Original subtitles

"The Velvet on which men 's pleesure end vice lie down is as bleck as night."

--From the ancient sacred books of the Bebylonians

(soft music begins)

BLACK vEET

I've begun to understand .

Memories of Iove are never erased .

If she did n't send a rose fo her husband's grave as she does every morning ,

it would seem to her Iike she's forgetting him more and more.

(funky mid-tempo music begins)

- Well, whaf are you waiting for?

(music continues)

(shower runn ing)

Cigarette.

(lighter flicking)

- Mommy!

Mommy!

Hey, Mom my!

So, is fhis Laura coming or not? Did you get your third husband to send her to you?

Have you convinced him he can trust us?

Of course, he trusts us.

Of cou rse, it's wrong .

She arrives the day after tomorrow. If'll be up to you to receive her.

Give her the big room on the second floor.

Give the one on the firsf floor to Em manuelle and Carlo when they arrive.

Good , then the group is complete.

Tomorrow, I'II tell old Hal . Who knows, maybe he'II have a party for everyone.

Listen , Mommy, now I've got fo meet the happy couple, Emmanuelle and Carlo.

By the way, what about Ali? You're not consuming him for me?

You can take AIi whenever you want. I have much more to do.

(soft music begins)

(truck roaring)

(people speaking indistinctly)

- Oh , no, not again .

She's got a complex about giving to the poor.

U nless I watch out,

she would give away everything she has,

even her own clothes.

- Why don't you just let her go ahead?

I'm sure she Iooks befter without anything on , anyway.

(engine runn ing)

- Stop. Stop here.

Laura, get ready.

- Whaf are we stopping for?

- Don't worry.

(wind blowing)

- Ugh , how horrible.

What's so interesting? Let's go.

- Ah , shut u p.

Come on , now.

Okay.

Come on , Laura.

(funky music begins)

Come on , move your ass.

If you don't go near it,

how the heck can I take a picture of you , idiot?

Come on .

Sit fhere.

Sit down there.

Come on . Okay?

Sfill ...

Ready?

Hold it. - It smells.

- I know, don'f worry about it.

Okay.

Okay, like that.

Now, Iie down . Down !

Next to the dog and try to Iook natu ral, you bitch .

Okay, that's good .

Yeah . Take off your dress.

Take off your fucking dress! And smile! Like that.

Don't tell me I have to teach you how to sm ile, too,

for Christ sakes!

Jesus Christ, you thin k it was difficu lt.

Smile, goddammit, Laura, smile!

And hold it!

Take it off.

Ah , that's better.

Now, get up.

Get up. That's it.

U p, up! Now make a bridge.

A bridge! Bend backward .

- What do you mean?

- Backward .

Like that.

Go on . Come on , don'f shake.

Fuck you , bloody idiof.

Okay. Stay there.

Stay there.

(Laura struggling)

Thaf's good .

That's better.

Go on !

Bend over more, if you can .

More!

Okay, stay where you are.

- Jesus, Laura, I said , "Smile!"

Okay. Push yourself like a dancer.

A dancer! You know how to dance, don'f you?

You bullshit artist.

Move! Move!

You know? Like a dancer, for fuck's sake.

Okay, okay.

Hold it like that. Don't move.

Now, Iean down .

Good .

Ah , that's beautiful .

- It stinks. I can't stand it anymore.

- That's tough shit,

'cause I haven't finished yet.

Now, Iie down next to it.

Okay.

Okay. Now, Iook up.

But puf on a smile. Put on a smile, for God's sake.

Lie down and Iook towards me.

Yeah , right there.

CIoser to the dog .

Try to Iook like you're enjoying or something .

You understand?

Come on , sm ile!

- I think I'm going to throw up.

- Well , go on , then .

I'll include it in the price.

Okay, Ief's go.

(wind blowing)

I thought my third husband wou ld be my Iast.

But it wasn't Iike that.

He Ieft me. Left me after I'd given him Iife. He was just selfish .

He separated me from my daughter, Laura.

Little Laura, who will soon be with us.

It's been three years since she had a vacation with me.

I would have been happy wifh a man Iike Edward .

Dirty son of bitch .

Why? Why did you leave me?

Don't worry, madame. It will be a nice holiday for everyone.

Has M r. Antonio woken u p? Where is he?

The gardener told me that he retired to med itate in the desert.

(mysterious music begins)

- When will you Iead us to the holy place?

It is there

that you prom ised to show us the face of God .

(wind blowing)

(footsteps in sand )

- We've interrupted our journey

so that you could go and stay in that house.

But now we must continue.

- The holy places are everywhere.

It is up to you to go out and find them .

If y'all have enough faith ,

go where I've thrown that handful of sand

and don't you stop and don't come back

u ntil you've fou nd out where the sun and fhe wind have blown it.

(boys singing and clapping)

- Why did you leave me last night?

You know very well I don't Iike to sleep alone.

Do I have to spend the whole time Iooking for you?

What about, Iike, just for once giving me a Iittle attention?

I'm fed u p with your wasting you r time wifh those children .

- I came here to pray.

- Do you believe that?

I think that you're avoiding fhe issue.

I know that you're not happy.

You're just waiting for the chance to get away.

- Why do you follow me?

Why do you always Iook for me?

I know very well where to go.

I know where peace is.

(dramatic music begins)

Now fhaf the sun is high over the horizon ,

take my vital force.

Touch the great star.

I'm his most humble root.

It is the gift of the sun .

Remember that. There is a place for all of us.

- And we thank the su n .

- The Iight that issues from our solar planet

is the most blessed .

(gasping)

(dramatic music begins)

- Oh ...

(epic music begins)

That's the house.

The house?

The palace.

What will my room will be like?

I'd like the smallest of all .

(folk music begins)

- Crystal .

Each time I see you , you are more beautiful than ever.

- Laura.

- How beautiful .

- My luggage, did they get it all from fhe boat?

Oh , excuse me.

There are many very precious things in those bags.

M irrors, perfu me. Please take great care.

No, no, Laura, this is Horatio.

He spends the winter here.

Laura is the world's most famous model .

- I see.

(regional folk music continues)

- I didn't know such beautifu l

Christmas trees grew in Egypt.

- They didn't grow in Egypf, darling .

I had them air freighted here all the way from Sweden .

(funky music begins)

- I bet you'd look real good .

Well, you can try it, anyway.

Now...

I think it really suits you .

H mm .

Whoa.

Whoa!

(Iaughing)

Whoa!

(Iaughing)

Ooooo.

(Iaughing)

Ooooo.

AIi , go down there.

I wanna show you something .

Now, say affer me,

"That's not for me."

- "That is not for me."

- Repeat. "That's not for me."

- "That is not for me." - "That's not for me."

- "That is not for me."

- U nderstand me?

Get it, you dumdu m?

You see what I mean , huh?

(Iaughing)

And you're not gonna get it!

(Iaughing)

Go on , keep saying it.

- "That is not for me."

(Iaughing)

"That is not for me."

- "Not for me." Yeah .

Get the message, stupid?

"It's not for me."

- "That is not for me."

- Yeah . Keep going .

You can tell that to Mom my.

- "That is not for me."

"That is not for me."

- Repeat, "That's not for me."

"That's not for me."

- And now, music for me.

(upbeat music begins)

I know what you wanf now.

(Iaughing)

That's it! That's it!

You got it!

- "Not for me." "That is not for me."

"That is not for me."

- Come on ! What are you waiting for?

Hey, stupid !

Don't sfay down there.

(Iaughing)

Come on , now.

Come on ! What are you waiting for?

That's it.

Come on , Ali.

We've got all day together.

J ust the two of us.

(Iaughing)

You heard me.

And this is not for you .

U h-uh .

(Iaughing)

(folk music begins)

- Hey, Mommy, you hear that?

It sounds Iike Hal is having qu iet a party in there.

Maybe because he wants to, um ,

sed uce your divine Horatio.

You'd better watch out.

The old faggot has quite a reputation .

(regional folk music continues)

- Hello!

- Hal , you Iive Iike King Solomon .

- But I am King Solomon , my beloved Crystal .

Only instead of 1 00 wives, I have a hundred boys.

I have prepared a special night for you , Crystal ,

and for your wonderful friends.

It's a small world , don't you think?

Discovering Hal Burns again in a M uslim Africa.

This is for you , my dear girl .

And for you .

And what is your name, young man?

- Carlo.

- Here is a gift for you .

I'm better off here than in

decrepit, pulverized , old Hollywood .

And where is the divine Horatio?

- He's outside.

- Well , I have to meet him .

(fire crackling)

And you , my handsome hero.

Aren't you going to give me homage and Iove?

- I must give you m uch more than homage,

which is a superficial thing .

I m ust give you happiness and joy for eternity.

(drums playing)

- And now, her son you see here, the favorite of

all my children , will charm us with a song of love.

Abandon yourselves to his sweet sound of hymns.

Let us together reach a differentiated fullness

of the sublime Eros.

There are no Ionger souls outside of the chains

for which pass the vibrations of the beat.

You may Ieave us now.

- What the hell's he talking about?

- He's crazy.

(boy singing in foreign Ianguage)

Eros is sublime.

(boy continues singing)

- There is nothing but Iove.

(boy continues singing)

(d roning , mysterious music begins) (boy continues singing)

(speaking foreign language)

- You want some help with that bag?

- No, it's okay.

(soft music begins)

(scoffs)

- H m m .

You know, Mommy has been waiting for you .

- Okay.

- Hello.

(whistling)

- Hey! Don't just stand there catching flies.

Take Ms. Pia's bags.

- Thank you , AIi .

Please put them in my room .

But, for goodness sake, take special care of the wooden case.

If's got some very fragile things inside.

What's wrong? Doesn't he u nderstand English?

- No.

- Why is he Iooking at me Iike that?

- Nof at all . He doesn'f speak English or Arabic.

But if he Iooks at you Iike that, you better watch out.

(music continues)

Well , there she is.

Better Iate than never, huh?

- Hello, Mommy.

- Darling !

Oh , my baby.

M mm .

Oh , I'm so happy to see you .

- I'II Ieave you both alone now.

Mommy and her favorite baby.

- Darling .

I've gone and made you all messy.

At my age, you have to avoid getting wrinkles.

You wou ld n't believe it, you know,

but I'II be soon a plain old woman .

- You don't have any wrinkles, Mommy.

You're as young and as beaufiful as ever.

But you've changed .

I don't know why, but you've changed .

And Magda, too. She's changed .

I hardly recognized her.

- The years pass for all of us. Believe me.

And tell me, your father, whaf's new now?

What's he doing?

- Nothing .

He's all right. He's working .

- What do you mean? He didn't give you a message for me?

He d id n't. But let's not speak about him .

I've come here just for you .

- Oh .

- Who are those strange people I saw in the garden?

I was hoping to find you alone.

They're my houseguests.

They come every year. They're very nice.

You'll Iike them .

- H m m .

And the strange boy up on the rock. What's he doing here?

- He's an intellectual, and he's a sort of writer.

A kind of thinker.

You'II get on , you'll see.

- Maybe, but right now, I feel so tired .

I want to have a rest beside you .

The way we used to, in your bed .

- That's all right.

But whatever happened? Your hair was beautiful .

You had it down to here.

Without you r hair, you don't seem like a real girl .

- Why? There are men who wear long hair.

Anyway, I think it suifs me.

- I see.

I'm so happy you came here.

This is your home.

And if you want to stay here, you need never go back.

You know, I'm glad of one thing ,

and that's that you've gotten away from that idiot, Pia,

that idiot fafher of yours,

that lousy bastard who ruined my Iife!

- You know I'm fond of him .

So why do you speak so badly of him in front of me?

- Were you waiting for me?

- No.

(kids playing)

- Pia?

What are you doing?

- Working .

- Oh .

(soft music playing)

AIi, take off my jeans and my belt.

Give me my belt.

Open my blouse, but don't take it off.

(music continues)

PIease...

M mm .

(moaning and smacking)

You ! Go awayl

You can't do anything !

You can't even make Iove!

(crying)

(speaking foreign language)

- What is that?

Hey, Laura, go on , get dressed .

Okay. Okay.

I've seen it.

(engine runn ing)

Let's go.

(bird cawing)

Not a pretfy sight, hu h?

How come all these dead men?

A raid?

An attack on a caravan?

(suspenseful music begins)

Hey, are we in danger?

Whoever d id this, are they Iikely to come back?

Eh?

Eh?

- It happen to the nomad sometime.

- But doesn't anyone come to bury them?

They just Ieave them out here in the sun?

- The desert is a big place,

and no one uses the track that we've just come along .

And without a gu ide like him ,

it is impossible to gef back.

Lef's go, Lau ra.

(creepy music playing)

Look up.

Yeah , that's great.

Move over there.

There.

Life and death !

These pictures will give food for thoughf,

don't you think so, Pia?

A bit further away.

Thaf's good .

- I want to go.

- Ah , come off it, Pia.

To see a few people dead is not so bad .

- I want to go!

- You think it's sad?

Disgusting is educational .

- Let's go now!

- This makes you happier to be alive.

(creepy music begins)

(camera shutter clicking)

Go over there.

There.

See? That's it.

Okay.

Hold it.

Laura, wake u p!

Be alive, for God's sake!

- Oh , I don't feel well .

- What do you mean you don'f feel well?

You see a few dead people and you tell me

you don't want fo work.

What am I supposed to do?

Sm ile.

- Why are you doing this to me?

- Come on , just one more shot.

Hey, I've got a great idea.

Put this on , okay?

We'Il do some more with you up by the camel .

You know what I mean?

H u h?

That's it.

Great. Okay.

You're fine. Now, Iet's try it again ,

hu h?

Right. J ust one more.

Okay. Let's get it.

Thaf's good .

- What's wrong?

- I think I'm going to faint.

- Ah-ha.

Now, both of you stay right there, like that.

- No! I won't.

- Are you crazy?

- Yes!

- Take it.

Keep it, and fuck you .

- Laura?

Come on , Laura.

- Hey, Laura.

Where do you think you're going?

You stupid bitch .

We are Iosing time, you du mb cunt.

- Bastard !

- Pia, why don't you come, too?

- Screw you !

- Well, get Iost, and fuck you !

- Son of a bitch !

- Oh , Laura, I promise, I won't shout.

I'm sorry, okay?

I'm really sorry. Do you hear me?

What's the matter with you?

I say to forget it, okay?

(Laura scream ing)

Laura, do you hear me?

That's enough now. That's enough !

(Laura struggling)

Bitch ! I'll teach you .

Now you gonna see!

Why are you so hysterical , huh?

Just because of some dead bodies?

Fuck you ! You want it now?

You want it now?!

Why don't you take that off, you bitch?

(Laura struggling)

H u h?

You want if now, eh?

Don't you?

I know you !

Take it off!

Boy, you gonna-- you gonna get if!

You gotta get it now, you fucking bitch !

(both struggling)

Yeah?

(ominous music begins)

(Laura crying)

Bitch .

Get into your dress.

- What's happening?

- Don't worry, and get ready.

- You're crazy, Laura.

You shouldn't Iet him do fhis to you .

- I know.

- That's perfect. See, Laura?

Hey! You , kid !

Go on .

Keep moving .

Go on , Lau ra.

Go up there.

You heard me now?

Keep moving !

- But it's stinks.

- Of cou rse it stinks.

It's a mountain of shit. What do you think?

Okay. You ! Move to the left.

Okay, Laura, get in the midd le of the kids.

Right.

Now, Iet's try it.

Good . Like that.

Not bad .

Now, Iet's try something else.

Hey.

Hey, wait a minute.

Not Iike that. Look, Iet me show you .

Put in fhere.

There, there and there.

Okay, keep going round .

Don't stop.

Keep going .

That's fine.

Okay.

No, no, no.

Laura, Iook up.

Laura, try to Iook Iike you enjoy if. Come on !

H u h?

Try Iifting up your Ieg .

Yeah .

Yeah .

Hey, what's the matter?

- I can't go on . I can't!

- What do you mean?

- Please, Carlo, I can't.

- Come on , one more shot, then I'm finished .

- No.

- Hey, Laura.

Laura, come back.

Get back u p there right this minute!

Hear me now? You are gonna pay for fhis.

Go back up there.

You heard me?

This is the Iast time I'm telling you . Go up there.

Listen to me.

Go u p there! I paid you !

- No, you're a shit!

- You're a piece of shit. - You're a shit!

- I've got a job to do.

- Leave me alone!

- Stupid ! Come on , come on .

Get out. Get out. Get out!

Piece of shit! You are finished wifhout me. Come back!

Pia, fuck you ! Fuck both of you !

(soft music playing)

(wind blowing)

Hey, how far is it to Aswan?

At what time we will get there?

I nshallah . I knew it.

Let's go.

(upbeat Arabic m usic begins)

- We can't come in here.

It's a private house.

- Oh , yeah? We'll see.

(clapping)

Hello.

(Arabic music continues with vocals)

(Iaughing)

(moan ing)

(soft, sensual music begins)

(speaking foreign language)

(Iaughing)

(boat horn blowing)

- If's like a moon landscape.

How is Emmanuelle feeling?

She had a splitting headache.

Well, it doesn't seem Iike a good reason fo me.

- What happened between you and Laura?

- I don't know, but she's strange.

But what the fuck am I su pposed to do, stay over there?

She'Il get over it.

- Sure. Okay.

- Oh , yeah .

- H m m .

- Hey, you , what can you see?

- Everything .

The Iiving and dead people of all time gathered together.

A procession carrying a temple.

Two boafs on the river.

- Oh , look! Uadis Aboa, the su bmerged temple.

- I'm bored visiting the temples.

I think I'II sfay on board ...

And go to bed .

- Well , I'm staying , too.

PIease send me something to drink.

For me, the temples are even more beautifu l in the d istance.

- It's really hot today, huh? No kidding .

- I've got something for you . Come on .

- Great.

- Stay there.

This is an ancient Egyptian remedy.

- Ah ! Great. That's wonderful !

- Thaf's good .

- Yeah , it's marvelous.

It's better than swim ming .

- Okay. Better now?

- Yes.

- That's it.

- Carlo?

- Yeah?

- Come with me. I want to go and see the temple.

- Sure. Why not?

- Don't do anything that I wouldn't do.

(wind blowing)

- What are you thinking of, you r lost love?

- Very funny.

(Iaughing)

Just who do you think you are?

- I don't know about me, buf I know about you .

- What do you know about me?

- I know everything about you and Laura.

- Is that so?

- I have nothing to do with Laura,

and you have nothing to do with her.

- You have a Iot to do with her, you know?

What happened between you and her after you Ieft me

in that bloody desert?

- Any way you look at it, you'd be better off alone.

- Okay, clever girl .

Let's take a Iook in here.

- Laura can Iook after herself.

She's beautiful and talented .

- Oh , boy.

I made fhaf girl with my camera .

- Oh , Carlo, you're such a great artist.

- A fucking sight more than you realize, my dear.

- Could you do the same for me, maybe?

- Come on , Cinderella. Don't play the smartass with me.

I'm famous in Italy

'cause I create like I did with that pile of shit over there.

You don't understand one thing .

I take something Iike a pile of shit

with a beautiful girl on top,

and came out with something great.

What you Iaughing for?

Don't you know what you are?

You know what I think you are?

Just you wait.

Listen .

Come back here.

I wanna talk to you . - CIick-click.

- And stop fhaf stupid "click-click."

Wait till I get my hands on you and . . . - Click-click!

I'll beat the shit out of you .

Pia!

- CIick-click.

- I'II get you .

- Yoo-hoo.

- You bifch !

Come here!

Come here!

You're stupid .

Come here!

- Carlo! CIick-click.

If I catch you , I'II give you a click-click.

You bitch l You are nothing but a fucking dyke.

That's right, isn't it?

You're a lesbian , and you don't want to adm it it.

- Bastard .

- You bitch ! J ust like the rest of your fucking fam ily.

You're fucked up! Right here in the head .

Here, in the head . H uh?

H u h?

You bitch , you're nothing but a fucking dyke.

It's true, isn't it?

You like women !

So why don't you leave Laura alone, then?

Come on , you know fhaf she's mine. - Carlo, fuck you !

- You hear me now? You Ieave her alone. AIone!

(boat horn blowing)

- Look there. They are nomads.

They have no homes.

- Can I have a Iook, please, Carlo?

(funky music begins)

Thanks.

Nomads, huh?

What about us?

- That is Philae, one of the most beautiful temples of ancient Egypt.

The most beaufiful , however, is Abu Simbel, which we will visit Iast.

- Why don't we all go ashore?

Where are the others? And what happened to Horatio?

- He's d isappeared . You know.

Don't you know it's a ghost ship?

- Oh , Hal , you'II come with us, won't you?

You wouldn'f Iet two poor girls go ashore alone, wou ld you?

- AII right. AII right.

Life is a dream .

- [AII] Life is a dream .

- And we are the stuff that dreams are made of.

- Sure, sure. Calderon and all that stuff.

(Iaughing)

Here we'II find the truth .

I'm entering the realm of mysteries.

This to the Egyptians was the place

which in ou r churches is called the Sancta Sanctorum .

(bird cawing)

- Hey! Tell you what, if I meet some handsome river god ,

I'II call you , Pia.

- "Now is the winter of our discontent

Made glorious summer by this sun of York;

And all the clouds that Iour'd u pon our house

I n the deep bosom of the ocean buried .

Now are our brows bound with victorious wreaths;

Our bru ised arms hung up for monuments."

(creepy music begins)

(Hal continuing to recite Richard I I I)

(Hal) ". . . I nstead of mounting barbered steeds

To fright the souls of fearful adversaries"

(Hal continuing to recite Richard I I I)

- Hello.

Magda?

- [Magda] Catch me if you can !

- Magda!

Magda!

Magda!

(Iaughing)

(moan ing)

- Magda ...

(men grunting)

(moaning and Iaughing)

(bird cawing)

- They went without saying , "Thank you ." Bastards.

(Iaughing)

They scratched and bit me all over.

If you had n't come along ...

But, Pia, why aren't you shocked?

- Did you like it?

- I n what way?

- Did you reach climax?

- No.

- You never manage to, do you?

- No, but so what?

It's my business. I do what I wanna do and I enjoy myself.

I'm 1 9 years old , and do you wanna know

how many men I've had?

- Not one.

- Oh , yeah? You think you know better than me?

- What do you need them for, huh?

(soft music begins)

Wake u p, Hal .

We're going . You've had enough dreams.

- You go. I'm staying .

- No, don't. Come with us.

- I'm a sublime actor and I want to die here,

to be buried here.

Where could a great actor rest more worthily than in the midst

of the silent ru ins of an ancient tem ple surrounded by water?

The grandest arena on the noblest stage.

Everything I've learned , I learned from a dream ,

and I'm afraid , in my anxiety, that I must

awaken and find myself still in my prison .

You know, Hal, we also staged Calderon's "Life is a Dream" fhis year.

But our acting coach was much better fhan you .

Thus I came to know that every human happiness passes like a dream .

It's true, Hal . That's righf.

Whaf?

You've never been a great actor, and you very well know it.

Why don't you recognize it?

Wasn't Hal Burns a great actor?

But do you realize it?

Didn't anyone tell you fhaf Hollywood is empty without me?

Hal , you Ieft Hollywood because you were unsuccessful .

You were old , and no one was asking you to make a film anymore.

You know it, but you don't want to adm it it.

Who told you these horrible lies? What enemy has woven these foul deceptions?

I forbid you to talk about if again !

Poor Hal ! How you struggle to keep up your illusions.

Isn't it better to live in reality and abandon d reams?

(crying)

(soft music begins)

Enjoy your old age and don't watch your old movies anymore.

They're really worthless, poor dear.

How about getting back on board? The road is long .

Mom . . .Crystal is going to wanf to dress up for the party.

Come on . Tomorrow is going to be a great day.

(Iaughing)

Monsieurs et Madames, Iadies and genflemen , we've to do our best to honor old Hal .

Stop!

I'II make you famous with one of my photos.

Carlo, puf right away that camera. I can't stand it.

Magda, don't delude yourself into not Ietting us express the best of ourselves.

There is no better or worse than us.

There is only boredom . I nfinite, immeasu rable boredom . . . Eternal .

Sorry, I did n't mean that, even though it's the truth .

I want to offer you a ritual .

A ritual , here at the besf of ourselves.

All Iife is ritual .

What ritual is better than Iife?

You're right. I don't know why it takes people so long to understand .

(Arabic choir begins)

(dramatic music begins)

- My friends, I will make you sleep and d ream .

And the sleep of my eyes will give you , at least once in alI

your Iives, the dreams that you really wanted .

And each person will do what he really Iikes.

- Splendid , d ivine Horatio.

Do to us everything you are capable of.

This place is yours.

If can be you r palace of pleasure.

- Yes, Horatio, go on . Let's see what you can do.

- It's not all right with me.

Come here and sif down .

- Crystal , don't give orders in my house.

For tonight, Horatio is fhe king , and we must obey him .

- For God's sake, don't give me all that garbage.

You're just an old faggot.

(crying)

- See how I can cry?

Aren't I still a great actor?

- Oh , you're such a boy, you know.

(soft music begins)

Worms. Disgust.

Fear of death , of being alone.

I'd get pounded Iike grain in a mortar.

My kingdom for a horse.

To escape, flee so that no one knows I'm nobody.

I'm nothing . . . Nothing . . . Nothing .

What are you trying to do? You can't.

(eerie music begins)

(table crashing)

- Agh !

(camera slam m ing)

I'm still young , but I already smell like a corpse.

(mysterious music intensifying)

- Wotruba, Father of Fertility,

protect me.

(speaking u nknown Ianguage)

- Okay, Horatio, you're very clever.

But that's enough now. Wake her up.

- You ask for the truth . This is it.

- Wake her up or I will .

(eerie music begins)

(goat crying)

(knife slashing)

(speaking u nknown Ianguage)

(screaming)

(screaming and groaning)

- It's im possible.

I bet you've drugged her.

(screaming)

(mysferious music ends)

(piano music begins)

Stop it!

- Stop it! That's enough , now!

You're with me. It's me.

I'm Carlo, okay? It's all right.

Come on , get up.

It's okay. AII right.

- Who are you?

- What do you mean , Laura?

- I don't know you .

- It's me. I'm Carlo. Come on .

Are you okay?

Laura? Laura? Shut up!

If's me.

- Will you two please be quiet?

- Shut up, you bloody queer!

- I want to go home.

- It's me, Lau ra .

- I'm not coming back.

- It's me, I'm Carlo. We go back together, okay? Okay?

- I'm not coming back.

- What did you say?

What did you say, you bastard?!

Shif, I Iove you ...

Oh , shit, it's your fault!

Fuck you !

You old bastard ...

You are nothing without me!

You know what you are, you are nothing ! You are just a bloody shit!

(soft music begins)

- Now Iook at me.

- You see? My spells are stronger than you rs.

(funky music begins)

Come on , Mom , you must be tired , and tomorrow we have to go fo Abu Sim bel .

Come on , we'll go home.

Hal , thanks for a beautiful evening .

I hope you'II be fit for tomorrow in Abu Simbel .

(soft music begins)

- The great stone Pharaoh with his wife at his feet.

You'd Iike that, Horatio, wouldn't you?

To be able fo have a Iittle woman in Iove with you , all meat,

just waiting for your orders.

Just Iike the statue.

- You're right.

Absolutely right.

- I want to visit this temple with you , Crystal .

Just for once, don't abandon me.

I've been always over-awed by Ramses. More than a king ,

he must be a god .

And no one ever told him to wake up because he was dream ing .

- Hey, you see, Crystal?

The ancient kings still have their subjects.

See that?

It Iooks like the tourists have taken over.

I told you , Magda .

Well , Iet's go and have a Iook inside.

Let's do a little tourism ourselves.

- Where are you going , Pia?

- To the other one.

(chanting music begins)

- Come here. I want to be close to you .

- Sure.

- I want to be with you .

I always wanted that.

- AIways?

- Let's go away together.

I don't care about the others.

- But aren't you su pposed to be a mystic?

You know, calling u p those spirits and things.

Are you or aren't you?

What about those kids waiting for you to Iead them

to the holy place?

- Who told you that?

- Mommy.

And she says she will kill you if you Ieave her.

- Com ing here, going fhere.

It's all the same.

We only want fo run away.

- From what?

- Everything , except you .

I should Iike to stay with you .

To be together with you .

- Take it off.

(soft music playing)

It's very true that you're intelligent

and that you don't belong here.

Go and do your own thing .

You've got to be you now.

You are just called "Horatio."

You're 20 years old .

You are Iike me and you are in love.

- J ust where are Pia and Horatio?

- They just went to see the other temple.

- They asked us fo wait for them .

They will be back right now.

- That bloody bitch is having it off with that bastard !

- Come on , Ieave them alone. You had your chance already.

- Fucking hypocrite phony!

That's why she came here. I should've guessed it.

- Crystal , dear, what are you afraid of?

What can Pia do to you?

- Listen , Mommy. Horatio has made Iove to you

so many times. To me, too.

So why lose your cool?

What's happened?

- With Pia, it's different.

She'II take him away

and I'll be Ieft alone Iike her father d id .

It's not fair.

(chanting music begins)

- Go on , tell her.

- I'm going away with Pia. We Iove each other.

That's the way it has to be.

So don't fight it.

- Go on . Tell her that you never Ioved her,

that it was all pretense and that you were just trying to

ru n away from yourself and from everything .

- If was nice until now between us, but now it's all over.

So forget it.

- You came here to ruin me, and had it all planned .

Your father sent you , didn't he?

You are all against me.

But I'II show you what.

I'll get my own back!

(dramatic music begins)

Horatio, I'm gonna throw myself down !

It's between me or her.

You gotta decide!

- Go on , Mommy, jump if you've got nothing better to do!

- I tell you , it'Il be on your conscience.

It'II all be you r fault!

- Okay, okay, what are you waiting for?

The fan club is watching .

(gasping)

Come on , Mommy, make the big jum p.

For your hero.

(gasping)

(crying)

(soft music begins)

- Well , it Iooks Iike we are the Iosers.

- I'm sorry, Horatio.

I'm going away by myself.

Good bye, Mom my!

I'II see you arou nd .

(soft music continues)