All language subtitles for ENG Episode 2

EPISODE 2

FROM THOMAS TO FREDERIQUE

What have you brought?

Bergamotte has brought
the two faces of Prometheus.

What's that?
A Chinese Prometheus?

It's a statue in Japan.

And that's a Japanese mask.

They're the two extremes
of Prometheus.

That's wonderful!
Anger and perfect serenity.

- Yes.
- And why Prometheus?

He must be pretty serene.

- Right. Go on with your piece. it was...
- Tell me the French translation.

Do you mean Goethe?

I don't know,
I found several passages...

I don't know where he states
his position in relation to the gods.

Where he said, "their will against mine".

- What's that? German?
- Yes.

Read a bit.
Have you got the piece?

- I've got it in German.
- Let's hear it!

"To be their vassal and defend their sky",
is that it?

He's offered a compromise
and he refuses...

That's another of his stances.

He's always vituperating against...

Read it in German
and I'll read you some Shelley.

OK.

So there's this:
"The gods, I'm not a god," etc.

"To be their vassal
and defend their sky," etc.

- I can't understand it but it's lovely.
- Could you translate for us?

Yes, it's got the translation here.

You'll have to do it again.

I had the tape the wrong way round.

And the end is beautiful too.

"Here I am, I describe men
in my own image, a race like me

"to suffer, weep, enjoy
and taste pleasure

"and to despise you" -
in brackets - "like me."

He says to them,
"You can keep heaven, I'll keep earth."

At no point does he complain,
he just despises them:

Anyway, they're gods but so what?

"Men are worth far more than gods,

"who do nothing with their time and..."

The theme is much clearer.

I've got Shelley,

which I'm very interested in.

"Torture and solitude, scorn and despair,
these are mine empire."

It's beautiful in English,
in French it's hideous.

"Without herb, insect, or beast,
or shape or sound of life.

"Ah me!
Alas, pain, pain ever, for ever!"

It doesn't make any sense.

It's the same with Goethe,
it's much more powerful in German.

Because the words are harder,

'despise' is harder,

more angry.

And this is a softness,

not in the sense of soft,
but a goodness,

a kindness towards existence,
which is wonderful.

What have you found?

Er... well, I...

- Any contemporary pieces?
- I haven't got any contemporary pieces.

- I've got one.
- Me too.

- What have you got?
- January '70...

"In the exceptional price
that naive humanity attaches to fire,

"the best and highest thing
that humanity can know

"was won by sacrilege.

- "The interference..."
- Louder, it's not working.

"The interference between two worlds,

"for example a human world
and a divine world:

"In the individual's heroic movement
towards the universal,

"in his effort to escape individuation
and become a universal being,

"he comes up against the contradiction
hidden in things.

"He commits the crime
and is punished with suffering.

"Apollo wants to bring peace
to individuals

"by drawing borders between them.

"But the impetuous Dionysian blade

"raises little waves that form individuals

"in the way that Prometheus's
brother Atlas raises the world."

I wanted to read a little passage
that's very short,

but it's...

Well, I won't tell you what it is.

"Yes. Bizarre, black, the ideal,

"and the blacker it is, the worse it is
right down to black black

"and everything is fine
as long as it lasts.

"But it will come.

"The time will come,
the thing is there, you'll see it.

"You won't let me go for good,
everything will be black,

"silent, in revolt, obliterated.

"Yes. We were counting on peace,
it's all one,

"all the pain, as if it had never been,

"it will come..."

There's an OK there -
"...to extinguish this madness.

"I know,
but we were counting on peace,

"not only has it gone,
but it's as if it had never been.

"None of that had ever been,
all the misery..."

It's a thing by Beckett.

I think it would have been good
if we could try to...

Well...

A bit as though we...

Yes, because I don't know,
all this seems so much more alive to me,

and it would be good
if we could take any part...

The story of...

when Prometheus is all alone,
"Divine Ether,

"quick-winged winds,
sources of rivers,

"countless smiles of the seas,

"earth, mother of all beings,
and you, sun,

"all-seeing eye, I call on you."

I'd like to say...

"Firmaments, I call on you,
galaxies, I call on you,

"earth, I call on you,

"suffering human beings, I call on you...

"Oh, people in chains, tortured...

"Oh, people imprisoned..."

I don't know, something like that.
Turning it into a kind of litany.

Bringing in things...

...that are there.

I found a piece this morning

where they talk about
a little village in Mexico

where there's an eye disease,

and the children who aren't already blind
will all get it sooner or later.

So they get a double education -

at school they learn to read
and then, like in this photo,

they blindfold them
and teach them to work the fields

for when they've gone blind.

Go on, show it to him.

Mr Maillard, how are you?

Listen, don't forget my key.

You never give it to me.
I need it to clean your room.

You have to leave it for me.
Will you remember?

Yesterday, I put some brochures
under your door.

Did you see them?

Did you find them interesting?
Yes, I think so.

So, you won't forget to give me the key.

Oh no, please, not me!

- Yes, but it is...
- Myself?

- If I was Prometheus?
- Yes.

I'm taking that passage
because it touches on everything.

- But you can choose something else.
- I think it would be...

I think I wouldn't understand why...

Knowing the gods
and their omnipotence,

there could be...

...this eternal injustice.

And I could only be
a Prometheus full of anger,

but maybe silent anger.

Yes, but what would be interesting,
is to know what you'd like to say,

I don't know, Bergamotte, if you had...

Could you just say,
without thinking,

what you'd like to say
if you were Prometheus?

I think I'd call on...
like that, now, I'd call on first

my father, my mother,

the friends who are dear to me

and who burned up their lives
very, very quickly,

who burned their lives when they lived.

Could you speak
in the name of Prometheus.

Through their mouths.

What do you mean?

If you were Prometheus,
how would you call on them?

How would I call on them?
I don't know what you mean.

It's to try to get you
into a language of today,

what Prometheus
would say at this moment.

I see what you mean.

Without thinking...

- Imagine you're Prometheus.
- And I'm in pain?

Yes, well, he's always in pain.

But, for example, the passage:
"Don't think I am silent out of pride",

how would you say that
in modern language?

It's hard...

Go on, even if it isn't...

Just talk.

You mustn't think about it.

Silence, silence...

Loneliness... I'm completely alone.

I saved men,

but men can't help me.

Cold. Winds. Earth.

Where is the sun?

Yes, the sun, where is the sun?
Where is fire?

There's no fire, because I'm cold.

I'm in pain.

I'm in pain because I'm alone,
because I'm cold, I'm in pain because...

Everyone around me is in pain,
even if I can't see them.

Try to move into Aeschylus, if you can...

If I'm going to speak to someone...

I call on people

where we don't know
what's become of them...

...who have done things that seem
to have been totally wasted,

who are still doing things
that are totally wasted.

In other words all those
who seem to be wasting themselves.

Who wants to take over?

I'm a bit embarrassed
because I find all this rather artificial.

Or else we improvise

and get into the right positions
to call on people.

But here, all round...

It's just a beginning, it's to start off,

to do it without thinking.

I think first of all
it would be a feeling of-

if I was in Prometheus's place -

a feeling of ingratitude,
particularly towards men.

- Yes, but try to speak in his name.
- Try to clarify.

I can't.

- OK, never mind.
- Me, if I was Prometheus,

I'd do something very violent.

I don't want to know what you'd do,
I want to know what you'd say.

What I'd say?
I wouldn't say anything!

That's a start.

And I'd smash man to pieces,
or send him back to the clay.

- Yes, but speak in Prometheus's name.
- OK, "I'll send man back to the clay..."

I set up a big job this time.
I got all three of them.

20th time in order, the law's against it.

You can't pay in those circumstances.
So you have to find a lawyer,

and you get the cash and you get out.

So get on with it.

You planning to stay long?

I'll tell you, let me talk.

I'm nervous, that's how I am, listen,

and then you can give me your answer.

I'd like to speak for those people,
to say I can't accept a world like this,

where racism exists on every level

in terms of colour, economics, culture...

OK, but try to speak
in the name of Prometheus.

Yes, that's always hard.

Yes, I'd say, "I can't accept..."

Who would I take as my witness?

I don't know what he says...

For example...

When he says,
"Listen instead to the sorrows of mortals

"and see how from the child
that they were before

"I have made creatures
of reason and thought."

He's starting from the idea of people
who were suffering

and what he's made of them.

How do I say it?

I've got a fake address,
I live with this girl.

You've got to rip off, first the state.

Where are you going?

- Africa.
- That might be good, but I can't do that.

Why not?

Problems... and I've got a little girl.

- A little girl?
- These things happen.

- At your age?
- Yes.

- But tell me...
- No, that's not it.

I've done my job, I did it well.

What I'm asking you
is to get hold of it.

You need a bit of cash to set up,
rip them off over there too.

I need you to launch me,

so that we can really make it work.
Clean up.

- In Africa?
- Yes, there's plenty of cash.

We don't want to leave it to others.

We could take you along too
in those circumstances.

You can also bring your kid.

I can't right now.

Put yourself in my place.
Come to Africa. We're bored stiff.

- He's not going anywhere.
- But no...

Let him go, since
we three are going to Africa.

- Give us time to sort out our business.
- We're going!

I've already got the money.

- They gave it to me.
- Who gave it to you?

The races, that thing the state
invented to steal our money.

- You bet on horses?
- Yes.

- Will you teach me how?
- I won yesterday.

I don't want to be an actor.
I want to be a producer.

I don't want to play anymore.
I want us to take it to Africa.

There's sun over there,
there'll be time to rip people off.

There'll be shops and we'll be happy.

But if you don't like that
we can live in the countryside.

I could only get them out
through improvisation.

I got to the point of speaking...
Not now, I can't like this.

All right, just give it a try.

If we're making theatre out of things
that directly affect us,

we should abandon the idea
of Prometheus

and do a new show.

Give up Aeschylus,
and maybe even Prometheus.

If someone was writing
Prometheus today,

it would be something else.

He might not even be mentioned in it,

and no one would know
it was about Prometheus,

which doesn't matter either,
but you have to realise that.

Yes, try to write a piece maybe,

and see what we can do.

I'm willing to go,

but somethings just happened.

What's happened?

I had a house,
and then I lost all my money.

We'll get your money back.
We can get your house back.

- Let's give this up!
- I can't even see my daughter!

Let's give this up!
We'll get the bit of money we have,

and we'll take your daughter
a bit later with you,

and we will go, with the kid.

OK, but maybe later.

I don't agree.
We have to get it sorted first.

- The business with the daughter?
- Yes.

- How old is she?
- Two

A lady's looking after her.

- What about her father?
- She hasn't got a father.

There isn't a child
that hasn't got a father.

- Let's see her father.
- He's her father.

Now we're beginning to understand.

You can't split just like that.
I want to see you again this evening.

We've got to talk about this again,
it's not clear.

- Africa isn't Nepal.
- When are you leaving?

- Tomorrow.
- Oh. Shame.

- We've got to go.
- Are you going?

We've got to see someone.

I haven't got much on me.

- Here.
- Africa, OK...

- For the kid.
- I like you.

But you will come and get me later?

No, no.
We've got to get things sorted.

- Thank you.
- We all do what we can.

- Why are you giving her money?
- Goodbye, Mr Ragman.

Goodbye, Mr Ragman.
See you soon.

Why did they give you money?

For my child.
So I can feed her.

I want to say something to you.

- You're in a hurry?
- I'm in a big hurry.

Hey! Honeymoon!

Fr�d�rique, how are you?

I've just done a brilliant job!
What's up?

I'm fine.

No, you're not. I know you.
What's the matter?

It's the same old story...

What? You're in love?

Who with?

This boy...
I see him every day.

- I daren't even speak to him.
- You're in love with him?

He's so beautiful.
A Cocteau drawing.

But I don't know how to approach him...

Honeymoon! You know you're lucky.
It'll work.

No, it never works.

- With boys I fancy it never works!
- You're silly.

- Yes, that's how it is.
- Oh, come on, Honeymoon.

- Can I do anything?
- Would you like a drink?

A cognac, please.

I got all this money from some guys,
you won't believe it!

- Still in the same game?
- Yes, all the time.

The other day it didn't work,

and I was scared because
I had the cops behind me...

You make me feel sad.

Who gave you that?

- A friend.
- A friend?

Pretty, isn't it? It's from Algeria.

Really, an Algerian?

Have you seen Sweetie?
It's a good thing I've got him...

ls Sweetie male or female?

Male.

Just testing!

Little Doggie!

He's got fatter.
What's he been doing?

- He drinks a lot of milk.
- Grenadine milk?

- Plain milk!
- What have you done to him?

Say, Honeymoon.

I'm pleased to see you because
you're the only person I really like.

I like you too, Fr�d�rique.

Your dog is cute.
My little doggie!

Don't be jealous that I've got him.

He'd never let another girl
touch him anyway.

- No.
- No.

I don't like it when you're sad.

I'm too sentimental. What can I do?

I can give you some money.

- Want to see?
- I don't need money!

Here's a tiny bit of it.

- To bring up my daughter.
- OK.

Can you believe that?
They thought I had a daughter!

Huh? Sweetie?

So you're still in the same business?

- Yeah, it never stops.
- Going well?

I think I'll keep going... forever.

We'll see.

- What do you want?
- Take this. Wait!

Let me buy you something.

No, not now.
I've got an appointment.

You know, I'll give you this...

No, listen before you say anything.
Listen to me.

You know the guy who wanted to give
you a ring, and then pissed off.

- Oh, yes.
- You remember?

I'm not saying this to make you sad!

- You can buy it with this.
- You need it more than I do.

But you know they gave me
loads of cash.

- I've got money.
- It's a present!

- No, I don't want it.
- Honeymoon. Honeymoon...

You're very kind.

- I'll pay you back.
- If you like, once you've got the ring.

A cognac?

I won't have one now.
I haven't got time.

But we might see each other later.

I'm not budging from here.

You should go to the cinema.
I haven't got time for that either.

Let me give you back your dog.

Bye, Honeymoon!

Good luck.

Shit!

I've lost it!

- Sorry I'm late.
- That's all right.

Better late than never.

We went on working late,
I'm really sorry.

Can we spend some time together now?

- Not today.
- Right.

No, but I'd like us to have a bit longer.

I'm free.
I've cut quite a few ties so...

Listen...
The day after tomorrow is fine for me.

Tomorrow, the day after,
it doesn't matter to me.

Here, at the same time.

We'll have time to talk.

So, I haven't been able
to keep you today,

but I'll be the weed.

- What?
- It's a Malagasy proverb.

"I'm the weed by the roadside,

"not to trip you up,

"but to hold you back so we can talk."

- Nice proverb!
- I'll see you the day after tomorrow.

OK, I'll see you the day after tomorrow.
I hope you're not too cross.

- Not at all. I'll be delighted.
- Goodbye.

Harlequin has his shop

On the palace steps

He teaches his policies

To all his little subjects

Mr Pun, Mr Chin

Mr El, Mr Oh

Mr Punchinello

You stink!

It's odd.

I feel as if the chestnut trees
are flowering for a second time this year.

It must be because I can't get rid
of the memory of last spring.

Elaine, I'm very worried
because of Georges.

I went home three times this week.

Three times he was on the phone
and when I came in he hung up.

Not because the conversation was over,
because of me.

He's dealing with a child abduction.

There are people
who mustn't be compromised.

I don't think
it's anything to do with you.

I don't know.

There's a chance I'm wrong.

But this is what I'd like you to do:

I give you a list of names...

...and if these people phone up...

...you've got to listen and take notes.

I'd rather not.

But Georges is very odd.

I mean it's very odd of him
in relation to me.

You know when Igor was around,

I gave him these names,
I told him about them.

Yes I know.

In reality...

In fact he asked me.

Who are these people?

The other twelve.

- Be careful!
- I'll learn them by heart.

That would be good.

Be careful.

I'm sure I'm right.

Georges wouldn't do anything
against you...

...without telling you.

What makes you think that?

You're always imagining things.

Shall we go?

"Gathered, like conspirators
who hid nothing from each other,

"enjoying a fortune similar to that
of the old man on the mountain,

"with a foot in every salon,
a hand in every chest,

"elbows in the street, their head
on every pillow, and with no scruples."

"The reader, for four volumes, from
one underground passage to the next,

"showing him a dried-out corpse
and telling him, as a conclusion,

"that he constantly frightened him
with a door hidden in the wallpaper

"or a dead man carelessly left behind."

"No, do not let yourself be driven to it.

"You will not be called a coward...

"...if you retain life nobly.

"Will not the avenging Erinys
in her dark aegis leave your house,

"when the gods...

"receive sacrifice
from your hands?"

"The gods...

"have already banished us
from their care,

"yet they admire the grace
we offer them

"when we perish.

"So then,

"why should we cringe

"and shy away

"from deadly fate?"

"it is only at this moment
that death stands close by you,

"for even after a long time

"the divine spirit
may change its purpose

"and come on a gentler wind.

"But now it still seethes."

"Yes, the curses of Oedipus

"have made it seethe in fury.

"Too true were the phantoms

"in my sleeping visions,

"predicting the division

"of our father's wealth!"

"Obey us women,
although you do not like to."

"Recommend something
that can be accomplished.

"Your request need not be lengthy."

"Do not yourself take the road
to the seventh gate!"

"Let me assure you, you will not blunt
my sharpened purpose with words."

"And yet any victory,
even a cowardly one,

"is nonetheless held in honour by God."

"A soldier must not embrace that maxim."

"But are you willing to harvest
the blood of your own brother?"

"But..." No.

"But are you willing..." No.

"But are you willing
to harvest the blood..."

"But are you willing to harvest
the blood of your own.."

"But are you willing
to harvest the blood of your..."

"But are you willing to harvest
the blood of your own brother?"

We'll come back to that.

"But are you willing to harvest
the blood of your own brother?"

"When it is the gods
who give you evils,

"you cannot flee them."

"I shudder in terror at the goddess

"who lays ruin to homes,

"a goddess unlike other divinities,
who is an unerring omen of evil."

"Erinys."

"Erinys."

Well?

The end was great
because you were trembling.

Before! "I shudder in terror
at the goddess..." etc.

When everything is trembling.

Because there you see
the chorus trembling.

Let's do the beginning again.

I prefer the end. I remember it better.
Because the end...

But we hardly did anything at the end.
So let's start from the beginning.

But I was telling you about the end!

- But the beginning!
- Wait! I think that...

It's not frightening enough.

The chorus is too nice,
for example at the beginning.

It's too tuneful. Elaine sings too much.
She's a good singer, but...

- If the chorus can scare itself...
- But it's not that scared at that point.

I think so.
No, but it's good work because...

Psychosis!

Is Eteocles frightened,
or is he frightening?

He should frighten himself.

Tell us exactly what was good
and what wasn't

in terms of the work.

In terms of the work,
I think it was good,

but in terms of voices and all that,

they were good,
but in terms of the Greeks...

But the end was good,
Lili was trembling,

and I think the chorus should tremble.

And when you're both like that
you're a bit too...

a bit too comfortable.

Maybe that's always the case,
but I think that...

Which part?

Yes, the chorus is too comfortable.

- It's not frightened enough!
- When?

The whole time! In the beginning.

- They're not frightened then!
- No, but the chorus is always frightened.

Throughout the whole play.

- And then the body...
- I agree with you.

Perhaps we
could find it like that...

I agree with you.

We could move around in circles
like flies.

- Oh, all right.
- Yeah, but wait! Listen!

- Let's take it easy, she's right.
- Columns! They mean something.

We'll become columns
to make Marie happy.

That's it! Eteocles is a column!

That's for the warriors,
but you see the columns...

The horse factor...

Very Greek!

But you see the columns...

They can move.

Columns can move.
We don't have to make them immobile.

- They can move...
- With the wind?

But I think that, for example Lili...

Lili, I really liked it at one point

because it was raucous.
That was good.

But she was frightened.

- The chorus frightens Eteocles.
- It should frighten itself.

No, it frightens Eteocles.

So does the chorus not move?

- I think that...
- Lili!

The chorus should move as a block...

- Do you think so?
- And he is frightened.

Your body has to tremble as well,
not just your voice.

I didn't see. She just watched,
I confined myself to listening.

I deliberately didn't watch
and just listened.

The beginning
sounded very beautiful to me.

The sounds all harmonised very well -

you went from one to the next, but...

We have to redo the beginning
in the sense that there...

I thought there were things
in people's work

that contradicted each other.

- What do we keep?
- For example...

Wait, wait, wait...

- At this point the chorus...
- Ah, that was good.

That was good.
Shit, you weren't watching.

Did you see when the chorus
imprisons Eteocles?

- That was good.
- Ah, you see?

- The chorus has to surround him.
- Like columns!

It surrounds the column,
and Eteocles is a column.

It has to encircle him so that...

There! The column is Eteocles.

- No, the chorus is the columns.
- No...

That's enough columns!

But the columns are good.

- What were you going to say, Th�o?
- I was going to say...

The beginning...

I only listened, so the beginning...

- The beginning...
- ...was good!

It's true that I was hooked
because the voices all converged.

Although Quentin didn't sound
in harmony with the others.

- The first part...
- Perhaps we should exploit that?

- Yes, we should.
- That thing we did was nice when...

What I want to talk about is...
No, listen!

I wanted to talk about the rhythm
between the coryphaeus and Eteocles.

There's a rhythm and it's right,

but we have to improve it technically.

And not lose the bit where Eteocles
is caught between the two...

- That was a nice image.
- Yes, but I didn't see that.

But definitely that's best,
the coryphaeus...

We can work on it now.

Yes, yes...

- I'm sure we had something very good.
- At the beginning?

Listen, Marie...

We'll do it a bit more Greek,
for you, Marie.

Think of a column, Quentin.

- You upset him.
- It's mine.

- Let's start back at the coryphaeus.
- You and your knitting!

Should I sit here?

Now listen carefully!

"Obey us women...

"Obey us women,
although you do not like to."

"Recommend something..."

The tone of the voice is good?

- No but...
- Ok, do it then.

"Obey us women,
although you do not like to."

"Recommend something...

"Recommend..."

You're going back to the idea of rhythm,
but it's not completely different...

- I'll join in.
- Go on.

"Obey us women,
although you do not like to.

"Recommend something
that can be accomplished and...

"Recommend something
that can be accomplished.

"Your request need not be lengthy.

"Do not take the road..."

- No, it doesn't work like that.
- You redid "Recommend".

Yes.

The strength of the voice is too similar.

- Because it's too even like that.
- Shall we do it again?

"Obey us women...

"Obey us women,
although you do not like to."

"Recommend something
that can be accomplished..."

Lili!
Where's she going?

I think Papa felt the need
to go and get some food.

- That's a bit much!
- Do you think so?

Did Arsenal say anything to you?

No, but I think that he...

- Didn't he go?
- Yes, but he's coming back.

No, let's work.
We can't without Lili.

Shall we do voices?

- Papa?
- There he is.

- Has he bought a car?
- No.

I thought I'd won.

- He hasn't had an accident?
- No.

- He's with a girl.
- That's right! Just think.

Just imagine!

No, it's impossible, believe me.

Which one is it?

Oh, it's Theo's fianc�e.

Have you seen Theo's friend?

- Come on, back to work.
- They're not pretty.

- We can't without Th�o.
- We'll talk about it afterwards.

- Let's start.
- All right.

The same thing?

Hurry up and finish it, Marie!

"Obey us women,
although you do not like to."

"Two paths lie open before you.
Thirteen to hunt the Snark better

"Place me as I should be.
They won't have met the Boo

"Holy was our ambition.
Juni who saw them faint

"At the harbour where you must start.
Spend the time that will erase them

"A hand will guide your own

"Other thirteens
have formed a strange crew"

It's funny though.
Don't you even know his name?

I've never spoken to him.

I see him in the same caf�
every morning...

...at around 10, 10:30am.

He's there every morning,
for breakfast.

It's funny...

He eats I don't know
how many croissants.

He doesn't get fat,
he's as thin as a rake.

I sit in a corner, I watch him.

I drink too much grenadine milk.

- What about your weight?
- I'm getting fat!

And he doesn't get fat.

He never looks at me.

He reads all the morning papers.

It's strange, he only reads
the short news items.

Only the short ones.

Why those?

I don't know.

He's completely allergic...

...to politics, entertainment.

He goes straight to the short news.

I smoke too much.

Take this for your dog.

He's asleep.

I took him back home.

He was starting to get tired.

- Good-looking, isn't he?
- He's lovely.

So, you lost your money?

Stupid things, that's all I'll ever do.

What are you going to do?

I don't know.

Same as usual.

I don't want to.

You should try
those two guys at the back.

Where?

Those two?

Those guys sell...

They sell porn under the table.

They're supposed to be selling
religious stuff,

but it's all dirty...

You could easily get money
out of them - I can't stand them.

- Have they bothered you?
- They're just sad and stupid.

They certainly aren't very pretty.

Do you think it would work?

Do you think it would work?

Do you know them?
It might cause you problems.

I don't give a shit!

What shall I say to them?

They're called Christos and Cotrenos.

Oh why not?

- Shall I do it?
- If you want to.

I'll do it.
They look so horrible.

Let's go.

- Excuse me.
- We're expecting someone.

I won't keep you a moment.

Sorry, but we're expecting someone.

I wanted to talk to you
about religious magazines.

I was told to speak to you.

You know, because I work with
young children and with the elderly.

I'm in charge...

And we haven't got enough papers...

Anyway,
I was told that you sold them.

- We don't sell anything.
- La Croix (The Cross)...

That's it...

Oh! Oh dear.

Wait a minute,
that's not La Croix, this.

It's more like The Cunt.

- That's interesting.
- That's enough! What do you want?

You know it's totally illegal?

It's completely illegal to sell
the things you've got there.

There was an article about it
in France-Soir.

- She reads France-Soir...
- I'm not joking.

Let's talk seriously.

You know this is going to be
very expensive.

It may be, but you can
get your money elsewhere.

I'm not going anywhere.

Because I can talk very loudly,
I can even call the waiter.

Then call him.

Wait. . .!

Waiter!

Leave me alone!
You've no right to throw me out!

I've paid, I want my things! Stop!

You won't get away with this!

I don't want to see you again.

I'll be back with a few friends,
and you won't look so happy then!

"Two paths lie open before you.
Thirteen to hunt the Snark better

"Place me as I should be.
They won't have met the Boo

"Holy was our ambition.
Juni who saw them faint

"At the harbour where you must start.
Spend the time that will erase them"

"A hand will guide your own..."

Hello girls!
I'll be with you in a minute.

- Hello!
- Hi, how are you?

- How are you?
- Fine, thanks.

- Oh, hi!
- I'm not watching, don't worry.

- You're not working today?
- No, not today.

I don't need to.

Hi, girls!

Lie down here, Marie!

Why?

- When a soldier...
- Stop it.

- Hello, Marie.
- He likes it when you do it.

Don't you, Quentin?
When she sings that song?

- Quentin...
- He likes it.

Miss Blandish.

Miss Blandish.

Miss Blandish.

- Quentin. Miss Blandish.
- Hello.

We all agreed we wouldn't bring
anyone else to the sessions.

Would you like to go to the cinema?

- Oh yes, daddy, let's go!
- What, you too?

- Wouldn't you rather see us rehearse?
- No.

Well...

- I haven't got any money.
- I have!

Give me some cash.

OK. Give it to him.

Have you seen
Once Upon a Time in the West'?

No. Quentin,
you owe me some money!

- Five francs from the other time.
- It's possible.

- Come on.
- Seeing that you owe me five.

- So you'll pay me back?
- I don't understand.

You owe me one.

- Goodbye, Miss.
- You owe me five.

- Goodbye.
- Goodbye, Max.

- Have a nice afternoon.
- Bye.

- You owe me five...
- Lili, I owe you three...

So, if he owes me five francs
and I owe you five that means...

he has to give them to me.

Have you known her long, that girl?

I don't know her.

You're mean, Lili!

You're not nice.

Anyway, he doesn't like theatre.

- He could have stayed though.
- He has to be entertained.

I've forgotten my lines!

No, seriously!
No, I'm not OK with that!

Be careful!

Are you scared?

Stop it!

Howl like an animal!

Like a beast! A beast!

Like a cunt!

Nobody likes you!
You're a cunt!

Like a beast!

The main thing is to keep calm,
all the time,

to keep breathing,

to your own personal rhythm.

Breathing from your belly,

and...

...to prove to myself
that I was still alive,

I took little breaths.

When I breathed out,
I made a sound.

That way I was sure that...

that I was still me.

L...

I didn't find it horrible at all.

For the sounds,
the noises that sounded really loud...

I tried to leave my body.

I mean, I felt as though my body
wasn't mine anymore,

that I was above my body.

I felt like I was watching you all

moving about over my body.

In fact,

you were the ones
making yourselves ridiculous.

And what helped me too was smiling...

I tried to keep smiling.

Always.

I was never scared.

Probably because I really trusted you.

I think it was because I didn't...

I was trying not to be in my body.

Anyway, I'd got used to the idea
that my body...

...was dust.

The things you said to me...

Well, they came from you,
I trusted you,

so I didn't take them seriously.

And when someone talked
to me about death and all that,

I did take that seriously,
I said to myself, it's true.

For Prometheus, I thought
he was in every part of his body.

He must really inhabit
every part of his body,

be just under his skin.

Everything must have really hurt him,
must have really got to him.

Above all he must have been a man,
rather than a god...

He must have been a man...

...who felt things very strongly.

It's funny how

the main things are the same
with you, with her, and with me.

First the idea of breathing
that lets you...

It's a safeguard.

And then with me,
thinking about it now, smiling.

And the more noise people make,
the more they hurt you,

the more you want
to laugh or smile.

You say smile,
but we thought it was much the same,

but more haughty.

But I felt the need to have
a smile on my face.

I felt that...

- You had to express it.
- Yes.

By expressing it you can paralyse
everyone around you, if you express it...

- I think that...
- But it's for yourself.

From our point of view,

there wasn't much
to be scared of, really.

Ultimately
I didn't really find the potential...

any real aggression, not for a second.

Because we worked too much before.

I think it's because of the props as well.

You think?

You have to do it first thing in the day,

not after you've worked on other things.

I think it mobilises fresh energy,

and you have to do it
first thing in the afternoon.

But after hours work...

The aggression...

You tell yourself you'll get there more
easily being tired, but it's not true.

I was very well-rested after the exercise.

Me too, the first time, as a victim,

- I felt very well rested.
- Me too.

We should let them go to sleep.

My problem is aggression
and violence.

I can't act aggression and violence.

- No, I have to...
- Or else I do it for real.

No, you have to take it
from further away.

Maybe that's work you need to do.
We've already done a lot of that.

You joined us recently,
it's too new for you.

Maybe we should always
have a kind of rotation.

I didn't find a way of transposing
my violence because I had it,

but I didn't find a way to let it out.

We have a similar problem.

I'm not sure this exercise
is very effective,

in terms of aggression.

The thing that makes me think it works
is precisely the point where you stop...

- Maybe.
- I'm also afraid of...

Personally, I'm afraid of the violence
getting out of control and...

I'm afraid there'll be an incident.

I don't want to smash her head
on the floor.

We go a lot further than a rehearsal.

But we've always said that
violence must be controlled.

But if we don't accept some risks,
we'll never get past discussion.

I don't want to take the risk
of smashing her head.

Violence either comes out or it doesn't,
there's no middle way.

But I feel like I can't pretend
to be aggressive.

For me that aggression
has to be translated into an action,

uncontrollable violence.

That's not aggression.

You were violent when we were doing
stuff on Prometheus.

I can't do it.

It's not possible. I imagine...

I imagine someone on the ground,
me standing up.

This exercise is richer for the person
it's done to than the person doing it.

She feels she's come out of it
a bigger person...

Whereas we can't...
There's this idea that...

You can't be a happy aggressor.

No, there were lots of things happening.

We can't do it after three hours' work.

We have to start the day with it.

You have to be very relaxed
to be aggressive.

I remember getting angry

after feeling very calm and...

To be aggressive you have to be able
to liberate your aggression to order.

Once we did this with Lili...

I don't know, she didn't like it.

It really upset her, she was the victim.

- She was the victim?
- She almost cracked up, it was...

- The people round her were too...
- At one point, yes, it really went far.

- I wasn't there that time.
- They were aggressive?

I was frightened for her at one point.

She was crying.

It was just...

We stopped because
she hadn't found...

...that kind of peace.

She held on a long, long time.

Towards the end she lost track
of where she was.

She suddenly started to panic.
I almost shouted, and then...

Perhaps she didn't have that trust
Beatrice was talking about

and that Bergamotte was talking about.

It's trust that stops you
being frightened.

Yes, undoubtedly.
It was just before we split up.

The trust isn't really there, actually.

But with me, it wasn't just that
you could hurt me,

I've told you about it:

I was very afraid that bad feelings
that one of you might have hidden,

might come out during the exercise.

I was afraid I'd get hurt
during the exercise...

Not the subject that I was,
a passive subject,

but that I would be touched

by one of you.

Bye, Th�o!

Bye, Arsenal! See you soon!

Forty-fifteen.

Forty-fourteen.

Forty-thirteen.

Forty-twelve.

Forty-eleven.

Forty-ten.

Forty-nine.

Forty-five.

Forty-two.

Forty-one.

Thirty-nine.

Thirty-seven.

Thirty-four.

Thirty.

Twenty-nine.

Twenty-eight.

Twenty-five.

Twenty-two.

Twenty.

Nineteen.

Seventeen.

Sixteen.

Fifteen.

Fourteen.

Thirteen.

Twelve.

Eleven.

Ten.

Eight.

Seven.

Six.

Five.

Four.

Three.

Two.

One.

Zero.

Zero!

Zero.

You're so beautiful!

- It's great to see you.
- You too.

- How are you?
- Very well.

- It's been a long time.
- Yes, why?

- Because you never phone me.
- That's true.

Why not? It doesn't matter.
I get news of you through Georges.

- How's your group?
- Fine.

- One day I'll come see you.
- Yes.

Yes.

- Why don't you call me?
- I don't know.

You know, after a while
you don't see people anymore.

- It's odd.
- Are you working hard?

Yes, very hard.
I'm working every afternoon.

- You enjoy it?
- Yes. That's nice of you.

About Georges...

I've got a weird story.

The other day, I was at a bar
waiting to pick him up here.

He came out and I saw him
with another guy... Igor.

- Igor?
- Yes.

Why Igor?

It looked like him.

There's no reason why Igor should
reappear without us hearing about it.

If Igor was back I'd know about it.

You wouldn't see him with Georges.

You don't think so?

You saw him here at court?

Yes, I saw him with Georges.

And you're sure it was Igor?

I could be wrong,
but it looked like him to me.

No, it's impossible.
Anyway, I really can't see Igor

surfacing without letting us know.
You must be mistaken.

I don't know why he would be
with Georges, he doesn't know him.

Igor came round one evening, didn't he?

Yes.

Yes, you're right.

It's impossible. He wouldn't see Georges
without seeing me.

I'd know before anyone else.

I'm sure you're right.

Anyway, thanks to Igor
we get to see each other.

You seem a little off, are you OK?

Yes, I'm fine.
The theatre's going well.

- How's things with Georges?
- Georges?

You don't like him. You never did.

It's not that I don't like him,
I just don't have much to say to him.

I just see him now and then in court.

It's you I'm interested in.

At your dinner he wasn't so great.

It's strange.
He knows we're friends.

I don't know why he has to give me
a nasty surprise like that.

- You can go out without him.
- Of course, it was my fault.

- OK?
- Yes, of course.

Well, tell me about your work.

We shout...
We do gymnastics.

No, we don't do gymnastics, we shout...

It's very good.
With very good people.

You must bring me with you one day.

- Can I see it?
- Yes, that would be good.

- Would you let me?
- I don't know about the others, though.

I could wear huge sunglasses.

No, certainly not! Here...

- Look...
- What are you preparing?

We're not preparing anything,
there's no particular aim.

Here, we're working on this.

- That's interesting.
- It's ambitious.

Yes, it's ambitious. But we're not
staging it, we're just working.

- You're happy?
- Very happy.

- You're pleased to be doing this?
- Very pleased.

So this makes you happy and the rest...

Oh, the rest doesn't matter.

He bores me, he's a little sad.

You haven't changed.

What about Thomas?

- He's OK.
- You're seeing the others?

I see a lot of Pierre, Warok also,
and Thomas sometimes.

- Is Thomas engaged?
- No, I don't think so.

But he's doing fine. He's OK.

I hope he's not going
to stay a bachelor.

Oh, no.

I don't know.

You'll pick me up one day,
you can come and watch.

I'll say you're a friend.

I'll just sit in a corner,
I won't say anything, just watch.

- Can I have the address?
- I'll give you the address.

I'm going to write it down
for you on a piece of paper.

Oh, that's good. I'm very happy.

It's odd how you leave
people behind like that.

It's your fault.
I still see the others.

We should all get together,
don't you think?

- I'm not sure, I have anything to say...
- Pierre talks about it now and then.

I'm not very... It's over.

Are you sure?

Fine, second floor...

What shall we do?