't just say you don't know.
That's what you said on the phone.

When will you know?

I . . .don't know.

Do you want me to spend the night
somewhere else?

I n a hotel or something?

Do you want us to meet Iater on?
We can talk more calmly. Do you ...

Do you need more time?

What. . .? What do you need?

What has happened?

Bob knows that you are coming back today.

Well , l can. . '

l can pick him up after school
and take him...

to the zoo or something .

(BOB l MITATES Sl REN)

Come and admire him .

BOB : Nee-na, nee-na, nee-na'

Nee-na, nee-na'

AN NA: Maybe all couples go through this.

Yeah.

One mustn't be afraid .

No.

One must speak honestly'

ls that difficult?

Is it difficult?

I haven't been much help but
l'Ve finished that job now - it's over.

Maybe l was asking for too much '

l was the one who had the right to ask.

I know.

No, you don't.

Who was l doing it for, after all?

Were you unfaithful to me?

The truth is not really.

Were you?

No.

There's always someone else
when these things happen.

Not in this case.

AII right, well...

What's happening to us is just...

lt's just natural . Feelings...

change.

But without you I wouldn't feel
anything at all.

What do you feel now?

Are you really interested?

No.

There you are, you see.
lt's the same with me.

I don't even want you now.

- What time did you meet him?
- 8.30.

- Where?
- ln the park.

- Was he willing?
- Yes, verbally.

Did you sense or detect weariness in him?

No. A correct appraisal of the realities'

- Is it making him bitter?
- No. Greedy.

But you felt his power?

You mean did l feel fear?

No because that would have prevented me
answering all your questions.

- How many vials did he take with him?
- Two.

What procedure have you devised for
contacting him again?

It's all in my report.

I suggest it's more economical
to fill in my successor.

We don't feel there is a need
for a successor.

L've completed my job.

Brilliantly. That's why
we want to rehire you .

It's out of the question '

And what would be the reason
for your refusal?

Family.

- Couldn't we be of some help there?
- No.

Wouldn't it be advisable for you
to reconsider?

L'm unable to do that.

Would you be unable for a long time?

I hope not.

Aren't you allowing feelings to prevent
you from answering your own questions?

Exactly why I advise you
to hire my successor.

Good .

Any questions?

No.

Does our subject still wear pink socks?

Anna?

(PHON E Rl NGS)

It's me.

It's Anna?

I am downt0wn.

Why downtown? l've been waiting all day'

l need some time t0 think.

What do you mean "to think"?
Think about what?

To think about me.

Wh . . . Wh . . . Where are you?

- When will you. . . ?
- (PHON E CUTS OFF)

(Rl NG TON E)

- Hello?
- Margie, this is Mark.

Now, I know there's no sympathy
between us and it's...

hard for me to ask you for help but' ' '

you're her only friend .
Now, just tell me the truth .

She has somebody?

She wished you'd say or do something.
Something to reinstall you.

You know, a magic waVe 0f the wand.

You arrived sooner than expected, Mark.

Yes, sure, this is all my fault.
Now, how long has this been going on?

Quite I0ng.

Who is he?

Oh, Mark! I d0n't...

Your wife keeps her 0wn secrets.

Margie...

l don't have a magic wand .
l don't intend to hang on.

But make her talk to me.
lt'll be the way that she wants.

But this is not...

' . . proper'

- PIease.
- (PHON E CUT OFF)

(CONTl N UOUS TON E)

(PHON E Rl NGS)

Yes?

We're over, Mark.

You have someone.

Yes.

- For a Iong time?
- Does it matter?

Yes.

Yes.

Do you...

' . .sleep with him?

Yes.

- Do you Iike it?
- Yes.

More than with me?

Yes.

I see.

How do you intend to live now?

- We haVe to discuss it.
- Now.

As y0u wanf.

Half an hour at the Cafe Einstein .

L'm too far for half an h0ur.

Are you calling from there?

Yes.

Is he listening?

No.

But he is there.

Yes.

Would 800 a month for Bob be enough?

I suppose.

Will you move in with him or
keep the apartment?

L'll keep it if you allow me to'

l've decided not to see Bob.

- At all?
- At all.

How can you say that?

He's going to be fucked up
enough as it is.

I don't want to fuck him up even more
by playing Sunday Daddy.

- What were you to him anyway?
- Precisely.

But...

He knows you . He's yours. He needs...

A real father full time?

Well , I thought I could be, coming home
from the war, so to speak.

You say it's better with him than with me.

I get bored of it'

Tell me.

I think what you want to do to Bob is...

l nhuman? So what you're doing
must be human.

- How Iong is it going to Iast?
- l don't know.

One week? Two weeks?

And how do you dispose of ideas
like honesty and loyalty?

If l could only believe that it happened
cleanly at first sight.

OK, if it makes things easier,

l was in his bed the first night
l met him, if you haVe to know.

What do you expect of me?
Look what you're doing .

No-one is good or bad

but if you want, l am the bad one

and if I knew he existed in this world ,
l would have never had Bob with you .

Get out!

Get out! Get out!

(SCREAMl NG)

(Rl NG l NG TON E)

(WOMAN SPEAKS FAl NTLY)

- Erm. . .
- Hallo?

Mm...

Hallo? Hall0?

Ma, ma, ma'

(TH U N DER AN D RAl N)

(PANTl NG)

How. . . How long have l . . . ?

How long have l been here?

Three weeks, sir'

What happened? lt's Daddy'

Mummy said she would be right back
but she never came.

Then Margie called and told me to be brave

because she had broke her Ieg and
she had to haVe the cast put on .

You've been alone for a long time?

Look, I got a new boat.

Did you get it from Mummy?

No. From Uncle Heinrich .

Long ago?

Yes.

Yesterday?

No. Before you were coming back
from far away.

OK, little piggy'

Come on , let's get out of this mess'

How did you make such a mess?

(KEY l N LOCK)

This is not always Iike this, Mark.
Usually l'm on time.

L'm not interested .

I came to tell you that
l can't live without you

and I'm ready to understand
whatever there is

but it doesn't Iook Iike
it makes much sense.

- You can't take Bob away from me.
- l'm not trying .

You can continue to visit whenever
you want, but l'm taking oVer here.

Anna, is there anything l can do?

- You could just. . .
- Yes?

- I must. . .
- Yes?

I must...

You must restore order.
You must leaVe him.

You will call him.
You will say it is over.

Now, I don't care if you tell him
you love him

but he's not your family -
your family is here.

You must call him now.

- But l can't on the phone.
- l don't trust you .

- I have to tell him face to face.
- l don't trust you.

On the phone'

Oh Jesus!

Jesus! Jesus! Jesus!

Jesus! Jesus! Jesus!

Jesus!

If you want to stay, make that call '

It's still quite warm. I don't think
you'll need a winter coat or sweater.

I can't stand to see you Iike this.

It could be the way you want.
Just don't cry any more.

I am very sleepy.

(PHON E Rl NGS)

Anna is with me and she'll stay wifh me.

He phoned me.
He said she won't be coming back.

I have to talk to her right now.
Please give me that number.

542-6261.

Where is it?

I don 't know, Mark.

542-6261 .

(PU NCH ES NUMBERS)

(Rl NG l NG TON E)

- Hello?
- Yes?

I want to speak to Heinrich .

My son is not in town. Wh0 is calling?

Anna's husband .

Anna 's n0t here.
l haven 't seen her for weeks.

I miss her so much.

Hallo? Hall0?

- Hallo?
- (SLAMS PHONE DOW N)

(W H lSPERS) 542-6261

What happened?

Wee-wee.

Shall l take you?

Where's Mummy?

She went to see Margie'

Are you going too?

L'm staying with you .

Hello, I'm Bob's father. I'II be bringing
him to school from now on.

L'm glad . You're the father who went
far away and met the polar bears.

Hello.

What is this? A joke?

What are you talking about?

- I mean your wig .
- What?

L'm so sorry. It's impossible.

Have you ever seen my wife?

Naturally. Every day of the school year'

You're Heinrich?

Yes.

L've come for Anna.

Anna's not here.

You want me to break down
the bloody door?

You don't have to. It's open .

We don't have to be brutal to each other
or even impolite.

Our situation is Iike a mountain Iake
we are trying to swim in,

starting from different shores'

l am not astonished you are here.

I was thinking about you
just before you came

so now that you're here,
let's be open to each other.

You can hate me as much as you Iike.

But it's you who wants
to know things from me.

So please make it possible'

l am suffering as much as you are'

The fact that Anna did not inform you
was harmful to eVeryone

but I always accept Anna's ways,

as I think no-one has a right
to impose his will on anyone.

So that's how you've changed her so much '

Possibly, but is it changing her
or making her open to herself?

So open she's inarticulate at night
and you have to speak for her?

What are you talking about?

We spoke on the phone Iast night,
you and l , didn't we?

Stop it. I just arrived from Hamburg .
You weren't listening to me.

I was just trying to make her comprehend
that l love her.

I Ieft the day you arrived to give her
the chance to decide for herself.

I allowed you your chance.

Bullshit!

L'm not obliged to Iisten to you speak
in that way. lt's offensive.

How long have you been fucking me over?

A year.

AII my visits home, all that time.

Yes.

And this is what you mean by
accepting Anna's ways?

Precisely.

The key being the infinitive'

To accept.

I have been honest with you .

Would you permit me to enquire
on a specific point?

On your Iast visit home,
were you content with your wife?

I mean sexually.

Why?

Because in that period we reached
a state of perfect harmony.

Er...

My mother.

- Is she here all the time?
- Yes.

- Even when you're fucking Anna?
- Of course.

Agh!

Why?

Why?

Agh!

(G ROANS)

(G ROANS AGAl N)

BOB : . . .eating green bananas'

Where d'you think he put the skins?
Down his new pyjamas!

(AN NA LAUG HS)

Yes. Yes!

Baa baa black sheep, have you any wool?

Yes sir, yes sir, three bags full '

One for. . .the master, one for the dame

and one for the Iittle boy
that lives down the lane.

- Can I go out into the back yard?
- Yes, you may.

But you take your sandwich with you .

Where were you?

I wrote you . I was at Margie's.

That's not true. I spoke to her.

I was with him .

That's not true either. I saw him .
l may. . .stink from him.

- But he's not Iying .
- l was...

- I was with friends.
- Who?

- New friends.
- l'll check.

Yes, check, check, check, check, check!

Why did you leave last night?

To be alone!

But you said you went to friends'

Why are you nagging me?
Can't you just leave me in peace?

I could have perfect peace
if you never came back.

It's Bob! I have Bob! He is my son too.

Don't try to tell me you care about him
all that much.

He didn't stop you from breaking us up'

lf you really thought about him, you'd
giVe a thought to us, for Christ's sake.

I do! l do!

No you don't. You think about buying him
a pair of shoes,

about making him a snack,
about telling him a bedtime story

but if you really thought about him ,
you'd think about us.

Right, right. Why are you always right?
But it's difficult, don't you understand?

It's difficult. l didn't want it to happen
but it happened and now...

Don't come any closer.

Anna, it's me'

Don't you understand? You disgust me'

l can't stand you touching me.

You make me...

You know, Iove isn't something you can
just switch from channel to channel .

I have your Ietters.
"My loVe, trust me, " you write

and all the time you were
fucking your arse off.

- You want me to believe you're a. . .
- A whore! Yes!

A monster, a whore.
l fuck around with everybody.

Whenever you turn around I fuck around
with everybody on every corner.

You will Iet me go.

Please don't make me force you '

You can't stop me.

L'II open the window and jump.

You need him that much?

Oh yes! Oh yes!

Fuck your needs!

Do it again .

Agh!

(SH E SCREAMS)

(SH E GROANS)

You know what this is for?

The Iies.

Then you'II have to add much more.

Bitch!

Bitch!

(DOOR SLAMS)

(FOOTSTEPS ECHO)

Bitch! You bitch!

- What's going to happen to us?
- lt's up to you.

- Then stop coming .
- l have to go.

L'll follow you '

Don't even try.

(CH l LDREN SHOUTl NG)

Oh , it's Aunt Margit, the angel of the
extinct hearth , limping to the rescue.

And nothing can stop me.

Oh! I know you can't wait to run off
and make a fool of yourself

and I'm here to help you .

L'll look after Bob. Give me your sweater'

Ah!

I Ioathe you, Marge.

You're still full of belief, Mark'

l Iove seeing you miserable.

It's so reassuring .

Shit, Marge'

Yes, sir'

Mr Zimmerman will be with you in a minute.

The second door on the right.

Yes.

Sir.

How can we help you? Please'

l , er...

l would like you to follow my. ' '

' ' .wife for a few days'

Of course. Wives, wives, wives, wives'

Are there any reasons you would Iike
to give us?

You don't have to answer but often it is
enormously helpful in an investigation .

My wife doesn't live with me any more

but she visits - or at Ieast she has been
visiting up to now - my son.

I see.

I have a photo of my wife here'

Are there any other leads?

Mmm.

Family?

Does your wife have a job?

She quit about a year ago'

Friends?

Her best friend is Mrs Margie
Gluckmeister. She's in the directory.

Margie visits our place occasionally to...

to help out with Bob.

AII right, sir. Now we must get down
to practicalities.

Oh! Look at this.

Tired boy.

Let's get you in bed .

That's it.

(DOGS BARKl NG OUTS l DE)

Oh , look at this'

Tired boy. Let's get you in bed .

That's it.

On with the covers.

(DOOR UNLOCKS)

(DOOR SLAMS)

Excuse me.

How long is this going to last?

Excuse me.

L'm talking to you .

Excuse me!

You don't have the right
to behaVe this way.

What have l done that you hate me so much?

- (CARVI NG KN I FE BUZZES)
- Nothing .

- I deserve this?
- Get off it. No.

Get off it.

- Told you to stop coming home.
- Get off, get off, get off!

This is disgusting .

Yes.

Look what we've become.

Yes.

Talk to me.

I don't want you to be Iike this.

You know, when I'm away from you
l think of you as an animal,

or a woman possessed

and then I see you again and
all this disappears.

(M l NCER BUZZES)

You must try and help me.

Tell me.

Maybe it will help.

Are you happy?

Do you love him? Does he love you?

Do you want to live together?

And have a family and . ' '

Am l in your way and Bob too?

And there's something else
you must tell me.

Why are you afraid to tell me?

Are you afraid of me? Are you ' ' ' ?

Are you afraid I'II get mad again
and beat you?

Are you afraid l won't like you?

Yes.

Anna, help me.

Help me!

(SH E SCREAMS)

Oh my God !

(SH E SCREAMS)

No! No! No!

Anna, there's Bob. There's Bob, remember'

Good Christ! Remember.

(SCREAMl NG SLOWS)

It'II be the way you want it.

It'II be the way you want it.

Hold it.

You don't have to say anything
you don't want to.

You're my whole family'

l have to go now.

Would you wait for Bob?

I can't now.

Maybe we can both go and
pick him up at school.

I can't.

It doesn't hurt.

No.

(CH U RCH BELLS Rl NG l NG)

I gotten your wife's address.
lt's in Kreuzberg .

Sebastianstrasse 87, 1 st floor'

She seems to be alone.

Do you want me to check this now?

Danke.

Sorry to bother you, miss.
l'm from the building manager's office.

We had a complaint about
some broken windows somewhere

and the glass falling
down on the sidewalk.

- Is that what it is?
- l'm afraid l have to check your windows.

- But l can assure you they're all right.
- How can you be so sure?

I just. . . I just saw you come in .

It'II only take a moment.

But l don't want you to be here.

I quite understand , miss,
but it's me or the police.

A Iady got hurt on the sidewalk,
a Turkish woman.

You might say she shouldn't be here in the
first place but she lodged a complaint.

So what can l do about it?

Nothing .

PIease.

Is it OK?

Moment.

So?

Excuse me, the bathroom?

The bathroom doesn't have a window.

Are you sure?

Absolutely.

Some bathrooms have windows
this side of the house.

Not in this one.

L'm afraid I still have to check it
before someone else gets...

Would you care for a glass of wine?

- Wine?
- Yes.

L'm afraid l ...

Yes, wine!

- I'm afraid you. . .
- Oh , come on . Don't be so formal .

Miss, it doesn't make any sense.
l've got k-k-kids.

I only came for the windows'

l'm sorry, miss, but...

l still have to have a Iook.

Oh! lt broke!

(SQU ELCH l NG AND DRl PPl NG)

Was ist. . . ?

(SH E SCREAMS)

(SH E SCREAMS AGAl N)

How long?

Ah . . . Ages and ages.

- Much Ionger than I could .
- (DOOR BUZZER)

BOB : Nee-na, nee-na, nee-na'

Hello, I'm sorry to bother you so Iate.
May l see your wife?

No. She went out.

BOB : Nee-na, nee-na, nee-na'

That's not entirely true. She. ' '

She doesn't live with us any longer'

Oh.

It's about Bob.

Ah! Bob!

Bob is fine.

He's just beaten the world record
in tub diving .

Oh! (SH E LAUG HS)

- Hello, Bob.
- Come on . Cut it out, Bob.

(DOOR BUZZER)

(BUZZl NG CONTl N U ES)

Look, um. . '

- Would you be so kind?
- (BUZZER CONTl N U ES)

He's actually been in the bath
for about an hour.

Yes, of course'

l've called many times.

I wanted to discuss with you
the redistribution of our parts

in this fundamentally vulgar structure,
the triangle.

I n other words, where is she?

L've been giving a great deal of thought
to the illogical aspects

of your anger and your defence'

ls Anna with you?

And if?

I would only ask to have a talk with her.

What if l said no?

L'm sorry I used violence with you .

Now I'd only apply my psychic process
to make her come to me.

Oh , l'm so sorry, she's not here'

Did I tell you I had a wife
and a daughter?

No!

They live in Cincinnati '

What does that do for you?

They will always remain my first family'

Anna could be the second
and you and Bob in some sense.

Do you have a dog?

Would that I had .

You misuse me.

It's stiff and blocked men Iike you that
lead us to the concentration camp.

Who are the crusaders of every
blind principle, so-called ideology

humanity invents to strangle me?

Why don't you like me?

Why don't you draw in
the plentitude of my love

and pull it all over your Iife
like a veil?

OK, l like you '

And I can tell you where Anna Iives.

Lives?

Only. . . l don't know the guy's name'

lt's impossible. lt doesn't make sense.

Why not?

Because you think you've given her
the supreme pleasure?

You with your yin-yang balls
dangling from your zen brain .

OK, maybe it does boil down to
a sexual contest, in which case...

l'm sure you win hands down .

- But is that all?
- BOB : Nee-na, nee-na.

Nee-na, nee-na, nee-na'

(BOB CONTl N U ES)

I used to be afraid of you '

But I don't think I am any more.

There's nothing to fear except God '

Whatever that means to you .

For me God is a disease.

That's why through the disease
we can reach God .

"Tracking something ," said Winnie-the-Pooh
very mysteriously.

"Tracking what?" said Piglet,
coming closer.

"That's just what I ask myself.
l ask myself, What?"

"What do you think you'll answer?"

He wants to say good night to you .

Thank you .

You smell clean .

Do you like Helen?

I think so.

Are you not sure?

Well , I don't know her yet.

Do you like her?

Yes, and who don't you like?

Well , l don't like Heinrich

and I don't Iike that sailboat.

Why? He's funny'

l don't Iike...

l don't Iike Mummy to Iike him
more than us.

Who's prettier? Mummy or Helen?

Who do you think is prettier?

You tell me.

Our Mummy'

Good night, son '

Thank you .

Do you have anyone to help you with him?

Oh it's. . . lt's not a problem. l . ' '

l have plenty of time'

Bob won't say anything to me.
He keeps his words for himself.

He knows everything , senses everything .
Children are amazing .

Yeah.

After lunch we have an hour's rest.

Bob very often goes to sleep'

When he does he cries or shouts.

Does he do it at home?

No.

Oh.

He screams.

It is very difficult to calm him down '

When he wakes up he pretends
that nothing happened .

What can l say?

L'm at war against women .

They. . . have no foresight'

There's nothing about them that is stable,
there's nothing to trust.

They're dangerous.

There is nothing in common among women
except menstruation.

Excuse me.

I come from a place where evil seems
easier to pinpoint

because you can see it in the flesh '

lt becomes people so you know exactly
the danger of being deformed by it.

Which doesn't mean I admire your world .

But I find pathetic these stories of women
contaminating the universe.

I'm...

l'm one of the contaminated .

Because you never feel free, do you?

So sad that for you freedom
seems to mean evil.

And what about lack of freedom?

It's extraordinary.

AII right.

Together we can listen if Bob cries out'

You don't have to make Iove to me.

L'm not trying .

(BOB SCREAMl NG)

What happened?

I want Mummy! My Mummy!

- Mummy! My Mummy! Mummy! Mummy!
- lt's OK. lt's all right.

- It's OK. It's all right.
- Mummy! Mummy! Mummy!

- It's all right. It's all right.
- Mummy! Mummy! Mummy!

(BOB WH l MPERS)

(W H ISPERS) It's all right. It's all right.
lt's all right.

It's all right. Sh!

L'm sorry.

It wasn't very wise of me'

This makes you think
you've been right all along .

Hello, Bob'

CH l LDREN : l'm the big boss here'

You're the Iittle boss.

Good morning . I phoned you at home
then l thought l might catch you here.

I didn't tell you where
Bob goes to school.

It wasn't difficult.
We have a minor problem here.

Yes?

The detective who was in charge of tracing
your wife didn't come home last night.

So?

He wasn't at home this morning and
he hasn't reported to the office.

Before we start to get worried ' ' '

When was he going to check it?
Yesterday or today?

I don't know.

PIease don't misunderstand me.

That detective could've gotten drunk
and spent the night with whores,

although that's not much Iikely.
He could have died of a heart attack

lf our detective doesn't show up
by noon l'll haVe to notify the police.

The police will start digging into your
problem. That's how it is.

You and l can claim professional secrecy

but you have to give me the address
the detective gaVe you.

Sebastianstrasse 87, floor 1 '

Have you been to that address yourself
or telephoned?

- No.
- Very sensible of you .

But may l ask why not?

I had the impression that you were
tremendously interested

in finding your wife'

Yes, l was'

l suppose I still am .

But that was out of pure, blind ambition '

And you know something?

I don't feel Iike there's anything
much ambitious left in me.

I see.

So I don't even have to ask you
as a personal favour

not to come to the office
until l contact you .

Why?

Precisely because of the. . .
delicacy of your feelings,

you might be able to understand that...

my interest in the case comes
from the fact that l ...

Iive with that detective.

L'II be calling .

(SOU N D OF SCRUBBl NG)

I have to talk to you .

That's what I guessed .

Have you ever seen this man?

Do l have to answer you?

Well , you have to answer
to someone eventually.

That's too easy.

But it's you . . .or the police, right?

Right.

Why?

You're scaring me.

Am l not scared?

Oh yes'

l see.

Darkness is easeful .

And the temptation to Iet go...

... promises so much comfort
after the pain.

He's in there.

(SQU ELCH l NG AND DRl PPl NG)

(SQU ELCH l NG AND DEEP BREATH l NG)

Mein Gott!

He is very tired .

He made Iove to me all night.

Emmanuel .

He is still unfinished , you know'

Emmanuel!

(SHOUTS)

(AN NA SPEAKl NG FRENCH)

Un . . . deux. . . cou-de-pied

chassé, developpé

å Ia deuxiėme arabesque.

Tighten your stomach .

Et attitude.

Relevė.

Relevė!

Ach! Knee!

Your foot' ' ' Look at your hand '

Tighter stomach .

Your back, up your Ieg .

Up your knee.

Up your knee.

Look at your hands.

Tighten your stomach .

Your back.

Your foot.

(DANCER GASPl NG)

- Do it. Hold it. Hold it.
- (SH E WH l MPERS)

Up.

Your knee.

(CRl ES OUT)

Hold it. Hold it.

- (DANCER STI LL CRYI NG OUT)
- Your shoulders down.

Hold it.

Hold . Hold it.

Hold it. Hold it.

Hold it.

(DANCER SCREAMl NG)

More. More.

That's very good! Very, very good .

Very good .

That's very good ' Good girl '

From now on she'II know
how much righteous anger

and sheer will she's got in her to say,

"l can do as well. I can be better.
l'm the best."

Only in this case can she
become a success.

Nobody took me there.

That's why I'm with you .

Because you say "l" for me'

Because you say "l" for me'

(PROJ ECTOR WH l RRS)

(CHAl R CREAKS)

Yes, I'm thinking about him ,

but I recognise the self who has just done
something horrible

Iike the sister l've casually met
on the street. "Hello, sister. "

It's Iike those two sisters of
Faith and Chance.

It's Iike those two sisters of
Faith and Chance.

Well , Faith can't exclude Chance
but Chance...

Oh sh. . . !

Well , it's Iike those two sisters of
Faith and Chance.

My faith can't exclude chance
but my chance can explain faith .

My faith didn't allow me
to wait for chance

and chance didn't give me
enough faith.

Well ...

And then I read that private Iife
is a stage,

only I'm playing in many parts that are
smaller than me and yet l still play them .

I suffer, l believe, l am . ' .

But at the same time I know there's
a third possibility, you know,

Iike cancer or madness, but cancer
and madness contort reality.

The possibility I'm talking about
pierces reality.

Well , I'm unable to say it, maybe,

maybe it's impossible to say,
maybe l'm too stupid .

You're looking at me as if you. ' '

You're Iooking at me as if to tell me
that l need you to fill me up,

as if l'm an empty space'

Well , I Iove you too but what makes me
go on is to know he'll return

and that I'II make him suffer
and l'll hurt him and l'm betraying him ,

but. . .this brings me small rewards.

Yet I can't exist by myself
because l'm afraid of myself,

because l'm the maker of my own evil '

Because...

Because I'm...

Goodness is only some kind of
reflection upon eVil .

That's the way it is.

Ah! (SHE SIG HS)

What are you doing?

L'm sorting out his things
to take to the laundry.

I could do it myself'

But it's my job.

- I'm very good at it.
- Very kind of you, but...

Maybe you could do it when Bob is at home.

It's getting . . .so difficult for you ,
isn't it?

You're not as...

You're not as strong or as sure of
yourself as you thought you were

so you keep coming back.

You must be. . . You must be...

' . .torn apart'

l can . . . I can think more clearly now.

I guess...

l guess when you're there...

...you want to be home,
and when you're home...

...you want to be there.

If what you have there is
so strong for you.

If it's what you never had . ' '

stick to it, keep it.

(SH E CRl ES OUT)

It's very quiet here when you're out.

It was very quiet when you weren't here.

Come over here. Let's just see if we can
sit together peacefully still.

(CRl ES GETTl NG LOU DER)

Is it the same there?

(SCREAMS) No!

Can you tell me now?

I messed everything up.

Even Bob.

L've been a cheat, a liar,

completely alone, wounded .

And you think l'm immoral shit.

I think so too but not for
the same reasons.

(SCREAMS) l feel nothing for no-one!

It's as if the two sisters were
too exhausted to fight any more.

You know these women wrestling
in an arena of mud

with their hands Iocked
at each other's throats

each waiting to see who will die first'

And both staring at me.

(SH E WH l MPERS)

(SH E WH l MPERS)

(SH E WH l MPERS)

(SH E WH l MPERS)

(W H l MPER ECHOES)

(W H l MPER ECHOES)

(W H l MPERl NG GETS LOU DER)

(SH E CRl ES)

(SH E CRl ES AGAl N)

(SH E CRl ES AGAl N)

(CH U RCH BELLS Rl NG l NG)

(LAUG HS HYSTERICALLY)

(LAUG HTER BECOMES SCREAMl NG)

(LOU D PANT l NG)

(PANTl NG BECOMES SCREAMl NG)

(SH E SCREAMS)

(SH E SCREAMS)

What l miscarried there was Sister Faith .

And what was left is Sister Chance.

So l had to take care of my faith

to protect it.

And that's what you're doing there?

Yes.

You Iook uglier.

You've hardened .

For the first time, you look. ' '

...vulgar to me.

You know, l remember when l was a kid '

Have you ever seen a dying dog ,
you know, one of those old dogs

that comes to die under the. . .
under the porch of the house?

At the last moment,

it. . .yelps...

... in terror

as if it's seen something real '

l want you to take off the ring
and the wristwatch l gaVe you

Iast time I came home.

Don't forget to give him his yoghurt'

No.

I have to go.

If l threw myself at your feet and yelped ,
would you still walk over me?

Yes.

Hello, this is Anna's husband speaking .

H E l N RICH'S MOTHER: Anna's n0t here.

I don 't haVe the slightest idea
what's happening to her.

- Do you Iove your son?
- Sir!

Tell him that l Iove him too.

I Iove everybody and everything .
l accept everything . l have become wise

and profound and good '

Do you want to talk to him?
We are just haVing coffee.

No, l don't want to talk to him. l ' ' '

l don't want your coffee to get cold ,
either, l certainly love your coffee.

Just tell Heinrich that Anna's address is
Sebastianstrasse 87, first floor.

Five, six, seven, sky!

Eight, seven , six, five, four, three' ' '

Madam teacher, my apologies
for being late.

No, it's all right.

Anyway, we were waiting for you '

Thank you . And goodbye, Bob.

What is it?

My name.

(PANTl NG)

I respected your wish to be alone,
l thought you needed the time,

but now it's time enough .

Besides, what are you doing here anyway?

Don't resist me.

You know I'm stronger than you .

L'm the only one in your Iife
who has rights on you

because I don't claim any.

I brought it from l ndia'

You know, this is what the French poet
Michaux was writing about.

I kept it for you '

With this, Iove opens to absolutely
unknown horizons.

Absolutely unknown .

Anna.

We are made to swim in the centre
of the stream .

Not to wait on the dry banks.

Yes.

Exactly.

I showed you the door to God ' ' '

...and this door is always open .

Come.

(DRl PPl NG)

This is a joke.

(H EA BREATH l NG)

What is it?

Anna!

Anna!

These must be removed .
They are beginning to smell .

This can't be true.

L've got to keep this place
clean and well.

Oh my God !

Are you going to help me?

Heinrich .

You are no different from anyone else'

We are all the same

but in different words.

With different bodies,

different versions,

Iike insects.

Meat!

(H E GASPS)

Anna!

(PHON E Rl NGS)

(l M lTATES ENG l N E)

(l M lTATES AEROPLAN E)

Calling all ambulances and fire engines
to the scene of the crash.

And two trucks.

(BOB l MITATES Sl REN)

Where?

(DOORBELL BUZZES)

Can you answer the door, Bob?

Now, Iisten, Heinrich.
Just stay where you are.

I paid a fortune for the cab'

At the bar at the corner.

Bleed for a while.

L'II be there as soon as I can .

My son took the car, an automatic one.

- Can you Iook after Bob till I get back?
- What is it?

It's Mummy calling me.

(FLY BUZZl NG)

(FLY BUZZl NG)

(N ERVOUS LAUG HTER)

(GASPl NG)

(H E SCREAMS)

(H lSSl NG)

(FLY BUZZl NG)

(MARK HUMMl NG)

(ARCADE MACH l NE PLAYS TU N E)

No, not out here'

Go to the toilet.

Need a Tampax?

How can you joke while l'm so hurt.

There are corpses in there,
at least two bodies.

I thought she was pulling my Ieg ,
but no, there's blood .

She cuts them .

A monster, a joke, but it was alive.

You're drunk, Heinrich '

She cuts us to pieces, Mark'

Maybe she just didn't want to see you .

Don't joke. I'm not joking .

Oh yes, you're not joking ,
so what do you want?

Don't you understand?
She's killing people.

I understand she's killing people, so why
do you call me and not the police?

She is sick, Mark, doesn't that
mean anything to you?

There are dead bodies there!

I don't believe you .

Maybe you're stoned on
some shit you suck on .

Some mushroom you gobble?

Perhaps you did it to yourself'

Maybe you're Iearning how to suffer.
Now, that would be an achievement.

- I feel for people.
- You talk for people.

- You take their wives.
- (SHOUTS) l take what l want!

And l'm at peace with myself'

Nobody saw me come in. Nobody.

I called you because we have to do
something to help her.

Why?

It isn't normal . It wasn't even human .
lt was...

Divine?

Perhaps you met God a moment ago
and you didn't eVen realise it.

Now, you believe in God , don't you?
Certainly.

I n that great incomprehensible God whom
you reached through fucking , or dope.

Am l right?

Look, Mark, that woman is crazy.
We have to do something .

We?

L'm not going to do anything .

I can't Ieave it this way. It's Anna.
lt's murder.

You're not a man , Mark. You're a woman '

AII right, if you don't intend to do
anything and want to keep me silent,

you will have to pay.
You haVe money, l know it.

You have to get me out of here, and send
me on a long trip to restore my harmony!

I deserve it!
lf you had only seen what l saw!

(H E RETCH ES)

Heinrich , help me out of here, l'm sick!

L'm the one who is wounded - not you .

PIease!

(TO l LET FLUSH ES)

- (COUGH I NG)
- (GAS H lSSl NG)

(WOMAN LAUG HS)

God's light avenge them ,

giving it out clean and
getting it back dirty.

(SH E G U RG LES)

(W H lSPERS) Do you believe in God?

(SOBS) ln God?

It's in me.

Take me.

Take me.

- Did Margie see it?
- Yes.

- That's why you killed her.
- She tried to take it away from me.

- Is this faith that helpless?
- lt needs to be protected .

- Like a child .
- Yes.

You know, for me, God is still under
the porch , where the dog died .

And on the branch of the eucalyptus tree,
where l'd lie for hours,

and watch how the clouds change
the colour of the grass below.

I need money.

I had to Ieave there.

Oh , l've cleaned all the mess.
l washed the floor, l made the bed .

I didn't know where to go.

It became so unsafe there.

People can't stop trying to
take it away from me.

OK.

Now Ieave me the car.

Take Margie's keys and go to her place
and wait there.

Can you drive a motorbike?

Heinrich taught me.

It's outside.

Now, l'll take care of Bob and everything '

l'II go to the bank on Monday
and take the money out.

If Bob wakes up, tell him. ' '

I will.

It's only me. Go to sleep'

l have to go.

PIease close the door.

- Because it's here with you?
- Yes.

(DOGS BARKl NG)

(PHON E Rl NGS)

- L'm sorry to disturb you, but. . .
- Yes?

You understand that it is very Iate,
and Heinrich hasn't called me yet.

He calls me eVery night so l won't worry
about when he comes home.

Maybe. . . Maybe he just forgot your number'

No, you don 't understand. Mothers always
feel it when their sons are in trouble.

Are you worried . . . ?

Are you worried that he's not there
having sex with my wife?

They sh0uld c0me here.

L've put clean sheets on the bed
and they could haVe dinner.

Are you quite sure you know
who you are talking to?

I am.

- I went there.
- Where?

I was worried, you understand.

There isn 't any apartment there
under the address you gave me.

There's only a smoking hole that the
police won't all0w anybody to come near.

So l went to a bar at the corner
to call home, to find out...

if Heimlich had returned.

Yes?

And Heinrich was fhere.

Nobody could identify him.

Yes?

I recognised his body, 0f c0urse.

Did you identify him for the police?

No, it was only Heinrich 's body.
But his soul was not there.

Perhaps he and his soul had
parted company before.

You don 'f know what you're talking ab0ut.

No, you're quite right. I don't have
any idea what l'm talking about.

He must have seemed to you better
and more beautiful than you.

When Anna met him, she immediately
worshipped his soul.

And y0u senf him fhere.

Now, listen to me'

l recognise Heinrich's superiority
in eVery way.

I was proud that Anna accepted him .

Now Anna has gone missing

and l'm here,

all alone, you understand ,
with our little son.

Now, I must find her -
maybe it's her fault.

I'II find her, and I'II force her to tell
me what she's done with Heinrich's soul .

And then I'II come to you and tell you .

Won't you come up?

L'm in a rush .

Is it your wife?

Here.

Will you promise me something?

Yes.

Whatever it is.

I promise.

(MOAN l NG)

(MOAN l NG GETS LOU DER)

(SH E CRl ES OUT)

AImost.

AImost.

AImost.

AImost.

AImost.

- AImost.
- Yes.

AImost.

AImost.

Heinrich's dead .

Isn't he?

Yes.

Have you found Anna?

Yes.

You come like the angel of death '

The one who kills.

I have thought about killing her.

And now?

Now l don't know.

Did you see anything that
made you change your mind?

I don't know what l saw
but Heinrich saw it too.

And you came to tell me that you don't
know where Heinrich's soul is.

Yes.

I can see it in your face'

lt would be good to think that the soul
lives separately from the body.

That the soul Iives for ever
and the body only for a time.

But it isn't so.

I don't know any more.

I do.

I have to be. . .on my son's side.

Even if he has made you unhappy'

l know all there is to know about him .

That I Iove him .

Yes.

I was wondering which is worse.

Take away someone's wife,

hurt a child ...

...or to kill .

He also had a wife and a child .

I used to Iike her.

I Iiked your Anna too.

I had to like both of them...

...since they Ioved him .

The world is only what it is.

Murderous.

If we are the best of it.

You don't have to worry about me.

I don't want to be here...

' ' ' if Heinrich is not around any more'

(W l N DOW CREAKS)

That dog didn't die of old age'

What about you, Mark?

Our man won't confide or deal with
your successor, he wants you.

I n fact, Mark, there is no successor'

We can take care of drowning dogs,

but please help us take care of
the drowning world .

Don't you think it's uneconomical
to waste yourself on dogs?

Even dogs you love?

I met a man who Ioved everything .

And he died in a flood of shit.

We know. That's just details.

When I was a boy...

l had a dog and his name was Louis.

When he crawled under the porch to die,
l stayed there with him.

So what?

I wanted to see what it was
that made him crawl under there.

Nobody's a boy any more.

Must we prove it?

This is the address.

Back up, then full speed ,
and crash into the police car.

My pleasure, sir.

Out of the car!

Out of the car!

(H E YELLS)

(GASPl NG)

(CH U RCH BELLS Rl NG l NG)

(CAR ENG l N E)

- (DOOR SLAMS)
- (FOOTSTEPS)

Anna?

Run away! Go! Go!

How could you find me?

How could l not?

I wanted to show it to you .

It is finished now.

Oh yes'

So hard to live with it. Eh, brother?

Is there a way out?

Will you help me?

Yes.

Take it.

Shoot them .

(VO lCES FROM BELOW)

How do you want to finish it?

(DOORBELL Rl NGS)

Would you open it please?

Why not, Bob?

It could be your father'

Don't open .

Well , l want to'

Don't open .

- But I want to.
- Don't open.

Don't open .

Don't open .

(SHOUTS) Don't open '

PIease don't open .

Don't open it.

Don't open .

Don't open it.

Don't open .

Don't open. Don't open .

Don't open. Don't open .

Don't open . Don't open. Don't open .

Don't open .

Don't open . Don't open. Don't open .

Don't open. Don't open .

(S l REN WAl LS)

(LOU D EXPLOSIONS)