Original subtitles

EPISODE 5

FROM COLIN TO PAULINE

Two paths lie open before you.

Place me as I should be.

Holy was our ambition.

At the harbour where you must start, A hand will guide yours.

Two paths lie open before you.

Place me as I should be.

Holy was our ambition.

At the harbour where you must start. A hand will guide yours.

Two paths lie open...

- Hello? - Hello!

Is this Mr 92... Mirabeau-92-48?

- Who do you want to speak to? - Mr Mirabeau-92-48.

It's the lady you saw yesterday outside your window.

That lady?

- Yes. - Ah, yes.

- Do you remember? - I remember. Frederique?

That's it, Fr�d�rique. Tell me, who won the chess game?

- Who won the chess game? - Was it you or me?

You, dear girl.

- Really? - Yes.

I knew it. I don't know why.

Yes...

- Congratulations! - Are you cross?

Why would I be cross? No, no, no, no...

And if I tell you something that's not very good,

you won't be cross then?

Such as?

You know, in your house, there's a...

What's it called? A cupboard?

You've got a cupboard in your house.

A cupboard?

I've got several cupboards. I don't see the connection.

In the room I was in,

there was a writing-desk - is that what it's called?

- Yes, that's what it's called. - You've got one?

I have one, yes.

Do you like it?

I don't know much about the different periods.

- Does it date from the Revolution? - From Mirabeau, more or less.

That's why it's mouldy.

I'm a bit embarrassed because, while you were making my cocktail...

- Remember? I asked for a cocktail. - Yes, I remember.

It wasn't very nice by the way!

- Anyway, I went into the writing-desk... - Into the writing-desk?

Yes.

And I opened it,

and I went through your Mirabeau...

- That's not very nice, is it? - You aren't cross?

- Why did you go through it? - I was looking for money.

Ah, money. I guess you were disappointed,

because I don't think I had any money in that writing desk.

No, there wasn't any.

I opened all the buttons... I mean all the drawers with buttons.

I found nothing. Then I saw a drawer without a button.

It attracted me because I'm always attracted to things that are different.

You opened that drawer?

Are you cross?

- What did you... - There were some letters in the drawer.

Ah, letters... letters?

Yes, in the drawer where there was no button, I took some letters.

Ah!

And I read all your letters.

I'm a bit embarrassed, because I liked you.

I can't explain because it's too complicated, Freudian even.

And what was in these letters?

They were about a group. and I would like to know more.

They were about people who were companions in a duty.

I don't understand it, but it seems very odd to me.

You could tell me about it.

- I think you've got a lot of imagination. - No, I haven't.

So, I thought you'd like them back.

I'm assuming you will bring them back nicely.

I'll bring them back on condition that you buy them off me.

- You want money? - Exactly.

You won't get any money.

Those letters are worthless to me.

But it's business!

It's got nothing to do with business.

Listen, it's very simple:

Either you give me back the letters and we forget all about it,

or you keep them, and you do with them what you want,

but if I ever come across you I'll give you a good smacking.

Goodbye, Mademoiselle.

Hand me the biscuits.

You might leave some jam and some biscuits.

- Didn't you have any lunch? - No.

That's the problem.

Pass me the jam.

Have you had this shop a long time?

No, a very short time...

I bought it because one day I was going past,

and I saw "lease to sell".

It was an old baker's.

Since we didn't have anywhere to meet...

...having tea seemed a good idea.

I think it's better than going to a caf�.

You see I had a parrot,

and...

Next door there's a seed merchant and I used to go and buy its seed,

and then walking past...

A parrot!

That makes me laugh!

It's not funny!

There was a seed merchant, so I went by, and...

- And then... - This usually doesn't happen to me.

Where was I?

- You had a parrot and... - Oh yes! There was a seed merchant,

and I was always going past this old bakery.

And I noticed it because the door...

Listen... I don't know.

- Would you like some jam? - Yes.

This is weird.

You've done it proud, that jam.

Yes.

Chaussette.

- Good, isn't it? - Yes, it's very, very good.

I had a grandmother who always made rhubarb jam.

- Rhubarb jam is good. - Yes, it's delicious.

I make lovely rhubarb tarts.

I must make you one, one day.

What we need here is an oven.

There's one in the basement, but... it doesn't work.

There's no jam...

Oh yes, rhubarb tart.

You need...

You need?

I thought that...

I was talking about rhubarb tart.

That's all.

For that you need...

Pierre. Igor.

Lucie too, there's an address...

Lucie de Graff, 13, Saint-Louis-en-l'�le Street.

Lucie de Graff, Lucie de Graff...

Lucie de Graff. I could go and see her.

I'll call her.

I don't understand.

Where was it?

That's for later.

Jam?

Yes.

You know the story of greedy Charlotte who fell in the jam pots?

Ah, no. No, no.

I'll tell you another day, It's too long.

I'm tired.

He's tired because he's been painting all day.

He's asleep.

Martin.

That bear, Martin.

- Blackberry tart is very good. - What's that?

It's a komboloi.

Old Greek men are always...

They get bored... or nervous, maybe, I don't know.

They're always playing with their kombolois.

Do you want it? It's all tangled up.

There was a tiny little komboloi, remember?

Brown.

- No. - Never mind.

So you can make blackberry tarts?

Yes, and rhubarb tarts.

They've all gone to sleep.

I had a parrot that was green with red eyes,

a bit like this room actually.

Well, not really.

It used to talk all the time.

It knew secrets.

Secrets?

It's just as well it flew away.

It used to listen at doors, you had to be careful.

The parrot?

Do you think you're going to be able to untangle that?

Yes.

Did you hurt yourself?

Yes, I scraped myself.

You just have to buy Chausette biscuits and you get a million francs.

Amazing isn't it? Very complicated.

It drives you crazy.

Really? No.

It's to calm you down.

The Greeks put their hands behind their backs,

and they're always slipping it through their fingers like that.

- You've got a hole, there. - Yes.

I could sew it up for you.

I'd have to buy some navy-blue wool.

- Then you get an egg. - An egg?

- Yes. - Why an egg?

Yes, you sew it up with an egg.

- Those big wooden eggs. - Oh, an egg.

"Saint-Louis-en-Pile...

"Thirteen.

"De Graff, lawyer..."

Hello?

Hello, I'd like to speak to Lucie de Graff.

Yes.

Hello?

Good day, Madam.

We have in our possession certain letters that concern you,

letters you wrote... yes?

I can't tell you that.

No, I'm anonymous.

OK. No, but it could be dangerous for you because...

I would be better if you had them back.

Listen, here's what I propose.

I suggest you go at four this afternoon...

OK, six...

...to the terrace on top of the Moulin Rouge.

No, there'll be no one there, but you must come alone.

Right, OK.

Good bye.

We could put it higher up on the wall.

Polynices can come in from there.

We have to think about the noises off.

Go and get the boxes and tubes.

- To make the noises? - Yes, we need to make noises.

For fighting, we can put something up here.

For the choruses for example.

We can hit them.

We can hit them to make the chorus or open them and make cymbals, see?

There are a thousand possibilities.

We can put it up.

You've got a clear picture of what we're doing.

Get some drawing pins.

Here.

Stick a drawing pin in there.

The thing is...

All that!

Eteocles there with the chorus around the edge.

- Around the edge? - We could put the lights on this side.

Shall we do the voices?

- What are those lines? - Come and see, Elaine!

That won't hold. Right...

I started from the principle that we have a fantastic set

so we must use all of it rather than sticking to a tiny bit of it.

Remember we can't walk on it.

I know, but it doesn't matter. We can go round it.

It's Thebes, and Polynices comes from outside.

Eteocles and the chorus always stay around the edge.

Where's the chorus?

On either side of Eteocles or behind the little wall,

- with just their heads poking over... - Disappearing?

Have you worked on the chorus?

Yes, of course.

With the outside noise

with big cardboard tubes you can blow into like trumpets,

hitting boxes like cymbals...

All around like this.

Let's show this to Lili!

We can have projectors here at the top of the columns...

Are you going, Lili? Why?

You don't like what we're doing.

I'm sure it'll be great.

It's all going to come to life.

The projectors, all that, all the work...

It's going to be something.

We can place the audience all around.

A round theatre with audience around it.

- They could run too, at the same time. - Of course.

So Polynices could move like this, parallel to Eteocles,

- and the chorus too... - We'll have a Polynices?

You never see Polynices in the play.

Yes, it's his arrival.

Yes, but normally you don't see him.

- Never mind. You can point him out. - Of course.

Try to imagine it. It's great.

It will all take shape. Try to imagine, just a little.

But it's not the same kind of work, Quentin.

But it's a goal.

It gives us a bit of air.

Here we were, all five of us, going round in circles.

I can't get on with Renaud.

It'll all sort itself out in the course of a nice evening together.

What do you reckon?

- Sir? - Don't get up on my account.

In the background we can have the chorus standing behind the wall

or on top of the wall, it depends.

- The way you did there? - Yes.

- In that case, how will we... - I'll be back in a second.

- Are you going? - No, I'm watching.

Why didn't you show up?

I couldn't make it.

- How's he going to light it? - Why are you taking it off, Elaine?

- There's no point doing that. - We know it.

We'll put it lower down.

We've already done it.

I'll sort it out.

See to it.

I'll expect you tonight.

Excuse me, are you Lucie de Graff?

Yes, that's me.

It was me that asked you to come here.

I thought so.

Are you scared?

Do I look scared? Scared of what?

I don't know... You should be scared.

It's not normal to be asked to meet someone like that, in a place like this.

In a place like this maybe not,

but people ask me to meet all the time.

So?

I called you about...

some letters... certain letters.

Certain letters?

...that concern you and some rather peculiar people like you.

What do you mean?

I don't know...

I don't know... Pierre, does that mean anything to you?

Maybe Warok means a bit more?

Is that all?

I don't know, I think it's already quite a lot...

Yes, Warok, very important.

But... is that all you've got to say to me?

Pierre, Warok and some letters I wrote about this?

I've written a lot of letters, you know.

Yes, you've written many letters, but these are unusual letters

in which people are mentioned.

It's like... a cult.

- Do you see what I mean? - Not at all.

And do you see what you mean?

Very well...

So?

What do you want exactly?

- Are you trying to blackmail me? - Not at all.

So are you trying to impress me?

You know better than I do whether or not you're impressed.

Look, do I look impressed?

I'm not alone in this business.

There are other people behind me.

Listen, my girl, you're going down the wrong road.

You should try another job.

- But you don't know who I am. - I don't want to know.

It doesn't interest me.

I was curious to meet you,

because it was a funny phone call.

I don't find it funny at all. I've been sent on a special mission.

I haven't got time to waste, so tell me what you want.

- Madam... - Yes?

We're not in court now, but I know I've got these letters,

and your name could appear in France-Soir.

It could cause a scandal and that would be bad for you.

I'm not afraid of scandal, you know? I'm not afraid of scandal.

Listen, I'm going to tell you something.

Whatever you say,

your word would never carry any weight against mine.

I've got some very influential people behind me,

as well-known as you are...

They've sent you?

Your name could be in France-Soir, "Lucie de Graff has

These people might be killers.

Maybe they've even killed people already.

Besides, this Pierre, there's a lot about him in your letter.

That doesn't worry you?

But if you came, it was for a particular reason, wasn't it?

I just wanted to find out what you were made of.

What are you playing at?

Me?

I'm not playing.

What you're doing could cost you dear.

We can come to an arrangement...

If you buy the letters I won't say anything.

No, no, no... I'm not playing that game. I won't buy the letters.

You can keep the letters. Do what you like with them.

We've photocopied them and everything. We've got a whole file...

You think your story impresses me?

You know...

There are two kinds of people in life -

the cheats and the cheated on.

You'll always be cheated on.

You say that because you're a lawyer.

You'll always be cheated on, because just look at the way you're dressed...

- You're laughing at me. - Do you have anything else to say?

I give you the letters, you give me some money.

- What's in these letters? - Pierre's in them...

Do you know Pierre?

I know lots of Pierres.

- What about them? - Not those ones...

- Can we talk about the cult? - I don't know, I...

They're people who want to blow up the world!

Very dangerous people. You see? You know.

No, no, no... It's completely ridiculous.

- Why? - Because you're very pretty,

you're very sweet, but you're a bit dumb.

Sorry?

Just because you're a lawyer, there's no reason to talk to people like that.

You do know that what you're doing is very dangerous, don't you?

It could be serious, you know.

It could have far-reaching consequences.

I know you're good at talking and I'm not, but...

We should come to an agreement.

I only say that because you're nice.

- I can't talk to you about it like this. - But that's what we're here for!

There might be some guys spying on us.

I'm not a spy. You're playing at spies...

- I'm not playing! - You're a silly little girl.

Give me the letters, or do what you like with them.

But tell me one thing.

You might need me one day if you carry on like this.

I wouldn't like that.

- Do you smoke? - Please don't cry.

What do you take me for? Do you smoke?

No, thanks.

You don't smoke Gauloises...

- You broke? - Huh?

- Got no money? - None of your business.

If you gave me some I might accept.

- You think this is worth money? - Mm-hmm.

If you need me give me a call.

Don't get upset!

That's another fragment.

- You like those don't you? - Very much.

- What is it then? - It's...

"Destiny is a chameleon at the top of a tree.

"A child only has to whistle and it changes colour."

I must have acted like the child, because everything changed.

Don't you think you're still acting a bit like the child?

Yes, because it has to go on happening.

You're always talking about change, but what for?

What you think is good might not seem so to me.

I didn't say it was good for you.

- No, you didn't. - You decide for yourself.

But you've suggested it every time we've met.

Everyone absorbs the words he hears, what he thinks he should absorb.

When you say you must know why, I've tried to know.

I haven't done it at random just to see the results.

If you just take the facts...

...the ethnologist, I'm not the only one,

discovers that he is engaged in a monologue about other people,

instead of a dialogue with them,

instead of teaching people to think about themselves,

and, ultimately, about the ethnologist.

And it's this closed world that...

The ethnologist's advantage is that he realises...

that even he is in a closed world.

That's true of lots of people, groups and professions.

I'm in a closed world too.

- That's possible. - But...

But I think it's necessary to succeed at what I want to do.

Well, here we're... Let's start with the facts.

Madagascar is an island and it's a triply closed world

where there are questions such as

how can I manage to research a subject,

let's say initiation rites, without challenging religion,

since the catholic and protestant missionaries run the whole island

and pagan rites have become mixed in.

If you challenge them, you get repercussions

because the government is unhappy,

and in France where the guy involved, i.e. me,

gets his funding cut...

That's a precise process.

I understand you very well, but the closed world you're talking about

isn't necessarily mine.

I never said that, because I don't know your world.

You always say, "it's not mine, it's not mine..."

Stop saying that, Beatrice. I'll end up believing it really is yours.

- I'm not allowed allusions. - No, you're playing with words.

You're playing with words because the very first time we met...

you said to me, "I'm free".

Are you interested in that?

- Do you recognise me? - Yes.

I'd like to know if you know Renaud.

Renaud... Yes, I know him... a little.

He brings me things to sell.

How about you?

Me? No, I don't know him very well.

So neither of us really knows him?

Is he a good worker?

Yes... at least, until yesterday evening.

- Why? - He didn't turn up.

Was that important?

No.

- Thanks. Goodbye. - Goodbye.

Perhaps we need some kind of protection,

working within something we know.

To start with something very precise...

I tried to use the closed world of Madagascar

and the most closed world in Madagascar is that of the whites.

This is the closed world of the descendants of the former colonists.

I wanted to make a film about them,

the closed world of the Europeans in Madagascar.

So I came out of my own enclosure

by wanting to research Europeans.

Then the Europeans didn't want to come out of their enclosure.

The result was that, once again, I ran into difficulties.

In short, my funding was cut.

And from that little idea I moved on to another.

One thing leads to another.

So I moved to the idea of Europeans in Europe,

and then to the French in France.

Research in France. So I returned and that's what I did.

And I thought of the example of an ethnologist

who is in the process of successfully breaking down a closed world

to return to our favourite expression.

He had studied societies of fishermen in Niger

and now studies fishermen in Brittany.

With a colleague from Niger

who had worked with him.

Both of them are doing this work in Brittany.

And that led me to the idea that I should do the equivalent in France...

Maybe not in Brittany because there are already examples.

I thought of the Occitans,

Proven�als as they're called,

and then...

I hesitated.

There are also the Basques.

But all of those are the Malagasies of France,

people who have lost the right to speak.

There's also Paris.

Now it's finished, I'm not doing anything in Paris.

My starting point had been, "A study of initiation rites in France"

and I had proposed, "On the Sorbonne", as an initiation rite.

It was taken as a very bad joke, though I hadn't intended it as such.

Still I knew it would lead to a break like this.

Hello, Pauline.

I must speak to you.

I see you everywhere.

Your image...

...is fixed within me.

And I see you constantly, in each instant, every night.

You run through my dreams, and...

...I see you rising...

...naked from the sea.

I see your hair, I see your eyes, your face...

I see your neck, your arms...

I see your chest, your belly, your thighs, your legs...

And often I also feel...

I feel your body, I feel your blood flowing in your veins,

and then you take me, you devour me.

All the time I'm calling to you.

I need you to be there, I need you.

And then I seem to hear a voice telling me

that you are desire,

my desire.

Pauline... I love you.

Oh, Colin, how are you? How are you?

You're up early this morning.

I came to the shop to do the accounts.

It's not much fun.

I've had a really bad term.

And I've got a terrible cafe bill.

The boys don't realise, but it's unbelievable how much they eat.

Sandwiches, cold meat... it's terrible!

Are you OK?

Did you sleep well?

Fine. You?

Eleven and two, fourteen...

And five...

Fourteen and five...

- Nineteen. - Nineteen.

Nineteen and five...

Twenty-four.

Carry two.

Two and three...

Three and two, five...

It's a nice day, isn't it?

About time too.

I've got no idea how I'm going to pay my rent.

Can I help you?

- Are you interested in Igor? - Igor? Have you seen Igor?

- Is he here in Paris? - I don't know.

- I've got some letters from Igor... - For me?

I don't know.

Where are these letters?

- I haven't got them on me. - Could you go and get them?

- Bring them to the caf�. - Hi, Pauline.

Hi, how are you?

Never in a caf�. Tonight.

- At what time? - Seven.

- Can you bring them to me at home? - OK.

Wait, I'll give you the address.

- Bye, Pauline. - Goodbye, Colin. See you soon.

- Couldn't you come before seven? - No.

Tonight at seven.

Come to the caf� this afternoon!

No, tonight at seven!

Yes, later this afternoon!

No, this evening!

Eteocles, you're marching slowly

on the edge of the ramparts, without gesticulating too much,

and you beat a rhythm with your boxes.

Marie and Elaine, you go behind the pillars,

you do the chorus.

So an insistent, dull kind of rhythm, OK?

I'll do Polynices' slow march.

Quentin's not here. We can't start. What's he doing?

- We can do it without him. - Do you think Lili will come?

Let's do it, that way we can show them.

Let's go.

That's it, Nicolas.

Go on, Nicolas!

Chorus, keep up a rhythm.

Slowly!

Softly, violent gestures!

Very good! Keep going!

Shouts, lamentations!

Go on! Don't gesticulate too much!

Follow the chorus!

Yes.

OK. Stop, stop, stop, stop. Stop!

No, it's no good.

It looks awful, that chorus limping along like that.

You're gesticulating too much.

You're not following the rhythm.

It doesn't look good.

A nice chorus.

It needs to move slowly,

like Polynices!

Aggressive, but contained.

Keep the rhythm to contrast with the chorus.

A chorus limping like that, it's not beautiful.

It really should be.

Don't you think?

It's Ch�telet.

Lili, come quick! It's great!

- You don't like it? - Here I am!

Lili, give me a kiss.

You're late, Quentin!

We've found something really great!

My heart's stopped beating.

- What is it? - I've found something amazing.

- Wait a second! - What's that?

A little present for Elaine, my love.

- What's with the flowers? - What's with the flowers?

Will you grant me a moment's silence?

- I've won a million francs. - What?

You won a million?

- Fantastic, Quentin. - You're lying. It can't be true.

You all know how to count?

Have a look... It's true!

- A hundred thousand! - It's true.

Two... and two.

- Four. - Four...

...and two.

Six.

- And one. - Seven.

- And... -...eight.

Seven and three, ten!

- Oh, Quentin. - A prize!

I bought this to drink.

Oh, yes!

- What have you got there? - Some cigars.

Lili, come drink with us! Lili!

Lili! Oh, Lili!

Lili!

Lili, this is for you.

Oh, thank you.

- How did you do it? - I bet on the races.

- You bet on the races? - I bet on three and won!

The theatre's closed tomorrow, we'll have a party.

- But how? - "Numbers and their mystery."

Let me explain. The bench there, it's six steps long.

Then I worked out the average of our birth months,

everyone born in April, May... I got to five.

I wanted to get back to six, because there are six of us.

There are five of us plus Max.

So the sum of my five numbers is fifteen,

one and five is six, back to the bench...

We'll be able to stage the play!

We'll be able to hire the other place, Renaud!

Renaud!

Quentin, did you know Renaud before?

What about you, Nicolas?

I'd just seen him at the bookshop.

He'll be back.

Maybe we should stick a note on the door?

- How are you? - Hello.

- I haven't seen you for ages! - Yes.

- I'm really pleased to see you! - I'm pleased too.

- I didn't recognise you in those glasses. - Ah, yes.

- How are you? - I'm OK.

Do you work round here?

Yes, not far, nearby.

- Perhaps we could meet up, or... - Why don't you give me a call?

OK, I'm away next week, but...

- I can call you. - I would really like that!

I'd like that too.

- Well... goodbye. - Goodbye.

See you soon!

- Give me some too. - Want some, Max?

Just a sip.

A sip?

- Will you get that, Max? - Stay here.

- Hello. - Hello.

- Fran�ois sent me. - Who's that?

The tall, thin guy. He works with you.

You mean Solex Yoghurt?

He's not here yet. Come in!

- Do you like spaghetti? - Hello.

She's a friend of Papa's.

I don't understand.

Sometimes I believe it, sometimes I don't.

That guy...

What's really stupid is his staging.

It's impossible.

Stop it, Dad, please.

We were supposed to go to Majorca.

I'm going to Granny's.

- You're looking gorgeous this evening! - I met Santa Claus.

Catch.

I'll take those.

Hello, Lili.

This is a friend of Nicolas's.

It's not spumante.

- I get another plate. - That would be nice.

- That's nice, that's really nice. - What were you eating?

- What were you eating? - Plain spaghetti.

Let's put them back in the pan.

He's hungry-

Here, Dad.

There's someone here for you.

Who's that?

That's Marie.

- Open the champagne. - Are you going to cut it up?

Not the champagne, the chicken!

That's Majorca, Max.

That's not funny.

No, the chicken.

No, the pineapple first.

- The chicken first. - Of course.

I'm not very good at this.

Ready?

I wanted to see the lady.

- What lady? - The lady who lives here.

The lady who has a shop called Corner of Chance.

Oh, yes. Wait a minute.

She's expecting me.

- It's a young girl. - Yes, I know.

You're late. Have you got the letters?

Yes. Can I talk to you alone?

So, the letters?

I've got them.

- Can I see the writing? - Yes.

What do I have to do to get these letters?

Etienne Loinod?

- So you know Etienne. - No, not at all!

I can just call him to find out.

Madam...

If you want them, you have to give me some information.

- About what? - About Igor, and the group.

If I could I wouldn't want the letters.

Something that might help me?

Nothing at all.

I'll be back in a second.

- Can I take it? - Of course.

Right, we're off.

See you tomorrow.

Goodbye, Thomas.

Goodbye, Thomas.

Are you coming?

Goodnight.

- Sarah? - Yes?

- Are you staying with us? - All right.

- It was good, wasn't it? - It was good.

- The mirror thing was brilliant. - It worked well.

There was something between you two, something...

- You think so? - Yes.

It's true, you two have...

So you think there was...

You have something in common.

I don't know.

We need to move forward.

Yes.

It's a difficult exercise.

All I can give you is money.

You can't tell me anything?

Absolutely nothing.

So give me the letters.

There.

These are old letters.

Damn.

- Are there any teaspoons? - Over there.

Move or you'll get scalded.

I've made some coffee.

Dad!

Can you pass them round?

What are we going to do?

We can't split up.

I don't feel like working anymore.

Not at all.

I know!

We'll go and find Renaud.

- We don't know where he lives. - Precisely.

- That'll be more fun than your Thebes. - "Seven Against Thebes".

He used to take the metro.

Porte something.

Quentin, pass my bag.

When I was taking photos of Marie the other day I took one of him.

Start with that then!

You go to the ends of the metro lines, you each take a photo,

you show them to the paper sellers, outside every metro station...

Ah, yes.

- There. - Yes.

Brilliant!

- Hang on. - Good old Max.

- That's Renaud? - Good-looking, isn't he?

"Festival of moderate avant garde arts.

"Gascony Encounters festival is supported

"by the Commission for Youth and Sport

"and the president of the Commission for Sport and Culture in Cratignac.

"It will be from June 21 to July 2, 1970.

"Our aim is to provide theatre groups with an opportunity

"to perform in a unique setting, with exceptional technical facilities.

"The event is not for profit.

"Theatre groups will be paid from box office receipts.

"To avoid disappointment

"we advise you to send the completed form by return of post.

"We offer you our regards."

There's a PS.

"Travel and subsistence costs must be borne by the participants."

- Let me see that. - I got it two days ago.

Sport and culture.

Everyone seen it?

- Lili. - Thank you very much.

Marie, I love you, I love you not...

All together now.

Tear it up.

Into little pieces.

Right, the map.

There's a lot of stations.

- We'll have to divide up Paris. - There are seven of us.

Max will help us.

One, two, three,

four, five, six, seven.

That's it.

Did you see that man this morning?

No, it's been too busy this morning.

A young man in a big jacket who came to buy...

I understand but I wasn't paying attention earlier.

...newspapers.

What are you doing here?

I slept here all night.

I like people to tell me if they're going to sleep here.

And the curtain opens to the other stage.

- Excuse me. - Shall we do a little waltz?

No, this is really not the time, nor the place.

And down comes the curtain.

Hello.

Sarah! It was nice of you to come.

Where is everybody?

Hello.

I wanted to ask you something.

- Do you know this young man? - No.

- You've never seen him? - No.

I think he lives round here, but I don't know where.

Have you never seen him buying a paper?

Why are you asking me?

I want to find him. You don't know who I can ask?

- Would they know at that caf�? - You could ask.

- No, nothing. - Never mind.

- Excuse me - I'm in a hurry.

Have you seen this man? No?

He passes through here every morning. You haven't seen him?