All language subtitles for Esther.Kahn.2000.720p.BluRay.x264.AAC-[YTS.LT]

Esther Carnes was born in one of those
dark, evil -smelling streets, with

strange corners which lie about the
docks.

It was a quiet street, which seemed to
lead nowhere, but to stand aside for

not -quite -honest purpose of its own.

The blinds of some of these houses were
always drawn.

Shutters were nailed over some of the
windows.

Few people passed.

There were never many children playing
in the road.

The doors opened and shut.

Quietly.

Can you do me another one, please?

For the door over there.

Excuse

me,

please.

Thank you.

There is no Bible in English.

Of course there is. And in German and in
Russian too. In all languages.

Once,

a long time ago in Egypt, they took 72
of the best Jewish scholars... And they

put them in 72 small huts.

And in those huts, for years, they
translated the Bible.

All except a few words and lines that
can't be translated.

Why?

Because they can't make their hands
impure.

What kind of lines?

Oh, I can't remember.

Oh,

some lines in Aramaic. Anyway.

There are things where they can't decide
whether it's the letters themselves or

what they mean which is more important.

And that's why the Revchik has to write
them out in Hebrew.

And he has to be very meticulous. If
even one single letter weren't written

immaculately, then it wouldn't protect
the house anymore.

Me. Me.

When's it due?

All by tomorrow.

The rest by the end of the week.

I almost finished the fruits.

Mama, the Knappleherr.

The Knappleherr!

Ow!

Watch out.

Cut slowly and below the marks.

Here.

Raise your left arm.

No, no.

The left one, please. This is your left
arm.

Ah, thank you.

The side of your heart.

That is it.

Don't move.

Huber, take Rupert Jones to PLU. What?

What? Rain, dodged, raining.

Regan. Ah, Regan. Oh, he's there.

He's there, Ron.

Do you want to go out and play in the
street?

No.

Come on, let's go.

I'm frightened by the street.

At night, after supper, the others used
to sit around the table, talking

eagerly. All these people, who had so
many interests in common, who thought of

the same things, cared for the same
things, seemed so fond of one another in

instinctive way, sat there, night after
night, with the same attitudes, always

as eager for the events of today as they
had been for the events of yesterday.

Everything mattered to them immensely,
and especially their part in things.

Esther wasn't sure that she cared for
them more than she would care for other

people.

Just one bath.

They were what she supposed real life
was.

And that was a thing in which she had
only a disinterested curiosity.

You're just jealous. You're too young
anyway.

Hey! Did you see?

Look what she's doing. She's imitating
Oliver.

Who are you imitating this time, Esther?
Nobody.

If you were, you were doing like this.

Pay no attention to her.

She's not a human child.

She's, um, a monkey.

She lives with us.

So she has to snatch herself a soul,
like monkeys do.

They might look like little people, but
they know they're not, so they try to

be. And that's why they're always
fainting about marriage problems.

Esther was very angry.

She said to herself that she would be
more careful in future not to show

anything that she was feeling.

Eat, doggy.

As an adolescent, Esther looked a woman.

She was large -boned, with very small
hands and feet, and her body seemed to

generally asleep in a kind of brooding
lethargy.

She had her mother's hair, masses of it
but softer, with a faint natural wave in

it.

Her face was oval, smooth in outline.

The lips were thick, red, strung like a
bow.

The eyes had no personal meaning in what
seemed to be their mystery.

They were fathomless, with mere sleep.

the unconscious dream which is in the
eyes of animals.

The whole face seemed to await, with an
infinite patience, some moulding and

awakening force which might have its way
with it.

It wanted nothing, anticipated nothing.

It waited.

Cough again.

Cough three.

Again.

I was on gold five.

Gold five's fine.

We're going to have to work on Saturday
now. The buttonhole's not done because

Mina won't be here.

I adore this dress.

Well, so make one for yourself.

Yeah, yeah. Keep on talking. I love it.

Go and make one.

Yeah, yeah, yeah.

I'm bloody starving.

Are you starving?

Where's Bubba?

She's upstairs.

You should take her up a break.

So how was it?

Fine.

No, how was it really?

Fine. Very fine.

Fine, very fine.

Very fine.

I'm very fine. And my children. Very
fine.

Why

did you

tell Mum that she's not your mum?

That was just an idea.

Now she's going to be even more a pain
in the arse.

Well, what are you going to do when we
leave home?

I'll stay.

You'll stay.

When you move, you don't do anything.

What are you doing? She's trying to get
rid of the pinpricks with glycerine.

You know, I don't believe you.

We're too late.

I don't want to be branded.

You're ashamed of what?

I said I don't want to be branded.

I'm not a slave.

It's my turn to take the bed, but...

I don't care.

That's all right.

But who wants it?

No, no. Keep it for himself.

Do you want me to lend you a book?

No.

Esther, what do you want most in the
world?

Most in the world?

Well, if you had a quality and you
wanted it to be rewarded.

I don't know.

Well, Mama?

Very darling.

Well, go on, then.

But I wish for most in the world.

You know, it sounds slightly miserable,
but... I'd like to be admired for my

beauty and elegance.

And me for my intelligence.

Since I'm working all the time, I'd like
loads of money.

Simple as that.

I want to make tons of it.

Well one day, I want to go and live in
Palestine.

I want to be revenged.

Don't come close!

What are you doing here?

I'm frightened of still not being awake.

You are awake.

You'll see, for you it's gonna make it a
treat.

It's too late now.

Come on, mate. We'll be all right.

Bye.

Hurry up, Joe!

Are you alright?

They take you out for one test and
you're such a disgrace.

You look like a fucking peasant.

Hey,

look at that bot over there.

It's the Trafalgar's thing.

That guy with us an actor, I recognise
him.

Shh.

But you live very well. Why don't you
live with me? I have a sword for you.

Do something good to me.

You have a sword.

You, golden raven, pray not to me.

It's not you that I'm guilty of.

Once inside, she would never speak, but
she would sit, staring at the people on

the stage, as if they hypnotized her.

She never criticized the play as the
others did.

The play didn't seem to matter.

She lived in it, without will or choice.

merely because it was there and her eyes
were on it.

She sacrifices everything for him and
then he betrays her. Oh, come on. No

would do that for a man.

How can you say such a thing?

On the other hand, he never promised to
marry her, did he? You're so noisy,

Hazy. Honestly, he's a scum, isn't he?

Who?

It's the tall one with the scarf. The
one who leaves.

Yes, I know.

Let's go out.

Are you not allowed alone?

Yeah, but I'd rather not.

We don't talk, right?

Yeah,

I know that, but what about her acting?

Did you see it? No.

I love the game.

The ones with the little bourgeois
theater.

I love her look.

What's the accident logical? She's no
good.

Oh, yeah. This is waking up.

Why do you say that? I like her, I do.
Her voice, it makes me... She's gorgeous

to me.

You know nothing about actors.

You're always wrong.

Each time you have an opinion, you're
wrong. Don't I have the right to say

I like her? It's a matter of taste.

Me, personally, I thought she brought
beauty to it. Who gives a fuck about

your opinion?

She's no good, that's all.

She's making mistakes all the time.
Mistakes? Not blank spelling tests, you

know.

You're not editing.

You paper it.

She thinks to be doing it on purpose.

She hasn't seen it, the friends.

And she doesn't know how to play it.

And it's so easy.

She's always trying to be something
else.

I'll tell you what, Esther.

Why don't you go to her dressing room
and pass on your words of wisdom to her?

I'm not interested in speaking with that
woman.

Coward.

You're a coward.

You want to see him again?

Yesterday, I wrote you a letter.

Here.

You shan't read it to me.

I'll have a look.

It's a long letter.

If you're gonna write me each time we've
kissed, I have a lot of reading to do.

In the envelope.

Esther, we're leaving in five minutes.

Good night, you two, lovebirds.

Look.

What's that?

It's a diamond.

I brought it from the shop to tell you.

Because I think you'll like it.

You know, it's worth a lot. Even a tiny
one like this.

You stole it from the shop.

No, it wasn't even entered up in the
ledger.

You can keep it.

It's better if you take it back.

Yes.

See you tomorrow, then.

But he let me kiss you.

Yes.

Oh,

God,

I didn't mean to.

I'm sorry.

But I hardly touched you.

It's idiotic.

Perhaps, but I like... What do you care
about leading ladies?

Nothing.

Where are they?

He went to the union with Samuel to get
into some casual work.

You're disgusting.

What is it you're doing?

Esther, come out.

You're getting a lot.

Don't you dare face me up.

I'm not quite fine on you when I'm in
the lab. So you were spending 20 minutes

while you were having a beer. Perhaps I
was having a poo, you can't tell. With

your hand down your thing, don't tell
me. I can sniff you. You're my daughter.

I could sniff you when you were around.

Two hours in the bog.

Put your fingers up your cunt. I
couldn't pee. Do me there. Oh, come on.

You'll damage yourself inside, wanking
like that.

Don't shout!

You! Don't shout!

Don't shout! You!

Don't shout at me!

Stop it!

Stop it! Come on.

Leave her alone.

Take...

Each night I leave you in that room, I'm
frightened out of my wits that you'll

all turn out to parade and your brother
too.

I can't be watching you all the time.
I've got to get some help.

And look after your father.

He never utters a word.

I don't want her to outrage me anymore.

I don't want her to work here anymore!

She's mad.

Yeah.

Do you want me to do your hair?

She's no right to bother you in the lab.
I don't care.

You're so pretty.

I'm scared she's going to tell
everybody.

He's a big strong man, yeah. Come on,
come on. What you need?

Go, go, go.

You're new here.

Who are you from?

Bittlefield.

Me too.

By the market.

We can go home the same way.

Edsa, do you want to stay around a bit?

No, I'm going well. See you tomorrow.

Hello!

I see you're working at the Felder's
now.

Yes.

It's not too hard?

I'd rather be at the factory than work
at home.

Still squabbling with your mother?

If she has said anything about me, it's
not true.

She accuses others of what she does
herself.

You look very angry.

You shouldn't stay by yourself.

It's my mother who doesn't want me
working at home anymore.

I've also noticed you've stopped coming
to the synagogue.

Same as my father.

Your father is your father.

They live 120 years.

But that doesn't stop God from seeing
you.

No. God has abandoned me because I'm
poor. And if I'm poor, I'm not needed at

the synagogue.

I can see that your mother is pretty
right when she says that you are proud

arrogant. Go on, then. Tell me what I'm
doing wrong.

Very little, I'm sure.

I know that you want to be an actress.

Just remember that it won't be
squabbling with your mother that opens

the theater for you.

Bye.

She smelled bad.

It's not her fault. It's the body
emptying itself.

I can't touch her.

Sorry.

There. Don't worry, Esther.

Earth is a good mother.

Go and sit.

There's seven of you. Go away now.

You say you descend me, right?

Oh, yes, and then you piss off.

And me?

I'm left to manage.

What am I supposed to do?

Earth is not a good mother.

Grandma, I'm scared you'll be all cold.

It's dirty and it's cold and you'll be
shut away with all them beasts and bugs.

And you're old, all right.

The whole family's here getting ready to
make a fuss. You hear them?

They're

another

one. Yeah.

They're after the factory.

Don't tell.

Your father's gonna kill you.

I don't care.

See you tomorrow.

Now turn around.

Good, good.

May I see your left profile?

No, no, no, no, no. The other way.

Good.

You won't get stage fright, will you?

No, no.

You won't get scared and dry up?

No.

What's your name?

How do you spell that?

K -A

-H -N.

What's your first name?

Esther.

Esther Kahn.

Fine. It's called a poster.

Kahn.

Canetti.

The Canetti.

It sounds Italian.

You've got dark hair.

No, I can't change my name. Yes, the
card isn't very attractive. It's rather

fear.

Canetti is better.

I don't want to change.

Very well, I'll put your name then.

Canetti, ain't you?

Now what time is it?

Where have you been?

We had a delivery at six o 'clock.

And now what time is it?

I'm going on the stage.

Oh, really?

And when do you go on, I pray?

On Monday night.

You're not serious.

I am serious.

I've got a part to play the maid in The
Wages of Sin.

I know it. I've seen it.

She speaks twice during the whole piece,
right?

Yeah, that's right.

Come on Monday night and hear how I say
them.

That's enough.

Silence and back to work.

Never read.

You never have an opinion about things.

You even say yourself that nothing
interests you. So is that something

about? Can't be sure you'll succeed just
on your good looks.

Watch out. To be an actress, you have to
sleep around.

Come off it.

How do you know? Excuse me, it's common
knowledge.

Give an answer about mine.

You've got to be stupid, she already
has. You're sleeping with the manager,

right?

It's about time you did.

Out of our mouth.

How we would do it if she doesn't work
anymore?

I'll make money like I do at the
factory.

Come on, if she's at the theatre, she
can't help us at night, can she?

We have enough trouble delivering on
time. You two moaners. You've got other

things to do. For example, a delivery at
nine.

Peace up.

Disappear.

Back, Maxwell.

Both of you.

With what we earn.

If you don't help us, we never do it.

You'll just replace me then.

With what money?

If I could please, I'll pay you back
what it cost you.

How much does Mrs Ross cost?

One pound a week, if she comes every
night.

One pound ten for a good worker.

Yes, but I'm slow.

Who do you think we're going to hire a
slow worker because you're slow?

All right.

I owe you one pound ten a week.

For as long as I'm on your hands.

Agreed? A child costs one pound.

That's four a month.

Besides, evenings, I could see you in
the theatre, so you'll make a profit.

In six months' time, I'll give you back
two pounds ten for every week.

That's ten a month. That makes 60
pounds.

And if you stay unemployed after this
play?

I won't.

That's what you think.

I know how to get on.

Oh, let her do what she wants.

In any case, she's good for nothing. She
slows us down.

You're sinister.

I'd rather send you to the theatre than
have you here under my feet.

So we agree, then?

We do as I said?

Agree, Lister.

Agreed?

Yes.

Here's one.

Bevan entered with thousand.

I'll mark it.

It's

him.

I saw him.

And you, this one.

Please.

Brian, we need the girls on stage in
five minutes. All right, that's it.

the matter?

Green to it.

Brings bad luck.

Your actress wants to wear green on
stage.

Me, I'll have it.

They are guilty.

This one.

Take your time. I know you can do it.

What brings you here?

Rose, dear. Shall I own it?

I don't care for her, your friend, Ruth.

Not care for her?

I don't believe she is what she seems.

You are simply jesting. No.

I am in earnest.

Nice of the night.

Be silent.

Oh, uh... See you on stage.

All right, well, uh, I didn't come to
see you. I... I... I did this magic.

Good night!

How are you doing?

No stage fright.

Right, and will you take this lady's
phone?

Thank you.

Be natural, right?

Don't look at the audience, and don't
say your lines too fast.

Hey, are you all right? Don't!

Makeup?

Makeup here, right? Is everything all
right? Yes, yes, fine, fine.

Goodbye to you all.

Goodbye, and success to you. Will you
promise to think kindly of Paul Rose?

Yes, I promise.

Goodbye.

I am sorry that he is gone.

And so am I.

Do you know I could cry?

Oh, and so could I. You?

With joy.

You wretch!

I've discovered my error. Mr. Hugh, the
line is coming up.

Then settle down into Darby and Joan
afterwards. Never.

I don't mean to marry at all. What?

Never. At least not until I can find a
man who can speak the truth.

Go.

Do you have people to see?

No, no, it's fine.

You can go.

You better find a solution.

Aren't you going to eat?

No, I'm not hungry.

Do you feel nervous?

No.

You seem quite natural to me.

She did not tell them that a great wave
of triumph had swept over her as she

felt the heat of the gas footlights come
up to her eyes and saw the floating

cluster of white faces rising out of a
solid mass of indistinguishable

In that moment, she drew into her
nostrils the breath of life.

And how is our little Esther?

I must admit I can't get over it. She's
a real actress now.

She plays real parts.

Almost every night.

As well as understudies. We've heard
she's a success, right?

Yes. We saw her the other day in the
trium. We almost didn't recognize her.

People say good things about her.

You must be so happy.

I'm surprised.

Is it true she's going to take lodgings
over there in the town?

Well, she can afford to.

She's in the money now.

In six months, she's paid back every
penny she owes.

I always take this way because I like it
here.

From here, it looks a bit like China.

Look, it's all grey.

The Grey River.

Thank you.

Thank you.

You want to go to China?

Oh, no.

But I like China.

China's alright.

My daughter who doesn't talk.

You're always chatting away.

Who?

Everyone.

The whole family.

Why do you think of nothing?

My little cow.

Athena, have they half her eyes?

What?

In Homer, a girl with cow eyes or half
her eyes?

Do you know any friends of your world?

No, not very much.

You ought to.

See people.

Get out in a bath.

I don't know.

Westminster.

You've never been to Westminster?

I have.

Once.

Once.

You should have some experience.

What's wrong with experience?

This.

See this?

Nothing.

Here.

It's yours.

Does it please you?

Yes.

Are you going to unpack?

Oh, the key.

Here.

Well, I think you...

Better off here.

Close to the theater.

Ralph.

Goodbye, Rebecca.

Goodbye, Robert.

Why, Jessica.

Your worship was wont to tell me I could
do nothing without bidding. Enter,

Jessica.

Call you? What is your will?

I am bid forth to suffer, Jessica.

There are my keys.

But wherefore should I go?

I am not bid for love.

They flatter me.

I'll go in hate to feed upon the
prodigal Christian.

Jessica, my girl, look to my house.

I am right loath to go.

There is some ill brewing towards my
rest. Thank you.

Listen, Nathan.

Look, your being a bad actor is
absolutely fine with me. I don't mind at

You know that as well as I do.

You know I love you dearly.

But...

Well, do you think you could look a
little bit more Jewish?

Is that too much to ask, Nathan?

Too much to ask of you, to look a little
bit more Jewish?

What did I say? I mean, are you a Jew or
aren't you a Jew?

I'm Jewish.

So fine.

What's all this acting nonsense? I
didn't hire you to act. I hired you to

Jewish. Is that clear?

You didn't hire him, Norton.

Nathan, you're just here to understudy
today, all right? Because he's an

understudy doesn't mean to say we have
to act like a jellyfish.

You're trying so hard to act, Nathan,
you're not like anything at all. Just

look, Jewish, damn it!

This girl is totally lost.

You're here to help her. Remember, bring
out the best in her.

In all honesty, do you think he looks
like a Jew?

I have no idea.

What a moron. What does he know about
Shylock? Nothing at all.

Doesn't look Jewish enough.

Miss Sugar?

Did I prevent you from acting?

No.

Are you from the tribe, coining?

I was just marrying an Englishman.

So are you Jewish or not?

Bless you.

No, I just don't care.

Marvellous role, Jessica.

I'm just the understudy, in case the
actress falls ill.

Could be a good actress.

Do you go to classes?

Classes? Yes.

You should, you know, we should all
learn. Even though I may not be any

shakes as an actor, I might be able to
manage to teach you to do it, if you're

interested.

I don't think I have the time. Do you
have another job?

Well, then, Tuesday morning.

There's a cafe across the street.

If you're interested.

You're not drinking?

I don't have to pay for the place. It
was a lesson.

No, please.

Just call it a gesture of friendship.

No, it's because you're old.

So you'd like to imagine that you have a
girlfriend and that would be me.

I think this is a mockery of friendship.

Perhaps one day we'll be friends,
perhaps not.

Now, take the money.

If you like.

I will tell you my price one day, but
not today.

Right, let's start straight away.

You're an actress, Esther.

At least you want to be.

I, too, am an actor.

Now, the problem for us actors, what we
have to succeed in doing is to make

others believe.

That's why people come to see you.

But if you just come on and tell a big
lie, no one will believe you.

People don't come to the theater to be
lied to.

On the other hand, if you just come on
and tell the boring old

truth, what are you asking us to
believe? Nothing at all.

So we won't believe that either.

Yes, you understand?

Right.

So the question has already shifted
slightly.

Now I can ask on stage, should I lie?

Should I tell the truth?

If you want to be an actress, should you
start by lying or by telling the truth?

Let's do an exercise.

Let's imagine... Yeah, let's imagine
you're going to act Cordelia.

Let it go into the wind. Here.

When I stand like that, it keeps you to
it.

And... And stop.

That's all.

Who just made her entrance?

Cordelia.

Oh, come on. You know that's not true.

Everyone knows this is a play by
Shakespeare, and Shakespeare's been dead

centuries.

We're the only two people in the
theatre, and you honestly think I'm

believe that that was Cordelia, the real
Cordelia, who just came on?

So who did just come on? I don't know.

I am Esther.

Yes, and that's very important.

But not enough.

Because whoever just came on has got to
say, what shall Cordelia speak?

Laugh and be silent.

And Esther doesn't speak exactly like
that. Stand up straight.

Do it again.

And this time, when you come on, you
don't come on as Esther or Cordelia

Just come on stage.

Follow me.

Right. Stand there.

I will stand over here. This is a small
scene.

I want you to come across to me and
shake my hand and say good day, sir.

Good day, sir.

Shall we?

It's quite good because now you have
some presence on the stage.

Quite good.

Because what has to happen is that every
step you take has to be more

unbelievable than the step before.

Every step has to be... Well, it has to
have an idea behind it, an idea that is

so complex that...

It would take ten philosophers just to
decipher it.

Each step has to stretch like a rope in
the audience's mind

until they can't bear it anymore and
they want to cry out, careful, Esther,

you're going to break it.

Come on.

Here?

That's where you start.

Two steps.

Here you choose to approach the old man.
Simple. But we have to see you choose.

Two steps.

Here you feel a little ill at ease. Big
theatre.

Standing all alone in the middle of the
stage.

It's a long walk.

Could make you look silly.

You feel awkward.

Two steps.

That makes... That makes six.

Now here, I want you to feel ashamed.

Ashamed is painful, it hurts.

Supposing a woman in the audience stands
up and laughs out loud.

You feel such a dumb cough, as red as a
beetroot.

Almost as if you're standing on a sharp
knife.

Come on, step.

And here you think, wait a minute.

You're the old man. He's making me walk
all this way.

Two steps.

And now... Oh, yeah. Now you're angry.

It's all right for me. I stand at the
end there, waiting, twiddling my thumbs.

It's a cushy number for me.

Ten.

Now, when you get to here, when you get
here, I want you to bark and growl at

me.

Let the smile off the old man's face.

Twelve.

Two steps.

You like me because I'm Nathan.

I'm an actor like you.

Let's face it, I'm your only friend if
the audience do decide to make fun of

you.

All those women with their money and
fancy clothes.

Here we shake hands.

As you walk, I want you to think all
this that I've just told you.

And in the order, in the right order,
you're on.

Goodbye.

Well,

I believe McDonald's has changed the
world.

Goodbye.

Please,

please, sir.

Esther had a small part to understudy,
and before long she had the chance of

playing it.

She began to make a little money and, as
she had promised, she paid so much a

week to her parents.

They gained in the bargain, so they did
not ask her to come back to the

stitching.

Esther was making her way.

We are here to

learn how to do an action.

If you want to be an actress, you have
to learn how to do it.

That's easy.

So, what is it?

Oh, I can't say.

It's just an action.

That's easy.

To perform an action, you have to make
movements with certain parts of your

body.

If I'm unhappy... Now, what if...

What if you're talking?

You make movements in your mouth. Yes.

Don't laugh.

Say ah.

Ah. Ah.

Ah.

But as yet, it's still not proper
talking.

Although talking is indeed a question of
making movements with your mouth and

your tongue and your throat.

So there must be something extra that
you do that turns your movements into

proper speech.

Otherwise, it's just noise.

In the same way, you have to find that
little extra something that turns what

you do.

Good, my lord, you have begot me, bred
me, loved me.

I return those duties back as a right
fit.

Obey you, love you, and most honor you.

Why have my sisters loved them if they
say they love you all?

Happily, when I shall wed.

That Lord whose hand must take my plight
shall carry my love with him. Shall

I read it again?

No, I think I got it.

Oh, you've heard it before?

No.

But I think I got it.

You have an astonishing memory.

It's Cordelia defying her father.

In the first scene...

Of this great play.

Now, did you understand anything of the
characterisation?

Oh, no.

Right, let's start from the beginning.

Good, my lord. Good, my lord, you've...
Good, my lord, you've got me bred, me...

Now, I want you to go through the
speech, and I'm going to try to break

concentration.

Good, my lord. You begot me, bred me,
loved me.

I return those duties back as my right
fit. Obey you, love you, and most honor

you.

Why have my sisters husbands if they say
they love you all?

Happily, when I shall wed, that lord
whose hand must take my plight shall

half my love with him.

Half my care and... Sure, I shall never
marry like my sisters. Sure, I shall

never marry like my sisters. To love my
father all.

To love my father all.

Yes,

I took your hand. It upset you at first.

And then I really annoyed you.

But you stuck with it.

You said your lines right through to the
end, exactly as you should.

Because you were blocked.

You weren't thinking about acting and
playing other people.

Just about not laughing.

You were an embarrassment.

Yes, I threw you.

You were embarrassed.

But if anybody else had been in the
room, they would have been able to

understand that speech right through to
the end.

And it showed that you could still reach
the words,

even though you were being distracted.

You learned something today.

You learned to lose the meaning.

Can you give me a girl asking a waitress
for tea?

Yes, I can.

Tea, please.

Louder. The waitress isn't coming.

Tea, please.

In fact, the waitress doesn't want to
come. You're in the tea shop.

And you're in a hurry, so you shout at
the waitress.

Can I have some tea, please?

Tea, please.

Please, I want some tea.

Tea. That's not bad, not bad.

But would you dare to shout out in a tea
shop?

Oh, no.

So if you can act the angry girl, that's
good. If you can't, you're telling us

it's embarrassing to shout out in
public.

You're telling us two truths.

You're telling us the truth about loud
mouths. You're telling us the truth

embarrassment.

You're telling us the truth twice over.

But there is a third truth.

A third very mysterious truth.

And that is that you're not that girl.

You're not in the tea shop.

You're on a stage.

And there are all those people out
there.

Now, if you can manage just once to tell
the truth that you're here and they're

there, you'll be a good actress.

So, we continue tomorrow.

The same time.

Half past nine.

It was a good day. Good day.

Do you want to stay?

Lock up, please.

Do you want a

coin?

Yeah.

So what brings you here?

Just passing by?

Yeah.

Fine. Do you want a cup of tea?

Well, I might want for myself then.

I was walking along the street and my

feet let me.

That's good.

And?

I wondered what you thought of me.

Good.

Peggy, you've seen me after that.

Well, tell me the truth.

Am I any good at it, or do you think I
should try something else?

I don't think anything's special.

I think that you don't like me that
much.

Don't understand.

It's not true.

My sister.

If you don't want to be an actress, then
don't do it. Do something else.

I can always ask Mike.

But if you do want to be an actress,
then stop asking yourself these

Good or bad acting.

Who knows?

I said I knew how to do an actress, but
I don't know how.

It's not true.

You're supposed to go on stage.

People are supposed to say, look, that's
the truth.

But because I'm too small and empty,
well, they can't see a thing.

Have you spoken to your friend about it?

Nathan.

I'm afraid to disappoint him.

Go and see Mester.

And speak to him.

It's got nothing to do with being too
small to be found as a student.

That's rubbish.

Didn't you tell me there was no point in
us continuing?

Yes, you know.

What more?

Nothing. Finished.

You're an actress.

It's what you wanted, isn't it?

But I'm not good enough.

There's something missing.

The remedy lies in your own hands,
Esther. You cannot keep sucking out the

world. How can you claim to act feelings
that you've never lived through

yourself?

I don't shut out anything.

All right, let's put it this way.

Are you a virgin?

What?

Have you slept with a boy?

No.

Well, go then.

No.

You've got to get in love.

Fall in love. It's the only way.

You think you can act.

You've never experienced anything worse
than a cut finger.

And to play a court official, I have to
be dead.

That's stupid.

It's got nothing to do with it.

You sound like my father telling me how
to get out more than go to the club.

I'm not saying that.

I'm just saying that at present, you're
dead.

And you're as cold and as hard as a
stone.

You know?

Hey.

I need to have a moment of advice.

Goodbye.

Esther looked around her with practical
eyes, not seeming to herself to be doing

anything unusual or unlikely to succeed
in its purpose.

She thought deliberately.

over all the men she knew.

Hey, God.

Can I ask you something?

Oh, Esther!

Todd? Todd?

Oh, yes.

Oh, he's funny.

A bit old.

He used to run a theatre, but he's in
business now.

Very gallant.

But not very Randy.

Who's that one there?

Where? There. The guy sitting behind
Todd.

Oh, there's Dominic.

Have you been out with him?

No.

The one next to him, he's an artist.

Craig. I wouldn't recommend him.

What about Philip Agart?

Hey, God.

Where's he?

He's not here.

Now, that would pride me.

He never comes to first night.

I bet he doesn't even have a dinner
jacket.

Do you know him?

I think he's scary.

Dare.

I don't mind. It's all right by me.

Well, then, please, go right ahead.

My pleasure.

Does he have a woman?

No woman.

Plenty of women.

Is it in English?

Yes.

But it's not a play.

No, no, it's an essay.

I thought he wrote plays.

I don't know.

We could try to place an order.

No, never mind.

You know, I get to meet men whose heads
can't be turned.

But how do you go about it?

Say you've made up your mind, the man
who sued you.

How do you tell him?

I just go round to his house and say,
how about it?

When do you go?

At midnight.

I knock on the door and say, it's me!

Oh. For heaven's sake, Esther, I'm
kidding.

You can't just go round to a man's house
and lift up your skirt. It isn't

proper. You should know that.

So what do I do?

I've no idea.

You'll meet, you'll get to talk a bit,
and things will just happen, little by

little.

Hey.

Can I get the register, please?

Yes, missy.

Hey.

Hey, Garth. Philip.

He's booked a seat for the 12th.

I wanted to know if we could have a
drink after the play.

Shall I?

Well.

I'm not a real writer. I just write
articles and bits and pieces.

I've seen you before, but I wouldn't yet
know how to pay you any company.

You haven't acted long enough for that,
sorry.

And me, I haven't written enough. You're
thinking you're about to have the worst

evening of your life.

No, that's fine.

Good evening, Philip.

Good evening.

Have you come out of your den, have you?

As you can see.

Have you met?

No.

He's very clever. Much cleverer than his
play.

Good evening.

Good evening.

I'm sorry, but I didn't know how to
introduce you. I'm afraid I can't quite

remember her name.

Oh, my name is... Please, stop it.

This is all a bit, you know, breaking.

The pub's going to close.

So I'm going to suggest we go on for
another drink somewhere else.

That we will see three or four pubs
close one after another.

And when there's nowhere left open, I
suggest you come and sleep at my place.

We shall see.

It's a relief to know that you can walk
out on me between each bath.

I'm sorry, but how did you find me?

I was talking to Christelle.

Christelle?

She's on the plane.

You know.

That's her.

Right, beautiful.

And me, can you do me?

Go on, show me.

Go on, show me.

I talked to her and here I am.

I hated the people I lived with.

People there, my family.

I went to build a house where nobody
would see me.

All walls and no windows.

They could be good or bad as they
pleased.

And that way I'd get the better of God.

That means your soul was locked up.

Really?

Or quite the opposite, that your soul is
to fancy free.

I think it's very easy to attack
someone.

Scared me.

On my way home, for instance.

He courted her.

much more skillfully than any of her
other lovers.

And, though she saw through his plans as
clearly as he wished her to see through

them, she was grateful to him for a
certain finesse in his manner of

He never mentioned the word love, except
to Jeff at it.

He concealed even the extent to which he
was really disturbed by her presence.

His words spoke only of friendship and
of general topics.

And yet there could never be any doubt
as to his meaning.

His whole attitude was a patient
waiting.

He interested her.

Frankly, he interested her.

Here, then, was the man for her purpose.

I took a room for you.

You see, my room isn't very big.

So, if you prefer...

Here we are.

Can you turn out the light?

Sure.

You're very young.

I don't want to owe you anything.

On my own property.

You owe me nothing.

You'll never be a virgin again.

this bargain this infinitely important
bargain had been concluded with open

eyes with a full sense of responsibility
for a purpose The purpose for which she

lived.

Was it nice?

Mm -hmm.

I don't understand why I haven't done it
before.

It was quite pleasant.

I'll go on doing it.

You sleep with other men.

No.

Yes, you will.

You're an actress.

You sleep with other men.

She wondered what it was that a woman
was expected to feel under the

circumstances, and why she had not felt
it.

How different had been her feeling when
she walked across the stage for the

first time.

That had really been a new life, or the
very beginning of life.

Hello, Esther.

Hi. Bravo.

Aren't you bored of things to play?

Now you must know by heart what to do.
No, I like it. I watch you.

I don't get bored.

Did you sleep with him?

Yes.

What was it like?

Do you love him?

I don't act any better than before.

Hasn't changed anything.

Talk to your parents.

I want you to be my wife.

They've agreed.

I want you to let me marry you.

I don't love you, Joe. I know that.

That doesn't bother me.

You're all alone.

You need someone.

Look at you.

That chap, he's not going to take care
of you.

I will.

I wouldn't make a good wife for you.

Ask your family.

I don't give a toss about my family.

And I don't give a toss about your
theatre either.

I'm sorry.

It all washes off you.

Don't feel a thing.

No, I don't.

I'm trapped inside myself.

Sometimes I even think you're a puppet.

pretending to be sad or happy.

And other times I'm so jealous of you
all, as if you're all in the river, and

I'm sitting beside it.

And I'm watching you go by.

Philip, I'd like to see you, to talk
with you.

I think we should meet once again.

Esther.

I got your address from the theater.

If it's a bad time, I can come back.

No, it's all right. Come in.

In fact, I brought you some flowers, but
I felt stupid.

So, I'm gonna get them.

I'd like to be a good actress.

Well?

I'd like to.

You can't like it.

But that woman's a good actress.

What? You mean she is?

Sympathetic, nice.

That precisely was so awful.

That woman is definitely nice.

But what is that country this is where
they like nice, sympathetic actresses?

Please, Esther, don't ever be a nice
actress.

I'm sorry, but I think you need to cut
your fringe here.

Really? Yes.

If you wear it shorter, in a neat line
like this, people could read your

thoughts. You've got a high forehead.

You'll have to make use of it. That way
one can imagine ideas battling away

behind it.

Are you sure you want it this short?

Yes. I'm definitely sure.

Quite sure?

Yes.

Philip had a sense of acting which was
like the sense that a fine actor might

have if he could be himself, and also
someone looking on at himself.

He not only knew what should be done,
but exactly why it should be done.

Little suspecting that he had been
chosen for the purpose, he set himself

teach her art to Esther.

You see, the man is suspicious of you.

It's very real.

Imagine if Desdemona wants to come and
sit on his knee.

Othello suspects she's already slept
with Cassio.

And now she wants to come and sit on my
knee. She can't get enough of it.

Where's it written?

What?

What you just said.

Well, there, everywhere.

He looks at your bum, right?

Now you come and sit down. So he says to
himself...

Cassio got her so worked up that now she
wants to do it all over again with

someone else. What horrifying appetite.

And if you don't come to sit on my knee,
that goes to prove that you slept with

Cassio. Because you're so gorged with
sex that you don't want it anymore.

You're shattered.

And that's just as foul.

No, Othello isn't mad. Perhaps you
haven't slept with Cassio yet.

But the suspicion makes it too late
anyway.

Because if you ever do come and sit on
my knee, even if you haven't slept yet

with Cassio, I'll be telling myself
she's coming to rub her ass up against

She's hot for it, the whore. So hot that
sooner or later, Cassio will have her.

And I want to say to you, have you no
decency?

Because if you don't come over and sit
down, that's because without your

it, I disgust you.

You're thinking you're so pure because
you haven't yet met the right man. But I

know that the bestiality awaits you.

What I have done is to degrade, to
desecrate all your desires.

All your desires have become precisely
the desires of a whore.

We did it too much last night.

That's the painting.

Right at the back.

It's our model for Bouvier.

She's all the rage.

We don't give a shit about Bouvier's
paintings. Come on.

Let's do something really unbelievable.

So is it for your paper or what?

No, they're art photographs.

She's an Italian from Campania, I think.

Hasn't been in England long, three
months.

She came over with an organ grinder.

Doesn't speak a word of English, just
some vile southern dialect.

She's on over the Amstrader in Milan.

George had done a sketch of her.

He asked her to sign it.

She marched to the cross.

I found the woman of my life.

I found my ex -girlfriend.

This

afternoon

we saw this girl. You know the model?

And it was astonishing.

What does she look like?

She looks more Swedish.

Or German.

Yes, a noble German woman. Not at all
Italian.

Do you remember Esther?

Which one is Esther Kahn?

Brilliant.

How are you, Trish?

This is her.

How do you do, ma 'am?

Follow me.

My husband.

Hi, Sean. Hi, Bill. Hi. My banker.

Sean, who is a great admirer of yours.

Sit down.

Don't be afraid, my dear.

She's not afraid.

Are you hungry?

No. She's not hungry.

You're not hungry?

Philip, here.

Oh, you're this fine actress.

And you've never acted for us.

No.

You're wonderful.

Sean is our director.

Have you played any leading roles yet?

No.

Yes. Twice at the Forster's. What in?

Please.

You want to drink something?

Give her a break, Dodo.

Playing the lead is very different from
a supporting role.

Mind you, they say it's easier.

So it'll be easier?

Philippe is my reader and translator, my
French writer.

I'm not a French writer.

No.

Did he ever speak French with you?

Nor me.

Never mind, he's working for me now.

And I'd never do a thing without
consulting him first.

He's very reasonable, too much so.

You might end up almost boring.

Yeah, it's rather comforting.

That's a good part of it.

You were bad once.

In Italy.

Since then, you're cured.

I'm vaccinated.

What did you do that was mad?

I was obsessed by ideas.

He was all on his own there, in Ferrara.

The friends went back to England.

I take it you were rather obnoxious.

But what were you doing?

Nothing.

Just ideas running around in my mind,
but I was completely deprived of sleep.

By then I thought that if I wore myself
out, then maybe I could sleep a bit,

which is quite reasonable, isn't it?

So I set off on a walk. I walked for
maybe...

15, 20 hours, I don't know. And I found
myself at night out in the country,

quite far.

I had found a hedge.

So I lay down and went to sleep.

But later some peasants came with the
police, the bestiglieri.

Bestiglieri? Yeah, that's what they call
the Italian police.

They chased me and they took me back to
Ferrara, where they saw me in a dungeon,

in irons, with these great big chains
on.

I didn't much care, I was raving all
right.

Now the next day, three big guards came
to take me to the bar.

I felt I was being tracked.

Tracked? How?

Tracked down.

And I thought I would never go out
again.

And then they tracked me. I should
escape.

I grabbed one of the guards by the
throat.

I tried to kill him.

I was punching another one in the
stomach.

We all fell to the ground.

I had the strength of ten men, but I had
forgotten one thing.

I was barefoot, and my cellos, they had
omnel boots.

And?

And then they went for my bare feet.

But with such meanness that my feet were
bleeding, streaming with blood.

All four of us were slopping around in
the blood from my feet.

After that, I fainted.

They threw me back in the cell.

Then I fell into a coma.

Eventually, they informed the
ambassador, and I was shipped back to

Later to London, thanks to Trish.

He was put in a hospital, a private
asylum.

As well as his mental problems, he had
problems with his feet.

I never come out again.

I have no respect for insanity.

I have no respect for suffering.

So there you are, my holiday in Italy.

Alison.

What's happening?

I'm sure he exists.

I'm fine.

Philip's continued, unvarying interest
in her acting, his patience in helping

her, in working with her, kept her for
some time from realising how little was

left now of the more personal feelings.

I bought this for you yesterday.

Before the theatre.

Did you?

A book. An extremely kind of you.

It's a... And it is because?

Because I know it's right for you.

Oh, but it's in Norwegian.

Oh, I didn't look proper.

Do you want me to change it?

No, I'll get to work on Norwegian.

That's fine, thank you.

You always have to do that when you drop
a book, or its spirit will fly away.

Yes?

I'm a friend of Ms. Collins.

So we have two weeks to put on
Hedegaard.

It is Philip Hedegaard who has done the
translation.

Philip's not here.

Oh, all right.

Now I'd like to make a start with
everybody introducing themselves.

Esther Hedegaard.

I'm the husband of the young lady.

Tasman. Tasman.

We all know me.

That's right, we do. Sarah.

Sarah. The part of Julia Tasman.

Margaret. I'm Bertha.

And I'm Mrs. Elfstad.

Taya. Taya, yes.

Joanna.

Hello, Esther.

Lovebook. Yes, I'm David, and I can't
pronounce the name of my character.

Eilert. Eilert. Eilert. Lovebook.

And... Nathan Quellenbrock.

Who needs a copy of the play? Anybody?

Anybody know it already?

Not quite.

That lady, ma, who brought some flowers
a little while ago, she's here again.

All the flowers you have in your hands,
ma.

Ah, is she.

Please, show in.

Please, show in.

How do you do, Mrs. Epstead?

How delightful it is to see you again.

Yes, it's a long time since we met.

And we too, eh?

Thanks for your lovely flowers.

Oh, no, not at all.

I would have come straight here
yesterday afternoon, but I heard that

away. Have you just come to town, eh?

Yes, I arrived yesterday about midday.

Oh, I was quite in despair when I...
Heard that you weren't at home.

In the... How so?

Why, my dear, it's writing.

I mean, Mrs.

Elsterton.

I can let it fly away.

That lady, ma 'am, who brought some
flowers a little while ago, she's here

again. The flowers you have in your
hands, ma 'am.

Couldn't say whether.

Is your friend gone already?

Yeah.

It's all right, Nick. We're fine.

Alan's trying to get a cab.

How's the gang with the rehearsal?

What? You're so silent.

We're tired.

What are they doing?

You don't let them intimidate you,
right, Esther? No, she doesn't let us

intimidate her.

It's you who intimidates us.

I'm already yawning.

Aren't they too boring?

No, it's fine.

And Trish is happy?

I don't know. She's going to be here
hours.

Let me have a look.

Don't go. It's muddy.

There you go, mate.

What's going on?

Nothing.

Who is it?

Silvia. This is a beautiful actress.

Do you know her?

Yes.

So?

Have the wheels stopped?

Not yet.

I'll see you later?

I'll be going.

There, there. They almost got it free.

You're not getting in?

No.

I'm just near a walk.

How about, Philly, we can drop you off?

No, no, it's better this way.

You sure you're all right?

Yes, go on.

Philip's here.

Actually, it's a bit difficult for me
because he's here with a girlfriend.

Go on, I'll walk.

I took the key in case you came back
with someone.

What are you doing with that girl?

Listen, I see who I want whenever it
suits me.

You're not seeing her.

You're fucking her.

Yes.

She's my mistress.

Why are you doing this?

Because I wish to.

Because that girl appeals to me. Because
she wets my nerves.

You love a girl who dances in the
streets and cheats on you.

Yes.

Yes.

I know I have nothing to fear of that
woman.

You don't like her because she's like
you.

Because she's ruthless and ignorant like
you.

Because she can barely read or write
like you.

Because she's a model. Because she slept
with me out of pure self -interest.

Like you.

An insignificant creature.

A peasant girl from Campania with
nothing to her name. Except her beauty

peerless class of dress. Shut up.

Don't compare me to that whore.

Why do you say that?

She's a model, not a whore.

Everyone at the theatre is laughing at
you.

Sean saw it.

In the street with his mate.

She was kissing some old man.

What's your definition of a whore?

Come on.

Use the word with such confidence. You
must know what it means, surely.

What's the matter with you?

A whore is a woman who opens her legs to
men out of self -interest because she

doesn't know how to do anything else.

I don't understand a word you're saying.

Hey, just tell me what you, Esther Camp,
actress, are doing with me.

Philippe Gart, drama critic.

Tell me.

Go on, tell me.

Hey, speak!

Don't ruin me before I go on stage.

Don't ruin me before I go on stage.

I can't ruin you. You're a machine.

I'm with you because... You love me.

Come off it. You're a second, the whore
of Agathe, and he's going to work out on

you and send you back to the void I
plucked you from. You're jealous.

You'll never make anything of her.

You'll never be as proud of her as you
are of me. Don't be so sure.

I'm infinitely more proud of her beauty
than I've ever been of your intelligence

and talent.

I've loved below my station.

I've lowered myself to love you.

I'm spoiled.

Where are you going, Philip?

Don't leave here without telling me
where he's going.

You want to stay? You know the form?

The deal is downstairs in the lobby.

You pay and you leave the key when you
go out.

Doesn't work.

Yes, yes.

Heather.

Heather.

What will come of all this?

At ten o 'clock he will be here.

I can see him already.

Blindies and hair.

Flushed and dead.

Oh, I hope you may.

And then, you see, then he will ever
gain control over himself.

Then he will be a free man for all his
days.

Oh, God.

If he would only come as you see him
now. He will come as I see him.

If you could only understand how poor I
am.

And faith has made you so rich.

I think I must burn your hair off after
all.

Let me go.

Let me go.

I'm afraid of you, Hatter.

Tea's laid in the dining room, ma 'am.

Very well.

You're coming?

No.

No, no, no. I would rather go home
alone.

At once.

Nonsense.

That's it for today.

In any case, we'll see you tomorrow.

Thank you.

I wasn't there.

I assure you, it was wonderful.

It blew my mind.

Tomorrow, I just hope to get...

Good evening. May I help you?

Room 211, please.

Mr. Hayguard isn't in.

I'm aware of that.

The room is free.

Fine.

You alright?

I don't want to go in.

I'm afraid I won't be able to act.

Well, you've got stage fright. That's
normal.

We've been arguing.

I'm no longer with Philip.

I'm ashamed.

You made the right mess of you, didn't
you? No.

Nobody hits me.

If one hits me, I'm the one. Nobody
else.

I believe you.

I'm afraid I may have damaged my jaw.

I can't speak properly.

It wasn't what you thought it was.

Something.

I don't want to talk to people. You have
to.

Going from there.

Afraid of me.

I can't act.

I'm ill.

You just have to throw that slag of this
out.

Otherwise, I'm not going on.

I can't just throw out a member of the
audience.

It's upsetting.

Right?

Get it?

Besides, you'll never get rid of him
like that.

Excuse me, Philip's got a big mouth.

If you speak to him, he'll just make it
worse.

They've already got their tickets, and
the girls told me they've already been

given their seats.

I don't want to act if she's here. I
don't want to.

Madden, why didn't you warn me before?

We could have made arrangements, but
it's too late now.

In which case, we would have sold the
feet to their foot.

Yes.

Could somebody go and

speak to them discreetly?

You know, just tell them that it's
difficult. for me.

It's true. It is difficult for me.

And... And it'll be better if she's not
here.

That's all right, isn't it?

I can't go myself and ask her, but...
You stay there.

You stay.

It's a sick joke he's playing on you.

Just ignore it.

It's impossible.

Right.

End of discussion.

I

don't

think Philip will be in the audience.

Bear up.

Just pay no attention, love.

I've forgotten everything.

I can't even read.

Here.

It's alright, it's alright.

I'm ill. I'm sorry.

It was me.

Doesn't matter, doesn't matter. Relax,
relax.

Um, I'll go and get some more water. But
we're supposed to meet.

We've got at least a minute.

I'll be back.

Hello.

Catherine, follow the nurse. Go and get
a nurse. You go and get the intern,

quickly.

Go and look again. Be quick.

I'm going to disinfect it.

It's going to sting, but I can't
cauterise it.

There'll be more blood, but not much.

The cuts are tiny.

You'll be fine in about 20 minutes.

She has to go on stage now.

It's not serious.

There'll be more blood, though.

Does it hurt?

No.

Oh, I'm afraid she might have swallowed
a bit.

Well, that I call style.

You chewed on that?

You're a brave girl.

I'm impressed.

You should see Sean.

He's shitting himself.

Maybe I'll eat some ground.

Then he'll love me.

You should be on your own.

You need to concentrate, no? Are you
leaving the nurse with her?

You're here to act. You stick to that,
Catherine, and I will manage between us.

Concentrate. Act one, act two, act
three.

All right?

Yes, all right.

On stage, each man alone. You don't act
with, you act against.

Have you been to see that girl?

To ask her?

Yes, I think so.

Would you mind making sure somebody's
got to talk to her? No, I told you, I

think Catherine's been to see her. Or
the, uh, the doorman. They're dealing

it right now.

Hey. Come on.

You'll come and tell me?

I'll be downstairs.

Uh, to me.

Either way, we can check it.

I'll come back, or I'll tell you down
there.

Should you come up and tell me?

Yeah.

Right. Do you want to put your dress on,
then?

That's fine. Let's get... I need to get
into that one.

Bill.

Sorry, Sean would like you to fetch
Esther, please.

Right. That's fine.

I don't know.

All right, let's go.

It wasn't fair.

What about the snake?

Upon my word, I don't believe they're
turning yet. I told you so, Miss.

Remember how late the steamboat got in
last night?

And when they got home, oh, what a lot
the young mistress had to unpack before

she could get into bed. Well, we'll let
them have their sleep out.

But, bless me, Data, what have you done?

You've taken the chimney's covers off,
all the furniture.

The mistress told me to.

Can't buy covers on chairs, she says.

I don't want that slut to touch me.
What's the matter?

What have I done? One day you will be in
the gutter and I will tread on your

corpse. I hate you.

Have you heard? I'm very sorry. I can't
go on. They should be told.

I fully intend to pay you back.

You don't have enough money.

It's all right, David.

Not all at once. In instalment.

I'm not even jealous, you know.

I'm just not able to do this
performance.

Tomorrow... Act in front of that girl
tonight.

Tomorrow, we'll begin the hide of
that...

I don't know how to do it anymore.

Especially now I have a wonderful house
to work in.

I'll wait here for you.

You have just two lines and then you
come off again.

Try.

If it's too difficult, we'll stop.

I believe I hear her coming.

Thank you.

No. Oh,

and George, by the by, I nearly forgot.

There's something here for me. What is
it, auntie? Look here, my dear boy.

Have you really saved these for me,
auntie? Eh?

Heather, isn't this touching, eh?

Take a five -minute interval, then we'll
bring the curtain down.

Is that enough time?

I can do that.

All right.

Stand by.

Don't touch those dangerous things,
please.

For my sake, Hannah.

Eh?

We have to keep her on stage somehow.

Fifth. No, no.

Fifth. I don't want Esther to leave the
stage in between acts. If we bring her

off, she's quite capable of coming back
on.

I'll keep an eye on her. No, she
doesn't. Keep the stage.

I don't understand.

You change your costume on stage, you do
her make -up on stage.

Give the nurse a fountain of soap for
her mouth. It's fine.

You want a quick drink?

Pick me up?

Did I forget any lines?

Fine.

I was afraid of skipping some lines and
throwing you off.

No, you've been perfect.

You hit your marks every time.

I had to work with the prompter. They're
going very well.

I found his preparation.

Very good.

Anyway, he's hardly bleeding anymore.

He's very clean.

That's fine.

You have one scene. Come on, one scene.

What's that?

She had never been more restrained, more
effortless.

She seemed scarcely to be acting.

Only a magnetic current seemed to have
been set in motion between her and those

who were watching her.

They held their breath, as if they were
assisting at a real tragedy, as if, at

any moment, this acting might give place
to some horrible, naked passion of mere

nature.

Yes. They told me of the booksellers
that you're planning on giving a course

lectures this autumn.

No, that's my intention.

What? It's not so bad, is it?

No.

But it's humiliating for me.

I am a woman after all.

That's right.

I knew it.

Heather!

Just fancy.

Our little love, Borg, is not going to
get in our way after all. Our way?

And you?

Is that the graph?

What do you make of this paper?

I'd say that a model of victory may be
already fine.

I've got to get changed.

I'm just going to leave you for a little
while because I've got to get changed.

I have a note from Hagar.

Do you want me to keep it for you?

I'll give it to you now.

We can't wait for it to be over, can we?

That's right.

I've got to piss.

I'll come with you.

I'm sorry, Sean, I... I no longer feel
anything.

I wanted to feel the impression of life
when life penetrates you because I

wasn't feeling anything and I didn't
know anything.

And now everything happens very strong.

It burns each nerve.

It's like butchery.

Everything gets inside of me.

And I'm all torn.

I feel that I'm dying and it never
stops.

How do you do it?

Feeling like all the time.

I don't believe you.

I think you must pretend.

Because it hurts so much you'd be
screaming.

You've heard it before.

When will it stop?

You think it will stop?

It's better to be locked up, isn't it?

You must never know anything.

I will be quiet. It's not good to know.

It's all shit.

He lied to me.

I tell you what, you shall take the
empty room and then I shall come

over in the evenings and we can sit and
work there.

I hear what you're saying, Tasman.

But how will I get through the evening?

I dare say, Assessor Brack will be so
kind as to...

Look in now and then, even though I'm
not here. Every blessed evening. And

all the pleasure in life, Mrs. Tessman,
we'll get on capitally together.

Yes, don't you hope so, Assessor Brack?

You as the one cock on the foul route.

Playing with those... Shot herself.

Shot herself in the temple.

Just think of that.

Heaven help us.

People don't do such things.

As reflection returned, through all the
confused suffering and excitement,

to her deliberate, automatic nature, in
which a great shock had brought about a

kind of release, she realized that all
she had wanted...

during most of her life, had at last
come about.

The note had been struck.

She had responded to it, as she
responded to every suggestion,

She knew that she could repeat the note
whenever she wished, now that she had

once found it.

There would be no variation to allow
for. The actress was made at last.

She might take back her lover or never
see him again. It would make no

difference.

It would make no difference, she
repeated, over and over again, weeping

uncontrollable tears.

I can't talk to another one because I'm
broke. You don't have to contact.

You're so prosperous.

You've got the wrong person.

You're not talking to me.

I'll outlive you, yes.

I'll get over it. In spite of you, I'll
get over it.