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BLOOD OF THE BEASTS
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Narration Written by
JEAN PAINLEVÉ
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Narrated by
GEORGES HUBERT and NICOLE LADMIRAL
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Written and Directed by
GEORGES FRANJU
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AT THE GATES OF PARIS
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On the outskirts of Paris,
the vacant lots where poor children play
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are scattered with unique relics
of riches past.
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Displayed and offered for the delight
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of curio seekers,
poets and strolling lovers
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here, on the edge of city life,
amid trucks and trains.
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At Porte de Vanves
is the Vaugiraud slaughterhouse.
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Despite the taurine statues,
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the municipal slaughterhouse
specializes in the slaughter of horses.
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IN HONOR OF EMILE DECROIX
PROPONENT OF HORSE MEAT
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The tools used vary
according to the animal:
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the rush, or reed...
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the poleax...
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the captive-bolt pistol,
whose impact kills the animal instantly.
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After being bled, the horse is hoisted up
to complete the draining of blood.
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It is then lowered for flaying.
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Compressed air is pumped under the skin
to make the task easier.
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The feet are detached and removed.
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The hooves will become fertilizer,
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and the bones will be made
into bone black
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or ladies' toiletries.
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The delicate task of flaying
with a razor-sharp lancet
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is not without danger.
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While flaying a horse,
Ernest Bruyet severed his femoral artery.
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His right leg had to be amputated.
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This black horse was slaughtered
by Alfred Macquart,
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a holder of the prestigious
“Best Worker in France” diploma.
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Auguste Macquart, his grandfather,
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was a founding father of meatpacking
at the turn of the last century.
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On the outskirts of Paris,
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the Ourcq canal
and the Wheels of Fortune.
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Porte de Pantin,
the La Villette market.
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The slaughterhouse is linked
to the market by a bridge
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to transfer the cattle.
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In the deafening din of pneumatic hoists,
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the slaughterers and scalders work
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in the gray steam rising
from the blood of the beasts.
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Maurice Griselle,
former French boxing champion.
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André Brunier, one of the best
poleaxers in the Villette.
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Inserting the reed
into the medullary canal
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pierces and destroys the spinal cord,
suppressing the animal's reflexes.
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The pressing completes
the draining of the blood,
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most of which is collected
in containers.
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Gutters catch the overflow.
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Disembowelment is performed
while the hoist is raised.
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The fatty scraps
will be collected by nuns.
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Henri Fournel can split an ox
while the clock strikes noon.
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To keep veal meat white,
decapitation is used to drain all blood.
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The dead animal still twitches,
but they're only involuntary reflexes.
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The heads are stamped
to identify and count the cattle.
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This isn't a chapel to St. John the Baptist,
patron saint of butchers,
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nor to his gentle lamb.
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It's the auction block
of the slaughterhouse.
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The sheep are led by the “traitor”.
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He knows the way,
and his life will be spared.
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The others follow obediently, bleating
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like condemned men who sing
yet know their song to be useless.
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To be skinned, the sheep are “punched.”
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Years of this difficult task can lead
to a cyst on the worker's wrist.
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“I shall strike you without anger
and without hate, like a butcher, ”
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wrote Baudelaire.
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Without anger, without hate,
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with the simple cheerfulness of killers
who whistle or sing as they slit throats,
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for they must earn
their own daily bread and that of others
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with the wages of a difficult
and often dangerous profession.
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The sea we see dancing
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Along the bright bays
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The silvery glints of the sea
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Reflections changing in the rain
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The sea
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In the summer sky
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The clouds like fleecy sheep
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Seem angels on high
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The sea
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Shepherdess of infinite blue
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See
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By the pond
The tall, damp reeds
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See
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The white birds
The rusting houses
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The sea
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The day is ending.
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In the pen, the sheep, still agitated,
will fall asleep in the silence.
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They won't hear the gates
of their prison closing,
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nor the Paris-Villette train,
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which sets off after nightfall
for the countryside
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to gather tomorrow's victims.
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